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I found a verrry interesting item while reading "Jaymun's Journey" (see: http://tinyurl.com/l5te4c Thanks, Dave! Incidentally, I am so thankful and happy that Jaymun is home now, what a relief!), which then led me to the following abstract: http://tinyurl.com/klxuvf Wowiezeewie!
In September, I will ask Sherlock if she can get me the full study…in the meantime, we will have to be content with what can be gleaned from the abstract, such as this glorious titbit: Ganoderma lucidum extract has a profound activity against leukemia, lymphoma and multiple myeloma cells and may be a novel adjunctive therapy for the treatment of hematologic malignancies. Profound effect??? That sounds super…but what is this stuff?
Finally, I would like to add that 24 hours from now Stefano and I will be on a flight for the U.S. We are spending our three-week summer holiday in my home state of Massachusetts. Yaaay! I can't wait!
I will have access to my blog and e-mail account during this period (we are staying at my parents' house, mostly), so I won't "disappear" as I was forced to do last summer, when we went to France. But hey, after all, we will be on holiday, so I doubt I will be doing much research! A more likely scenario: Margaret (and Stefano, of course!) on a whale-watching boat or wandering through one of the Mass Audubon wildlife sanctuaries. But I will certainly stop by the blog now and again to say "hi there!" and post a few of the glorious photos that I plan to take…well, I have some packing to do, sooo…ciao for now!
This morning I took on the task of going through some of my still unread (=for lack of time) e-mails, in particular, my "Science Daily" messages. So glad I did! I found one very interesting item (see http://tinyurl.com/mcac5k): a new study shows that women treating their symptoms of menopause with hormone replacement therapy could reduce their risk of developing breast cancer by taking, tadaaa!, curcumin.
The researchers found that curcumin delayed the first appearance, decreased incidence and reduced multiplicity of progestin-accelerated tumors in an animal model. Curcumin also prevented the appearance of gross morphological abnormalities in the mammary glands. It did this by blocking progestin's increased production of VEGF (aha, an old nemesis of ours pops up…). The researchers believe that curcumin and other antiangiogenic substances could decrease or delay the risk of breast cancer associated with combined hormone replacement therapy. Holy puffins!
Menopause is a very complicated process…I admit to knowing very little about it, except the basics that I suppose every woman knows…but I realize that I must look more closely into this process at some point soon because I seem to have entered a premenopausal stage…even though I have had no unwelcome symptoms yet (hot flashes, e.g.). I must say, though, after reading this article, I feel much encouraged that perhaps my daily intake of curcumin will protect me in yet another way…a peachy thought!
Premise: in my blog, my intention has always been to report on my own experience concerning both health issues and life in general, with some funny stuff thrown in here and there. I have always intended to do this in a straightforward and humorous manner…that's how I am in real life, after all! And if I make a mistake, or base a post on incorrect information that I found on my own or that I received from someone else, I try to set things right as soon as possible. Well, I made a mistake in my April 16 2009 post. I meant to write a "correction" post earlier, but other things (life!) got in the way…then a blog reader reminded me of my duty just this morning. OOPS!
Blog reader: I have a friend who currently has Smoldering Multiple Myeloma and has had that diagnosis for 10 years. She has been advised that according to your graph – "Figure 2. Probability of Progression to Active Multiple Myeloma…" she has a 66% probability of developing MM sometime in the future. Further, that as time passes, since the cumulative probabilities are increasing, if she makes it to 15 years, she will then have a 73% probability of progressing to MM and eventually she will have a virtually 100% chance of progression.
I see the data as retrospective rather than prospective. That is, on average, 66% of people with smoldering MM already have progressed to MM after 10 years. As for those who have not progressed at 10 years (about 34% of the original group), an additional 7% in absolute terms or about 21% in relative terms (21% of 34% = 7%) will progress – thus arriving at the 73% cumulative probability at 15 years.
I realize the 21% is a theoretical and imperfect estimate since it does not take into consideration many factors such as death from unrelated causes etc. However, would you say that the 66% value in your graph refers to the proportion of people who have progressed to MM at 10 years and is not an estimate of the proportion of people who will progress after 10 years?
The expert: You are correct in your assumption that the 66% value refers to the proportion of people who have progressed to MM or AL amyloidosis at 10 years and is not an estimate of the proportion of patients who will progress after 10 years. As a matter of fact, the risk of progression after 10 years is approximately 1% to 2% per year.
Our data indicates that the patient is at greatest risk during the first five years and then the risk decreases. As you pointed out, we are all at risk of succumbing to something as times goes on.
So, the rather dismal statistics in the NEJM study refer only to those who HAVE PROGRESSED from a smoldering state to active myeloma after 10 years. It does not take into consideration those who HAVE NOT PROGRESSED. Indeed, if you have NOT progressed, your risk factor decreases with each passing year, which, by the way, coincides with my original interpretation of the study. In the study author's own words, As a matter of fact, the risk of progression after 10 years is approximately 1% to 2% per year. Hah.
"The overall risk of progression was 10% per year for the first 5 years, approximately 3% per year for the next 5 years, and 1% per year for the last 10 years." What this means is that in year 1, 10% of the group of smolderers progressed to full MM, same in each of years 2-5. Then, after that, of those who were left in the group, in each of years 6-10, 3% of the group progressed. Next, again out of those who were left, only 1% of them progressed each year thereafter. So basically, the rule is "the longer you have been smoldering, the more successful you will be at staying in the smoldering state", statistically speaking and in layman's terms. You don't accumulate [ ie. add ] the percentages as you go along. For example, if you make it as far as year 6, then your chances of progressing during year 7 are 3%.
Okay, so, having SMM does not mean that some day you will inevitably progress to active myeloma. Some of us will, some of us won't.
Great. Another promising substance just joined my to-be-tested list…!
One of my fellow myeloma bloggers did a really sweet thing for me and two other bloggers (see: http://lacootina.blogspot.com/2009/07/in-good-company.html): he honored us at a "Relay for Life" event. These, he explained to me, are community based events to raise money for the American Cancer Society. It is a 24 hour event, so families bring tents and kids and organize teams. There's music, games, etc. There must be a team member walking all the time, you sign up for hour or so shifts including through the wee hours of the morning. The bags are honoring survivors or in memory of those who died of cancer. There is a candle inside that is lit after dark and burns all night long. The track where everyone is walking is illuminated by thousands of these decorated bags. Inside there is a can of food, which is later donated to a local relief agency.
But I plan to post about the full nail fungus treatment study in the next few days…I am going through it right now, in my snippets of time. In the meanwhile, I hope you will enjoy this image of a puffin carrying some sand eels back to its burrow, a rather blurry photo taken by yours truly on Skomer Island on July 5th.
"Lovers of the English language might enjoy this. It is yet another example of why people learning English have trouble with the language. There is a two-letter word in English that perhaps has more meanings than any other two-letter word, and that word is 'UP.' It is listed in the dictionary as being used as an [adv], [prep], [adj], [n] or [v].
It's easy to understand UP, meaning toward the sky or at the top of the list, but when we awaken in the morning, why do we wake UP? At a meeting, why does a topic come UP? Why do we speak UP, and why are the officers UP for election and why is it UP to the secretary to write UP a report? We call UP our friends and we use it to brighten UP a room, polish UP the silver, we warm UP the leftovers and clean UP the kitchen. We lock UP the house and some guys fix UP the old car.
At other times the little word has a really special meaning. People stir UP trouble, line UP for tickets, work UP an appetite, and think UP excuses. To be dressed is one thing, but to be dressed UP is special.
We open UP a store in the morning but we close it UP at night. We seem to be pretty mixed UP…about UP!
To be knowledgeable about the proper uses of UP , look the word UP in the dictionary. In a desk-sized dictionary, it takes UP almost 1/4 of the page and can add UP to about thirty definitions.
When it threatens to rain, we say it is clouding UP. When the sun comes out, we say it is clearing UP. When it rains, it wets UP the earth. When it does not rain for awhile, things dry UP.
One could go on & on, but I'll wrap it UP, for now….my time is UP, so…time to shut UP!


text:
Kiwanis Club awards $50K in grants
by Editor July 8, 2015 March 21, 2022
The Kiwanis Club of Santa Monica recently concluded its annualcommunity grant program by giving away $50,000 at last week's luncheon meeting. The leaders of the community organizations receiving grants enjoyed lunch and the opportunity to speak about their organizations.
One of the grants will help the Junior Blind Foundation provide a summer camp experience for children who are visually impaired.
Another grant supports Angel Flight West in their efforts to fly sick and injured patients who would otherwise not have access to adequate care, to Santa Monica to receive exceptional care at our area hospitals and universities. They have recently started a new program called Earth Angels for volunteers to drive patients from the airport to treatment.
Safety Harbor Kids received a grant to help their mission of providing orphaned and foster youth with opportunities for a brighter future through educational outings, art and music programs and college preparatory tutoring.
The director of the Children's After-School Theater told us their organization has three objectives: building confidence, fostering teamwork, "and yes also putting on plays."
K-9 Connection works with at risk teens to train homeless dogs for adoption. The teens build their self-esteem and learn to practice empathy, and the dogs get a second chance on finding a loving home. K-9 has helped hundreds of teens and dogs thanks to grants like this one.
At the end of the grant presentation, Robert Kronovet, the current President of the Kiwanis Club of Santa Monica, referred to the organizations' leaders and volunteers as heroes. Heroes for doing what they do, for the people they selflessly serve, and on behalf of all of us.
The Kiwanis Club of Santa Monica is able to provide these community grants partly by raising funds at the annual Texas Hold'em Poker Tournament. This year, the seventhyear, the event will be on Saturday, August 15 at the Loews Santa Monica Beach Hotel. All players are welcome to this community event, major prizes are awarded to the top nine finishers and a great time is had by all. The evening festivities begin at 5 p.m. The buy-in is $125 and includes $2,000 worth of chips, gourmet buffet dinner, drink ticket and raffle ticket. Register to play or to sponsor by going to our website.
Lest you think the Kiwanis Club is still a group of poke-playing men (well, admittedly it was at one time), Kiwanis Club International is 49.6 percent women and is the first global service organization with a female leader. Sue Petrisin of Lansing, Michigan, will be the first woman president of any of the international service groups when she begins her term in October. Congratulations Sue, and congratulations Kiwanis.
From supporting the community through generous contributions, to bringing the community together for fundraising and fun, to leading the community by setting an example of equality, Kiwanis lives up to its motto: a global organization of volunteers dedicated to improving the world, one child and one community at a time.
Since 1922 the Kiwanis Club of Santa Monica has been the most active service organization in Santa Monica; each year the club awards over $120,000 to our community in the form of grants, scholarships and sponsorships. Regular club lunch meetings are the first three Wednesdays of the month from 12 to 1:30 p.m. To join us or to donate to Kiwanis Charities, visit our website at www.KiwanisClubSM.org or follow us on Facebook.
'Tis the year for giving
Kiwanis fundraising for local youth
Kiwanis Club offers scholarships
Tagged: angel flight west, charity, children's after-school theater, community, fundraising, grants, jessica handy, Junior Blind Foundation, k9 connection, kiwanis, kiwanis club of santa monica, loews hotel, philanthropy, robert kronovet, Santa Monica, service station

