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Reproduction (28) Apply Reproduction filter
Bailey v. Blue Cross Blue Shield of Virginia (1994)
In 1994, the Eastern Virginia District court case Bailey v. Blue Cross Blue Shield of Virginia established that insurance companies could not deny coverage for experimental stem cell therapy treatments. The plaintiff, Mary Bailey, was diagnosed with advanced stage breast cancer and sought treatment involving high-dose chemotherapy and an advanced stem cell treatment, which was a novelty at the time. Stem cells are cells that have the potential to develop into several different types of cells in the body.
Subject: Legal
Forbes v. Napolitano (2000)
Forbes v. Napolitano (2000) was a US court case that established that Arizona researchers could use fetal tissues from induced abortions for basic scientific research, for instance, as a source of stem cells. The case challenged the constitutionality of the Arizona Revised Statute (ARS) 36-2303 in the Ninth Circuit US Court of Appeals, a law that banned researchers from using fetal tissues from abortions for any type of medical experimentation or investigation. The Ninth Circuit US Court of Appeals decision in Forbes v.
Barack Obama Executive Order 13505, November 2008
On 20 November 2009 Democrat Barack Obama replaced Republican George W. Bush as president of the United States. Obama soon initiated changes to Bush's 2001 executive order concerning scientific research involving human stem cells. Stem cell research remains a controversial issue in the US. Some individuals consider it immoral to experiment with an embryo because they regard embryos as human beings from the moment of conception, while others believe stem cell research could lead to great scientific advancements.
Dickey-Wicker Amendment, 1996
The Dickey-Wicker Amendment is an amendment attached to the appropriations bills for the Departments of Health and Human Services, Labor, and Education each year since 1996 restricting the use of federal funds for creating, destroying, or knowingly injuring human embryos. The Dickey-Wicker Amendment began as a rider (another name for an amendment) attached to House Resolution (H.R.) 2880. H.R.
Golden Rice
Golden Rice was engineered from normal rice by Ingo Potrykus and Peter Beyer in the 1990s to help improve human health. Golden Rice has an engineered multi-gene biochemical pathway in its genome. This pathway produces beta-carotene, a molecule that becomes vitamin A when metabolized by humans. Ingo Potrykus worked at the Swiss Federal Institute of Technology in Zurich, Switzerland, and Peter Beyer worked at University of Freiburg, in Freiburg, Germany. The US Rockefeller Foundation supported their collaboration.
Subject: Organisms, Legal
Title 1, Subtitle B, Parts I, II, and III of the "National Institutes of Health Revitalization Act of 1993" (1993)
In 1993, the NIH published the Revitalization Act that established guidelines for minorities' and women's participation in clinical research. Before the 1990s, investigators largely excluded women from their research based on the 1979 guidance from the US Food and Drug Administration, or FDA. The FDA urged investigators to exclude any woman who was or could become, pregnant to protect the woman and any developing fetuses from harm.
Whitner v. South Carolina (1997)
In the case Whitner v. South Carolina in 1997, the South Carolina State Supreme Court defined the concept of a child to include viable fetuses. This allowed grounds for prosecution of a pregnant womanÕs prenatal activity if those activities endangered or could potentially endanger the fetus within her. The case brought the issue of fetal rights versus pregnant womenÕs rights to light.
Subject: Legal, Reproduction
Weber v. Stony Brook Hospital (1983)
The New York Court of Appeals' 1983 case Weber v. Stony Brook set an important precedent upholding the right of parents to make medical decisions for newborns born with severe congenital defects. A pro-life New York attorney, Lawrence Washburn, attempted to legally intervene in the case of Baby Jane Doe, an infant born with disorders. When the infant's parents chose palliative care over intensive corrective surgery, Washburn made repeated attempts to have the New York courts force through the surgery.
Evans v. People of the State of New York [Brief] (1872)
Attempts by the New York legislature to make abortion a crime regardless of the stage of gestation were permanently frustrated because the court decided that manslaughter cannot occur until the law recognizes a living being in gestation and that only happens after quickening.
Bowen v. American Hospital Association (1986)
The 1986 US Supreme Court decision Bowen v. American Hospital Association rejected the federal government's use of Section 504 of the Rehabilitation Act of 1973 to intervene in a hospital's treatment for neonates born with severe congenital defects. This case set a precedent for the role of government involvement in cases where parents refused consent for care of disabled newborns.
Gonzales v. Carhart (2007)
In Gonzales v. Carhart (2007), the US Supreme Court held in a five-to-four decision that the 2003 Partial-Birth Abortion Ban Act passed by the US Congress was constitutional. Although the Court previously ruled in Stenberg v. Carhart (2000) that a Nebraska law that prohibited partial-birth abortions was unconstitutional, Gonzales reversed this decision. Gonzales created the precedent that anyone who delivers and kills a living fetus could be subject to legal consequences, unless he or she performed the procedure to save the life of the mother.
Uniform Anatomical Gift Act (1968)
The Uniform Anatomical Gift Act (UAGA or the Act) was passed in the US in 1968 and has since been revised in 1987 and in 2006. The Act sets a regulatory framework for the donation of organs, tissues, and other human body parts in the US. The UAGA helps regulate body donations to science, medicine, and education. The Act has been consulted in discussions about abortion , fetal tissue transplants , and Body Worlds , an anatomy exhibition.
Subject: Legal, Outreach, Reproduction
Commonwealth v. Luceba Parker [Brief] (1845)
The Court settled the question left open from the case of Commonwealth v. Bangs that it must be proved a woman was "quick with child" in order for abortion prohibitions to have any effect in Massachusetts.
The Comstock Law (1873)
The Comstock Law was a controversial law because it limited the reproductive rights of women and violated every person's right to privacy. This federal law was the beginning of a long fight over the reproductive rights of women which is still being waged. Reproductive rights are important to embryology because they lead to the discussions regarding the morality of abortion, contraceptives, and ultimately the moral status of the embryo.
The Baby Doe Rules (1984)
The Baby Doe Rules represent the first attempt by the US government to directly intervene in treatment options for neonates born with congenital defects. The name of the rule comes from the controversial 1982 case of a Bloomington, Indiana infant Baby Doe, a name coined by the media. The Baby Doe Rules mandate that, as a requirement for federal funding, hospitals and physicians must provide maximal care to any impaired infant, unless select exceptions are met. If a physician or parent chooses to withhold full treatment when the exceptions are not met, they are liable for medical neglect.
US Regulatory Response to Thalidomide (1950-2000)
Thalidomide, a drug capable of causing fetal abnormalities (teratogen), has caused greater than ten thousand birth defects worldwide since its introduction to the market as a pharmaceutical agent. Prior to discovering thalidomide's teratogenic effects in the early 1960s, the US Food and Drug Administration (FDA) did not place regulations on drug approval or monitoring as it later did. By 1962, approximately 20,000 patients in the US had taken thalidomide as part of an unregulated clinical trial before any actions were taken to stop thalidomide's distribution.
Smith v. Cote (1986)
The case of Smith v. Cote (1986) answered two important questions concerning law and childbirth: does the State of New Hampshire recognize a cause of action for what is defined as wrongful birth, and does the State recognize a cause of action for what is classified as wrongful life? In the case of Smith v. Cote, damages were permitted for wrongful birth, but not for the action of wrongful life.
Subject: Legal, Disorders
Stenberg v. Carhart (2000)
In Stenberg v. Carhart, the US Supreme Court ruled on 28 June 2000 that a Nebraska law banning partial birth abortions was unconstitutional. Though the US Supreme Court case Roe v. Wade in 1973 had set a precedent that constitutionally protected abortions, some states established limitations on certain types of abortion procedures. When NebraskaÕs state government criminalized partial birth abortions, physician LeRoy Carhart challenged the constitutionality of the case. Don Stenberg, an Attorney General located in Lincoln, Nebraska, represented the state of Nebraska.


