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Texas AIDS Treatment Advocates, Officials Discuss Proposed Changes to ADAP Eligibility Criteria
Approximately 150 people attended a Texas Department of Health public hearing on Thursday to discuss the future of the Texas HIV Medication Program, the state's AIDS Drug Assistance Program, the Austin American-Statesman reports (Roser, Austin American-Statesman , 1/17). Currently, the program allows about 12,500 low-income HIV-positive Texans to buy prescription drugs at a greatly reduced cost. But health department officials expect a $34 million shortfall in the program's budget over the next two-year cycle; the program's annual budget is $58 million. As a result, health department officials have proposed revised eligibility requirements under which people earning more than 140% of the federal poverty level, or $12,400 annually, would no longer be eligible for the program. Current requirements allow beneficiaries who earn up to 200% of the poverty level, or $17,720 annually, to participate in the program. If approved, the new requirements would effectively cut 2,500 people from the program's rolls by August 2005 and keep up to 50 new applicants from qualifying each month. Beneficiaries cut from the program would be given a six-month grace period to find other options ( Kaiser Daily HIV/AIDS Report , 1/16).
Delay in Decision Requested
State Rep. Garnet Coleman (D) said that the state Board of Health should delay its decision on the criteria restrictions to give the Legislature time to find funding for the program, according to the Houston Chronicle . The state is facing a $10 billion budget shortfall. Coleman added, "These are very expensive medications. Without them, people die." Gov. Rick Perry (R) said, "I think you're making a doomsday scenario out of information that may or may not be true. I'm sure there will be lots of horror stories that people either come forward with or would like to drive the budget with over the course of the next four-plus months." Wayne Bockmon, medical director for the Houston-based Montrose Clinic, said, "I do not know how to explain to [patients] that their lives cost too much." Health Commissioner Eduardo Sanchez said, "This is very, very hard. It's tough to accept that charge. We're trying to do the best we can do" (Hughes/McInnis, Houston Chronicle , 1/17). The Board of Health is scheduled to meet on Feb. 27 to vote on the issue ( Austin American-Statesman , 1/17).


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Performing Arts > Music
A Seat at the Table: Women on the Frontline of Music by Amy Raphael
In Never Mind the Bollocks: Women Rewrite Rock (Virago, 1995; published as Grrrls: Viva Rock Divas in the US by St Martin's Griffin, 1996), writer and critic Amy Raphael interviewed twelve female musicians, from Courtney Love to Kim Gordon, from Bjork to Kristin Hersh. As Debbie Harry wrote in the forew ord, each artist's life was 'so different and similar and intriguing.' More than two decades on, Raphael asks a group of contemporary female musicians to tell their stories, from Kate Tempest to Maggie Rogers, from Christine and the Queens to Ibeyi. ...Show more
The Rite of Spring by Gillian Moore
Category: Music | Series: The\Landmark Library
On 29 May 1913, at the Théâtre des Champs-Elysées in Paris, a new ballet by Diaghilev's Ballets Russes, choreographed by Vaslav Nijinsky, received its premiere. Many of the cultural big names of Paris were there, or were rumoured to have been there: Debussy, Ravel, Proust, Gertrude S tein, Picasso. When the curtain rose on a cast of frenziedly stamping dancers, a near-riot ensued, ensuring the evening would enter the folklore of modernism. While it was the dancing that triggered the mayhem, Stravinsky's score contained shocks enough, with its innovations in form, rhythm, dissonance and its sheer sonic power. The Rite of Springwould achieve recognition in its own right as a concert piece, and is now seen as one of the most influential works of the 20th century. Gillian Moore explores the cultural climate that created The Rite, tells the story of the creation of the music and the ballet and provides a guide to the music itself, showing how a scandalous novelty of 1913 became a 21st-century concert staple. As well as considering its influence on 20th-century classical composers, she probes The Rite's impact on film music (including scores for Star Warsand Jaws); its extensive influence on jazz musicians (including Charlie Parker) and by artists as diverse as Weather Report, Joni Mitchell, Frank Zappa and The Pet Shop Boys. ...Show more
Michael Tippett by Soden Oliver
'A delight to read' Philip Pullman A BBC Radio 4 'Book of the Week' The music of the British composer Michael Tippett - including the oratorio A Child of Our Time, five operas, and four symphonies - is among the most visionary of the twentieth century. But little has been written about his extraordinar y life. In this long-awaited first biography, Oliver Soden weaves a century-spanning narrative of epic scope and penetrating insight. Soden has discovered troves of unpublished letters and manuscripts, and recorded moving interviews with Tippett's friends and colleagues. He paints a portrait of a powerful intellect and infectious personality: charming, stubborn, and great fun. But he also uncovers the sorrows and secrets that Tippett stowed away beneath his cheerfulness, not least the darker reaches of some tempestuous and often tragic love affairs. Soden's achievement is to have enriched our understanding not only of Tippett but of his times. Figures such as T.S. Eliot, E.M. Forster, Barbara Hepworth, and W.H. Auden jostle in the cast list. An Edwardian world of gaslight and empire cedes to turmoil and warfare; one startling revelation is the extent of Tippett's involvement in the fiery left-wing politics of the 1930s. The narrative roves from the mining villages of the north, blighted by unemployment, to a cell at Wormwood Scrubs, where Tippett was imprisoned as a conscientious objector. Later chapters uncover his operas' game-changing attitudes to gay and civil rights, against a backdrop of the Cold War and the Space Race. And singing from the page comes the music, through which Soden charts an exquisitely written course, offering lucid readings of Tippett's most famous works while resuscitating forgotten masterpieces. The result is a landmark in the study of twentieth-century culture, simultaneously an astonishing feat of scholarship and a story as enthralling as in any great novel. ...Show more
The Silent Musician: Why Conducting Matters by Mark Wigglesworth
A conductor is one of classical music's most recognizable figures. Many people who have never actually been to an orchestral concert have an image of what one looks like. But rarely does such a well-known profession attract so many questions: 'Surely orchestras can play perfectly well without you? Do yo u really make any difference to the performance?' This book is not intended to be an instruction manual for conductors, nor is it a history of conducting. It is for all who wonder what conductors actually do. Exploring the relationships with the musicians and music they conduct, and the public and personal responsibilities they face, leading conductor Mark Wigglesworth writes with engaging honesty about the role for any music lover curious to know whether or not the profession really matters. ...Show more
Symphony of Seduction: The Great Love Stories of Classical Composers by Christopher Lawrence
'Love cannot express the idea of music, while music may give an idea of love.' Romantic composer Hector Berlioz Berlioz should know. He didn't just hear the symphony when he fell in love with an Irish actress back in 1827, he wrote it. What was love like for the people who could really feel that song coming on?Symphony of Seduction tells of the romantic misadventures, tragedies and occasional triumphs of some of classical music's great composers, and traces the music that emerged as a result. For the eccentric Erik Satie, love came just once - and even then, not for long. Robert Schumann had to take his future father-in-law to court to win the right to marry. Hector Berlioz planned to murder a two-timing fiancée while dressed in drag, and Richard Wagner turned the temptation of adultery into a stage work that changed the course of music while rupturing his own marriage. Debussy's love triangle, Brahms' love for the wife of his insane mentor - all find expression in works we now consider to be some of the summits of creative achievement. Christopher Lawrence takes what we know about these love-crazed geniuses and adds a garnish of imagined pillow talk to recreate stories that are ultimately stranger than fiction - and come with a great soundtrack. ...Show more
