text:
Seldom Scene
Movie reviews by Gerald Panio
Andrei Rublev (1966)
"…if we accept objective existence of the reflection— reflecting as it is given, we are obliged to conceive a mode of being different from that of the in-itself, not a unity which contains a duality, not a synthesis which surpasses and lifts the abstract moments of the thesis and of the antithesis, but a duality which is unity, a reflection which is its own reflecting."
"Nothing is more terrifying than snow falling in a church."
—Andrei Roublev
Are you tired of understanding everything you watch? Has analyzing the convoluted symbolism of Ingman Bergman films become mere child's play for you? Are you jaded by Jodorowski? Fatigued by Fellini? Are you in the position of Hamlet's friend, Horatio, needing to be reminded that there are still things in heaven and earth undreamt of in your philosophies? Have your friends caught you enjoying Being and Nothingness and The Phenomenology of Mind when you thought no one was looking? Do you get the point of every single Far Side comic you read?
Well, have I got the movie for you.
The title is Andrei Roublev. The director is Andrej Tarkovski. The experience is truly out of this world. Flying saucer conspiracy buffs would probably label this man's work proof of alien intelligence.
I first saw the films of Andrej Tarkovski when I was living in Paris in the early 1980s. At the time, Paris was about the only city cinema-crazy enough to feature his work regularly on the big screen. It didn't hurt that just down the street from where I was going to school was the cavernous Soviet Film Theatre which, as you might guess, was devoted to first run screenings of officially approved Soviet films. While some of the daily fare consisted of lugubrious comedies, dubious histories, and anemic classics, one soon came to realize that Russian cinema was very much alive. That Tarkovski's films were ever passed by the Soviet censors can only be explained by the fact that they didn't understand them, and were too embarrassed to admit it. I freely admit my confusion, but the Tarkovski movies were a revelation for me. They were unforgettable in the same way that the first encounter one has with the great films of Bergman and Fellini is unforgettable. These directors accomplish the total transformation of the film medium into Something Else. They have found the alchemical stone which transmutes the collective work of dozens, even hundreds of actors & technicians into a personal vision so unique it might as well have been recorded on location in the director's brain.
The first Tarkovski film I saw was not Andrei Roublev. It was Solaris, the second strangest, and most haunting, science fiction film I have ever seen. The prize for the strangest science fiction film of all time goes to another Tarkovski movie, Stalker, made after both Solaris and Andrei Roublev. My reviewing Stalker would present an interesting challenge—roughly comparable to my getting in the ring with a Japanese sumo wrestler. Except with less chance of success.
Andrei Roublev is "Introductory" Tarkovski. There's actually a bit of straightforward narrative. The second to last Act is a powerful story, impossible to forget once seen, of a young boy and the casting of a great church bell. If the preceding 145 minutes of daunting, Dostoevskian metaphysics set against the rudimentary, Bruegelian peasant life of medieval Russia (circa 1400) overloads a few neurons, the bell story avoids a total meltdown. Ostensibly the story of a wandering icon painter, most of Andrei Roublev is a voyage through a bleak landscape of random violence, dispossession, plague and madness where it seems no bird can sing. Sort of like the New York City of Taxi Driver. With the exception of the final ten minutes, the film is shot in stark black and white which reinforces the harshness of the land and the cruelty of the stories. Harshness and cruelty which the viewer could handle for three and a half hours if one bird, somehow, despite everything, did not sing, and sing gloriously. (Again, sort of like New York City.) Andrei Roublev himself is one such unlikely "bird" (the film closes with the glorious, blazing colours of the fragments of the real Roublev's work still in existence), and the young bellmaker is another. Humanity has an amazing, utterly irrational, power to transcend despair.
There can even be humour:
"I hear you paint quickly?"
"Yes. Once I took a week, and it was no good."
"Did you destroy it?"
"No, I used it to press cabbage."
Admittedly, that's not a lot of yucks for three hours, but without it you'd have to settle for "In wisdom there is sorrow…and knowledge leads to grief."
Along with the major paradoxes arc the minor mysteries. Why, in a Russian film subtitled in English, are all the title cards in Italian? What is the point of the balloon? Does everyone have a problem telling grim, bearded Russian actors apart, or just me? Did the genius who translated (maybe) 50% of the Russian dialogue into feeble white subtitles on a black & white background never hear the joke about the polar bear in the snowstorm?
Mere quibbles. One of the characters in Andrei Roublev remarks that great art must exemplify "simplicity without bravado". Tarkovski proved him wrong more than once. In Roublev, Solaris, Stalker, and The Silence this artist reveled in complexity with panache.
Looking Back & Second Thoughts
"My discovery of Tarkovsky's first film was like a miracle. Suddenly I found myself standing at the door of a room, the keys to which, until then, had never been given to me. It was a room I had always wanted to enter and where he was moving freely and fully at ease. I felt encouraged and stimulated: someone was expressing what I had always wanted to say without know how. Tarkovsky is for m the greatest, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream." –Ingmar Bergman
"The Last Judgement is coming—we'll burn like candles."
My most recent viewing of Andrei Rublev was an odd experience. A bit of a rough ride, really. Part of the problem might have been the three and a half hour running time. I wound up watching the film over three days. Part of the problem is I'm getting older, and tend of doze off in the evenings if I've had a busy day. But there were other issues.
Although Criterion versions of films are usually impeccable, the transfer of Andrei Rublev isn't. When I projected it onto a large screen, the film was letterboxed on all four sides, with the subtitling so dominant on the bottom black-out screen that it distracted from the movie. Sometimes just overlaying the subtitles on the actual film is a better way to go. The formatting completely killed the epic feel of the film. I wound up watching most of it on a large-screen TV, where I could "stretch" the image to fill the screen. That's probably a violation of all sorts of sacred rules of screen integrity, but it looked a heckuva lot better than in a black box.
Also missing this time around was some of the sense of awe & wonder I recall from previous viewings. One reason would have been the formatting issues I just mentioned. Another was a greater awareness of the episodic nature of the storytelling. There are powerful scenes, but they didn't always flow together as well as I might have hoped. Part of the problem might be the film's length; there are a couple of scenes in particular (the false reconciliation of the two Russian princes; the Tartars' toying with the mute girl) that struck me this time around as unnecessary or unnecessarily prolonged. Other scenes (the crucifixion in the snowy landscape, the fool's performance, the forging of the bell) were as great, or even greater, than I recalled them being, but they stood on their own merits. There is nothing in Rublev that binds the film together the way that, say, the chess game between Death and the Knight in Bergman's Seventh Seal links that films potentially episodic scenes.
