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text:
Bro Hof Slott Golf Club is een golfclub bij Stockholm. De twee golfbanen liggen langs het Mälarmeer.

De naam
Bro Hof is een naam die pas sinds 2002 bestaat. Daarvoor heette het landgoed Brogård. Dit was al in de Middeleeuwen een boerderij met pachters. In de 19de eeuw werd Erik Josias Sparre de nieuwe eigenaar. Hij besteedde meer tijd aan het aanleggen van spoorwegen dan aan het onderhoud van zijn boeren-landgoed. Zijn zoon Johan Sparre erfde een vervallen houten huis en liet het in 1870 afbreken. Het bleef een boerenbedrijf maar in 1888 liet hij het huidige kasteel bouwen, dat nu als clubhuis wordt gebruikt. Johan Sparre had geen erfgenamen en in 1938 ging het landgoed naar Ebba, de kleindochter van zijn zuster. Ebba's zoon Carl Reuterskiöld (1939) woonde nog op het kasteel tot 2002, toen het landgoed werd verkocht aan Björn Örås. Deze heeft het kasteel volledig gerestaureerd. Hij veranderde de naam van Brogård naar Bro Hof Slott en kreeg toestemming er een golfbaan aan te leggen.

De baan
Ook Zweden zou graag de Ryder Cup over enkele jaren ontvangen. De club had zich gericht op 2018 net als The Dutch, maar inmiddels is bekend dat de Ryder Cup dat jaar naar Frankrijk gaat.
In 2007 werd de eerste 18-holes golfbaan geopend, de Stadium Course en vervolgens de iets kortere 18-holes Castle Course, beide ontworpen door Robert Trent Jones Jr. Het clubhuis is het oude kasteel. Eigenaar van de baan is Björn Örås, oprichter van Poolia.

Toernooien
De club is aangelegd om grote toernooien te kunnen ontvangen. Er zijn natuurlijke tribunes bij hole 17 en 18 waar naar schatting 70.000 mensen kunnen kijken.
 SAS Masters: 2010, 2011, 2012

Externe links
 Officiële website

Zweedse golfclub
Golfbaan in Zweden
Sportclub in Stockholm
Sportaccommodatie in Stockholm

redpajama_set_name: RedPajamaWikipedia


text:
Home » Opinion | The Runner Sara Hall's 2020 Breakthrough
Opinion | The Runner Sara Hall's 2020 Breakthrough
by Lightlynews.com · On December 26, 2020 · In Opinion
Just a number of months in the past, the veteran American distance runner Sara Hall appeared to be going through her personal model of pandemic distress. She had did not qualify for the Olympics, dropping out of her final two marathons. Now every thing was canceled and he or she was caring for 4 daughters at dwelling. She was 37, an age when many elite athletes' careers begin winding down.
Would she get one other likelihood to show herself?
As it turned out, she created one. On Sunday, at an elite race in Arizona known as the Marathon Project, Ms. Hall ran the second-fastest marathon ever for an American lady. It was greater than only a hard-fought victory. This yr she has change into a strong instance of how resilience — constructed from pushing by way of years, even a long time, of setbacks — can reap surprising rewards.
Especially this yr.
Our tradition embraces tales about winners, however Ms. Hall's story hasn't been so easy. She spent most of her profession exterior of the highlight — all the time glorious however hardly ever the perfect. In her sport, success is commonly measured by making the Olympics; Ms. Hall by no means has. She spent a lot of her profession within the shadow of her record-setting husband, Ryan Hall.
Through all of it, she was all the time on the market coaching: steadily, quietly, unglamorously. It was unclear whether or not the work would ever repay.
But 2020 is ideal for individuals who have discovered how one can be scrappy. Right now, the power to grind is a superpower in itself. And Ms. Hall is used to striving with out ensures.
"My complete profession has been studying how one can say: 'OK, I simply missed out on what I needed so badly. What alternatives do I nonetheless have?'" Ms. Hall mentioned in an interview this week. "In the pandemic, it was the identical. I needed to suppose: 'I do know what I can't do. But what remains to be on the desk?' It wound up resulting in a few of the finest coaching in my life."
For me, an athlete who grew up behind Ms. Hall (in each age and velocity), watching her thrive this yr has been surprisingly shifting. I used to be considered one of 1000's of women throughout America within the 2000s who realized sports activities might function a automobile for our ambition, and we tried our best. Ms. Hall really was the perfect: a nationwide champion from California who obtained prime grades and all the time discovered one thing variety to say about anybody she beat. She went to Stanford and thrived there too. She was so good — I figured she could be well-known sometime.
Now we've grown up. I discovered that who makes historical past is sophisticated — however there are different methods to search out satisfaction. Watching Ms. Hall preserve pushing was so thrilling, even when it was principally for herself. Seeing her lastly succeed greater than 20 years later, within the pandemic, by way of a dogged and typically thankless profession, has felt like a catharsis, vicariously no less than.
It's to not say that all of us ought to exit and run a marathon in the course of a pandemic. (I definitely haven't). This is not only Ms. Hall's ardour; it's her job. But her success made me hope that the remainder of us may also nonetheless have one thing to look ahead to.
It made me marvel if in some methods there could possibly be a long-term profit to dropping. Nobody likes it, however not getting what you need, for many years, might assist you discover different, extra inventive causes to maintain exhibiting up. Reasons which might be much less about exterior rewards and extra about your self.
Working exterior the highlight of success enables you to experiment and take a look at issues otherwise, too. In Ms. Hall's case, she trains alone, swapping in new difficult exercises — even operating two main races 11 weeks aside this fall, the form of milestones many athletes tempo out over years. And she efficiently built-in different elements of her life into her profession: Since she adopted 4 daughters in 2015, she has taken greater than 27 minutes off her marathon time.
"We might be an instant-gratification tradition, however I've needed to domesticate a long-term strategy to my profession," Ms. Hall mentioned. "I figured so long as I might preserve engaged on my craft, chipping away, discovering pleasure within the mundane, then that needed to be sufficient."
When every thing else is difficult, and we're balancing a lot, and we're nonetheless going by some means — why not simply shoot for essentially the most audacious factor you may provide you with? The worst factor that would occur couldn't be a lot more durable than the place we're. And if this yr has taught us something, it's that we could not have extra time.
After Ms. Hall misplaced what was most likely her final likelihood to make the Olympics, she went again to her lavatory mirror, the place she had written "Olympic Marathon Trials Champion" and changed it with an excellent more durable aim: "American Marathon record-holder."
And then she started working. At first, all she might do in lockdown was race a half marathon on her treadmill. Then she raced a half marathon alone on a motorbike path, operating even quicker. Then the London Marathon invited a number of athletes to a small, secure, elite staging of the race in October. Ms. Hall grew to become the primary American to succeed in the medal podium in 14 years.
Last weekend, she sought to be the perfect in American historical past.
As she closed in on the end, she exploded right into a dash. Her face was strained, an expression of pure effort. She runs the identical now as she did in highschool: explosively. I noticed how a lot I missed seeing ladies acting on a public stage like that: unabashedly formidable. No matter your velocity and no matter your gender, there's one thing common and genuine concerning the look of willpower whenever you're making an attempt your finest. You can't faux it.
In the top, Ms. Hall didn't have her fairy story ending. She didn't hit her aim — her time was 2:20:32, second finest in historical past, lower than a minute off the mark.
But it was much better than a yr in the past, earlier than the world shut down.
"The pandemic drew one thing out of me I didn't know I had," Ms. Hall mentioned. "At instances I felt sorry for myself. But if there's something I discovered this yr, any alternative is one thing to be thankful for. Take it when you can."
Lindsay Crouse (@lindsaycrouse) is a senior employees editor in Opinion.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Drapetomani var en påstådd psykiatrisk diagnos som beskrev afroamerikanska slavars "onaturliga" vilja att fly.

Begreppet, som är ett exempel på rasbiologi, myntades av den amerikanske psykiatern Samuel A. Cartwright år 1851. Cartwright argumenterade för att det fanns mentala och fysiska skillnader mellan svarta och vita. Dessa skillnader, hävdade han, gjorde att svarta inte kunde hantera frihet och därför bäst kontrollerades genom tvång.

