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Walking Two Paths: From Tradie to Counsellor
Meet Lex Dignam, Family Relationship Counsellor
At 30, feeling stagnant in his career, Lex Dignam set out to rekindle his long-standing dream of becoming a Counsellor. Along the way, he would learn to truly support his clients through the art of listening. And in helping others, he found himself again.
The tradie who talks
If you grew up in a family business, there's a good chance you've experienced the conflict between sticking with your roots and being called to explore a new path. Lex Dignam can empathise. At 18, he deviated from his family's wood heating company to enrol in a psychology degree. Yet, when his brother needed a hand with the business, Lex did a career backflip and spent the next 12 years in heating installation, roofing sheeting and carpentry.
True to his nature, he still found time to connect with those around him over the years, doing his best to chip away at the tradie's unspoken rule: 'Don't bring your problems to work.'
"Most of the guys I worked with were purely focused on the job in hand. But I always felt I had a calling to do something else. I'd be on the roof with them, trying to solve all of their problems, seeing if they were OK and if they wanted to have a yarn."
By the time he was 30, Lex had achieved many of his goals in life. He'd fallen in love, raised a beautiful family with his wife, and they owned their own home. Yet at work, Lex felt burnt out and stagnant. He'd come to a crossroads and was yearning for a vocation that would reawaken him. It was time to make a move, and he knew where to go.
Learning through listening
When the time was right, Lex enrolled in a Bachelor of Applied Social Science Counselling at the Australian College of Applied Psychology in Sydney. It was incredibly difficult studying as a mature age student, but he was determined to see it through. During his final year, Lex was delighted to be offered a placement with Catholic Care Western Sydney and the Blue Mountains in Emerton.
"I underwent extensive training at uni, but putting that theory into practice was a huge eye-opener. Initially, I was working predominantly with Indigenous clients, in a predominantly Indigenous community. Being in a minority was a big learning experience for me – I felt a bit out of my depth. But over time, I realised I had to earn that sense of feeling welcome; I couldn't just expect it. I needed to recognise that I had plenty to learn from others. In time, I opened my eyes and my ears."
Having overcome some initial cultural barriers, Lex found he was able to truly connect with his clients to offer them support and guidance during some of the most challenging times of their lives. He's quick to explain that it's not all about finite, happy endings.
"Much of our work is about a process as opposed to a single outcome. It's often a cycle. I worked with one couple who had their kids removed because of drug use and related issues. Over time, they made great progress and their kids were returned to them. Then they fell into drug-use again, and the kids were again removed. It's tough. Being removed two or three times is massive for kids. The parents understand why. We stay on this journey with them."
Choosing to believe… and to understand yourself
Despite the challenges, Lex is clearly driven by an unwavering belief that change is possible.
"It's about truly believing in anyone's capacity to change. I work hard not to make a negative judgement about my clients. If you construct a positive judgment around someone, it benefits the counselling. You can build rapport. And when kids are reunited with their parents who really have made a change for the better… it's all worth it. You know that those kids are no longer facing the same sort of neglect. These moments always stick with me."
Lex listens more than he talks. But you soon get a strong sense of his own self-awareness and his ability to empathise. Indeed, it isn't a surprise when, right at the end of our interview, he shares that he too has been through counselling, sitting 'in the other chair'.
"It was just before I switched careers, to pursue a career in counselling. I was 29 and knew I needed help to find direction in life. I also needed to go to therapy to work through my own childhood traumas – stuff that I was still trying to deal with. I still am today."
Lex is a huge advocate of experiencing counselling, both to support your own life, and in preparing to become a counsellor yourself.
"There's nothing quite like being the client; that journey was more valuable to my education than going to university. It showed me how the counsellor affects the client, and how they can affect you. Recognising this two-way relationship is essential if you're going to be able to support your client."
Lex has now worked as a Family Relationship Counsellor at Catholic Care Western Sydney and the Blue Mountains for over six years, while also still working with his family business. He shares his key takeaways about a career in counselling.
"Counselling is about listening and opening yourself up to learning. To anyone who wants to pursue this work, ensure you're always listening. It's part of the hope that we hold: change is possible. And change always happens when you're listening. My other piece of advice would be to learn about yourself and work on yourself. See a therapist if you need to. Before you can nurture a long term connection with your client, you have to know what's going on inside you."
As we end our interview with Lex, he shares one final thought:
"Counselling is the hardest work I've ever done. But it is incredibly rewarding. I feel very privileged to travel with people who allow me into their lives."
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text:
Devushka s korobkoy é um filme de comédia soviético de 1927 dirigido por Boris Barnet.

Enredo
O filme conta a história de uma garota que mora no subúrbio, onde faz chapéus femininos. E de repente ela conhece Ilya, que veio da aldeia. Ela decide registrar ficticiamente um casamento com um apelido e registrar Ilya em uma sala que na verdade não pertence a ela, mas ao dono da loja para a qual ela faz chapéus.

Elenco
 Anna Sten como Natasha
 Vladimir Mikhaylov
 Vladimir Fogel como Fogelev
 Ivan Koval-Samborsky como Ilya Snegiryov
 Serafima Birman como Irène
 Pavel Pol
 Yeva Milyutina como Marfusha
 Vladimir Popov

Ligações externas

Filmes em língua russa
Filmes da União Soviética de 1927

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Each year Brad publicly declares his love for his wife, Melissa. He has a tradition of finding a location that can be seen by Melissa during her daily routine. In the past Brad has posted his message "Brad Loves Melissa" on everything from large hot air balloons to the sides of buildings.
This year Brad reached out to us at J.R. Dunn Jewelers for assistance with his proclamation of love. Brad asked Sean Dunn, Vice President, if he could use the J.R. Dunn Jewelers billboard on Interstate 95 to publish his message to his wife, Melissa. Sean gladly agreed, after all, J.R. Dunn is in the business of creating things that show people you love them.
'Brad Loves Melissa' billboard located on I95 near Exit 32 in Fort Lauderdale, Fl.
Past Valentine's Day surprises Brad has given Melissa.


This goes to print on Ash Wednesday, the first day of Lent. So allow me to pitch in to February's religion-versus-secularism debate from a new direction. As an unbeliever I wish to complain on behalf of serious religious belief. Faith is being defended by the wrong people, in the wrong way.
'Faith' means faith. Doubt is not faith. Faith is not seeking but finding. Real Christians, Muslims, Sikhs, Hindus and Jewish believers are being patronised by kindly agnostics who privately believe that the convictions of those they patronise are delusions. A lazy mish-mash of covert agnosticism is being advanced in defence of religion as a social institution. But 'whatever floats your boat' is not the wellspring of Judaic belief. The God of the Gap is not the God of Islam. Jesus did not come to earth to offer the muzzy comforts of weekly ritual, church weddings and the rhythm of public holidays.
In an astonishing foray into a disgraceful sort of journalism the Sunday Telegraph now claims to have discovered that Professor Dawkins is descended from slave-owners. You make a fool of yourself, not Dawkins, with this kind of rubbish, so his critics must be blinded by anger. How to explain this?
It was a coincidence between two minor pieces of news that seems to have unleashed the media storm. First, a limited judicial decision ruled that Bideford councillors may not include prayers on their official agenda. Then survey data from the National Secular Society publicised by Richard Dawkins suggested that most declared Christians lack both knowledge of their faith and serious conviction. The surprising burst of energy this released has included interventions from the (Muslim) Chairman of the Conservative party, from Daniel Finkelstein, the Archbishop of York, Giles Coren, the Queen and Eric Pickles. All have expressed alarm at the advance of 'militant' secularism.
Only a minority, however, have reaffirmed with any muscularity their belief in God.
Many call themselves unbelievers. My Times colleague Daniel Finkelstein, in a moving column well summarised by its headline 'It's easy to mock religion — but then what?', as good as declares himself a Jewish atheist but goes on to assert the importance of faith and religious ritual in holding people together. Affectionately he recalls fiddling as a small child with the fringes of his father's prayer-shawl. He thinks it good (as do I) that human beings ceaselessly struggle to find meaning and purpose in life; and deplores the illiberal 'liberalism' that seeks to sneer at that.
This does capture what a lot of us love about the Church of England. The question is, does it capture what Jesus Christ asks — requires, commands — of His followers?
One of the reasons we can be pretty sure Jesus actually existed is that if He had not, the Church would never have invented Him. He stands so passionately, resolutely and inconveniently against everything an established church stands for. Continuity? Tradition? Christ had nothing to do with stability. He came to break up families, to smash routines, to cast aside the human superstructures, to teach abandonment of earthly concerns and a throwing of ourselves upon God's mercy.
Jesus came to challenge precisely what today's unbelieving believers in belief so prize in what they presume to be faith: its supposed ability to 'cement' the established order of things, and bind one generation to the next. But the problem with using Christ as a kind of social Evo-Stik, or indeed Allah as conciliator or Jehovah as a proxy for cultural continuity, is that it saps the life force with which their faiths were at first suffused. By trying to span and bind, Anglicanism has become bland. Moderate Islam is in theological retreat. And surely it is at the liberal end of Judaism's spectrum that faith dilutes. 'Through thousands of years,' says Daniel Finkelstein, 'Judaism has sustained the Jewish people.' I observe only that their culture is unlikely to have weathered what they've endured without an unambiguous belief in a supernaturally ordained destiny. If this fades, my betting would be on a diminishing cultural identification among secular Jews.
Beware (I would say to believers) the patronage of unbelievers. They want your religion as a social institution, filleted of true faith. It is the atheists, who think this God business matters, who are on your side.
As an unbeliever my sympathies are with fundamentalists. They seem to me to represent the source, the roots, the essential energy of their faiths. They go back to basics. To those who truly believe, the implicit message beneath 'never mind if it's true, religion is good for people' is insulting. To those who really believe, it is because and only because what they believe is true, that it is good. I find David Cameron's remark that his faith, 'like Magic FM in the Chilterns, tends to fade in and out', baffling. If a faith is true it must have the most profound consequences for a man and for mankind. If I seriously suspected a faith might be true, I would devote the rest of my life to finding out.
As I get older the sharpness of my faculties begins to dull. But what I will not do is sink into a mellow blur of acceptance of the things I railed against in my youth. 'Familiar' be damned. 'Comforting' be damned. 'Useful' be damned. Is it true? — that is the question. It was the question when I was 12 and the question when I was 22. Forty years later it is still the question. It is the only question.