Toscanini - Musician of Conscience by Harvey Sachs
Harvey Sachs's "monumental" (Alex Ross) biography recounts the sixty-eight-year career of conductor Arturo Toscanini (1867-1957), an artist celebrated for his fierce dedication, photographic memory, explosive temper, impassioned performances, and uncompromising work ethic. Toscanini collaborated with Ve rdi, Puccini, Debussy, and Richard Strauss; undertook major reforms at La Scala and the Metropolitan Opera; and eventually pioneered the radio and television broadcasts of the NBC Symphony. His monumental achievements inspired generations, while his opposition to Nazism and fascism made him a model for artists of conscience. In this "persuasive and compelling" new biography, Sachs illuminates the "crucial--the central--role Toscanini played in our musical culture for well over 60 years" (New York Times Book Review). Set against the roiling currents of twentieth-century Europe and the Americas, Toscanini is a "necessary" portrait of this "complex, flawed, but noble human being and towering artist" (Wall Street Journal) whose peerless influence reverberates today. ...Show more
The Classical Music Lover's Companion - Orchestral Music, 1700-1950 by Robert Philip
An invaluable guide for lovers of classical music designed to enhance their enjoyment of the core orchestral repertoire from 1700 to 1950 Robert Philip, scholar, broadcaster, and musician, has compiled an essential handbook for lovers of classical music, designed to enhance their listening experience t o the full. Covering four hundred works by sixty-eight composers from Corelli to Shostakovich, this engaging companion explores and unpacks the most frequently performed works, including symphonies, concertos, overtures, suites, and ballet scores. It offers intriguing details about each piece while avoiding technical terminology that might frustrate the non-specialist reader. Philip identifies key features in each work, as well as subtleties and surprises that await the attentive listener, and he includes enough background and biographical information to illuminate the composer's intentions. Organized alphabetically from Bach to Webern, this compendium will be indispensable for classical music enthusiasts, whether in the concert hall or enjoying recordings at home. ...Show more
Opera: Passion, Power and Politics by Kate Bailey (Editor); Kasper Holton (Introduction by)
Opera is traditionally regarded as an elitist art form, far removed from reality with its fantastical plots and melodramatic divas. This lush new book shows that beneath all the opulent sets and sumptuous costumes, opera--like all the arts--draws on essential human emotions, creating an experience that can be endlessly reinvented to reflect changes in society. Through the lens of seven opera premieres in seven cities across the past 400 years, the authors look at snapshots in time where politics, art, and social history intersected, providing an immersive account of the society from which these pieces and performances evolved. Noted opera designers, performers, conductors, singers, and directors come together with musicologists and historians to discuss the following premieres: - Venice, Monteverdi's L'Incoronazione di Poppea (1642) - London, Handel's Rinaldo (1711) - Vienna, Mozart's The Marriage of Figaro (1786) - Milan, Verdi's Nabucco (1842) - Paris, Wagner's Tannhauser (1861) - Dresden, Strauss' Salome (1905) - St Petersburg, Shostakovitch's Lady Macbeth of the Mtsensk District (1934) This book will fascinate seasoned opera goers and history buffs alike. ...Show more
Debussy's Paris - Piano Portraits of the Belle Époque by Catherine Kautsky
Claude Debussy's exquisite piano works have captivated generations with their dreamlike atmosphere and mysterious soundscapes.Written in Paris at the height of the Belle poque, the music creates a soundtrack for Parisians' enjoyment of such delights as clowns, mermaids, eccentric dances, and the dark ta les of Edgar Allan Poe. Debussy's Paris: Piano Portraits of the Belle poque explores how key works reflect not only the most appealing and innocent aspects of Paris but also more disquieting attitudes of the time such as racism, colonial domination, and nationalistic hostility. Debussy left no avenue unexplored, and his piano works present a sweeping overview of the passions, vices, and obsessions of the era. Pianist Catherine Kautsky reveals little-known elements of Parisian culture and weaves the music, the man, the city, and the era into an indissoluble whole. Her portrait will delight anyone who has ever been entranced by Debussy's music or the city that inspired it. ...Show more
Arthur Elgort: Jazz by Arthur Elgort
This collector's edition of Arthur Elgort: Jazz is limited to 30 copies and contains a 11 x 14" gelatin silver print signed and numbered by Elgort. The black-and-white print is titled Wynton Marsalis, New York City, 1992.
50 Years of Rolling Stone : The Music, Politics and People That Changed Our Culture by Jann S. Rolling Stone; Wenner
Category: Music | Reading Level: General Adult
For the past fifty years, Rolling Stone has been a leading voice in journalism, cultural criticism, and--above all--music. This landmark book documents the magazine's rise to prominence as the voice of rock and roll and a leading showcase for era-defining photography. From the 1960s to the present day, the book offers a decade-by-decade exploration of American music and history. Interviews with rock legends--Bob Dylan, Mick Jagger, Kurt Cobain, Bruce Springsteen, and more--appear alongside iconic photographs by Baron Wolman, Annie Liebovitz, Mark Seliger, and other leading image-makers. With feature articles, excerpts, and exposes by such quintessential writers as Hunter S. Thompson, Matt Taibbi, and David Harris, this book is an irresistible and essential keepsake of the magazine that has defined American music for generations of readers. ...Show more
Coveted Possession: The Rise and Fall of the Piano in Australia by Michael Atherton
The intriguing cultural history of the piano in Australia From the instruments that floated ashore at Sydney Cove in the late eighteenth century to the resurrection of derelict heirlooms in the streets of twenty-first-century Melbourne, A Coveted Possession tells the curious story of Australia's intima te and intrepid relationship with the piano. It charts the piano's fascinating adventures across Australia - on the goldfields, at the frontlines of war, in the manufacturing hubs of the Federation era, and in the hands of the makers, entrepreneurs, teachers and virtuosos of the twentieth history - to illuminate the many worlds in which the ivories were tinkled. Before electricity brought us the gramophone, the radio and eventually the TV, the piano was central to family and community life. With its iron frame, polished surfaces and ivory keys, an upright piano in the home was a modern industrial machine, a musical instrument and a treasured member of the household, conveying powerful messages about class, education, leisure, national identity and intergenerational history. 'Michael Atherton cleverly weaves visual, sensual and sonic elements into the piano's sociocultural history, adding a rich layer to our knowledge of the piano in Australia.' -Professor Julia Horne, historian ...Show more
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In one of our previous newly constructed homes in Northern Minnesota we decided to finish the basement to give us more usable space. The basement would include a family room, bedroom, bathroom and large playroom area for the children. When constructing the walls I pointed out to my husband I wanted to use the under-the-stairs area for a small 'house' or 'castle' for our kids. Our youngest daughter was about 3 or 4 years old at the time and carving out a castle shaped door and putting a small castle window in one of the side walls gave us a great little space for the kids to play that otherwise would have been walled up and wasted.