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Calcinator Death Ray
Calculate your chances...negative...negative...negative!
This Was My House A Few Nights Ago.
(I don't mean that literally, just the same scenario.)
Labels: cats, gamera
Brilliant Site!
I have a hunch I'm the last to know about this, but check out Trailers From Hell. Directors of a mostly cultish nature, giving commentary over trailers of Psychotronic films that influenced them. On the negative side, there's a lot of Eli Roth. However, there's alot of Joe Dante, so it all balances out. (To be fair, the Roth stuff I've watched is actually pretty good.)
Be cautious though, there's loads of spoilers in the commentaries, though you can just watch the trailers as they are.
Here's a good one, where the director of Shaun of the Dead discusses Danger: Diabolik (aka the source for the Beastie Boys' "Body Movin'" video.)
Joe Dante nails From Hell It Came:
PS: dunno if it's just me or my connection, but the trailers really stutter on the streaming.
Labels: crap movies, Psychotronic, trailers
Music To Assemble Ikea Furniture By
The last couple of nights I've been putting together a bunch of Ikea furniture so I loaded up the CD player with some Mosaic sets I've been meaning to spend some time with. If you don't know, Mosaic is a small jazz specialist label who do primarily high end box sets centered around a complete segment of an artist's work.
Their big boxes are pretty neat. They have a consistent look and bring together a lot of hard to find material. They're also highly collectible so the sting of the cost of admission is tempered by the fact that everything they've put out has gone up in value, if you care about such things. I've been real lucky that I've found most of mine really cheap. I've only paid collector's price once and managed to buy another on sale.
Of course, when they started out, the music was much harder to get than it is now. A growing criticism about Mosaic is that much of the music in their sets gets reissued by the licensing labels once the Mosaic set goes out of print. For instance, I'm pretty sure almost everything in the Jackie McLean Complete Blue Note 1964-66 Sessions set (which was the second Mosaic I bought) is available through Blue Note at a much cheaper cost. But, people still like the Mosaic sets as they generally have great liner notes and lots of cool pictures.
Recently Mosaic has created a second line of smaller sets called Mosaic Select and this was what I started with. Specifically, it was the Duke Pearson set. The Select series has been a bit controversial as the stuff contained in these sets hasn't been as hard to find. The Pearson set is a good example of this as I think one could assemble this set with a combination of domestic and Japanese Blue Note discs, but if you don't want to import, this is a cheaper alternative.
Anyway, Duke Pearson was a pianist who ended up as an A&R, house arranger and kind of all round go to guy at Blue Note in the 60s. This set focused on his last batch of sessions for the label in the late 60s. If you know anything about Blue Note, you know this was a transitional period for the label (and jazz itself.) These recordings have a commercial bend, to be sure, but I think there's some gems in there.
Specifically, the first session which came out on LP as "The Phantom" is a keeper. It's also been recently reissued domestically on Water Records. Bobby Hutcherson, who is maybe my favorite vibe player, adds a lot to these soulful bossa nova tunes. Duke must have been really feeling the Latin vibe as pretty much all the stuff on the first two discs continues in this groove. As a comparison, it's kind of like a stripped down version of some of what CTI was doing at the same time. It's maybe a little lightweight, but I dug it.
However, the third disc tripped me up. It ends with "Merry Old Soul" a Christmas album. This actually sounded kind of cool, but I'm just not ready for Christmas music yet. But, prior to that, is a session with a chorus that is straight up old school dentist office music. I really wanted to find something to like on this stuff, but it was way too easy listening for me to dig.
My recomendation would be for someone to get the reissue of "The Phantom" and pass on the whole set unless you can hear some samples first. This is not going to be everyone's bag and while I'm glad to have it in the collection, it's pretty non-essential stuff.
The bulk of my furnature building was done to the Classic Argo, Emarcy and Verve Small Group Buddy Rich Sessions. This was the one I actually bought new. Most of this stuff is hard to come by as little of it has been released on CD domestically. Plus, there's an entire unreleased session of about an album's worth of material.
This stuff is really interesting to me. It's squarely between two big band periods for Rich. During this time, Buddy was kind of in flux, even giving up drums to become a song and dance man for a while. What's really interesting about this set is hearing how good an accompanist he could be when he wanted to. As he was trying to downplay the drumming, there's not a ton of fireworks here. Just Buddy grooving behind some great musicians. (Not to worry though, he does whip out a solo often enough that you don't ever forget whose name is on the label.)
For my money, the best stuff in this set is on the last four discs when Buddy has a working group going with vibe man Mike Mainieri. What possessed Rich to put together a front line with vibes and flute, I'll never know, but it works. And you'd think it would be all lightweight west coast stuff, but there's some fire here.
I also really like the live set that kicks off disc four. Flip Phillips is a player I'm not terribly familiar with, but he really steals the show there. The first three discs are quality as well. Lots of Basie alumni and lots of Basie tunes. Nothing wrong with it at all, but I just think the later stuff with Buddy's working group, as opposed to the people thrown together for the session, is more interesting.
To be sure, for someone who only listens to Buddy Rich for the drum solos, I'd say avoid this and stick with the 60s and 70s big band stuff. If you dig the 50s Verve stuff and mainstream early 60s jazz, I'd say this is a good set to pick up. Plus, if you're the kind of person who thinks Buddy overplays, I think you'll be surprised.
Speaking of overplaying, I batted cleanup with the Stan Kenton Complete Holman/Russo Charts. This set holds the distinction of being the one I paid the least for. (And I mean a ridiculously low amount, less than the cost of a single CD.) It's also the one that I don't think I'm ever going to really get into.
See, I can appreciate arrangers. I can appreciate the idea of arranger's bands. I dig Gil Evans, for instance. I think I just don't like the Kenton style. It's too loud, to brassy, not swinging enough for me. Frankly, a lot of this set sounded like mediocre soundtrack material. Then there were some vocal sides that were just corny.
So, anyway, if you like the idea of jazz played by a marching band, maybe you should seek this one out. I don't think I'll be putting this one back in the player any time soon, if ever.
And, in case you were wondering, I got a new computer desk and a dresser that is going to be perfect for CD storage. I like Ikea stuff, but their store freaks me out.
Labels: jazz, Moasic, music
You Shoulda Been Here...
because you would have heard all this while I was fixing the computer:
Eric Dolphy - The Complete Prestige Recordings (Discs 1 & 2) I bought this set when it came out. It was pretty expensive and I was still a neophyte on the jazz tip. What possessed me to take a $120 (I think) leap of faith, I'll never know. But glad I did.
And the crazy thing is, I bought this sucker at Best Buy! Try finding ANY jazz at Best Buy today that isn't Miles' Greatest Hits, A Love Supreme or whatever Kenny G. poops out, let alone a nine CD comprehensive set from a bass clarinet avant playing cult figure.
But I digress...
One and Two cover Dolphy's "Outward Bound," Oliver Nelson's "Screamin' the Blues" and Ken McIntyre's "Looking Ahead." If you know anything about early 60s jazz, those titles should tell you everything you need to know about the contents. If you don't, well, the first and third are more "modern" with what was then pretty avant guard stuff while the second is more downhomey, Saturday night BBQ.
When I first got this set, the Nelson sides (and there's two albums worth here) didn't impress me as much as the more "out" stuff. Now I've really come to appreciate just the soulful bluesy stuff. Of the listening, this was probably what hit me closest to right the other day, though it's all pretty good. Of course, the Five Spot set with Booker Little is the crown jewel of this box, but really it's all good.
Sonny Rollins - The Complete Prestige Recordings (Discs 5, 6 & 7) Oh man, Now here is some classic, classic stuff. You want state of the art mid-50s small group jazz? It doesn't get much better than this batch of recordings.
Disc five starts off with "Sonny Rollins Plus Four" which is the legendary Clifford Brown/Max Roach group in all but name. You simply can not argue with that group of players at that time. I went through a period where I bought any Brown/Roach album I could find and I was never disappointed.
Then we move to "Tenor Madness." Stupid title, but you get Sonny with Miles' rhythm section of the time and a guest shot from Coltrane. It's easy to argue that this album is a bit overrated. It gets reissued every couple of years based on the combination of Sonny and Trane playing together. Alright, sure, but you can't deny it's still good stuff. Maybe not Sonny's best, but so what?
Speaking of, here comes "Saxophone Colossus," another dumb title, but probably Rollins' first masterpiece. If I had to pick one album out of this box to have and to hold forever and ever amen, it'd probably be this one. Everything just comes together here. And as much as "Blue 7" has been mythologized, it's still an impressive bit of improvisation. Plus, I'll always dig "St. Thomas," even if this version is a bit stiffer rhythmically than later versions.
Then there's "Rollins Plays for Bird" and "Tour de Force." I have to admit, listening to these two after "Colossus" is a bit of a let down. Don't get me wrong, there's some great stuff and I have a budding appreciation for Kenny Dorham, so hearing him on the Bird stuff is always cool. But it's just that "Colossus" was so strong, so inspired, that most anything following directly is going to pale a bit.
And that's kind of the problem with a set like this. You can't really sit down and listen to all of it, or even a large chunk like I did, at once because the amazing moments tend to wash out the merely fantastic. But, when you're babysitting a bunch of installs, you've got the time and that's just what happens.
So tonight it was:
Booker Ervin - Texbook Tenor I have to confess, this one was just background for me tonight. I love Booker and I'm sure when I get a chance to really dig into this, I'll dig it too. Dig?
Larry Young - Lawrence of Newark Wow. Outsville, baby. This ain't no backgound music here. I've been wanting this one for ages and didn't even know it was on CD until I saw it at Dusty Groove earlier this week. Really, it was all I expected and then some.
I loved Lifetime. (Tony Williams' Lifetime I mean, I think there's some emo band out there using the name, so let's be clear.) And as much as I loved Young's Blue Note stuff, the Lifetime records just blew my mind. This is an extension of that. The best way I can describe it would be if Pharaoh Sanders had been in Lifetime, this might have been the album. It's got that rock bottom fusion stuff, but with some free/spiritual stuff on top. Kooky, crazy stuff. I love it. Three hundred stars.
Big John Patton - Blue John Gadzooks, I hadn't listened to this one in forever. After the Lou Donaldson platter the other night, I was in the mood to hear more Grant Green/Ben Dixon and Big John.
So, yeah, good stuff. Kind of a legendary session in so far as the album cover showed up on the back of other Blue Note LPs, but it was ever released. Oops.
Now, the one thing about this that I'm still not sure about is George Braith. When I first heard him, I was not impressed at all. It's too easy to write him off as a Roland Kirk imitator doing the two horns at once bit. But, I've heard a lot of his stuff since then and getting back to this album, well, let's just say he doesn't mess things up. Still, I think there's probably a half dozen other sax players I would have liked to hear here(including Kirk himself!), but still , he does bring something different to the album.
Charles Kynard - The Soul Brotherhood From Larry Young's spacey freak outs, to Kynard's funky soul. Have definitely been in a Hammond mood as of late.
So this is a two albums on one disc set. I'm not going to lie to you, the first part was enjoyable enough, but didn't really grab me as too much different than a million other soul jazz sets I've heard (most of which feature Grant Green on guitar, as does this one.) I'll need to give it another spin because I've heard there's some really hot playing from Mr. Green here. I just didn't hear it in the first pass.
The second album here, is something a little more special, IMVHO. Right away, the rhythm section grabbed me and refused to let go. Kind of odd to have a bass player on an organ jazz record, but it's Carole Kay! And you got Paul Humphreys on drums (sounding a ton like Pretty Purdie, not that that's a bad thing.) Then you got Wilton Felder from the Crusaders on tenor and Joe Pass (!) on guitar. It's like a weird left coast session jam.
And believe you me, this record smokes! Seriously, I didn't know what to expect here because, on paper, this really looks like a straight session gig where everyone plays like worker bees. But dang dang DANG. I don't know what got into everyone, but this is some sweaty, greasy, funky stuff going on here. B3 sets come a dime a dozen and, as much as I like them, they do tend to sound similar after a while. But this, man, this is good stuff.
Goodbye Vista
If I had to make a list of the worst decisions I've made computing, installing Vista would be near the top. At the time, it made sense. I was in IT and Vista had been out early to us. I was using it on my machine at work, as were my co-workers. No one had really come across any issues. The future looked bright.
Since I was putting new dives in my machine anyway, I figured I'd go ahead and make the jump. It seemed like everything was headed that was, so I could do it now with a clean install that I was going to make anyway or wait a while and do it later. I've never had any luck going the upgrade route with Microsoft, so it seemed logical to do it then rather than wipe and do the whole bit at that time.
Well, that was a few months before Vista hit the streets. For a while, everything was fine. Then the crashes started. And the performance dragged. And dragged. And dragged.
To be fair, I have an older machine. But everything I'd checked with, including Microsoft's own upgrade adviser, led me to believe I would be able to run Vista fine on my machine. Yeah, I could use a new video card, but still, the specs were above the minimum and comfortably in the recommended area.
What went wrong? I really don't know. I leave my machine on all the time and with XP it was never a problem. Vista would crash at least once a week, usually more, with absolutely no reason why. The closest I ever came to an answer was a nebulous driver issue. Rigorous checking and double checking of drivers, pulling hardware, etc., never uncovered the culprit.
Additionally, I had to remove all the graphical candy and run what looked like a stripped down XP anyway to make little things like opening folders or switching between applications less of a "start process and go make a cup of coffee" affair.
I waited out for SP1 and found it to be no better. No help. Nothing changed. If anything, I was crashing more and moving slower.
So, that's it. I'm done with Vista. As painful as starting over on XP has been (three days later and I'm only now to the point where I can start installing software,) I'm up. It's working. It starts up fast. I can switch between programs and not have time to read War and Peace while waiting.