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Reason To Love New Horror Anthology
'Covering four specific horror-related themes: Halloween, ghost stories, nautical terrors, and cosmic horror, The Asterisk Anthology: Volume 1, brings readers eight extraordinary tales from new authors of weird fiction, winners of the Nosetouch Press calls throughout 2017. '
Nosetouch Press on Amazon
The Asterisk Anthology: Volume 1
Good Morning all!
I'm very pleased to announce that I have had my work published in this new anthology of horror stories. Not one, but two made it through the selection process! Yay!
It all began in October 2016; after reading a 'call for submissions' via Dark Markets, I entered my first story for Halloween. Nosetouch Press ran a 4 Round submission process – Halloween, Ghost Stories, Nautical Nightmares and finally Cosmic Horror. I came second in Rounds 1 and 4. It's always great to see your work in print; validation through publication says that someone thought your work good enough – and few things feel better – for a writer.
There is a broad range of writing styles, tied together by the four themes. I am convinced you will find some you love in it (I have two reasons to love this anthology!)
I'd like to thank the two people involved in compiling this anthology; David T. Neal and Christine M. Scott, who must have spent hours reading through submissions, deliberating between them who had won and making final decisions. I know, from experience, how hard it is to get 10 writers work collected, edited and compiled into a form for publication, so what it must have been like for submissions from across the world, I cannot imagine.
You can buy your copy of The Asterisk Anthology here-
https://www.amazon.co.uk/dp/B076ZB9KR6
Thanks for reading, have a lovely weekend. A
Posted on November 3, 2017 Categories Books, Horror, writers, writingTags Alexandra Peel, Amazon, Andrea Stanet, Christine M. Scott, David T. Neal, Horror, James Gardner, Jonathan Cromack, Nosetouch Press, Shannon Lippert, Shawn Chang, The Asterisk Anthology, Zachary Von Houser1 Comment on Reason To Love New Horror Anthology
Desert Island Flicks
Desert Island Discs is a British radio programme broadcast on BBC Radio 4. It was first broadcast in 1942. The concept is, that each week a guest; someone famous or is a person of note, called a 'castaway' during the programme, is asked to choose eight recordings (usually, but not always, music), a book and a luxury item that they would take if they were to be cast away on a desert island, whilst discussing their lives and the reasons for their choices.
I decided to run my own 'Desert Island', but with movies.
As an avid film viewer, I have found this quite a challenge. I have seen plenty of movies that I really liked, but would I want to be stranded on a Desert Island to watch them over and over again? Which films bear repeated viewing? Which films have enough content, appeal or personal resonance that one could stand to watch over and over again?
I am sure that should I return to this in, say a year, I would alter my selection somewhat, but for today, these are my eight 'recordings':-
Hey Blondie!
Stars: Clint Eastwood, Lee Van Cleef and Eli Wallach.
Director: Sergio Leone.
Genre: Spaghetti Western (so called because this genre of Westerns was produced by Italians).
Released: 1966.
Why watch it: Fantastic film shots of landscapes and close ups; especially in the final showdown. Terrific action and storyline – 3 gunslingers are after buried gold. Fortune swings back and forth between the characters, when one has the upper hand, he makes sure he gets the most out of the other one. The soundtrack is brilliant too, I always 'sing' along!!
Favourite line: "Who the hell is that? One bastard goes in, and another comes out."
https://www.youtube.com/watch?v=09-GbpOd9T4
Amelie (aka; The Fabulous Destiny of Amelie Poulain)
Amelie's discovery is a life-changing moment
Stars: Audrey Tautou, Mathieu Kassovitz,
Director: Jean-Pierre Jeunet
Genre: Romantic Comedy
Why watch it: Romance without the 'yuck!' factor. Whimsical, delightful, extremely touching in parts. The way Amelie takes 'revenge' on unpleasant people. And the music; it still stirs my emotions. Keep an eye on the garden gnome!
Favourite line: "Narrator: Amélie still seeks solitude. She amuses herself with silly questions about the world below, such as "How many people are having an orgasm right now?"[scenes of various orgasms taking place] Amélie: Fifteen."
The Fearless Vampire Killers (Dance of The Vampires)
Stars: Roman Polanski, Jack MacGowran, Alfie Bass,
Director: Roman Polanski
Genre: Comedy Horror
Why watch it: Definitely not your usual vampire film. A truly successful blend of horror and comedy, with beautifully shot scenes. Professor Abronsius and his young assistant, Alfred, are on the hunt for vampires, across snowy landscapes 'deep in the heart of Transylvania' to a remote castle. The physical moments with no dialogue are beautifully choreographed.
Favourite line: "…like a little birdy alighting on a branch…then, let an angel pass. Shall we allow an angel to pass?"
https://www.youtube.com/watch?v=you86-CKNtI
Joe's new teacher is a delight!
Stars: Danny Aiello, Mia Farrow, Seth Green
Director: Woody Allen
Why watch it: Jewish screen family life at its best; a view of the world through a young boys eyes and the medium of radio; stories within stories and the effects on the listeners. The scene with the two burglars is brilliant.
Favourite line: "No. Have it your way. The Pacific is greater."
Head or tail? Of the rat dinner…
Stars: Walter Matthau, Cris Campion
Genre: Adventure Comedy
Why watch it: Polanski actually had the ship built for the movie! Matthau, I think, is at his very best in this little known/shown film. Captain Reds lust for gold knows no bounds, and the whole film is a series of ploys to get particular pieces of gold – in particular, a Spanish throne. All the characters are wonderfully portrayed, pirates, naval officers, priests – the game of 'Dead Man's Nag' is both hilarious and brutal.
Favourite line: "Well Padre. I once had a mind to eat the Frog."
Stars: Nicholas Cage, Laura Dern, Willem Dafoe
Director: David Lynch
Genre: Thriller/Romance/Indie
Why watch it: For its bizarre mixture of raging violence, dream scenes, illusions to Elvis Presley and The Wizard of Oz – true Lynchian oddness wrapped in what initially appears a 'regular' thriller. There are some truly disturbing characters in this film – be warned!
Favourite line: "This whole world's wild at heart and weird on top."
https://www.youtube.com/watch?v=nf0rKQkvh2c
Just keep walking, don't look back…
Stars: Jean Reno, Natalie Portman, Gary Oldman
Director: Luc Besson
Why watch it: For one of the most beautiful relationships shown on screen. The 12 year old Mathilda finds herself in the 'care' of Leon, a hitman; but who is the child? This is at times, an extremely touching film, how does a man who kills for a living take care of a child? Scenes with his little potted plant reveal that Leon is not heartless, or a cold-blooded killer, there is something else in this taciturn man. Portman is absolutely excellent as Mathilda, the orphaned girl who grows up fast.
Favourite line: "The rifle is the first weapon you learn how to use, because it lets you keep your distance from the client. The closer you get to being a pro, the closer you can get to the client. The knife, for example, is the last thing you learn."
Stars: Rumi Hiiragi, Miyu Irino
Director: Hayao Miyazaki
Genre: Anime fantasy
Why watch it: Miyazakis's first anime is arguably his finest. A feast for the eyes, with a beautiful plot reminiscent of a good old style fairy tale. Follow Chihiro into the magical town where spirits take baths and give gold to the greedy.
Favourite line: "There must be some mistake! None of these pigs are my parents!"
These are all films I own on DVD, I have watched many times and will watch again. I could have chosen pretty much any Allen or Polanski film; I have been a huge fan since early teens. Same with David Lynch although I don't fancy being stuck for too long on a desert island with some of his characters or scenes in my head!
What would you take if you could only choose 8 movies? Have you seen any of the one's on my list?
Posted on August 14, 2017 August 14, 2017 Categories Films, Horror, humour, ListsTags Amelie, Desert Island Discs, Film, Leon, Movies, Pirates, Radio Days, Spirited Away, The Fearless Vampire Killers, The Good The Bad and The Ugly, Wild at HeartLeave a comment on Desert Island Flicks
Delighted that I have been accepted for inclusion in this anthology; a selection of horror stories based on the 8os arcade games. A broad spectrum of writers included, from the well published Simon Bestwick and Michael Carroll, to newcomers like me. Edited by the talented, and extremely busy, Jonathan Green for Snowbooks.
Posted on August 4, 2015 August 4, 2015 Categories HorrorTags Anthology, Arcade Games, Game Over, Horror, Jonathan Green, Michael Carroll, Simon BestwickLeave a comment on Game Over


