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The JPS Foundation supports young women leaders through Leadership Academy
Jamaica Public Service Company Limited | 2013-12-20 00:00:00
The JPS Foundation has moved a step further with its Youth Leadership Development programme with the presentation of scholarships to four young women in tertiary institutions. The scholarships were presented at a special luncheon on Wednesday December 18.
The recipients are University of the West Indies Law student, Shana-Kay Cunningham; Mass Communications major at the Northern Caribbean University, Alshadane Wright; Chemical Engineering major at the University of Technology, Kemesha Vassell and Guidance and Counselling student at the Jamaica Theological Seminary, Angelique Gardener.
Youth Leadership Development is a core focus area of the recently established JPS Foundation and it's been working towards establishing a 'Leadership Academy' to assist in the development of young Jamaican leaders. A first step in this regard is the awarding of the scholarships to outstanding female students at each of our main tertiary institutions.
These scholarships, made possible through the kind donations of partners of the JPS Foundation, who will also be Mentors to the candidates, will include payment towards the recipients' tuition fees, as well as exposure to leadership training opportunities.
The candidates selected for this Scholarship must be outstanding leaders in their communities and/or on campus and should be performing well academically, with at least a 'B' Average.
At the presentation event, President & CEO of JPS, Kelly Tomblin, noted that "we have a leadership crisis in the world and the JPS Foundation Leadership Academy is being built to tackle that. This initiative in particular is about helping our young women find their voice and have a forum for learning and for discussing issues as they rise from being young women to influential decision makers. It's about helping them to step into their full power."
Manager of the JPS Foundation, Nathelie Taylor, echoed Tomblin's statement:
"Our decision to focus on young women at this time is informed by what is happening in our society. Our objective aligns with that of the National Policy for Gender Equality which is to help promote the interests of women in decision making roles across all sectors by enabling their access to leadership training and development opportunities."
Posted By :Audrey Williams
Company Name : Jamaica Public Service Company Limited
Company Address : 6 Knutsford Boulevard
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Continuing a tradition (the seventh occasion!), here's my annual look back at the year from a creative standpoint.
During the year I wrote two short stories (one of which Phil Sloman was kind enough to ask me for, see below for details) and a lot of essays for this blog (which is always enjoyable). Most of my creative time was focussed on novels and all the attendant work to do with the admin of submitting them. The second thriller novel, with the working title Hunted, went out to a lot of agencies and got some decent feedback but no bites. I revised my first novel Hangman and re-sent that out too. In the meantime, I started work on Novel 3 (I'm calling it Death At The Seaside but that won't stick) and, once again, hugely enjoyed the plotting process while out walking with David Roberts and Pippa.
I had one short story published.
Compass Wood appeared in The Woods, a Hersham Horror Books PentAnth anthology edited by Phil Sloman. It was launched at Edge-Lit 8.
At the launch of The Woods, on stage at Edge-Lit 8 with, from left - James, Penny Jones, me, Cate Gardner, Simon B and Duncan Bradshaw (pic courtesy of Laura Mauro)
Ellen Datlow, as part of her Best Horror Of The Year anthology, included my short story Brooks Pond (which I wrote about here) in her Recommended Reading/Honorable Mentions List. I was amazed and even more chuffed to see I got a mention in her round-up too and you can see more of her recommendations here.
My short story Mr Stix, originally published in For The Night Is Dark (edited by Ross Warren) and reprinted in my 2017 collection Things We Leave Behind, has been republished by PenMan Press as an e-chapbook available on Kindle.
When Sam Murphy's seven-year-old daughter Janey starts to suffer night terrors, he does his best to assure her that Mr Stix - a voice from the shadows who says "mean things" to her - can't hurt her.
Sam later finds the grotesque Mr Stix in the family bathroom and then his terrified wife tells him the story of her own childhood night-time fears.
If you're not in the UK, you can use this link - http://viewbook.at/Markwestmrstix
Jim Mcleod, at Ginger Nuts Of Horror, included The Woods in his Picks Of Year, calling Compass Wood a "fast-paced and action-filled tale". You can read his full listing here.
Drive was reviewed by Andrew Hook at Goodreads who wrote: "If there's a definition of a page-turner, then this novella is it." You can read the full review here.
Brooks Pond from The Black Room Manuscripts 4 was reviewed by Chris Hall at DLS Reviews who wrote: "the sort of story that keeps you on your toes, thinking you know where it's going, only for it to unexpectedly shift course. And the ending. What an ending! It's dark, twisted and executed to absolute perfection." You can read the full review here.
Compass Wood was reviewed by Ben Walker at Kendall Reviews, who wrote: "delivers some decent frights [and] the image of the lunatic in pursuit of the story's lead character stuck in my head for a while after the punchy ending." You can read the full review here.
The Crusty Exterior - or constituent parts - managed two gatherings.
The first, which Phil Sloman unfortunately couldn't get to, was a meet-up in Leicester for my 50th birthday and I wrote about it here.
The second, organised by James but without Steve Harris, saw a gang of us meet up in Nottingham to sample bookshops, the Paupers' graves and a fine curry house. I wrote about it here.
Crusties in Leicester, 2nd February 2019
from left: John Travis, Sue Moorcroft, me, Steve Harris, Linda Nagle, David Roberts, James Everington & Steve Bacon
Birthday meal at Carluccio's Leicester with me, Sue, Linda, Steve, John, Steve, James & David
Crusties in Nottingham, 15th April 2019
from left - Wayne Parkin, me, Simon Jones, Penny Jones, Selina Lock, Richard Farren Barber, James Everingon, Phil Sloman and Jay Eales
To help celebrate the publication of her 15th novel, Let It Snow, I interviewed Sue Moorcroft at Rothwell Library in November. A hugely enjoyable evening, we had a good turnout, a lively Q&A session and Sue did a reading - it also helped benefit the library, which I was really pleased about. You can read my report on the event here.
Me and Sue Moorcroft, Rothwell Library, 13th November 2019
I only attended the one Con this year, Edge-Lit 8, held at The Quad in Derby on 13th July (see my report here). Sledge-Lit was postponed for the year and FantasyCon was held in Glasgow, but the time-off requirements to travel proved sadly beyond me.
from left - me, Sue Moorcroft, Ross Warren, Peter Mark May, James Everington
from left - Simon Clark, John Travis, Steve Harris, Linda Nagle and me
I'm feeling confident for 2020 too, as I crack on with the thriller novel and, whatever happens, I'll keep you updated as to how things go.
As always, thank you so much, dear readers of this blog, for all your support in 2019, especially those who bought, read and liked my work - I really do appreciate it.
Posted by Mark West at 09:00:00 No comments:
Labels: creative year, david roberts, edge-lit, james everington, mr stix, peter mark may, phil sloman, ross warren, stephen bacon, steve byrne, sue moorcroft, writing
The Eleventh Annual Westies - review of the year 2019
Well, here we are again (seriously, where does the time go, eh?), gearing up for Christmas and all things festive, which means it's time to indulge in the annual blog custom and remember the good books of 2019.
Once again, it's been a great reading year for me with a nice mixture of brand new novels, a few books that have languished on my TBR pile for too long, some good second-hand finds (which jumped straight to the top of the pile) along with some welcome re-reads.
As always, the top 20 places were hard fought and, I think, show a nice variety in genre and tone - if I've blogged about a book before, I've linked to it on the list.
Without further ado, I present the Eleventh Annual Westies Award - "My Best Fiction Reads Of The Year" - and the top 20 looks like this:
1: Daisy Jones & The Six, by Taylor Jenkins Read
2: The Whisper Man, by Alex North
3: Summer On A Small Island *, by Sue Moorcroft
4: Let It Snow, by Sue Moorcroft
5: Closer Still, by Richard Farren Barber
6: Mistletoe, by Alison Littlewood
7: The A-Team: When You Comin' Back, Range Rider?, by Charles Heath
8: The Family, by Louise Jensen
9: The Hunting Party, by Lucy Foley
10: The Devil's Dice, by Roz Watkins
11: Grave Descend, by Michael Crichton
12: The Puppet Show, by M. W. Craven
13: Elevator Pitch, by Linwood Barclay
14: My Best Friend's Exorcism, by Grady Hendrix
15: Clean Break, by Tammy Cohen
16: Something In The Water, by Catherine Steadman
17: The Professionals 4: Hunter Hunted, by Ken Blake
18: The Banker's Wife, by Cristina Alger
19: Final Girls, by Riley Sager
20: Sleep, by C. L. Taylor
* This is Sue's Avon book for next summer, which I read to critique and will be published in May 2020.
The Top 10 in non-fiction are:
1: The Killers: Days & Ages, by Mark Beaumont
2: Till The Cows Come Home, by Sara Cox
3: With Nails, by Richard E. Grant
4: INXS - Band On The Road, by INXS and Ed St John
5: Game Over, by Dan Whitehead
6: Always Look On The Bright Side Of Life, by Eric Idle
7: Cinefex 36, by Don Shay et al
8: Making Movie Magic, by John Richardson
9: Making A Monster, by Al Cummings & Sue Roy
10: Bohemian Rhapsody, by Lesley-Ann Jones
Stats wise, I've read 76 books - 42 fiction, 18 non-fiction, 9 comics/nostalgia/kids and 7 Three Investigator mysteries.