That little castle is what I thought of when I saw this photo in this months edition of Coastal Living newsletter that I am signed up for and is emailed to me. I saw the loft area and immediately loved it - it's something I wanted as a child but never was lucky enough to have.
This particular loft area is a bunk bed style but with cushions and pillows in the family room or living room to make a great 'reading space'. What about in your own home? Do you have a wall with space on the inside that could be a built in 'nook'? Or borrowing from my childhood dream bedroom, a wall that could have these two area's built in to make a built in bunk bed? These would be perfect for a small room where a bed takes up too much of the space.
A little bit of cutting, a few pieces of wood, some drywall and paint and you have an affordable addition to your home without spending a lot of money.


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Oklahoma City 32 31 34 38 135
Minnesota 29 28 44 27 128
5:00 PM PT6:00 PM MT7:00 PM CT8:00 PM ET1:00 GMT9:00 6:00 PM MST8:00 PM EST5:00 UAE (+1)02:0020:00 ET7:00 PM CTNaN:� , December 3, 2022
Target Center, Minneapolis, Minnesota Attendance: 17,136
Timberwolves, Thunder to meet with stars on mend
NBA Headlines
Doncic out Saturday for sprained ankle
Giannis has 41-12, Bucks fend off Pacers
Curry's 35 lift Warriors over Raptors
Wolves win as Grizzlies close 0-5 trip
SGA extends 30-point run, OKC beats Cavs
Butler, Adebayo rally Heat past Magic
Curry, Embiid fined $25,000 for actions
Teams speak out on Tyre Nichols' death
LeBron makes 19th All-Star, ties Kareem
Randle has 37, Knicks edge Celtics in OT
A pair of stars are expected to be missing when the Minnesota Timberwolves play host to the Oklahoma City Thunder on Saturday at Minneapolis.
The Timberwolves are working to adjust their game plan for extended life without Karl-Anthony Towns, who came away with a right calf strain in Monday's loss to the Washington Wizards that will keep him out four-to-six weeks.
Oklahoma City doesn't figure to be without Shai Gilgeous-Alexander for that long, but their leading scorer missed Wednesday's victory over the San Antonio Spurs after he came away with a left hip contusion in Monday's road loss to the New Orleans Pelicans.
Without Towns, Minnesota figures to lean heavily on third-year shooting guard Anthony Edwards, who had 29 points, five assists, five steals, three blocks and just one turnover in Wednesday's 109-101 home win over the Memphis Grizzlies.
"It's energy. When he plays with great energy, it pulsates through our guys," Timberwolves coach Chris Finch said of Edwards. "He makes big plays. He makes plays that can swing a game. He's always had a great sense of timing."
Finch said Edwards' leadership role had been expanding even before Towns' injury.
"His voice in the locker room is growing and growing, and it's great to see and much needed for this team. He's got it in him," Finch said. "He's an extremely likable teammate, everything believes that when you have him on the floor, he's going to do great things, and now he's learning how to back it up with some words to help his teammates as well."
While Minnesota has players like Edwards and Rudy Gobert to fill the void with Towns out, the Thunder are not quite as equipped to succeed without Gilgeous-Alexander. The guard is averaging 31.1 points and 6.1 assists per game, while reaching the free-throw line 9.3 times per game - all career highs.
Before missing Wednesday's game, Gilgeous-Alexander had only missed one game this season - the Thunder's 116-106 home loss to Minnesota on Oct. 23.
Oklahoma City coach Mark Daigneault said the Thunder are doing the same things structurally with or without Gilgeous-Alexander.
"Systematically it doesn't change anything," Daigneault said. "Certainly personnel wise it does, but systematically it doesn't."
If Gilgeous-Alexander can't play, more of the weight for Oklahoma City's offense falls on the shoulders of Josh Giddey, who moves into the role as the Thunder's primary ball-handler.
Without Gilgeous-Alexander against the Timberwolves early in the season, Giddey had 10 points, two rebounds, five assists and four turnovers in 22 minutes.
In Wednesday's win over the Spurs, Giddey was much better. He had 14 points, 13 rebounds, five assists and no turnovers.
Saturday's game is the third of four between the teams this season. The first two, both wins by the Timberwolves, came in the season's first week. Minnesota beat the Thunder at Minneapolis 115-108 in the season opener for both teams.
The Timberwolves are likely to be without Taurean Prince, who has missed the last four games with a shoulder injury. Jaden McDaniels, who has missed the last three games with an illness, and Jordan McLaughlin, who has missed five with a calf injury, both practiced Friday.