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LEEK WOOTTON All Saints 5, 7-3-4 in A - Anticlockwise
Postcode CV35 7RT
The Ring of 5
Peals Felstead Database
Sunday 0900-0930
Practice Tuesday 1930-2030
A church has stood on or near the present site certainly since the year 1122 and probably longer, possibly preceded by a pagan temple. Little is known of the old Saxon/Norman church. All that now remains are some parts of the tower, a 12th Century tapered circular font, some mediaeval tiles and a 14th Century bell. The old church was pulled down in 1789 and the present church built on the site in the gothic style near the close of the 18th century. It has since been restored and added to; a new chancel was built in 1843, the roof raised in 1864, and in 1889 the nave was lengthened. It now consists of chancel (28 ft. 6 in. by 18 ft.), nave (57 ft. by 27 ft.), west tower (13 ft. by 13 ft.), vestry, and south porch. Rooms, including a kitchen, toilet and first floor meeting room, were created at the west end of the church in c.2000.
Two trebles were added to the existing three bells by John Briant in 1793, the same year as he provided a ring of four for the nearby church at Ashow. These were hung in a wooden frame (anti-clockwise circle) that is contemporary with the tower and made by William Steel Senior in 1791-2. Fittings were provided by J.E. Groves of Birmingham, 1921, with ball bearings supplied by Taylors in 1966. Taylors also replaced the headstock on the third in 1983. The canons had been removed from all the bells and the weights given for the trebles prior to the recent augmentation scheme are those before their removal. Until the recent augmentation scheme, the bells had been quarter turned, the tenor, a listed bell, a further eighth turned.
The bells ring quite well, but are a little loud in the ringing room. The previous tenor is one of the oldest bells in the Diocese. Chris Pickford's records have the tenor at 7cwt, but Dove suggested it was 8cwt. The "As Received" weight shows that both were, in fact, an over-estimation.
In June 2015 the bells were rehung in the existing frame and augmented to 6, an extra frame for one bell being added. The treble was cast in October 2014. The rehanging of the bells took place in June 2015. The new treble was hung in the pit of the existing treble, that bell being moved into the pit that previously was used for the then second bell. This bell now became the 3rd of the 6 and was hung in a new fabricated framework, which raises the bell a little above the existing frame to allow access into the bell chamber. All the "As Received Weights" show a difference from those that were previously published.
The bells were "lightly tuned" and each bell has had its nominal lowered. The slight difference in the old tenor note is due to increased accuracy of measurement.
This church is easy to spot, especially from the North on the A46, just before the Warwick turn off as it is built on a slight hill. It is on the main road through the village. You get to the church via a small road just to the north of the church, (the junction is easy to miss). You will find a church car park at the east end of the church. Entry is via a door on the south side of the tower.
Previously As Tuned Previous Previous Tuned Tuned
Published Received Weight Frequency Note Frequency Note
1 John Taylor & Co, Loughborough 2014 ------ ------ 3-1-24 24.50" ------- ------ 1494.0Hz (F#+16c)
2 John Briant, Hertford 1793 3-3-24 3-3-06 3-3-00 26.125" 1344.0Hz (E+33c) 1331.7Hz (E+17c)
3 John Briant, Hertford 1793 4-0-18 3-3-23 3-3-10 27.625" 1231.0Hz (D#-19c) 1189.6Hz (D+22c)
4 Abraham Rudhall I, Gloucester 1703 4¾cwt 4-0-17 3-3-15 28.00" 1149.5Hz (C#+63c) 1122.4Hz (C#+21c)
5 Abraham Rudhall I, Gloucester 1703 5½cwt 5-1-00 5-0-07 30.75" 1009.5Hz (B+38c) 997.6Hz (B+17c)
6 John Taylor & Co, Loughbrough 1923 8-0-10 ------ 7-3-04 34.875" -------- ------ 887.3Hz (A+22c)
Clock John De Stafford, Leicester c1360 7cwt 6-1-16 Untuned 33.875" 888.0Hz (A+16c) 891.0Hz (A+22c)
The Church, Looking East The Church, Looking West
The Ringing Room The bells, prior to
the 2015 restoration Tower Captain, Mark Sayers
stirs the new treble;
cast on 8th October 2014.
The "old" tenor, ready to go
to Taylors: January 2015 The bells on the lorry
going to Taylors: January 2015 The "new" tenor
at Taylors
The bells return to the
church for rehanging
June 2015 The refurbished, (and one new)
clappers ready to go up the tower
June 2015 The new treble
Treble Bell Second Bell Third Bell
Fourth Bell Fifth Bell "New" Tenor Bell
The Treble's Inscription The Frame The Clock Bell
(Previous Tenor)
The Headstock from
the third bell of 5,
replaced in 1983 The Changes Board
("Shepherd's Hey", often rung
by the ringers, is No 5!)
You are here: Home Rings J-L Leek Wootton