That said, the crucifixion is a visual marvel. It's as if Pieter Bruegel turned up in the 20th century to make a short film. The marvellous black & white cinematography (by Vadim Yusov) of Christ carrying his cross across snow-bound hills calls to mind Bruegel's winter scenes: The Numbering at Bethlehem, Massacre of the Innocents, and Hunters in the Snow. A fitting parallel, given that Bruegel's work came little more than a century after Andrei Rublev's. (It's probably not a coincidence that Hunters in the Snow turns up in Tarkovsky's Solaris.)
The scenes of the forging of the great bell by the way-out-of-his-depth young bellmaker's son will always remain one of my favorite moments in world cinema. Like seeing the constructing one of the great Gothic cathedrals in miniature, watching that great bell come into existence who can help but be awed by the ability of human beings, with only the most basic of tools, to create works on a divine scale.
The color close-up photography of Rublev's actual works that closes the film is worth the price of admission. After all of that unremitting black and white, the human spirit is reborn. One can understand why his name has been remembered even though so few of his works have survived.
Having recently watched Amadeus again, I also clued into the Kirill vs. Rublev subplot in a way I hadn't done in the past. It's Salieri and Mozart all over again, only this time around Kirill's poisonous envying of Rublev's artistic gifts does nothing but wreck his own life.
Some of Tarkovsky's symbols, found in his other films, remain potent: grasses moving beneath flowing water, old trees, horses (ridden free or abused). It's hard to say why horses are so effective in his movies—perhaps it's that they seem nobler than the human around them, wracked by self-doubt or scrabbling for sheer survival. (Does the disclaimer that "no animals were hurt during the making of this film" apply to Rublev? Tarkovsky has apparently insisted that it does, but it's hard to believe.) The trees are links to pre-Christian times, sacred loci of power & worship.
The episodes of Tartar violence seem, by today's standards, somewhat cartoonish and sporadic in intensity. Recent television serials such as Marco Polo, The Borgias, and Game of Thrones have set the bar quite high when it comes to bringing the violent side of history to life (even when, as in Game of Thrones, it's invented history). I did love it when the Tartar chief apologized to his Russian lapdog for being late: "I couldn't resist sacking a small town on my way here." It's a line worthy of Monty Python.
The scene with the naked, pleasure-seeking pagans and their persecution by the powers-that-be is equally unconvincing. But I know nothing about medieval Russian religious history, and perhaps such bacchanalian goings-on did indeed have their Slavic expressions. If so, the advent of Orthodox Christianity would have been a death sentence for the celebrants.
I also have a bone to pick with the lack of any roles for women in Rublev that don't show them as victims and/or holy fools. This is definitely a man's world. It's Christ Pantokrator's stern face we see in the icons, not Mary's gentler one.
I'm currently reading a couple of Tarkovsky's own books on cinema. Perhaps when I'm done I'll have more insights into Andrei Rublev. Tarkovsky thought as deeply about film as did his compatriot Sergei Eisenstein. Their erudite reflections are no walk in the park. I'll close with an excerpt from Sculpting in Time, where Tarkovsky addresses a central theme of Rublev:
"As Hermann Hesse says in The Glass Bead Game, 'Truth has to be lived, not taught. Prepare for battle!"….Indeed, Hesse's words quoted above could well serve as an epigraph to Andrey Rublyov.
Underlying the concept of Andrey Rublyov's character is the schema of a return to the beginning; I hope this emerges in the film as the natural and organic progression of the 'free' flow of life created on the screen. For us the story of Rublyov is really the story of a 'taught', or imposed concept, which burns up in the atmosphere of living reality to arise again from the ashes as a fresh and newly-discovered truth.
Trained in the Monastery of the Trinity and St Sergius, under the tutelage of Sergey Radonezhsky, Andrey, untouched by life, has assimilated the basic axiom: love, community, brotherhood. At that time of civil strife and fratricidal fighting, and with the country trampled underfoot by the Tartars, Sergey's motto, inspired by reality and by his own political percipience, summarised the need for unity, for centralisation, in the face of the Mongol-Tartar yoke, as the only way to ensure survival and achieve national and religious dignity and independence.
The young Andrey received these ideas intellectually; he was brought up on them, had them drummed into him.
Once outside the walls of the monastery he is confronted by a reality that is as unfamiliar and unexpected as it is appalling. The tragic nature of that time can be explained only in terms of a culmination of the need for change.
It is easy to see how ill-equipped Andrey was for this confrontation with life, after being protected from it within the rarefied precincts of the monastery, from which he had a distorted view of the life which stretched out far beyond it….And only after going through the circles of suffering, at one with the fate of his people, and losing his faith in an idea of good that could not be reconciled with the reality, does Andrey come back to the point from which he started: to the idea of love, good, brotherhood. But now he has experienced for himself the great, sublime truth of that idea as a statement of the aspirations of his tormented people.
Traditional truths remain truths only when they are vindicated by personal experience….When I think of my years as a student, when I was preparing to enter the profession in which evidently I am destined to remain for the rest of my days, and in the light of my working life today, the experience of those student years seems pretty strange…"
And here's what Sister Wendy Beckett, in her wonderful book Sister Wendy's 1000 Masterpieces, had to say about the subject of Tarkovsky's film:
"Rublev is far and away the greatest of the icon painters. The icon must follow a rigid pattern, without any attempt at a unique interpretation of the divine ministry. In such a context, the genius of Rublev shines all the more brightly. He observed the rules, and yet his work is unmistakable in its strength and spiritual insight….There is a sense in which it is inappropriate to include Rublev's work in a book such as this. Icons were paintings indeed, but they were also much more than paintings. They were visual prayer—paintings for which the artist prepared with fasting and penitence, purifying his heart so that he might be worthy of so divine a task."
From Paul Johnson's Art: A New History:
"It is important to grasp, however, that in Orthodox eyes, the icon never has been, and is not to this day, a mere artistic representation of a religious personage or event. It is a physical part of the act of worship, like altar furniture, vestments, banners and sacred vessels. It springs from the Orthodox concept of the doctrine of salvation: 'God became man in order that man might become God.' Painting an icon is thus itself a spiritual act. The painter realised the divine within himself and re-created, in a real sense, the image of Christ or the events depicted: the Incarnation, the Nativity, the Visit of the Three Kings. The spiritual state of the artist was, therefore, a key factor in the quality of his work, and iconists were most esteemed when they belonged to the schools of mysticism or devotion. During the later Middle Ages (thirteenth to fifteenth centuries), mysticism, taking various forms, was a powerful force throughout Europe. In both Byzantium and in Orthodox Russia, one of its forms was the mystically enhanced icon, such as those produced in Russia by Andrey Rublyov in the 1420s, where the faces of Christ were as sensitive and reflective as any painted Florence and Siena by his contemporaries."