Updated December 2, 2022
Denver at Philadelphia, 12:00 PM PT1:00 PM MT2:00 PM CT3:00 PM ET1:00 PM MT3:00 PM ET20:00 GMT4:00 0:00 UAE (+1)21:0015:00 ET
New York at Brooklyn, 2:30 PM PT3:30 PM MT4:30 PM CT5:30 PM ET3:30 PM MT5:30 PM ET22:30 GMT6:30 2:30 UAE (+1)23:3017:30 ET
Houston at Detroit, 4:00 PM PT5:00 PM MT6:00 PM CT7:00 PM ET5:00 PM MT7:00 PM ET0:00 GMT8:00 4:00 UAE (+1)01:0019:00 ET
Chicago at Orlando, 4:00 PM PT5:00 PM MT6:00 PM CT7:00 PM ET5:00 PM MT7:00 PM ET0:00 GMT8:00 4:00 UAE (+1)01:0019:00 ET
LA Clippers at Atlanta, 4:30 PM PT5:30 PM MT6:30 PM CT7:30 PM ET5:30 PM MT7:30 PM ET0:30 GMT8:30 4:30 UAE (+1)01:3019:30 ET
Washington at New Orleans, 5:00 PM PT6:00 PM MT7:00 PM CT8:00 PM ET6:00 PM MT8:00 PM ET1:00 GMT9:00 5:00 UAE (+1)02:0020:00 ET
Sacramento at Minnesota, 5:00 PM PT6:00 PM MT7:00 PM CT8:00 PM ET6:00 PM MT8:00 PM ET1:00 GMT9:00 5:00 UAE (+1)02:0020:00 ET
Phoenix at San Antonio, 5:00 PM PT6:00 PM MT7:00 PM CT8:00 PM ET6:00 PM MT8:00 PM ET1:00 GMT9:00 5:00 UAE (+1)02:0020:00 ET
LA Lakers at Boston, 5:30 PM PT6:30 PM MT7:30 PM CT8:30 PM ET6:30 PM MT8:30 PM ET1:30 GMT9:30 5:30 UAE (+1)02:3020:30 ET
Dallas at Utah, 6:00 PM PT7:00 PM MT8:00 PM CT9:00 PM ET7:00 PM MT9:00 PM ET2:00 GMT10:00 6:00 UAE (+1)03:0021:00 ET
Toronto at Portland, 7:00 PM PT8:00 PM MT9:00 PM CT10:00 PM ET8:00 PM MT10:00 PM ET3:00 GMT11:00 7:00 UAE (+1)04:0022:00 ET


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The Northcote By-Election Result is Fraudulent and Illegitimate
Northcote by-election candidate Dan Bidois was crowned the winner, despite only getting the support of 21% of eligible voters
The reason why our ruling class have the right to rule, so they claim, is because they have the consent of the masses. But the winner of yesterday's Northcote by-election and newly crowned Member of Parliament, Dan Bidois, did not have the consent of the masses. Therefore, the Northcote by-election result is fraudulent and illegitimate.
19,900 people cast a vote in the Northcote by-election. According to the Northcote Electoral Profile on the Parliamentary Profiles page, there are 49,569 eligible voters in that electorate. This tells us that barely more than 40% of eligible voters chose to participate in the democratic process – something like 30,000 people abstained.
The question then has to be asked: how is the election of Bidois to the House of Representatives legitimate, when fewer than half of eligible voters took part in the election process? If so few people believed that the democratic process was worth participating in, isn't that sufficient evidence that it has failed, that its claims of legitimacy are fraudulent?
Bidois himself won 10,147 votes in the by-election, which amounts to almost 21% of the eligible voters in Northcote. If no-one cares about the election, how can the winner of it legitimately claim to have any power to rule anyone? Any reasonable person can see that this is absurd. We can't possibly know what the electorate wants unless we canvas the non-voters.
One candidate, Liam Walsh of Not A Party, ran specifically on the non-vote. His platform was that democracy has failed and is inherently corrupt (hard to deny) and that it would be better for us to scrap it entirely and work together instead of using the democratic system to try and fuck each other over.
After all, as a National MP, Dan Bidois will immediately work towards the further enslavement of the young, the Maori and the working class. Walsh notes that Bidois came second to an empty seat.
One wonders what would happen if those 60% of adults in Northcote who do not feel represented by New Zealand's peculiar imitation of democracy gave their allegiance to Walsh instead of to the central government.
What if, instead of paying taxes to the IRD to piss up the wall on flag referendums, yacht races, imprisoning medicinal cannabis growers and importing Somali rapists, people paid no taxes, and we had neither flag referendums nor a justice system putting people in cages for growing medicinal plants?
Some might respond that having no democratic government will leave the community unable to solve problems that require collective solutions, but Dan Bidois, with his 21% support, sure as fuck isn't going to be solving them either. He, like the majority of backbenchers, will stick his nose straight up the arsehole of his party's leader, in this case Simon Bridges, and he will keep it wedged there as long as the National Party hierarchy is responsible for his meal ticket. As a consequence he will vote to enforce National Party policy and dogma – not the will of the Northcote electorate.
A democratic election that gets 40% turnout cannot claim to return a legitimate ruler. The vast majority of the Northcote electorate did not consent to being represented by Bidois; therefore, his being in the House of Representatives is no more legitimate than it would have been if the CIA had helped him raise an army that seized power through force.
After all, a foreign-backed dictatorship might even gain the consent of more than 21% of the population – assuming it put a sufficiently enlightened person on the throne – which would make it no less legitimate than yesterday's by-election.
If the democratic process is rejected by a majority of the people, then it's time to get together and to think up a new political philosophy that adequately represents them. It's apparent from the fact that New Zealand clings to cannabis prohibition, a policy supported by almost no-one, that the will of the people is not represented by the law enacted by their rulers. This failure to represent the people's will is evidence that democracy has failed and needs to be superceded.
Author vjmpPosted on June 10, 2018 June 10, 2018 Categories conflict, history, new zealand, numbers, pisstake, politics
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Веду́чий (інколи відни́к) — співробітник ЗМІ (не обов'язково штатний), який працює в кадрі на телебаченні (телеведучий) або радіоефірі (радіоведучий), персоніфікуючи інформацію, що йому подають.

Одне з шести амплуа тележурналіста; інші п'ять : репортер, інтерв'юер, коментатор, оглядач, шоумен. Ключове значення в цій професії має досвід (практика), а не теоретична підготовка . Для телеведучих одним з найважливіших параметрів при влаштуванні на роботу є зовнішність. Для ведучих радіопередач — дикція.

Відомі радіоведучі
 Віталій Науменко
 Дмитро Хоркін
 Ірина Славінська
 Тетяна Трощинська
 Наталка Писанка
 Олена Гусейнова
 Людмила Тягнирядно
 Василь Шандро
 Роман Коляда
 Олександр Алфьоров
 Захар Давиденко
 Денис Денисенко
 Андрій Куликов
 Сергій Притула
 Сергій Жадан
 Богдан Амосов

Примітки

Медіапрофесії

redpajama_set_name: RedPajamaWikipedia


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The LB Chronicles
A blog about social, cultural, religious, political and other topics of general interest..
No bogart esa cigarillo mi amigo pasarlo a mí
Dec12 by Dr. Lawrence Burke
The legalization of marijuana in Uruguay and some states within the United States of America raises some important ethical and medical issues. One of the most basic question from within a bio-ethical framework is why would any governmental body or agency legalize a drug which causes harm to our physical, psychological and cognitive wellbeing when we already have alcohol for that purpose? One of the most bandied around arguments for the legislation of marijuana is that it will undermine the illegal drug trade as well as limit the drug trafficking trade carried out by major drug cartels. Given the psychological make-up of the individuals in the criminal cartels it will only be a matter of time before they finance their trade through other illicit activities anyway, so it's hardly a compelling argument.