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Tag Archives: Eastman Kodak Company
Why We Work in Starbucks
April 11, 2011 by jeremy
(this is a copy of my Loose Wire Service column, syndicated to newspapers; hence no links.)
By Jeremy Wagstaff
Why do we work in Starbucks? It's a question I ask myself every day, because I usually find myself in one at least once. This despite having an excellent home office replete with cappuccino machine, music, ergonomic chair and, most importantly, sofa. But lo, every day I wend my way to a Starbucks, or one of those other chains, and park myself in an uncomfortable chair and too-low table, dodging the students with their bags strewn across space they'll never use, the dregs of a smoothie enough to make it look as if they're paying their way, babies screaming blue murder by the sugar dispenser.
Why? Why do I do it?
Well, I think it has to do with noise. And a cycle that goes back 300 years and, importantly, has to do with organ grinders.
So first, the organ grinders.
Next time you look out of your window and you don't see an organ grinder making his way down the street, you can blame Charles Dickens. And Tennyson, Wilkie Collins and 28 authors, painters, engravers, illustrators, historians, actors, sculptors, musicians, architects and scientists. All of them, in 1863, co-signed a letter that "in their devotion to their pursuits—tending to the piece and comfort of mankind—they are daily interrupted, harassed, worried, wearied, driven nearly mad, by street musicians." Most gave their home and work address as the same. The letter was the centerpiece of a 120-page bill submitted before the British parliament by one Michael Thomas Bass. The letter, and dozens of others, reflect a single themes: a rearguard action to defend the home as workplace against the slings and arrows of street noise.
This was no idle irritant. The streets of central London had become a sea of itinerant workers, musicians and hustlers. Those who didn't like to have their ears assailed by the noise could either pay them off or complain. But the latter was not without risk. One of Dickens' friends confronted two street musicians and was insulted, in the words of a friend, "in the choicest Billingsgate." Another, Charles Babbage, inventor of the Difference Engine, waged a guerrilla war against street musicians from Manchester Square and was not popular for it: mobs, some numbering more than 100, would pursue him, leave dead cats on his doorstep, break his windows and threaten his life.
The Street Music Act was passed the following year, and decimated the itinerant musician community—among them violin-players and street bands, Irish and Scotch pipers, a German brass-bandsman, a French hurdy-gurdy-player, Italian street entertainers, and percussionists and minstrel singers from India and the United States. Many were gone by the latter years of the century—but so were most of the knowledge workers, who upped sticks to the suburbs or took refuge in offices.
The truth is that knowledge workers, or whatever we choose to call ourselves, have long struggled to control the level of noise in our world.
I've waged my own noise battles over the years—dogs in Hong Kong flats, car alarms in Singapore, firecrackers in Indonesia. But at issue is not the pursuit of silence, per se, but to find a place where the noise is conducive to work. And that's trickier—because we're not sure what it is.
Which is where the coffee house comes in.
Starbucks likes to portray itself as a "third place"—a term purloined from Ray Oldenburg, an urban sociologist, who mourned the demise of informal public gathering places. The idea is that your local Starbucks fulfills a role beyond just providing you with coffee, but connects you to others in your community, along with sparkling conversation and wit.
The truth is this doesn't happen—at least not in any Starbucks I know, a point made by historian Bryant Simon, who hung around in more than 400 Starbucks trying to strike up conversations with strangers. Despite what Starbucks would like us to believe, with its Annual Report covers of friendly people chatting in their outlets, faux artwork and lame noticeboards, and a short-lived community magazine called Joe, we don't come to Starbucks to chat. Well, not with strangers.
That dream pretty much died long before Dickens got hot under the collar about the racket-making riff raff . Back in the 1700s there were things called coffee houses, all over the place. They were the place where men met—women were usually banned—to drink coffee, read the paper, discuss politics and basically to get away from things (meaning the house.) These were vibrant, noisy places and there were lots of them. Samuel Johnson called them 'penny universities.'
But they began to die out, ironically, when newspapers became cheaper and more plentiful, and were delivered to your home. Then the reason for someone to go to a coffee house declined, and our knowledge workers began two centuries of toiling, either in a cubicle or alone at home.
Starbucks—and other things—have brought us full circle. Starbucks was never what Starbucks would like us to think it is: It is, primarily, a solo-friendly environment. You can go there on your own, order something and sit there on your own and no-one is going to bat an eyelid. Social phobics feel uncomfortable there, but less uncomfortable than pretty much any other eatery. Indeed, the size of tables, the size of the chairs, the layout of the place, is designed to cater to someone alone.
Which is why it has become the perfect workplace. It's not just the free Wi-Fi, the power outlets, the no-nag policy, although that helps. It's a complex social and psychological thing. For students, libraries are too quiet, too noisy, too old, too full of friends. You are less likely to fall asleep in a Starbucks. For those who work at home, they feel they might be missing something. Or they like to watch other people. It's a place for introspection, a refuge from the city, from the kids, from everything: There are people around you, but with no obligation to talk to them. The barista can be as friendly or as taciturn as you want her to be. It's not a sexy environment, and it's relatively safe: Leave your belongings while you visit the washroom and they may well still be there when you get back.
For people who work in an office it's refuge from the boss, the people hanging around your cubicle, the greyness of it all, the phones ringing. In libraries it's people whispering—loud enough to hear them whispering, but not loud enough to hear what they're whispering about.
So it's actually often about noise. It turns out we actually need noise. We just need a certain kind of noise.
JK Rowling wrote Harry Potter in a cafe. Stephen King writes to AC/DC or Guns n Roses. Xerox chief researcher John Seely Brown did his doctoral thesis in a bar.
Researchers in Sweden found that actually a certain level of white noise actually helped kids with Attention Deficit Disorder concentrate better. Apparently it's something to do with increasing the levels of dopamine activity in the brain. Canadian researchers found that masking noise—adding white noise to their work environment to reduce the intrusion of things like ringing phones—also helped office workers. Kodak issued a manual a few years ago advising offices to do just this—48-52 decibels is the best level, they reckon. Perhaps Dickens and co could have saved themselves the wrath of the mob if they'd installed a white noise machine or invented the iPod.
It's also related to the way we work, and communicate, today. It's tempting to imagine Dickens hunched up in the corner scribbling Nicholas Nickleby. But while we knowledge workers have something in common, our tools are quite different, and what we're asked to do with them: we're all touch typists, of a sort, which means we write dozens of words a minute. We answer emails as if we were flicking dust off our coat. We write proposals, reports, requests for proposals that not long ago would have taken teams a month to write. Laptops are lighter, with better battery life, and connected to a communications network. We are our office. Companies realize they don't need to shackle people to their desks all day—less than 40% of our time, according to one property consultancy, is actually spent at our office desk.
We operate in a supercharged environment, which makes the coffee shop of today a perfect setting. Visual and audible stimulation, but with none of the distraction of having to be sociable. Oh and the coffee. It's no coincidence, I suspect that caffeine also increases the production of dopamine in the brain. A double whammy of noise and caffeine.
If you'll excuse me, I need to head off. You know where you can find me.
Posted in Uncategorized	| Tagged Academia, Attention Deficit Disorder, British parliament, British people, Bryant, car alarms, Charles Babbage, Charles Dickens, chief researcher, communications network, Dickens and co, Eastman Kodak Company, ergonomic chair, historian, hurdy-gurdy-player, India, Indonesia, iPod, Jeremy Wagstaff, John Seely, John Seely Brown, Labor Issues, Literature, London, Manchester Square, Michael Thomas Bass, musician, Noise, Ray Oldenburg, Samuel Johnson, short-lived community magazine, Singapore, Starbucks, Starbucks Corporation, Stephen King, Sweden, The Third Place, uncomfortable chair, urban sociologist, XEROX CORPORATION
Concentration in the Public Space
April 4, 2011 by jeremy
Why do we work in Starbucks? It's a question I ask myself every day, because I usually find myself in one at least once. This despite having an excellent home office replete with cappucino machine, music, ergonomic chair and, most importantly, sofa. But lo, every day I wend my way to a Starbucks, or one of those other chains, and park myself in an uncomfortable chair and too-low table, dodging the students with their bags strewn across space they'll never use, the dregs of a smoothie enough to make it look as if they're paying their way, babies screaming blue murder by the sugar dispenser.
Well, I think it has to do with a cycle that goes back 300 years and, importantly, has to do with organ grinders.
Next time you look out of your window and you don't see an organ grinder making his way down the street, you can blame Charles Dickens. And Tennyson, Wilkie Collins and 28 authors, painters, engravers, illustrators, historians, actors, sculptors, musicians, architects and scientists. All of them, in 1863, co-signed a letter that "in their devotion to their pursuits—tending to the piece and comfort of mankind—they are daily interrupted, harassed, worried, wearied, driven nearly mad, by street musicians." Most gave their home and work address as the same. The letter was the centispiece of a 120-page bill submitted before the British parliament by one Michael Thomas Bass. The letter, and dozens of others, reflect a single themes: a rearguard action to defend the home as workplace against the slings and arrows of street noise.
This was no idle distraction. The streets of central London had become a sea of itinerant workers, musicians, hustlers, and, well humanity. Those who didn't like to have their ears assailed by the noise could either pay them off or complain. But the latter was not without risk. One of Dickens'f riends, John Leech, a writer and cartoonist for Punch, confronted two street musicians and was insulted, in the words of a friend, "in the choicest Billingsgate." Another, Charles Babbage, inventor of the Difference Engine, waged a guerrilla war against street musicians from Manchester Square and was not popular for it: mobs, some numbering more than 100, would pursue him, would leave dead cats on his doorstep, broke his windows and threatened his life.
Bass' Street Music Act was passed the following year, and decimated the itinerant musician community—which numbered at least 1,000, including English violin-players and street bands, Irish and Scotch pipers, a German brass-bandsman, a French hurdy-gurdy-player, Italisn street entertainers, and numerous percussionists and minstrel singers from England, India and the United States. Many were gone by the latter years of the century—but so were most of the knowledge workers.
Some stayed put—one Thomas Carlyle built a soundless room in his attic in Chelsea—but most moved out to the suburbs where things were altogether quieter. It's not clear who won, but the first battle between knowledge worker and concentration had been fought.
The organ grinders have gone, but the knowledge workers are still around. But our search for a conducive work environment goes on.
That dream pretty much died long before Dickens got hot under the collar about the racket-makingriff raff . Back in the 1700s there were things called coffee houses, all over the place. They were the place where men met—women were usually banned—to drink coffee, read the paper, discuss politics and basically to get away from things (meaning the house.) These were vibrant, noisy places and there were lots of them. Smanuel Johnson called them 'penny universiteies.'
But they began to die out, ironically, when newspapers became cheaper and more plentiful, and were delivered to your home.
Then the reason for someone to go to a coffee house declined, and our knowledge workers began two centuries of toiling, either in a cubicle or alone at home.
Now that is all changing. For lots of reasons. Laptops are lighter, with better battery life, and connected to a communications network. We are our office. Companies realise they don't need to shackle people to their desks all day—less than 40% of our time, according to one property consultancy, is actually spent at our office desk.
Starbucks cottoned on early to this. It started out just selling coffee beans or ground but realised that people lingered after their purchase, and so gave them chairs and tables and put in a coffee machine. As crime in the inner cities fell in the 1990s the middle classes wanted to get out of their homes and feel their way back into the city. And Starbucks was the place they went—familiar, safe, but further away.
Starbucks was never what Starbucks would like us to think it was, however: It is, primarily, a solo-friendly environment. You can go there on your own, order something and sit there on your own and no-one is going to bat an eyelid. Social phobics feel uncomfortable there, but less uncomfortable than pretty much any other eatery. Indeed, the size of tables, the size of the chairs, the layout of the place, is designed to cater to someone alone.
Which is why it has become the perfect workplace. It's not just the free WiFi, the power outlets, the no-nag policy, although that helps. It's a complex social and psychological thing. Here's what I found from forums and surveys of users of places like Starbucks:
For students, libraries are too quiet, too noisy, too old, too full of friends. You less likely to fall asleep in a Starbucks. For those who work at home, they feel they might be missing something. Or they like to watch other people. It's a place for introspection, a refuge from the city, from the kids, from everything: There are people around you, but with no obligation to talk to them. The barrista can be as friendly or as taciturn as you want her to be. It's not a sexy environment, and it's relatively safe: Leave your belongings while you visit the washroom and they may well still be there when you get back.
It's also related to the way we work, and communicate, today (it's also helped shape it.) It's tempting to imagine Dickens hunched up in the corner scribbling Nicholas Nickleby. But while we knowledge workers have something in common, our tools are quite different, and what we're asked to do with them: we're all touch typists, of a sort, which means we write dozens of words a minute. We answer emails as if we were flicking dust off our coat. We write proposals, reports, requests for proposals that not long ago would have taken teams a month to write.
We operate in a supercharged environment, which makes the coffee shop of today a perfect setting. Visual and audible stimulation, but with none of distraction. Oh and the coffee. It's no coincidence, I suspect that caffeine also increases the production of dopamine in the brain. If you'll excuse me, I need to head off. You know where you can find me.
Posted in Uncategorized	| Tagged Attention Deficit Disorder, British parliament, Bryant, Charles Babbage, Charles Dickens, chief researcher, communications network, Culture, Dickens and co, Eastman Kodak Company, ergonomic chair, historian, Human geography, hurdy-gurdy-player, India, iPod, John Leech, John Seely, John Seely Brown, knowledge worker, Labor Issues, London, Manchester Square, Michael Thomas Bass, Music, musician, Organ grinder, Ray Oldenburg, short-lived community magazine, Starbucks, Starbucks Corporation, Stephen King, Sweden, The Organ, The Third Place, Thomas Carlyle, uncomfortable chair, urban sociologist, writer and cartoonist, XEROX CORPORATION
Inke The Inkjet Refiller Goes After The Big Boys
September 2, 2004 by jeremy
My favourite inkjet refill machine, the Singaporean-made Inke, is going for the big time.
A release from the company says that Inke islaunching versions compatible with 305 different kinds of printers and 12 brands including HP, Lexmark, Samsung, Kodak, Compaq, Sharp, Sony, NewGen Sys, Apple, Pitney Bowes and Apollo. They are as follows:
INKE LX-70 to refill the Lexmark 70 (12A1970) and Lexmark 75 (12A1975)
INKE LX-50 to refill Lexmark 17G0050 and Sharp AJ0C50B
INKE HS-29 to refill HP 29 (51629A), HP 20 (C6614DN) and HP 19 (C6628AN) cartridges.
The devices are beautifully designed, pretty unmessy, and inexpensive: Each unit costs Euro 70 before VAT and include 3 ink tanks. Each additional ink tank costs Euro 10. Inke reckons "a user can save up to Euro 350 in ink costs over a 3 year period". I don't think they're exaggerating.
The old INKE HS-45 is now available in Europe, or at least in the UK, Ireland, Germany, Netherlands, Switzerland, Greece, Spain, Italy, Hungary and Poland. Inke says it plans nine models altogether this year. I've been using mine for nearly a year and it's been great.
Posted in Devices	| Tagged Compaq Computer Corporation, Computer printers, Eastman Kodak, Eastman Kodak Company, EUR, Europe, Germany, Greece, Hewlett-Packard Company, Hungary, Ink, Inkjet printer, Italy, Kodak, Lexmark, Lexmark Intl, Media technology, Netherlands, Office equipment, Pitney Bowes, PITNEY BOWES INC., Poland, Printer, Republic of Ireland, Samsung C&T, Soni Kabushiki Kaisha, Spain, Switzerland	| 2 Comments