Som ett botemedel mot "sjukdomen" kunde doktorer rekommendera att amputera båda slavens stortår, och på så sätt göra det svårare att fly. Cartwright förordade också att "piska djävulen ur" rymningsbenägna slavar som en "förebyggande åtgärd".

Diagnosen fanns med i Thomas Lathrop Stedmans Practical Medical Dictionary så sent som 1914. Den var omtyckt i södra USA, men hånades i nordstaterna nästan omedelbart efter att den lanserades. En satirisk artikel från 1855 i "Buffalo Medical Journal and Monthly Review of Medical and Surgical Science" noterar att också skolbarn i nordstaterna kan drabbas av "Drapetomani", och undrar om piskan är det bästa botemedlet även där.

Källor

Psykiatrihistoria
Kontroversiella diagnoser
Kulturspecifika psykiska störningar


text:
Cast of 1957 play gathers for reunion
New Rochelle 1957 cast of 'You Can't Take It With You' gathers for Broadway reunion.
Cast of 1957 play gathers for reunion New Rochelle 1957 cast of 'You Can't Take It With You' gathers for Broadway reunion. Check out this story on lohud.com: http://lohud.us/1tGNCEJ
Bill Cary, wcary@lohud.com Published 11:06 p.m. ET Oct. 30, 2014 | Updated 10:43 a.m. ET Oct. 31, 2014
The 1957 Isaac Young Middle School alumni applaud the Broadway cast of "You Can't Take it With You" at the Longacre Theater on West 48th Street, after the performance on Wednesday. The audience asking the questions were members of the 1957 production of "You Can't Take It With You" from Isaac E. Young Junior High School in New Rochelle.(Photo: Mark Vergari/The Journal News)Buy Photo
Memories of growing up in the suburbs in the 1950s
Reunion group gets to meet the Broadway cast after the show
First did the show as 12- and 13-year-olds
John Flanagan remembers the flubbed fireworks that set the curtain on fire. John Mazzullo still winces at the memory of those fake eyeglasses he forgot to wear in the third act. Susan Hallaran smiles as she recalls the DiNapolis, the dreamy young couple who directed the play and taught them all so much about stagecraft.
It was 1957, and their eighth-grade class at Isaac E. Young Junior High School in New Rochelle was putting on an ambitious production of "You Can't Take It With You." Most were just on the cusp of being teenagers, and suddenly very interested in the opposite sex. It was a safe, almost magical time to be growing up in Westchester County and in New Rochelle in particular, just before the turbulent 1960s took off.
"You Can't Take It With You" cast reunion
Members of the 1957 production of "You Can't Take It With You" from Isaac E. Young Junior High School in New Rochelle, pose for a photo outside of the Longacre Theater on West 48th Street, in New York, Oct. 29, 2014. They were attending the Broadway production of the play. Mark Vergari/The Journal News
From left, Susan Kramer, John Flanagan, Ken Kramer and Helen O'Connell Ingersoll, wait in line outside of the Longacre Theater on West 48th Street, in New York, Oct. 29, 2014 to see the production of "You Can't Take it With You" Many were members of the 1957 production of "You Can't Take It With You" from Isaac E. Young Junior High School in NewRochelle. Mark Vergari/The Journal News
John Mazzullo, M.D. and David Graham wait in line outside of the Longacre Theater on West 48th Street, in New York, Oct. 29, 2014 to see the production of "You Can't Take it With You" They were members of the 1957 production of "You Can't Take It With You" from Isaac E. Young Junior High School in NewRochelle. Mark Vergari/The Journal News
Patricia Devescovi and Linda Ritacco wait in line outside of the Longacre Theater on West 48th Street, in New York, Oct. 29, 2014 to see the production of "You Can't Take it With You" They were members of the 1957 production of "You Can't Take It With You" from Isaac E. Young Junior High School in New Rochelle. Mark Vergari/The Journal News
Actor Mark Linn-Baker, seated fourth from right, and the Broadway cast of "You Can't Take it With You" at the Longacre Theater on West 48th Street, take questions from the audience after the performance, Oct. 29 ,2014. The audience were members of the 1957 production of "You Can't Take It With You" from Isaac E. Young Junior High School in New Rochelle. Mark Vergari/The Journal News
John Flanagan directs a question to the Broadway cast of "You Can't Take it With You" at the Longacre Theater on West 48th Street, after the performance, Oct. 29, 2014. The audience asking the questions were members of the 1957 production of "You Can't Take It With You" from Isaac E. Young Junior High School in New Rochelle. Mark Vergari/The Journal News
The 1957 Isaac Young Middle School alumni applaud the Broadway cast of "You Can't Take it With You" at the Longacre Theater on West 48th Street, after the performance, Oct. 29, 2014. The audience asking the questions were members of the 1957 production of "You Can't Take It With You" from Isaac E. Young Junior High School in New Rochelle. Mark Vergari/The Journal News
John Mazzullo, M.D., from left, directs a question to the Broadway cast of "You Can't Take it With You" at the Longacre Theater on West 48th Street, after the performance, Oct. 29, 2014. The audience asking the questions were members of the 1957 production of "You Can't Take It With You" from Isaac E. Young Junior High School in New Rochelle. Mark Vergari/The Journal News
Lovelle Ruggiero, third from left, directs a question to the Broadway cast of "You Can't Take it With You" at the Longacre Theater on West 48th Street, after the performance, Oct. 29, 2014. The audience asking the questions were members of the 1957 production of "You Can't Take It With You" from Isaac E. Young Junior High School in New Rochelle. Mark Vergari/The Journal News
The Broadway cast of "You Can't Take it With You" at the Longacre Theater on West 48th Street, take questions from the audience after the performance, Oct. 29 ,2014. The audience asking the questions were members of the 1957 production of "You Can't Take It With You" from Isaac E. Young Junior High School in New Rochelle. Mark Vergari/The Journal News
Actor Patrick Kerr, with the Broadway cast of "You Can't Take it With You" at the Longacre Theater on West 48th Street, takes questions from the audience after the performance, Oct. 29 ,2014. The audience asking the questions were members of the 1957 production of "You Can't Take It With You" from Isaac E. Young Junior High School in New Rochelle. Mark Vergari/The Journal News
Actors Patrick Kerr and Kristine Nielsen with the Broadway cast of "You Can't Take it With You" at the Longacre Theater on West 48th Street, take questions from the audience after the performance, Oct. 29 ,2014. The audience asking the questions were members of the 1957 production of "You Can't Take It With You" from Isaac E. Young Junior High School in New Rochelle. Mark Vergari/The Journal News
Members of the 1957 production of "You Can't Take It With You" from Isaac E. Young Junior HighSchool in NewRochelle, pose for a photo outside of the Longacre Theater on West 48th Street, in New York, Oct. 29, 2014. They were attending the Broadway production of the play. Mark Vergari/The Journal News
They didn't know it then, but these youngsters were also forming incredibly tight bonds with their fellow actors that would last the rest of their lives, no matter where they lived.
This week, nearly 60 years later, 18 people associated with that eighth-grade play gathered from across the country to see a star-studded revival of "You Can't Take It With You" at the Longacre Theatre on Broadway. The 1936 comedy about three generations of the eccentric Sycamore-Vanderhof family was written by Moss Hart and George S. Kaufman.
After the final curtain came down on the Wednesday matinee, the reunion group was treated to a center-stage "talk-back" with 15 members of the cast, including Mark Linn-Baker, Rose Byrne, Annaleigh Ashford, Julie Halston, Patrick Kerr and Elizabeth Ashley.
Halston and Linn-Baker and the other current actors were eager to figure out which members of the reunion group had their same parts so long ago and what they remembered about rehearsals and performances. And the New Rochelle group was delighted at the chance to meet their professional counterparts and talk about how much they enjoyed their performances.
"You brought back so many memories," said Mazzullo, now a retired internist and professor who lives in Boston. "It was just like being back in eighth grade. It was just a magical experience, so authentic."
Plans for this week's reunion began to come together three years ago at the 50th reunion of the Class of 1961 at New Rochelle High School. Flanagan, who played Paul Sycamore, a fireworks aficianado who is constantly experimenting with them in the basement of the family's Upper West Side home, had seen a notice about an upcoming Broadway-bound production of "You Can't Take It With You." He thought it would be fun to go see it as a group.
That production fizzled, but the idea stuck — if another revival of the play made it to Broadway, he'd get the old cast back together.
It took some digging, but friends of friends' address books, email and Facebook made it fairly easy to track people down. "I often thank Al Gore for inventing the Internet so this could all come together," Flanagan says with a laugh. He is also a retired physician living in Massachusetts.
And thanks to Flanagan's pack-rat tendencies, he still had the original 1957 program. "I save everything," he admits, "though I couldn't find the actual script."
"I hardly remember the play," admits Helen O'Connell Ingersoll, who flew in from Bloomington, Indiana, with her husband for three days in New York. "When the old program came around (via email), I saw that I was on the makeup committee. I have absolutely no recollection of it. Isn't that funny? I know what my mind was on and it wasn't make-up. My mind was on boys!"
Ingersoll was part of a group of several youngsters in New Rochelle who did everything together. "We were our first real friends — it was so significant. We were young, but we were growing up. Every Friday or Saturday night, we would get together at one of our parents' house. We would put the record player on and we would dance! We knew all the songs."
"Life was very different then," Ingersoll says. "Kids had a lot more independence then. When we went to high school, our parents didn't follow us around, not like parents today. We had major things going on. We had to figure things out on our own. Now parents are hovering around their children even in college."
"We took buses, we walked everywhere," she adds. "Life was simple and really, really good."
Hallaran, who is now Susan McKenzie of Las Vegas, was actually a professional actress at the time. "I started when I was seven and kept at until I was 24," she says, working mostly on live television shows in New York.
The shows she worked on included "Norby," a 1950s series that revolved around officials at the Pearl River First National Bank in Rockland, and "Young Dr. Malone," a soap opera that ran from 1958 to 1963.
"It's funny, I remember the junior high years as the most wonderful years of our lives," she says. "We all remember it as a very happy time."
Mazzullo agrees. "Compared to my college and medical school friends, I'm much closer to these eighth-grade friends," he says. "There's something about a play, the unreal world you enter into, that makes it different."
Everyone involved in the 1957 production has nothing but praise for then newlywed husband-wife team of Gina and Bill DiNapoli, who taught English at Isaac Young. He directed and she handled costumes, sets and technical matters.
"They were the kind of teachers that books are written about," Mazzullo says. "They were spectacular, so wonderfully supportive."
"We didn't know the difference between upstage and downstage," he remembers. The DiNapolis taught them about makeup, props, comic timing, marks on the stage and how to enter and exit. "You really had to listen for your cues because timing was everything," Mazzullo says. "And you had to play it absolutely straight."
"A lot of romances were going on — real and in the play," he remembers. Flanagan, for example, was the steady boyfriend of Susan Hallaran off stage, and in the play they played the married Penelope and Paul Sycamore.
Learning all the lines was "extremely hard," Mazzullo says. "Every night, with my sister as my coach, I was learning those lines — when I should have been doing algebra, geometry or whatever. Everything was timed; it was choreography really."
"We were 12 years old, which is really, really young to be doing something like this," he adds.
Ken Kramer, who played Ed Carmichael, and is now an attorney in Manhattan, remembers New Rochelle as an idyllic place in the 1950s. "It was a very calm, very easy place to grow up, without a lot of drama or angst."
As it still does today, New Rochelle had a wonderful diversity, of all kinds, Kramer says. "You had people who barely got by, going up to the very, very wealthy. There was no tradition of parents sending their children to private schools. We all went to public schools and they were incredibly diverse."
Trips back to New Rochelle have been bittersweet for Ingersoll. "I love Bloomington and we've had a great time here, but it doesn't begin to compare in significance," she says. "New Rochelle is absolutely where my heart is."
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Chief Economist & Chief Executive, European Policy Centre
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Fabian works closely with decision makers across the European institutions. He is responsible for the EPC's research on the digital single market, labour, health, energy and environment issues. He also considers the EU's perfect storm, struggling to maintain its economic and social model, and with Eurosceptic parties looking to increase their support in many nations, taking encouragement from the UK's exit.
As Chief Executive of the European Policy Centre (EPC), Fabian provides the organisation with strategic direction and public representation, as well as holding the post of Chief Economist. He works closely with decision-makers across various European institutions, on labour issues, energy and the environment, and the Political Economy Programme.
Fabian previously worked for DTZ a property service company, and was Economic Advisor to the Scottish Executive. He also worked in academia and advised public and private sector organisations. He now focused on a wide range of European issues covering the single market, labour, Eurozone governance, the EU budget and digitalisation. Having studied in Scotland, he also has a experience in analysing the process and effects of the UK exit from the EU and has been appointed to the Standing Council on Europe, established by Scotland's First Minister, Nicola Sturgeon.
Widely published on European social and economic matters, Fabian looks at the problems ahead for the EU, including the rise of various Eurosceptic parties across the continent and the increasing disparity between countries. He is also a member of the University of Warwick's European Advisory Board, the CIPFA Governments Faculty Board and the DIGITALEUROPE Brexit Advisory Council, as well as sitting on the Advisory Board of the Scottish Centre on European Relations (SCER).
Geoff Meade Former Europe Editor, Press Association
Rt Hon Lord (Norman) Lamont Former Chancellor of the Exchequer
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tät-tat stands for a witty and unconventional type of Swiss design.
Neatly thought out, beautifully packaged and produced according to social standards.
Since 1994 tät-tat has specialised in the development of everyday objects produced according to social standards.
Since 2015 we have developed our own range as well as corporate products in partnership with Dock/Gruppe AG, the largest social enterprise in Switzerland.
The concepts are developed in our studio in Münchwilen and are brought to production stage in the St. Gallen Sittertobel. Depending on work profile and scale, we implement the production in one or several of the 10 Dock plants.
The basic idea of turning an apparent weakness into a strength has remained the same throughout the past 25 years: work is to be generated from the core – work that meaningfully complements existing client orders from industry.
tät-tat products are available worldwide in museum shops, design shops, book shops, stationary shops, fair trade shops and online.
Work with a purpose. For the past 25 years, Brigitta and Benedikt Martig-Imhof have continually developed the idea and concept of tät-tat's way of working.
Thus, the organisation is connected with the people who make up tät-tat with their day-to-day commitment.