Genre: History, Biography
Director: Andrei Tarkovsky
Actors: Anatoliy Solonitsyn, Ivan Lapikov, Nikolay Grinko, Nikolay Burlyaev, Irina Tarkovskaya
Original Review: December 1993
Cyberspace:
https://www.criterion.com/
Criterion is the world's premier collection of films. If you live in the U.S., you can stream the entire collection using the new Filmstruck streaming service. I've put together a pretty good Criterion DVD library of my own, but I regularly check out the website for the essays that are attached to many of their films. When I last checked, there were 1170 film-related essays on the site, with new ones added weekly. Click on a film title and you'll get Film Info (Synopsis, Cast/Credits), Disc Features, and Current Posts (where you'll find essays on the film). Choose Current at the top of the page, and you'll get the latest essays, features, clippings, news, press notes, videos, photo galleries, interviews and announcements. As I was preparing this blurb, some of the features were "Jacques Demy and Michel Legrand: Partners in Song," "Walking with Scorsese," and "Blobs, Demons, and Dark Stars: Remembering Jack H. Harris." And, of course, there are lists. Lots of lists (you'll find them by clicking Explore at the top of the Home Page—where you'll also find dozens of cinema biographies).
HBO Should Show Dongs
https://www.youtube.com/watch?v=I333hqsRk-Y
North America has always had an incredible double standard when it comes to male vs. female nudity in films and television. In this very short clip, the women from CollegeHumor tell us that it's time the emperor really had no clothes. But let's not just blame HBO; Hollywood set the double standard decades ago.
R'ha, by Kaleb Lechowski
A superb 6-minute science fiction short film, a one-man show. Bravo!
Films Worth Talking About:
Nattlek (Night Games), Persona, The Chelsea Girls, Cul-de-sac, The Wild Angels, Alfie, Shadows of Our Forgotten Ancestors, A Man and a Woman, Who's Afraid of Virginia Wolf? The Battle of Algiers, Yesterday Girl (Abshied von Gestern), Tribulations d'un Chinois en Chine, Is Paris Burning? Closely Watched Trains, Daisies, Blow Up, Judith, Any Wednesday, The Endless Summer, Mademoiselle, Modesty Blaise, Father, The Professionals, Khartoum, Inauguration of the Pleasure Dome, A Man for All Seasons, The Group, Assault on a Queen
Films: Sergei Eisenstein, Ivan the Terrible, Parts I & II; Ingmar Berman, The Seventh Seal; Peter Brooks, King Lear; Carl Dreyer, The Passion of Joan of Arc
Books: Andrey Tarkovsky, Sculpting in Time; Andrey Tarkovsky, Time Within Time; Ken Follett, The Pillars of the Earth
Note: I must say I was unprepared to see eleven pages of passionate user reviews for this film on Imbd. It definitely strikes a chord. Tarkovsky would have been thrilled.
"Fortunately for us, this movie, recently rereleased in a DVD transferred from a pristine 35mm print, may now be viewed intact, and it is one of the great triumphs of mankind's stay on the planet. It is a masterpiece almost without flaw. The beautiful painterly images follow one another in breathtaking succession. At least three of the eight chapters, if taken individually, could stand alone as separate masterpieces.
The ostensible subject is the life of Andrei Rublev, a 15th century monk who is renowned as Russia's greatest creator of religious icons and frescoes. Rublev himself, however, is merely a useful device. Little is known about him, and most of the episodes in the movie come straight from Tarkovsky's imagination of what might have been. Sometimes one must ignore the facts to get to the truth.
The movie is not about one talented monk, but about Russia, and Rublev stands in as a useful symbol since he lived in a time when he could personally witness two of the key elements in the development of Russia's unique culture: the growing force of Byzantine Christianity, and the Mongol-Tatar invasions. In addition he was an artist and a thinker, and experienced first-hand the difficulty of following those paths in Russia. Rublev's own inner conflicts allow the filmmaker to illuminate thoughts on the pagan and the sacred, the nature of art, the relationship of the artist to the state, what it means to be Russian, and what it means to be human.
It is beautiful, mystical, and profound, but the truly inspiring aesthetics are matched with complete technical wizardry. I simply don't know how some of the shots were created. One I do understand, and stand in awe of, is a continuous single camera shot, just before the church door is breached by Tatar invaders, which involves action in several different locations at multiple elevations as well as the correct timing of hundreds of extras and horses. It makes the first scene of Touch of Evil look like a high school film project.
It is a difficult movie to follow. One might liken it to James Joyce's Finnegan's Wake as a work of genius so monumental and complex, and so disdainful of traditional narrative form, that it requires extensive thought and study to understand it. And even after studying it, watching it repeatedly, and reading Tarkovsky's own comments about it, one still finds it opaque in many ways."
I recently watched the 205 minute cut of Andrei Rublev, on a DVD from the Criterion Collection. At first, I was extremely confused. But soon enough I was able to accept the fact that this would not be a "conventional" movie, so to speak, and sat back and relaxed, ready for one of the greatest cinematic experiences of my life.
That being said, once I was finished, I thought, "Meh." The film seemed to me to be overly long and a bit boring in parts. I still liked it, but thought that it was overrated.
But then I couldn't get it out of my head. I kept thinking about the symbolism, the beautiful black and white cinematography, the somber performances, the haunting soundtrack, and the brilliant direction.
I realized that to view this film, one must be prepared to watch three and a half emotionally taxing hours of pure, unadulterated genius. And so, within a few hours, my opinion of this movie changed to mediocre to one of the greatest movies of all time.
God, looking back on what I've written, I realize that I must sound like a pretentious hipster d-bag. I assure you this is not the case, and my reviews, on IMDb or otherwise, don't usually come across like this. I can only say, this is one of the best movies I've ever seen, and one that requires repeat viewings.
[faulknerfan123


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Featured – Pop Culture
The Bachelor: You Don't Know, Man! You Weren't There!
The Bachelor is off to Vietnam this week, which promises astounding scenery from the setting and questionable behavior from the stars. The ladies ooh and aah over their resort digs, and ride an awesome funicular up to the hotel. Right away, it's time for the one-on-one date card, and this week it's for Renee! She's giddy at the chance to get some alone time with JP, but in a talking head, Andi discusses her own concern that she hasn't gotten the same time.
I don't usually talk about the commercials, but it's worth noting that tonight the commercial is "framed" by rose petals and the Bachelor logo. Weird. Essentially, it looks like my HD is screwed up.
JP is meeting Renee in the village of Hoi An. He tells us "I can't wait to make her enjoy the day." Heh. She arrives in a kind of shlumpy tank top & cutoffs outfit, and they pick up a pedicab…which JP pedals. Renee's being cheerful, but is also a bit like, "Um, hard to talk to you when you're behind me, dude." They abandon the pedicap somewhere and go shopping for a custom dress–I was trying to show off by finding the correct name for the Vietnamese dress, but what Wikipedia shows me doesn't look like the mannequins, which appeared to be wearing cheongsams. Anyway, that is a pretty cool souvenir. Then they go shopping for stuff for the kids, which Renee thinks is a-mah-zing.