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Superman, Spiderman and India's 'local' cinema!
Source : SIFY
By : Satyen K Bordoloi
Last Updated: Tue, Jul 03, 2012 10:28 hrs
A place with a 'terror town' tag nurtures a vibrant film industry. Taking the cue from a documentary on the making of a feature film there, Satyen K Bordoloi profiles the town, the two films, their intrepid filmmakers and India's many 'Local Cinemas'.
An epic David vs Goliath battle is on between two superhero films on the Indian screens. The mighty Goliath is The Amazing Spider-man while the puny David with a few tiny stones in his pocket is the documentary Supermen of Malegaon.
To many, this comparison may seem farfetched. Perhaps it is. But it is one worth pursuing, for it puts not just the two films, but the entire passion for film-making and viewing, its relation to life and cinema in general into perspective.
Beyond the similarities - both have English names and reference two very popular, true (red and) blue American superheroes - they are as opposite as electrons and protons.
Click here to read this column as a slideshow
One is a 136-minute special effects extravaganza, the other is a 66-minute funny documentary about a group of people trying to make a local, low-budget special effects spoof film called Malegaon Ka Superman.
One with a budget of $215 million was 4,500 times more expensive than the documentary with its $48,000 budget, and is about a feature film being made for a mere $2,000.
Spiderman calls itself the untold story even though you have seen the story before, and spends millions on publicity, while the other is an honest film about a group of self-deprecating, funny filmmakers that is relying mostly on free social media and word of mouth.
One is a global film made by one of the biggest studios ever, the other - an indie production about an absolutely pure indie film made by people with their own money.
One is being screened in over 1,000 screens with multiple daily shows in India itself, while the other is showing in barely 10 screen - with only one show a day in 7 cities.
One is about a fictional superhero while the other is about real men beating the odds to make a spoof about a similar superhero.
Over its life cycle, one will be seen by nearly a billion people, the other will be lucky if it is seen by a few thousand people.
Has there ever been a bigger, better David vs. Goliath battle on Indian cinematic shores? And shouldn't you, living as you are in a nation where cinema is supposed to be a religion, be interested, even if the comparisons sound exaggerated?
This fourth cinematic installment of Spiderman makes cosmetic changes to the 2002 original by Sam Raimi. Spiderman's sense of discovery of his powers, his teenage angst, his desire to know his parents, his love for a classmate, the discovery and experimentation of his powers, etc. are similar in both.
The only real changes are a new villain, a new love interest - his classmate Gwen Stacy who is Spiderman's first, true love in the comic books and the way he makes his webs. What's thus truly amazing is how it even got made and how the PR machinery has been going all over, calling it the untold story.
Empty vessels, it is said, make the loudest noise.
At its core, one can describe this film as the template of the original Spiderman mixed with few scattered elements taken from various films. For example, Stacy's concerned father has elements of the worried father from Twilight and Spiderman does a Batman by making his own gadgets.
Of course, the special effects are phenomenal, but still not such an advancement from the 2002 version. Despite leaps in certain areas, how much has SFX technology changed in a decade?
Comparatively, what could be special about a film made in Malegaon and a documentary made on the same? Plenty. Beginning with the town itself.
Check out more of Satyen K Bordoloi's writing
With a population of around 1.2 million, Malegaon - 300 kilometres north of Maharashtra in its Nasik district - is your typical, chaotic mid-sized Indian town where bullocks run in a straight line through the middle of the road (which director Faiza Ahmad Khan captures and shows in the documentary). Where it differs is in its multiple and disparate identities, some of which have been forcefully slapped on it.
The town's polarisation, where its majority 75 per cent Muslim population lives on one side of the river that flows through it, is highly noticeable.
The Muslim population began swelling from 1740 when the town's landlord called in some of the nation's best artisans to build a fort. Most of them were Muslim. Its ability to attract migrant labour stayed and in the last 30-40 years has provided cheap labour for the power loom industry.
The migrant workers of the looms work in the unorganised sector, living in extremely dilapidated, often inhuman conditions, working their life away and being permanently woven into the power structure of the power loom industry.
Communal tensions began here in the 1960s. After a series of blasts in the city in the last decade, and a world fighting a 'war on terror' in desperate need of villains to vanquish, it found easy targets in this town. The press quickly labeled it the 'terror town'.
The police have been less then sympathetic and on October 26, 2001, they fired at people protesting the American invasion of Afghanistan. At least seven people died. Even now, every time there is a blast in Maharashtra, its roots are conveniently traced back to Malegaon and the police routinely pick up men with or without proof. Many die in custody. Who, if any, will mourn the missing migrants of Malegaon?
In this backdrop, every Friday, when the power loom's rhythmic beating fall silent for a day, its workers seek out escape from a brutal reality pushing from all sides and rush to the nearest cinema hall. In this mad rush of men, pushing and shoving their way into a cinema hall, the documentary Supermen of Malegaon begins.
Local cinema
'Escape from reality' is a strange beast. It desperately seeks the reality which it then escapes from. However, Global cinema, i.e. Hollywood, though dubbed in Hindi, is rooted in American ethos. National cinema, i.e. Bollywood, mostly inhabits its own fairyland, aloof from the lives and strife of its huge and disparate viewership.
The third layer - regional cinema, i.e. Marathi cinema in this case, also fails to capture the unique reality of a town like Malegaon.
The escapist cinema that plays in Malegaon, thus fails to establish and thus escape the 'Malegaon' brand of reality. In this need of Malegaon, and dozens of other towns in India, is born the fourth and the most unique layer of cinema - the 'Local Cinema'.
Far away from the media spotlight, India has developed dozens of such self-sufficient, self-taught local film industries in places like Ladakh in J&K, Kurukshetra in Haryana, Munger in Bihar, Meerut in Uttar Pradesh, Imphal in Manipur (where films are screened in football stadiums), Malegaon in Maharashtra, etc. The commonality - films are made in the true spirit of democracy: 'for', 'of' and 'by' the people of these towns.
There isn't an exact count, but anywhere between 200 and 500 feature films are made in these centres, films that are under the radar of 'Indian Cinema' or its various popular subsets. The film industry of Malegaon becomes a representation of the many 'Local Cinemas' of India.
Every year anywhere between 30-50 feature length films, and many hour long episodes, stand-up acts and the rare TV series get made here, making it a truly bustling local film industry. This and the many cultural programs, its many planned and impromptu mushayaras and mehfils (poetry recitation events) held in local halls or around warm winter fires that go on through the night, give this town a rich cultural atmosphere, rarely captured by journalists who rush into town after every incident of alleged terror anywhere else.
"Nasir (Shaikh Nasir - director of Malegaon Ka Superman, the film whose making is tracked by this documentary) was very clear that he did not want to talk about the terror angle because he thought that this is all everyone is interested in, without ever caring for Malegaon's other identities," Faiza Ahmad Khan says.
So uninterested was he in this angle, that he cut out a scene of Superman stopping a Hindu-Muslim riot to dissuade Faiza from pursuing it.
The terror angle is thus visibly missing from the documentary. But this proves to be a masterstroke because the over emphasis on this by the rest of the world and a near absence of it in the documentary, with its focus instead on the other cultural aspects, makes the strongest comment against the stereotyping of the town.
It shows and thus asks people to look beyond the prejudices they have of the town, and its majority community.
Nasir now jokes that every time someone searches for Malegaon on Google, what comes first is his or Faiza's film and not the links associating it with terror.
Malegaon's inspiring Supermen
Inspired by the lack of cinema rooted in their ethos, a few intrepid and ingenious 'men' of Malegaon decided to make films themselves. Thus were made films, mostly comedies, both spoofs of popular Bollywood films like Malegaon Ke Sholay, Malegaon Ki Darr, Malegaon Ka Don, Malegaon Ka Ghajni, etc. and original ones like Khandesh Ki Barat, Chicha Ki Hotel, etc. and called their tiny film industry 'Mollywood'.
In attributing their original source, they become more honest than Bollywood. Imagine Bollywood honestly calling its first film to make Rs 100 crore at the box office, Ghajni, Bollywood Ka Memento - inspired as it by Christopher Nolan's film.
One crazy film fanatic of Malegaon, who turned director with Malegaon ke Sholay - shot and edited in the now defunct VHS format in 2002 and made for Rs 50,000 - is Shaikh Nasir, the hero of our little documentary. He declares on screen, "We have tackled Bollywood. It's now time to take on Hollywood."
He takes it upon himself the impossible task of making the first Hollywood spoof of Malegaon. He also understands that he has to make Superman fly else the film will not work. So he scouts for ideas, technology, men, props, technical information, etc. to make his vision come to life.
Nasir wonders about the many people who work in one film. 'At the end of the day it is one man's vision and his film,' he says. He logically discovers auteur theory without ever reading Andre Bazin.
We see the rest of the cast and crew, the introspective, moody and hilarious writer Akram Khan who talks about the pains of a writer and how only 20 per cent of what a writer thinks ever materialises on screen; Shafique Shaikh the perennially scared and startled power loom worker who ironically plays Superman; Farogh Jafri who talks about his dream of going to Bollywood and how he has been metaphorically travelling the 300 kilometres distance for 15 years. The rest of the crew is as funny, unique and contemplative, but are all driven by the impossible dream to make cinema.
Rootedness
There is something beautiful in the way they go about writing the film and how they weave social issues into it. Their Superman is not one who solves great crimes or saves the world. Despite his superpowers, he is asthmatic and has to take breaks between flying because of the pollution.
He solves the problems of the common masses. Of course he fights the bad guys, whose boss is a Gutka baron who hilariously roars 'I love gandagi (filth)' and there's a woman involved, but in the end, the problem of the common man of Malegaon is its Superman's problems.
The filmmakers find hilarious ways to bring in various issues. When Superman gets bad cell phone reception below a telephone tower, he excuses himself for a second, flies to the top of the tower and resumes talking. When electricity goes, as it does every day in Malegaon, he fires up the power looms with his super powers.
There seems to be an innate understanding with the makers, a very earthen rootedness where they intuitively understand that the world is actually saved by solving local problems.
The documentary is equally rooted. It makes oblique comments on the poverty, squalor, children of the town, condition of women in Muslim society of the town and their lack of education etc. thus making it as poignant as it is funny.
At the root of it, the documentary is about the insane love of the movies, both the watching and making kind. It captures the passion of a few intrepid souls who may not have studied cinema or its techniques but are ingenious enough to find ways to express their passions.
'Jugaad' is a local Indian word which means finding local, mostly intermediary solutions, to problems. This magical ability of Indians of looking at things laterally, in this case in filmmaking, is on ample display in the documentary.
Thus Nasir makes his green chroma keying sheet (a light green background used to create special effects) from locally sourced cloth, stitched by a tailor who has no clue what he is making.
He uses a big truck to plop this backdrop. In a hilarious sequence, we see our crew meticulously cut up Superman's red boxer shorts and another man's jeans to hoist them, groins first, through an iron bar before the green chroma screen to show them flying. We see Nasir using a cycle as a trolley and an empty bullock cart as a jimmy jib.
The documentary thus becomes an inspiring study in ingenuity, of the 'jugaad' of a die-hard but untrained film crew and their intense desire and ability to conjure up tricks to create magic on screen with a frugal, micro budget. It becomes living proof that there's literally no end to human ingenuity.
In an inspiring way, Faiza's documentary shows you the innocence of making cinema and you realise that this is how filmmaking everywhere can and should be - a work of passion first and foremost. Commercial considerations can come later.
Irony, satire and humour
Director Faiza Ahmad Khan has an observant eye and an ability to connect seemingly unconnected things to present scenes that leave you in splits.
A bullock runs in a straight line bang in the middle of a busy road. An old Muslim man who accidently walks into the sets where a woman is acting, looks in and says that it is not permitted (by his scriptures) that he even see this.
As the feature film crew's lone camera falls in the water, the cast and crew get busy tending to it even as our Superman lies forgotten, floating in the middle of the river on an inflated truck tyre tube, trying to paddle himself ashore with his slippers.
Shafique Shaikh who plays Superman, is not just the lead but also a crew. You laugh watching him help create the frugal sets and realise this is how actors should be in a film - a part of the huge crew of the film (not necessarily a working extra), and not your over glamorised 'stars' with excessive sense of self-worth.
Shafique in reality is frail and seems to have an old enmity with gravity as he keeps falling all the time, sometimes in a ditch, other times in the river. His falls are often without provocation and mostly he is the one who needs saving - like a line in a very catchy song in the film says '…Superman ko bachale yaar' (someone please save superman).
In a sad irony of fate, this screen Superman who fought a gutka baron, was himself addicted to it and died of throat cancer in 2011.
Faiza juxtaposes the images of a man dressed and made up as a woman for the film, washing clothes as another man comments that sure women can work but only in the home because that too is work. Malegaon, in this sense, sounds more like 'Male-gaon' (male village).
Yet, the greatest humour and irony of the film is slightly 'off screen'. The crew making the documentary had better equipment than the feature film crew (you can often see the boom mike in the docu, something which you also see that Nasir does not have). The budget of the documentary was 24 times the budget of Nasir's film.
While the documentary was being shot on HDV cameras with three cameras rolling simultaneously, Nasir was making his feature film with only one 1 CCD camera. Thus when Nasir's camera falls in the water, seriously jeopardising its fate, the documentary crew are tempted to lend them a camera, but decide against it and they record them finding a solution.
It is these quirks, little observations, the gentle snides and allegories, these things which are not intended but are a part of the film either inside or outside, that makes it extremely dense and seemingly much longer than its actual duration. That it is one of the funniest documentaries ever made is an added bonus.
Faiza Ahmad Khan's journey
The documentary is a tour de force mostly because of its quiet, reticent-to-a-fault director Faiza Ahmad Khan. This Sophia Polytechnic pass-out, originally from Jaipur, had Bollywood dreams. She started assisting in making ad films but did not want to sell other peoples products all her life.
She quit and began assisting a Bollywood director. Here she saw firsthand how producers, whose only concern is recovery of investment, interfere with the art of filmmaking and the director. During this time of disillusionment, she read about the indigenous and ingenious film industry of Malegaon, and their pure and innocent passion for cinema above all else.
Her journey, to make this documentary, wasn't half as tough as Nasir's journey to make his feature. A meeting with Nasir and his team gave her the idea that was a mix of funny, profound, sad and inspiring. She talked to a friend, Gargey Trivedi, who knew about 'The Asian Pitch' in Singapore. They got their fund right in the first pitch.
The men making Malegaon Ka Superman, who had never had a female Muslim co-worker, took some time to get used to the idea that Faiza, a Muslim woman, could and indeed was, the director. "Initially it did not even occur to them that I could be the director. They thought I was part of the crew," she says. In the end they accepted her.
Says she, "I guess they judge their own women and women from outside - even if they are Muslim - differently." She remembers a guy who shook her hand and expressed his pride at seeing a Muslim woman direct a film, but wouldn't allow women in his own family to work.
Though non-interference was the key, Faiza, a fearless activist who has recently been documenting the resistance of tribals in Orissa and slum dwellers in Mumbai against corporate land grab, couldn't sit quiet at these anti-women sentiments. She fought with Nasir, leading him to accuse her of interfering. "You cannot expect centuries of tradition to change overnight," she says with a resigned tone only to add enthusiastically, "but it is important to bring these issues out."
Having seen the workings of Bollywood where good writers and directors struggle decades before landing a film, she is content with documentary at the moment. "Right now I am leaning more towards micro community media. It's not that I am not passionate about fictional cinema. I just don't have that kind of patience or burning ambition to do that. I am very happy with documentaries. But who knows I might dabble in fiction when the opportunity presents," she says.
Two weeks back, while shooting for another documentary in Mumbai's Sion-Koliwada slum - that's in the midst of a struggle between a powerful builder and the place's legitimate dwellers - she was assaulted by goons of the builder.
The police initially refused to file an FIR but relented after pressure from journalists. Even when pressed to use this real incident to create some press buzz to promote her documentary, she refused believing in letting her film do the talking.
The quiet, gentle but highly talented Khan is thus no competition to the directorial 'Khans' of Bollywood (Farah, Kabir, Sajid, etc.). At least not yet. But it is destiny indeed that a dislike for monetary considerations over filmmaking craft could lead a filmmaker to make a film on another filmmaker whose last concern is recovering money. As Nasir says in the documentary, "All I want is to make people happy. The route I choose is by making films that make them laugh."
Why it's a must watch
Supermen of Malegaon is a film about the uncounted, unaccounted underbelly of Indian cinema. It's a funny, poignant ode to the love of the movies; it's a love poem to the creation of everything cinematic and the story of the underdog's victory.
With no fancy sets and no million dollar equipment or effects, the feature film Malegaon Ka Superman manages to make Superman fly. The documentary, too, is by far the funniest film, all things and films considered, on Indian screens this year so far.
It thus makes you realise that India has the greatest film culture in the world not because of the 1,100 odd films that get censored annually but because beyond the global, national and regional cinema of India, there's a Local Cinema, with films written, produced and consumed in small towns across the country.
India has a vibrant film culture because its documentary filmmakers "...explore strange new worlds... seek out new (cinematic) life forms... (and) boldly go where no man has gone before."
Don't watch either of the films because you think the self sufficient, Gandhian and plebeian film industry of Malegaon needs your patronage. Watch it because, bored of the same worn out formulas, you need a new infusion of variety on your cinematic table.
Watch it because the perils and the dangers, the struggles, the agony and the ecstasy of filmmaking, have rarely been captured with such rawness and honesty. It is in the best tradition of films about making films from the moody and contemplative 8 and half of Federico Fellini to the fun, seemingly frivolous ride of Michel Gondry's 'Be Kind, Rewind'.
It's thus an irony that it releases in the same week as The Amazing Spiderman - the untold story. For it is another satire that it is actually Supermen of Malegaon that has an amazing, untold story being told for the first time. Spiderman the world has seen on three previous occasions.
Sadly, it is only in mythology that a David wins over Goliath. But if your heart beats for cinema and everything cinematic, you will find that this is a film that comes once in a lifetime. And even though you know it isn't possible, you'll still scream and root for the puny David to win, as I do in this little farfetched, perhaps over-compared piece of writing.
In reality though, Superman of Malegaon isn't competing with The Amazing Spiderman. It stands tall and firm, in a league of its own.
(Because of this documentary that won many awards in global film festivals, Sheikh Nasir got to make a TV series for Sab TV called Malegaon Ka Chintu. He had a premier show of Malegaon Ka Superman, but this hilarious spoof was lapped up by the producers Bohra Bros. who will give it a national release a few months from now. It is perhaps the first time that a film made in a local film industry, will get such a widespread, national release.)
(Satyen K Bordoloi is an independent film critic, writer and photojournalist based in Mumbai. His writings on cinema, culture and politics have appeared nationally and globally.)
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As much as women require primary health care, so does men as part of their regular health regime. A study has shown that men are less likely to tend to their health and does not take regular checkups seriously, however, seldom do they realize that frequent visits are paramount for a stable health condition.
According to leading studies, men are more prone to acquire heart diseases, diabetes, and cancer. Men are also advised to undergo frequent screenings to test for prostate and testicular cancer to detect them in the initial stage.
As for men, your primary care physician can help you maintain track of your vaccination status, undergo preventive care screenings, kidney stones, hernia, and cancer. As you regularly visit a primary care doctor, he or she can detect for common conditions such as arthritis, diabetes, depression, high blood pressure, or even thyroid. In case any ailments have been identified, we'll refer you to specialists to direct your condition. It is essential that both boys and men adhere to primary care checkup at once every year.
To ensure that your medical conditions are tracked and diagnosed on time, schedule an appointment with us today.