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Alexander, Ronelle. "Tracking the South Slavic Epic Register." Classics@ 14. Washington, DC: Center for Hellenic Studies, 2016.
The Milman Parry Collection of Oral Literature, housed in Harvard University's Widener Library, offers a unique window into the past, and specifically into the world of Yugoslav oral epic as it existed in the 1930s among a non-literate population. Thanks to Milman Parry's foresight, scholarly rigor, and perseverance, the materials allow scholars working nearly eight decades later to experience this no-longer-living oral tradition almost at first hand. Central to the collection are continuous audio recordings (on aluminum discs), and notebooks with transcriptions made by a team member who was present at (and took part in) the recording process. Furthermore, the recordings include not only lengthy song texts (sung to the gusle as well as recited) but also conversations with the singers. We can thus analyze the language of the songs in detail, and also compare the language of song with the language used by the same individuals in a more neutral, non-singing situation.
Lord's description of this "poetic grammar," in terms of theme and formula, falls roughly within the framework of the Chomskyan linguistic theory prevalent at the time, according to which the role of grammar was to describe the competence of a speaker of a particular language. Chomsky's focus, and that of linguists who have followed in this vein, was on the idealized grammar which represented this "competence"; they referred to instances of actual speech production as "performance."  For them, the opposition between competence and performance was more or less that between a consistent overall system vs. the often imperfect actual realizations of this system; their primary focus was (and still is) on achieving a full description of the idealized underlying system.
Other linguists felt that the idea of "linguistic competence" should not be restricted to the confines of an idealized grammar, but that the context of speech must also be taken into account. To right the balance, the anthropological linguist Dell Hymes introduced the term "communicative competence,"  and the notion that competence in a language meant, not only the ability to recognize and produce grammatically correct utterances, but also the ability to recognize and produce utterances appropriate to the particular speech situation. The study of these different "ways of speaking," and the fact that they were frequently associated with particular groups or communities, evolved into the discipline known as the ethnography of speaking.
Linguists outside the Chomskyan sphere also began to focus more attention on the context of speech. The discipline of sociolinguistics, which studies varieties of language that are correlated with (and affected by) socially-determined factors of language use, came to the forefront in the 1960s and has continued to grow. Within sociolinguistics, the concept that correlates most closely with communicative competence is that of register. The term itself was first coined in 1956 by T. B. W. Reid, and the concept was popularized by M. A. K. Halliday, who defined it as "the configuration of semantic resources that a member of a culture typically associates with a situation type."  As in the case of "ways of speaking," registers do not exist in isolation. Rather, as Jean Ure notes, "the register range of a language comprises the range of social situations recognized and controlled by its speakers—situations for which appropriate patterns are available."  Each register is tied to a particular recurring social situation, and functions both to signal the speakers' recognition of that situation (as opposed to some other situation) and to allow the communication appropriate to that particular situation to take place more effectively. Nearly every community recognizes something akin to a "formal" register and a "casual" register, but other registers are more specialized.
Yet even in 1960 Lord recorded his hesitation that the dichotomy of langue and parole would apply to the language of oral performance. "It might be worth suggesting," he wrote, "that we have in the case of oral epic performance something that is neither langue nor parole, but some third form," or even "something that is both langue and parole at the same time under different aspects, thus making a third form of communication, or of relationship, peculiar to oral verbal art."  This observation would indicate that Lord already realized (as did Parry before him) that an analysis of the language of epic song must make reference not only to "competence" in both the senses outlined above, but to "performance" as well. In other words, an appropriate framework would be one that would include all of the perspectives mentioned above.
Such a framework has in fact been proposed by John Foley. Making reference not only to Halliday's definition of register but also to performance theory, ethnopoetics, and the ethnography of speaking broadly defined, he has spoken in some detail of the "epic register" with reference to verbal art of different sorts in different cultures.  This is a very productive move, in that it allows us to refer to all the different elements of this very complex phenomenon under the umbrella of a single term. Indeed, by the inclusion of the word "epic," this conceptual framework introduces yet another element, that of genre. If one views genre in the more traditional sense, that of established literary canons, then the term "epic register"—part conventionalized and static and part situational and dynamic—might seem something of an oxymoron.
More recent views of genre, however, see it in much more fluid terms. Sociolinguists now view register, genre, and style as three distinct but overlapping concepts. Biber and Conrad, for instance, note that both genre and register make reference to the intended purpose of a particular instance of a "text variety" (which can be either spoken or written), as well as to its situational context, and that they differ only with reference to the actual linguistic features, which are "functional" in the case of register and "conventional" in the case of genre.  Linguistic anthropologists go even further in pointing out not only the "porousness" of each of the two categories but also the fact that each is continually renegotiated in practice.  In the case of the epic singers studied by Parry and Lord, therefore, where each song is composed anew in performance, which in essence meant that each instance recreates the genre, such a multi-faced approach holds a great deal of promise.
Of course, as with any powerful conceptual approach, there will be things that still need working out "on the ground." In the hopes that this method will become practicable, I should like to make two cautionary notes, each having to do with the obvious fact that registers do not exist in isolation. The first is related to the fact that any one register must be defined with reference to a specific community, and the second to the fact that it must be defined in relation to other registers available to that particular community. In what follows I speak only of the Parry-Lord material; however the cautions are general ones which may be applicable in other instances as well.
As is well known, Parry and Lord carried out their extensive fieldwork in the Yugoslavia of the 1930s, and Lord did additional fieldwork in the Yugoslavia of the 1950s. The series in which portions of the materials have been published bears the title Serbo-Croatian Heroic Songs, where the adjective identifies the language in which the songs were sung. Clearly, therefore, the speech community to which the songs "belonged" was seen as unified by language. Of course, even then the language was pluricentric—a single language with recognizably different norms serving populations in different regions—and anyone familiar with the material knew that the singing tradition they described was native only within part of the language area covered under the rubric "Serbo-Croatian." Still, because the language was generally recognized as a single entity, this term was sufficient as a rough identification of the type of tradition being discussed.
The problem becomes even more acute when one uses the phrase "South Slavic epic" to modify the noun "register." The name of a language used as a cover term can reasonably apply to all speakers of a language or, with express qualification, to a subset of them; and the name of a register used as a cover term (such as "baby talk" or "legalese") can also apply to the traits common to such registers in different languages. But, as nearly all definitions of "register" make clear, any one register is defined by the fact of functioning within (and at the service of) a particular well-defined social unit. The fact that there is no such unit definable as "South Slavic" deprives this term of practical functional meaning.
The breakup of what used to be Serbo-Croatian has created many a dilemma for which there is no easy solution, and this instance is no exception. One possible choice would be to speak of the "Bosniak epic register," where the adjective refers to what is now a clearly defined social unit—Muslims who speak what used to be called Serbo-Croatian. Another would be to speak directly of a particular set of singers and texts, and speak of the "Herzegovinian Stolac epic tradition," a choice which might seem apt in this instance, since Foley has clearly identified all his examples as deriving from his close and thorough study of singers from this specific area. A third would be to use an ad hoc term such as "P-L epic tradition," referring to the specific singing register that functioned in the 1930s in the regions where Parry and Lord worked. But if one is to reap the full benefits of the concept "register," there must be a clearer, and more concretely grounded, identification of the social group within which it functions.
The second caution has to do with the fact that a register is by definition relative. One can only identify "formal" speech in relation to speech that is less formal, "baby talk" in relation to the kind of talk which occurs outside the presence of babies, "academic jargon" in relation to more neutral prose, and the like. Indeed, the attractiveness, as well as the explanatory power, of the idea "epic register" is that it points not just to a type of language but also to a particular situation, one in which that language is not only appropriate and expected, but one which has also contributed to the formation of the register itself (for still living traditions, one may add "… and which continues to contribute to its ongoing definition"). To arrive at a thorough and nuanced understanding of this complex phenomenon, therefore, it is clearly necessary to define the distinctive traits of the register; and this in turn can only be done by assuming that those who command the register (either actively or passively) have the competence which allows them to differentiate it from the other registers which they also command.
Which other registers should these be? Should one contrast the register appropriate to the specific performance arena of epic song with that of other specific performance arenas and speak of the folktale, or the proverb, or the charm register? Or should one think more broadly, and contrast the overall performance arena (and the register with which it is most commonly associated, the epic) with that of speech outside the performance arena? The second choice seems to make the most sense, and this is what Foley has done. Thus he has stated his intention to contrast the language of epic song of the singers of Stolac with that of "the unmarked conversational standard" of these same singers,  specifying further that this should be the singers' "own conversational registers."  Not only is this the correct choice, but it is also a particularly apposite one, in light of the fact that the Parry Collection includes audio recordings not only of extended stretches of epic singing, but also of extended stretches of conversation between Parry, his field assistant Nikola Vujnović, and the same individuals who did the singing. Thus, although the tradition is no longer living in the form in which Parry and Lord encountered it, one has the next best thing in the ability to contrast extensive recorded samples of these two speech styles.
In Parry's case, although the speech he recorded was clearly conversational, the social context was far from neutral. Neither the physical environment in which the conversations took place, nor the social situation of which each of the participants was highly aware, could be regarded as ordinary or unmarked. One must therefore take these factors of "unnaturalness" into account if one uses this speech style as the standard against which to define the epic register. Of course, Parry was not a sociolinguist or a dialectologist, and he was much less concerned with providing a natural speech environment than he was with making maximal amounts of durable quality audio recordings of continuous singing or speech performance. He accomplished this latter feat by creating an ad hoc recording studio out of two adjoining hotel rooms, placing himself, Nikola, and the singer before a microphone in one room and the recording apparatus (managed by his student assistant, Albert Lord) in the other room. Using the apparatus specially designed by Parry, Lord was able to manipulate the different aluminum disks in a way that allowed recording to proceed without interruption.
From the singer's point of view, this was a highly marked situation. First, the conversation took place not in the comfortable and familiar environment where relaxed chatting would normally take place, such as the village square or the yard of someone's home, but in the hotel room of a foreign visitor. Not only that, the singer was placed directly in front of a large mechanical device and expected to speak straight into it, in the knowledge that what he said would be recorded onto disks that were being manipulated in a neighboring room. Second, the social differences between the interlocutors could not go unnoticed. In most instances (and in all instances of Stolac singers), the singer was a Muslim who was being questioned by a countryman of a different religion (Nikola was Catholic) who in turn was clearly taking directions from a foreigner of yet a different religion (Parry was Protestant). Furthermore, the singer, an individual of some stature and consequence in his own community (both in terms of prestige and chronological age), was answering questions put to him by a Catholic compatriot in his late 20s, himself in the employ of an American who also had stature in his own faraway community but was nevertheless only in his early 30s. Finally, the singer was speaking in the knowledge that he would be judged by what he said and sang, and paid accordingly, by a young man who was himself receiving pay from the ultimate instigator of the entire situation, the youthful American professor representing a distant university.
No interview situation is completely neutral, of course, and one must always contend with the observer's paradox. Still, the characteristics of this particular situation are much more marked than might be the case were these recordings to have been made by linguists, ethnographers, or folklorists working today. Furthermore, in interpreting the material of these conversations, we must take into account not only this highly marked contextual background but also the fact that in most cases our source is limited to a written transcription, and that the majority of these transcriptions (including all those relevant for the current analysis), were made several years after the fact. It is also relevant that the transcriber was Nikola Vujnović himself, working at that point in the U.S., where he had been brought specifically for this purpose. Nikola thus had the advantage (as well as the possible disadvantage) of his own recollections of the recording situation.
To demonstrate the possible action of all these factors, I will quote from the transcript of a section of the conversation with the Stolac singer Ibro Bašić, and then analyze the conversation not only on the basis of the written transcript but also the audio disks from which the transcription was made.  In the excerpt below, I have transcribed the text exactly as Nikola wrote it. Portions spoken by Nikola are given in italics; portions spoken by Ibro are in roman type. For purposes of analysis I have broken the text up into lines and sub-sections, added line numbers, and provided an English translation.
1 Pjevaš li to Ibro, jednu pjesmu uvjek isto svaki put? Recimo riječ za riječ?
4 kad kaziva riječ po riječ muka je to, neku zaboravi, neku prebaci, neku tako.
5 A onako Kad pjeva uz gusle ono ide sve ono jedan za drugijem tako.
6 A znaš li ti šta je to kazat riječ za riječ kad pjevaš?
8 ono pa govorimo eto tako i pjesma ono govorimo biva.
9 A nepreskočiš nikada ništa kad pjevaš jedan put i dva put jednu pjesmu?
13 i ono mora gonit onako.
1 Ibro, when you sing a song, is it always the same each time? Word for word, so to speak?
3 when you sing it to the gusle. Then everything goes fine the wayit should when you sing.
4 But when you recite it word for word that's hard. You forget something, you omit something, stuff like that.
5 But when you sing to the gusle everything goes in order just right.
6 So do you know what it means to sing something "word for word"?
7 That's like talking, like, well, to say, just like you and I are talking now.