Now it's time for beer on a boat! Renee tells us in a cutaway that she wants to kiss JP, but no kiss is happening right now. Also, no boating is happening–they stayed docked at the side of the river. But the night is young! It looks like Renee's dress is ready, and it's cheongsam-ish on the top, but flowy at the knee. It's very pretty! They change and go to dinner at an empty restaurant, where Renee tells JP how she and Ben's dad split up. JP has a sort of smirky look on his face and says he's "checking on" Renee when she talks about Ben. I think he means, to see if she's missing him? But it's weird. And Renee's all, I'm fine, dude, let's get to it.
Back at the ranch, the bell rings, and it's time for the group date card: Sharleen, Chelsie, Kat, Cassandra, Clare, Kelly, Alli, Danielle and Andi. Andi's bummed, and wonders what she's doing there if she's not getting any one on one dates. Traveling the world, girlfriend!
Returning to Renee and JP, he tells us in an interview that he and Renee are on the same page, and that "she's not just a mom, she's a beautiful woman." He loves her eyes. And in the restaurant, he gives her the date rose, so she's safe for another week. Now he just wants to walk around, and dang, she is in some high skinny heels for that. They stumble "spontaneously" on a gaggle of children selling floating lanterns, and they make wishes and then float the lanterns out into the water. It is awfully pretty, if a little cliched. In an interview, JP insists that he wants to kiss Renee, but is mindful that her son will watch, and wants to be respectful–"so it's not gonna happen." Oof, poor Renee.
It's the next day, and the group date hint was "Can you go with the flow?" The girls all come down to the river, where there are little round boats they're going to ride together. JP tells them to pair up, and they all do, leaving Clare alone…to ride with JP. The girls are grouchy, but if they can't manage to divide by 2 and figure out what to do, that's on them. Everyone starts paddling, and Clare and JP get stuck in the trees right away, where he steals some kisses–much to the other girls' outrage. They all comment on how they're not really enjoying watching Clare's one-on-one date happening in front of them.
They've washed up at some sort of farm/village thing, and Chelsie hilariously talks in an interview about how the place was really romantic, and a great place for a date–too bad her date was with Alli. "Juan Pablo was around my date, but my romantic date was basically with Alli." Heh. After strolling a bit, they "spontaneously" ask a farmer where they can eat, and he invites them in. Turns out they're all going to do some farming first! They put on the conical leaf hats you see in movies, and they water and weed and till before coming in and having a delicious looking dinner. The girls are "teasing" JP and Clare about all their time spent together, but there's a bite to it. Kelly, in a talking head, admits that Clare seized her opportunities, and it's not exactly fair to blame her for striking while the iron is hot. I like Kelly! I think she can do better than JP.
We're back from commercial (no more rose frame, incidentally) and it's cocktail time! Andi is drinking a cocktail that basically has an entire apple as garnish. I guess it's important to get your 5 servings of fruit a day. JP pulls Clare aside first, which starts another round of mockery from the remaining women. He takes Clare to his suite (gasp!) where there is a private pool, and they change into suits and go swimming. Clare is very coy in her talking head, but they're making out in the pool like teenagers.
Back in lonely Bachelorette Manor, Renee reads the just-arrived solo date card to Nikki: "Let's have a hell of a good time." No guess what that means, but Nikki's just happy to have a solo date.
On Group Date Beach, JP's now sitting with Sharleen, and he's dressed and dry, so I'm not sure this is all shown in order. Sharleen is wearing a sundress that is super-low in the back, and tells us in a talking head that "I need to make sure he sees me as a panda in a room full of brown bears." They're smooching on the beach, but she's doing her patented go away-come here thing. We don't see any master plays, though, because we're now getting the "JP montage" while he takes time with each of the girls. Cut to Andi, who again expresses a little insecurity, but JP takes her off to the beach to shnoogle a bit, and then they're making out, which makes her feel better. Um, yay?
Time for the Group Date Rose…"The person who deserves this rose tonight is doing things that get her out of her comfort zone." That turns out to be Clare, which produces smug giggles from Clare and a soliloquy from Andi that sounds like the Serenity Prayer. Just let it go, girl.
The party's over, but Clare's not done! She tells us her bucket list (ugh, that term) includes "swimming in a warm ocean," but then she's saying just "swim in the ocean," and I'm confused. She's never swum in the ocean? Anyway, she goes to get JP to come with her, and it's Ben & Courtney all over again. (Although Clare keeps her bikini on.) JP says "the waves were wild, and we got a little wild, too." What kind of wild, JP? WHAT KIND OF WILD? Clare says they "went for it" and she doesn't regret it. So that means sex, right? We just get wave shots, though, no sly closing door.
The next day, it's time for JP and Nikki's one-on-one date. She is wearing an ill-advised silver headband in the sweatband fashion. She looks about twelve. JP tells us that last night was great with Clare, who has "something that I like," but "today, I can't wait to see Nikki." Even without suggestive wave-swimming, JP? Wow. The two of them walk in some sort of natural park-type place and Nikki's eager to see what their date will entail. They wander around the grounds of a place called Marble Mountain, and it is lovely. There are arches and pagodas and lots of stairs (and lots of stairs). But eventually they arrive at a terrifying, deep hole in the ground. It turns out that their "hell of a good time" is going to be rapelling into this terrifying hole to a cave called Hell. Nikki is pretending she's cool, but she is Freaking. Out. I don't blame her.
She's doing the "I want to be cute and funny about this but I am dying right now" joking, but she's on the verge of tears. JP starts down and waits for her a little bit while the rappelling instructor is trying to coach Nikki off the ledge (heh, literally). She's frozen in fear and now she really is about to cry. Her talking head interview talks about how this is like falling in love, because you have to trust the other person and you have very little control. True enough. They start out OK, but about halfway down Nikki begins to panic, so they stop on a little ledge for a break. JP decides this is the right time to go in for a kiss, and Nikki gamely declares it "super-romantic," even though I probably would have shoved him off the ledge for getting in my space right then. At last, they make it to the bottom! (Now if it were me, I'd be wondering if they were going to force me to climb back up. They are greeted by a creepy sculpture of a fish, which seems appropriate for this date. And off they wander into the cave.
Whoa! Apparently cave demons got them, because they stole Nikki's headband and made her change into a very tiny cocktail dress! We're told this is a different cave, which requires dinner attire. The two of them talk, and Nikki tells JP (and us) how she wound up as a pediatric nurse. Basically, she loves the hopefulness of kids, and feels she has a really big heart, which "not everybody knows about me here." JP likes Nikki, and seems impressed by her honesty and her openness to being a stepmom. With that, he presents her with the date rose, and an open-mouthed kiss. Yay? Nikki does seem a little giddy in her talking head, so maybe she's really falling for him!