I think we need to focus more on the effects of marijuana on the human body, mind and spirit to seek a better understanding of why legalizing the drug is a mistake. But first let's take a retrospective look into Aztec culture and how it dealt with illicit drug usage-perhaps there's a lesson here for Mexico's drug cartels and the States and Countries who propose to legalize marijuana?
The Aztecs as a people were fully acquainted with alcohol and its deleterious effects both on the persons who consumed it and on their communities in general. Their Emperor clearly warned his people against drinking alcohol
"That drink which is called octli, is the root and the origin of all evil and of all perdition; for octli and drunkenness are the cause of all the discords and of all the dissension, of all revolt and of all troubles in cities and in realms. It is like the whirlwind that destroys and tears down everything. It is like a malignant storm that brings all evil with it. Before adultery, rape, debauching of girls, incest, theft, crime, cursing and bearing false witness, murmuring, calumny, riots, and brawling, there is always drunkenness. All those things are caused by octli and by drunkenness." (Fresno County Hispanic Commission on Alcohol & Drug Abuse, 2012)
The penalties for drunkenness were severe, especially for young people as they were the future of the community and culture, and often punishments resulted in their death. Now, I'm not advocating such a harsh response for drug usage in the 21st century but simply pointing out that an awareness of the loss of control over the mind, body and spirit to a chemical substance caused deep concern within one ancient cultural community so much that its sanctions against alcohol use and abuse were severe, and perhaps disproportionate if viewed from a revisionist perspective today.
Marijuana on the other hand is a drug which has been around from antiquity and there hasn't been the same harsh historical sanctions on its use. Archeological records of hemp goes back to 8000 BC, it was used for medical purposes in China around 2700 BC, it had a religious use in India around 2000 BC and was used by the Arabs in 1000 AD. The West learned of its bio-chemical activity in the 1800s and in 1937 the United States government introduced a marijuana tax act. In the mid 1990s marijuana was legalized for medical use in California and Arizona (Julien, 2001, p. 203).
However what we do know today about marijuana usage and its powerful pharmacological habit forming effects is sufficient to questions the ethics and standards governments are setting in legalizing the drug. The key chemical substance in marijuana which disturbs the fine tuning of the human body, mind and spirit is tetrahydrocannabinol (THC). This chemical disturbs the natural rhythms in the central nervous system and distorts one's sensory stimulation and ability to perceive reality in real time and space. In other words it creates a kind of fictitious, distorted augmented reality as it travels around disrupting the body's subtle finely tuned neuro- circuitry. It is distributed throughout the various organs of the body too and easily penetrates the blood-brain barrier. It is also known to breach the placenta barrier in pregnant women and new born babies are known to suffer withdrawal symptoms of THC. It is claimed by bio-chemists that users experience a number of physical and psychological experiences while under the influence of the drug, including acute depressive reactions, panic attacks, paranoia, and a loss of mental control (Julien, 2001, p. 204). It's hard to understand why anyone would want to put themselves through such a nightmare scenario and why any government would support them in doing so.
One of the most alarming effects of the drug is on the cognitive, learning and memory functions of our brain, and it is claimed that irreversible damage may occur with heavy use of the drug over an extended period of time. In terms of the affective domains and one's ability to function on a daily basis the evidence suggests that poor routines in daily life including apathy and a lack of motivation are the short term effects of the drug (Julien, 2001, p. 211).
The myth which grew out of the 1960s that marijuana is a harmless drug that promotes and nurtures peace filled and loving feelings is simply not true. I have lived and worked in Papua New Guinea and knew of the 'Rascal Gangs' who got high on marijuana and then robbed, raped and pillaged their way through local and expatriate communities. Marijuana usage may leave one open to future problems too, as is evidenced in the use of the drug amongst adolescents throughout the world where preoccupation with its acquisition and compulsive use of the drug see them drop out of school and college, engage in petty crime while lacking the requisite skills to become free, independent and civil members of their communities and societies.
From a medical perspective marijuana has been known to help cancer and HIV sufferers through stimulating appetite, reducing vomiting and nausea following cancer treatment, and there's further research being undertaken to look at small doses of the drug acting on the peripheral cannabinoid receptors in the heart to help those vulnerable to heart attacks (Julien, 2001, p. 213). But to date there seems to be no validity in the claims that marijuana usage supports immunosuppression as a causative agent in disease control-this is simply a myth.
The legalization of marijuana without regulation is a mistake and can only send its users and the societies whom introduce it as a drug of choice down the slippery slope to further substance abuse, co-dependence and chaos.
Fresno County Hispanic Commission on Alcohol & Drug Abuse. (2012, January 1). The Aztecs and Alcohol. Retrieved from Fresno County Hispanic Commission: http://hispaniccommission.org/index.php/en/the-aztecs-and-alcohol
Julien, R. (2001). A Primer of Drug Action. New York: Henry Holt & Co.
This entry was posted in Current Affairs, Politics, Sociology and tagged blood brain barrier, chemicals, don't bogart that joint my friend pass it over to me, drug addiction, marijuana, substance abuse, Uruguay.
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Harry Potter Retrospective Part VI - "The Half-Blood Prince"
July 13, 2011 by Brian Gill in Movies, Uncategorized
With the end of the "Harry Potter" film franchise quickly approaching, I've decided to dedicate The Soap Box Office to this wonder filled series for the next week. We'll call it the "Harry Potter Retrospective" because I really like the word "retrospective." Each day, I'll briefly take a look at one of the films, compare them to each other (and possibly the books, too), and delve into my personal experience with each. I invite you to join in the discussion as we prepare for the final chapter of Rowling's wizarding world.
SPOILERS AHEAD
"The Half -Blood Prince"
When "Prince" was moved from a late 2008 release date to one in the middle of the 2009 summer, I was furious. Furious, I tell you. One of my fellow Potterites sent out an email on the original release date lamenting the fact that instead of dragging into work that morning after seeing a midnight viewing, she was well rested and better prepared to teach her students. I agreed wholeheartedly. On the flip side, however, the push back allowed "Prince" to be the bookend for my glorious experiment known as The Summer of the Nerd. And what a great bookend it was.
After "Order of the Phoenix", "Half-Blood Prince" is my favorite of Rowling's books. I love the flashbacks, the filling in of Voldemort's past, and the piecing together of the whole Horcrux thing. More importantly, "Prince" fully fleshes out the relationship between Harry and Dumbledore and I truly appreciate that payoff. I think Rowling danced around the dynamic between these two for five books, giving us only a few moments of them actually interacting and leaving us wanting more. With the loss of Sirius, however, Harry is searching out a new father figure and so this book lends itself to the exploration of that pairing. "Prince" jumps directly into that storyline and it is magnificent. It also makes Dumbledore's murder all the more heart-breaking. It's not just about the loss of a great hero which in and of itself would be tough; it's also another thing entirely when you factor in yet another loss for poor Harry who has now experienced the death of his parents, his godfather/surrogate father, and now his mentor and counselor. It is a necessary death; Harry has to be on his own without a safety net in order to take on Voldemort. But you feel the loss and the betrayal in the pages of Rowling's book and that comes through quite well in the film.
