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HomeEthiopian NewsReported civil disobedience in Tigray region of Ethiopia
Reported civil disobedience in Tigray region of Ethiopia
Disobedience is said to be underway in opposition to the "situation in Tigray."
Partial view of Shire
Mekelle based Deutsche Welle Amharic Service reporter,Million Haileselassie, on Thursday said that there has been a stay at home protest in some parts of Tigray region.
According to his report, people in Mekelle, Wukro, Adigrat and Shire stayed at home in opposition to what he described as the "situation in Tigray." It is said that it started as a protest Inter-Religious Council and elders delegation to Tigray. "They are seen as part of the problem."
But the fundamental cause of the disobedience is the difficult situation in Tigray.
Humanitarian crisis, gender-based violence and opposition to what the reporter described as "non-Ethiopian forces" ( apparently a reference to Eritrean troops) are factors that allegedly fueled the stay at home. Interim Administration in Mekelle confirmed to the monitoring team from Ethiopian Human Rights Commission that Eritrean troops are operating in the region.
There are also reports of gunfire in some places. In Shire, for example, at least one person is dead in connection with the exchange of fire, but the reporter did not specify as to the parties involved in the exchange of fire.
A report released by Ethiopian Human Rights Commission on Thursday said that security problems in the region continue to be a challenge , and that governance structures in the region are not fully operational.
Million Haile Selassie confirmed that power and communication have been restored in Mekelle and other towns, although there was an interruption on Wednesday.
Tigray region Interim Administration has been attempting to engage people in the region in an effort to end the disobedience, but it is reported to be continuing, according to DW Amharic report.
Ittu Aba Farda February 14, 2021	At	3:35 pm
This shouldn't come as a surprise to anyone. Running dogs of the goons of the TPLF have been stoking hate-darted poison from their comfy homes here among us. They have been fantasizing about being singularly victimized for decades even during their hey days as the sole rulers of the country. When they were dipping their sticky hands in the nation's coffers pilfering billions of US dollars to destinations now proved to be hard to trace, they were victims! When they mowed down hundreds of peaceful demonstrators right there at the doorsteps of foreign diplomats, still they were the ones who were victimized. Even when the bloodthirsty Mengistu gobbled up more than 500,000 of the cream puff of the crop at one seating in the 1970's, except for a few others, the majority of the victims were from their region. The only one left for them to claim being victimized was the Holocaust of the 1940's. Thank Almighty Patriotic Jula had to chase them out of town before they claimed to be the victims of Hitler and not the Jews, Serbs, Poles and Roma people. They would have been deafening us with such claim if they were still riding on the backs of more than 120 million upright people. It had worked for them in the past. It was registered in the psyche of many western emissaries. You now hear some of these foreigners with flat face telling us that the rest of the Ethiopian people are using 'starvation as a weapon' on their beloved brothers and sisters in Tigray. They try to convince the world that only in Ethiopia military conflicts should be like a cake walk just a weekend picnic in the park. Only in Ethiopia!!! These foreigners are hell bent to not even mention about unsuspecting soldiers of the defense forces who were attacked and murdered at their bases by the goons of the TPLF. Mai-Kadra massacres? Forget about it. When they talk about it has been like yada yada yada, just a mockery with passing mention. So the campaign by these bigots among us well funded by billions of US dollars hauled away from the poor people of Ethiopia is in full gear now. They are doing everything to trip that Alula incarnate Patriot Mulu in his blessed effort to bring peace and the right governance to his kin and kit. They are preaching and inciting insurrection from their luxurious homes here in our midst. I wish these demons were not even born!!!
Ok bigots! One word out of you! One word!!!!!