8 Well, we talk, and that's what a song is, it's like talking.
9 And you never skip anything when you sing a song once, and then the same song again?
13 and you have to push it through like that.
16 Kad si bijo mlad koliko ti je puta trebalo da čuješ jednu pjesmu pa da je naučiš?
19 i što primi zaboravi, ono iz glave odma izađi.
20 I veliš ti samo jedan put da je čuješ?
22 odma bi je primijo. A sad Bogami nemogu.
23 Ma kako to Ibro?
25 Kako se može tako dugačka pjesma primit.
27 pa sluša i drago mu. Jer to kako iđe, taman ko škola i učenje.
28 Samo mu kaži rećemo jednom onu zadaću i ono uvrti u glavu.
30 vet u đetinjstvu primi, i mora primiti tako pa ono mu ište srce znaš, pa da primi.
31 Pa ondak teža pretegni, teža pretegni, i ono zaboravi.
16 When you were young, how many times did you need to hear a song in order to learn it?
19 and what I do pick up I forget. It just goes right out of my head.
20 So you say you only had to hear it once?
22 and I picked it up immediately. But now by God I can't.
23 Well, how is that, Ibro?
24 Well, it just is.
25 How can someone pick up such a long song?
27 and you listen and you like it. That's how it goes, just like school and learning.
28 You just say once what the task is, and it goes straight into one's head.
31 then you get it. But then it gets harder and harder, and you forget.
33 i jednu pjesmu o begu Ljuboviću.
35 I jednu pjesmu o Alagić Aliji.
38 ili jedna još o Đerđelezu, ili još jedna ili dvije o Ljuboviću, bili znao ti?
39 Nebi, nebi Bogami Nikola.
44 pa prebaci onu otud, pa onu otud, pa nekud neiđe.
45 A jesili ti čuo kada druge pjesme o njima da pjevaju?
50 pa ono čojek zaboravi odma. Zaboravi.
33 and one about Beg Ljubović.
35 And one about Alagić Alija.
38 or another one about Đerđelez, or one or two more about Ljubović? Would you know [some of these]?
39 No I wouldn't, by God, Nikola. I wouldn't.
40 You wouldn't know [any more]?
44 you mix this thing in here, and that thing in there, and it ends up not working.
45 Well, have you ever heard other [singers] sing some different songs about them?
50 and that's the sort of thing you forget right off. You forget.
51 Što ono znači riječ za riječ pjevati u pjesmi?
54 što je ono riječ za riječ?
57 to je kaže to je riječ to je naš jezik, sve ono.
58 Ali što je riječ? Što je riječ kažimi?
62 jeli to knjiga Nikola? Jeli to ibrik Nikola. E tako je to je reć.
63 Što je recimo jedna riječ u pjesmi. Kažimi jednu riječ iz pjesme?
66 A to su stihovi.
67 E Pa ja to je kod nas, to jes kod vas, a kod nas reče se to.
69 Ja tako je to.
51 What does it mean to sing a song "word for word"?
52 What do you mean, what does it mean?
54 what does that "word for word" mean?
55 That's, you know, well, it's like what they call speech, a word.
56 It's like speech, you know? It's just like how I'm talking to you right now.
57 That's, you know, that's a word. It's our language. A word, you know, it's speech, all that.
58 But what's a word? Tell me what a word is.
62 "Is that a book, Nikola? Is that an ibrik [coffeepot], Nikola?" There, that's how to say—how to say a word.
63 Well, then, what's a word—a word in a song? Tell me a word, tell me, from a song.
66 But those are verses.
67 Ah—well, that's how it is with us—I mean with you. Us, that's how we say it.
69 Yes, that's how it is.
70 A na primjer kada kaže ono podranijo što je ono?
71 To je reć uranijo ili usto hoćeš, pa ono podranijo.
72 A što je ono?
73 Ja neznam što je ono vet ovo ti je ovako rećemo, šta je ono.
75 prije zore, ogranka sunca. To je reć podranijo, uranijo, podranijo, tako.
76 A na primjer kada ti kažeš Ja sam Bašić, što je to?
81 a ja neumijem to istomačit ono materinijem jezikom.
82 A jeli to riječ na primjer kazati sam?
84 Jes, to je riječ?
85 Ja, sam čojek, jes.
86 Ali kako onda može biti ono riječ, Podranijo od Kladuše Mujo?
87 Ama ja neznam, tako je to reć, tako je to.
70 So for instance, when you say this "arose early," what is that?
72 And what is that?
73 I don't know what that is. It's, you know, just the way we say it, that's all.
75 before dawn, at break of day." You could say "arose early," "got up early," "arose early," things like that.
76 And for instance, when you say "I am Bašić," what is that?
77 God knows! I don't.
78 You don't know this?
80 you need somebody with schooling to explain all that to you.
81 Me, I don't know how to explain that, not in my mother tongue.
82 So is it a word, for instance, to say "am"/"oneself" ?
84 It is? That's a word?
85 Yes, I—I, myself, a person. Yes.
86 But then how can this "Mujo of Kladuša arose early" be a word [too]?
87 Well I don't know, that's just how you say it, that's just how it is.
88 U redu moj Iro [sic].
90 A znaš li ti još štogod o Gazi Hrustanbegu?
90 So do you know some other piece about Gazi Hrustanbeg?
This selection is of especial interest since it contains a particularly eloquent discussion of the concept of riječ (the singer's speech act),  one which has been frequently quoted. Parry's interest in the concept of "word for word" fidelity, a topic which comes up frequently in his conversations with the singers, is the central concern of section A. The conversation then moves to the process of transmission and learning (section B) and the singer's repertoire (section C). Sections D and E return to the idea of "word for word." Although section D is the one most frequently quoted, both are critical in this regard; indeed the near breakdown of communication in section E contributes significantly to our understanding of the concept in the mind of the singer. In section F Nikola moves to re-establish a communicative equilibrium with the singer; due to space limitations, only the beginning of this section has been included.
Comparison of the transcription with the audio records, which contain non-verbal information such as pauses, laughter, and intonational cues, is highly instructive. For one thing, although Parry's words are only infrequently marked in the transcript, they are much more frequently heard in the background. Furthermore, it is clear from the authoritative tone of his voice, even if his words are not always intelligible, that he is in control of the conversation. Nikola and Ibro appear to accept this fact of control, though there are certain instances of discomfiture, heard both in non-verbal cues and in one purposeful word choice made by Nikola. Even the transcription itself provides evidence of this discomfiture. Most of it is accurate, but there are certain errors. Two rather significant ones concern omissions that occur relatively early in the text: in line 42, Ibro says not just ono tačno but ono tačno koju znam 'exactly the one I know', and in line 44 he says not just pa prebaci but pa ono nije pa prebaci 'but if it isn't then you mix …".
Nearly all the errors, however, occur during a segment of the conversation when Nikola appeared to be caught between his need to obey his employer and his knowledge (as a singer himself) that Parry's question will make no sense to Ibro. Because it is known that Nikola made the transcription of the conversation at least three (and perhaps four) years after it took place,  it would appear that his unease about this culture clash was still present at some level of his consciousness. I have included the correction for each of the errors in the translation, and will summarize the most significant of them below.
The sections of relevance are D and E. After line 50 (the end of section C), there is a long pause. Parry's words in the background are not audible, but he is clearly directing Nikola to return to the issue of "word for word." Both Nikola and Ibro seem disoriented at this: they appear to feel that the question had been settled already (in section A). Nikola transcribes his own speech incorrectly in line 51, adding an extra instance of za riječ (as if he had said the equivalent of "word for word for word", which he clearly did not say), and Ibro's intonation in line 52 conveys a clear sense of mistrust. Further on, Nikola writes for Ibro's speech in line 56 tebi sad instead of sad tebi ("[talking] to you now"): there is no essential change in meaning, but the lapse is unusual for Nikola, who usually makes a very faithful transcription of what is on the record.
In line 57, however, his error is more significant: he leaves out an entire phrase in one of Ibro's most significant speeches. Thus, Ibro says not just to je kaže to je riječ to je naš jezik sve ono, but rather to je kaže to je riječ to je naš jezik riječ kaže to je besjede sve ono "That's, you know, that's a word, you know, that's our language. A word, you know, like speech, all that". This new element, the idea of speech (or utterance), becomes the center of the next few lines (59–62), especially line 62, where Ibro illustrates the idea of a self-contained utterance very clearly (jeli to knjiga Nikola? Jeli to ibrik Nikola "Is that a book, Nikola? Is than an ibrik, Nikola?"). Parry's voice is heard in the background immediately after this, and it is right at this point that Nikola again leaves out an entire phrase of Ibro's. Thus, the conclusion of line 62 is not E tako je to je reć, but E tako je to je reći reć riječ (There, that's how to say—how to say, to say a word.) Then in the next line, when Parry's words are heard in the background again, Nikola once more omits to transcribe several words from his own speech. This time there is no change in the meaning, but the smoothness of the transcription hides the fact that Nikola was at this point feeling some unease. Thus, instead of Što je recimo jedna riječ u pjesmi, Kažimi jednu riječ iz pjesme?, Nikola says Što je recimo jedna riječ jedna riječ u pjesmi, Kažimi jednu riječ kaži iz pjesme? ("Well, what's a word, a word in a song? Tell me a word, tell me, from a song"). In short, Nikola's transcription of this whole section conveys his own apparent discomfort as he recalls the situation. Once he and Ibro agree on the all-important distinction between "words" and "verses," however, in lines 66–67, equilibrium appears to be restored. Indeed, the intonational patterns at this point convey that all three sides (singer, singer/investigator, and scholar) are happy with this distinction.
But then Parry decides to push the issue further. After line 69, we hear his words clearly in the background, as he says to Nikola the equivalent of "Ask him if ja ['I'] is a word, ja sam ['I am']". This puts Nikola in a quandary. As a singer himself, he knows this question will make no sense to Ibro, so he not only omits to transcribe altogether the clearly audible line of Parry's speech, but he also—after a notable pause—substitutes a different word, podranio 'arose early' (line 70). But then Parry repeats the request, after line 75, and Nikola is forced to put the question directly to Ibro (line 76). Ibro's response (line 77) is accompanied by derisive laughter, followed by his highly significant observation about the incongruence between the worlds of orality and literacy (lines 79–81), at which point the conversation seems almost in danger of breaking down altogether. But Parry is still not satisfied: we hear his directions again in the background, in response to which Nikola asks Ibro again (line 82) whether sam is a word. In doing so, however, Nikola pronounces the word not in the meaning "am" (quite naturally, since the rules of the language do not allow this word to be pronounced in isolation), but rather with a long vowel, in the meaning "oneself". After this exchange, even Parry seems to acknowledge the dead end, and he directs Nikola to shift the conversation back to Ibro's repertoire (section F).
The intent of the above excursus, comprising a brief description of the social situation of the conversations in general and an examination of a specific portion of one of these conversations, has been to demonstrate that the conversational speech of singers (as recorded by Parry) cannot be taken as exemplary of a neutral register, an "unmarked conversational standard." What this speech is, however, is much more interesting than what it is not. First, it is an example of the type of discourse which sociolinguists analyze in terms of participant manipulation, in terms of the choices made by each participant in a conversation as he negotiates the constant trade-off between the achievement of his own individual goals and the maintenance of the conversational flow. Space does not permit a full conversational analysis of this excerpt, though a few elements have been mentioned above. Second, this situation gives us valuable insight into the actual means by which Parry both obtained his remarkable collection and derived the significant insights which Lord then brought to full expression. It is paramount to remember as well that Parry also obtained nearly all of the most valuable epic song texts in his collection in this very same recording situation, one in which the two-person audience, though clearly a knowledgeable one, was not representative of the social situation in which singers normally performed.
This, of course, reminds us that the performance situation represented by the Parry-Lord material is one which we must largely reconstruct, and that we have relatively little direct information about the neutral context of South Slavic epic performance at the time Parry did his recordings. We have what Murko and Parry have told us about their observations, and we have a few isolated narratives by the singers themselves (indeed, at another point in his conversation with Nikola,  Ibro tells a vivid tale, replete with epic hyperbole, of how he out-sang several other singers on a particular occasion). But without actual videotape evidence or multiple detailed first-hand reports, we simply do not have enough information about the performance situation to achieve a full-fledged description of the performance register. At the same time, we can and must use the insights of modern scholarship to deepen and enhance our understanding of what the epic register must have been like in those portions of the South Slavic world of which Milman Parry and Albert Lord have left us such a vivid record.
Agha, A. 2006. Language and Social Relations. Cambridge.
Bauman, R. 1977. Verbal Art as Performance. Prospect Heights, IL.
Bauman, R., and C. L. Briggs. 1990. "Poetics and Performance as Critical Perspectives on Language and Social Life." Annual Review of Anthropology 19:59–88.
———. 1991. "Genre, Intertextuality, and Social Power." Journal of Linguistic Anthropology 2:131-172.
Biber, D., and S. Conrad. 2009. Register, Genre, and Style. Cambridge.
Chomsky, N. 1965. Aspects of the Theory of Syntax. Cambridge, MA.
Halliday, M. A. K. 1978. Language as Social Semiotic: The Social Interpretation of Language and Meaning. Baltimore.
Hymes, D. 1966. "Two Types of Linguistic Relativity." Sociolinguistics, ed. W. Bright, 114–158. The Hague.
———. 1994. "Ethnopoetics, Oral-Formulaic Theory, and Editing Texts." Oral Tradition 9:330–370.
Foley, J. M. 1992. "Word-power, Performance, and Tradition." Journal of American Folklore 105:275–301.
———. 1995. The Singer of Tales in Performance. Bloomington.
———. 1996. "Guslar and Aoidos: Traditional Register in South Slavic and Homeric Epic." Transactions of the American Philological Association 126:11–41.
Lord, A. B. 1960. The Singer of Tales. Cambridge, MA.
Murko, M. 1929. La poésie populaire épique en Yougoslavie au début du XXe siècle. Paris.
———. 1951. Tragom srpskohrvatske epike. Zagreb.
Parry, M. 1987. "Ćor Huso: A Study of Southslavic Song, Extracts." The Making of Homeric Verse: The Collected Papers of Milman Parry, ed. A. Parry, 437–464. Oxford.
Peco, A. 1964. "Istočnohercegovački govor." Srpski dijalektološki zbornik 14:1–200.
Reid, T. B. W. 1956. "Linguistics, Structuralism and Philology." Archivum Linguisticum 8:28–37.
Ure, J. 1982. "Introduction: Approaches to the Study of Register Range." International Journal of the Sociology of Language 35:5–24.
[ back ] 1. Lord 1960:36.
[ back ] 2. Chomsky 1965.
[ back ] 3. Hymes 1966.
[ back ] 4. Halliday 1978:111.
[ back ] 5. Ure 1982:5.
[ back ] 6. Bauman and Briggs 1991:79.
[ back ] 7. Bauman 1977.
[ back ] 8. Hymes 1994.
[ back ] 9. Lord 1960:279–280.
[ back ] 10. Foley 1992, 1995, 1996, 1999. The self-contained article printed in 1996, "Guslar and Aoidos: Traditional Register in South Slavic and Homeric Epic", was reprinted with only minimal changes as chapter 3 (entitled "Homer and the South Slavic Guslar: Traditional Register") of the 1999 book Homer's Traditional Art.
[ back ] 11. Biber and Conrad 2009:2.
[ back ] 12. See Bauman and Briggs 1991 on genre, and Agha 2006 on register.
[ back ] 13. Foley 1995:xiin3.
[ back ] 14. Parry 1987:445.
[ back ] 15. Foley 1996:25; 1999:74, my emphasis in each instance.
[ back ] 16. Foley 1996:25, 1999:74.
[ back ] 17. Foley 1996:25n32; 1999:293.
[ back ] 18. Peco 1964.
[ back ] 19. Both the full transcript (PN 6598) and the audio files of one portion of it (disks 4405–4406) were made available to me courtesy of the Milman Parry Collection of Oral Literature housed in Harvard's Widener Library. I am particularly grateful to David Elmer and Peter McMurray for facilitating my access to audio recordings.
[ back ] 20. For unknown reasons, John Foley consistently used the Serbian-marked form reč 'word' to designate this concept, despite the fact that all the singers Parry worked with used the form riječ in the meaning 'word', and that nearly all of them were from regions (Bosnia, Herzegovina, and Montenegro) where riječ was the accepted standard form.
[ back ] 21. The conversation took place in June, 1935, and Nikola made the transcription at some point during his 18-month stay at Harvard, between 1938 and 1940.
[ back ] 22. PN 6598, disks 4403–4404.