Of the 69 books, the breakdown is thus:
12 horror
8 film-related
3 drama (includes romance)
25 crime/mystery
3 sci-fi
3 nostalgia
6 humour
All of my reviews are posted up at Goodreads here
Just in case you're interested, the previous awards are linked to from here:
Posted by Mark West at 09:00:00 2 comments:
Labels: alison littlewood, annual review, inxs, lists, reading, sue moorcroft, three investigators, top 10
Nostalgic For My Childhood - Christmas Annuals (part 3)
"Christmas is coming!"
Me, Christmas 1981. The book I'm writing in was the first diary I received and kept up with (I still write a daily diary) and the uppermost annual, by my right arm, is the 2000AD 1982 edition
As I've written about over the past two years (you can see 2017 here and 2018 here), one of the Christmas highlights when I was a kid (beyond the catalogues I wrote about in 2016) was seeing which annual I got that particular year. If you don't remember them, annuals were (and still are) large size hardback books, designed for children and based on existing properties, generally comics and popular TV shows, as well as the occasional film and sport and pop round-ups.
The ones based on comics featured the same cast as the weekly editions, while the TV and film ones had comic strips, the occasional short story, fact files and interviews and - brilliantly - in the case of The Fall Guy, behind the scenes information on stunts and how they were filmed.
Generally published towards the end of the year, annuals are cover-dated as the following year to ensure shops don't take them off the shelves immediately after the new year (though, by then, unsold copies are often heavily reduced). Still as popular now, the only difference (apart from the fact kids today don't have the choice of comics we did) seems to be that they're skinnier (and that's not just me being all nostalgically misty about it - my ones from the late 70s and early 80s are substantially chunkier than the ones I've bought for Dude over the past few years).
Here, then, is another selection of old favourites, ones I received and ones I remember my sister Tracy having. I hope some of them inspire a warm, nostalgic trip down memory lane for you...
Follyfoot was a firm favourite for Tracy (who loved horses), my memory of it is very hazy.
A Christmas staple, the on-going adventures of Dennis The Menace, Roger The Dodger and the Bash Street Kids!
"...everyone knows his name..."
I enjoyed Dr Who as a kid but it scared the crap out of me!
War comics (and their subsequent annuals) were a big part of my childhood because, when this was published, the Second World War was still a clear memory for most adults.
Getting to stay up late on a Saturday night to watch Starsky & Hutch was a real treat!
Monster related mayhem, another Christmas staple...
I remember reading my friend Claire's Jackie comics and annuals and not quite understanding why they didn't have war strips in them...
It took me a long, long time to realise that the dinosaur (bottom left)'s name - Posh Paws - was an anagram of Swap Shop...
My hero and a marked improvement on the previous years annual (which I still feel suffers with poor artwork). Alas, this would be the last Steve Austin annual for me, I didn't even realise there was a 1980 edition until fairly recently.
Starlord was a favourite comic of mine (I wrote about it here) though it only actually lasted for 22 issues during 1978. This, the first annual, came out a year after it had been absorbed into 2000AD and further annuals appeared in 1981 and 1982.
The Junior TV Times, Look-In was a big favourite of mine (as I wrote about here).
Everyone of a certain age, seeing this, has just performed the theme tune riff. Another favourite TV show of mine (which I wrote about here).
With one original Angel left (Jaclyn Smith, just in case you're too young to remember this...)
Thrill Power overload (and another fantastic Brian Bolland cover), as seen in the picture of me at the top of the blog!
scans from my collection, aside from the girls titles (thanks to comicvine for those)
You can read more of my nostalgia posts here
Labels: 70s, 80s, annuals, christmas, comic, debbie harry, lee majors, look-in, nostalgia, nostalgic for my childhood, tj
Live Baby Live: INXS on the big screen!
Last week, Alison & I were lucky enough to revisit the excellent INXS concert film Live Baby Live at the cinema, when it showed 'for one night only'.
Live Baby Live is the film of the iconic 1991 Wembley Concert (the gig itself was called Summer XS and I wrote extensively about it here). As Tim Peacock on udiscovermusic put it, "Six years to the day after Live Aid, London's famous Wembley Stadium played host to a second concert [that] would go down in history. On 13 July 1991, Aussie superstars INXS delivered the show of their lives at Wembley, with their career-defining gig captured in all its widescreen glory by a spin-off concert film and live album – both of which were titled Live Baby Live."
Having thoroughly enjoyed the concert - I became a firm fan of the band before we were halfway through the gig - I snapped up the album when it was released in November 1991. David Mallet's film version, shot with sixteen 35mm cameras (including one in a helicopter), was released the same day and I duly picked up the VHS, watching it over and over again. When a special edition DVD was released in 2003, I bought that and Alison & I have watched it at least once a year since (it includes an excellent behind-the-scenes documentary, if you're interested). Both the VHS and DVD editions were cropped to 1.33:1 aspect ratio to fit the then TV standard 4:3 size (because, of course, back then TV screens were almost square) and I never thought anything about it.
For the cinema release, Chris Murphy - the band's long-time manager - spent a decade looking for the original 35mm elements, according to Andrew Trendell of the nme and managed to find most of it in Australia.
"When you're working on a project for so long, there's the fear 'What's everyone going to think?' That turns into astonishment," said Murphy. "Watching it back, Michael is better than even I thought he was - how he managed the stage. His voice became more powerful as the gig went along. It was extraordinary to watch - the crowd and band were as one."
The concert has been fully restored from the original print with a new widescreen 4K Ultra HD version created in 1.78:1 ratio (which'll fit nicely on 16:9 televisions!). It also includes the full version of Lately - a previously unseen 'lost' track, included as an audio-only extra on the DVD - marking the first time the concert has been released with the full original setlist.
A brand new Dolby Atmos audio mix was prepared by Giles Martin and Sam Okell at Abbey Road Studios and released as a triple vinyl album (which sounds fantastic, I bought it the day it came out) and double CD.
The UK showing was set for Wednesday 27th November. We saw it at the Northampton Filmhouse and Alison & I turned up in our INXS t-shirts (I wore the one I got from Wembley back in 1991), having listened to the CD on the drive there. From the opening, as the band rushes the stage to Jon Farriss' drum beat to Michael Hutchence doing his victory salute at the end, the experience was incredible. The film quality is superb, the image pin sharp for the stage scenes (not so clear for the helicopter shots), to the extent you can read the guitar plectrums easily and the widescreen presentation adds in a lot of detail. The sound, also, was thunderous and that was just what it needed.
left - in 1991 with my then girlfriend Liz, who I attended the gig with and - right - at home in 2019
"The whole band was on fire that night", writes Garry Gary Beers in the liner notes. "Michael was so good, he sang his heart out and gave every person in the crowd a night to remember for all time. He truly had that amazing ability to make the biggest shows as intimate as the pubs we grew up in musically."
"We were just six blokes from Australia that treated Wembley Stadium like just another pub gig," Tim Farriss wrote in the liner notes. "We went in with a PA and a few lights and played our asses off. No ego ramps, no back-up singers, no props, no grand pianos, just the six of us – and the audience went nuts! That's all we needed!"
Music producer Giles Martin said of the gig that the crowd had just witnessed "one of the biggest global sensations at the height of their powers" and on the strength of this and my memories, he's absolutely spot on.
This is a definite Blu ray purchase. Thanks for the memory, INXS!
Labels: alison, inxs, kick, michael hutchence, music, nostalgia, retrospective
Mr Stix returns...
I'm pleased to announce that my short story, Mr Stix, has now been published in standalone ebook form by PenMan Press.
I wrote Mr Stix in January 2013 at the request of Ross Warren, who asked me to contribute to his anthology For The Night Is Dark. The brief, basically, involved being scared of the dark and I spent ages trying to come up with something, getting slightly panicked as the deadline approached. Then, one night, I woke up to find Dude standing beside our bed and that was it - a kid, waking up and getting into the parents bed and the dad hearing/seeing something.
Whenever I wrote horror stories about fathers and children, it was usually me and Dude but since I didn't have a firm idea of who was going to walk away from this, I made it father-daughter. I used our house layout for the story (except the bathroom is, in reality, our study/spare room) and didn't quite know who or what Mr Stix would be until I wrote him/it.
The story was published in the anthology and seemed to go down very well, so much so that I included it in the line-up for my second collection, Things We Leave Behind.
"Went straight to Mark West's MR STIX to see what all the fuss was about. The fuss is warranted, it's a very good, creepy story. Maybe his best yet."
- Johnny Mains, author, editor and horror aficionado
I hope, if you decide to take a chance on it, that Mr Stix scares you too...