In many ways, "Prince" is the best film of the series and it laid the groundwork for the final double volume. David Yates became the first director since Chris Columbus to direct a second "Potter" film and I think that consistency served it well. Cast and crew were also reunited with Steve Kloves after a one-film hiatus that didn't go so well in many ways. Yates and Kloves seemed to work well together and the strength of that partnership only grew in "Deathly Hallows 1" (and I can only assume it will grow further in number two). The overtones again grew darker along with the plot line, giving the proper depth to the subject matter. I find the green wash of the film to be a brilliant touch, allowing Yates to subtly highlight important elements and bringing genuine creepiness to many of the settings. All of the young actors had fully matured by this point and the strength that Radcliffe showed in "Phoenix", practically carrying the movie in places, carries over to "Prince." Even Tom Felton, maybe the worst actor of the main cast, does an excellent job of displaying the extreme duress that Malfoy was under throughout this entire story.
Through strong writing and even stronger acting, "Prince" is able to embrace the atmosphere and emotions of the book. This is, in my opinion, an upgrade in this department from the other films. Harry's isolation turned into hopeful connection with Dumbledore is wonderfully illustrated; the infuriating relationship between Ron and Lavender, and by proxy the relationship between Ron and Hermione is delightful; and Dumbledore's death at the hand of Snape is exactly the gut-punch that it was in the book. Gambon has been ridiculed at times for his portrayal of Dumbledore but between the excruciating scene where he is forced to drink a poison to his simple, "Please" before his execution makes his final 20 minutes of screen time his best in the series. I absolutely love the way "Prince" brought the book to life.
My only complaint is the treatment the rest of the characters get in the final sequences. As I've stated before, I completely understand that when you're adapting a 700 page book, some things must be cut. I get that. What I don't get is cutting scenes that completely change the tone of the film. It INFURIATES me that when Harry and Dumbledore arrive back at Hogwarts, Harry remains hidden from view and doesn't intervene to save his mentor when he has the capability to do so. In the book, Dumbledore petrifies him and prevents him from coming to his aid. That is a much more satisfactory conclusion than having Harry cower in a corner, an action that five films worth of content would suggest he'd never do. Likewise, the exclusion of the battle within the castle between Dumbledore's Army and the Death Eaters is frustrating. Rowling used this scene to illustrate the strength of her other characters, to display that even without Dumbledore and Sirius, Harry was not alone. Leaving this battle out seems out especially when you consider that an entirely new scene, in which Bellatrix Lestrange and Fenrir Greyback attack the Wealey home, is fabricated out of thin air, ostensibly to add a little action to the movie. It's never made any sense to me that Kloves drew up a new scene and then cut out such a dramatic, important sequence from the book.
These issues are the only things that hold "Prince" back from being the best in the series (so far). The acting is outstanding and again the cast improved with the addition of Jim Broadbent; the chemistry between Ron and Hermione develops naturally (and much better than that of Harry and Ginny, by the way); and there are numerous moments of legitimate humor, further proving that these kids have a grasp on comedy and Kloves' ability to write toward that. It is a visually compelling film and it is extremely rewatchable on its own whether you watch the other films before it or not. But man, it's tough to get past those deviations from the book!
Rank in the "Potter" canon: 2nd of 7
July 13, 2011 /Brian Gill
Movies, Uncategorized


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Mafia attacks shopkeeper in Palermo for refusal to pay
Posted by Gangsters Inc. on November 13, 2014 at 10:30am
So much for working in the shadows. Italian authorities have released video images (below) of a vicious attack in broad daylight on a shopkeeper by Mafiosi of the Palermo Noce clan. The shopkeeper, Antonio Vizzi, had refused to pay 3,000 euros in "pizzo," protection money, to the local Mafia family and was beaten as a result.
The man who ordered the attack was Giuseppe Castelluccio, leader of the Noce clan. He had even come to the store personally to demand the protection payment. When Vizzi continued to stand up against the Mafia, Castelluccio sent several of his men to Vizzi's shop to make things "right."
What happened next was caught on tape by the store's surveillance cameras. Vizzi was beaten severely while other mobsters held bystanders at bay. Vizzi's son-in-law came to his father's aid, but was dealt with in similar ruthless fashion and ended up in a coma for two days.
The attack took place on November 2, 2013, but last month, justice was served as Castelluccio was found guilty of attempted murder and extortion and sentenced to 17 years in prison. His henchman, Massimiliano Di Majo, who physically handed out the beating, was sentenced to 16 years behind bars.
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It should not go unnoted here that Finch was unarmed and on his own doorstep when police killed him — with an assault rifle — reportedly because "he was reaching for his waistband." Apparently the officer also "believed he saw a gun come up in Mr Finch's hands." Well, which was it, up or down? Was he reaching for the gun or raising it? Is it common for Wichita police to shoot someone within seconds of them answering the door, without assessing the situation — for instance, where the children are? As is sadly often the case in such shootings, the police are entirely without credibility here, and the officer involved seems to have faced no consequences. Justice seems out of the question, but the family has filed a lawsuit over the matter.
If the police weren't already considered a serious danger to others, swatting wouldn't be a thing. The chance that police will escalate is highly unpredictable, though of course being a person of color adds considerably to that risk, as a fraudulent gun in the call will cause the police to hallucinate weapons with even greater frequency than usual.
The whole case is sad and depressing, from the astonishing pettiness of Barriss and his associates to the total lack of concern over the consequences of his actions — extending, it seems, even to his prison term: he has been in before and attempted to get online and continue his hoax habit even while incarcerated.
Barriss, it seems, is a symptom of internet culture less extreme but as inevitable as the Christchurch killer. All the worst parts about being online rolled into one and given form — and means to kill. Here's hoping we find a way to reverse the trend.


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Music Banter > The Music Forums > Jazz & Blues
Return To Forever - Romantic Warrior (1975)
View Poll Results: How would you rate this album?
Horrible! 0 0%
Bad 0 0%
Mediocre 0 0%
Good 1 14.29%
Very Good 5 71.43%
Brilliant! 1 14.29%
Voters: 7. You may not vote on this poll
Guybrush
Juicious Maximus III
Location: Scabb Island
This thread is for discussing the album Romantic Warrior by jazz fusion group Return to Forever. The album has been homework in the Prog & Fusion Album Club.