However, there were some causalities along the way. Somehow my older Western Digital My Book got hosed. I mean, it's completely toast. As it was just my redundant backup, I'm not too worried about that, but I am a little irritated that I lost a drive that was less than two years old and old used for backups. If you can't trust the backup drive, what can you trust?
Also, I'm irritated that I had to buy floppy discs. Really irritated. All because this SATA card drivers came on CDROM and, for some reason, I couldn't ever coax the XP installer to read the disc. Once I got the floppy, all was well. However, I now have nine other floppy discs I bet I'll never use (to say nothing of the fact that I'd just thrown out a dozen of the damned thing in the last couple of months.)
The upside to the floppy situation is what I found along the way. See, my clever wife suggested I hit the Goodwill for some floppy loving. Clever and sensible, though they turned out not to have any. I did find an original copy of the infamous Sensational Dan & Dale Batman album which is actually Sun Ra and the Blues Image in disguise. Yeah, it's a bit beat, but it had the original inner sleeve and I now have a copy and you don't so there!
at 7:28 PM No comments:
Labels: computers, Windows
Connecting Two Totally Unconnected Thoughts About Music in 1993-4
For some reason, I've had the music of my high school years (that would be 90'-'93, went to a three year high school) on my mind lately. Specifically, the music from "Nevermind" to about the time Kurt Cobain snuffed himself, because that was the time I shifted away from listening to hip-hop and back to rock, alt-rock, grunge, whatever you wanna call it.
It was never as absolute as that. I discovered the Cows and Black Flag while I was a huge Public Enemy fan and likewise was heavy into the Roots while I was buying the first Shellac 7"s. But, for the most part, once I heard "Smells Like Teen Spirit," I got interested in rock again and that was where my money went.
Of course, it didn't help that hip-hop was moving towards the pop-gansta kind of stuff that dominates today. Yeah, I dug "The Chronic" and "Doggystyle" but I didn't need endless clones and I missed hip-hop what wasn't just about partying or fighting.
Needless to say, I missed some classics. Probably the biggest one, and an album I'm embarrassed to say I hadn't even heard until last year, was Nas' "Illmatic." And it's a shame that it took me so long because at the time this came out, I would have been burning out on my punk phase and trying to find some indie rock that didn't bore the hell out of me. This album probably would have convinced me there was still life left in rap.
What's so good about "Illmatic"? For starters, we have intelligent lyrics delivered expertly over classic beats. That right there is pretty much everything I look for in a hip-hop album. While Nas addresses street life, he never blows himself up to a Blaxsploitation stereotype. Nas is a good storyteller, and the stories he tells are worth listening to.
"Illmatic" is also lean and mean. There's not a wasted track on here and while the trend in the 90s was towards longer and longer albums, padded with stupid skits* and pointless posse cuts, "Illmatic" was just shy of 40 minutes. I'd rather have 40 minutes of quality than have to dig through 70 minutes to find them.
On the flip side of things, in the alt-rock world, was Stone Temple Pilots, who Steve Hyden at the Onion AV Club thinks are ripe for a reevaluation.
If you were about my age then and semi-connected to any cool music, I'm sure you remember how STP was pretty much the poster band for corporate grunge/alt-rock. Everyone slagged these guys. They sold a gazillion albums, yet I don't remember ever meeting anyone who would cop to buying one. (Kind of like Nickleback now. Who is buying their crap anyway?)
Well, I'll confess. I had "Core." Got it as a freebie through the BMG CD Club. Basically, I got it just to see if they were really as bad as we all thought. I mean, it was hard to ignore the singles being shoved down your throat a million times a day. But, maybe, just maybe, there was some redemption on the album proper.
No. There wasn't.
Luckily for me, this was the brief period of time when a used CD store would actually take a copy of "Core," so I'm sure I marched that down to Discount Den and came back with Mercury Rev or something like that. Never looked back and, as much as I normally like the writing at the Onion AV Club, I don't plan on it now.
Sure, I still ended up hearing all the singles after "Core," so people can spare me the "well, you just need to hear ______." You couldn't help but hear them and you can still hear them on local radio without trying too hard. And they just don't impress me.
I know there's a tendency to get nostalgic as one ages. Critics especially tend to get nostalgic and what was once trash becomes undiscovered treasure. Strangely, I'm finding myself judging the music of my high school years even harsher as time goes on.
For instance, in a used CD store yesterday, they were blasting "Nevermind," which I haven't heard in years. Some tracks (like "Territorial Pissing") actually made me wince. To be fair, there were still highlights. But as a whole, I found a lot more wrong with that album than I did the first time around.
Getting back to STP, it doesn't surprise me that some critics are changing their opinion on the band. However, that doesn't make it right. And hearing Nirvana yesterday only brought home to me that even many of the critic approved from the beginning bands of that period weren't always as good as people thing.
But, even as I have to chuckle over seeing my youth becoming enshrined in the amber of nostalgia, it's always pretty cool to find a true, new to me, gem from that period like "Illmatic." I'm just hoping that twenty years from now we can still agree that the Spin Doctors did indeed suck.
* if you are not Prince Paul, Dr. Dre or Wu Tang, you have no need to be doing skits on you record. Thank you.
Labels: music, nostalgia
Move Backwards Stopped by Obsolete Technology
Dang.
This weekend was it. I finally decided enough was enough. I am tired of the bottlenecks, tired of the crashing, tired of the piss poor performance. I am finally ditching Vista and going back to XP.
I've tried before and just couldn't pull the trigger. Plus, my computer wasn't making things easy. I've done a million XP installs, and for some reason my machine was flat out refusing to boot from the disc.
Long story short, finally got past that. Finally got on the right track. Worked up the nerve to do it. After a whole day of backing up the data on the drive I was going to wipe, I was ready.
Then the XP installer couldn't find a disc. Ok, well, it must need a third party driver for the SATA card I have in there. Alright found the CD, cool.
What? You want that on a floppy? Umm...ok. Now let's see...
I JUST GOT RID OF ALL MY FLOPPIES ABOUT THREE MONTHS AGO!!!
Oh man, I need to break something.
Now playing: Mel Rhyne - Yesterdays
via FoxyTunes
at 1:21 AM No comments:
A Fist Full of Reviews
Hey! You! Wanna pretend like you were chilling with me in the Manlair tonight, slapping wax on the Rega? Arrite, here we go...
Jimmy Castor Bunch - It's Just Begun: OK, Mr. Castor really isn't an album artist, per se, but this thing hangs together really well. The title track is a killer, I mean one of the heaviest funk tracks ever. The rest of the album leans more to Castor's "Mr. Everything" philosophy, but it never dips into the schmaltz like some of his later records. Very enjoyable. Dull sounding Scorpio reissue on red wax (and why in the heck is an OG copy of this so hard to find? I've never seen one, and I've been looking.)
Joe Chambers/Larry Young - Double Exposure: Impulse purchase. One of those things I didn't know existed. Duet album between underrated drummer and one of my fave organists. But hold on! I didn't realize Chambers also played piano. First side is piano and organ duets. After Chambers doing a solo "After the Rain," he finished out the second side on drums. Sounds a little like Lifetime without guitar. Sadly, Young was dead about four months after this session. Sadly, this record left me really wanting more from these two. Both sides give you just a taste and leave you wanting a lot more. Sadly, this is a typical Scorpio reissue and side two is slightly off center.
Lou Donaldson - Musty Rusty: Oh snap! This album is smoking. Prime Lou with Grant Green and Ben Dixon (who is quickly becoming a new favorite drummer.) Billy Gardner is no Big John Patton, but he still keeps things going on the B3. This is house party jazz, stuff you can dance to, though it's not out and out funky like Lou would get about three years later. This music makes you glad to be alive and it's a damn shame Universal keeps this stuff locked up in the vaults, though there is a Spanish bootleg CD out there. And I'm convinced that Chess, like Motown, used the cheapest vinyl possible as this record looks beautiful but plays like Snap, Crackle and Pop made an uncredited cameo.
Marva Whitney with Osaka Monaurail - I Am What I Am: Finally, damn! First off, the Monaurail have NAILED the classic JB's sound. I mean, close your eyes and you'd swear you were listening to some unreleased track with Fred Wesley. And these dudes are Japanese! So, when they hook up with Marva, perhaps the most underrated of all James Brown's ladies, you know it's going to be good. And it is...mostly. There are a couple of songs on here that make me go "meh." I suppose that's keeping authentic to the 1969 vibe they have going on here, though I don't think it's intentional, that's just my taste. Still, I like this album a lot, maybe not as much as Osaka Monaurail's own Reality for the People, but when this hits, it hits hard. The big question for anyone who is not me will be is this worth the import price? The vinyl was $20. I've seen the CD as much as $15 more.
Labels: music, review, vinyl
Johnny Sokko on Hulu
It strikes me as very odd that you can't (legally) buy a DVD of Johnny Sokko here in the US, but you can watch it for free at Hulu. There's 10 episodes up, pretty rad. I'd stayed away from the site as I assumed it was not Apple friendly, but the video is Flash based, so there's no compatability problems.
Anyway, enjoy. This is a killer show. Maybe someday we'll get it on DVD restored and all that.
Labels: Hulu, Johnny Sokko, kaiju, televison
Sirius is just alright with me.
I've had Sirius in the ride for a few months now and with the big Sirius/XM merger passing hurdles and on it's way to happening, I figured this would be kind of a good time to take a look at what this music obsessive who used to dabble in a little radio thinks of the service.
Well, on the surface, it has a lot going for it. There's a ton of commercial free music channels. There's a bunch of talk. The reception is better than terrestrial radio plus, if you're on the road, Sirrus stays with you so you don't have to scan around for stations each city you hit.
On the other hand, there may be a lot of music stations, but there's a definite skewing towards boomer rock. Off the top of my head, I can think of about half a dozen stations that would fall into this category, with a lot of crossover between their playlists.
If, like me, you're into jazz, you have one station. Wait, maybe there's a fuzak station as well. Popular genre like hip-hop only has a couple of choices, the main one, Eminem's vanity station, the "blazin' hip-hop and r&b hits" station and Backspin, the oldies.
Which brings me to the next thing. I listen to Backspin from time to time and I'll be damn if any time I tune in it's not Das Efx, Arrested Development or MC Lyte "Shut the Eff Up!" I could give other examples on some of the other music stations I check out, but the point is, for all Sirius portrays itself as better than terrestrial radio, their programing shares a lot of the same problems. It seems like the play lists are fairly shallow with a good amount of repetition, just like any Clear Channel owned station.
Still, I could overlook that, to an extent, and I'd be willing to listen to more music if the sound quality wasn't so poor. Remember the first mp3 you ever heard? Remember how cymbals sounded wooshy and vocals sounded slightly metallic? Yeah, that's pretty much what Sirius sounds like, even in the car with all kinds of road noise. They advertise CD quality, but they're pretty far from it.
Because of all that, I end up listening to a bunch of talk. While the music stations maybe commercial free, the talk stations most certainly are not. There are so many commercials on the talk stations (NPR excepted, though they have their station breaks with ads for other Sirius channels) that it feels like close to a 1:1 ratio of programming to advertising. It's enough to really drive a person crazy.
So, if you get the impression I'm not terribly impressed with Sirius, you're right. If the merger with XM goes through, which I'm guessing it will, I don't see any of these things improving. However, I'm not sure it matters.
I think satellite radio was an interesting idea, but I think it's time is starting to pass. For one thing, it's too easy to carry an iPod if you really want to listen to music. Most new cars have some type of dock or aux input making connecting an iPod very easy business.
For another thing, there's competition from HD radio and internet radio. I'm not sure how much competition these two mediums will be as HD radio is starting to feel like a non-starter to me and internet radio isn't quite ready for breaking free of its computer tether.
But, in my mind, it goes back to the iPod factor. It's just too easy to create and carry your own radio station wherever you are. These two titans may merge, but I don't think it's going to matter that much in a market that may have already peaked.
at 7:18 PM 1 comment:
Labels: music, radio, Sirius
My New Favortie Drummer.
Labels: musican insanity
Politics is ugly business.
What I find most interesting about this is, there's no way of knowing (yet) if this is for real or not. My first inclination is to say, this has to be a parody. However, ther lead singer posted a short, salty, explicative laden follow-up video that has me thinking that this may be the real deal.
Plus, the story behind it makes me think this may be authentic. Apparently this sat on YouTube a little while until someone on Huffington Post discovered it. That still doesn't prove anything, but I'd think if this was an opposition party trick, it would have gotten more press before that.
The thing of it is, it doesn't really matter if it's authentic or not. It's out there and it's been spreading. Most people are likely to think about it whatever they want, so the issue of whether it's real or fake is almost irrelevant.
That's what I think is interesting about the time we are living it. It's practically a post-irony world. There's so much more information easily accessible than ever before but, at the same time, it's so much harder to separate the fact from fiction. And fiction still has a way of traveling faster than the truth.
Of course, it's also a commentary on the time we are living in that something like this even has the ability to be come known outside of a handful of people. The theory behind the internet's democratization of the means of distribution is that the cream will rise. Time and time again, it's the truly awful that become "internet phenomenon." I think there's something inherent in human nature that we must enjoy laughing at others. That's about the only way to describe 90% of what's popular on YouTube as well as "reality" TV and so many other things.
Either way, this video is pretty amazing. Though it wouldn't surprise me to find out a Hillary or Obama supporter is behind it, I just think the McCain Girls are a little too authentic to not be real.
Labels: politics, post-irony
Rob G.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Q: layout architecture :- make textview as toolbar with animation currently i have achieved following stuff as shown in image
 so right now  when i scroll 1st viewpager goes, textview and tablayout becomes sticky for this i am using https://github.com/noties/Scrollable and now i want when viewpager goes and textview and tablayout is sticky that time make that textview to be invisible/gone and toolbar should get that title with some kind of animation like we get by using CollapsingToolbarLayout ..
my xml :-
<?xml version="1.0" encoding="utf-8"?>
<android.support.v4.widget.SwipeRefreshLayout
android:id="@+id/swipeRefreshLayout"
android:layout_below="@+id/txt"
android:layout_height="match_parent"
android:layout_margin="5dp"