Erica Swindell is a classically trained violinist and vocalist known for her rich tones and passionate playing. She recently toured with the Eagles and Don Henley as first violinist and has performed at many of the most historic venues in the world. Whether it be country or classical, she brings with her a rich background in almost any genre.
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Erica Swindell is a classically trained violinist, actress, and vocalist based in New York City. Currently, she is on tour with the Eagles as a violinist as part of The Classic concert series.
As an actor, Erica appeared in the cast of the Tony Award winning musical ONCE both on Broadway at the Jacobs Theatre and in the First National Tour performing on stages throughout the U.S., and internationally in Japan and Canada. In addition to her work in theatre, Erica has worked on camera on the dramatic TV series Quantico and commercially for Alltel Wireless. She holds a BFA in Acting with a minor in musical theatre from Marymount Manhattan College and studied at the British American Drama Academy.
Erica has performed in some of the most storied venues in the U.S. such as The Forum, The Ryman Auditorium, The Beacon, and Austin City Limits Live. She has performed internationally in arenas and concert halls in New Zealand, Australia, Ireland, Sweden, the Netherlands, Canada, and recently at Hyde Park in the U.K. with Don Henley and Carole King.
Her violin can be heard on the American Authors Platinum album Oh, What a Life and has performed live with Ashley Monroe, Jamey Johnson, Martina McBride, Trisha Yearwood, Martie Maguire, and Emily Robison. As half of the new Americana duo The Longest Year, Erica is currently writing and recording a new EP with L.A. based singer-songwriter Brendan Willing James. Her love of performance is such that some nights, between shows and tours, you'll find her jamming at an Irish circle, making music with friends, or busking at a local subway stop.