Originally Posted by tore
This is a fusion album and arguably the most popular in the Return to Forever discography, the band led by keyboardist Chick Corea who previously played with Miles Davis. The line-up here is incredible, Chick Corea on keyboards, Al Di Meola on guitar, Stanley Clarke on bass and Lenny White on drums. Unlike a lot of the improv-flavoured fusion out there, this album is incredibly composed with complex arrangements played with amazing skill. The production is also damn near-perfect!
Supposedly, after recording it, they figured this was as good as they could get and so this was the last RTF album with that line-up, similar to why Bill Bruford left Yes after Close to the Edge.
I obviously know this one, but I'd like to get to know it even better. You should as well!
So what do you guys think?
In the age of information, ignorance is a choice.
First off, I have to say the production here is immaculate and the musicians, Chick Corea, Stanley Clarke, Al Di Meola and Lenny White do a perfect job. Just about everything, for example Whites drum kit or Meola's acoustic guitar, sounds perfect and they just play so damn tight. It's a world class line-up with a brilliant production and I just love how the album sounds.
The compositions I like the most are Chick Corea's, most notably the title track, The Romantic Warrior. I've had a bit of a love relationship with this song for quite a while now and I think much of it's replayability comes from several levels. First off, it's just a brilliant tune and I just think it's beautiful in parts while really engaging and driving in other parts. As a composition, it perfectly showcases the band and the bass, guitar and piano all get their moments to shine. The song is all acoustic and the playing is just jaw dropping. I just wish I could play guitar like Meola does on this song, I love it. The star of the show for me here is still Corea, though. When his piano part comes on in the later half of the song, he and the band just takes it all to a new jazz-hands inducing level.
I'm not so good at turning feelings into words, but this song is without a doubt my favourite tune put out by any of the 70s fusion greats. It's that brilliant! Here they are performing it live by the way.
The other compositions vary a bit for me although they all easily pass the good mark. I'll leave some discussion of those for later, but for now, suffice to say that while the title track is clearly brilliant, the album as a whole does not quite reach that level for me. I give it a very good which it is definetly deserving of.
clutnuckle
Location: -_-_-_-_~__~-~_-`_`-~_-`-~-~
Although I have no plans to ever listen to it again (it's been probably a year or two since I heard it in full, as I'll usually just play a few tracks here and there), it was a good album for what it was worth. Not something I have a future with, but it's up there. Repetitious at times, but it never borders on offensiveness or tastelessness. You could even say it's kind of 'safe', but not really. Musicianship is airtight.
Lisnaholic
...here to hear...
Location: He lives on Love Street
Unlike for you guys, this was a new album to me and it took me a few plays to get into it, but, as you know, that`s often a good sign. At first the musicianship sounded almost too good, like a cold display of virtuosity. But then I really started to enjoy the precision and interplay of instruments - it`s like they`re playing some kind of musical volleyball, with the musical focus being effortlessly passed around all the time.
For me too, the title track is the standout ; the change to accoustic and the way the tempo lets up for a while is refreshing. I also liked Corea`s synth workout on the Duel track. I haven`t really worked out why, but the first two tracks felt a little weaker to me.
So this gets a "very good" from me too. Will I be playing it again ? Absolutely - it`s an album that has none of those tracks where you think, "Shall I skip this track or endure it ?" All the way through ,there is plenty of beautiful, intricate playing that holds the attention.
PS . I don`t really pick up any connection at all between the music and the cover. Any ideas ?
Originally Posted by Lisnaholic
Haha, it's a bit puzzling
I think the album's wikipedia article stated that medieval imagery and themes was a fad at the time and that they may have been inspired by the likes of medieval themed Rick Wakeman, the keyboard player from the prog band Yes.
The romantic warrior imagery would seem more appropriate for a Gentle Giant album than a Return to Forever one, I think, but at least it makes for a beautiful LP cover!
You`re right, the album cover would suit Gentle Giant better, though thinking about it there is also a really short bit of medieval-sounding music on Romantic Warrior too, in the middle of the Magician track.
Thanks for the live clip, which really shows how Romantic Warrior is put together and how fast Chick Corea could play. Looks like Stanley Clarke is the one really enjoying the song, though.
debaserr
eat the masters
as said before, it showcases immaculate production/instrumentation. it just isn't particularly memorable. my favorite tracks were medieval overture and romantic warrior.
Certified H00d Classic
Location: Bernie Sanders's yacht
Funnily enough, I'm of the opinion that Return To Forever's self-titled debut and Light As A Feather are their strongest albums, though Romantic Warrior is certainly a damn fine album.
Fans of these guys should check out Mr. Hands by Herbie Hancock: now THAT is a jazz-fusion record!
Anteater's 21 Fav Albums Of 2020
Anteater's Daily Tune Roulette
Originally Posted by OccultHawk
I was called upon by the muses for greatness.
Originally Posted by Frownland
I'm bald, ja.
Return to Forever, Jazz & Blues Forum, 18 replies
jackson warrior, Talk Instruments Forum, 1 replies
Best New Romantic?, Pop Forum, 28 replies
die romantic, Song Writing, Lyrics and Poetry Forum, 4 replies


Poems by Neelam Malik | Galaktika Poetike "ATUNIS"
tides of hate and hypocrisy.
A chain of peaceful human hearts .
Live not for personal heights.
Dine with ecstatic elegane in space.
Shall melt to deck the human hearts.
Cleansing the foggy curved clouds.
dancing in the lands of mellowness.


1 And Rechav'am went to Shechem, for to Shechem were kol Yisroel come to make him melech. 2 And it came to pass, when Yarov'am ben Nevat, who was in Mitzrayim, where he fled from the presence of Sh'lomo HaMelech heard it, that Yarov'am returned out of Mitzrayim. 3 And they sent and called him. So Yarov'am and kol Yisroel came and spoke to Rechav'am, saying, 4 Avicha made our ol (yoke) kasheh (difficult, harsh); now therefore ease thou somewhat the grievous avodas Avicha, and his heavy ol (yoke i.e., taxes, T.N. see verse 18) that he put upon us, and we will serve thee. 5 And he said unto them, Shuvu (come back, return) unto me after shloshet yamin. And HaAm departed.