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Burning Man Live
Meet the people who make Burning Man happen, beyond the desert and out in the world. Artists, activists, and innovators. Builders and Burners, freaks and fools. Burning Man floats on a sea of stories, and the Burning Man LIVE podcast is a plucky little boat with a microphone.
01|19|2023E63Terry Pratt and Profiles in Dust
11|30|2022E62Buck Down and The Cult That Joins You
10|26|2022E61Kids Take the Mic - Youth Voices of Black Rock City
10|05|2022E60The Science of Generosity
09|23|2022E59The Gift of Things Going Wrong
08|25|2022E58Candace Locklear on Culture Jamming and Welcoming
08|03|2022E57Pro Tips for Black Rock City
07|20|2022E56Kay Morrison and the Overall Wonderment Quotient
07|06|2022E55Desert Arts Preview: Artists of Waking Dreams
06|22|2022E54(Remember) How to Burning Man: Steven Raspa
06|08|2022E53Sweaty Dynamite: The Dave X Story
05|25|2022E52Return to Black Rock City
05|11|2022E51Tom Price and the Benefactor's Dilemma
04|27|2022E50The Magic When Art Happens
04|13|2022E49Thinking Big in a Small Town
03|16|2022E48Stuart Mangrum's Serious Philosophy of Shenanigans
03|03|2022E47Charlie Dolman · The Dust is in the Details
02|16|2022E46Burning Man is Not a Place
02|02|2022E45Dr. Graham St John · Playa Pataphysicist
01|19|2022E44Shouting Fire Radio: The Shout Heard 'Round the World
12|31|2021E31Resilient Do-Ocracy: Tales of Texas Burners
12|08|2021E43Beloved Community in Our Midst
11|24|2021E42Chef Juke's Wild Art Car R.I.D.E.
11|10|2021E41Danger Ranger Past & Future
10|13|2021E40Stories Around The Burn Barrel
09|29|2021E39Philosophy Smackdown with Jason Silva
09|15|2021E38Boundless Space: The Sotheby's Experiment
09|01|2021E37The 10 Principles in Modern Times (IRL & in VR)
08|18|2021E36Narrative: Control & Liberty Through Stories
08|04|2021E35Burning Sustainably (Part 2): The Road to Regeneration
07|29|2021E34Burning Sustainably (Part 1): We Can, We Will, We Must
07|13|2021E33Turn Your Life Into Art with Caveat Magister
05|27|2021E32Art Happens No Matter What
03|23|2021E30Bonus Episode: Culturally Attuned with the US Institute of Peace
02|27|2021E29Radical Inclusion: Fab 5 Freddy & Rachel McCrafty Talk Tokenism
02|10|2021E28Mike Zuckerman: Culture Hacking and Gonzo Humanitarianism
12|22|2020E27Holiday Special: SantaCon from Home
12|09|2020E26Kristen Berman and the Science of Transformation
11|18|2020E25Dr Scirpus and the Majestic Fly Ranch
11|11|2020E24The Legacy and Artistry of Building the Man
11|04|2020E23Culinary Camps of Black Rock City
10|28|2020E22Studying Subversive Creativity and Gratitude
10|21|2020E21Vote Hard with The Voter Party
10|14|2020E20Dr Heikkilä and the Science of Participatory Culture
10|07|2020E19Yomi Ayeni and the Stories of We Are From Dust
09|30|2020E18The Chef and the Power of Community Prototyping
09|23|2020E17Takeover Show with Duncan Trussell & Nick Kroll
09|16|2020E16Eamon Armstrong and the Festivalness of Life
09|02|2020E15I Grew Up Like This (Kids in Black Rock City)
08|26|2020E14Multiverse Theory with a Real-Live Physicist
08|19|2020E13Burning in a Virtual Universe
08|12|2020E12The Moth and the Art of Storytelling
08|04|2020E11Art on Fire: To Build, Film and Burn in Black Rock City
07|29|2020E10Coyote and the Book Built to Burn
07|22|2020E9BRC 911: Black Rock Rangers and The Law
07|15|2020E8Fly Ranch and the Land Art Generator Initiative
07|08|2020E7Harley K. Dubois and the Evolution of Black Rock City
07|01|2020E6Racial & Radical Inclusion: What Can Burners Do?
06|24|2020E5Dark Angel of Black Rock & Restoration Destiny
06|17|2020E4Duncan Trussell and the Multiverse
06|10|2020E3Regionals Out-weirding the Pandemic
06|09|2020E2We're Gonna Need a Bigger Temple
05|31|2020E1Creative Solutions to Mass Destruction
Burning Man Live | Episode 63 | 01|19|2023
Terry Pratt and Profiles in Dust
Guests: Terry Pratt, Stuart Mangrum, Larry Harvey, Profiles in Dust
How are films shot in Black Rock City? Why? And really, HOW?
"Profiles in Dust" is the most prolific video troupe that dares to document the dynamic Burning Man events. Since 2011 they have produced 50 mini-documentaries, profiling the inspirational creators in the scene, and behind the scenes.
Terry Pratt is their nominal leader. He talks with Stuart Mangrum about the joy and the turmoil, and adventures had everywhere from Egypt to Ukraine.
and with Crimson Rose, Larry Harvey, Pablo González Vargas, and Smoke Daddy.
Listen to this conversation about these documentaries:
Everyone's an Artist
Going Solar (rough cut intro)
Kids at Burning Man
Larry: A Burning Man Story
The Great Disappearing City
The Mayan Warrior
The Man's Tailor
profilesindust.net
vimeo.com/profilesindust
terenceprattdop.net
Burning Man Project's Youtube Channel
Burning Man Journal: The Colors of the Man
TERRY: If you go online, YouTube Burning Man or something, you'll get these videos of just pretty pictures of art and people dancing and partying. I get that. That's cool.
And then once I started seeing what's really happening. People need to see this too. There's a lot of stuff going on here.
I've always been a documentary filmmaker. I've always been very interested in seeing how people do things and how things are done. To document it is a different story, but it needed to be done. So when I was given that opportunity, I'm like, "That's awesome. That's exactly what I wanna be doing."
VAV: You guys are the pros.
STUART: I think we should just have a good time. How about that?
TERRY: I agree.
STUART: Fantastic. We'll be a little loose and freewheeling. I'm gonna start by saying…
Hello everybody. Welcome, welcome, welcome, welcome, welcome back to another episode of Burning Man LIVE. I'm Stuart Mangrum, and this is the first episode of 2023, depending on where we are in the space time continuum.
I'm really psyched. I'm here today with a good friend of mine, a super interesting fellow. He is the nominal leader of a video troupe known as Profiles in Dust. He's a longtime volunteer on the Burning Man Documentation Team. His name is Terry Pratt. Hey, Terry.
TERRY: Hello. Thank you, Stuart. Nice intro.
STUART: Thank you. I'm reading off of IMDB right now because I didn't know you were known for "Gone in 60 Seconds."
TERRY: I was a camera assistant then, a focus puller. Yeah. I worked the pickups. They added a storyline to the movie.
STUART: What? There's a story? Anyway, that is the best known movie, I suppose, out of all of these. It says you're also a cinematographer, producer, with two of those little golden statues called Emmy Awards. A two-time Emmy winner for "Life Below Zero," which I have watched, and which is a pretty fascinating show, I gotta say. That's pretty cool.
TERRY: Yeah.
STUART: But with all that, it's not enough. You gotta go out to Burning Man every year and make, how many freaking films have you guys made in the last 10, 12 years out at Black Rock City?
TERRY: I think it's now over 50.
STUART: Wow.
TERRY: The CORE Projects brought that count way up because we were doing 12 to 18 documentaries for those two years.
STUART: Okay. Let's start there. That seems a little ambitious, but the whole CORE Project was ambitious. For those of you who are playing the home version of the game CORE was an acronym for Circle of Regional Effigies. It was a big endeavor in those years to have different Regional groups from around the world build a smaller statue and to burn them all at the same time, right?
TERRY: That is correct.
STUART: We had Regional groups from all over the place, and you covered what?
TERRY: We covered all of them. Actually the very first year we literally filmed every single one of them. And when I say we filmed, we came during prep week, we would go around and introduce ourselves, and then we would, start inter, well, actually I had to introduce myself by email to everyone prior.
I knew right away that we couldn't, as a little crew. I mean, back then we were only like three people I think. Tom LaPorte was involved still. We were still a very small group and I knew that there's no way we could film all this and edit all this and produce this many documentaries without help from each community.
So the biggest question I asked was, "Are you documenting your CORE Project?"
STUART: Oh, cool.
TERRY: Then I just said, "Well, we wanna come and interview the leads. We wanna film some building. We're gonna come back during the event, show people enjoying the thing. And then we would like to turn this over to whoever your documentarian is, let them have all these bits that we filmed for you. If they could edit it, we'll give them a platform to put it on."
And it worked. That first CORE year we did 16 or 17 projects being finished. I also met some really, really cool people that I'm still in touch with. And some of 'em have joined our crew.
STUART: Back up a step. Who's Tom LaPorte and what was his role in the creation of Profiles in Dust?
TERRY: 2010, I came into Media Mecca to sign up, just doing little stuff myself at my camp. This gentleman walked up to me and introduced himself. He goes, "I'm Tom LaPorte." He was in the media department at that time.
STUART: So this is Black Rock City, 2010, in Media Mecca. And yes, Tom LaPorte was a Media Mecca volunteer and a very active figure in the Regional Network and kind of a super connector. He put a lot of people together in a lot of interesting ways.
TERRY: I met Breedlove through him.
STUART: The head of Burners Without Borders now.
TERRY: Yeah. And I met this kid that was helping him, Greg Sklar, also goes by Klear. He was helping Tom, and they had come up with this idea that they wanted to document some of the bigger art that was being built, document the artists, cut together a small piece about them, and then hand them a mini documentary at the end of Burning Man as a gift; "Thank you for bringing your art" type thing.
He says, "Would you be interested?" And I said, "That sounds really cool. I would love to do that." So 2011, we waded into it. And I did get an editor that said he would edit during Burning Man, which is a horrible…
STUART: Are you kidding? That sounds like a pipe dream.
TERRY: So, he walked away as of Monday, Burning Man, he was gone into the desert. We never saw him again. So we just continued on and we filmed, that was the year of Charon. We did Charon, we ended up doing eight or nine pieces of art. And turned out really pretty. And we had interviews with Larry and interviews with Crimson. We ended up cutting the individual docs and we gave 'em to them (but it happened after Burning Man) and then we cut them all together as a longer piece.
STUART: So you're saying nobody wanted to sit inside a hot stuffy trailer and edit video at Burning Man.
TERRY: I couldn't believe it.
STUART: But they were okay with running around with a camera and shooting pictures at Burning Man like crazy.
TERRY: I'm just waiting for AI to have the capability of you just throw a bunch of footage at it and go, "Hey, put it together."
STUART: Yes. Post AI. We call him Posty. "Posty, make this beautiful, man."
TERRY: That has been the hardest thing with Profiles in Dust is post, is editing. You spend the time shooting there, and you get some cool stuff and then you come back and you're like, "Oh, now I gotta sit down and put this together." Now you're back in your home world or you're running around working and it becomes a struggle. and I know that all too well now.
STUART: You must have developed some techniques for dealing with that, to not have so much to fix in post, right?
TERRY: Yeah. Now we're very careful how we shoot. So we're trying to deal with the subject matter, keep it simple, as we can, especially if we know what our subject matter is. We know what we need, what we want to hear, and we'll direct the conversation that way. So, it becomes very easy to go through the video later and pull your story out of it.
One of our team members, JK, now, we don't ask him to do anything at Black Rock City. Instead his job after Burning Man is to sit there and work on stuff for literally weeks. He has been working on the solar project now for two weeks. He spent five days here at my house at Thanksgiving and then.
STUART: Locked in the basement? You let him out to eat Thanksgiving?
TERRY: We did. We did. He sat at this very desk and just sat and went through all the footage.
STUART: He does beautiful work and I wanna come back to him. But, so we're in 2011. Okay. I think we've got a clip here. This is "Everyone's an Artist." Can you set this up for us?
TERRY: This is the eight docs that we did all formed together into one cohesive edit, with Crimson Rose and Larry Harvey.
CLIP: EVERYONE'S AN ARTIST
CRIMSON ROSE: What distinguishes Burning Man an art from other art is because it's limitless. There are very few big backers. It's because of the landscape. It's limitless. There's just no other place like the Black Rock Desert really in the world for people to actually create art.
It's the average person that maybe saw an image or they came for the first time and they're going, "Well, I'm not an artist." But then they go, "Wow, look at that art car. I could build this thing. You know? If they could do that, I could do dot dot dot."
And I think it's infectious that somebody can become empowered by what they're doing is so incredibly important. It actually helps the world become a better place, really.
LARRY HARVEY: What happens here at the event is portable monumentality, but added to that is interactivity. Another function of public art is just to orient people in space and create nodes, whereas people orient themselves in a space, and to make them feel that they're in a space that belongs to everyone, and where a stranger can go and feel at home and meet people.
This event has generated a new market for art, but it's a very different kind of market. People take these works now — they don't burn 'em so much anymore. And they take them, and a whole festival culture has embraced interactive art, and so now you can take it on the road. Of course, a monumental piece of public art that you can, that's primate heaven, and allows you to climb with a swarm of other participating parties who you may or may not know, it has a wonderful way of breaking the ice, as it were.
STUART: So you had an opportunity to work with and to shoot Larry Harvey quite a few times over the course of, of what — from 2011 until he passed away in 2018. What was Larry like to work with?
TERRY: Larry was a lot of fun. The funnest part is after you're done with that interview is to shut the cameras off, and then he would just keep rambling. I did an interview with him up on top of the headquarters building. And we kind of faked it to look like it was Burning, you know, background just to make sure it was abstract enough that we could pull it off like it was at Burning Man.
We did and did this interview with him up on the roof and when we were done, I think he talked to us for like two hours. We just sat up there. We just talked about the old Burning Man, and some of the old Burning Man parties they used to have in San Francisco. I guess they had the Man built in a warehouse and they would hoist people up to the man's head and they had a speaker in the Man's head and they would talk to the people as they go up and stuff like that. Wow, where's the footage of that? Yeah, he was a lot of fun.
The last time we interviewed him, I think it was for the Souk project.
STUART: The Souk. Oh, right. The Caravansary year.
TERRY: The Caravansary. Yeah. I think it was the last time we talked to him.
STUART: Larry had so much fun that year. Yeah. He insisted that he have his own store in the souk. We made up a character for him. It was El-Alari who ran a store where (what was it?) where everything was of incalculable value, because it had been in his family for 17 generations, so he wouldn't sell you anything, but if you talked to them long enough, he'd give it to you. It was a good shtick.
TERRY: It was very good. It was funny. There's some footage in the documentary of him in his get up too.