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Anna Wiener On The Brain Rot Of Big Tech And Her Searing New Memoir, 'Uncanny Valley'
The author of Uncanny Valley talks about the myth-making behind male founders, selfhood in the workplace, and how to hold Big Tech's feet to the fire.
By Adrienne Westenfeld
In her mid-twenties, Anna Wiener was working a dead-end job in book publishing when she dropped everything and headed west to Silicon Valley, land of unbridled ambition, surreal excess, and multi-million dollar recklessness. She joined a data analytics startup, where she gained a front row seat to the amorality and extravagance of the new digital economy. What has emerged from those experiences is Uncanny Valley, a hyper-detailed, thoroughly engrossing memoir about her coming-of-age in Silicon Valley during the early years of the startup boom.
Yet Uncanny Valley is so much more than a memoir – it's a vivid, unflinching portrait of a changed San Francisco, a onetime haven for artists and dreamers now dangerously in thrall to the capitalist chokehold of tech monoliths. At the intersection of exploitative labor, entitled men, and ungodly amounts of venture capital, Wiener bears witness to the fearsome future as it unfolds. Esquire spoke with Wiener, now the tech correspondent at The New Yorker, about the mythologisation of male founders, selfhood in the workplace, and legal accountability for Big Tech.
Esquire: What was your approach to collecting information about this period of your life?
Anna Wiener: When I moved to San Francisco, I was twenty five and very lonely; I didn't have many friends in the city. What little down-time I had, I mostly spent emailing with friends in New York. I have all of these long emails to friends that were actually incredibly helpful in writing this book, although quite cringeworthy. Same thing with text messages.
If I hear a piece of dialogue that's funny to me on the street or if I witness an interaction, I'll write it up in an email, send it to myself, and put it in a folder. I had this folder called "Notes To Self" with several thousand emails that were all just snippets.
These were my resources, and about halfway through the writing, I interviewed former coworkers and colleagues. I just wanted to compare notes. Also, there are documents. I had to write a performance review for myself at the end of one year; I wrote this long performance review and showed it to my mom, who said, "Don't put all this in writing. They're going to fire you as soon as it sounds like you're vaguely interested in legal action." I have this thing I never submitted, but it's a clear document of my experience, written from that moment. I just had to pull everything together.
Were your former coworkers generally excited to participate, or were they at all fearful about repercussions?
This is just a book about my experience. It's not a whistle-blowing book. I did speak to quite a few people who left our former employers on less than great terms, so in writing the book, I was mindful about what they had signed. It's pretty common that people leave a company and are paid a certain amount of money to sign a non-disparagement agreement. Basically, anyone who doesn't have a name is a composite of some sort. That to me seems like a way to make it hard to sift out who said what. There's plenty that's not in the book that I wish I could write about, but it isn't for me to write. Hopefully those stories will come out in due time on their own terms. Everyone I spoke to was supportive and invested in getting it right. Everyone who's got a name in the book has read their part and given me edits. I hope it's not an ungenerous book.
Something about your book that makes for an interesting reading experience is the lack of names – not just of people, but of companies. What was your thought process behind that anonymity?
I named everyone who's an actual character who is not an executive. I didn't do names for companies simply as a stylistic thing. These companies have bad, ugly names. Also, as soon as you see Facebook in a book, you have immediate references for that. These companies are often in the news – not necessarily the ones I worked for, but some of the companies in the ecosystem. It may be rude or irreverent to say this, but I think that a lot of the companies are interchangeable in terms of what I'm writing about, which is culture and power dynamics inside the workplace. My hope is that these are fairly universal experiences.
Former Uber CEO Travis Kalanick leaves the Phillip Burton Federal Building on day three of the trial between Waymo and Uber Technologies on February 7, 2018 in San Francisco, California.
Justin Sullivan
You describe our "blind faith in ambitious, aggressive, arrogant young men" as "a global affliction." The stories we tell about men in tech are patently uncritical. Men are framed as young disruptors, given a blank check and endless second chances. How do we recover from that cultural affliction and decentralise that narrative?
Third chances, fourth chances. Infinite chances, really. What a good game. A lot of the founder mythology comes from the industry itself, of course, but it also comes from the media. A lot of these people are just normal people, and the more honest among them will say that. The more uncomfortable someone is with being profiled in the Times style section or Wired, probably the better they are to work for. I think the media was very happy to reproduce tech's narratives about itself for a long time. I think we still have that culture in the industry. What's astonishing is that the people who are failing spectacularly, whether it's ethical failure like Travis Kalanick at Uber or business failure like Adam Neumann at WeWork, get more than a second chance. In fact, their lives are blooming. I'm sure that personally, they're struggling, yet they're re-absorbed into this ecosystem and celebrated or forgiven.
I don't have a solution. I think we have an accountability crisis overall, especially in this industry. But it's a problem everywhere right now in every element of society. Maybe it begins with ratcheting down the marketing of these people.
What does the process of accountability look like?
Policy around these issues is fascinating, but unformed. The existing laws around the internet are archaic and inadequate, but a lot of the solutions being floated right now aren't totally satisfying. Personally, my own interest lies in transparency around data collection. What companies are collecting on people – not just how, but who they're sharing with. The company that I worked for had other companies using its software. When you're using an app, you don't necessarily know if the data is being shared – not just with the company that owns the app, but with any sort of third-party tool. You don't know where it's going, whether it's being sold, or to whom. You don't know who can see it at these companies, or how long they're retaining it. That's a whole sector just begging for regulation.
With something like Facebook or Google, I think anti-trust is a tool. The idea of nationalisation is interesting to me – making some of these platforms publicly-owned, though there are lots of issues there. However, I think solving one of these problems will completely demolish the business model. If you solve some of Facebook's problems, it won't be a viable business. It isn't in their interest to address most of their problems, which are tied to this attention economy with engagement as the main currency.
Former WeWork CEO Adam Neumann.
Allen Berezovsky
Elsewhere in the book, you describe tech as "the scaffolding of everyday life." What are the drawbacks of being that dependent on tech? What are we risking?
I think that ranges from the practical to the spiritual, if I can be so Californian about it. I wrote that and I believe it, but I wonder if I give these companies too much credit. I just wrote a piece about Amazon a few weeks ago, and in editing, my editor made the point that these companies would like to think of themselves as infrastructure. That made me question my calling them scaffolding, because in a way, they don't have to be. Calling it scaffolding makes it sound inevitable, and I think that none of this is inevitable. In fact, it's highly mutable at the moment.
As for practical things, I always find it a little bit alarming that when I'm driving somewhere on a path that the GPS has mapped for me – I don't actually know where I am. It's a loss of a sense of place. Obviously there are issues with data collection, surveillance, and control. When my iPhone shuts down, I don't know how to contact anyone, and it throws my whole day. There's that dependency where you lose autonomy. Spiritually, it can be atomising and alienating, this shift where what you value moves from your experience in the world to your experience as mediated by these platforms that have been designed for a common denominator.
I do think that there's something to be said for boredom and tedium – and work that isn't toward a goal. Not just work, but engaging with the world in a way where the end game isn't contributing to the economy. We get into scary territory when our value and our usefulness is completely correlated to our economic output.
Does that inevitably lead to a crisis of self?
You have a crisis of self, or you fall for the idea I fell for – that if I was making more money, I was more valuable to society, and therefore better. I think this conflation of economic market value with your moral worth is really dangerous. It's on the individual level, but on the collective level, too. How do we see people in a society who can't work? How do we see mothers who decide to stay at home and raise children? You end up in a dangerous place socially.
Amazon CEO Jeff Bezos attends a commemoration ceremony held in front of Saudi consulate on the first anniversary of his murder, in Istanbul, Turkey on October 02, 2019.
You write, "My job had placed me, a self-identified feminist, in a position of ceaseless professionalised deference to the male ego." How can the tech industry transform into a place of true respect and equality for women? So often it feels as if the industry papers over misogyny with empowerment conferences. What would actually produce lasting, significant change?
Where to begin? I think that hustle culture can be non-viable for people with families or dependents. The fetish for the person who can work from 7am until midnight is just not tenable for a lot of women who have kids. I think we need to move away from corporate feminist Lean In narratives. Pay transparency is also near and dear to my heart. I think transparency around compensation, equity, and clear processes for reporting harassment are critical. I don't think the solution is to put a woman on your board, which seems to be the fix these days. Put a woman on your board, appoint an executive – all good things, but that doesn't really make the industry better for women. It just nudges the company into thinking of itself as a company that has a woman on its board. It's about empowerment – actually empowering people inside the company to have a seat at the table, and I don't mean executive power. I mean the entire employee base.
In another part of the book, when you're given a company-issued fitness tracker, you write that biohacking "isn't self-knowledge; it's just meta-data." Do you feel that biohacking is incompatible with true introspection?
Not necessarily. I think that it's a way of knowing about yourself that works for some people. However, I think of these men in their early twenties who are tracking their metrics and working 12 hour days; I wonder if they really need the affirmation from these numbers that they're doing well. Maybe it's actually more about finding a way to feel human in that environment. I think there are other forms of self-knowledge that are valuable, but I don't think they're mutually exclusive. For me, I felt like I was generating more data that made my life worse. Once you have a metric, you start working toward it. You start trying to change the number– that's the whole point of collecting a number. I didn't want to treat my body like an app.
How should tech workplaces change to make employees feel less "like an intelligent artifice," as you put it in the book, and more human?
These workplaces do try to make people feel more human. A lot of them are very playful – they have healthy snacks and comfy chairs, cute branding, little libraries where employees will bring in books. I feel that you don't need to be getting your humanity from a company. That's part of the problem. I feel like people should go into work, do their work, and feel as good as they can knowing that it's not necessarily their priority in life. I think what's wrong in tech is this assumption that, if you're an employee, you should be as committed to the company as the executives – as the people who really have something at stake. Employees have a lot at stake, too, especially at small companies and startups, but if you start getting your humanity from a corporation, then you're in really choppy water. That's how you get taken advantage of.
An Extinction Rebellion environmental activist mother group protest outside Google UK HQ demanding they stop climate deniers profiting on their platforms on October 16, 2019 in London, England.
Ollie Millington
Now that you don't work in tech anymore, do you experience FOMO for the industry?
Absolutely. It's like I left a cult. It's not exactly FOMO, because I've been so incredibly lucky to be doing what I'm doing now, and I hope I'm able to do it for a while. But I'm also aware that I've looped back to a precarious industry. I don't know if my luck will run out and when, but my feelings of regret are more about that feeling I had when I joined the tech industry, which is that there's a definite future in tech. If I had stayed, my life would probably be much easier in the long run. I would feel more validated, and I would have more time to spend with my friends, partner, and family.
I miss the camaraderie, and the feeling that you're building something that might actually matter, that a lot of people will use. That's intoxicating. Because I work remotely, what I miss is the social element – this feeling of economic momentum. It's this feeling not so much of being left out, but the question of, "Will everyone leave me behind? Have I made decisions such that the doors of power have closed on me?" In my head, Silicon Valley is like a castle. I was a low-level member of the feudal society, and now I'm very far away from the castle.
You write, "Everyone I know is stuck in a feedback loop with themselves. Technology companies stood by ready to become everyone's library, memory, personality." For anyone who feels psychologically consumed by Big Tech, what are some small ways they can start pulling back? How can you take back your analog lifestyle without having to become a woodland hermit with no Internet?
Reclaim your own time. Boycotting digital platforms helps you preserve your own mind, but I don't think that's the solution. It needs to come from a much higher, individual level. When I'm feeling virtuous, what I try to do is identify what I want from some interaction on the internet. I often find that what I'm actually craving when I'm refreshing Twitter or Instagram is talking to my friends. Picking up the phone or going out in the world really helps. That's part of what the internet is chipping away at – the materiality of your lived experience. Reclaiming that and re-engaging with that is what I've found to be the most valuable solution.
Uncanny Valley by Anna Wiener is released in the UK on 23 January. Pre-order it now.
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And where in my post am i B****ing about anything. I only made a statement .Obviously you don't know what you are talking about with the statement "Software updates are released before the OTA" Think about...Hahahaha!!!
Got mine in NC this morning.
Got confirmation that the software update is in production and users should be able to upgrade now. If you are not able to do so please post here.
Confirmed that it is live, got mine. Thank you, Sprint!
Just downloaded it! Don't forget to check for app updates in the Play Store.
Just got mine in Houston, Texas.
Does anyone know if HTC will upgrade the EVO software to perform screenshots? Or do I have to upgrade to the HTC One?