text:
A Moscow Music Peace Festival egy kétnapos rockfesztivál volt 1989. augusztus 12-én és augusztus 13-án az egykori Szovjetunió területén. A koncerten az 1980-as évek népszerű külföldi hard rock, heavy metal együttesei léptek fel, illetve a Gorky Park zenekar, amely a Szovjetunióból indult el. A fesztivál fináléjában színpadra lépett az elhunyt Led Zeppelin-dobos John Bonham fia, Jason Bonham is. A Mötley Crüe és a Skid Row együttesek tagjaival közösen előadta a Led Zeppelin "Rock and Roll" című dalát.

Fellépő együttesek
Cinderella: Tom Keifer, Fred Coury, Jeff LaBar, Eric Brittingham
Gorky Park: Alexie Belov, Nyikolaj Noszkov, Sasha Minkov, Jan Ianenkov, Sasha Lvov
Scorpions: Klaus Meine, Matthias Jabs, Francis Buchholz, Herman Rarebell, Rudolf Schenker
Skid Row: Sebastian Bach, Dave Sabo, Rob Affuso, Rachel Bolan, Scotti Hill
Mötley Crüe: Vince Neil, Mick Mars, Nikki Sixx, Tommy Lee
Ozzy Osbourne: Ozzy Osbourne, Zakk Wylde, Randy Castillo, Geezer Butler, John Sinclair
Bon Jovi: Jon Bon Jovi, Richie Sambora, Alec John Such, Tico Torres, David Bryan