STUART: A beautiful outfit. I believe that was actually an Indian gentleman's wedding outfit. It was very fancy. It looked pretty good.
TERRY: I really enjoyed Caravansary and then the circus one. What was the name of that year?
STUART: Oh, the Carnival of Mirrors. Oh, both those years are great. Those were two of my favorite years too. Larry and I had a really good time writing the themes and designing the experience at the Man Base there. Good times. You ended up actually producing the only real kind of full length documentary about Mr. Harvey: "Larry, a Burning Man Story"
That was with our friend JK Realms, right?
TERRY: That is JK's effort there.
STUART: Tell us about how that came together.
TERRY: We knew when Larry died, that something had to be done. So since we were already in that realm where we knew how to deal with getting into the archives at Burning Man and finding footage and stuff, we did a journey up to San Fran, me and JK, and just sat and went through all the drives, and started getting as much footage as possible.
That year we started interviewing people at Burning Man, friends and acquaintances of Larry. And JK started the process and he literally had hundreds of hours of stuff to wade through.
Probably one of the only times that we've actually asked for a stipend to help him. And we actually had to have him stop work, and just say, "We need you to dwell on this and get this done." Because it dragged over into 2019 and we were still doing interviews and, I know you were like, "We need to finish this." And, and, and so we actually got some funds for him and we, we got him to have a little stipend just so he could stop doing what he was doing and just spend time.
STUART: and keep his apartment, right?
TERRY: Keep his apartment, stay alive. It wasn't a bunch of money, but it was enough that he said, "Okay, I will do that." So he spent almost a month solid, and put together an amazing — I thought it was an amazing documentary. I think it's like 42 minutes and it's pretty intense stuff about Larry.
STUART: Yeah. Let's play a little clip.
CLIP: LARRY: A BURNING MAN STORY
TERRY: Yeah, There's just some great stuff.
JK, to his credit, he really took it to the far end. We were even thinking about trying to get it out there and put it in film festivals, but then we started getting into the problem of: this is all volunteer work. And so that's another issue that we deal with, but that's fine, because we know where we stand on that issue now.
STUART: Yeah. Stipend aside, really everything you guys do is a gift to the community, right?
TERRY: Yep. Profiles in Dust. We just work on volunteers. Now we have a core team, six people.
STUART: Who's on the core team?
TERRY: Myself, my wife Noelle Charles. She's been involved since the beginning.
Ariel Benarroch, a really good friend of mine, a cameraman in LA. He's also our camp leader.
JK Realms. He likes to shoot too, but this year we kinda let him pause and take a breath because he'd been working on Larry for so long, and then now he's wading into solar.
And then we have Ian Ingram. He's a sound-man. He runs huge sound systems for any big festival.
And then, Shri, I won't try to pronounce Shri's last name. [Shriyantha Wimalasekera] He's another camera guy. Really, really nice guy. He's been with us for five years or so.
So we have a core little group, then we have people that come and tag on and help us on the side too. There's Daryl Henderson, David Shaw, and then we have some other folks.
STUART: It's a porous membrane.
TERRY: Yeah. Jamen Percy's been helping us the last couple years with his drone work.
STUART: He's a fantastic drone pilot. He really does some sweet work.
TERRY: You're gonna see some amazing drone stuff.
STUART: The Black Rock Desert where Black Rock City is built has gotta be one of the worst places in the world to shoot. And I know you've shot in a lot of places in the world. How do you cope with that? How do you get a halfway decent sound out there where the wind's always roaring? How do you keep your cameras from filling up with the goddamn dust?
TERRY: Well, I gave up on using covers or anything anymore on my cameras because it just, it's gonna get through your covers, and whatever protection you put on your cameras, it's gonna go through it.
You clean your equipment every evening. That's the big thing. Make sure you're cleaning stuff.
Don't ever remove your lenses while you're out there. Put a zoom lens on, you know, so you can accommodate what you're doing.
As for sound, we'll usually try to find somewhere that's somewhat secluded, we'll shoot inside of an environment or people's tent or in their shade structure. If not, we put their backs to the wind if we can. Obviously we've had wind problems. Most of the time we're very cognizant of it. Whenever we can we actually close mic people with Lavaliers, and try to monitor it.
Another reason we come the week prior to Burning Man and try to do most of our interviews before Burning Man happens: The noise intensifies greatly during the Burn. So we avoid doing interviews during the Burn week if we can.
If not, one year when we had to do a bunch of Larry Harvey interviews, we did 'em in our tent. We designed our shade structure so we could actually have pretty a background, and we did a lot of interviews in our tent, and then it actually worked out really well.
STUART: Yeah. Tell us about your camp. In addition to, like, you're not busy enough. You're a village mayor too? What, what's that all about?
TERRY: I'm a village mayor. Back in 2004 I was a part of the group that started the Misfits, the Mystical Misfits, me and my wife. When Profiles in Dust started off in 2011, we left the Misfits and moved into our little camp. We called ourselves The Cam Crew Cool Camp. We didn't wanna worry about all the other crazy builds. The Misfits are into building massive structures, and we were done with that.
So the Misfits actually had a real problem during COVID, that whole camp structure. So they reached out to me and said, "Hey, can you be our Mayor and try to pull everyone together?" Since business was slow during Covid, I said "Sure." And we did, we managed to pull it all together and we actually pulled off a really cool camp this year.
We did it quite differently than the Misfits used to do. The Misfit Camp was a huge structure and all the little support camps around them kind of paid dues to be part of that. And we decided, no, we're not gonna play that. We're not gonna make some huge structure. We're gonna use the Narwhal as our centerpiece for our camp parked out in front…
STUART: What's the Narwhal, Terry?
TERRY: The Narwal's a Burning Man relic. This last year was its 20th anniversary. It was built by a gentleman named Pepe Ozan. He was doing operas at Burning Man in the late nineties, early 2000s.
He did three or four operas at Burning Man. The last opera he did was called the Ark of Nereids. And the Ark of the Nereid was actually the Narwal, he built this giant Narwhal ship. And that was the stage for the show. And after that, it just got parked out at the Ranch (Burning Man's Work Ranch) and started deteriorating.
We were brought into it when the lady we worked for, before we worked for you, Stuart, Meg Rutigliano had gone out to the ranch and saw this boat sitting out there deteriorating in the hot sun and said, "What is this?" Got some people together and they rebuilt it. And she wanted to bring it out for Pepe Ozan's funeral.
And she asked if we would tow it with our car. We helped tow it through this funeral procession for Pepe.
And then my wife, of course, fell in love with it. She was like, "Oh my God." And so Megs basically said, "Okay, Noelle, well control of it, take care of it. Let's see what happens."
Since then we have been taking care of it and raising money and trying to keep it in a decent condition. We actually fiberglassed the whole face this last year and repainted the whole boat and,. It's sitting out at Fly Ranch right now in the snow.
STUART: It's living history. Yeah. It is a beautiful piece.
TERRY: And we used it as a centerpiece this year, and it worked out really nice. We let people have live performances there, and sing and do stuff. We literally had to stop and say, "Okay, that's enough. We're done for tonight, folks," because it was a line, it was like, 10 people deep wanting to get up and sing to people.
STUART: And you guys are working! I've seen you out there. You never stand still. I know you're working, working, working, getting the shots.
I wanna talk about your cam crew pal, Ariel. Tell me about Ariel, and I think we should listen to a little clip from one that I know that he directed.
TERRY: Yes. We decided to do a video about kids at Burning Man. We thought it'd be fun. We called it Kids at Burning Man.
STUART: Oh, smart titling.
TERRY Yeah, I know. Isn't that brilliant? My buddy Ariel wanted to lead that project and it took us two years to do it. and it actually has turned into probably the most popular video we've done at Burning Man so far.
STUART: Because kids. All right, let's hear a little bit of those adorable moppets talking about Burning Man.
CLIP: KIDS AT BURNING MAN
What's Ariel's story? How'd you guys meet?
TERRY: Ariel and I met years ago. I started bringing him as my B camera on shoots. I got hired to shoot the first season of Oak Island, The Mystery of Oak Island, which is still going on for some reason.
STUART: They still haven't solved that mystery.
TERRY: They haven't solved that mystery. So Ariel came out with me, he was my B camera. Right from there, we went to Florida and we embedded, I had another show I did for Discovery called the Warlocks, The Warlock Rising. So we embedded with the motorcycle club, the Warlocks.
STUART: Wait a minute. So when you're not at Burning Man, you are really an adventure photojournalist. You're running around getting chased by motorcycle clubs, chased by bears.
TERRY: Just came back from Ukraine.
STUART: That's right. I tried to reach you after this year's Burning Man, and you were in Ukraine. Okay, tell me about why you were in Ukraine after you had spent two months out in the desert at Burning Man.
TERRY: While I was at Burning Man, a director friend of mine called and said, "Hey, I just got contacted, this businessman that's in Spain has been helping. He's part of an NGO (non-governmental organization), and they've been helping refugees get out of Ukraine and they're resettling them in Spain." And he said, they've resettled six over 600 already. He said they're gonna do another trip. They would like to have it documented. They called me. Boom. I said, "I'm there. That's awesome. Let's do it."
Ariel is working, so I couldn't bring Ariel. I brought my friend, Jackapo. he's another Burner, done a lot of documentary work at Burning Man too. So he and I went to Spain and then we flew to Warsaw. Yeah, Warsaw. And then drove in from there into Ukraine and we drove to, to the outskirts of Kiev. On the western side, and we stayed, at the convent with these nuns they were the ones that would receive the refugees and they had places to put 'em in this town.
They would have a meeting time and all these people would show up, and then a bus would come, we'd fill the bus up and then we'd head out. So we spent a week with them. Um, while we were driving into Ukraine, was when that bridge got blown up in Crimea. Wow. we were traveling with two, two of the NGO people.
They were driving this van into Ukraine. And one of 'em, I remember he pulled up his phone and, and he gets his message and he looks at it and we, there's this explosion going off and we're like, "Whoa, shit. You know what's going on?"
We ended up going in and during that week, we were at the school. The nuns were running, they were running this little school that had like 40 kids in it, and that's when the drone attack happened. And one of 'em hit like 30 miles from us. So everything went into lockdown. The whole country went into lockdown. You were told not to leave your house. So we were stuck in that school with these kids for like eight hours documenting these kids and the nuns dealing with it. And, the kids didn't have phones. They take their phones when they come in. So the kids only got information that was given to 'em by the nuns.
Meanwhile, we're filming the kids being entertained and singing and they knew something was going on. and then in the back rooms, our producers are frantically trying to figure out maps on tables. Do we start heading out now? The nuns are on their phones trying to figure stuff out.
Because they had all these refugees coming in. They're all inbound around Ukraine coming to this town 'cuz we were gonna pick 'em up that next morning and head out. So they were very worried about these people that were on the road. And our producers are worried about.. should we try to get outta the country right now and maybe have these refugees brought to a border point when we pick 'em up?
But it all came down. The air raids give us the all clear. We went back to the convent where we were staying. We packed up. The next morning we showed up at five in the morning. Big tour bus loaded everyone on, 35 refugees and made it, and we headed out. We got to the border like six hours later, made it across the border. And then we drove 52 hours across Europe, all the way across Germany, all the way across France, and then down into Spain. Brought into a big halfway house that the NGO is running there in this little town outside of Barcelona. Pretty impressive story.
STUART: This gonna be a feature?
TERRY: It's gonna be feature-length. I don't know if he's gonna break it up into maybe chapters or into episodes, maybe sell it as a three-episode-thing. They don't have a market quite yet. They're going to be able to, you know, it's Ukraine. It's craziness and someone's gonna buy it up.
STUART: And it doesn't always work that way sometimes I know. It must be super frustrating to work on something and get great footage and have the project spiral down. I remember you telling me something about exploring some hidden chambers and ruins in Egypt. Can you talk about that?
TERRY: In 1995, I got asked to join a science expedition, or, well, let's not call it sci… well science.
STUART: A Graham Hancock pseudoscience thing.
TERRY: Yeah. Did you just say Graham Hancock?
STUART: Yes. Was it him?
TERRY: He was involved in some at the very end. He got us kicked out of the country. Him or Anthony West, one of the two.
This group called the A.R.E., The Advanced Research and Enlightenment Foundation, was funding our project. The plan was, according to Edgar Cayce, this great — I don't know what you call Edgar Cayce.
STUART: Let's call him a mystic.
TERRY: A mystic, yes. He had written a bunch of stuff about history and one of 'em was that there was a secret chamber under the Sphinx that holds the records of the lost city of Atlantis in the island, a mo.
So this team, they got a couple million dollars together and they're like, we're gonna go try to find this. So they asked the Egyptian government, can we come and do some surveying where… They lied. Let's just put it that way. We all had to sign secrecy acts. We could not say what we were really doing.
So the plan was we go to Egypt and we go to seismic testing on the Sphinx, right? And they had radar, they had just come out with ground penetrating radar, and they had these big paddles and they would drag around, and they could look down into the ground, like 20, 30 feet.
So we did the whole Sphinx, and the whole enclosure was all mapped out. Sure enough, there's a room underneath. There absolutely is a room under. I've seen it, I mean, I've seen the radar, but it's 20 feet below the Sphinx. The Sphinx itself is a carved down mountain, right? So if there's a room there, there's a tunnel that goes to that room, right?
We do know there's a tunnel that goes into the back end of the Sphinx. We do know that there's a tunnel that comes out of the middle pyramid and goes all the way to the Sphinx. You can't get in 'em, they guard 'em, so someone has probably been in these rooms maybe.