It's time for the final cocktail party, and the women are taken by boat to a gorgeous terrace festooned with brightly colored lanterns. It really is stunning. But trouble looms on the horizon, as the previews have shown us! JP arrives to greet the ladies and offer his opening remarks for the rose ceremony. He says today is harder than ever, because he'll be sending home three people (of the eleven remaining). The women instantly tense up and start doing math, and the room goes silent. JP sadly doesn't really have the small talk skills to warm things up, but at least there's alcohol to help.
JP takes Andi away first, presumably to forestall an evening's worth of pouting. Whatever he says, she's smiling, but I missed it because I was getting my leftover awesome Super Bowl chili! But Andi gets some kisses. Then Cassandra gets one line of voiceover, followed by Sharleen getting a "she's got it." Then JP's with Renee, waffling over the kissing again–Renee is all, "Seriously, dude, IT"S FINE." And at last JP kisses her, hallelujah. They seriously play Disney princess music over the kiss, like it's the second coming of the savior. I'm just glad we can stop talking about it.
But now JP is agonizing over having gone to the ocean with Clare, which wasn't fair to the other girls in the house. He's sitting with her now, and says that although it was nice, it was "a little weird for him" as well. He tells her "maybe it wasn't right, but what happened, happened" and she is hurt. She tries to explain that she's not thinking about the game, she's just thinking about spending time with him–and that it's not about being fair, it's about listening to his heart. He then says it's not just about being fair, it's also about what his daughter would see, and he doesn't think she'd like it. At this, Clare starts to cry, which is kind of fair–when the guy you like basically says his daughter would be ashamed to see you fooling around with him, I can see why you'd feel crappy. JP instantly is all, "Oops," and wants her to stop crying and understand. She nods, and they return to the group…but in her talking head, she's pissed, and says, "When we were in the ocean, it was a mutual thing. There was no confusion." I kind of agree with her anger, but there's a hint of Fatal Attraction there too.
Now the anger has left and there's just weeping–she won't tell the other girls what's up, but she stalks off to sniffle until JP comes to console her. Part of that includes a lot of "look at me," "look at me," which is starting to sound less charming and more bossy. He tells her they don't need to discuss it any more, but she asks him, "Why didn't you just tell me no when I asked?" He has no good answer, because he can't exactly say, "Because I wanted to and only realized later that I shouldn't have done that." They agree to disagree and return to the group, who knows something's up, but not what. Clare claims "allergies," and Andi uses her ADA skills to figure out that's a total lie. I'm more concerned that Clare's left her shoes in her weeping spot.
But enough drama–it's time to hand out some roses! There's thoughtful vaguely-Asian Muzak playing in the background, as JP tells the women how difficult this is for him. But not so difficult that he won't do it! Clare, Nikki and Renee all have roses already, so who else is staying? First up is Sharleen (no surprise), followed by Cassandra. Cut to Kat, who gives a rueful face like she knows she's going home. Chelsie's name is called next, and Andi looks stricken. But now it's Kat! No need for your rueful face, it appears. The final rose rests in a stone basin, for only one woman. Kelly, Alli, Andi and Danielle look on. And the last rose goes to…Andi, of course. Why would we watch him tell her "you're fine" so many times if he wasn't going to keep her? Sorry, other three ladies who got no screen time! At least Kelly has Molly waiting for her at home.
The rejected ladies say their goodbyes (why is Sharleen sobbing?), but head off with their dignity more or less intact. Danielle goes first, and says, "I knew there wasn't a strong connection," so she doesn't really seem broken up. Alli's worse off, saying that it sucks to put your whole life on hold only to be turned down. Back with the other women, JP is weeping as well, and being consoled. We don't get a quote from Kelly.
Next week: New Zealand! Cool! And all the drama starts coming to a head. Clare brings up the ocean thing again! Sharleen threatens to leave! Tears! Tears! Tears! I'll have it all for you right here…next week.
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← Did The British Help Create The 'New Sinn Fein'?
According to this report in US News & World Report, the troubled oil state of Libya may be on the verge of having a new leader who is deeply in debt to America's CIA for his remarkable rise to power.
Khalifa Heftar (some spell his name Haftar) was once one of Gaddafi's powerful Generals and closest allies, but they fell out badly when Gaddafi's was against the French-supported government in Chad went awry.
Heftar then threw his lot in with Reagan's CIA which was plotting to overthrow the Libyan leader and when that enterprise foundered he and his allies moved to the US and settled in Virginia, close to the CIA's headquarters at Langley.
When the Hillary Clinton/Barack Obama-inspired overthrow of Gaddafi was launched, Heftar slipped back into Libya, and built a power base in the eastern city of Benghazi from where he has gradually been expanding his influence. He now seems on the verge of grasping power in Tripoli, Libya's capital, a pro-American, possibly CIA-steered strong man in a region vital to US interests.
Back in 2011, I wrote an extensive profile of Heftar and his dealings with the CIA which you can access here: https://thebrokenelbow.com/2011/03/31/gaddafi-and-the-cia-a-short-history/.
Feb. 26, 2018, at 5:04 a.m.
TUNIS (Reuters) – When Khalifa Haftar flew to Tunis in September, the veteran commander and possible future leader of Libya brought masked troops armed with automatic rifles and grenade launchers in a show of force that drew censure from U.N. experts.
In France, Italy and Tunisia, he also shook hands with ministers and presidents in gilded reception rooms, projecting a different image: that of a man preparing to convert the military gains of his Libyan National Army (LNA) into civilian power.
Haftar casts himself as the person who can bring stability to Libya after years of conflict, ridding the OPEC member of Islamist militants and reining in migrant smuggling to Europe.
Some of those who have worked with him describe him as a divisive military man with little time for politics, who could try to reinstate authoritarian rule and bring more violence to a country where armed groups jealously guard local fiefdoms.
A former ally of Muammar Gaddafi, Haftar, 75, returned to Libya seven years ago from the United States, to join the Nato-backed revolution that ended four decades of one-man rule.
After a protracted military campaign in Libya's second city, Benghazi, he has promised to "liberate" the capital Tripoli, split from the east since 2014. Elections, which the United Nations says could be organized by the end of the year despite major obstacles, may provide another route to power.
Haftar seems to be hedging his bets. The LNA, he said last month, has "sleeper cells" it could activate to take full control of Libya while prioritizing a political solution to avoid bloodshed.
"But our patience has limits", he said in the interview published in French magazine Jeune Afrique, before adding that Libya was not "ripe for democracy".
Mohamed Buisier, a U.S.-based engineer who served as an advisor to Haftar from 2014-2016 before falling out with him, said Haftar wanted absolute power.
"He wants to get to one of the big palaces in Tripoli and rule Libya – that is it," he said.
Haftar's office said he did not immediately have time for an interview.