The holidays are here – a time of year that's known for its stress. You probably have several invitations to gatherings, a long list of people you need to send holiday cards to, and the daunting task of shopping to find gifts for your loved ones. All of this, on top of your normal everyday life.
It can be overwhelming to say the least.
I wanted to share with you three ways to navigate this busy, stressful time of year and make this season more enjoyable, less stressful and one you will remember with fond memories.
1. Make an effort to be present.
It can be difficult. It's almost a reflex to pick up your phone and scroll through Facebook or email when you have a free moment. One way to avoid this is to leave your electronics in another room. Don't even allow yourself the temptation to pick up your phone and disengage from communicating with your gathered love ones. When you are feeling particularly scatter-brained, get grounded by focusing on your senses. What do you smell? What do you hear? What do you feel? Stopping and thinking through what's going on around you at that very moment really brings you into the present moment unlike anything else. It's a wonderful tool to use to dial in and be present – and is a great tool to use year-round, not just during the holidays!
A lot of the stress we put on ourselves this season lies in the notion that we expect things to be perfect. That'd be lovely, of course – but putting your entire extended family in one house is bound to have something go awry. Therefore, dropping the expectations of perfection will allow you to be prepared for when something may spring up. There is joy to be found in each situation, so even when things don't go exactly as planned – spend your energy finding gratitude in your circumstances and enjoying as much of your time as you possibly can.
3. Find time to move.
It's incredibly important to keep movement in your schedule, no matter how busy you may feel. Even if it's just a brisk walk after lunch or dinner – make it a habit to go for a walk alone to clear your mind, or with someone you enjoy being around. Be sure that you are getting your time outside in nature, breathing in fresh air, while burning off some calories and keeping your heart rate up.
What are your favorite ways to lower your stress during the holidays? Share your tips in the comments below….