We did three trips. The last trip, Dr. Shore, the guy that was financing the whole thing, started getting anxious. He wanted to get in, right? And he actually had someone in the little town of Giza make him this huge crowbar, like a big metal crowbar, right? And he snuck it in our tripod case; we didn't even know!
I was out filming around the backside of the Sphinx and all of a sudden I get a call on a walkie: "Get up front right now!" We come up and there's all these armed soldiers there. I'm like, "What is going on?" And then I see Dr. Shore, and they have him, they have his arms behind his back and they're holding this giant metal bar.
I guess he figured he was gonna start banging a hole by the Sphinx's foot and try to get down. We don't know. We knew that there was a metal plate two feet down. His theory was: That metal plate is covering a tunnel that goes down to this room. So he was gonna go for it.
And that was it. They packed us up and said, "You're leaving." They escorted us to the airport and we were gone.
STUART: And that footage is, in a black hole somewhere or a legal black hole.
TERRY: You know what I do have, I was going through all my old, because we filmed behind the scenes, hours and hours and hours of it. And so I have hours of us working. I don't know where the actual footage ended up anymore. Sad.
We did the same thing in South America. We did a whole South America project for a month, and that is sitting somewhere too. So, anyway…
STUART: Well at least when you shoot a documentary at Burning Man, you don't get paid, but you know it's going to go out there in the world.
Do you feel like your work's having an impact, the stuff that you've done? Why do all these 50 videos about Burning Man?
TERRY: I'll tell you why I like to do it because if you go online, YouTube Burning Man or something, you'll get these videos of just people dancing and partying. I get that. That's cool. You know, or just pretty pictures of art and people just dancing around.
And then once I started going to Burning Man, I started seeing what's really happening. And then when you get involved and start helping building the camp and doing stuff, you're like, "Oh, people need to see this too." There's a lot of stuff going on here. If the average viewer wanted to find something and watch it and get an understanding of Burning Man, no wonder everyone thinks it's a big party, because that's basically what they see.
I wanted to change that. I've always been a documentary filmmaker. I've always been very interested in seeing how people do things and how things are done. To document it is a different story, but it needed to be done. So when I was given that opportunity, I'm like, "That's awesome. That's exactly what I wanna be doing."
We kinda expanded it from just following art, when you started becoming involved. I've always been of the opinion that the more people know about how things are being done and how it can be done and how easy it can be done or…
STUART: how insanely hard it is to do.
TERRY: Yeah. But, also share the knowledge, right? That's kind of how we started approaching it. We started bridging away from doing lots of art, and started dealing with more infrastructure stuff. and then there's really heartfelt ones, like the Utah group that had someone kill themselves in their fire.
STUART: Yeah. At Element 11.
Then Burning Man let them build their own little temple. So we followed that whole project. Things like that.
And then the one thing I like to get involved in, do a little more too, is like: We did one on Mayan Warrior, where you see how much effort a crew like that puts into their mission — and they have a mission too. It's not just let's roll out and have a bunch of sound and let people dance. There's a plan behind all that.
STUART: We've got a clip from that video that we might drop in right here.
CLIP: MAYAN WARRIOR
STUART: Okay. You talk about infrastructure and that's something I think is a pretty fascinating story too. So many people just show up and all they see are the inhabitants of the city. They don't see the city itself which is, I think, part of the reasoning behind the title of "The Great Disappearing City" which you guys did a couple years ago. What's that all about?
TERRY: Great Disappearing City is amazing. I was blown away by doing that project. That is all about the Leave No Trace movement and this one man, DA, that's just hardcore clean-this-place-up, leave it, turn it back to its natural environment.
STUART: He's certainly the leader and, and cheerleader for Leaving No Trace. Yeah, DA's amazing. And so it was him and his crew, the Playa Restoration crew, right?
TERRY: Yeah. Hundreds.
STUART: And you've followed it all the way out?
TERRY: We've followed it from the beginning, from basically Spike.
STUART: That's the first day of construction of Black Rock City.
TERRY: It's the bare desert. Then we followed the whole process during Burning Man, because they aren't just sitting around waiting until everyone leaves. There's a whole crew that rolls around they're out there already cleaning stuff up. And then the minute people leave that crew for like two months, they are cleaning up five square miles of desert, literally walking every single piece of land. They all string out in the big long string of people and they just start walking and cleaning stuff up. It's pretty amazing. And we were there luckily for I think the cleanest Black Rock City ever.
The final trip we did was to come out to document the Bureau of Land Management inspecting Restoration's cleanup effort, and found out that they got a perfect score.
It's hardcore stuff. I was really impressed with it all. I do wanna do it's sister show, and I think you and I have talked about it, "The Great Appearing City," and show the building of Black Rock City. I did the first version of it this year, so I know what to expect.
STUART: And this year was very different obviously than 2018. And I know the Resto crew had a very hard time of it, as a lot of the people working the event had a hard time of it: being understaffed, people getting sick, bad weather, all of that. How'd it go with your crew?
TERRY: As Profiles in Dust, we did three different docs; finished up on the Going Solar project.
STUART: Yeah. Tell us about that.
TERRY: Going Solar. We started documenting the solar push in 2019 at Burning Man. Then we heard that 2022 was gonna be a big push for solar, and there certainly was, there was a whole bunch.
STUART: Both at the organizational level and definitely at the camp level, right? There's a lot of camps devoted to that. And I know you covered a lot of what was happening out there in the camps.
TERRY: We did. And we actually found camps that we didn't even know about that were full solar. That was pretty impressive.
STUART: Let's hear a little clip from that one. This is "Going Solar?"
TERRY: Going Solar.
CLIP: GOING SOLAR
TERRY: It's pretty intense. The Man itself this year was all powered by solar. Even the build was powered a great part by solar, parts of the Temple. The arches and the gateways coming into the temple were all powered by solar. Many art projects out there were being powered by solar. I think the biggest theme camp, the experiment with a big theme camp this year, Sacred Cow, went all solar. They had massive solar systems. And Burning Man has been experimenting with creating solar systems. We documented a lot of that.
There's several different platforms that they use and are experimenting, and actually build them right there on the spot for the first time. And The Man one, especially, you'll see in the documentary, it worked far better than it expected. So in Gerlach, the Burning Man project has the 360 property outside of Gerlach that is powered entirely by solar.
And I know Fly Ranch is all powered by solar. Anything that happens at Fly Ranch is powered by solar. In fact, they really frowned upon you even firing up a putt putt genny or anything that you come out there, right?
STUART: Okay, so that's one. And the other one you guys have in post are, are nearly done is, is an interesting piece, about Smoke Daddy, who puts the neon on the Burning Man.
TERRY: Yep. I was out there filming for another project, and I was out there one evening and they were starting to do neon on the Man, and I'm like, "Oh, wow, this is a cool thing," you know?
I got introduced to Smoke Daddy, and I asked him, "Hey, would you be interested in talking to me about the neon on the Man, and what it's about?" He goes, "Oh, absolutely." I just started rolling and the guy is amazing. He said some pretty heartfelt stuff.
STUART: Let's hear a little bit from Smoke.
TERRY: We're calling this one "The Tailor of the Man" because Smoke Daddy calls himself "The Tailor of the Man."
STUART: Because that's his clothes.
TERRY: Yeah. And, I love him getting into depth about the design of it and the color and what it all represents. It's not just like, "Oh, let's make something cool." There's a lot of intent and there's a lot of thought process behind what's being done.
CLIP: THE TAILOR OF THE MAN
STUART: He's an interesting character.
TERRY: He's a very interesting character.
STUART: And I think it's very cool that this year, not through any planning that you guys did that, and our friend Uncle Phil, who's another documentation team shooter, did a little short piece on Opa, who for years has designed and built the lights that circle the plaza of the Man.
So those are two interesting little side stories, pretty important side stories, to the larger story of how the man gets designed and built every year. I'm happy to see both of those in the camera.
TERRY: I'd really like to do something about Goatt, personally… Goatt's, a character and a half.
STUART: Goatt Cook is a new Man Base supervisor, Man Based project manager. He would be so, he's very articulate. Maybe next year. Are you going next year? Can I keep you away?
TERRY: No, no, you can't.
STUART: You're just gonna go, aren't you? Why do you keep going to Burning Man, Terry Pratt? What's up with you?
TERRY: You know, I was invited to go to Burning Man in '96 when I worked on a TV show called Silk Stockings. The whole electric crew would leave the show and go, "We're leaving. We're going to do the electric for the Man." And they were part of the crew, the electric crew that helped light up the Man and stuff.
STUART: Oh, wow. I did not know this.
TERRY: Paul Postal was the gaffer for our show. He was an electrician and he would leave and go to Burning Man and help work on the electric team at Burning Man.
So he kept saying, "Terry, you gotta come." And this went on for four years. And I'm like, no, no, I'm doing my, I, I was, I was this paranoid… All camera assistants are paranoid. You, you leave your job, you have someone replace you for a day or two. And they're like,"Well, we really like this guy, who is that other guy?"
Yeah. So I was like, "No, I ain't leaving," right? Finally I met my wife in 2000, and by 2004, we really started getting the Burning Man vibe. A lot of people we were hanging with were already doing it. And then I got a ticket from my wife for her wedding gift, basically. We were gonna get married in 2004, so. We got married after she came back from Burning Man, she went to Burning Man.
I went to Europe and was working on a show in Europe. She comes back, blown out of her mind. I was home when they all came back home and it was like six people passed out on the living room floor, exhausted, but just talking about what a great time.
STUART: Snoring.
TERRY: Yeah. She had gone with my buddy. He was also a gaffer. At the time I had a grip electric company. So I had three trucks running around Los Angeles doing shows. And he convinced me; he goes, "We'll take one of your trucks, we'll load it up and we'll go to Burning Man." And I said, "All right, I'll do it." And we did. 2005, I went, and then ever since then, I'm like, "Nope." If I get hired and my job is gonna be during Burning Man, I'm like, "Well, just so you know, for like two weeks there, I gotta go." I've left many jobs now, or I'm just, "I gotta go. Sorry."
STUART: That's kind of dodging the question, Terry. Why?
TERRY: Yeah, this year I really wondered why, because I came back so exhausted. I find it amazing to see what people can do — creatively do in such a short amount of time — and just for wowing people or to give other people a thrill.
And then the art is just off the hook. That's something you can't see anywhere else in the world, ever, you know? I've been to a lot of places in the world, and you can't see that. I'd say the last time I got really wowed by something, I just went to Barcelona and I saw a bunch of Gaudís. The Park. What's it called? The Park?
STUART: Park Güell.
TERRY: What the hell? That reminded me of Burning Man. That was just like, "What is this about?"
STUART: I think Gaudí would've fit right in.
TERRY: He would've had a blast at Burning Man.
STUART: All those Modernistas.
TERRY: Some of it was very much like Pepe's. One of Pepe's, didn't he do one with a bunch of clay and crazy sculpture stuff? One of his operas where they made huge sculptures out of the playa.
STUART: Yes, indeed. That was his native site-specific medium that he cooked up. He'd weld together a steel frame, put mesh on it and cover it with the mud pulled up in buckets from Trago Hot Springs.
I never thought about that, but of course Pepe would've been very fluent in the language of Modernista architecture, and I'm sure was inspired by that to come up with those very organic, fluid shapes, right? Not a lot of right angles on Pepe's world.
TERRY: I'd like to do a little bit more of my own art too. I think it'd be fun to try to pull something else off. I've done a couple things at Burning Man. I have some ideas about doing some digital type stuff; documenting, but doing it in a very creative, strange way. When I can get the clear vision of that to you, I will. We'll see.
STUART: Well I'll be here for you. It's a great privilege to support Profiles and Dust in their work out on the playa and year round. It's one of the, actually one of the most fun and rewarding parts of my pretty sweet role at Burning Man.
TERRY: And we respect you a lot because you give us a lot of leeway and you're actually there to help us. I rarely heard you go "No, I can't do that for you."
STUART: Stick around. I'm sure it'll happen!
TERRY: I'd like to see Profiles in Dust start expanding out and start doing stuff in the world a little more with Burning Man events. We've done a little bit of that. We've helped with the Fly Ranch Project. We pulled together a whole team of camera people and editors and sound people, and we came out and did the promo for the LAGI project.
STUART: Well, that kind of takes us full circle to the CORE year when you empowered and inspired a lot of Regional documentarians to document their projects. We got a whole lot of Burning Man events out there in the world that could use that same treatment. So, I'm all for talking more about that, getting more good shots from more Burning Man in more places around the world.
It's a lot. If it happens, people, you will see it on the Profiles in Dust channel profilesindust.net. Is that still the site?
TERRY: It is, but you can also go to Vimeo and just type in "Profiles in Dust," or you can go to the Burning Man website and type in "Profiles in Dust." And a lot of our videos are on the Burning Man YouTube site.
STUART: Yeah. Vimeo is probably the most complete collection, right? Vimeo has all the projects and it streams beautifully with no ads. This is not an ad for Vimeo. It's a big up for not having ads in the video.
Thanks so much for showing up, Terry. Always a pleasure to talk with you and I can't wait to see the next projects out of Profiles in Dust.
TERRY: Thank you, Stuart. That was a lot of fun.
STUART: Yeah. All right, people, you've been listening to Burning Man LIVE. I would like to thank, as I often like to do, Vav, Michael Vav. Action Grrl, kbot, Rocky, Deets, Kristy, and all of you my friends who drop a dollar every once in a blue moon through the slot at donate.burningman.org because: Hey, it's a volunteer thing.