We are hearing so much about cybercrime, these days, that we (you and me) need to be protecting our identities. Especially given the Equifax cyber intrusion which may have put yours and my social security numbers and other private information at risk.
What I am finding out is that there are two levels of limited protection that will let you know that your information might have been compromised. The first level is more after the fact, and that is notifying you of a change in your credit report i.e. a new account set up, or the like. The second level is not quite as available, but it is monitoring the dark side of the internet. That will let you know when your information is in that area of the internet and will let you know what others are doing with that information.
I am not yet comfortable enough with who to recommend companies that might provide either of those services.
The one thing is certain – these hacks will continue and the need to protect your information will continue to increase.
For Individuals, the Form 1040 and Form 40 (Oregon) are due to be filed by April 15th or the next business day if April 15th is on a weekend or holiday.
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What's the best way to get my questions answered?
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Oregon's minimum wage for effective July 1, 2018 is $12.00 per hour in the Portland metropolitan area and .$10.50 in other areas. Effective July 1, 2019, those numbers go to $12.50 and $11.00.
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Employees, did you know that you should be having withholding taxes removed from your payroll and be issued a form W-2 at the end of the year IF your employer provides the work space, work tools necessary for the job, and tells you when you are required to be at work? Many are being given Form 1099 which requires YOU to pay the payroll taxes the employer should be paying.
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Did you know that upon death any assets held in only the name of the decedent must go through a probate process which turns the property over to the court system for final outcome. The ways to avoid probate cost are (1) to have joint ownership of the property, (2) beneficiary designations, or (3) have all property owned by a trust.
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If you are a disabled war veteran or the surviving spouse of a war veteran, you may be entitled to exempt $17,911 or $21,493 of your homestead property's assessed value from property taxes. The exemption amount increases by 3 percent each year. The exemption is first applied to your home and then to your taxable personal property. If you are an Oregon resident and a qualifying veteran or that veteran's surviving spouse and live in your home, you may file a claim and receive the exemption.


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Q: Exponential sums/Laplace transform for $L^1\cap L^2$ This is perhaps completely trivial, but I'm not sure:
Suppose we have a function $f(x)\in L^1\cap L^2, (-\infty,\infty)$ and a trigonometric sum over a countably infinite set of complex numbers which converge (perhaps distributionally) to $f(x)$. Perhaps something like:
$$f(x)=\sum_{s\in S} \eta_se^{|x|\sigma+ix\omega}$$
where $S$ is a countably infinite set of complex numbers $s=\sigma+i\omega$ with $\sigma\ge 0$ and $\eta_s$ are some weights.
QUESTION: must it be the case that $\sigma=0$ for all $s$? The idea is that we have something like a Fourier Transform with a discrete spectrum and the possibility of exponential growth for the basis (which i am curious if we can rule out).
I think this question is related to the Fourier and Laplace transforms. I have a feeling that the answer is yes because Fourier Inversion is valid for functions in $L^1\cap L^2$ (which implies that $\sigma=0$). I don't know if there is more to show, such as if there is a $\sigma_s>0$ then the exponential growth cannot be neutralized by other $\sigma_s$'s.
thank you