Sam Murphy opened his eyes. The figure in white was standing in front of him, arms outstretched and he was so surprised he yelled out. Emily, his wife, murmured sleepily.
"Daddy?"
Sam rubbed his eyes and looked at his seven-year-old daughter, wearing her white Disney Princess nightie, with Apple the brown bear clutched tight in her hand. "Janey? What's wrong?"
"Mr Stix is saying horrible things, Daddy, I want you to make him stop."
"Mr Stix?" Sam sat up, blinking away the sleep. "Who's… I don't know who Mr Stix is, love."
"He's the man that came to live with us today, he's in my bedroom and he's been talking all night and now he's saying mean things."
"Today? Are you alright?"
"Yes, can you come?"
Sam got out of bed and followed his daughter along the landing. His and Emily's bedroom covered the width of the house at the front and the landing led to the back, where the bathroom stood at the top of the stairs. Janey's room ran parallel to the landing, with her door at the end. The bathroom light was on, as it always was, since both Janey and Emily were afraid of the dark.
At the doorway to her room, Janey waited and Sam stood next to her. "Close your eyes," he said, "I'll turn on the light."
He squinted against the glare and looked around the room. Nothing seemed to be out of place. A desk, covered with papers, a drawer unit, a wardrobe and a bookcase filled to overflowing with books and comics and the cuddly toys that didn't fit in the treasure chest under the window. Her bed, with its pink princess duvet cover, was against the far wall away from the door and the pillow still showed the slightest indentation from her head.
"Looks okay," said Sam. "So where's Mr Stix?"
"On the drawers," Janey said.
Sam looked at them. A few things were on the top of the unit - a clock, a calendar, a tub of Lego, some toys that had been positioned to watch over her during the night and various treasures that only she understood the importance of - but nothing out of the ordinary.
"I don't know what I'm looking for, love, can you show me?"
Janey walked over but didn't stand in front of her drawers, preferring to stop slightly behind Sam as if he was her shield. She looked at the top of the drawers and frowned. "He's not there."
Sam stroked the back of her head. "Problem solved then, kitten, come on, back to bed with you."
"Can I sleep with you and Mummy tonight?"
Sam glanced at her clock, it was a little after four. "No, you stay here, Apple and the rest of the gang will look after you."
"But what if Mr Stix comes back?"
"He won't."
"I just do, I'm a dad, it's what I do, you know."
"You're silly."
"And you're a munchkin, now get back to sleep."
She snuggled down and smiled as Sam adjusted the duvet under her chin. He kissed her forehead gently. "Sleep tight love," he said.
Sam walked out of her room, switching the light off as he went. He could hear Emily's heavy breathing from the bedroom and the faintest of drips from the bathroom but nothing else. He got into bed and laid on his side, staring at the clock. The glowing red numbers glared at him and he watched it mark off five minutes.
He rolled onto his back. Emily turned, made a snuffling noise and cuddled into him. Her added body heat made him feel drowsy. He looked at the ceiling and heard the lightest of clicks, as if someone was tapping a ruler on the edge of a desk and then he was asleep.
Labels: dude, horror, mr stix, penman press, ross warren, short stories, things we leave behind, writing
An Evening With Sue Moorcroft
Last week, I got to interview my fine friend Sue Moorcroft at Rothwell Library, on the eve of the paperback publication of her 15th novel, Let It Snow.
The event was organised by the Friends Of Rothwell Library, a group I've been involved with for some time. Angry and frustrated by the decision of Northamptonshire County Council that libraries in small towns weren't necessary, I joined the team to save Rothwell Library and we've pretty much succeeded - NCC have washed their hands of it but it's still open (run by volunteers) and still providing a much needed service for all aspects of the community. When the team were coming up with ideas, my team colleague Vickie (also an old school friend) remembered I knew Sue and suggested the evening and thankfully Sue was very receptive to the idea (but then, she's a real star!).
On the night, I got to the library early with my Dad (who thoroughly enjoys Sue's books) and we helped the volunteers, led by Maureen Hill, set everything up. When Sue arrived, closely followed by my friend (and co-conspirator on the thriller novels) David Roberts, we set up the book table and the audience began arriving then - including friends Darren Paterson, Jane Isaac and Louise Jensen, the latter two excellent novelists in their own rights. Louise and Dad know and like each other, so they sat together on the front row.
Once our audience had gathered, we set off. Sue & I have known one another for twenty years (this year) and have an easy rapport, so although I had a list of questions (that I mostly stuck to) there were lots of opportunities to go off at a tangent and tell some amusing anecdotes (if you get the chance, ask Sue to tell you her helicopter story). After an hour or so, she did a brief reading from Let It Snow and then we broke for the interval. While the Friends valiantly served tea, sweets and savouries, Sue sold and personalised books.
Probably smiling along with the helicopter anecdote - picture by Jane Isaac
The second half of the evening was the Q&A and, to get the ball rolling, I called on my ever-game Dad to lead the charge. The alloted thirty minutes quickly came and went, with plenty of questions and some involved answers.
The audience, with Louise Jensen and my Dad far left on the front row
The evening finished up at a little after nine and, judging by people's compliments as they left and, later, on social media, it was a success. I'm so pleased we had such a good turn-out (and that people enjoyed it so much), not just for me and Sue, obviously, but because it means this kind of event is viable for the future.
Many thanks to Sue and the Friends and also the team I'm proud to be part of, who saved Rothwell Library.
Website: www.suemoorcroft.com
Blog: https://suemoorcroft.wordpress.com/
Facebook: sue.moorcroft.3
Facebook author page: https://www.facebook.com/SueMoorcroftAuthor
Twitter: @suemoorcroft
Instagram: suemoorcroftauthor
Google+: google.com/+Suemoorcroftauthor
LinkedIn: https://www.linkedin.com/in/suemoorcroft
Amazon author page: Author.to/SueMoorcroft
Labels: sue moorcroft
Novelisation Review 2: The Professionals 4: Hunter Hunted, by Ken Blake
The second in an occasional thread celebrating old-school paperback novelisations from the 70s and 80s, which are now mostly forgotten. We're not talking great art but these books have their place - they were a fantastic resource from a time when you couldn't watch your favourite film or TV show whenever you felt like it - and I think they deserve to be remembered.
This time, I'm looking at The Professionals 4: Hunter Hunted, by Ken Blake, adapted from the excellent UK TV series.
front and back cover of the Sphere paperback, 1979 reprint (cover scans of my copy)
Once again written by Kenneth Bulmer under the Ken Blake house name, this volume is based on the shooting scripts for three episodes.
The first is First Night, where an Israeli minister is kidnapped from the Festival Hall on the Southbank and, to avoid an international incident, it's down to CI5 to find him. After an action packed opening, we then see some dogged detective work (the kidnappers are tracked by a Polaroid picture they've sent), which works slightly better in the episode than it does here. Great pacing, some humour and some nice observations on contemporary London.
Kathie Mason (Cheryl Kennedy) from "Hunter Hunted"
The second, eponymous episode has CI5 charged with testing the new laser-sighted 180 and Cowley hands it to Bodie & Doyle. Whilst at headquarters, they encounter Kathie Mason, an ex-colleague of Doyle's who's interviewing to become a CI5 agent. After a night at her place, Doyle discovers the gun is missing and it seems someone is out to get their revenge on him. Brisk, involved and good fun, this cracks along with some nice dialogue, excellent set pieces (especially the demise of Doyle's E-type) and some good interactions between the agents. I really liked the episode itself (especially Cheryl Kennedy as Kathie) and this does it justice.
The Rack is the final episode. Following a raid on ex-boxer (now criminal and drug dealer) John Coogan's mansion, he and his brother are taken to CI5 for interrogation. The brother has a go at Doyle then punches him, in self defence Doyle retaliates and the brother dies of a ruptured spleen. A tribunal (the 'rack' of the title) is then set up, wherein prosecution lawyer Geraldine Mather decides to take on the Action Squad and cut them down to size. Briskly told, with good characterisation, this works well to flesh out Doyle and his feelings over perhaps (without giving away spoilers) causing the death of a man while Cowley has a great grandstanding speech on just why CI5 is so important (and, sadly, the words ring as true today as they did forty years ago).
All three are competently written (and Bulmer continues his fascination with Bodie's 'famous' face and mobile lips) and feature some nice bits of poetic prose when describing a London that has mostly long since disappeared. The action scenes are deftly handled as are the locations (judging by certain aspects - the constant rain in The Rack, for example - it seems they were written from the shooting scripts rather than seeing the episodes) and there are some smart little character pieces that flesh the dynamic duo out well (it's mentioned again that Doyle paints). Brisk, violent, occasionally amusing, I'm not sure how these would work if you'd never seen the programme but as an unabashed fan of the series, I thoroughly enjoyed it. Recommended.