This program is only made possible as an action of the nonprofit Burning Man Project through its Philosophical Center. I'm your host, Stuart Mangram, and I will catch you next time.
And thanks, Larry.
Terry Pratt
Stuart Mangrum
Profiles in Dust
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ASIAN_REGIONALISM.pptx
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1. INTRODUCTI ON TO THE STUDY OF ASIA
2. HOW MANY ASIAN CIVILIZATIONS DIFFER FROM YOUR OWN? HOW THEY ARE SIMILAR AS WE EXAMINE THEIR DIVERSE TRADITIONS? This field deals with Asians, their cultures, languages, histories, and politics. Asian people are difficult to categorize since their civilizations are so varied and distinctive. It is one among the continents with the greatest diversity of languages and ethnic groupings.
3. ASIA  It's the largest continent on the planet. With a total area of 44,579,000 km2 (17,212,000 sq mi), Asia is the largest continent in the world and the one with the most people  60% of the world's population live in Asia. 4,46 billion people live in the Asian continent, making up more than 60% of all people on the planet. 2,6 billion people live in China and India alone, and they are only the two.
4. ASIA The ancient Greeks first referred to the civilizations east of their kingdom by the geographical word "Asia." But ancient Asian people did not see themselves as a single group; rather, they considered themselves as a diversified and eclectic blend of civilizations. In modern usage, the word "Asia" refers to a cultural idea, whilst subregion classifications represent the many geopolitical identities of the continent. The continents of Western Asia, Central Asia, Southern Asia, Eastern Asia, Southeastern Asia, and Northern Asia are divided into these categories.
5. IMPORTA NCE OF KNOWING
6.  Half of the world's population lives in Asia. Students get the chance to learn different perspectives on the world through studying Asia's culturally and historically varied regions. Economic changes in Asia have altered the political and economic landscape of the world.  Asia is home to many different languages, civilizations, and ethnicities. It is home to several of the world's main faiths, including Buddhism, Islam, Hinduism, and Islam. It has a significant impact on global culture and the global economy.  Combining knowledge of Asia with other fields of study improves job chances and global career opportunities.
7. ASIA: THE WORLD'S LARGEST
8. AS YOU TRAVEL ASIA WITH US KINDLY TAKE DOWN NOTES IN ORDER FOR YOU TO UNRAVEL YOUR PAST BY KNOWING THE GEOGRAPHY OF YOUR PLACE. ENJOY DISCOVERING!
9. REGION OF ASIA  Asia is divided into 5 regions; the biggest land area is East Asia, and the smallest is Central/North Asia. It is also a continent of diversity because of its varied climate, settings, and people. • East Asia • South Asia • West Asia •Southeast Asia • Central/North Asia
10.  It covers about 12,000,000km2 (4,600,000 sq. mi), or about 28% of the Asian continent, about 15% bigger than the area of Europe . More than 1.5 billion people, about 38% of the population of Asia and 22% or over one fifth of all the people in the world, live in East Asia. EAST ASIA East Asia is located on the eastern part of the Asian continent. The term is generally referred to the region of the countries of China, Taiwan, Mongolia, North Korea, South Korea and Japan. LOCATION:
11. CHARACTERISTICS: • POPULATION DENSITY: 22% OF HUMANS LIVE HERE. Eastern Asia population is equivalent to 21.53% of the total world Asia ranks number 2 in Asia among subregions ranked by Population. The in Eastern Asia is 145 per Km2 (376 people per mi2). • 2 of the world's 3 wealthiest nations. Since the early 20th century, East Asia has been home to two of the largest economies, with Mainland China and Japan being the second respectively. • ANCIENT TRADITIONS AND CULTURE. Hinduism, Buddhism, some knowledge of ancient Greek, and much Indian arts entered China, and hence in time into Korea and Japan.
12.  Its' land area is 4,379,055 sq. km. South Asia is home to well over one fifth of the world's population, making it both the most populous and the most densely populated geographical region in the world. SOUTH ASIA South Asia extends south from the main part of the continent to the Indian Ocean. The principal boundaries of South Asia are the Indian Ocean, the Himalayas, and Afghanistan. The Arabian Sea borders Pakistan and India to the west, and the Bay of Bengal borders India and Bangladesh to the east. LOCATION:
13. CHARACTERISTICS: • HINDUISM Hinduism is the largest religion in South Asia with about 1.20 billion Hindus, forming just under two-thirds of South Asia's population. South Asia has the largest population of Hindus in the world, with about 99% of all global Hindus being from South Asia. Hinduism is the dominant religion in India and Nepal and is the second-largest religion in Bangladesh, Pakistan, Sri Lanka, and Bhutan. • HIMALAYAN MOUNTAINS Himalayas, Nepali Himalaya, great mountain system of Asia forming a barrier between the Plateau of Tibet to the north and the alluvial plains of the Indian subcontinent to the south. • BRITISH EMPIRE LEGACY Britain's colonial legacy in South Asia over hundreds of years includes arbitrarily partitioning the country along religious lines, the Bengal Famine, exporting slaves to other territories, and looting trillions of dollars of wealth.
14.  Western Asia, or Southwest Asia, are terms that describe the westernmost portion of Asia. The terms are partly coterminous with the Middle East, which describes a geographical position in relation to Western Europe rather than its location within Asia. With a total land mass of 6,904,791 sq. km. WEST ASIA Western Asia is bounded in the west by the Mediterranean Sea and the Red Sea, in the north by the Black Sea, the Caucasus, and the Caspian Sea, on the east by the fringing mountains of Iran, and in the south by the Arabian Sea and the Indian Ocean.. LOCATION:
15. CHARACTERISTICS: • ISLAM AND ARABS Numerically, Western Asia is predominantly Arab, Persian, Turkish, and dominating languages are correspondingly Arabic, Persian and Turkish, each with of the order of 70 million speakers, followed by smaller communities of Kurdish, Azerbaijani, Hebrew, Armenian and Neo- Aramaic. • OLDEST CIVILIZATIONS One of the world's oldest civilizations – the Mesopotamian civilization – prospered 5,000 years ago on the land between the Euphrates and Tigris rivers in West Asia. • DESERTS AND OIL Western Asia has the largest known oil reserves, located in Saudi Arabia, Iraq, Kuwait, Iran, Qatar, and the United Arab Emirates. Other regions in Southwest Asia have limited amounts of oil, and known petroleum reserves on the Indian subcontinent are small as well.
16.  Southeast Asia or South-eastern Asia is a sub region of Asia, consisting of the countries that are geographically south of China, east of India, west of New Guinea and north of Australia. The region lies on the intersection of geological plates, with heavy seismic and volcanic activity. With a land mass of 4,500,000 km2(1,700,000 sq. mi) and a population of 610,000,000. SOUTHEAST ASIA Southeast Asia is a vast subregion of Asia, roughly described as geographically situated east of the Indian subcontinent, south of China, and northwest of Australia. LOCATION:
17. CHARACTERISTICS: • THE ASIAN TIGERS Key Takeaways. The Four Asian Tigers are the high-growth economies of Hong Kong, Singapore, South Korea, and Taiwan. All four economies have been fueled by exports and rapid industrialization and have achieved high levels of economic growth since the 1960s. • MIX OF INDIAN AND CHINESE INFLUENCE Rugged mountains separated Laos, Thailand, Burma and Cambodia from China. As a consequence, they were influenced more by Hinduism and Buddhism which came from India. • ISLANDS The insular region of Southeast Asia includes the countries of Malaysia, Singapore, Brunei, East Timor, Indonesia, and the Philippines.
18.  It is also sometimes referred to as Middle Asia, and, colloquially, "the 'stans" (as the five countries generally considered to be within the region all have names ending with the Persian suffix "-stan", meaning "land of". With a land mass of 1,545,721 sq. km and a population of 48,860,993. CENTRAL ASIA Central Asia, also sometimes known as Middle Asia or Inner Asia, is a region in Asia east of the Caspian Sea, west of China, north of Afghanistan, and south of Russia. LOCATION:
19. CHARACTERISTICS: • Nomadic cultures Nomads form two distinct cultural groups: Turkic and Mongolian. Kazakhs, Kyrgyz, and Uzbeks, among others, are Turkic-language- speaking nomads. For centuries, they traveled the riverine valleys and grasslands with their animals: horses, Bactrian camels and dromedaries, yaks, oxen, mules, and donkeys. • Silk Road The Silk Road, commonly known as the first global trade route in history, had a scope and importance far greater than the simple exchange of goods. Indeed, the myriad of interconnected routes served as a vehicle for the fruitful exchange of arts, religion, cultures, ideas and technology. • Russian/Soviet influence After World War II the Soviet Union rapidly industrialized Kazakhstan and started prospecting for oil in the whole of Soviet Central Asia. Oil was found in Uzbekistan and both oil and gas were found in Turkmenistan. These fuel supplies would prove invaluable to the region over the coming years.
20. Physical Feature s of Asia
21. THE PHYSICAL FEATURES OF ASIA CAN BE CLASSIFIED INTO FOLLOWING:  Plateaus: It is made up of old hard rocks. The Deccan plateau is the large plateaus in the southern part of the Asia. Plateau of Arabia and the plateau of Yunnan are the significant plateaus of this region.  Lakes: One of the most notable includes Lake Baikal in Russia, the deepest freshwater lake in the world  Mountains: This includes Mount Everest, the highest mountain on Earth  Deserts: Mostly found in the southeast, this includes the Rub al Kali, known for containing more sand than the Sahara, in the Arabian Peninsula  Rivers: The third-longest river in the world, the Yangtze, is found in China  Plains: Found mainly in Asia's center, this includes the West Siberian Plain, one of the largest plains systems in the world
22. WHY ASIAN REGIONAL
23. - defined as a political ideology that favors a specific region over a greater area. It usually results due to political separations, religions geography, cultural boundaries, linguistic regions, and managerial divisions.
24. DIFFERENCE BETWEEN REGIONALIZATION AND GLOBALIZATION Regionalization  a process of dividing an area into smaller segments called regions Globalization  a process by which the people of the world are unified into a single society and function together
25. DIFFERENCE BETWEEN REGIONALISM AND REGIONALIZATION Regionalism  is the theory or practice of regional rather than central systems of administration or economic cultural political affiliation Regionalization  division of a nation into states or provinces
26. - Product of economic interaction between Asian countries.
27. The center of gravity of the global economy is shifting to Asia. The region's economy is already similar in size to those of Europe and North America, and its influence in the world continues to increase. In many Asian countries, the cycle of poverty has been broken; in others, this historic aim is within sight. Asia's extraordinary success has brought new challenges—while rapid economic growth remains a priority, citizens demand that it also be sustainable and more inclusive. And Asia is now so important to the world economy that it must also play a larger role in global economic leadership. Regional economic cooperation is essential for addressing these challenges. WHY ASIAN REGIONALISM?
28. WHY ASIAN REGIONALISM? • Asia's economic rise is unprecedented. • Regionalism is a relatively new aspect of Asia's rise. • Asian economies are principally connected through markets— but where markets lead, governments are following. • The stakes could not be higher.
29. HOW REGIONAL ISM CAN BENEFIT
30. Regional cooperation, effectively structured and implemented, is a powerful new tool in Asia's policy arsenal. It can help Asia address regional challenges as well as provide stronger foundations for its global role. An integrated Asia can: • link the competitive strengths of its diverse economies in order to boost their productivity and sustain the region's exceptional growth; • connect the region's capital markets to enhance financial stability, reduce the cost of capital, and improve opportunities for sharing risks; • cooperate in setting exchange rate and macroeconomic policies in order to minimize the effects of global and regional shocks and to facilitate the resolution of global imbalances; • pool the region's foreign exchange reserves to make more resources available for investment and development; • exercise leadership in global decision making to sustain the open global trade and financial systems that have supported a half century of unparalleled economic development; • build connected infrastructure and collaborate on inclusive development to reduce inequalities within and across economies and thus to strengthen support for pro-growth policies; and • create regional mechanisms to manage cross-border health, safety, and environmental issues better.
31. HOW ASIAN REGIONALIS M CAN BENEFIT THE
32. The rest of the world could benefit, too. So long as Asia's economies continue to integrate not just with each other, but also with the rest of the world, sustained Asian dynamism, strengthened by regional cooperation, could bolster Asia's role as a new and stabilizing engine of global economic growth. There are many reasons why Asia is likely to remain outward-looking—not least because its economy is in large part built on economies of scale and scope in manufacturing and so requires global markets to perform at its potential. Indeed, because an integrated Asia will continue to have a powerful stake in the global economy, it would have both an incentive and the leverage to play a bigger role in keeping global markets open and vibrant. An integrated Asia can: • generate productivity gains, new ideas, and competition that boost economic growth and raise incomes across the world; • contribute to the efficiency and stability of global financial markets by making Asian capital markets stronger and safer, and by maximizing the productive use of Asian savings; • diversify sources of global demand, helping to stabilize the world economy and diminish the risks posed by global imbalances and downturns in other major economies; • provide leadership to help sustain open global trade and financial systems; and • create regional mechanisms to manage health, safety, and environmental issues better, and thus contribute to more effective global solutions of these problems.
33. The Economic s Of
34. The economics of regionalism have a complex and troubled history. In the 1930s, countries created preferential trade blocs in an attempt to shelter their economies from the Great Depression. Several countries established discriminatory currency blocs with strict exchange controls against outsiders. Far from helping, these arrangements led to the collapse of international trade and financial flows, accelerating the downward spiral of economic activity. This experience was foremost in the mind of the architects of the post- war global economic system as they adopted the principle of nondiscrimination as a central pillar of the General Agreement on Tariffs and Trade (GATT), the forerunner of the World Trade Organization (WTO). Many economists and policy makers remain skeptical about regionalism because of its potentially negative impact on the multilateral trade and financial system.
Hinweis der Redaktion
You will learn how many Asian civilizations differ from your own and how they are similar as we examine their diverse traditions.