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FOURMIDABLE Opens The Brand New Murphy Lane Community In Holly Springs, MS
Leading Property Management Firm Announces Newly Completed Two Bedroom Apartment Homes/Immediate Occupancy Available
FOURMIDABLE, a Bingham Farms-based real estate management company, announces the opening of Murphy Lane in Holly Springs, MS. The announcement was made by FOURMIDABLE President Scott Allen.
Completed in November, 2013, Murphy Lane, located at 110 Murphy Lane, offers two bedroom/two bath single story townhomes for individuals 62 years of age or better or disabled. Murphy Lane is a 36-unit, "green" apartment complex featuring Model Energy Code, Energy Star appliances and tankless water heater. Murphy Lane features all the amenities and conveniences that accompany new communities, including major appliances, granite kitchen countertops, luxury vinyl plank flooring, in home washer/dryer and ceiling fans. Added amenities for the residents are walking trails, meeting/activities room, business center and furnished clubhouse.
Murphy Lane is currently accepting applications for immediate occupancy.
The developer of Murphy Lane is Rosedale Corporation and the builder is Winters Construction both of Oxford, MS. In its role as property manager, FOURMIDABLE will be responsible for all management, marketing, maintenance and accounting functions at Murphy Lane.
Murphy Lane, located in Holly Springs, in the heart of Marshall County, is approximately 30 miles from Oxford and 50 miles from Memphis, TN. It was funded, in part, with the Low Income Housing Tax Credit program and in cooperation with the Mississippi Home Corporation. There are income limitations for residential applicants but no direct rent subsidies.
"FOURMIDABLE is proud to be part of the city and managing such an upscale community in Holly Springs," said Allen. "We acknowledge and thank the entire development team for their high quality work. Murphy Lane is going to be a wonderful addition to the Holly Springs area."
All interested individuals are encouraged to obtain more information by visiting www.murphylanehomes.com or by calling 662-634-4462. Currently, the Management Office is open Tuesdays and Thursdays but will be open Monday – Friday in the near future.
Murphy Lane's sister community, Church Court, is anticipated to break ground in Holly Springs the first quarter of 2014. Church Court is a three bedroom family community consisting of 56 units. The developer is Rosedale Corporation and the builder is Winters Construction both of Oxford, MS. FOURMIDABLE will be the managing agent.
FOURMIDABLE is a national real estate management company that specializes in managing, marketing and leasing market rate, tax credit, senior and family government assisted and public housing apartment communities. Founded in 1975, FOURMIDABLE currently manages 67 communities in eight states, with more than 9,200 units under management. Headquartered in Bingham Farms, MI. FOURMIDABLE is member of the elite AMO (Accredited Management Organization) and is an approved management firm for HUD and MSHDA. For more information, please call 248-593-4600 or visit www.fourmidable.com