Fordítás

Koncertek
1989 a zenében

redpajama_set_name: RedPajamaWikipedia


Julia is a young Swedish woman who lives alone with her cat in Vienna. One day she's going to write a literary masterpiece, become friends with Elfriede Jelinek and stop filling in marketing surveys to kill time. But until then she'll go on working as an English language teacher for over-ambitious business leaders and under-achieving kids.
On a park bench she meets Ben and they fall in love. Everything's perfect, apart from the minor facts that Ben lives in a bush and really needs to take a shower.
HOW TO FALL IN LOVE WITH A MAN WHO LIVES IN A BUSH is a wonderful love story about daring to choose with your heart and look beyond the surface, beyond expectations and beyond ragged clothes.


text:
Books by John Held Jr. – USA
Posted on May 4, 2016 in Book, Books, Uncategorized
New books by John Held – USA
A set of two books have been published at TAM-Publications.
Part – 1 (page 1-439) and Part -2 (page 440-919) of the book "Where the Secret is Hidden" , Collected Essays, 1979-2011 containing 106 essays written over 30 years on the 20th Century cultural avant-garde including Duchamp, Cage, Mail Art, Fluxus, BiY, zine and artist publishing, international cultural networking, performance art, rubber stamps and other artistic mediums the mainstream considers marginal. Each essay is illustrated with the publication in which it first appeared or an associated item. (see: http://www.lulu.com/spotlight/iuoma for more details of both parts)
Exhibition in Queens – USA (1999)
Posted on May 4, 2016 in Exhibitions, IUOMA, Netherlands, Ruud Janssen, Uncategorized
Queens Library Gallery : Transmit
These are the invitation and the first pages of a catalogue of the exhibition TRANSMIT held in 1999 at the Queens Library Gallery in New York. The theme: Fluxus, Mail-Art, Networks.
Remembering my mother (1930-2013)
Posted on May 3, 2016 in Netherlands, Ruud Janssen, Uncategorized
Is is already a few years that she died. This month it will be 3 years ago. She rests now with my Father and brother. They died both much too young. I am getting 57 in a few months, and realize that I am getting much older and have a long way to look back at. My father died when I was only 16 years old, so liitle time I had together with him. My mother had a difficult time since 1976 since she was not prepared for being alone that soon. With three children to rase a task she had to finish. My brother died before she did. The details on the thombstone say enough.
So, yes, thinking back on the years together, and the fact that I now only have memories and some artifacts I collected to keep with me for the time being. May they rest in peace……
The Old TAM BULLETIN – visuals
Posted on May 3, 2016 in Outgoing Mail-Art, Ruud Janssen, TAM-Bulletin, Uncategorized
The TAM bulletin was issued in the 80-ies. Originals were made with the typewriter and then xeroxed with a machine and sent through the snail-mail. The Mail-Art network funtioned differet in those years and the papers connected thousands of people back in those 80-ies.
Brochures TAM-Publications
Posted on May 2, 2016 in Breda, Digital World, Fluxus, IUOMA, Millennium Statements, Netherlands, News, Ruud Janssen, Statements, Uncategorized
Lots of brochures where published in a digital way (also printed and sent out) when the Internet took over. Just click on the image to get a full sized view. The brochures deal with some specific themes on the subjects of Mail-Art, Networking and Fluxus.
The Undying Art of Mail
Posted on May 2, 2016 in Links, Netherlands, News, Ruud Janssen, Uncategorized
source: http://www.brokenpencil.com/features/the-undying-art-of-mail
We used to send mail, and there used to be an underground movement of artists who made mail art. Laura Trethewey tracks down the artists who made the postal system an integral part of their work to find out how mail art is faring in the age of the Internet.
By Laura Trethewey ,
In the mid '90s, Rubberstampmadness –a periodical that at the time covered mail art and rubberstamping– was a 136-page glossy, colour magazine with classified ads, letters to the editor, a subscription base of 12,000 and retail sales of 8,000 copies. In 1992, publisher Michael Malan wrote, somewhat wishfully that "in the '60s, it was drugs. In the '70s, it was sex. In the '80s, it was money, who knows, in the '90s, it may be rubber." But then came the Internet. Throughout the '90s Rubberstampmadness's focus shifted as less and less mail art filtered in and stamping, as a hobby unto itself, took off. Today, the mag runs the occasional issue on mail art, but with a limited print run of 7,000 copies. As the decade wound down, the WorldWide Web began to undermine the power of print and paper. A long running indie art tradition was faced with, if not extinction, then at the very least the daunting task of reinvention.
This once private process of making, sending and receiving mail art is now very much public and online. A quick Google search for "Mail Art" turns up hundreds of scanned images from Germany, Russia, India, almost anywhere in the world. This open and immediate exchange of ideas and artwork is very different from its scattered, hidden-in-plain-sight beginnings in the '50s. Mail art emerged out of the influence and work of three geographically disparate art movements: the New York Correspondence School, the Nouveau Realistes in Europe and the Fluxus movement in Japan. It was a simple way to connect people all over a rapidly globalizing world, and a way to repurpose that ultimate symbol of technocratic triumphalism, the post office. Turn a postcard into a collage, mail a decorated envelope stuffed with all types of bricolage, and the act itself becomes art, prodding confused machines, awed postal workers and unsuspecting recipients into a different space, if only for a moment or two. As Mark Evard, the National Director of the Canadian Union of Postal Workers with over 20 years experience delivering mail, explains it: "I've seen decorated bottles, a coconut, a shell, empty Kraft Dinner boxes that have been decorated. Technically, we're not supposed to be reading the mail, but normally when stuff like that comes through, people show it around to the other letter carriers in the aisle where they work."
Some send around notebooks to be filled page-by-page with artwork or writing. Another popular objet d'art is a set of homemade stamps, more often called artistamps, a term coined by London, Ontario artist Michel Bidner in the '80s. If there was such a thing as stated rules in mail art, they would include a few loose guidelines: Anyone can be a mail artist, all senders shall receive a response to a piece of sent art and pretty much anything can be considered mail art. In a time of cold war repression and obsessive commercialism, mail art challenged barriers and crossed borders. And it was just plain fun. As New York-based artist Sylvia Kleindinst puts it, during her adventures in mail art in the mid-'80s to mid-'90s: "I was writing to 40 or 50 people. My mailbox was always filled with these wonderful cards,"
But then came the Internet. "I think actually getting on the computer sort of killed mail art for me," Kleindinst says. "I went into corresponding through Yahoo groups." And other obstacles to the traditional practice of mail art arose around the dawn of the new millennium. "In the early '70s, postage was six cents to anywhere in the world," points out BC-based mail artist Ed Varney. "I could mail to 300 people for $18. Now, the same mailing would cost about $325 (assuming 100 Canadian, 100 USA and 100 international addresses — and weighing not over 30 grams). That's a difference that can't be ignored."
With costs rising and new technologies threatening to usurp the viability of the practice, it's hardly surprising that mail artists started to take their cues from the web. Dutch mail artist Ruud Janssen began experimenting with early Internet technology, such as the Bulletin Board System (BBS) in the mid-'80s. By 1990, he was ready to take his mail art community newsletter, the TAM-bulletin, online via BBS. ("Send anything that has to do with BRAINS," reads a call-out in the inaugural electronic issue in November, 1990.)
Today, Janssen is one of the most prominent advocates of the online mail art community. He runs The International Union of Mail-Artists (IUOMA) with over a thousand members from all over world. The IUOMA operates as a sort of hyper-creative Facebook. There are updates of who's friends with whom and photo albums of recent vacations, which are needless-to-say wholly unrelated to the practice of mail art. Yet the site is also a testament to how rich and sophisticated the online world of mail art has become. Many creative undertakings are coordinated through the IUOMA, such as a mail-art novel with over 30 artists contributing a different chapter. Its first seven chapters are already completed and online. The writing itself is entirely informed by the breakneck pace of the Internet with nods to month-old events, like Malcolm McLaren's death, the iPad and the Icelandic volcano that shut down European airspace. Fittingly, the plot includes a mysterious mail art storyline, with a near nerdish similarity to fan fiction. There are also serious discussions conducted through IUOMA, some that even question the very foundation of mail art itself. One, posted by Janssen asks, "Do we need still [sic] snail-mail when we have forums like these?"
Many argue that we do. In fact, BC-based Ed Varney, one of Canada's most well-known and active mail artists who has dutifully sent and received for close to 40 years, argues that relying on the Net may threaten the democratic underpinnings of mail art. "More and more the documentation is appearing on the Web, which sort of ignores the fact that many artists, particularly from third world countries, don't have access to the Web," he writes in an email. Clearly, those not on the web are shut out from adding to the mail-art novel, among countless other projects that have and will originate and be dispersed online. The Dutch artist Janssen tracks visitors to the bright orange IUOMA website, keeping an eye out for travelers from places like Africa or China. He says he does see the odd visitor, but so far he's not received much from these countries. In May, Janssen began a blog called Chinese Mail-Art to actively pursue Chinese artists who might want to be found. So far, he's had no success. "You first need an address," he writes and mentions that at this point he's planning to walk into Chinese restaurants and simply ask people whether anyone has contacts he can write to.
Perhaps the reason Janssen is so persistent in tracking down artists cut out of the loop by the Internet is because bringing unlikely people together is one of the notable accomplishments of this underground art movement. Romanian artist Iosif Kiraly writes in Eternal Network: A Mail Art Anthology: "In the '80s, Mail Art was, for me, and many artists from communist countries, the only possibility to have a contact outside of our borders." He makes this point concrete in his 1982 performance of a massive envelope holding several people, explaining that often in oppressed countries the only true part of you to escape is through the mail. American mail artist Kleindinst still corresponds with a Russian mail artist, who contacted her shortly after the Berlin Wall came down. They've been exchanging work for close to 20 years now, although she admits she was at first hesitant about corresponding with a Russian after so many years of Cold War propaganda.
Despite the drawbacks, for Janssen the Internet is less a threat to traditional mail art than an additional way to carry on the tradition. In what is already an art form based around communication, another way in which to connect can only strengthen the movement. "An artist shouldn't be trapped in one medium," he writes via email. "Communication in art is an essential factor. That is one of the essential points in mail art."
Laura Trethewey gratefully acknowledges the financial support of the Ontario Arts Council's Writers' Reserve Program.
– See more at: http://www.brokenpencil.com/features/the-undying-art-of-mail#sthash.fK44uIRo.dpuf