android:layout_width="match_parent"
android:visibility="visible"
xmlns:android="http://schemas.android.com/apk/res/android">

<ru.noties.scrollable.ScrollableLayout xmlns:android="http://schemas.android.com/apk/res/android"
    xmlns:CustomTabLayout="http://schemas.android.com/tools"
    xmlns:app="http://schemas.android.com/apk/res-auto"
    android:id="@+id/scrollable_layout"
    android:layout_width="match_parent"
    android:layout_height="match_parent"
    app:scrollable_closeUpAnimationMillis="250"
    app:scrollable_closeUpAnimatorInterpolator="@android:anim/accelerate_decelerate_interpolator"
    app:scrollable_considerIdleMillis="125"
    app:scrollable_defaultCloseUp="true"
    app:scrollable_friction="5"
    app:scrollable_maxScroll="150dp"
    app:scrollable_scrollerFlywheel="true">

    <LinearLayout
        android:layout_width="match_parent"
        android:layout_height="wrap_content"
        android:background="@color/grey"
        android:orientation="vertical">

        <android.support.v4.view.ViewPager
            android:id="@+id/header_view_pager"
            android:layout_width="match_parent"
            android:layout_height="150dp" />

        <android.support.v7.widget.CardView
            android:layout_width="match_parent"
            android:layout_height="wrap_content"
            android:layout_margin="2dp">

            <RelativeLayout
                android:layout_width="wrap_content"
                android:layout_height="wrap_content">

                <Ui.CustomTextView
                    android:id="@+id/ti"
                    android:layout_width="match_parent"
                    android:layout_height="wrap_content"
                    android:gravity="center"
                    android:text="Text"
                    android:textColor="@color/red"
                    android:textSize="30dp" />

                <Ui.CustomTabLayout
                    android:id="@+id/tabs"
                    android:layout_width="match_parent"
                    android:layout_height="50dp"
                    android:layout_below="@+id/ti"
                    android:background="@color/white"
                    CustomTabLayout:fonts="@string/font_Oswald"
                    app:tabSelectedTextColor="@color/red" />
            </RelativeLayout>
        </android.support.v7.widget.CardView>
    </LinearLayout>

    <android.support.v4.view.ViewPager
        android:id="@+id/view_pager"
        android:layout_width="match_parent"
        android:layout_height="match_parent" />

</ru.noties.scrollable.ScrollableLayout>

redpajama_set_name: RedPajamaStackExchange


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text:
Column: Swedish hockey captain missed the silver lining
Sportsmanship is also a skill that needs practice after Lias Andersson threw his silver medal into the crowd
The world got to see some great hockey on Friday when Canada battled the Swedes for gold at the Junior World Championship.
It also got to see an example of poor sportsmanship when Lias Andersson, Sweden's captain, threw his silver medal into the crowd.
Anyone who has ever competed for anything knows that "it's not about winning, it's about how you play the game" is a crock. And in a high-stakes game with the world watching, losing is going to be a traumatic event.
In that context, the tears shed by some of the Swedish players are understandable, and we can also understand Andersson being overcome by emotion and frustration after his team failed to achieve their goals.
Despite their skill level, these are, after all, just teenagers. Teenagers who were under pressure to win practically since they strapped on their first pair of skates. But Andersson's later comments that "This was kind of our last chance, so this sucks," shows his medal toss was as much the result of attitude as frustration.
For those who are mentally agreeing with Andersson and thinking "second place is just the first loser," it's not. Getting to second place at this level of hockey is still an incredible achievement, and one to be proud of.
Competing is about winning, but in the end, it's about winning well. That means not only playing well and by the rules as you overcome your competition, but also being a good sportsman. Andersson's actions and attitude robbed his team of some of their joy in getting the team to the gold medal round.
Throwing your medal into the crowd may not be on the same level of some historic sports tantrums — tennis star John McEnroe springs to mind — but it is still unsportsmanlike behaviour, something that a player of this level should be beyond, no matter his age.
The guy who caught the silver medal was wearing 3 jerseys :joy: pic.twitter.com/JcfbEQ8PrR
— Patrick Scebba (@scebbs) January 6, 2018
Steve Kidd is senior reporter with the Penticton Western News
B.C. VIEWS: Politicians pose on plastic bags
The last week before Christmas break


This item is not currently available for purchase. It may be a few weeks up to several months before they are back in stock. If you would like to be notified when this item returns please send a blank eMail to backorders@kultofathena.com with subject ''AH6739_14'' and we'll let you know as soon as it is back.
This wearable helmet is made of 14 gauge steel with an all around mail attachment. Includes an adjustable leather linger with chin strap. Approximate size Large.