A: No because an exponential sum can converge pointwise to $0$ for all $x$.
I interpret your question as given 3 sequences $(\sigma_n),(\omega_n), (\eta_n)$ with $\sigma_n\ge 0$ and the $\sigma_n+i\omega_n$ distinct, if $$f(x)=\sum_{n=1}^\infty \eta_n e^{\sigma_n |x|+i\omega_n x}$$ converges for all $x$, to $f(x)$, such that $f\in L^1 \cap L^2$, should we have that $\forall n,\sigma_n = 0$?
For a counter-example, start with $F_1(y) = 1_{y\in [0,1]}$,
then for each $n$, find the least (for the lexicographical order) integers $k\ge 0,a\in \Bbb{Z},b\le 0$ such that $$\forall y, \qquad F_n(y)\ge \frac1n 1_{y\in [\pi^{-n}+a/2^k,\pi^{-n}+(a+1-b)/2^k]}$$ and set $F_{n+1}(y)=F_n(y)-\frac1n 1_{y\in [\pi^{-n}+a/2^k,\pi^{-n}+(a+1-b)/2^k]}$.
If no such $k,a,b$ exist set $F_{n+1}=F_n$.
It is not hard to see that $F_n$ converges to $0$ in $L^1$, that $\lim_{n\to \infty} F_n'$ is a series of weighted Dirac delta peaks at distinct abscissa, and that the Fourier transform of $F_n'$ is an exponential sum at distinct frequencies and which converges to $0$ pointwise. Multiplying it with $e^{|x|}$ gives a counter-example.

redpajama_set_name: RedPajamaStackExchange


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Ed Miliband fights back against FiT cuts
Published: 1 Jul 2011, 13:59
Labour leader Ed Miliband has today signed an Early Day Motion (EDM) calling on the Coalition to scrap plans to cut the feed-in tariff for solar photovoltaics installations over 50kW. The EDM was signed alongside Labour's Rosie Winteron and the Shadow Energy and Climate Change team of Meg Hillier, Luciana Berger and Huw Irranca-Davies.
The motion urges Government to rethink its decision to go ahead with debilitating cuts of up to 70%, stating that "the Draft Modifications to the Standard Conditions of Electricity Supply Licenses, a copy of which was laid before this House on 9 June 2011, be not approved."
Since the fast-track review was announced Government has been under a tremendous amount of scrutiny from the solar industry, yet it stood firm in its opinion that the cuts had to go ahead. The Coalition's main argument throughout the FiT cut saga has always been that this was a system inherited from the Labour Government, where Miliband was in fact Energy and Climate Change Secretary. The new Labour leader will now go against the policy he introduced.
"Minister Greg Barker's decision to go ahead with the proposed dramatic feed-in tariff reductions for community, school and hospital schemes is a big blow to British industry and betrays the Government's promise to be 'the greenest Government ever'," said Irranca-Davies.
"A decision such as this which fundamentally alters the future for the solar industry in the UK deserves real debate, where MPs can question the minister on his rash and ill-thought out decision. It should not be snuck quietly through the Commons."
"The Coalition Government would be making a terrible mistake to sacrifice the UK solar industry, and this needs proper parliamentary debate," said Howard Johns, Chairman of the Solar Trade Association.
"The debate should focus on the true potential of solar to the UK based on current costs and jobs and manufacturing opportunities."
Miliband's EDM comes as a group of 11 companies that had been seeking to overturn the feed-in tariff cuts confirmed that they have been forced to drop the case as the earliest slot the courts could offer was October. As a result the group has decided to withdraw the case, citing concerns over legal costs and fears that the courts would be unlikely to overturn the decision, which is due to take effect on August 1.
"We are incredibly disappointed, but we are going through the process of withdrawing the case," the spokeswoman said.
The industry met just days ago to discuss the future of an industry without subsidy.


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Our Club's History & Growth:
Foundation and Growth as West Hawthorn CC
Back in 1947, the Club was formed as West Hawthorn C.C. after a meeting of Hawthorn Colts Footballers led by Hawthorn F.C. rover Alan "Snowy" Jensen. One matting side was entered into the ESCA competition in 1947/48 and the Club has been a member continuously since that first season. Home games were played at the tiny Fairview Park ground by the Yarra River.
West Hawthorn C.C. foundation players in
1947/48 at St. James Park, West Hawthorn. West Hawthorn's 1981/82 1st XI
Premiership team that took the club into
Senior Turf for the first time.
In 1949/50 the Club entered a turf team based at Burke Road South Reserve, which became West Hawthorn's home for many years. The Club featured in the Finals regularly for the first ten years before winning it's first Flag in 1957/58.
A Junior side was formed in 1963/64 which heralded the careers of many fine players with Under 16s Flags in 1967/68 and 68/69. In 1972/73 the Club merged with Hawthorn District CC at Rathmines Reserve, to become West Hawthorn District CC, expanding senior ranks to two turf and two matting sides. Two years later the Club's name reverted back to its original name West Hawthorn CC.
West Hawthorn's 2nd XI were Premiers in 1979/80 and the 1st XI won the A-Grade Flag in 1981/82 to elevate the Club to Senior Turf for the first time. Success returned in 1999/00 with the 2nd XI Premiers and a 5th XI added to the ranks. In 2000/01 the 4th XI won their first flag in C-Grade Synthetic.
2002/03 New era as Hawthorn Cricket Club.
In a bold step forward by President of the time, Jon Kozeniauskas, the club seized on the opportunity to change it's name from West Hawthorn to Hawthorn CC. It was an appropriate move as the club had grown to 5 senior sides with Junior teams and occupied three grounds widely spread across the Hawthorn district. To celebrate the name change Hawthorn won two Premierships with the 1st XI and 4th XI, moving them into Senior Turf and A-Gold Synthetic.
In 2003/04 the 5th XI reached their first finals after moving into the two day competition in D-Synthetic while the long suffering 3rd XI lost their 3rd Grand Final in as many years in D-Grade Turf! It was a frustrating year on turf for the Club with our 1st and 2nd XIs both being relegated back to A-Grade and C-Grade respectively.
In 2004/05, under new coach Mehul Somaia, the 2nd XI rebounded magnificently under Brad Alcock, winning the C-Turf Flag at Surrey Park, where the 3rd XI had been bitterly dissappointed the past two seasons. Mehul's outstanding run of cricket premierships continued the following season with the 1st XI winning it's way back into Senior Turf in the 2005/06 season.
2007/08 saw Mick Torriero as Captain/Coach of the club attempting to lead Hawthorn CC to its first Senior Turf Flag. It was a frustrating year with the top four teams missing finals action by two to three wins. The Synthetic 2nd XI was the highlight reaching their first ever Grand Final since forming in 1999/00. Unfortunately, they failed to bring home the Flag. Other highlights included Rob Tongue coming 2nd in the Dunstan Medal and Path Kothari winning the ECA B-Turf Batting Trophy with an average of over 80.
2008/09 witnesses the very sad passing of Club Legend, Mark Fitzpatrick from a battle with cancer before the start of the season. Mick Torriero steps aside for Rob Tongue as the new Captain/Coach. Mehul Somaia is Vice Captain and Jon Koz returns to the fold as Assistant Coach to guide the First XI to higher ground at the top level in Dunstan Shield.
The Club puts in a fantastic season under Rob with 4 of 5 senior sides making Finals. The Turf and Synthetic 1st XIs both win through to their Grand Finals from 4th place. The Turf 3rd XI and Synthetic 2nds both bow out in the Semis after finishing 2nd and 1st on the ladder! Unfortunately neither side win a Flag. The First Turf XI come very close against East Doncaster to winning their first ever Dunstan Premiership but dropping catches prooves to be the difference between the two sides. Andrew Waugh-Young scores 3 Centuries in the 2nd Synthetic XI and Club President Graeme Yole passes 2 major milestones: Club Record 395 Games, overtaking his father John Yole and then 400 Games in the losing Semi-Final.
On the Juniors front, there are now 7 sides. A Pre-season Cricket Academy is established and Stephen Yole's Under 12 Bs finishes the Season as Premiers adding our 5th Junior Flag for the Club. Several Juniors are selected for Representative Cricket with Harry Kerr's Inner Eastern Emus team winning the State Championships.