The novelisation is "based on the original screenplays by Brian Clemens, Anthony Read and Gerry O'Hara" (taken from the title page)
from left - Doyle (Martin Shaw), Cowley (Gordon Jackson) and Bodie (Lewis Collins)
The Professionals ran for five series, from 1977 through to 1983, shown on ITV. Brian Clemens, perhaps best known for The Avengers, created the series (which was originally to have been called The A-Squad) and became executive producer with his business partners Albert Fennell and Laurie Johnson (who also provided the excellent theme music) for London Weekend Television (LWT). The first series was produced by Sidney Hayers with Raymond Menmuir producing the rest, with 57 episodes made in total.
Although the first series used a lot of studio-based filming (to the extent Cowley had a secretary), Menmuir did away with standing sets and the remainder of the series was filmed in real buildings and homes. This lent a grittiness to the programmes and now, forty years later, provides a wonderful snapshot of a London that's mostly been lost to progress. The series focussed on the exploits of CI5 (Criminal Intelligence 5), led by George Cowley (Gordon Jackson) and centred around his two best agents, Doyle (Martin Shaw) and Bodie (Lewis Collins). The two actors, whose initial abrasiveness towards each other led to their casting, worked well together and a lot of episodes included dialogue ad-libbed by them.
While earlier episodes (certainly series one through to three) saw a wide range of plots and scripts, with some good directors involved (Martin Campbell was both a main and second unit director), the later ones used more script devices as time wore on. The final episodes were filmed in May 1981, by which time Collins and Shaw both stated publicly they thought the show had grown stale, though the final broadcast run ended in February 1983.
The series is repeated often on ITV4 in the UK and is well worth a watch, though the Network Releasing Blu ray restorations are your best bet. These not only have great quality image and sound but thorough production notes (in book form) by Andrew Pixley.
The Corgi collection. I had the bigger model (with figures) when I was a kid but didn't pick up the smaller version until a couple of years ago
From 1978 through to 1982, Sphere released 15 paperback novelisations (with seven of them also receiving hardback release), adapting 38 of the series' 57 episodes. Ken Blake was the house-name covering all of these with Kenneth Bulmer writing the majority of them and Robert Holdstock contributing numbers 10, 13, 14 and 15.
(Henry) Kenneth Bulmer was born on 14th January 1921 in London and worked in the paper industry before serving with the Royal Corps of Signals during the Second World War. Having been a fan of sf before his service, when demobbed in 1946 he began writing for fan magazines and his first novel, Space Treason, was published in 1952 (and co-written with A Vince Clarke). Turning freelance in 1954, he wrote dozens of novels and comic strips, a prolific output he maintained throughout his career. In the 70s, as part of the Piccadilly Cowboys group, he wrote across genres for various series (including The Professionals) under a host of pen and house names, whilst also publishing a substantial amount of work under his own name. In addition, he edited nine volumes in the New Writings in Science Fiction anthology series during the 70s, succeeding John Carnell.
He suffered a stroke in 1997 which halted a writing career that saw over 160 novels (and countless short stories) published.
Awarded the TAFF in 1955 (a fund to send prominent fans to international conventions), he was the British Guest Of Honour at the World SF Convention in Cleveland, Ohio and made a life member of the British SF Association in 1974. He married Pamela Buckmaster in March 1953, with whom he had two daughters and a son but they were divorced in 1981.
Kenneth Bulmer died on 16th December 2005.
for further bibliographical details, the SF Encyclopedia has a good entry on him and the Guardian has a thorough obituary
For a few years now, after finding out charity shops sometimes pulp old books because the market for them is so small, I've been collecting 70s and 80s paperbacks through secondhand bookshops, car boot sales and ebay. I set up a thread for the horror titles (which you can see here) but novelisations were a rich vein in those decades, before the advent of home video, when viewers wanted to revisit the adventures of their favourite TV show or film. I realise we might not be talking great art here but, on the whole, I think these books deserve to be remembered.
To that end, on an irregular basis, I'm going to review these "old-school" tie-ins with, hopefully, some background material on each one.
You can read the other posts in the thread here
Labels: 1978, 70s, behind the scenes, novelisations, old school paperbacks, paperbacks, review
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redpajama_set_name: RedPajamaCommonCrawl


I began my career in the automotive industry and have been a member of my condo association board for the past eight years. This background has afforded me the technical expertise to understand plumbing, electrical and HVAC systems. The systems in cars are not too different than what is found in a home and some are exactly the same. I worked as a home energy auditor and was BPI certified which provided me a means to perform limited inspections. I have performed roughly 1,000 home energy audits, this allowed me to assist individuals in making wise decisions regarding energy improvements. This began my love and desire to get in the home inspection business. I enjoy helping customers make informed decisions and assist them by explaining complex issues in a way they can understand. I only hire trained and licensed home inspectors that have accompanied me to multiple inspections prior to sending them to your residence. Customer satisfaction is our top priority.
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PORTLAND, Ore. — Mitch Mitchell, drummer for the legendary Jimi Hendrix Experience of the 1960s and the group's last surviving member, was found dead in his hotel room early Wednesday. He was 61.
Mr. Mitchell was a powerful force on Are You Experienced? the 1967 debut album of the Hendrix band. He had an explosive drumming style that can be heard in hard-charging songs such as Fire and Manic Depression.


Texas– Winter wheat continued to be harvested throughout the state. Producers in the Northern High Plains were spraying for weeds and insects.
Oklahoma– Wheat harvest was 95 percent complete.
Kansas– Winter wheat conditions rated 28 percent very poor, 33 poor, 27 fair, 11 good, and 1 excellent. Winter wheat mature was 94 percent, near 97 last year and 99 for the five-year average. Winter wheat harvested was 70 percent, behind 83 last year and 88 average.
Colorado– Spring wheat was 80 percent headed, up 37 percentage points and slightly ahead of the average. Development of winter wheat was estimated at 93 percent coloring and 61 percent ripe, up from 84 percent and 29 percent last week, respectively. The harvest of winter wheat was 22 percent complete, up 17 percentage points from the week prior.
Nebraska– Winter wheat conditions rated 6 percent very poor, 14 poor, 31 fair, 45 good, and 4 excellent. Winter wheat coloring was 85 percent, behind 90 last year, and the five-year average of 93. Winter wheat mature was 37 percent, ahead of 27 last year, but behind 44 average. Winter wheat harvested was 13 percent, ahead of 10 last year, but behind 26 average.
South Dakota– Winter wheat condition rated 0 percent very poor, 4 poor, 24 fair, 64 good, and 8 excellent. Coloring was 66 percent, well ahead of 22 last year and ahead of the five-year average of 63. Winter wheat mature was 2 percent, ahead of 0 last year but well behind 18 average.
Spring wheat condition rated 0 percent very poor, 1 poor, 18 fair, 67 good, and 14 excellent. Spring wheat jointed was 96 percent. Headed was 81 percent, equal to last year and near 83 average.
North Dakota– Winter wheat headed advanced to 88 percent. Turning color was 9 percent. Winter wheat condition rated 3 percent very poor, 11 poor, 33 fair, 47 good, and 6 excellent.
Durum wheat jointed was 59 percent, near 58 last year, but behind 70 for the five-year average. Headed rated 9 percent, behind 14 last year and 26 average. Condition rated 0 percent very poor, 1 poor, 12 fair, 82 good, and 5 excellent.
Spring wheat jointed was 84 percent, well ahead of last year at 64, but near 83 average. Headed rated 35 percent, ahead of last year at 29, but behind 40 average. Condition rated 1 percent very poor, 2 poor, 14 fair, 66 good, and 17 excellent.


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On the basis of the reanalysis data with high spatial resolution and 36 years temporal coverage the spatial structure of wind speed and temperature fields in the Black Sea region for bora events in winter months was assessed. It is shown that bora development is followed by a formation of large-scale cyclonic circulation in the southeast part of the Black Sea. The airflow of the northwest edge of high Caucasus Mountains leads to the wind speed cyclonic vorticity over the sea; high Anatolian mountains block propagation of the air flows to the south and, thus, they jointly form a large-scale closed circulation cell. Regression dependences between the wind speed and temperature in Novorossiysk region are studied; they show that in winter strong northeast winds correspond to frontal-type bora activity which is accompanied by the air temperature decrease. The important feature of the temperature field during bora is revealed at that: temperature in the sea coastal area exceeds the one in the mainland foothill part of the region. For studying the physical mechanism of this phenomenon the atmospheric circulation computation (using WRF-ARW model) for specific Novorossiysk region bora event, which provided a detailed consideration of vertical structure components of wind speed and potential temperature in the coastal zone, above the sea, above the mountains and in the foothill mainland of the region, was carried out. It is shown that the mechanism of higher temperature formation in the sea coastal area is related to the air blocking above the windward slope of the mountain ridge and its replacement with warmer air from the upper layers of the atmosphere at the leeward slope.
Novorossiysk region, bora, WRF-ARW model of atmospheric circulation, cyclonic vorticity.


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Air Optix Aqua are monthly contact lenses by Alcon designed for daily wear. The silicone hydrogel material of these lenses provides an exceptionally high level of oxygen permeability, allowing for occasional overnight wear. Overnight wear should always be approved by your optician first. Each package contains six lenses.