Healthy cooking requires a clean cooking space -- a healthy kitchen is a clean kitchen! However, keeping your cooking spaces clean can be hard enough without having to worry about splashes and boil-overs from pans and pots. However, the solution is not as simple as merely using a lid; without a steam vent, pressure can build up, making your heated food more volatile, and increasing the likelihood of scalding when the lid is removed. This is why Norpro's Smart Universal Lid is such a wonderful investment.
With a steam valve that you can toggle between open and closed, the universal lid uses high-heat resistant silicone on the edges to make it a snug fit for pots and pans ranging from 7.5 through 12 inches in diameter. The centre is made of tempered glass, so you can easily see the food you're cooking – no need to lift the lid to peek. Why put up with more spills and boil-overs than you need when you can use this handily designed, steam-vent-equipped pot lid?
Made from non-stick material. Heat resistant up to 465° F.
This three-panel photo shows the Norpro Smart Universal Lid from above; and close-ups of its adjustable handle, from the side, and from below.


Did I not chose you?
I often think it is wonderful to be chosen by somebody else. The reason why I believe is because the person who has chosen me respects me and thinks I have the skills and knowledge to undertake the task. All that remains is for me to accept the opportunity.
Why did Jesus choose the apostles?
I think Jesus made his choices founded on the apostle's personalities and potential to carry on his mission. He saw the apostles as willing to listen and understand his teachings and miracles. Furthermore Jesus' belief was that the apostles would feel motivated to carry on the teachings and build on the faith community. Hence they were chosen because they were people who had the courage and resilience to inspire others to live the Gospel today.
Why did the apostles choose Jesus?
I believe they were stirred by his teachings and acknowledged that by following them it would make not only a big difference to their own lives but also they could be a catalyst to change the lives of others. Thus the meaning and purpose provided by the Gospel to the apostles lives empowered them to encourage everyone they met to respect people from diverse cultures and all God's creatures.
God doesn't discriminate but invites everyone to continue Christ's mission. Everybody has the ability to use his or her gifts and talents to build God's kingdom on earth all you need is the desire to live the Gospel. Has Jesus said, "Many are called but few are chosen." All we have to do is accept the invitation.
This got me to thinking whom do people say that I am and what do they base that opinion on? Do they base their opinion on my physical appearance, the way I dress and my occupation or what I say?
I believe that people's opinions of others should be based on none of the above but through them actually building a relationship with others. Then they can form an opinion. However what will that opinion be based on?
Will it be on their view of life being similar to their own? They dress the same or share the have comparable interests? But what happens when relationships with others, family, friends or work colleagues contrast with your own? Can you overcome the challenge, refrain from judgement and see their point of view?
Furthermore the onus is on the individual to accept others interests, use language that is constructive and affirming and only challenge when it creates a positive outcome for themselves and others.
For me the model is Jesus whose teachings and miracles were always centered on everyone leading more productive lives. Lives that impact positively on everyone they encounter. I hope people can say that about me.
Next time someone asks you for your opinion of something or someone… ask yourself…. For what am I basing this opinion on?
After you've ask yourself this…. Then rethink your answer!!!!!


Strengthen my approach to what you ask…How about to life? To your relationships, to your health, to your wealth, to your career, to your Spirituality and on and on. A google search for 'how to change your results' yielded 2.87 billion of them in .47 seconds. Okay, so then where to begin, who has the time to research the research, right? Let me offer a simple place to begin that has worked for me and many others.
The definition of the noun, approach, is a way of dealing with something. In my work with the people of organizations the entire day of our Managing Yourself and Your Stuff workshop is devoted to having the person become more conscious of their approach…specifically to how they 1) manage and organize their commitments and workflow, and 2) how they manage themselves—their thinking and behaviors as it relates to their mind, body and Soul. All of this leading toward them getting more done in less time, with less stress, and more fulfillment. Trust me, it's always a great day.
To review your approach to any area of your life, you have to slow down, and begin by examining how you think about this area. Very simply, how we deal with something is the result of what we are thinking about it, and then from that reference what we are doing about it (action); or not doing, procrastination is a hell of an action.
So, think about an area of your life you want different results in: productivity, a relationship, your career, your income, your health. How are you thinking about this now? Write these thoughts down. Then ask, How can I think about this differently? How would someone I respect and admire think about this? Write these down. Then the key is to act from the second set of thoughts. And should fear, risk and uncertainty—those wonderful triplets that travel together—show up, close your eyes and hold a very clear image of the result you want to have happen. Then act.
Newer PostWhere might you need to think differently?
Older PostDid you miss the recent holiday called "Do Something Day"?


text:
Home \ National \ What Iran's move from the 2015 nuclear deal means
What Iran's move from the 2015 nuclear deal means
MindxL@7411 January 6, 2020 4:17 pm
Ernest Moniz, former U.S. Secretary of Energy and Nuclear Threat Initiative CEO, joins "Squawk on the Street" to discuss the growing tensions between the U.S. and Iran.
Less than a week after Iran's top military commander was killed by U.S. drone strike, the regime said Sunday that it would further scale back compliance with an international nuclear pact.
Iran will not respect any limits established in the 2015 nuclear deal on the number of uranium enrichment centrifuges, according to a state-run television broadcast. Therefore, Iran would have no limit on its enrichment capacity, the level to which uranium could be enriched, or Iran's nuclear research and development.
While the other signatories of the nuclear deal — France, Germany, the U.K., Russia and China — have tried to keep the agreement alive, the state broadcast said Tehran's steps could be reversed if Washington lifted its sanctions.
Tensions between Tehran and Washington have soared following Trump's withdrawal from the landmark Iran nuclear deal brokered by the Obama administration.
The 2015 nuclear agreement lifted sanctions that crippled Iran's economy and cut its oil exports roughly in half. In exchange for sanctions relief, Iran accepted limits on its nuclear program and allowed international inspectors into its facilities.
Last May, Iran stopped complying with some commitments in the 2015 nuclear deal that was agreed with global powers when Trump unilaterally withdrew from the landmark deal, brokered by the Obama administration, in 2018. Trump also re-introduced sanctions on Tehran that had been previously lifted in accordance with the nuclear deal.
At the time, Iran threatened to start enriching uranium at a higher level, unless world powers protected its economy from U.S. sanctions within 60 days.
On Thursday, the U.S. took responsibility for the death of Iran's top general, Qasem Soleimani. On the heels of the attack, Trump said Friday that America does not seek "regime change" in Iran but that the U.S. is "ready and prepared to take whatever action is necessary" if Iran threatens American lives, Trump added.
Soleimani "made the death of innocent people his sick passion," Trump said from his Palm Beach, Florida, resort, Mar-a-Lago. "We caught him in the act and terminated him."
Soleimani, who led a special forces unit of Iran's elite Revolutionary Guards, has been a key figure in Iranian and Middle East politics. He and an aide were killed in a U.S. airstrike at Baghdad's international airport.
On a call with reporters Friday, National Security Advisor Robert O'Brien described the U.S. strike as a "straightforward decision."
O'Brien, who was with Trump during the strike, said the U.S. had credible intelligence that Iran was mounting an attack. He did not elaborate on what kind of intelligence the U.S. had.
The relationship between the U.S. and Iran took another turn for the worse last summer following a string of attacks in the Persian Gulf.
In June, U.S. officials said an Iranian surface-to-air missile shot down an American military surveillance drone over the Strait of Hormuz. Iran said the aircraft was over its territory.
That strike came a week after the U.S. blamed Iran for attacks on two oil tankers in the Persian Gulf region and after four tankers were attacked in May.
The U.S. in June slapped new sanctions on Iranian military leaders blamed for shooting down the drone. The measures also aimed to block financial resources for Iran's Supreme Leader Ayatollah Ali Khamenei.
Tensions soared again in September when the U.S. blamed Iran for strikes in Saudi Arabia on the world's largest crude-processing plant and oil field.
That attack forced the kingdom to cut its production operations in half and triggered the largest spike in crude prices in decades and renewed concerns of a new conflict in the Middle East. Iran maintains that it was not behind the attacks.
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President Donald Trump: Iran will never have a nuclear weapon
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text:
Mad Magazine will vanish from newsstands after 67 years
By Rob McLean and Michelle Lou, CNN
Updated 8:08 AM EDT, Fri July 5, 2019
'Mad Magazine:' 60+ years of satire (2013)
Once a cultural touchstone, Mad Magazine is halting the publication of new content and vanishing from newsstands.
The seminal humor publication will no longer be available on newsstands after its August issue, according to a person familiar with the matter.
After that, issues will be available only via comic book stores and subscriptions, the source said.
The source indicated that issues after No. 10 of its current volume will reprint earlier material with new covers. However, the magazine will continue to publish its end-of-year special, books and special collections.
The revered satirical publication was founded in 1952 as a comic book. In 1955, it switched to a magazine format.
Former Mad Editor Allie Goertz, who resigned last month, lamented that there will no longer be new content after issue No. 10.
"MAD is an institution with such a rich history," Goertz tweeted. "It informed just about every comedian and writer I (and probably you) look up to."
Working at MAD was a childhood dream come true. MAD is an institution with such a rich history. It informed just about every comedian and writer I (and probably you) look up to. I worked with ICONS. Sergio Aragonés visits were common. Al Jaffee still does the fold-in!
— Allie "Nine Inch Nails" Goertz (@AllieGoertz) July 4, 2019
"Weird Al" Yankovic, who became Mad's first guest editor in 2015, also expressed sorrow on social media.
"I am profoundly sad to hear that after 67 years, MAD Magazine is ceasing publication," the singer-songwriter said. "I can't begin to describe the impact it had on me as a young kid–it's pretty much the reason I turned out weird. Goodbye to one of the all-time greatest American institutions. #ThanksMAD."
I am profoundly sad to hear that after 67 years, MAD Magazine is ceasing publication. I can't begin to describe the impact it had on me as a young kid – it's pretty much the reason I turned out weird. Goodbye to one of the all-time greatest American institutions. #ThanksMAD pic.twitter.com/01Ya4htdSR
— Al Yankovic (@alyankovic) July 4, 2019
Mad is part of the DC Comics group, owned by Warner Bros., which is owned by CNN's parent company, AT&T's WarnerMedia.
DC did not immediately respond to request for comment.
Correction: A previous version of this story misidentified the owner of DC Comics.