The New York man who was driving a boat that crashed into a barge on the Hudson River near the Tappan Zee Bridge, leaving two people dead, pleaded guilty to two counts of vehicular manslaughter.
Jojo John, 36, of Nyack, entered the guilty pleas on Monday in connection with the July 2013 deaths of bride-to-be Lindsey Stewart, 30, of Piermont, N.Y., and her fiancé's best man, Mark Lennon, 30, of Pearl River, N.Y.
The plea deal carries one year behind bars for each count and the years are to be served consecutively, News 12 Westchester reported. John remains free on bond pending sentencing, which is scheduled for Sept. 16.
Prosecutors say John was under the influence of drugs and alcohol on July 26, 2013, when he slammed the boat into a barge on the Hudson River that was being used for construction on the new Tappan Zee Bridge. They say John's blood alcohol level was nearly twice the legal limit on the night of the crash. John suffered a fractured skull and spine injury.
John's lawyer, David Narain, had said his client was driving safely and crashed into the barge because they weren't lit properly. The Coast Guard said the barge was properly lit on the night of the crash.
In a statement, the families of Lennon and Stewart said they believe the leniency in John's sentence is attributable to evidence against the barge company.
"We are extremely saddened to know that even though the Rockland County District Attorney's Office has evidence which proves that the barge companies are at fault because they ignored warnings that due to inadequate lighting this was an accident waiting to happen, it chose to ignore such evidence while only holding one party accountable for their actions."


After a successful trade-in in June 2017 against a new Damen ASD 2610 ICE, the Damen Stan Tug 2909 "Pak" was brought from Russia to our yard in Den Helder, the Netherlands where she has been in warm lay-up since.
This 62 tonnes bollard pull strong tugboat is suitable for coastal and harbour towage. A proven Damen design built in 2005.
During the purchase and delivery process, co-brokers Mr. Dimitriy Postnov (CMS Shipping) and Mr Sergey Filippov (CEMASTCO), have added great value to the project given their respective knowledge of the Russian shipping industry, resulting in a smooth transition of the tug to new owners Lena United River Shipping.
The new owner will be using the tugboat in Yakutsk, in Siberian waters to support their barging and supply work in the most remote corners of Russia.
Mr Victor Shadrin, representative of JSC "Lena United River Shipping".


text:
Q: Open file based on (part) word under cursor When editing PL/SQL files I look for a way to open a file based on a word under cursor and preferable jump to a certain positon.
Files are all located in same directory.
Example file app_dummy.pkb contains:
begin
  dbms_output.put_line('Example');
  app_package.procedure1( i_input1 => 'mmm' );
exception
  when others then raise...
end;

Looking for a way to open app_package.pkb (extension is known) in another buffer and move cursor to procedure1.
I know there is ctags but not all systems I work on have that available.

A: nmap <F2> yiw2w:split +/<C-R><C-W> <C-R>0.pkb<CR>

With the cursor over the package name, pressing F2 will open a new buffer containing a file named <package>.pkb and will search for the string following the . after the package name.
yiw - yanks the word under the cursor (the package name)
2w - moves the cursor two words to the right (where . counts as a word)
:split - splits the window
+ - introduces a command to be executed in the new window
/ - begins a search
<C-R><C-W> - inserts the word under the cursor (the procedure name)
<C-R>0 - inserts the contents of register 0 (zero), the yank register
.pkb - adds the file suffix
<CR> - terminates and executes the :split command
Those characters are to by typed literally.  For example, <C-R> is the five-character sequence < C - R >. They are not to be replaced by a Ctrl-R when you type them.
See
:help :split_f
:help c_CTRL-R
:help registers