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MDC-T interim president Nelson Chamisa's political star received a major boost yesterday after the party's district executives endorsed him as the opposition party's presidential candidate, following the death of party founder, Morgan Tsvangirai, last week.
The decision came amid reports that MDC-T vice-president Elias Mudzuri had thrown his weight behind Chamisa, leaving Thokozani Khupe who was also jostling for the post, in the wilderness.
Khupe insists that she is the bona fide candidate to succeed Tsvangirai, although Chamisa now has an upper hand following another endorsement by the party's national council last week.
Deputy party spokesperson, Thabitha Khumalo, told NewsDay Weekender that yesterday's consultative meeting attended by 639 delegates from 210 party districts, dismissed Khupe's call for an extra-ordinary congress to choose Tsvangirai's successor.
"639 delegates from our 210 party districts have endorsed acting president Nelson Chamisa as the presidential candidate. They said it doesn't make sense to go for a congress as we are now preparing for elections," Khumalo said.
Earlier on, Chamisa had told journalists that the consultative meeting was meant to finalise the succession issue and "eliminate noise in the cockpit".
"As regards the issue of the party in terms of its unity and hygiene, this is part of what we are doing to make sure that the party is clear so that we remove all the noise in the cockpit and that people are clear as we prepare for elections and they are clear in winning the elections," Chamisa said.
The consultative meeting was attended by the majority of standing committee members with the exception of Khupe, organising secretary Abednico Bhebhe, party chairman Lovemore Moyo and spokesperson Obert Gutu.
During the Press briefing, Chamisa frequently consulted Mudzuri in a gesture widely interpreted to confirm reports that the two had patched up their differences and pledged to work together.
"What we have done is perfectly constitutional. What we have done is 100% legal," Chamisa said. He added that he would soon reach out to Khupe, so that they iron out their differences.
"Of course, we appreciate that our vice-president Thokozani Khupe, has not been attending meetings for the past eight months because of issues around the (MDC) Alliance with our president the late Morgan Tsvangirai," he said.
MDC-T secretary for security Giles Mutsekwa said his department had launched its own investigations into the attack on Khupe and two other senior party officials during Tsvangirai's burial in Buhera on Tuesday.
He said findings of the probe would be made public within the next seven days.
Chamisa also apologised for the violence, saying they will make everyone involved accountable for their actions.
"We are in the process of making sure that any person who is in the party structures who has been involved in this debacle is going to be fully accountable to the party and will not be part of this great family. We do not want malcontents in our midst," he said.
He said the leader of the MDC Alliance will come from the MDC-T, further confirming his candidature ahead of the upcoming elections where he will square up with Zanu PF's President Emmerson Mnangagwa and Joice Mujuru of the People's Rainbow Coalition.
Chamisa said following the death of Tsvangirai, the party will not change its name MDC-T, as it was used to distinguish them from the rest.
well done Mudzuri at least you have seen the light. Young generation need to take charge of their future.
Way to go! Good reporting Newsday. I wonder is there anything that the law states with respect to the abuse of state resources by the ED-led government viz. Herald, Chronicle, ZBC etc. that they misappropriate to fuel propaganda and the ZANU agenda? These public news outlets always selectively report, are rife with fake news and oftentimes mislead the public, yet it is the public that is financing their operations. Our taxes are being abused!
the question is, will we be free after the elections?
Comment…well done comrades for shaming our detractors. victory z certain.
Its not about there being "no noise in the cockpit"!. This is a radarless charade led by a little dictator going nowhere.
You may call Khupe's protests noise, but seriously she has a valid point. If MDC needs to move forward, they need to concede to her position and then beg her to allow the status quo to continue for the sake of the party, otherwise it will be another monumental failure by MDC politicians. Its so easy to route for Chamisa and close one's brains to the positions and history of other party members.The next easy thing to do, will be to point fingers at Khupe for the fall and failure of the party which is in sight.
If she had a valid point, why did His Excellency the late MRT anoint other VPs, two more for that matter, if Khupe was a competent VP? Food for thought! Her boycotting of important meetings from the time of MRT and her frenzy with the media rather than paving for dialogue has shown that she is not a leader, and does not care about the future of the party, but herself. Pity for you Khupe.
Tsvangrai's appointment of the two VPs was a Machiavellian tactic of discounting Khupe because she had the courage to stand up him. Her boycotting of meetings is also due to the violence which she had suffered at the hands of fellow party members. The threat of violence against her has never ceased, just a couple of days ago at the burial of Tsvangirai, again she was attacked by party members. The issue of violence in the MDC being a scourge which even caused the splintering of the party before.
It is then unfortunate for the party to subject one of its senior people to such a situation because she has a different opinion from the others. Politics is about coming up with common ground and moving forward tactfully. Otherwise if the difference between her and the rest of the party as some MDC members think is that wide, why not just fire her and let sanity prevail.
It also fair to commend her loyalty to the party and its late President, because she managed to hang on despite the violence and the humiliation she has suffered at the hands of fellow party members and supporters. Also do not think that she also does not have people who support her position, who can easily be influenced towards violence as well.
All these briefings don't mention the position of their constitution on the matter, what are they scared of?
Did you listen to the briefing or you are simply digesting the propaganda by ZANU?
if Khupe has a point as she alleges in newspaper, she shld attend the ongoingb meetngs and make her self heard, not to talk to media, the fact tht she is not attending meetings attest to the fact that she is fighting a losing battle.
They had to bury the hatchet, their appointments as VPs were not according to the constitution and they know it, no wonder why the power grab by Chamisa.
The constitution is very clear that the National Council appoints positions between congresses. Duties of the National Council – (l) To fill any vacancy, by way of an election, in the National Council caused through resignation, death or any other cause, provided that any vacancy in respect of Elected Provincial Representatives to the Executive defined in Article 6.4.3.2 shall be filled at an election of the Provincial Council.
6.2.5 An extra-ordinary Congress may be called: (a) By a simple majority vote of the National Council or two thirds vote of the National Executive which vote shall be conducted by a secret ballot.
Have you ever read the MDC Constitution? What Chamisa did is constitutional!
ava vanongovukura, maturity kudii? kuvata mumeeting ndiyo MATURITY?
The beautiful ones are not yet born!
What is Chamisa so afraid of? A congress would actually re-energise the party and i am failing to understand how convening a congress would disturb preparations for election.
There is nothing wrong with what Khupe is asking for, and it is the wise thing to do. Why unnecessarily alienate a key constituency in your party? My fear is that Chamisa might win the battle, but lose the war.
I think its time Zimbabweans moved away from political parties. We need more independent candidates who are not easily abused.
going to the congress will derail things. zanu will pay some people to vote against the peoples choice thereby killing the party for good.
There was a coup in ZanuPf now there is a coup in MDC-T.
Chamisa is a loss before any contest occurs. It must not be a case of the youth taking over just for the sake of an exhibit. Track his disaster in the 2013 elections when he had bulldozed himself into the organising secretary's position in a prior party congress. It gave the ruling party a straight two thirds control of Parliament. It's going to be worse this time round and Chamisa's political obituary is being self-written right now.
Well done Mudzuri. My vote and other young generation is on Chamisa. Khupe should recognise the new leadership and not continue being used by Zanu pf detractors. It's high time to bury differences and fight the common enemy in Ed and Zanupf. Ed will not stand a chance against Chamisa. We cannot be fooled by Ed and Zanu pf. They are the same with Mugabe. My only worry is, are we going to have a free and fair elections after the army's involvement in the November coup?
Fellow Zimbabweans, Im hurt, so hurt..our focus is on who rules, yet we still have a way to go, even if Chamisa rules, we need more than 5 years kuti inake… Ini im supporting Chamisa, but dai akangwara aimboshanda naED for this term so that anozokwanisa ku controller the whole country after azosara ege,..Munoti ma government officials anomuteerera here Chamisa aah im hurt mufunge.
khupe na grace mugabe zvakafanana. kungo vhukura vhukura zvinaprogress.
Why can't you simply fire VP Khupe,constitutional nominated at the congress at replace her with appointed Richard Tsvangirai or Giles Mutsikiwa to be co VPs with Mudzuri.
So since 8 months ago the Mdc have been wrong thats why Khupe absconded meetings since then? Tsvangirai was wrong? Chamisa is wrong? Mudzuri also wrong to rally behind Chamisa? And now only Khupe is correct? Something must be wrong with Khupe, no wonder why she failed to resolve her differences with Tsvangirai upto his death. She seems to be self centred. Hatidi vanhu vakadaro.


text:
Episode 010:
The Wakeful Body
Meet meditation teacher Willa Blythe Baker. Willa is an authorized Lama in the Kagyu lineage of Tibetan Buddhism, and author of our new favourite book: The Wakeful Body: Somatic Mindfulness as a Path to Freedom.
She guides us in a practice called GROUND – an acronym that describes progressively more subtle and expansive "layers" of somatic experience. We drop from the physical body, to the subtle body, and finally into the causal or nondual "body" of awareness itself.