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Mallobathra fenwicki är en fjärilsart som beskrevs av Alfred Philpott 1924. Mallobathra fenwicki ingår i släktet Mallobathra och familjen säckspinnare. Inga underarter finns listade i Catalogue of Life.

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Externa länkar

Säckspinnare
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redpajama_set_name: RedPajamaGithub


I love a bit of Hornsea Pottery. I blogged about my Hornsea Saffron Pottery a little while ago.
This lovely little mug was designed in the 1970s by John Clappison. He was an incredibly successful designer working for Hornsea, Ravenhead glass, Royal Doulton and Coryfo ceramics. Sadly his name doesn't appear on many pieces, so he's unfamiliar to many, but his work sold in the millions.
This particular mug features a school of fish swimming around the edge. These mugs come in quite a few colourways, mine is made up of a beautiful olive green and bright pink. In all honesty, I would love to get my hands on more of these. They also come with patterns of dolphins, owls, chickens, elephants and even the whole zodiac. I covet them all!


Salford City hosts an international football match for the first time as England 'C' take on their Welsh counterparts at The Peninsula Stadium.
Under 5s admitted free when accompanied by an adult.
Turnstile 'B' (Nevile Road) and Turnstile 'C' (Moor Lane, West) will be open for this game.
A programme will be available inside the ground priced at £1.00.
As this is not a Salford City F.C. home game, seat reservations do not apply. Should season-ticket holders wish to occupy their usual seats, early arrival is recommended.
Please note – Our Park & Ride service will not be in operation for this game.
Parking restrictions operate around the stadium, between 5pm and midnight for evening kick-offs. Please see the map below for details on the extent of the zone (affected streets shown in red). Blue badge holders may park within the restricted area for up to 3 hours between 5pm and midnight.
HARROGATE TOWN (Wednesday 27th March, departure 4:45pm, fare is £7.50).
MAIDSTONE UNITED (Saturday 6th April, departure 7:15am, fare is £15.00).
Supporters can book coach tickets in the match-day office, open between 6:15pm and 7:30pm, then again after the match.
The match-day office has moved – it is still situated on the Nevile Road side of the ground, but has moved to the school end in the new changing room complex. Access for supporters is via the serving window on the side of the new building.


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Vernon es una estación en la línea A del Metro de Los Ángeles y es administrada por la Autoridad de Transporte Metropolitano del Condado de Los Ángeles. Se encuentra localizada en Vernon (California), entre Long Beach Avenue y Vernon Avenue.