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Reed & Benoit Funeral Home
Kathleen Y. Cote, 89, Calcium
CALCIUM, NY — Kathleen Y. Cote, 89, Calcium, passed away Saturday, Oct. 6, at Upstate Medical, Syracuse.
There are no calling hours scheduled. A graveside service will be held 11 a.m. Thursday, Oct. 11, in Sanford Corners Cemetery, Calcium.
Born April 12, 1929, in Watertown, a daughter of Eric Sr. and Arlene (Jones) Young, she was educated in the Watertown City School District and graduated from Watertown High School.
Kathleen worked as a secretary at Household Merit, Watertown, for many years.
She married Richard Joseph Cote on Sept. 17, 1954, in Watertown. Mr. Cote passed away in November 1994.
Surviving are her three children: Kevin Cote and companion Tammy Desnoyers of Florida, Mark and Laurie Cote of Calcium, Michael and Karen Cote of California; her grandchildren: Ashley, Brittany, Jessica, Katelyn, Wyatt; a great grandchild: Orion; and her sister: Beverly Perry.
Besides her husband, Richard, she is predeceased by a brother, Eric Young, Jr.
Donations may be made in Hospice of Jefferson County, 1398 Gotham Street, Watertown, New York 13601.
Condolences may be made online at www.reedbenoit.com
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Q: Sass error: Can't find stylesheet to import when importing bootstrap I am trying to add bootstrap to my directory using npm.
This is my file structure:

I am using @import in my style.scss file
@import "../node_modules/bootstrap/scss/bootstrap";

And my package.json looks like this. It's basically starter kid from this site -
minimum-static-site-sass-setup
{
"name": "playground",
"version": "0.1.0",
"description": "SASS compile|autoprefix|minimize and live-reload dev server using Browsersync for static HTML",
"main": "public/index.html",
"author": "5t3ph",
"scripts": {
    "build:sass": "sass  --no-source-map src/sass:public/css",
    "copy:assets": "copyfiles -u 1 ./src/assets/**/* public",
    "copy:html": "copyfiles -u 1 ./src/*.html public",
    "copy": "npm-run-all --parallel copy:*",
    "watch:assets": "onchange \"/src/assets/**/*\" -- npm run copy:html",
    "watch:html": "onchange \"src/*.html\" -- npm run copy:html",
    "watch:sass": "sass  --no-source-map --watch src/sass/:public/css",
    "watch": "npm-run-all --parallel watch:*",
    "serve": "browser-sync start --server public --files public",
    "start": "npm-run-all copy --parallel watch serve",
    "build": "npm-run-all copy:html build:*",
    "postbuild": "postcss public/css/*.css -u autoprefixer cssnano -r --no-map"
},
"dependencies": {
    "autoprefixer": "^10.4.2",
    "bootstrap": "^5.1.3",
    "browser-sync": "^2.27.7",
    "copyfiles": "^2.4.1",
    "cssnano": "^5.0.17",
    "npm-run-all": "^4.1.5",
    "onchange": "^7.1.0",
    "postcss-cli": "^9.1.0",
    "sass": "^1.49.8"
}

}
Every time I try to compile it, I get this error:
"Error: Can't find stylesheet to import.
  ╷
6 │ @import "../node_modules/bootstrap/scss/bootstrap";
  │         ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
  ╵
  src\sass\style.scss 6:9  root stylesheet"

I tried many potential solutions from stackoverflow but none of them seems to work for me.
Any idea, what I'm doing wrong?

A: Open the angualr.json and find the options object then add stylePreprocessorOptions(The Path is Projects-> Your Project Name-> architect-> build-> options). as follows:
"options": {
         ...
  "stylePreprocessorOptions": {
     "includePaths": [
         "node_modules/",
         "src/assets" // I place my *.csss here . You can add your path
      ]
   },
}

A: @import "../../node_modules/bootstrap/scss/bootstrap";

wrong path, that was the problem :)

A: You can try with:
@import "~node_modules/bootstrap/scss/bootstrap";
or
@import "~bootstrap/scss/bootstrap";

A: don't you need a .css or something like that in the end? Shouldn't an extension be there?

redpajama_set_name: RedPajamaStackExchange


text:
Fri, August 4, 2017
Disney Fans Stun With Custom Costumes at the D23 Mousequerade
Part of the fun of being a Disney fan is showing your Disney Side – whether it's by wearing your favorite pair of Mickey Ears or creating an outfit that reflects your favorite character.
It's possible that no group of Disney fans love celebrating their inner Disney character than this year's contestants in the D23 Mousequerade.
This year's celebration showcased many unexpected costumes, like a Kakamora from "Moana," the Enchantress from "Beauty and the Beast"; the Chernabog from "Fantasia," Emperor Zurg from "Toy Story," the Sanderson Sisters from "Hocus Pocus" and plenty of princesses.
Other fans found inspiration from Disney theme parks for their costume creations. From treats like a Mickey Pretzel and a Dole Whip, to attractions like The Twilight Zone Tower of Terror, Walt Disney's Enchanted Tiki Room, and many more.
The contest offered up trophies in five categories: Once Upon A Costume; Heroes & Villains; Inspired by Disney; Casts of Characters; and Worlds of Adventure.
Netting top awards in each category were costumes inspired by Sally (Tim Burton's "Nightmare Before Christmas"); Groot ("The Guardians of the Galaxy"); Te Ka & Te Fiti ("Moana"); Big Thunder Mountain Railroad; and Mary Poppins & friends ("Mary Poppins").
The grand prize of $2,300 went to the Te Ka & Te Fiti duo.
Check out the video above for a behind-the-scenes look inside the event and to hear from the winners. More photos and videos are available at D23Expo.com.
Share Disney Fans Stun With Custom Costumes at the D23 Mousequerade
Destinations: Walt Disney World Resort, Disneyland Resort
I loved the BTMR outfit but TeFiti and TeKa are amazing as well!
Catherine on August 5, 2017 at 7:18 pm