For Willa, the whole process is about "waking down" – in her words, "metabolizing, not transcending." We also explore how to work with trauma in our body, and what it means to genuinely "befriend" our experience.
Willa's 15 minute GROUND practice starts at 7:57 and ends at 23:12
The Wakeful Body book: www.shambhala.com/the-wakeful-body.html
Natural Dharma Fellowship / Wonderwell Retreat Centre: naturaldharma.org/
While the mind is thinking and processing and creating all these stories, the body is unstoried... it is just spontaneously present. If you listen to that, it can teach the mind.
Willa Blythe Baker Tweet
*Note: This auto-transcript is only lightly edited. You might find some typos!
Welcome to the pod for your mind and bod, consciousness explorers podcast. I'm your host, Tasha Schumann. And this is Jeff Warren.
Very good to be here. So today our guest is Lama Willa Blythe Baker, who takes us through a very exploratory practice. This is truly the podcast for explorers this episode. In particular, she's got like a PhD from Harvard has done like seven years of cloistered silent retreats. So she's serious on that front. And as a Buddhist teacher, author, translator, she is the founder of the natural Dharma fellowship in Boston and the retreat centre wonderwell Mountain refuge in Springfield, New Hampshire. And she just wrote this incredible book called wakeful body, which we're going to talk a little bit about today. Yeah, the book is sensational, she is sensational. We explore three different I guess layers of embodiment as how she would maybe talk about it, we end up in this exploration of awareness itself, this open ended non dual place, which was literally indescribable.
As you'll see in in the episode, took us a little to get around to putting it into words.
Yeah, and I think a couple highlights just to mention our discussion of challenging emotions, and how to work with that, and sort of what's realistic there. And then just this really interesting exploration of what waking down means. So how to wake down into our lives,
and then also get really practical like, how, how is it to sit in the body mind when you're experiencing something traumatic? Or, you know, what are the skills we can bring to that so that we don't overwhelm ourselves. So it just kind of this conversation spanned so much and was really awesome for me.
It really did. I mean, this could basically be a resume for the consciousness explorers, podcast, all the layers of things that we're interested in. So enjoy, enjoy.
Alright, so today, we have a very special guest, Lama Willa Blythe Baker is here with us today to talk about, among other things, her new book, wakeful body, but also to lead us through some somatic practices. So welcome very much on our show.
Oh, thank you so much, Tasha. So nice to be here. Nice to see you too. Jeff.
Great to see you here. So can you say a little bit about the practice that you're going to guide? So we have some context before we go into it?
Sure. Yes. So I'm a I'm a teacher in the Tibetan tradition of Buddhism. And I'm going to be guiding a practice that I'm calling ground. It is a mnemonic that allows us to enter a space of embodied awareness, and even potentially wisdom, just through touching base with the teachings that the body is always conveying. But to which we rarely listen, a little bit about the practice. So this practice of ground is a mnemonic and the steps that we're going to be going through in ground, are: Ground, Relax, Open, Untangle, Nurture, and dissolve. Those are keywords and those keywords are reminding us what to do.
The first two G and R, ground and relax, are connecting us to the layer of embodiment, that is the physical body, the earth body, the body that we think of as the flesh and blood body, connecting to that and finding wisdom in the earth body.
The second two, oh, you open, untangle, are reminding us to connect to a second layer of embodiment. The subtle body or the energy body, which is to say connecting to our body, not just as a flesh and blood body, but also as a field of energy through which impulses and sensations are coursing, and and vibrating, connecting to our body on that kind of a level and tuning in to this vibratory aliveness that is also the body like tying your book to you called the subtle body, the subjective experience of having a nervous system or being in the nervous system, those like so I'm calling the body within the body, the body within the body, the subtle body, the layer, to use a poet's terms, the Body Electric, right to be in the Body Electric, and to experience our body as an energy light field.
The third layer of embodiment that we're touching into in this meditation ground, connects to the last two letters of the mnemonic, nurture and dissolve, nurture, and dissolve are reminding us to connect to this third layer of embodiment, which is awareness. Or some might say consciousness. Like in the continent, when I heard the name of your podcast consciousness explores, I thought, oh, third layer of embodiment, which is where my, my mind is going these days, that consciousness or awareness is embodied, and we can experience awareness through every part of our embodied life. We can experience awareness on our feet, we can experience awareness on our knees, we can experience consciousness in our belly, we can experience it in our heart, and that all of these parts of what we would think of as the body are vibrating with or permeated with an awareness that is aware of its own being. And, and when we really tap into that third layer of embodiment there is the sense of dissolving that happens naturally, where the boundaries between body and mind between self and world fall away when we're resting in awareness aware of itself, those boundaries fall away. And I know that sounds a little bit mysterious may sound a little bit mysterious, I think it's hard to conceptualise what it's like when boundaries dissolve. When we try to talk about non duality language fails really, it's an experience beyond language. And in fact, in meditation, that's really what we're doing right is getting to an experience beyond language.
So GROUND.
Alright, so now your The invitation is to do this standing or sitting do I think I'm going to stand for it right,
let's try it standing if you can, and it can be done sitting it can be done laying down so no matter what your situation is, I'm going to stand
Jeff, have you been working out you look jacked.
[Meditation begins]
[Meditation ends]
Now I just want to stand here forever
is is untimely. Now moving from the energy body to the third layer of embodiment.
The awareness body
begin to contact the awareness body by moving up from the heart into the head and the
I was thinking you were gonna have like a 10 minute silence there where my consciousness spread thin around reality. You're welcome to kick things off Tasha, if you like or I can try to. For me, it was
I found it really impactful to stand on the feet and made it much more vibrant and alive than sitting you know, it's kind of your setup for as posture that's not rigid, but you know, you're not really wiggling that much. And I found standing I was just swaying. And as our attention was kind of moving up the body and opening up I was just allowing it it felt so good just like gentle movement of the hand and like I was kind of like a tree like I was just swaying in this breeze and, you know, allowing the body to do whatever it felt like.
Yeah, also really enjoyed the invitation to stand in the ground got into the feet. I love the cue around. What can the mind learn from the body in terms of the kind of grounded stability and I felt that sort of lock in and then the relaxation, the invitation, kind of unwind these knots, so the day. The opening was really impactful just using the eyes as the kind of beginning of the opening and then moving it.
All down through just a sort of sweep of letting everything be here. And then just very naturally, what arose was becoming aware of these small entanglements, which, of course, was the next cue. And the subtle things I didn't even realise I was bringing with me, I could feel something in the heart that just letting it be there, the some line of contraction, I noticed my own desire to want to control the proceedings somehow, or to manage things, you know, as the, as one of the hosts it was. So yeah, okay, that's here. And it was sort of in the face. And it was, it was like this little mini seizure, but not a problem. Because the way you invited it in as just, this is just so what's here, I didn't need to change it. And I could see that little pranic, subtle body coagulation.
And then that just naturally went so perfectly into the next, again, the invitation to open the eyes, and brought me into this vivid sense of awareness. And that include the awareness included the body, and then it got very non dual, I could see my mind coming up trying to find a word or words articulated as it was happening. Now I just let that go. And one of the primary senses was just a sense of not knowing, I didn't even know where the boundaries were, where I where I was, and your voice was so hypnotic, and slow, sort of some, it just supported that thing so much. And then I was just, I don't even know how much time passed, and I heard your bell and
I had a lot of the same experiences. And you said you had that experience of kind of not knowing getting into that space of everything kind of blending together. And then for me, it was like, not really like not knowing but and not needing to know, there was something that was very childlike about it, like I felt very connected to that childlike body of moving intuitively and being intuitively you know, so there was like this movement in my body, there was not really like a location, like a centre of where I am inside here, it was kind of like, everything was playful, like the wall was playing, I'm looking at the wall. And I was like, you know, there was no real separation was like, it was kind of like, you know, I'm the wall looking at me, me looking at the wall, and it was all joyful, just kind of like a wellspring of joy.
And I think the other thing, too, is, you know, this is a very strong, like, pointing out instruction, but done so differently than it's normally done. Like in ZURB Gen contexts. Usually, it's like, you kind of sit and you have the eyes open, and it's diffuse. And you're kind of allowing, you know, attention to seep out the eyes and just be everywhere. But for most people, that prompt, makes them kind of do this thing where they're searching for what they're supposed to find, you know, so you're sitting there with the eyes open, you're like, Okay, I'm diffuse, I'm going to get Dzogchen, or I'm going to get the state of Zen and you're kind of there is this kind of knowing or scrambling for what is this thing that they keep talking about? I'm supposed to get, you know, and in this sense, it just happened. Like it just became, it wasn't, you know, search for it, it just emerges from the body from what's going on. So it's very immediate.
You know, that irony is that it's the only by giving up the search, that you find what you're looking for. And we can't find it because it's already present.