Conexiones de autobuses
 Metro Local: 105, 611
 Metro Rapid: 705
 LADOT DASH: Pueblo Del Río, Sureste

Referencias

Estaciones de la línea A (Metro de Los Ángeles)
Estaciones de Metro de Estados Unidos inauguradas en 1990


August is by far the most intense month to experience in the Hamptons with barely a lull in the frenzy of traffic and throngs of people everywhere. It's a time when extreme caution as drivers, pedestrians, and bikers must be exercised. Please cross the streets responsibly, using the cross walks only, by pushing the button and waiting for the walk signal … and then, look in all directions before crossing … please! Alertness and awareness of harried motorists can save your life. Last week, as I stepped into the crosswalk the moment the signal gave permission to cross, I was nearly taken out by a speeding truck whose driver clearly blamed me by shouting obscenities out the window, as I jumped back shaken by the near miss. I should have been more careful and not in such a hurry. Forgive me for beginning on a negative note. I just want us all to make it through safely to the next season! My gratitude for the lovely serenity that shelters us here in our hamlet as it soars to new heights during this month. I look forward to an intriguing new art exhibit starting tomorrow whose title I find especially appealing.The John Little Society presents "Quiet Riot" at Duck Creek Farm located at 367 Three Mile Harbor Road, featuring an "immersive site specific projection installation," or light show by acclaimed artist Christine Sciulli in the John Little Barn. Using projected light as her primary medium, Ms. Sciulli has exhibited her work in many venues locally and around the world. Janet Goleas, curator of the Islip Art Museum, described her installation there as "a quiet riot of controlled chaos." As a recipient of a Lower Manhattan Cultural Council Grant, she created a roving outdoor video installation in Duane Park in Tribeca. She was also commissioned by the Global Poverty Project in 2013 to create and project "expanding circles" unto 2500 people at the Global Citizen Festival at Central Park. To learn more about this fascinating artist and her work, please visit http://soundandvision.cc and http://vimeo.com/xine. Meanwhile, experiencing the show at Duck Creek is definitely a must-see. Running through September 20, the opening reception is tomorrow, August 21 from 5 to 8 p.m. Please enter and park at the north access to Squaw Road off of Three Mile Harbor Road. The exhibit will be open to the public on Fridays and Saturdays from 4 to 7 p.m. or by appointment. Visit http://duckcreekfarmarts.blogspot.com/ for more information.
Does the suggestion of taking your entire family to see a movie tomorrow night sound ludicrous, not to mention expensive? What if you could spread out on an expansive, grassy field under a starry night sky while breathing in fresh sea air, at a cost of $5 a person? Well, tomorrow night, Thursday August 21, is "Family Outdoor Movie Night" sponsored by the Citizens for Access Rights and Hamptons Drive-In, with the gates opening at 7:30 p.m. at the Maidstone Park Ball Field. "The Croods," a computer animated adventure comedy film, starring the voices of Nicholas Cage, Emma Stone, Ryan Reynolds, Catherine Keemer, Clark Duke, and Cloris Leachman will begin at 8:30 p.m. Bring beach chairs, blankets, and the kids, but refreshments must be purchased on site. All proceeds will benefit CfAR, whose primary goal is to protect beach access rights on the East End and to defend a lawsuit in progress affecting a stretch of beach in Napeague. Admission is free to members of CfAR.
This Sunday's Lichtenstein Lecture Series at The Fireplace Project located at 851 Springs Fireplace Road, presents art historian Gail Levin delivering a lecture titled "The Influence of Spanish Art and Politics on Abstract Expressionist Painting in North America" at 5 p.m. Admission is $5 with Pollock-Krasner House members getting in for free. As always, light refreshments will be served, and it's a relaxing, informative way to wrap up the weekend.
For those who haven't heard about or haven't yet purchased tickets, the exciting first annual "Heart of Springs" summer gala fundraiser is taking place this Sunday from 6 to 8 p.m. under a grand tent on the green of Ashawagh Hall. Made possible by the generous donations of local sponsors and the dedication of a newly formed gala committee. All proceeds will go to the maintenance of our precious historic buildings that form the "heart" of our historic district, Ashawagh Hall, the Springs Library, the Springs Community Presbyterian Church, and the Parsons Blacksmith Shop. The evening features wine from Wölffer Estates, hors d'oeuvres by Graze Culinary, craft beer by Montauk Brewery, breads and cheeses by Amagansett Farmer's Market and Eli's Breads, and live music by Josh Brussell. Best of all is the chance to be a part of the great energy that surely will pervade when the numerous folks who love and support our community come together to ensure the endurance of our most sacred buildings. Tickets are $100 and can be purchased by calling (631) 604-1163 or visiting www.heartofsprings.org. Attire is "fisherman's formal" which makes me smile. Hope to see you there!
Planning ahead, possibly considering doing something special to celebrate making it beyond Labor Day reasonably intact and unscathed, the Springs Community Presbyterian Church is now taking reservations for its famous Lobster Dinner! To be held on their scenic grounds which overlook Accabonac Harbor at 5 Old Stone Hwy on September 6 from 5 to 7 p.m. This low-key and delicious dinner consists of a one-and-a-half pound lobster, new potatoes, corn on the cob, tomato salad, beverages, and dessert for $40 a ticket. It's a hugely popular event for obvious reasons, so it's wise to reserve now by calling (631) 324-4791 or emailing springs church@optonline.net Take-out is also available.
Art in all forms, music, food, family feature films, and endlessly, achingly beautiful venues for events, relaxation, and recreation, not to mention some of the nicest people on earth … the Springs offers it all this August and beyond, in a fashion that refreshingly never feels chaotic or overwhelming. Enjoy!


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Why Tanya Talaga wrote a book about the lives and deaths of 7 Indigenous students in Thunder Bay | CBC Books Loaded
Books·How I Wrote It
Why Tanya Talaga wrote a book about the lives and deaths of 7 Indigenous students in Thunder Bay
The journalist and author talks about how she wrote Seven Fallen Feathers, which is a finalist for the Hilary Weston Writers' Trust Prize for Nonfiction.
Ryan B. Patrick · CBC · Posted: Sep 27, 2017 2:07 PM ET | Last Updated: January 8, 2018
Tanya Talaga highlights the lives of seven Indigenous students in Seven Fallen Feathers. (Steve Russell/Toronto Star/House of Anansi)
Tanya Talaga is an award-winning investigative journalist for the Toronto Star and the author of Seven Fallen Feathers. The book, a finalist for the 2017 Hilary Weston Writers' Trust Prize for Nonfiction, is about seven Indigenous high school students who died in Thunder Bay, Ont.
Carol Off among finalists for $60K Hilary Weston Writers' Trust Prize for Nonfiction
The students were hundreds of kilometres away from home, forced to attend school in the northern city and were ultimately found dead in the region. Talaga's book is a factual, comprehensive and emotional read about the injustice Indigenous communities face on a daily basis.
In her own words, Talaga tells CBC Books how she wrote Seven Fallen Feathers.
Seven Fallen Feathers is on the Canada Reads 2018 longlist
Shining a light
"The idea to write this book first came to me in 2011. I was in Thunder Bay as a journalist, covering another story on the Canadian federal election about why Indigenous people were not planning on voting. I interviewed the then Grand Chief of Nishnawbe Aski Nation Stan Beardy and we had an interesting conversation. I was asking him about the election and he was telling me about Jordan Wabasse, who at the time was the seventh teen to go missing and his body had not been found.
"Beardy wanted to know why I wasn't covering that story and I decided to be more respectful and listen to what he was saying. That's when the lightbulb went on. I started to write stories about these seven individuals. I remember being at the command centre during the search for Jordan. It was an overwhelming feeling that this was a deeper story, more than just something for the newspaper. This is something so much more."
Getting the details right
"Writing a book takes a lot out of you. I had to be physically and mentally prepared to get the details right. I remember starting it the day after the inquest [into the deaths of the seven Indigenous teenagers]. That was the end of June of 2016 and I wrote the entire book in a year. I wrote it in chunks; sometimes I would just sit and things would come to me and I would write it down.
"Writing it was not easy — sometimes I was just staring at the computer or staring at my cat or staring at the fridge. It's hard, but then something just clicks, like pieces of evidence or information from the inquest exhibits, which are very much the research backbone of this book."
Emotionally invested
"I think you have to be emotionally invested and the story of the seven students is pretty close to me for a variety of reasons. I was standing with Stan Beardy at the Kaministiquia River and I remember looking at Mount McKay just looming in front of us. That mountain is the spiritual centre for Fort William First Nation, which is where my own grandmother is from. It was like someone smacked me in the gut — I was thinking about my mother's upbringing here and also about all the First Nation children who had to travel so far away.
"I was thinking about being a mother myself. I can't imagine having to send them 500 kilometres away to go to school. I find it incredibly difficult to fathom that we don't have school for Indigenous kids in their communities. This isn't right. I knew I had to write this book. I had to do it."
Tanya Talaga's comments have been edited and condensed.
Fall Book Preview
20 works of Canadian nonfiction to watch for this fall
The bestselling books in Canada: Sept. 24-30, 2017
How I Wrote It
How Carol Off balanced fact and emotion in writing All We Leave Behind