text:
http://w3.windfair.net/wind-energy/pr/34076-eneco-mitsubishi-chubu-acquisition-energy-company-offshore-onshore-netherlands-dutch
w3.windfair.net
News Release from Eneco B.V.
Wind Industry Profile of
Eneco B.V.
Acquisition of Eneco by consortium of Mitsubishi Corporation and Chubu Electric Power completed
The shareholders' committee, Eneco Groep N.V. and a consortium of Mitsubishi Corporation and Chubu Electric Power Co., Inc. announce that the acquisition of the Eneco shares by the Consortium was completed today.
All 44 municipal shareholders of Eneco (which together hold 100% of the Eneco shares) have agreed to the proposed sale. With the approval of the Minister for Economic Affairs and Climate in the Netherlands, the Federal Minister of Energy in Belgium, as well as the competition authorities in Germany and the European Commission, all the conditions have been met.
Having the Consortium as new shareholders will mean that Eneco is well positioned to continue to play a leading role in the energy transition. Eneco can now accelerate the implementation of its sustainability strategy, aimed at the growth of renewable energy sources, energy supply and innovative services. Eneco remains intact as an integrated and independent Dutch energy company.
Takehiko Kakiuchi, CEO of Mitsubishi Corporation: "We are committed to fully endorse, strengthen and contribute to the further national and international development of Eneco's strategy. This includes, amongst others, continuing to invest in sustainable assets, innovative products and services, research and development and the expansion of the (energy) activities of Eneco. We have been partners with Eneco since 2012 and the consortium is committed as a long-term shareholder. We are looking forward to working together with all stakeholders of Eneco."
Ruud Sondag, (former) CEO of Eneco: "With the Consortium, Eneco found shareholders who fully support, strengthen and will help develop Eneco's sustainability strategy. We will continue our focus on product development and innovative services, to help our customers make the switch. The employees, the works council and Eneco's management are very pleased with our new shareholders Mitsubishi Corporation and Chubu Electric Power."
Arjan van Gils, alderman responsible for finance in the municipality of Rotterdam and chairman of the shareholders' committee: "Today, our attention is primarily focussed at fighting the current health crisis and our thoughts are with those in agony. However, we are pleased that we were able to complete the sale with the consent of all 44 municipal shareholders. This marks the end of a diligent sale process with consideration for Eneco's sustainable strategy and other interests of all stakeholders. We are confident that Eneco and its employees will have a good, sustainable future in the long run with these new shareholders."
With the completion of the transaction both the composition of the Management Board and the Supervisory Board will change as of today.
CEO Ruud Sondag is stepping down from the Management Board at his own request. The Supervisory Board is in an advanced phase of selecting a new CEO for the company. Mr Hans Peters, currently Chief Customer Officer, will join the Management Board. He will remain responsible for all customer-related matters. Mr Hiroshi Sakuma will also join the Management Board, he is responsible for the stimulation of the interaction with respect to the strategy between Eneco and Mitsubishi Corporation and Chubu Electric Power and the roll-out of Eneco's business to international markets as Chief Cooperation & International Officer.
The composition of the Supervisory Board will also change. The new chairman of the Supervisory Board is Mel Kroon. He is the former chairman of Tennet and has been actively involved in the energy transition. On behalf of Mitsubishi Corporation, Mr Katsuya Nakanishi, Mr Yutaka Kashiwagi and Mr Haruhiko Sato join the Supervisory Board, and Mr Takanori Shiozawa joins the Supervisory Board on behalf of Chubu Electric Power.
The Central Works Council nominates two members, which have the power to monitor the execution of the agreed non-financial covenants. Mr Michael Enthoven will remain on the Supervisory Board as a works council nominee and a search process is ongoing for the second Supervisory Board member to be nominated by the Central Works Council. Until such person is found current Supervisory Board member Marco Keim will continue to serve on the Supervisory Board.
All changes are also supported by the leaving shareholders. More information on the composition of the Management Board and the Supervisory Board can be found at https://www.eneco.com/who-we-are/about-eneco
news.eneco.com/...
Eneco, Mitsubishi, Chubu, acquisition, energy company, offshore, onshore, Netherlands, Dutch
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text:
Czesław Dźwigaj (ur. 18 czerwca 1950 w Nowym Wiśniczu) – polski artysta rzeźbiarz, profesor Akademii Sztuk Pięknych w Krakowie, uczeń Antoniego Hajdeckiego.

Życiorys
Autor licznych realizacji pomnikowych, najczęściej kojarzony z pomnikami Jana Pawła II, których blisko 50 opuściło jego pracownię.

Rozpoczął swoją karierę poprzez współpracę z kościołami. W latach 80. XX wieku wykonał m.in. serię brązowych odlewów dla katedry w Tarnowie (m.in. drzwi do kruchty, zakrystii, płaskorzeźby na domu parafialnym), później, za sprawą swoich sakralnych realizacji, stał się znany i popularny również w diecezji szczecińsko-kamieńskiej oraz zielonogórsko-gorzowskiej (jedna z ostatnich realizacji: brązowe drzwi do kolegiaty w Głogowie).

W 2009 roku papież Benedykt XVI podczas pielgrzymki do Ziemi Świętej ofiarował w darze płaskorzeźbę wykonaną przez Czesława Dźwigaja. Przedstawia ona Drzewo Jessego, ukazujące rodowód Chrystusa, od Abrahama do św. Józefa. Ma wymiary 3,25 × 4 m, umieszczona jest w pobliżu przejścia, którym przechodzą pielgrzymi, idąc do Groty Narodzenia od strony katolickiego parafialnego Kościoła św. Katarzyny. Trzon płaskorzeźby stanowi drzewo oliwne oraz motywy biblijne. Ma ona odniesienia do Starego Testamentu, m.in. sylwetka góry Synaj, postać Moabitki Rut. W górnej części płaskorzeźby ukazany jest Chrystus Król w dwustopniowej koronie, błogosławiący kulę ziemską.

W 1995 otrzymał tytuł honorowego obywatelstwa Nowego Wiśnicza.

17 września 2004 został odsłonięty na Cmentarzu Rakowickim w Krakowie pomnik ofiar ukraińskiego ludobójstwa autorstwa Czesława Dźwigaja. Natomiast 9 września 2005 został odsłonięty w Krynicy pomnik Nikifora Krynickiego.

W 2005, za wybitne zasługi w twórczości artystycznej i w działalności społecznej, został odznaczony Krzyżem Kawalerskim Orderu Odrodzenia Polski.

Realizacje pomników Jana Pawła II
 Chicago
 Chomranice
 Dołęga
 Ełk – plac Jana Pawła II
 Fatima – sanktuarium Matki Bożej Fatimskiej
 Goleniów
 Golgota Beskidów w Radziechowach
 Gorzów Wielkopolski
 Gręboszów
 Kalwaria Zebrzydowska
 Kęty
 Kraków Park Strzelecki
 Kraków Rakowice
 Krotoszyn
 Limanowa
 Lubaczów
 Mąkolice
 Nowe Brzesko
 Nowy Sącz
 Nowy Wiśnicz – Pomnik Jana Matejki
 Okulice
 Ołtarzew
 Ozorków
 Police – skwer Jana Pawła II w Nowym Mieście
 Puławy
 Racibórz
 Racławice – Janowiczki
 Rawa Mazowiecka
 Rzeszów (x 2)
 Rzym
 San Cristóbal de La Laguna – pomnik Jana Pawła II
 Skała
 Sochaczew
 Sokolniki
 Stary Wiśnicz
 Studzieniczna
 Szczecin – pomnik Jana Pawła II
 Warszawa Rembertów
 Wieliczka
 Zakopane – Krzeptówki
 Zambrów
 Żywiec

Odbiór prac
Szerokim echem odbił się odsłonięty w 2001 roku na Placu św. Marii Magdaleny w Krakowie pomnik Piotra Skargi, krytykowany przez część mediów i artystów za skalę i formę.