And that's true with the wisdom of the body. There is a process of discovery. But the wisdom is already happening. So we're discovering something that's already operative. And in some ways, that's a great relief, because it means we don't have to manufacture some special state of peace.
That's right. Well, actually, I wanted toask something about that, or make a comment about that. Because I as part of this experience we just had, towards the end, I was in this real state of spaciousness, and really strong equanimity and sense of space. And early on in my days, as a practitioner, I thought, Oh, this is it, I need to get back to this state. And at various times, in my practice, I get back to the state or I'd get back to it a little bit differently, it would be a little different. And it took me a long time to understand that it wasn't the state that it was, you know, the way I would articulate and I'd be curious how you might describe it. It's more like, it's what I know to be true about who I am in that moment. That is what is that is what the heart of it is. And if and if and because I know this to be true of myself. There is a profound relaxing that then leads to or induces that spaciousness, but the spaciousness itself is, is more like a symptom or I don't know what the word is. It's like a secondary effect of the way I relaxed in my understanding. Is that is that make sense? Or how would I'm curious how you might articulate that
That makes so much sense. And what it's reminding me of, is how important trust is in this process of experiencing the fruit of our meditation practice. That and I'm not talking about trust in a teacher or guru, or of principle or a doctrine, but trust in the, in your deepest experience, and that what you're discovering, when the boundaries dissolve is your deepest possible experience of what's true. What's true for you, what not what's true in an objective sense, but what's true, from your subjective, touching into a vastness that is already present.
And that's something that we've talked about a lot, you know, consciousness explores, it's like, practising how to be your own teacher in a certain way, you kind of triangulating between outside help, and then trying it out. And then that trust is to being your own teachers saying this experience, I don't need someone to really explain it to me, I'm going to dig into it some more and find what's there and trust that I'm not crazy. Right?
But it's weird, because it's like, the confidence, it's, yeah, you're learning to have confidence in what you're being shown. And yet, what you're being shown is subtle, and, or it's counterintuitive in some way. So how do you have confidence in a thing that isn't quite authoritative yet, in the rest of your experience?
You've had a glimpse of it or a taste of it. And yeah, it kind of goes against all of your conditioning. So you're trying to uncondition yourself and, and see in this new way.
Right, see without a seer. Now, that's really not something we were ever taught was it was even a thing, you know, in our sort of Western educational system that you could see without a seer, or that you could enter a non conceptual space, even, that that's a profound discovery. And when you know, when you're exploring consciousness, when you're exploring the body to the body is so non conceptual, it's like, if we want to know what are the wisdoms of the body? And one of those wisdoms is that the body while the mind is thinking and processing and creating all these stories, the body is on storied, I mean, it's, it's, it's carrying your history, it does carry our traumas and our nervous system, it's carried carrying them. But there is a lot of the body that is just spontaneously present, spontaneously present. And it's not trying to do anything, and it's not has no agendas. So if you listen to that, oh, my body has no agendas, and it's not conceptual, it can teach the mind that's okay to be that way, you can be that way. And I own for the purposes of seeing, like, sometimes when I listen to myself speaking, I'm like, what, but the body and mind have never been separate. So even the fact that I'm saying body and mind, but in our experience, it seems like there's a mind and there's a body. So sometimes just for the perspective of experience, it's okay to say that your body is teaching your mind. But ultimately, what your body teaches your mind is that we've never been separate. Me body and the mind.
Yeah, and even you know, that the body carries our history with us. It's carrying it now. It's right here right now. So it's not even the story of the past. It's just where the past has led us. It's like, even in carrying our history, the body is still present. You know, it's like something that I'm always trying to when I teach Dream Yoga, and I'm teaching students you know how to bring that lucidity that they might find in in a lucid dream into daily life. And that's one of the examples that I give is that, you know, the body gives us what it has right now. And that might be from past experiences or trauma. But it's like, what do we make that mean? What is this dream like kind of story that we're putting on top of it, you know, and just peeling that back and being like, this is where my trajectory has led me. It's like right here, even that is present.
There's a concept in Tibetan practice of the illusory body, you may know this is one of the practices that goes along with Dream Yoga, is this practice of our body as being like a rainbow appearing in space. And that's another element that the body has, as its teaching for us is that it does appear in the here and now. And it's also in flow. It's always in flow. As soon as we try to pin it down as a thing. We see that actually, it's much deeper than just being a fixed thing. It isn't a fixed thing. The more we pay attention to the body, we know we notice how unfixed it is. And it can help us get in touch with that dreamlike nature of phenomena, just by noticing my body is is is this rainbow body it is a, it is a body of light and energy and space. And sometimes I'd like to think about, what would it be like if we could take our awareness and go all the way down to the subatomic level and see what is our body truly, our body is just waves and space. And that's all it is. And Whoa, yeah, that's like the most incredible thing to sit with that dream body. Yeah, yeah,
That is such an important perspective. And it's so fun to try to connect to that as you're moving through the world in a sense of that deer in that unfolding flow. And at the same time, that unfolding flow can be really uncomfortable.
And then I guess we're sort of backing up moving from this awareness now into talking about the subtle body a little bit. And I think over the years of meditating, I'm hyper aware of the subtle body of the all the flows of emotional mood and energy and,
and at times, the simple paying attention to it has actually made it worse, the instruction to just open with the energies of what's there is, as I open there, I guess it's some kind of subtle entanglement, so happening, it just shoots me into hypomania, or some of the other challenges I've had, it's taken years and years to figure out how to work with that. And I just wondered if, you know, this is just opens a whole kind of discussion around, I know, I'm not alone in this, you know, it's the most common thing ever to sit down with our experience of being a body and a body, that energetic body, and all of a sudden, what's under the surface is there and a lot of that for a lot of us, it's our traumas, and and we can't hold the space for those. So anything about that that? You want to say? And I know it's a big conversation, but yeah, fantastic.
No, I'm so glad you brought up that element of the subtle body, that when we start paying attention to the subtle body, and even or the scene make it simpler, when we start meditating, everything that we've ever experienced, will come to visit, again, we're making space we're really making so much space and we're being with self are being with the relative self. And even more so when you have an embodied practice. And you're making a practice of consciously bringing attention down into different parts of your body or into the whole body or into the subtle body, the energy body, like we just did, on tangling, even using a word like untangling is invites us to be suddenly pay attention to the residue of what's present, all of that's going to come to visit. So that is one of the most profound things about meditation, that it makes the space for us to see what's really there. And then to deal with it to learn how to cope, to learn how to be friend, is my word that my favourite word, learn how to be friend, what is difficult in the self. And I do have a suggestion or or recommendation for when those moments happen. The trick of befriending is to make a lot of room and space for whatever's arising and to to recognise first that we have strategies for how we usually encounter those energies.
So look, let's take an energy of anxiety, this low level anxiety in the self or in the body that I encounter, when I'm sitting on the cushion or when I'm standing and doing the practice of ground. My usual relationship to that would be to suppress to avoid, escape, soothe, fix, our strategies are to do something to make it go away. And that actually, ironically, is the problem that we don't need to make it go away that if we befriend it in a way that is skillful and slow, it will self liberate. We don't have to make our anxiety be liberated, it will self liberate, when it feels safe enough with us that we've made room for it, it will subside on its own. So there are five steps that I recommend as a way into befriending and those steps are to pause. When you notice something there you notice that sense of I'm not I'm uneasy, the mania is coming or the or the fear is coming or the anxiety is coming or the depression is coming. And you can feel it in your subtle body to pause. And so that means just to stop what you're doing and to turn attention there.
Number two is notice what does noticingmean, so not just noticing what's happening in my mind? What are my stories that are making me feel anxious? What is the script that's not notice, and noticing is noticing how it is arising in the body. Because we've trained a lot in working with the mind all of our cognitive behavioural therapy, trainings, or if we've been in therapy, we have trainings for what to do with the thoughts or not to believe the thoughts or to rescript the thoughts. But there's another way we can address that. And that is from the bottom up, instead of from the top down. So noticing is noticing where is my emotion in my body? Oh, it's this constriction of the heart, because then actually, we start to identify what this is, is it's an energy, it's a not, our energy is not, it's somewhere in in our subtle body or in our nervous system. History is lodged there and it's not. So noticing, where's the knot in the body.
Third, breathe, breathe space around that knot. And that's, then we're starting into a practice of inhaling, making room for around that knot. And then fourth surround once you've breathed space, surround that knot with loving attention. So you breathe space around it, and then you pour your loving attention into that space. And that loving attention. That's that maybe for most people is the most challenging thing initially, because we may not have developed a loving attention yet, we may not have discovered a loving attention yet. It's actually innate to who we are. But we may not have discovered the loving attention. So at first we're like, where's my loving attention. But But one way I like to work with that is if you think of you're not kind of personify it. My beautiful monster is way one of my teachers, Rinpoche talks about it. Hold your nod as your beautiful monster, and then you can love it, and then surround it with your loving attention, just like you'd love a little gremlin. It's awesome.
I always just imagined it as a kitten, like a little kid. Like just, you know, you couldn't help but give it your love.