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There goes India's cryptocurrency market. The Reserve Bank of India banned banks from allowing people to transfer money from their bank account into Bitcoin wallets.
If banks, e-wallets and any other entities regulated by RBI are not allowed to facilitate sale or purchase of cryptocurrencies, individuals will not be able to transfer money from any bank account in India into a Bitcoin wallet like Bitpay, nor will they be able to fund purchases of cryptocurrencies on an exchange. They'd have to figure out a way to pay people in cash, meaning if there is a Bitcoin market in India, it is going to move underground.
India is not a huge market for crypto, so Bitcoin was down only 2% today and probably not due to the RBI's announcement. China, South Korea, Singapore, Japan and the U.S. are the biggest markets for cryptocurrencies.
Investors in these new digital assets have been waiting for the next big thing, but have been stuck with what one investor calls "mediocre coins from mediocre startups." The market needs something new following last year's run-in in Bitcoin and other top cryptocurrencies like Ether.
Close crypto watchers are being forced to learn a whole new vocabulary (it's hodl not hold. Don't ask). They are also required to be computer code laymen, understanding hard to grasp concepts like hard forks and new chips and other processes that can make or break a blockchain platform due to speed.
"After the skyrocketing expectations of technologies and new horizons in 2017, cryptos are now experiencing what I call a cold winter, trying to fulfill their promise," says Alexey Ivanov, an investment manager on Polynom Crypto Capital in Moscow. "I think you can see coins like Cordano (ADA) do well; the Lumen (XLM) platform is really good, and NEM (XEM) could get some fresh tailwinds in the upcoming months," he says.
"Look at Litecoin (LTC), it's been a disappointment with their Litepay shutting down recently," he says. "New projects are coming to market with some exciting developments, however," he says, mentioning the WAX coin, a crypto focused on 400 million online gamers who already collect, buy and sell in-game digital items.
India bans, social media advertisement bans on ICOs last month, Google's new cryptocurrency mining extension bans from its website, and failed project launches by well-known cryptos like LTC all show how this year has been a dud for the industry.
Six years ago, one Bitcoin went for around $15. Today one Bitcoin goes for around $6,600. That's a nice gain. But it is a far cry from the $19,000 registered in mid-December, and a lot of people bought into Bitcoin once it passed $10,000. For the first time since its launching, it is no easy to find Bitcoin investors who have lost thousands, if not millions of dollars gambling on cryptocurrencies. This unregulated market, coupled with the risk of investor fraud, is what has central banks like those in India and China shutting down exchanges at home.


text:
Shows, Cartoon Network Studio Productions, 2000s shows,
Cartoon Network Original Cartoons
Cartoon Network Series
Shows with wikis
Camp Lazlo
Cancelled Series
Ended series
2005 television series debuts
2008 television series endings
Cartoon Network Studios shows
Cel Cartoons
Contribute to the Camp Lazlo Wiki
https://camplazlo.fandom.com/wiki/File:Wiki-wordmark.png
Joe Murray Productions
Cartoon Network Studios
22 minutes (11 minute segments)
61 (120 segments)
July 8, 2005 Series finale
Camp Lazlo is an American animated television series created by Joe Murray. The series was released on July 8, 2005 in the United States and November 1, 2005 in the United Kingdom. The show features a Boy Scout-like summer camp with a cast of anthropomorphic animal characters, a "retro" type of humor and cultural references. The show was a hit right out of the gate and drew in over 5 million viewers for it's premiere. Ratings - Source
4 Awards & Nominees
4.1 Pulcinella
4.2 Emmy
4.3 Annie
5 Home media
7 Appearances in other projects
Each episode is split into two parts approximately 11 minutes long, with the exception of two episodes. The show breaks the fourth wall, such as when Lazlo is gives an award to a camper for being the best "incidental character", and sometimes lacks continuity, as in an episode which ends with Lumpus being eaten by a lake monster.
Camp Lazlo premiered on July 8, 2005 in the USA and ended on March 27, 2008. In Canada, Teletoon's English channel also debuted the show June 26, 2006; but in the last week of August 2006, it was pulled from TELETOON, and returned on June 22, 2007. Due to its nature, TELETOON only airs it during the summer season.
In Australia and India, Camp Lazlo is shown on the Cartoon Network.
Camp Lazlo also got his "brother" or "sister" show. Summer Camp Island that is created by Cartoon Network Studios and showing on Cartoon Network also.
Main article: Camp Lazlo/Characters
Camp Lazlo has a cast of dozens, but these are some of the main characters:
Lazlo-- is a cheerful Brazilian spider monkey. Often annoying Edward, he is a very happy-go lucky monkey. A hippie, Lazlo loves peace. In Camp Kidney, he is very well liked except occasionally Scoutmaster Lumpus and Commonly Edward.
Raj-- Raj is a cautious Indian elephant who speaks with a distinct Indian accent. Born in India, Raj is one of Lazlo's bunkmates and best friends in the Jelly Bean Cabin at Camp Kidney and is seen spending most of his time with Lazlo and Clam; the three are collectively known as the "Jelly Trio." Jeff Bennett voiced Raj.
Clam-- is a small albino pygmy rhinoceros who is part of the "Jelly Trio." Although being one of the main characters of the show, he rarely speaks. He has a low voice and usually speaks in short bursts of few words, often repeating the last words that others say. Carlos Alazraqui voiced Clam.
Samson Clogmeyer - is a luckyness gunia pig.
Scoutmaster Lumpus - is a grumpy, stubborn and stick-in-the-mud moose with a big ego.
Slinkman - Lumpus's assistant.
Edward Platypus - is a curmudgeon platypus who has much common sense why Camp Kidney is a dump and hates Lazlo or anyone's idiocy.
Chip & Skip - Dung beetles, despite their humanoid form. They are the camp morons.
Main article: Camp Lazlo/Episodes
Awards & Nominees
The series won three 2006 Pulcinella Awards for Best Animated Series for Children and Best Animated Series for all ages and Lazlo was the winner of Best Character at the 10th Cartoons By The Bay Festival in Positano, Italy. It was the second consecutive year that a Cartoon Network series won the latter two awards, as the Foster's Home for Imaginary Friends character, Blooregard Q. Kazoo, won the award the year before.
"Hello Dolly / Over Cooked Beans" was nominated for an Emmy in the Primetime Emmy Award for Outstanding Animated Program (For Programming less than One Hour) category, but was defeated by The Simpsons. The episode has been hosted on the Cartoon Network website and can be viewed here.
The TV movie Where's Lazlo? has been nominated for an Emmy in the Outstanding Animated Program (For Programming One Hour or More) category in 2007.
Sue Mondt, a production designer on Camp Lazlo, was nominated an Annie Award for production design on the episode "Hard Days Samson."
The show got a press kit DVD of the series that contains 4 episodes ("Gone Fishin' (Sort of) / Beans Are from Mars" and "Parasitic Pal / It's No Picnic") from season one.