Literatura
 (kar), Papież na placu Sapera, "Gazeta Współczesna" 2000, nr 61.
 Annusiewicz Małgorzata, Trzy pytania do prof. Czesława Dźwigaja, "Głos Szczeciński" 2005, nr 12.
 Bogacz Jerzy, Rozmowa o pomniku z jego twórcą prof. Czesławem Dźwigajem, "Echo Limanowskie" 1998, nr 54.
 Branicka Monika, Gniot na słupie. Kolejny pomnik Czesława Dźwigaja w Krakowie, "Art & Business" 2001, wrzesień
 Czesław Dźwigaj, red. Krzysztof Kozłowski, Kraków 2004.
 Dańko Ireneusz, Pamięć, która dzieli, "Gazeta Wyborcza Kraków" 2005, nr 59.
 Jankowski Stanisław M., W soli jeszcze nie pracowałem... – rozm. z Czesławem Dźwigajem, "AWS" 1999, nr 26.
 Ochwat Renata, O pomnikach profesora Czesława Dźwigaja, "Gazeta Zachodnia" 2002, nr 146.
 Ożóg Kazimierz S., Rzeźba jest trudna. O najciekawszych pomnikach Jana Pawła II, "Ethos" 2004, nr 3, s. 299-314, fot.
 Ożóg Kazimierz S., Pomniki Jana Pawła II – kilka problemów zjawiska, [w:] Prolegomena. Materiały Spotkania Doktorantów Historyków Sztuki, Kraków 13-15 X 2003, Kraków 2005, s. 183-192, fot.
 Ożóg Kazimierz S., Opowieści rzeźby, "Nawias" 2006, s. 98-107.
 Ożóg Kazimierz S., Papież jak krasnal. Pomniki na rozdrożu, "Orońsko" 2005, nr 4, s. 52-55, fot.
 Satała Marian, Papieski rzeźbiarz, "Gazeta Krakowska" 2005, nr 83.
 Starzak Grażyna, Papież wśród królów – rozm. z Czesławem Dźwigajem, "Dziennik Polski" 2000, nr 63.
 Trybowski Ignacy, Czesław Dźwigaj, "Krak" 1985, nr 25.
 Wątróbski Leszek, Pomnik Papieża Jana Pawła II w Policach, rozm. z Czesławem Dźwigajem, "Kurier Szczeciński" 1999, nr 100.
 Wątróbski Leszek, Siedem rzeźb i pomników, "Nasz Dziennik" 1999, nr 83.
 Wątróbski Leszek, Ten, który rzeźbi papieża, rozm. z. Czesławem Dźwigajem, "Nowy Dziennik" 1999, nr z dnia 1 VI.
 Zgórniak Marek, Figura księdza Skargi i Skarga Matejki, "Gazeta w Krakowie" 2001, 26-27 V, s. 6

Zobacz też
 :Kategoria:Twórczość Czesława Dźwigaja

Przypisy

Honorowi obywatele Nowego Wiśnicza
Ludzie urodzeni w Nowym Wiśniczu
Odznaczeni Krzyżem Kawalerskim Orderu Odrodzenia Polski (III Rzeczpospolita)
Polscy rzeźbiarze
Wykładowcy Akademii Sztuk Pięknych im. Jana Matejki w Krakowie
Urodzeni w 1950