I've had this Big Pineapple in my fridge for a while now. We've done at least two sodas from all of the sample packs we've been mailed, so it's time to get to a few fan given sodas. As you could probably guess, this was given to us by a fan… so a big thanks to Kyle R. The other pineapple sodas I've tried remind me of that relative you only see at the yearly family reunion. He's probably nice, and you may share a few words, but next year you're gonna be asking your mom his name again. For those of you who didn't get that awesome analogy… pineapple soda is ok, but I haven't had one that just blew me out of the water.
The color of this soda is a bright yellow, which is fun, and it matches the splash yellow label as well. While Big Peach had a realistic looking peach on the label, this has an obviously drawn pineapple. It's an ok looking pineapple, as pineapples go, but I wish it was bigger. They could really stylize the fruit on their labels, and make the art pop a little more. It's time to open this up for a sniff, or maybe even two.
This smells like sugar first, and then pineapple… but at least it smells like the fruit it's labeled with. In fact I might go so far as to say that it smells like a pineapple upside down cake. Here's the part where I'd like to inform you that I'm going to drink the beverage now. I wish I had some catch phrase I could use like "It's drinkin' time", but that reminds me too much of "It's clobberin' time". If any of you think of a cool catch phrase for me to use, do tell. Chug-a-lug!
It has an initial bite that I didn't expect, but that quickly dissolves into a muted pineapple taste. To tell you the truth this isn't nearly as strong I was expecting it to be. When it first hits your mouth, it's bubbly, a little tangy, and enjoyable, followed by the muted pineapple. The second, third, and fourth times are a repeat of the first. This fifth time though, something different happened. It's like the muted pineapple taste was building upon itself in my mouth. It was no longer a weak taste, but one that was flavored how I initially thought it would be. I'll tell you right now though, this is the best pineapple soda I've had… then again I don't think I've had more than three. This could potentially quench your thirst, but I'd say it works better as a stand alone "treat". Sadly there is nothing that truly sets it apart from the other few pineapple sodas I've tested. I will say though that after drinking this I'm much more excited to find a truly awesome pineapple soda.
Verdict – Buy a Bottle!


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Advance copy giveaway | Latest news | International news |
Advance copy giveaway
The Shanghai Wife
The fiction debut of 2018 Leaving behind her past in country Australia, Annie Brand and her new husband, a ship's captain, arrive to the political upheaval and glittering international society... Read more
ABIAs 2018 shortlists announced
The shortlists for the 2018 Australian Book Industry Awards (ABIAs) have been announced. The titles in each category are: General fiction book of the year Force of Nature (Jane Harper,... Read more
Australian publishers report 'optimistic' Bologna; feminism and diversity remain points of interest
Australian publishers have reported a busy and 'positive' Bologna Children's Book Fair (26-29 March), with ongoing demand for middle-grade fiction, books with a focus on feminism and diversity, and illustrated... Read more
CBCA announces recipients of 2018 Maurice Saxby Creative Development Program
The Children's Book Council of Australia (CBCA) Victoria Branch has announced the successful applicants for the 2018 Maurice Saxby Creative Development Program, which provides emerging children's writers and illustrators with... Read more
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A new UK report on representation in the arts has revealed a 'class pay gap' in publishing of £23,000 (A$41,900) a year, and found that people of working-class origins make up just... Read more


The WAKR! Holding B.V. manages hundreds of domains, some of which we will elaborate on in this overview. Initially we aimed at Dutch Internet users although nowadays we are active on the international market.
Besides several in-house projects and websites we participate and invest in third party projects.
One of our daughter companies is EasyTerra B.V.. The company is directed at the worldwide need for rental cars at competitive rates. In collaboration with multiple car rental companies we succeed in offering the best rates for car rental on our website, time after time.
Our daughter company Airport Desk B.V. responds to the growing demand for online airport information, simply by providing all of it. What is the infrastructure at a certain airport like? When does my plane leave? Are there any hotels at the airport? Airport Desk has all the answers.
City trips account for an important share of the online travel industry. More and more people like to orientate online, prior to their specific reservations. CitySpotters City Trips offers these travellers numerous travel guides, filled with useful pointers, attractions and reviews for and by users.
The car is often an important part of your journey as it ensures your transportation to and from the airport. Airport Parking Directory offers the possibility to book parking space at numerous airports in Britain online.


From the discovery of core-forming process for bead-making in ancient Egypt, through the invention of the metal blow pipe during Roman times, to the modern industrial Pilkington process for making large-scale flat glass; each new breakthrough in glass technology occurred as a result of prolonged experimentation and ingenuity, and has given rise to a new universe of possibilities for uses of the material. This show unveils a first of its kind optically transparent glass printing process called G3DP.
The G3DP project was created in collaboration between the Mediated Matter group at the MIT Media Lab, the Mechanical Engineering Department, the MIT Glass Lab and Wyss Institute. Researchers include John Klein, Michael Stern, Markus Kayser, Chikara Inamura, Giorgia Franchin, Shreya Dave, James Weaver, Peter Houk and Prof. Neri Oxman.
Video released under the CC-BY-SA 4.0 license.


Our Management team is very dynamic and consists of people with varied expertise that can be leveraged to meet the requirements of our customers in changing and challenging environment.
who incorporated the BLS & S S offshore Pvt Ltd with years of experience till date in marine offshore services.
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Along with this team BLS & S S offshore Pvt Ltd is in a continuous pursuit to develop resources and improve capabilities ensuring to meet the requirements of its customers in changing and challenging environment.


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'Journalistic Fraud' soaring on Amazon
Published September 4, 2003 at 1:00am
A summer blockbuster release from WND Books has experienced another spike in popularity on the Amazon.com charts, recently soaring to as high as 212 on the best-seller list.
"Journalistic Fraud: How the New York Times Distorts the News" by Bob Kohn climbed the charts recently after a spate of interviews Kohn did on national radio and television. Last month, the book enjoyed similar success, reaching as high as No. 52.
In recent days, Kohn has been a guest of talkers Bill O'Reilly, Michael Savage, Monica Crowley, Phil Valentine, and Alan Nathan. He has also appeared on Fox & Friends and MSNBC's Scarborough Country. Also, an interview with Kohn is featured on the journalism website mediabistro.com.
In "Journalistic Fraud," Kohn shows dramatically that the Jayson Blair scandal wasn't the first journalistic fraud perpetrated by the Times, but rather the culmination of years of often subtle, insidious distortion of reality for political purposes. Kohn shows how the original founding vision of the Times was hijacked by those with a political agenda who used the prestigious paper to spread a dangerous form of propaganda. At the same time, he offers up a sophisticated but concise crash-course in journalism for the layman.
The book demonstrates how the influence of the Times goes beyond its million-plus readers. With 650 subscribers to its daily wire service, tens of millions of Americans across the heartland are "being subjected to the bias and dishonesty of the Times in their local newspapers."
Over the years, Kohn writes, he has seen his favorite newspaper become increasingly corrupted by its flagrantly political management. The journalistic fraud Kohn exposes is perpetuated in three main ways:
slanting the presentation of the facts in leads, headlines, and placement
utilizing polls, labels, and loaded language to hoodwink readers
staffing the newsroom with hacks who manipulate the news to further a leftist political agenda
An attorney and prize-winning essayist, Kohn has written for WND Books the first major publishing broadside against the New York Times since the Jayson Blair scandal.
RELATED: Churches 'on fire' over 'marketing of evil'
"Once you've read this book, you'll never read the Times – or any newspaper – the same way again," says Joseph Farah, editor of WorldNetDaily and co-founder of WND Books. "This book could spell the beginning of the end of the Times' reign as America's newspaper of record."
"Journalistic Fraud" is available from WorldNetDaily's online store.
Tags: WND BOOKS


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She's So Lovely (1997)
The story of one outrageous woman. Caught between two men. Both of them certain of one thing...
Genre(s): Drama, Thriller, Romance
Susan Traylor
Chris Kinkade
Bobby Cooper
Rene Cleitman
Eddie and Maureen were a happy couple who was expecting their first child when Eddie suddenly disappears. As time goes by, Maureen becomes extremely upset and agrees to share an evening of drinks and conversation with neighbor Kiefer. But as the evening wears on, Kiefer tries to attack Maureen and winds up beating her. Eddie returns and becomes angry when he sees what Kiefer did to his wife. Eddie's rage gets the best of him and he shoots a paramedic in a violent rampage. Because of his rampage, Eddie is locked in an insane asylum for 10 years. When he gets out, he finds Maureen has remarried and has two children from her new husband. But Eddie decides to win his wife back and put his life back together.