The show got a complete first season DVD, titled: Camp Lazlo: Complete Season 1. It is released in Australia on region 4 by Madman Entertainment.
The show has also been released on Cartoon Network themed DVDs. The season 1 episode "Hello Dolly" appeared on the Cartoon Network Fridays Volume 1 DVD released on September 19, 2006. The season 2 episode "Snow Beans" is released on the Cartoon Network Christmas: Volume Three DVD on October 3, 2006.
All 5 seasons of the series are available on iTunes and Amazon Prime.
Camp Lazlo was released on the Boomerang streaming service in 2018.
A video game based on the series was released in 2006 for GameBoy Advance, it was called Camp Lazlo: Leaky Lake Games. In the game, you play as Lazlo, Raj, and Clam, as they compete in game challenges and earn merit badges in the Leaky Lake games event.
The Camp Kidney hat was shown as a wardrobe in the 2019 mobile game, Kleptocats: Cartoon Network.
Appearances in other projects
Scoutmaster Lumpus and Edward appeared in the Villainous episode, The Lost Cases of Elmore.
Lazlo made a cameo appearance in the OK K.O.! Let's Be Heroes episode, Crossover Nexus.
Volume 2 Apple TV cover
Cartoon Network Studios Series
1996 What a Cartoon! • Dexter's Laboratory
2000 Johnny Bravo
2001 The Powerpuff Girls • Time Squad • Samurai Jack • Grim & Evil
2002 Harvey Birdman, Attorney at Law • Whatever Happened to... Robot Jones?
2003 The Grim Adventures of Billy & Mandy • Evil Con Carne • Star Wars: Clone Wars
2004 Megas XLR • Foster's Home for Imaginary Friends • Hi Hi Puffy AmiYumi
2005 The Life and Times of Juniper Lee • Camp Lazlo • My Gym Partner's a Monkey • Ben 10
2006 Squirrel Boy • Class of 3000
2007 Out of Jimmy's Head • Chowder • Transformers: Animated
2008 Ben 10: Alien Force • The Marvelous Misadventures of Flapjack
2010 Adventure Time • Ben 10: Ultimate Alien • Generator Rex • The Cartoonstitute • Regular Show • Tower Prep • Sym-Bionic Titan • Robotomy
2011 The Problem Solverz • Secret Mountain Fort Awesome
2012 Level Up • Ben 10: Omniverse
2013 Incredible Crew • Uncle Grandpa • Steven Universe
2014 Clarence • Black Dynamite • Over the Garden Wall
2015 We Bare Bears • Long Live the Royals
2016 The Powerpuff Girls • Mighty Magiswords
2017 Ben 10 • OK K.O.! Let's Be Heroes
2018 Apple & Onion • Craig of the Creek • Summer Camp Island
2019 Victor and Valentino • Mao Mao: Heroes of Pure Heart • Infinity Train • Primal • Steven Universe Future
2020 JJ Villard's Fairy Tales • Adventure Time: Distant Lands • Close Enough • Tig n' Seek • The Fungies!
2021 We Baby Bears • Unicorn: Warriors Eternal
Cartoon Network Original Series
1993 The Moxy Show
1994 Space Ghost Coast to Coast
1995 What a Cartoon!
1996 Dexter's Laboratory • Big Bag
1997 Johnny Bravo • Cow and Chicken • I Am Weasel
1999 Ed, Edd n Eddy • Mike, Lu & Og • Courage the Cowardly Dog
2000 Sheep in the Big City
2001 Time Squad • Samurai Jack • Grim & Evil
2002 Whatever Happened to... Robot Jones? • Codename: Kids Next Door
2005 The Life and Times of Juniper Lee • Camp Lazlo • Sunday Pants • My Gym Partner's a Monkey • Ben 10
2008 Ben 10: Alien Force • The Marvelous Misadventures of Flapjack • The Secret Saturdays
2009 Destroy Build Destroy • The Othersiders • BrainRush • Dude, What Would Happen • Bobb'e Says
2010 Adventure Time • Ben 10: Ultimate Alien • Generator Rex • Regular Show • Sym-Bionic Titan • Tower Prep • Robotomy
2011 The Problem Solverz • The Amazing World of Gumball • Secret Mountain Fort Awesome
2012 Level Up • The High Fructose Adventures of Annoying Orange • Ben 10: Omniverse
2014 Clarence • Over the Garden Wall
2019 Victor and Valentino • Mao Mao: Heroes of Pure Heart • Infinity Train • Steven Universe Future
2021 We Baby Bears • Elliott from Earth • Unicorn: Warriors Eternal • The Heroic Quest of the Valiant Prince Ivandoe
Retrieved from "https://cartoonnetwork.fandom.com/wiki/Camp_Lazlo?oldid=114819"
Cartoon Network Studio Productions


Open the standard ODBC requester to choose which database to open.
#Database A number to identify the new database. #PB_Any can be used to auto-generate this number.
#PB_Database_ODBC      : The database will use ODBC backend (UseODBCDatabase() has to be called).
If 'Plugin' isn't specified, then the first registered database plug-in will be used.
Returns nonzero if the database connection was established successfully and zero if not. Error information can be received with the DatabaseError() command. If #PB_Any was used for the #Database parameter, then the generated number is returned.
This is an ODBC database specific command.
Note: This command is not supported on Linux and MacOS X and will return 0.


text:
Erasing 76 Crimes
SITE UNDER CONSTRUCTION. FIXING TECHNICAL PROBLEMS
Upbeat News
HIV INFO
Help us free Bill and Ford, imprisoned for whom they love
June 17, 2021 June 23, 2021 - by Courtney Stans - 2 Comments.
CLICK IMAGE TO DONATE TO FREE BILL AND FORD. Illustration by Vincent Kyabayinze, East Africa Visual Artists (EAVA Artists)
Third of a series of articles about LGBT victims of homophobia who are imprisoned at Yaoundé Central Prison in Cameroon.
Ford and Bill were living together happily in a luxurious apartment, but then their neighbors began to suspect that they were gay.
The next thing they knew, police knocked on their door and arrested them on charges of violating the country's anti-homosexuality law.
That was back in March 2020. Since then, they have been waiting for their trial to begin. As they wait and wait and wait, they are locked up at Yaoundé Central Prison, where inmates must survive in dirty, crowded confines with only one small, poorly cooked meal per day.
If they are convicted of violating Cameroon's anti-homosexuality law, they could be sentenced to as much as five years in prison and fines that in recent cases have totaled around 428,000 CFA francs (about US $800).
Ford, 25, has large eyes and a medium build. Bill, 37, has a muscular build and a shaved head. They had been living together for six months in Bill's luxurious apartment in a corner of the city of Yaoundé.