redpajama_set_name: RedPajamaWikipedia


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text:
3 French prize winners appearing at Sydney Writers' Festival this week
30 April 2019 29 April 2019 Matilda Marseillaise
There are three non-French authors who have been awarded with literary prizes in France who will be speaking at Sydney Writers' Festival this week. These prizes include the Chevalier des Arts et Lettres and the Le Prix des romancières.
In order to be considered for an award of the Order des Arts et Lettres you need to have "significantly contributed to the enrichment of the French cultural inheritance". There are three grades within the award from the Chevalier (Knight) to Officier (Officer) to Commandeur (Commander).
Le Prix des romancières is a literary prize created in 1999 which awards the author of a wide-audience book. The winner receives 3000 euros.
Sydney Writers' Festival runs from 29 April to 5 May.
Antony Beevor
In addition to being awarded a Chevalier des Arts et Lettres in France, Antony Beevor has also ben awarded a Cross of the Order of Terra Mariana in Estonia, and Commandeur de l'Ordre de la Couronne in Belgium. And if that wasn't enough, he received a knighthood in 2017!
Antony Beevor is a pre-eminent British historian and one of the greatest chroniclers of the Second World War. His books include Crete (Runciman Prize) Stalingrad (Samuel Johnson, Wolfson and Hawthornden Prizes); Berlin; The Battle for Spain (Premio La Vanguardia); D-Day (RUSI Westminster Medal); The Second World War; Ardennes 1944 (shortlist Prix Médicis); and now Arnhem, which is another international Number 1 Bestseller.
Antony Beevor's work has been translated into thirty-three languages and has sold more than eight million copies.
Antony will appear in the following Sydney Writers' Festival events:
Matters of Fact
Thursday, May 2, 2019 4:30 PM – 5:30 PM $25 ($20 concession)
https://www.swf.org.au/festivals/festival-2019/matters-of-fact/
An evening with Antony Beevor
Friday, May 3, 2019 6:00 PM – 7:00 PM $35- $45 ($25 concession)
https://www.swf.org.au/festivals/festival-2019/an-evening-with-antony-beevor/
In this very special Sydney Writers' Festival event, Antony Beevor will discuss his incredible body of work, including his latest release, Arnhem.
Antony will be introduced by Kate Evans and will talk about his superbly written and forensically researched account of the failed Allied paratroopers' campaign to seize bridges leading to the Rhine in 1944, as detailed in his new bestseller.
Paul Holdengräber
Paul Holdengräber was awarded the Chevalier des Arts et des Lettres in 2003.
Holdengräber is a revered interviewer who he has called "one of the most brilliant minds in America, or anywhere". He is known for encouraging his guests to step outside their areas of specialisation and into wider-reaching discussions. His conversational partners have included Patti Smith; Zadie Smith; Jay-Z, Wes Anderson; Salman Rushdie; Christopher Hitchens; RuPaul; David Remnick; Pete Townshend and Werner Herzog. Over the course of Holdengräber's tenure at the New York Public Library, about 200,000 people attended interviews hosted by Holdengräber as the host of LIVE from the NYPL at the Stephen A. Schwarzman Building. Paul is also the host of the podcast A Phone Call from Paul on Literary Hub.
Holdengräber has also written essays and articles for journals in France, Germany, Spain, and the United States and taught at various universities including Williams College and Claremont Graduate University.
Holdengräber appears in:
George Saunders in Conversation with Paul Holdengräber
Thursday, May 2, 2019 6:30 PM – 7:30 PM $35-$35 ($25 concession)
https://www.swf.org.au/festivals/festival-2019/george-saunders-in-conversation-with-paul-holdengraeber/
Man Booker Prize winner and master of modern fiction, George Saunders sits down with Paul Holdengräber to share insights into his life, craft and genre-bending body of work.
Belonging: The story of the jews
Sunday, May 5, 2019 1:30 PM – 2:30 PM $35 ($25 concession)
https://www.swf.org.au/festivals/festival-2019/belonging-the-story-of-the-jews/
One of the world's most popular and prolific historians, Simon Schama has delivered a towering achievement with Belonging: The Story of the Jews 1492-1900. Beginning with the Jews' expulsion from Spain, he unfolds the stories not just of rabbis and philosophers, but of a poet in a Venetian ghetto, a general in Ming China, and an opera composer in 19th-century Germany, and many more besides.
The hugely entertaining author speaks with revered interviewer Paul Holdengräber about his intellectually commanding yet instantly accessible history.
Fatima Bhutto was awarded the Prix des Romancières in France for her book The Shadow of the Crescent Moon.
Bhutto was born in Kabul, Afghanistan and grew up in Syria and Pakistan. Fatima's work has appeared in The Guardian, The Financial Times, Vogue and other publications. She is the author of five books.
Her latest novel is The Runaways. It's an electrifying novel which explores facets of Pakistani society and Muslim identity in the modern world. Spanning the slums of Karachi and a seaside English town, it traces the story of three people who are forced to make a terrible choice after crossing paths in a desert.
Fatma Bhutto appears in:
Fatima Bhutto: The Runaways
Thursday, May 2, 2019 10:00 AM – 11:00 AM $30 ($20 concession $15 cabaret)
https://www.swf.org.au/festivals/festival-2019/fatima-bhutto-the-runaways/
The bestselling author of acclaimed novels, and a memoir about her life in the Bhutto political family, joins ABC's Eleanor Hall to discuss her illuminating new exploration of turbulent times.
Know your place: The politics of identity
Friday, May 3, 2019 11:30 AM – 12:30 PM
https://www.swf.org.au/festivals/festival-2019/know-your-place-the-politics-of-identity/
Fatima Bhutto and Elaine Castillo (America Is Not the Heart) are widely acclaimed novelists, who have both supercharged literature with their nuanced, layered and passionate responses to questions of belonging.
But what does it mean when it's only writers of colour that are consistently asked to be on panels about 'identity', while white writers are rarely (if ever) seen on such line-ups?
Fatima and Elaine join Roanna Gonsalves to delve beyond this particular cliché, and discuss how the exploration of geopolitics and history in their work, in a global context and closer to home, can be unwittingly reduced to 'identity', even though it's far more complex – and interesting – than that.
Closing address: Fatima Bhutto
https://www.swf.org.au/festivals/festival-2019/closing-address-fatima-bhutto/
Fatima Bhutto will also close the festival with the closing address.
Have you read any of these authors' works? Are you attending any Sydney Writers' Festival events?
You can also read our article about French and francophone authors speaking at Sydney Writers' Festival.
Art, FestivalAntony Beevor, auteur, cette semaine Sydney, Chevalier des Arts et des Lettres, Fatima Bhutto, French literary prize, French prizes, interviewer, intervieweur, Ordre des Arts et des Lettres, Paul Holdengräber, Prix des Romancières, prix romancier, roman, romancier, Sydney, Sydney Writers' Festival
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text:
Fetch Me a Block: Examining Jon Snow's Leadership
art by acazigot
Jon Snow shows much promise as a leader in the fan favorite "Fetch Me a Block" scene where we see the end of Lord Janos Slynt's watch. But of course the foundation of Jon's leadership style has been laid long before, as far back as when we first see him in AGoT.
In Bran's first PoV chapter, Ned has been called to execute Gared, the Night's Watch deserter. Here we learn about "Stark" justice for the first time, but we also learn some key things about Jon. We learn from Bran that Jon is an "old hand at justice" but also that his half brother is extremely perceptive. And very quickly we see him act on that quality, when he convinces Ned to let the children keep the direwolf pups by leaving himself out of the count. Upon observing that there are five wolf pups, three males and two females, he says to Ned:
"You have five trueborn children, three sons, two daughters. The direwolf is the sigil of your House. Your children were meant to have these pups, my lord."
This clever maneuver by Jon makes one take notice quite quickly of his ability as a diplomat. Later in his own PoV we witness Jon observing the welcoming feast for King Robert and his family. He sees through Cersei's smile, and finds Robert a great disappointment, thinking that here was a fat man, walking like one "half in his cups." When his uncle Benjen comments on Ned's apparent unhappiness, we learn that Jon has noticed it as well. He thinks "A bastard had to learn to notice things, to read the truth that people hid behind their eyes."
It begins to be clear that Jon is perceptive, understands justice and is able to manipulate situations to favorable outcomes. These qualities will prove to be the keys to his leadership style as he evolves into a leader of men. We should also consider that Jon grew up among a community of men, and his education probably closely mirrored Robb's, who was being groomed to be the future Lord of Winterfell. They would have had a number of strong male influences, from Ned and Benjen to Maester Luwin and Ser Rodrik, and living in a castle male role models would be present in all aspects of daily life, so Jon had the opportunity to observe many kinds of male leadership in action. And we know he was observant, so it's logical to imagine he absorbed many lessons, not only from his main role models, but also from the likes of Hullen, Mikken and Jory Cassel. Knowing the organisation of a castle and a Lord's retinue, would leave him well qualified to take the reins of an organisation such as the Night's Watch. In fact, by the time that happens one could argue he was uniquely qualified for the role. But in the meantime… while he has a the foundation early on, he has to build upon it.
Moving ahead to his first days at the Wall we see Jon learn a sharp lesson from Donal Noye, after some of his fellow recruits attack him in the armory. Jon's victories in the training yard had earned their hatred. Donal accuses Jon of being a bully– using the advantages of his upbringing to humiliate his opponents. He tells Jon that he had best start thinking about the backgrounds and abilities of his fellow recruits, or "sleep with a dagger by your bed." Donal is really forceful and this turns out to be a valuable lesson in empathy for Jon, one we'll see him act on time and again when he has to deal with the Wildling, first as a spy and then when he makes the decision to let them cross the Wall as Lord Commander. But before we look at the Wildlings, let's look at Jeor Mormont and Maester Aemon.
These two men are very important influences on Jon. The first time we see Jon with Maester Aemon, he is manipulating an outcome in nearly the same way as he did with the direwolves in that first chapter. He convinces Aemon to take Samwell Tarly as a steward, by using logic and a lesson he learned from Maester Luwin about diversity. Jon really shows his powers of observation and skill as a diplomat there. After he makes his case, Aemon tells him "Maester Luwin taught you well … Your mind is as deft as your blade."
We know of course that he succeeds with Sam, but at the same time he makes an enemy of Chett, who is displaced in the process. This will have serious consequences in the future, when a disgruntled Chett takes part in the mutiny during the Great Ranging. It's also not unlike Jon's future decision to let the wildlings cross the Wall, which as we'll see shortly has dire consequences. Jon seems to have a blind spot for the negative results of his decision making. Even when he makes perfectly sound decisions– like convincing Aemon to release Sam from training, and later, allowing the Wildlings to cross– he might not fully anticipate the reactions of people around him.
When Jon is accepted into the NW he is named steward to LC Mormont. At first he is angry, seeing Alliser Thorne's vengeance in denying him a place with the Rangers, but Sam points out that Mormont requested him specifically which can only mean one thing– being groomed for command. Jon accepts the challenge. He has some key interactions with the LC which culminate in Jon saving him from the wight Othor. In his capacity as Mormont's steward he is taken into his counsels, made aware of key events in the realm and as a reward for saving his life, he is given the Valyrian steel bastard sword Longclaw.
Just before that Jon is given some key advice by Maester Aemon. He counsels Jon that "love is the bane of honor, the death of duty." He is trying to convince Jon that he must let go of his family and their troubles in the South. In the process he reveals his own identity, telling him that he must make his own decision and live with it "for the rest of his days."
Later, when Jon attempts to flee South to Robb's side he is brought back to Castle Black by his friends and Mormont has a heart to heart with him. Among other things, he says to Jon "When dead men come hunting in the night, do you think it matters who sits the Iron Throne?" This is something that Jon must have in his mind later when Stannis Baratheon appears at the Wall.
These lessons from the Lord Commander and Maester Aemon really seem to stick with Jon. He realises the truth of Mormont's words, and as things progress he often thinks back to Aemon's wisdom. In fact, after he sends the Maester South with Sam Tarly it seems like his words stay with him, including one phrase that is highly significant to his development.
Maester Aemon's final words to Jon before he leaves the Wall echo words he spoke to his brother Aegon decades before — "Kill the boy, Jon Snow. Winter is almost upon us. Kill the boy and let the man be born." These words seem to signify Jon completing his journey to leadership. In a sense embl, they're emblematic of his journey from young boy to man of the NW, encompassing many of his growth decisions, and most significantly, his actions with Ygritte and Wildlings. Jon's decision to let the Wildlings cross actually originated with Stannis, but it really shows the type of pragmatic decision maker he's become.
Jon's interaction with Stannis really defines who he's become as a leader. In many scenes Jon seems to be channeling Ned Stark when he deals with Stannis. He is firm, courteous, honest and honorable and at the same time not afraid to stand up to him. In fact he seems to embody the quality that Cotter Pyke seemed to be looking for in a Night's Watch Lord Commander, someone who "has the belly to stand up to Stannis Baratheon and that red bitch." We see quite early that Stannis measures him up and judges that he's Ned's son, going as far as to offer him Winterfell, but at a price– not only must he declare for Stannis and abandon hope that any of his trueborn siblings still live, he must leave the Night's Watch, marry Val and burn the Winterfell heart tree. It is that last condition that really weighs on Jon, when he thinks of it his conclusion is "I have no right… Winterfell belongs to the Old Gods"
This really seems to make his decision, especially when he is rejoined by Ghost after a long separation. He realises that Ghost has this weirwood coloring, and that Ghost also belongs to the Old Gods. Given his connection with Ghost, it seems like Jon realizes that he himself belongs to the Old Gods and could no more sacrifice the Winterfell heart tree than he could Ghost. He is about to stand up to Stannis and Mel and say no, when, in the final choosing ordered by Stannis, he is chosen Lord Commander of the Night's Watch.
Jon immediately sets about making difficult decisions. He plans to send Sam away with Maester Aemon and Gilly and Dalla's boy, to save the Maester and the infant from Mel's fires. He is ruthless in this decision, reminding himself at every turn of Aemon's advice to "kill the boy." Then when he comes to the decision that we opened with, how to deal with the mutinous Lord Janos Slynt, he proves himself to be a ruthless leader, making a decision worthy of Ned Stark.
Then, when it comes to supporting Stannis' decision to let the Wildlings through the Wall, Jon makes his most fateful decision yet. Standing against the conservative recommendations of Bowen Marsh, arguably his second in command, he decides to let the Wildlings through the Wall. He is informed by his time amongst the wildling that they are simply men and women who have the misfortune of being on the wrong side of the Wall and he realises that they are not the true enemy. In spite of Marsh's caution that they cannot feed the Wildlings, and his obvious mistrust of them, Jon knows that allowing them to pass is not only humane, it is the right thing to do.
When Jon agrees to feed the Wildlings from the NW's dwindling food stores and even accepts their fighters and spearwives into his command, he sets himself up to be at odds with Marsh at almost every turn. All of this comes to a head with Jon's final series of decisions regarding the Wildlings and Ramsay Bolton.
While all of this really must have seemed a bridge too far for Bowen Marsh, Jon sees their value, not only in adding to the dwindling ranks of the men in black, but that in preventing their deaths he denies the real Enemy the chance to swell it's undead army any further. Jon made the only decision he could have made. He is perceptive and empathetic, a man of honour and justice and unfailing logic. These qualities, revealed to us from the very start, led him to this decision. But, as with Chett, Jon still has that blind spot about the potential of those who disagree with him to cause trouble. He is making a man's decisions as the leader of the NW, but in that one important respect he has yet to kill the naive boy that he once was. Jon has grown into his early promise as a leader in most ways. But that one blind spot seems to play an important role in his fate at the end of ADwD, when his decision to lead a force of Wildlings against Ramsay Bolton leads to the implementation of an assassination plot by members of the Night's Watch.
As discussed in Radio Westeros E06: Jon Snow — Only the Cold
ASoIaF, grrm, Jon Snow, Night's Watch
GNC Locator
I made this last year while working on GNC essays. Thought I'd show it here rather than merely linking to it. It can be sorted by House affiliation or by last known location, which I find very useful. To see full size click the bottom right icon. Feedback and questions are welcome!
ASoIaF, BwB, GNC, Great Northern Conspiracy, Riverlands