I always think, can I live with this the rest of my life? In other words, can I have? Can I truly accept it without any subtle agenda that in the accepting I'm about hoping that we'll get rid of it. You know, it's like your one eye open. Accepting. You're like, Yeah, except you. Are you gone yet? Yeah.
We have about 15 minutes. Yeah, 15 minutes before we gotta go.
Can I just be with this? I welcome this thing for ever. And ever. And I know, sometimes I need to back off. I need to just open my eyes and reground in my resources, because it's just too fierce right now in there.
Yeah. Very, very similar strategy to, to what I've been working with, too. Yeah, yeah. And then just for the sake of those five steps, pause, notice, breathe, surround and be friend. And that's the last one and befriending is just what you described, having having that attitude that. If it's your friend, you don't want it to go away? You can't, you know, it's like, yeah, they're getting rid of the agenda to make it go away, but actually be like, yeah, come and have tea with me. And you know, one thing that really helps me a lot with a friend is remembering that if you didn't have this anxiety, or you didn't have this beautiful monster, how would you have? How would you relate to others that have that beautiful monster? How would you find empathy for them? If you didn't have it yourself? So actually, it's kind of a blessing to be a mess sometimes.
It's mind blowingly mature, what you're asking. It's like, can you actually accept this true human being that you are? All the hard things, all the good things, whatever is here? Can you really live with that as your baseline?
Yeah. No, I very hard to say yes to that. And the thing that I encounter the most, you know, when people are touching into this, or even when I'm touching into this for myself, is this like, lack of trust that you can do it? You know, you're going in, okay, I'm going to do these five steps. And then something comes that overwhelms, you know, and before you can even give it that loving kindness or that loving attention, you just kind of recoil, because there isn't trust that you can hold it, that you're strong enough or capable enough, or whatever it is. And, you know, for a lot of people that's they're like, Well, I tried meditation, not for me, because of that lack of just a surety that you can do it.
That's right. And there's a time for it. And there are times when the when the irons are too hot, you can hold the irons and then then you just have to have to wait a little bit and give it some time. You know, it's not like our traumas aren't real at all. They happen to us and then we really have to have to be gentle
or get other forms of support to maybe for me there was a time in my life comes around where I'm I need some extra support with this I need to work with a trauma therapist or some mme, someone who can help hold the space with me. Absolutely.
They're all like, little things in our toolbox. Right?
Yeah. So this, you know your book really? Well, it's about waking down. And there's a line that I love that you say early on, you say the path of waking down does not transcend it metabolises. So, which is very vivid. So for our listeners, what do you want to say about how to metabolise down how to wake down? How to think about this, as they take it with them into their day? Whether it's practice, like, what do they need to know. And in addition to all the amazing stuff was just?
Well, I think, yeah, the path, a path of waking down his path of beginning to notice that you are an organic living being, and that you don't have to fix that. But that it's enough to gradually meet yourself as you are. And to trust that the wisdoms that you need are already present in your body mind. And we were just talking, before we got on the podcast, Tasha and I about this term, body mind, right? That actually maybe what we need to wake down really is to, to begin to dissolve the separation between body and mind and to live more in a more integrated life and that way, and you can see, we can see in our own lives, the way that we get caught up in the head or in the in the space of thinking, thinking, thinking and trusting are believing our thoughts. That actually what if we started to believe our body more than our thoughts are to learn to trust to trust that there are wisdoms there? You know, our prefrontal cortex does not have all the answers the prefrontal cortex has gotten us as a society as a culture into so much trouble don't tell the neuroscientist. Yeah.
It's it's an amazing machine. Our brains are amazing machines. But but there's a wisdom to to the body and and an inseparability between body and mind and then, and the waking down is to come into that truth. You know, I used to think, early on in my, in my life of meditating, that our meditation practice was about transcending our suffering was about getting out of samsara, getting out of the pain of existence, escaping the pain of existence. And in fact, even the, the words of the sutras are sometimes worded that way. But I've come over time, and really through the, through the Buddha's wisdom, to trust my own experience. And, and in my own experience, I don't know that freedom is found in in escaping from what we are and who we are and how we are. That freedom is found in metabolising. Our pain skillfully, that is using the energy of our emotions, and creating a constructive way of channelling them and unleashing that energy and not demonising the energy, but seeing it as pure in the way that we see a here a hurricane is pure, the storms are going to reach through this human, this human existence, the storms are going to come from the outside, and they are going to come from the inside. And that peace is not found in escape. Peace is found in process. So that's what I meant by waking down to begin to embrace that we are in process and to embrace our entire body mind as a natural phenomena, and and and loving it into freedom instead of judging it into freedom.
Wow, that was so freakin beautiful. I think that's not a bad place to wrap up our discussion.
I have so many things that I still want to ask.
Like we barely we barely scratched the surface here. Yeah, I have like I have just like this list of quotes I love from the book. And I'd like to have had them all written down just in case I could bring them up. So we'll definitely have to have you on again. So before we finish, I just always love to, you know you're such an amazing person and want to give our lives
There's ways to connect with you and see what you're doing. You know, we've already talked about the week full body, your new book, which I think everyone should check out. But is there any other ways that people can practice with you or continue this, you know, this kind of embodied practice with you?
Well, yes, I do offer some courses on the wakeful body, I'll be offering a course this year, it's a six month course that will go through ground one part per month, g r o u n d and a month devoted to each of those mnemonics that we'll be using the book as its resource, so please feel free to join me for that. My website is www.naturaldharmafellowship.org. And I also have helped to found a retreat centre up in New Hampshire, called wonder well, mountain refuge and you're always welcome to come join me there. Especially once retreats are back in full swing.
Awesome. You will see me they're gonna come to you.
Oh, great.
Well, Lama Willa, thank you so much. What a pleasure it was to spend time with you how much practice with you.
Thank you so much, Jeff. Thanks, Tasha. It's so good to meet you. And I look forward to meeting you in person one day. Yeah, that'd be amazing. To be continued.
Thanks for tuning in to the consciousness explorers podcast. Don't forget to subscribe. And if you'd like this episode, give us a five star rating on Apple podcasts. See you next week for a whole new adventure.
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NORTH OLMSTED, Ohio -- For the better part of the last three decades, North Olmsted High School students every spring have cut a rug with area seniors in hopes of bridging the generation gap.
"It's sort of like a fun afternoon of kids mingling with older people and everybody kind of breaking down stereotypes," he said.
As part of North Olmsted High School's SITES Service-Learning Program, the 28th annual "Spring Fling" takes place from 12:30 to 3:30 p.m. April 17 at the Springvale Ballroom.
In addition to a live band performing music from the 1940s to the 1970s, there will also be door prizes donated by area businesses and students, a dance contest, a trivia contest and refreshments.
Prior to the event, professional dance instructors from Waring Dance Studio will provide the students with dance lessons.
Zullo said what's become evident at the "Spring Fling" is that the whippersnappers have nothing on the seniors, who grew up watching "American Bandstand" and attending sock hops.
Among the dances expected to be on display are the foxtrot, waltz, box step and polka. There will also be line dancing.
SITES is an elective service-learning program integrating English literature, writing and global and community studies, as well as volunteerism.
"This year, there are about 50 high school seniors in the SITES class, which is a high academic college preparatory program for students," Zullo said. "Every week, they're out there doing four or five hours of work in the community to sort of reflect what's going on in the classroom.
One SITES student looking forward to the upcoming "Spring Fling" is senior Gina D'Onofrio.
"I'm always excited to have conversations with older people in the community," D'Onofrio said.
The "Spring Fling" experience also provides lifelong memories for everyone involved.
"The dance was a great opportunity to be a high school senior who otherwise wouldn't have gotten to connect with some of the older folks in our community," said Cat Stolar, who graduated from North Olmsted High School in 2014.
The goal behind the "Spring Fling" is for both the seniors -- often numbering between 100 and 200 -- and students to learn about each other.
Tickets are $5 and are available at the door, as well as at the North Olmsted Senior Center and Waring Dance Studio, 30899 Old Shore Drive, North Olmsted.


text:
Hougham – wieś w Anglii, w hrabstwie Lincolnshire, w dystrykcie South Kesteven. Leży 29 km na południe od miasta Lincoln i 169 km na północ od Londynu.

Przypisy

Wsie w hrabstwie Lincolnshire

redpajama_set_name: RedPajamaWikipedia


text:
Q: .Net One Click Publishing to Sharepoint Background
The company I work for is migrating their FTP servers to SharePoint 2016 and retiring their old infrastructure.
However I am yet to work out how I am going to distribute our internal software to colleagues in office.
Currently after completing a project, I'll publish the desktop application to the ftpserver via the One-click publishing settings in Visual Studio. Then share the location of the published software, from which users can install the software on to their local machines.
Question
Is a similar setup available using SharePoint?
I have read that SharePoint doesn't allow FTP access, which is what One-Click publishing uses.

redpajama_set_name: RedPajamaStackExchange