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Home / News / Macclesfield drug dealer jailed
Macclesfield drug dealer jailed
Macclesfield drug dealer, Aaron Christopher Bradley, (28), of Western Avenue was arrested by police officers following a chase through Macclesfield has been jailed for three years.
Aaron Christopher Bradley, 28, of Western Avenue, Macclesfield hid wraps of Class A drugs down his pants during the pursuit, Chester Crown Court were told.
Prosecutor Peter Hussey told the court that plain clothed police officers saw Bradley acting suspiciously along with another man near a Ford Fiesta car on Windmill Street at around 12.30pm on March 27 this year.
Mr Hussey said: "When an officer made himself known to the defendant he sprinted off on foot and was pursued along various streets. At one point he was seen to throw away a package which he pulled from the rear of his shorts and also threw away a metallic item which was later found to be the keys for the Fiesta car."
When he was apprehended he was found to be in possession of £85 in cash and two mobile phones. A further body search search while in custody found 23 wraps of cocaine and 17 wraps of heroin with an estimated value of £400.
Investigating detectives found two messages on one of the phones believed to be from a main dealer.
Mr Hussey said one text was asking to give account of a cash transaction and another said 'reload', believed to mean replenish supplies of drugs.
Bradley pleaded guilty to possession with intent to supply both cocaine and heroin.
Defending Bradley, Maria Masselis said her client had agreed to a basis of plea which was not disputed by the Crown.
She said her client was a user of crack cocaine and heroin and was under pressure to pay off drug debts and feed his own habit by transporting heroin and cocaine for others.
She said that on the day in question he was due to deliver drugs to a location on the Hurdsfield estate in Macclesfield.
Judge Patrick Thompson said heroin and cocaine cause 'untold misery' and anyone found dealing them faced a custodial sentence.
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You are here: Home » Farm-to-Fork News » Halal Integrity » UAE: Global Halal Industry Platform held in Dubai
UAE: Global Halal Industry Platform held in Dubai
salama | 19/02/2018	| Reply
Staff Writer, WAM (Emirates News Agency)
The two-day platform is expected to be launched by Sultan bin Saeed Al Mansouri, Minister of Economy.
DUBAI- The third Global Halal Industry Platform, organised by the Emirates Authority for Standardisation and Metrology, ESMA, will open tomorrow in Dubai with the participation of 300 experts and specialists from around the world.
The two-day platform is expected to be launched by Sultan bin Saeed Al Mansouri, Minister of Economy and Chairman of ESMA, and will be attended by experts and officials, who will discuss the key challenges facing the international halal system and how to overcome them, as well as innovations that will achieve balance between growth in the industry and compliance with Islamic Sharia.
Abdullah Al Maeeni, Director-General of ESMA, said that the platform's third edition will witness important discussions, to be raised for the first time, on the role of banks in the innovation and empowerment of the halal industry, and the role of the media in introducing the public to the halal industry, as well as hearing from a variety of key officials from the banking and financial sector.
He noted that the platform was transformed last year into a specialist international initiative, and the current edition will help ensure the creation of diverse innovations in the halal industry, including in halal food, hospitality and tourism, beauty products and cosmetics. International experts will also meet on an annual basis in Dubai to discuss their achievements and confront the challenges of the previous year, he added.
The forum's sessions will include the role of the media in informing the public about the importance of the halal industry, especially for Islamic communities abroad, and will feature the experience of media company CNN in establishing a department that specialise in reporting on the Islamic economy, he added.© Copyright Emirates News Agency (WAM) 2018.
Category: Halal Integrity, Halal Trade, Islamic Economy, Media & Events, Middle East & Africa, Research, Shariah Issues, Trade Events
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Most likely descended from vintage punch recipes that followed the ratios of 1 strong (spirits), 2 sweet (sugars, sweeteners), 3 Sour (citrus, acidic elements), 4 weak (water, ice or mixers), the Whiskey Sour is one of the earliest of the sour family of cocktails. Kind of a great uncle to other sours like Margaritas, Daiquiris, the Aviation and the Sidecar, it is a much aligned cocktail that has suffered badly from lazy versions that employ bottled sour mixes instead of the fresh lemon juice and sugar/simple syrup called for in original recipes.
"1 large tea-spoonful of powdered white sugar dissolved in a little Seltzer or Apollinaris water.
The juice of half a small lemon.
1 wine-glass of Bourbon or rye whiskey.
Fill the glass full of shaved ice, shake up and strain into a claret glass. Ornament with berries."
Aside from the atavistic measurements and Victorian era language, pretty much what one should expect from a real Whiskey Sour. On the same page, Thomas also lists recipes for the Gin Sour, Santa Cruz Sour and the Brandy Sour.
If you're a fan of sours, you need to take another look at this neglected but honorable cocktail of a bygone era but make sure you do so with a good whiskey, fresh lemon juice with real sugar and - please - leave the sour mixes to gather dust on the store shelf.
Add the whiskey, lemon juice and simple syrup to an ice filled cocktail shaker.
Strain over ice into a rocks glass or straight up into a coupe or cocktail glass.
Garnish with the orange slice and a REAL Maraschino cherry.
BOSTON SOUR - add some egg white.
NEW YORK SOUR - float 1/4 Oz. Red Wine.
AMARETTO SOUR - Amaretto replaces the whiskey.
SANTA CRUZ SOUR - replace the whiskey with Rum.
* Traditional recipes call for "gomme" syrup which is simple syrup with gum arabic added to keep the sugar from crystallizing. Not necessary if you prepare fresh simple syrup properly and use it frequently. The gum arabic also added some body but that can easily be introduced by adding an egg white which will also add a lovely foam top. Of course, technically you are then drinking the above mentioned Boston Sour.
National Whiskey Sour Day is celebrated every August 25th.


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Fresh water algal bloom, Uncategorized
Green slime invades world's deepest lake
November 19, 2015 algaeworldnews Leave a comment
[Russia] The world's deepest lake was long known as one of the most pristine. But in recent years, a bizarre invasion of green slime has taken over areas of Russia's Lake Baikal, leaving scientists looking for possible sources of pollution.
Like shag carpet – An overgrowth of algae makes for a weird scene in the lake. Oxygen levels there have dropped, which might pose a problem for aquatic creatures.
Located in far eastern Russia, Lake Baikal "has got to be one of the top five most beautiful places in the world," says Stephanie Hampton, a lake ecologist at Washington State University who has spent a decade studying Baikal. "But these dramatic algal blooms need attention," she adds.
Eerie scene – Lake Baikal is the world's largest lake by volume, comprising about 20 percent of the Earth's unfrozen freshwater. It has a depth of 5,387 feet (1,642 meters).
Scientists from Russia and elsewhere have been observing dense mats of filamentous algae on the bottom of the lake each fall since 2008. A recent study found the algae belong to the genera Spirogyra and Stigeoclonium.
Green trash – Algae coats cables, bottles, and other trash on the bottom of the lake.
The mats, resembling green shag carpets, have been popping up in some areas just offshore of towns, which suggests human pollution may be to blame, says Hampton.
Sponges at risk – Algae can coat sponges in the lake, killing them.
Scientists are looking for a cause, but they suspect nutrients are washing into the lake from human sewage or from animal waste used as fertilizer. Such nutrients can cause a bonanza of algal growth, particularly in a lake normally characterized by high oxygen content and low nutrient levels.
Deep exploration – Formed by an ancient rift valley, Lake Baikal contains more water than all of North America's Great Lakes combined.
If a source of pollution is identified it should be corrected as soon as possible, before it causes wider impacts in the lake, says Hampton. "The good news is we know how to fix sewage problems, with treatment," she adds.
Unusual water -Baikal's water contains more dissolved oxygen than human blood. But scientists warn that the algal mats can deplete the oxygen needed by other aquatic life.
Baikal is known for its high endemic species diversity, including hundreds of species of fish and invertebrates. The ecological impact of the algae is unknown, although scientists have measured a sharp decrease in oxygen above the mats, which might spell trouble for aquatic life.
Big lake – Baikal's coastline is about as long as the state of Florida's. Much of it remains in roadless areas, but the lake is a popular and growing tourist destination.
Scientists also are concerned that Baikal has been warming due to climate change. Hampton's research suggests that this has triggered changes in plankton—the base of the food web—leading some to wonder how long the lake will retain its reputation as a deep, clean oasis.
Photo: Photograph by Viktor Lyagushkin
View original article at: Green slime invades world's deepest lake
freshwater lakepollutionRussiaSpirogyraStigeoclonium
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Unofficial stores were selling knockoffs of the Apple iPhone 6s in the city of Shenzhen this week says Reuters. Running on an android system, the fakes are slow in their operation and offer poor quality camera images. A fake iPhone 6s costs around $90, a tenth of the price of the real version.
There's also 30 plus stores using Apple Inc's logos in a busy retail street in Shenzhen. Only thing is there's just one official store in this city of seven million people and a further 5 authorized dealers.
According to Reuters the whole fake Apple store model has even created a cottage industry in Shenzhen to meet the unauthorized shop's needs. There were two shops in a giant tech mall selling Apple logos, uniforms, display shelves and shopping bags.
If you want to set up an unauthorized Apple outlet they've got what you need.
Some analysts say the existence of bogus Apple stores in China may not be a bad thing as it actually promotes brand awareness. China, you see, has only 22 Apple stores but they do have plans to expand and by mid-next year that number is expected to be nearly double.
On the flip side, the pervasive and unsanctioned reselling of even legitimate Apple products can make it hard for the tech giant to manage their brand. It also risks their future operations in the country.
Meanwhile the real iPhone 6s and 6s Plus are expected to break record sales across the globe for Apple this weekend.


A respite provider gives the family or primary caregiver a break from his or her duties of caring for an individual with a disability. Breaks are needed in order to rest and re-charge as well as to take care of other duties or responsiblities. Time away from caregiving is important to releive stress and avoid getting burned out. During respite, the respite provider will be responsible for the safety and well being of the individual being cared for. Respite is ussually provided in the family home or in the community. Respite may also be provided in the provider's certified home. Not all providers will have a certified home in which to provide the service. This service is available through DDD or private pay.
The attendant care provider will do for the individual what the individual is not able to do for themself or able to learn through habilitation services. Typical attendant care duties include grocery shopping, light house work, cooking, laundry, or other evryday chores. Attendant care may also consist of assisting with personal hygiene, medication reminders, or attending doctor appointments.Attendant care providers are required to receive special training and are monitored on a regular basis by agency staff. Attendant care takes place in the indivual's home or in the community.This service is available through DDD or private pay.
Habilitation services consist of working with the individual to teach skills needed for activities of daily living (ADLs). Progress is tracked and goals are updated at least annually. Family members are encouraged to participate in developing the teaching strategies and monitoring requirements in order to ensure the needs are met to the fullest extent possible. Habilitation providers are required to receive special training. Habilitation takes place in the indivual's home or in the community.This service is available through DDD or private pay.
Companion Care is a non-DDD service similar to, but more flexible than respite. This service is designed for private pay clients that wish to have a provider spend time with them. Time may be spent doing activities of the individual's choice, accompany to/from doctor appointments, or just check in to assure things are going well. This is a customizable service designed to fit the needs of the individual.


An excellent replacement for HCFC-141b and TCE based cleaners. It evaporates very quickly and leaves absolutely no residue. These performance characteristics, combined with good materials compatibility, make ECOLINK NF-45 Aerosol an ideal degreaser.
*We suggest that you always test critical compatibility or call us for tech support.
ECOLINK NF-45 is designed to clean contacts, relays, and other critical electronic components. It is an excellent replacement for HCFC-141b contact cleaners with many of the same performance characteristics. Point spray opening away from face. Spray surface to be cleaned until well saturated. The rapid penetration and evaporation of Ecolink NF-30 will remove contaminants in a single application. Re-apply only if necessary.


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