redpajama_set_name: RedPajamaStackExchange


It is energy, toil and struggle that cope with the environment.
Only labor and struggle account for originality and dignity.
Note: having reread the text given below I found it a bit confused and unstable as to the mood. It's because I proved to be not quite able yet to look upon the events connected with our project calmly enough. In spite of all, we were making the site of Tchaikovsky Competition with joy and I am sure, it was felt by those for whom we did our best. The joy of communication, however, and the feeling of being needed proved to be much more important than all the problems. And, of course, I am very grateful to Ira and Ilya for their assistance and desire to share their impressions from the-then collaboration. I gather, you'll find them of some interest.
In the first editorial of this season I mentioned that some time I'd tell you the story of creating the unofficial site of XI International Tchaikovsky Competition (http://www.mmv.cityline.ru/tchaikovsky) . On one hand, the time elapsed since then enables me to look upon those turbulent events without evident bias. On the other, the reminiscences haven't wiped off from my memory yet, as well as from the memory of all the participants of the project.
Before evaluating or telling anything I'd like to briefly describe the site, so as even those who failed to visit it in June could imagine what we are speaking about.
So, XI International Tchaikovsky Competition took place in June 1998. In spite of all, this musical competition remains one of the most prestigious in the world. It is held every four years in four areas (piano, violin, violoncello, vocal). The XIth competition's budget comprised about 4 million US dollars.
For some mysterious reasons Tchaikovsky Competition didn't (and doesn't) have the official Internet site. MMH editorial board assumed that most of our readers would be interested to be in the know of the events at the competition. Besides, we were quite aware that many people, both in Russia and abroad, without knowing anything about MMH, would be searching Internet for the information about the Competition. Thus, it was decided that MMH would design a bilingual (Russian and English) site with the available information about the course of the competition, real time refreshed.
The 26th of May is the official date of inauguration of XI International Tchaikovsky Competition unofficial site. Continuous information update took place from June, 8th till July, 2nd . Considerable updates occurred once a day, vitally essential information (results of the hearings, e.g.) was published in average in ten minutes after being obtained. Press-releases about our project were sent approximately to 200 Russian and foreign newspapers, magazines, TV channels. We are aware that no less than ten widely famous mass media prepared their materials using information from our site as well as comments obtained from our agents by phone. Only one newspaper considered it necessary to mention this fact in the publication.
Initially we turned out to be that naive to count on the support of the Organizational Board of the Competition, that it would share our joys and sorrows in the work over the project. Our hopes, however, were fated to ruin (those concerned may read the letter sent to MMH by Tikhon Khrennikov, head of the Organizing Board, in reply to a careless article written by Internet-observer of newspaper "Culture" Andrew Vozian ).
When we ultimately realized that collaboration with the Organizing Board of the Competition is nothing more than utopia we were a bit perplexed. The idea had already developed and we realized with terror that no one sane enough would start handling such a project possessing what MMH had at its disposal.
The first thing stuck in my memory is sleepless nights, spent at the computer (frankly, our day finished as a rule at about 5-6 a.m., began at about 12 a.m.). Running ahead, I 'd like to say that our physical, spiritual as well as material resources were absolutely exhausted by the end of the work over the project. Their recovery required the rest of the summer.
You would say: aha, they are already complaining. Did anyone ask you to raise such a project on your own? And you'll be absolutely right, but only as far as no one asked us. More than that, some, in spite of all our hopes and expectations, tried to prevent us from doing our job.
It goes without saying, it was completely our own initiative, and the absence of any assistance from the part of those who could be considerably interested in this activity, had no effect on our desire to accomplish the conceived plan. Perhaps, we were not quite ready for the number of materials to deal with, however, I am hundred per cent sure the project proved to be a success.
Of course, I mustn't forget to say a separate "thank you" to our chief's absolutely wonderful wife – Ira. But for her patience of an angel, inborn diplomatic abilities as well as excellent cooking talent, we would have killed each other if hadn't starved to death, of course. Besides, during periods of sharp lack of working stuff she had from time to time to change her plates and spoons for the keyboard and even do the job of a driver.
With the beginning of the competition (and site functioning) we found out that our worst anticipations were coming true. We were short of almost everything: computers, hands, money, gas, time, endurance, experience... In interspersions into this article my friends are sharing their impressions about that time. I, personally, marked it for myself as a very difficult but simultaneously extremely joyful period.
The competition officials accused us of being involved in piracy, using somebody else's fame. It's not true. I'd like to cite E. Dmitrova (unfortunately, she didn't indicate her full name), who lives in Uzbekistan.
We received some more letters with the similar pathos. We can only assume how many others think similarly although didn't write to us. The Competition press-center leader Mr. Andrew Ustinov told me that the Competition didn't need the site in the Internet. Ok, the leadership of the competition knows best. But I am very well aware what MMH readers are interested in and don't think it possible to deprive them of any valuable information without any clear reasons.
Appetizing sounds of 20 fingers running all ways through two keyboards... (I was missing the sound for a long time). That lasted the whole night. Went to bed at 7 a. m. Those who failed such sleeplessness could make use of the kitchen or the balcony, somebody's bed at the best. But by morning justice won and those having rest were transferred where they belonged.
It happened so, that I, personally, had to combine several duties at a time: chef, logistic, secretary, plus Muse and the editor's wife – all in one. Frankly speaking, it wasn't easy. It is of some difficulty to simultaneously type another text, boil macaroni and contemplate about the fate of two editors being away while the windows threaten to fly away with the hurricane (by the way, they remained intact, whereas the window glass suffered).
For some reason I remember how we quarreled. Quarreled because were tired, but, NB, never all together. Two of us started and the third, naturally settled peace.
It all ended with a turbulently spent night crowned by a mushroom pie and plenty of beer and embracing Pyotr Ilyitch to the utmost surprise of the local hobos. (When the project was finished we joyfully pulled up at the Conservatory at about 5 a.m.. Now Ilya and I possess photos, where each of us sits on Tchaikovsky's knees. No arrangement... – editor's note ).
The site of Tchaikowsky's Competition wasn't a commercial project. Neither is MMH. On the other hand, publishing information about the Competition we did earn something – gratitude and respect of our readers. And we did so by our own efforts and not by the fame of the Competition.
Here I could speak about how and how much we worked. As well as our relations with the Organizing Committee and press-center of the Competition. I could supply an endless queue of quotes belonging to the Competition officials. Initially so I planned. But then I realized that it had no sense. the aim of this article is not to show ourselves as heroes. As a matter of fact, we chose the way we were going and for all the problems we encountered we are ourselves to blame. All the problems we had and have we created ourselves.
But it's not the point. I'd like to emphasize that in spite of our work to100 per cent effect the attempts of the Organizing Committee to prevent us from accomplishing the project couldn't help telling on the results. Generally, why such a pose – I am lazy and to do it and those who are not are not to do it by any means? Do they grudge it? By the way, if the article is read by someone who is competent in the problems of copyright , I'd be glad to listen to their opinion on the point of our quarrels with the Competition leadership.
Nevertheless, we didn't give up. We can immensely pride ourselves on it due to our friends. They helped us in everything they could. I consider it absolutely essential to mention them here.
Vladimir Smolkin, our true reader and an active participant of the MMH discussion list rushed to help us right at the moment when we seemed to be unable to keep on further. It is no exaggeration to say that we accomplished the project exactly due to Volodya's help.
Piotr Pospelov, the editor of the culture section in the newspaper "Russian Telegraph" (which, unfortunately, exists no more) tried to make our work over the project more comfortable and he succeeded. Besides, Peter was the only one among the journalists who used the published information, who considered it possible to mention MMH in his publication about the results of the Competition.
I'd like to emntion separately Yaroslav Chistozvon, whose server www.tchaikovsky.ru placed the link to our project, thus, we acquired additional visitors.
Of course, I can't fail to mention Ilya Moisseyev, Olga Tchepyzhnaya, Alexander Andreyev and Mikhail Belskiy. They helped us a lot, having given us valuable ideas and information, we wouldn't be able to obtain otherwise.
I hope that there is no need to remind that without CITYLINE and its leadership there would be nothing at all !
As I once mentioned, the site of Tchaikovsky Competition was and is our most successful idea, with it, much more popular than MMH itself. Of course, unthinkable efforts, nerves, time were invested in this project. The only thing failed to be invested was the necessary sum of money. I am firmly convinced that it is the main reason for the fact that not everything was as it was to be. The team, working over the project, had enough courage, idealism and purposefulness in order to accomplish it with the highest possible quality. Speaking of the team I naturally mean myself as well. Although being the coordinator of the project, I had to look upon it a bit from outside, to try to adequately evaluate the job done. With it, I can't help saying – thank you all ! I, as no one else, know that no one in the world for any money could have put into it so much of yourself as you did in June, 1998.


This article provides an overview of some developments, internationally, regionally and in the SADC, in relation to development, that may be expected to influence the South African government's response to the development needs of the people in the country. An overview is provided of the somewhat haphazard way in which the Constitution of the Republic of South Africa, 1996 refers to the need for and objective of development (including rural development) in the country. Through their explanatory outline of three distinct phases in South African rural development law and policy: 1994–2000 (the Reconstruction and Development Programme and related documents and their implementation); 2000–April 2009 (the Integrated Sustainable Rural Development Strategy and its implementation) and April 2009+ (the Comprehensive Rural Development Programme and related documents), the authors review some of the historical strengths and future prospects related to rural development in South Africa. Based on an assessment of historical trends, a number of recommendations are made for government's way forward in the implementation of the constitutional objectives, law and policy relevant to rural development in the country.