Bill, an engineer by profession, met Ford in an Internet dating group. After several months of dating and courtship, they live together in Bill's apartment.
The couple lived happily together in a loving atmosphere, Ford said. While Bill went to work, Ford stayed home and took care of chores.
Bill added: "For me, I had found the love of my life, a guy who was caring, intelligent and a joker. I felt good about myself, body and soul. Ford is a person you would do anything for just to keep him around. Life at home was great. Between work and home, I had finally found a balance. "
Their happiness ended after neighbors began to take an interest in the couple's life. They noticed there had been a change in Bill and they noticed that a somewhat effeminate man was living under the same roof.
Rumors spread. A neighbor confronted Bill one morning and asked him who the person was who was living with him. Shocked, Bill told the neighbor to return home and stop butting into his life.
But the neighbors persisted and soon complained to police. Bill was summoned to the police station on suspicion of homosexuality. He refused to go.
Police responded by arresting Bill and Ford at home one morning in March 2020.
Police refused to negotiate a payment to have the charges dropping, so the two men found themselves in prison awaiting trial.
Unlike many LGBTI Cameroonians whose families disown them, Bill and Ford have supportive family and friends. Ford's sister and Bill's friends visit them regularly in prison.
Their case was set for court action several times, but each time the case was rescheduled, so Bill and Ford can do nothing but wait.
They hope to get out and resume their life as a couple in a place far away from the city where they can be safe from the probing eyes of homophobic neighbors.
You can help Bill and Ford get a lawyer to take on their case and move them closer to freedom. Projet Not Alone / Pas Seul 2021 is raising money to pay for the expenses of that pro-bono legal defense work on their behalf.
Ford and Bill are only two of 11 LGBT victims of Cameroon's homophobia who are currently confined at Yaoundé Central Prison. Another six LGBT Cameroonians are also serving prison sentences there, along with one other LGBT detainee who has been been locked up for more than a year awaiting trial.
Project Not Alone / Pas Seul 2021 is seeking contributions to pay legal expenses of the three awaiting trial; the fines of eight prisoners (so they will not have to remain in prison to work off their fines after their sentences end); and four bimonthly deliveries of food and hygiene items to all 11 LGBT prisoners. None of the 11 has been charged with any criminal offenses other than homosexuality.
The total price tag of $7,226 includes $3,014 to pay the fines; $2,230 for expenses of the pro-bono legal defense work; and $1,982 for the food deliveries. As of publication of this article, $4,255 has been donated to the project put an end to the abuses that the 11 LGBT people are suffering. An additional $2,971 is needed.
To help them and the other nine LGBT detainees, U.S. tax-deductible donations to Project Not Alone / Pas Seul 2021 may be made via:
By sending a check to St. Paul's Foundation, 21 Marseille, Laguna Niguel CA 92677 USA.) Please write "Project Not Alone" on the memo line.
These articles tell the stories of other LGBT prisoners at Yaoundé Central Prison:
Evan and Kaine: "Sick, betrayed, imprisoned".
Allen and Nick: "Outed and arrested at work".
For more information about the project, see the article "Help us free 11 imprisoned LGBT victims of homophobia".
TaggedCameroonErasing 76 CrimesNot AloneNot Alone / Pas SeulNot Alone ProjectPositive stepsprisonersSt. Paul's FoundationSt. Paul's Foundation for International Reconciliationvictims of homophobiaYaounde Central Prison
Qtalk: Gay man married to a woman seeks advice for divorce
U.S. honors Ugandan LGBT rights defender Margaret Sekaggya
Pope says homosexuality not a crime
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About Courtney Stans
Courtney Stans is the pseudonym for a Cameroonian human rights defender whose name is withheld for her protection. She fills the role of reporter covering LGBTI issues in Cameroon, where our previous reporter, Eric Ohena Lembembe, was murdered in July 2013. Contact her by email via 76crimes@gmail.com.
View all posts by Courtney Stans →
The Erasing 76 Crimes news site focuses on the human toll of 68+ countries' anti-LGBTQ+ laws and the struggle to repeal them.
Copyright © 2023 Erasing 76 Crimes.
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Who is Dr. Mole
Contact Dr. Mole
Dr. Brierley's Publications . . .
Gary Brierley One of the Voices from the Undergound . . .
Dr. Gary Brierley has become known for his contribution to the tunneling industry not only through the design and construction of underground structures but as well as moving the industry forward through his many articles, presentations, technical papers, and books. The following is a summary of Dr. Brierley's contribution to the tunneling industry.
Partial List of Publications . . .
Tunneling: A Battle Against the Ground
"Tunneling by Acronym", North American Tunneling Journal, Feb-Mar 2012. "Deep Shaft Sinking for Grid-Scale Energy Storage", Tunneling Journal, Aug-Sep 2011. "Is America Undeveloping?", ENR Magazine, August 2011. "Below the Surface", Construction Today Magazine, December 2010. "Bullshit" with Thom Neff, ENR Magazine April 2010. "A Worthy Battle" ENR Magazine, April 2010. "Green, Sustainable Structures: Look Underground" with Russ Jernigan, UIM Magazine November/December 2009 "The Surprise Waiting for You in the Tunnel", ENR Magazine August 2009. "TBM – 10 yrs and counting", TBM Magazine August 2008. "How to Procure a Tunneling Project Part II The Solution for Underground Infrastructure Management" with John Struzziery, May/June 2007. "How to Procure a Tunneling Project Part I The Problem for Underground Infrastructure Management" with John Struzziery, March/April 2007 "Design Build Procurement for Underground Construction", January 2005. "The Designer as Subcontractor in Design/Build Subsurface Construction" with Russ Jernigan, August 2005 "Roles in Design/Build Subsurface Construction", with Russ Jernigan, August 2005. Design-Build Subsurface Projects, edited by Gary Brierley, PhD, PE and David J. Hatem, Esq.,a Zeni House Publication, 2002. Design-Build Subsurface Projects, edited by Gary Brierley, PhD, PE and David J. Hatem, Esq.,a Zeni House Publication, 2002. "Contracting Practices for Underground Projects," with James D. Smith, Chapter 10 of a book entitled, 2002 Construction Law Update, Editor – Neal J. Sweeney, Esq., Apen Publishers, Inc., New York, 2002. "Geotechnical Report Preparation" with Dan Dobbels and Alan Howard. Proceedings of NAT 2000, Boston, MA, June 2000. "Ground Improvement On The Central Artery Project – Examples of Innovative Applications" with James R. Lambrechts and Andrew F. McKown, Proceedings of the 1999 Rapid Excavation and Tunneling Conference, Orlando, FL, June 1999. "Going Under? How about Urban Design/Build!" World Tunneling, November 1998. "Subsurfing USA" World Tunneling, March 1998. "Ground Improvement: Salvation or Snake Oil?" Civil Engineering, December 1995.
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