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Dolní Počernice – część Pragi leżąca w dzielnicy Praga 9, na wschód o centrum miasta. W 2006 liczyła 2 190 mieszkańców.

Dzielnice Pragi


Join me this fall for an intimate workshop at my very own photography studio and garden in the historic and magical city of New Orleans. This experience will bring together 5 likeminded students together to learn the ropes of food styling and photography, as well as content creating strategies, Instagram tips and tricks, editing skills, and, of course, creating and eating beautiful vegan cuisine. This 4 day experience will be an extraordinary opportunity for any creative to grow and establish a strong foundation in food styling and photography. Lectures include topics such as composition, light, shooting styles, camera settings, Lightroom editing, and more.
My studio kitchen is equipped with multiple food photography backgrounds, vintage props, unique kitchen appliances, gorgeous ceramics, and plenty of natural light, as well as some artificial light, to utilize and shoot with. My herb garden boasts dozens of fresh herbs and edible flowers to use for styling as we go. All of this in combination with my collection of over 100 gorgeous cookbooks to peruse, my space is undoubtedly an ideal learning environment.
This intimate worksop is designed to provide each student with the unique opportunity to see how I work behind the scenes in regards to cooking, styling, shooting, editing, working and posting content to my blog and Instagram. In comparison to large group workshops, this intimate style workshop is the ideal learning environment as there is more undivided attention and intensive hands on teaching. There is also a much more powerful connection and camaraderie with a smaller number of students.
Each day will begin at 10:30 am. This will give each student the opportunity to have breakfast before they come to the workshop. The lectures will start promptly at this time. Lunch will be included and delivered by a local restaurant each day. The afternoons will consist of hands on food styling, editing, and critique, with a tea break. Each day will end at 6:30, which will give each student the opportunity to explore restaurants in New Orleans on their own, if they desire.
This day will be designated for traveling and getting comfortable in the city of New Orleans. For dinner, the students and I will meet at a local vegan friendly restaurant to have an orientation, meet one another, and have fun! This will be an opportunity for everyone to get to know one another, discuss creative expression, branding, and overall goals.
Welcome dinner, lunch, tea, water, snacks + whatever we make and style, coffee, lectures and classes, consultation and critique.
Airfare, lodging, transportation to and from airport, transportation to and from studio, and all other meals that are not included for each day.
For students living outside of the New Orleans area, the city has a fantastic airport with many connections and direct flights. For transportation to and from the hotel, studio, and restaurant, Uber and Lyft are commonly and highly used by visitors and locals alike.
As for lodging, there are hundreds of hotels, bed and breakfasts, etc. available. My exact address will be provided once your spot is reserved so you can plan accordingly.
Upon submitting the questionnaire below, a final approval for the workshop will be made and a deposit of 50% ($975) will be invoiced to reserve the spot. The remainder of the payment will be invoiced the day before the workshop. Due to the nature of this workshop, there can be no cancellations or refunds. Finding another guest to fill the spot is highly recommended.
"Timothy's ability to connect with his students is like no other. He is a truly genuine person, and whoever has the opportunity to learn from him one-on-one will have a truly life-changing experience. He is a fountain of knowledge and creativity, and has a ton of experience, technique, and talent that he is willing to share. I have grown tremendously as a photographer and food stylist, and have gained the skills and confidence I need to move forward in my career thanks to Timothy.
"Words cannot express how much I loved witnessing Timothy's artistic expression in person. There were moments I had to pinch myself for watching him cook and play with each ingredient like it was a painting. At times I had to wipe a tear or two for how touched I was to feel artistically connected. His creativity resonates with me so much. The way he plays with light, the way he celebrates each ingredient. He reawakened my connection to photography. Imagine seeing beauty that is too hard to handle on your own and you get to capture it in photos and share it with the world. The workshop was hands on, practical and informative and I am so grateful to have made some beautiful friendships along the way. If you are reading this far then definitely sign up. Watching Timothy in action in his homeland will, I'm sure, be a memorable experience well worth every penny. And no I am not paid for this testimonial I just loved the course so much that I could do this all over again!"
"Wowie, my mind is absolutely blown away from everything I learned in this course. I legitimately did not know how to use a DSLR camera and left feeling confident in my camera abilities and super excited to start playing in my own kitchen. Timothy is a very hands on teacher ~ a culinary aesthetic genius and absolute pleasure to learn from! It's such a treat to have access to him and be able to watch him in action. I *highly* recommend this course, the experience with Timothy changed my life and it will change yours too!"
"Timothy's love of food is infectious. Not only did we enjoy photographing the food, but it also was a blast cooking it and nibbling every now and then. I was hugely impressed by his patient and nurturing teaching style. He gave our group his undivided attention and pushed each of us to stretch our photography skills. Through his fun and playful storytelling, honest critiques and discerning eye, we learned the art of capturing the authentic beauty and character of food, which can only come from working with a true artist. Timothy is an artist through and through, and so much more. Overall, it was a week where Timothy gave all of his time, energy and dedication teaching us how to combine our love of cooking and food with the skill and artistry of photography. I left the weekend feeling that I gained a mentor as well as a lifelong friend."
"Timothy is kind, hilarious, and fun—all of the things that make him an excellent host and someone you just want to hang out with. But, he is also exceptionally talented, has decades of experience at his disposal, and very honest—making him an extraordinary teacher. Most importantly, Timothy is an artist—he takes his craft seriously and applies the same attention to detail to his students. He takes the time to review your work before you even set foot on his doorstep, so that he can tailor the workshop to YOU to bring out the best in YOU. Just take a look at my IG gallery—it's obvious to even an untrained eye precisely when I started applying what I learned from Timothy's workshop. Not only that—my reach, engagement, and overall growth has increased exponentially since applying what Timothy shared with me. Plus, I ate like a freaking KING during his workshop!! In sum, I consider myself lucky to have had the chance to work with Timothy, to learn from him, and to call him my friend."
If you are interested in joining me for this intimate workshop, I would love to hear from you! Please fill out the form below and I will be in touch with you as soon as possible. Once you've been accepted, I will invoice you the deposit. Once paid, your spot will be reserved.
If you have a website with some of your work, please let me know here.
If you have an Instagram with some of your work, please let me know here.


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New York's Capital Region in 50 Objects
Each region of the nation has its own distinctive history and identity. The New York's Capital Region—consisting of Albany, Rensselaer, Schenectady, and Saratoga Counties—is no different. But what best identifies the region? What events, objects, people, and ideas have contributed to its character and uniqueness?
To learn the answers, we presented these questions to the numerous museums, historical organizations, libraries, and residents of the Capital Region. The fifty objects that were ultimately selected present an exciting history of the Capital Region, including well-known favorites but also unexpected surprises. Some of the fifty objects characterize very broad topics like the textile industry and the Hudson River School of art, while others embody large populations of people who shaped the character of the region, such as the Dutch and the Iroquois. Many objects represent specific people or events, such as writer William Kennedy and the Battle of Saratoga. In some instances, the objects represent themselves, like the GE Monitor Top refrigerator and Albany's beloved Nipper statue. A complementary image accompanies each of the fifty objects, providing context and additional information.
Overall, the fifty objects clearly demonstrate that this narrowly circumscribed part of New York State has played an astonishing role in shaping the history of the nation and, in several instances, the world beyond the confines of our national borders.
Enter Exhibit
New York's Capital Region in 50 Objects Book
Available in our museum shop December 8th!
This online exhibition has been supported by AT&T.
www.albanyinstitute.org