text:
Home News Archive Racial Hypocrisy Editorial Confusing in Honolulu Advertiser
Racial Hypocrisy Editorial Confusing in Honolulu Advertiser
"Dick Rowland Image"
"GOP continues to gain from racial hypocrisy," one of the editorials in the Honolulu Advertiser on Sunday 1/12/03 was confusing. First it claimed that Republicans are genuinely not racist and act and speak such but refuse to decry Deep South efforts to restore the Confederate flag. Bill Clinton is quoted as saying that such is a "strategy." And, it is claimed that such "put Nixon, Reagan and both Bushes in the White House." Does this mean the newspaper thinks the American voting public is gullible and stupid? If so, let's take away their voting rights. Then only Mandarins like editorial writers would have the franchise. Is that what was meant?
Finally, speaking of racism, here are some facts straight from syndicated columnist Deroy Murdock, who happens to be Black and is a Senior Research Analyst with the Atlas Foundation:
Governor Bill Clinton was sued successfully by the NAACP (1989) for voting rights violations that minimized Black voting strength.
During his 12-year tenure, Gov. Clinton never approved a state-civil rights law. Arkansas observed Confederate Flag Day every year of the 12. He issued birthday proclamations honoring Confederate leaders Jefferson Davis and Robert E. Lee. He signed Act 116 in 1987, which reconfirmed that the star above the word "Arkansas" on the state flag is to commemorate the "Confederate States of America."
Bill Clinton has lauded segregationists J. William Fulbright and Orval Faubus.
Then there is former Ku Klux Klan member Senator Robert Byrd (D-West Virginia) who along with Al Gore Sr and 19 other Democrats voted against the 1964 Civil Rights Act. Byrd also recently used the term "white nigger" on Fox News.
That's just some of Murdock's litany of Democrat abuses that somehow seldom get mentioned in the media.
The Advertiser editorial writer, when evaluating hypocrisy, should look in the mirror or do a bit more research.
"'Richard O. Rowland is president of the Grassroot Institute of Hawaii. He can be reached via email at mailto:grassroot@hawaii.rr.com or by phone at (808) 487-4959. More information about the Grassroot Institute of Hawaii can be found at its Web site at"' http://www.grassrootinstitute.org
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Biology - Today we started by looking at the idea we have covered about organisms. We looked at the big questions from the semester that we'll return to next week in preparation for the final. Then we had a chance to look at our plants and do whatever we needed. Next we discussed plant and animal cells, but also what the heck a yeast is! Is it a plant, or an animal, or something totally different. How can we test this idea? Lastly, I told you three stories of swimming, lifting weights, and drinking Chicha in Peru. The question we will work on this week is how are all of these things connected? FOR HOMEWORK, I want you to bring in about 10ml of some substance that we can use to test the yeast, and then I want you to make a drawing of a yeast cell on the right hand side of the entry we did today.
Honors Biology - Your class today was exactly like my regular biology class! Easy!
IB Biology - Today we had an interesting experience experimenting with yeast! Plant? Animal? Something else? Well, we need to examine fermentation in more detail to really know what we're dealing with. ...But that will come on Thursday. The reason it will be Thursday is because we have a guest speaker tomorrow, her occupation, nurse! Be ready to be entertained!
Biology - Today we did our experiment on yeasts today. What we found that a yeast cell is like a plant in some ways, but also behaves like a animal cell in that is uses sugars to metabolize. BUT it produces ethanol when it ferments (is deprived of oxygen) just like a plant! WHAT?!!! What is this thing??? ...a fungi.
Honors Biology - Today we did our experiment on yeasts today. What we found that a yeast cell is like a plant in some ways, but also behaves like a animal cell in that is uses sugars to metabolize. BUT it produces ethanol when it ferments (is deprived of oxygen) just like a plant! WHAT?!!! What is this thing??? ...a fungi.
IB Biology - So today we took a break from the usual and had a guest speaker, Ms. Patty Shiggley, nurse extraordinaire! Tomorrow we'll pick up what we've been working on with yeast as well as our study of plants.
Biology - Today we went through the details of what it means to be a yeast and how it's a bit different from both a plant cell or an animal cell by taking notes after watching this video: https://www.youtube.com/watch?v=cDC29iBxb3w. We then looked at some of the great things that fermentation is good for by watching this video: https://www.youtube.com/watch?v=ZGmwtDffc74. Then on the left side you then listed the positive and negative aspects of using biofuels. Check out this video: https://www.youtube.com/watch?v=AJ38SiVOD78 Tomorrow I'll be asking you to score some points by responding to similarities and differences between all types of cells so make sure you have complete notes.
Honors Biology - Today we went through the details of what it means to be a yeast and how it's a bit different from both a plant cell or an animal cell by taking notes after watching this video: https://www.youtube.com/watch?v=cDC29iBxb3w. We then looked at some of the great things that fermentation is good for by watching this video: https://www.youtube.com/watch?v=ZGmwtDffc74. Tonight I want you to work on your left hand page by identifying how athletes can increase their lactic acid tolerance. You should have two ways and describe the biochemistry of how that works.
Thursday - I'm out, you have a sub!
IB Biology - Today you will need to complete the following and turn in the work on Monday when I return.
Since this is a medical biology class I want you to look at how this phenomenon affects muscles. The title will be The Build-Up of Lactic Acid in Muscles. Create a diagram using any muscle, but be sure you identify the muscle. Then use these terms: Myosin, Actin, ADP, ATP, Ouch, and anything else you chose to add. Oh, underline these terms. Ultimately you should have described how fermentation affects the muscle on the molecular level.
Biology - Today you will pull together many of the ideas about yeast and fermentation. Today you must create a detailed drawing of a plant cell, animal cell, and yeast cell (These should already be done) on a SINGLE SHEET OF PAPER. Yes, you need color.
Once you have drawn these three cells, you need to highlight or underline in green all of the structures on the yeast cell and plant cell that relate to only plants.
Then highlight or underline in red those characteristics on the yeast and animal cell that are unique to animal cells.
If any yeast structure is common to all organisms (Yeast, plant, animal) you can leave them alone.
On the back of this single sheet I want you to create two detailed lists of the chemical processes that are similar between yeast and plants, and animal cells and yeasts. This should come right off of your notes. It's all listed. ...if you did your work. This is due Tomorrow first thing and will worth points to your grade!!! What you don't finish in class, should be done tonight.
Honors Biology - Today you will pull together many of the ideas about yeast and fermentation. Today you must create a detailed drawing of a plant cell, animal cell, and yeast cell (These should already be done) on a SINGLE SHEET OF PAPER. Yes, you need color.
Lastly, on the back, I want you to include a detailed description of how anaerobic fermentation is different in plants, animals, and fungi (yeast).
This is due Tomorrow first thing and will worth points to your grade!!! What you don't finish in class, should be done tonight.
Friday - I'm out, you have a sub!
IB Biology - Today you will watch this video and respond with the following responses https://www.youtube.com/watch?v=Q-4w5xYLwiU.
Are plants intelligent? Explain in detail using evidence.
What does it mean to be evolved?
Have plants evolved beyond humans as some claim, or not? Explain.
Biology - Today you will learn a lot about fungi, but before you watch the video I need you to turn in your work from yesterday. Don't turn it in = no points!
As you watch it you will need to respond to the following questions using complete sentences. If you don't use complete sentences you will not receive credit. Read these questions first before you watch the movie so you know what to look for. It is due on Monday.
What do fungi need to grow and thrive?
What is a spore and how does it work?
List at least four ways that fungi can be harmful.
List at least four ways that fungi can be helpful.
How did a cantaloupe help win WWII?
On a scale of one to ten, how important do you think fungi is to the world, but be sure to have at least three reasons to explain why you think what you do. These reasons should be ranked. The first one is most important.
Honors Biology - Today you will do a lot like my regular biology class to close out our quick look at fungi and fermentation. Today you will learn a lot about fungi, but before you watch the video I need you to turn in your work from yesterday. Don't turn it in = no points!
List at least four ways that fungi can be harmful, at least 2 must show how they can affect our health.
List at least four ways that fungi can be helpful, at least 2 must be medicinal.
The mycologist in the movie talked about the importance of fungi. What did he have to say?


Most households in Roswell GA install heaters that are useful during the winter. Just like any other fixtures in the house, water heaters are susceptible to wear and tear. In order to extend the life of your heater, you need to avail of maintenance services for water heater Roswell GA regularly. This will help you enjoy the water heater for a longer period without replacing it.
Maintenance services for water heater Roswell GA are quite easy to find since there are a lot of plumbing contractors in the area. The only problem left is choosing the best companies in order to avail of the best services in town. As a homeowner, it's natural to always want the best technicians to handle repairs and maintenance works for your home.
A 24/7 plumber service Roswell is a common service offered by many plumbing companies in Georgia. One of the main reasons for this 24/7 availability is that the contractors are well aware that plumbing needs don't only arise during business hours. Usually, these plumbing accidents happen in the most unexpected times, like early at dawn or super late at night. When homeowners cannot handle the plumbing problem, it would be easy to call out professional plumbers to do the job.
There's no telling when a plumbing accident can happen. Although there's a great chance of it happening during usual business hours, there's just some incidents that happen beyond that. Because of this, it's important to know at least one 24 hour plumbing company Roswell. This way, you will be able to call for assistance when the plumbing accident happens during the wee hours of the night. But of course, this only applies to major plumbing problems. If you can fix the problem by yourself since it's simple, then there is really no need to call a 24 hour plumbing service.
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Plumbing services encompass installation of water piping, drain piping, and repairing leaks on the pipes. Normally, plumbing services include unclogging drainage and toilets, repairing broken sewer lines, installing new pipes for potable water supply, and many other services. Whenever you need some plumbing services done, it's highly advised to hire only professional plumbers. There are numerous reasons why you must do this.
One of the reasons why you should also ask the assistance of professional Roswell plumbing companies is that they can perform complex plumbing services, unlike in-experienced plumbers in the area. There might be instances when your plumbing-related emergencies cannot be solved by simply using plungers, stick pokes and tapes. That is the right time to ask for Roswell plumbing companies to help you fix the problem, unless you want to risk your entire plumbing system because you want to do it by yourself.
Looking for companies offering cheap plumbing in Roswell is easy. However, finding a company that offers both cheap plumbing in Roswell and high quality service isn't as easy as you think. Most cheap plumbing services are either at average or below average quality. As a result, you will be spending more on maintenance costs rather than getting big savings in the long run. However, there are a few exceptions to that.


Planning for financial freedom later in life requires careful consideration; after all, you may spend many more years in retirement than in work.
Whether you're looking to arrange your first pension or review your current arrangements, Edgewater Associates offers specialist advice to help you maximise your return and ensure tax-efficiency. Furthermore, we will continue to monitor your arrangements to help you achieve the comfortable retirement you deserve.
We offer full guidance and specialist advice on Self Invested Personal Pensions, allowing you maximum flexibility and investment potential for your retirement planning. Click Here for more information on Isle of Man Self-Invested Personal Pensions (SIPPs).
These plans can provide peace of mind for those looking for a regular, fixed lifetime income on retirement, where income drawdown is not a suitable option.
We are able to give advice on pension schemes outside the Isle of Man jurisdiction. The dramatic changes brought about by 'pension freedom' in the 2014 UK Budget have made this a very topical issue.
Often used alongside existing pension plans and can be regular monthly savings or a lump sum investment. These plans can be a flexible and efficient way of boosting your retirement fund.
We can review all of your existing pension arrangements and, in appropriate cases, amalgamate plans to reduce costs, enhance investment options and help you to get more for your money.
Staff pension schemes are a real benefit to employees to promote loyalty, and are straightforward to set up and administer. Employers can choose to contribute to staff pensions or simply offer a scheme into which employees can save for the future. In addition, there may be cost and tax benefits to both employer and employees. For more, see our section on Group Schemes and Employee Benefits.