6 And HaMelech Rechav'am took counsel with the Zekenim that had stood before Sh'lomo Avi while he yet lived, saying, What counsel give ye me to return answer to HaAm HaZeh? 7 And they spoke unto him, saying, If thou be kind to HaAm HaZeh, and please them, and speak devarim tovim to them, they will be thy avadim kol hayamim (all the days). 8 But he forsook the Atzat HaZekenim they gave him, and took counsel with the yeladim that were brought up with him, that stood before him. 9 And he said unto them, What advice give ye that we may return answer to HaAm HaZeh, which have spoken to me, saying, Ease somewhat haOl that Avicha did put upon us? 10 And the yeladim that grew up with him spoke unto him, saying, Thus shalt thou answer HaAm that spoke unto thee, saying, Avicha made our ol (yoke) heavy, but make thou it somewhat lighter for us; thus shalt thou say unto them, My little finger is thicker than the loins of Avi. 11 For whereas Avi put an ol kaved (a heavy yoke) upon you, I will add more to your ol (yoke). Avi chastised you with shotim (whips), but I will chastise you with akrabim (scorpions).
16 And when kol Yisroel saw that HaMelech would not pay heed unto them, HaAm answered HaMelech, saying, What chelek have we in Dovid? We have none nachalah in Ben Yishai. Every ish to your ohalim, O Yisroel; and now, Dovid, see to thine own Bais. So kol Yisroel went to their ohalim.
17 But as for the Bnei Yisroel that dwelt in the towns of Yehudah, Rechav'am reigned over them. 18 Then HaMelech Rechav'am sent Hadoram [I Kgs 12:18 "Adoram"] who was over the mas (tax, tribute); and the Bnei Yisroel stoned him with stones, that he died. But HaMelech Rechav'am made speed to get up into his merkavah, to escape to Yerushalayim. 19 And Yisroel rebelled against the Bais Dovid unto Hayom Hazeh.


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WelcomeFamous collectorsVassily Kandinsky
Birth name Wassily Wassilyevich Kandinsky
Born 4 December 1866
Died 13 December 1944 (aged 77)
Wassily Wassilyevich Kandinsky (Russian: Васи́лий Васи́льевич Канди́нский, Vasilij Vasil'evič Kandinskij; 4 December [O.S. 4 December] 1866 – 13 December 1944) was a Russian painter, and art theorist. He is regarded as the founder of abstract art and is, moreover, the chief theoretician of this type of painting.Template:Fact quoted from "Kandinsky" by Burkhard Riemschneider 1994 Benedikt Taschen Verlag GmbH
Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession—he was offered a professorship (chair of Roman Law) at the University of Dorpat—he started painting studies (life-drawing, sketching and anatomy) at the age of 30.
In 1896 he settled in Munich and studied first in the private school of Anton A¸be and then at the Academy of Fine Arts, Munich. He went back to Moscow in 1914 after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944.
Artistic periods
An early period work "Munich-Schwabing with the Church of St. Ursula" (Kandinsky 1908)
Kandinsky's creation of purely abstract work followed a long period of development and maturation of intense theoretical thought based on his personal artistic experiences. He called this devotion to inner beauty, fervor of spirit, and deep spiritual desire inner necessity, which was a central aspect of his art.
Kandinsky learned from a variety of sources life in Moscow. Later in his life, he would recall being fascinated and unusually stimulated by color as a child. The fascination with color symbolism and psychology continued as he grew. In 1889 he was part of an ethnographic research group that travelled to the Vologda region north of Moscow. In Looks on the Past he relates that the houses and churches were decorated with such shimmering colors that, upon entering them, he had the impression that he was moving into a painting. The experience and his study of the folk art in the region, in particular the use of bright colors on a dark background, was reflected in much his early work. A few years later, he first related the act of painting to creating music in the manner for which he would later become noted and wrote, "Color is the keyboard, the eyes are the hammer, the soul is the piano with the strings."
It was not until 1896, at the age of 30, that Kandinsky gave up a promising career teaching law and economics to enroll in art school in Munich. He was not immediately granted admission in Munich and began learning art on his own. Also in 1896, prior to leaving Moscow, he saw an exhibit of paintings by Monet and was particularly taken with the famous impressionistic Haystacks which, to him, had a powerful sense of color almost independent of the objects themselves. Later he would write about this experience:
" That it was a haystack the catalogue informed me. I could not recognize it. This non-recognition was painful to me. I considered that the painter had no right to paint indistinctly. I dully felt that the object of the painting was missing. And I noticed with surprise and confusion that the picture not only gripped me, but impressed itself ineradicably on my memory. Painting took on a fairy-tale power and splendour. "
He was similarly influenced during this period by Richard Wagner's Lohengrin which, he felt, pushed the limits of music and melody beyond standard lyricism.
Kandinsky was also spiritually influenced by H. P. Blavatsky (1831–1891), the most important exponent of Theosophy in modern times. Theosophical theory postulates that creation is a geometrical progression, beginning with a single point. The creative aspect of the forms is expressed by the descending series of circles, triangles, and squares. Kandinsky's book Concerning the Spiritual In Art (1910) and Point and Line to Plane (1926) echoed this basic Theosophical tenet.
[edit] Artistic metamorphosis (1896–1911)
Kandinsky's Der Blaue Reiter (1903).
Kandinsky's time at art school, typically considered difficult to get through, was eased by the fact that he was older and more settled than the other students. It was during this time that he began to emerge as a true art theorist in addition to being a painter. The number of existing paintings increased at the beginning of the 20th century and much remains of the many landscapes and towns that he painted, using broad swathes of color but recognizable forms. For the most part, however, Kandinsky's paintings did not emphasize any human figures. An exception is Sunday, Old Russia (1904) where Kandinsky recreates a highly colorful (and fanciful) view of peasants and nobles before the walls of a town. Riding Couple (1907) depicts a man on horseback, holding a woman with tenderness and care as they ride past a Russian town with luminous walls across a river. Yet the horse is muted, while the leaves in the trees, the town, and the reflections in the river glisten with spots of color and brightness. The work shows the influence of pointillism in the way the depth of field is collapsed into a flat luminescent surface. Fauvism is also apparent in these early works. Colors are used to express the artist's experience of subject matter, not to describe objective nature.
Perhaps the most important of Kandinsky's paintings from the first decade of the 1900s was The Blue Rider (1903), which shows a small cloaked figure on a speeding horse rushing through a rocky meadow. The rider's cloak is a medium blue, and the shadow cast is a darker blue. In the foreground are more amorphous blue shadows, presumably the counterparts of the fall trees in the background. The Blue Rider in the painting is prominent, but not clearly defined, and the horse has an unnatural gait (which Kandinsky must have known). Indeed, some believe that a second figure, a child perhaps, is being held by the rider, though this could just as easily be another shadow from a solitary rider. This type of intentional disjunction, allowing viewers to participate in the creation of the artwork, would become an increasingly conscious technique used by Kandinsky in subsequent years, culminating in the (often nominally) abstract works of the 1911–1914 period. In The Blue Rider Kandinsky shows the rider more as a series of colors than of specific details. In and of itself, The Blue Rider is not exceptional in that regard when compared to contemporary painters, but it does show the direction that Kandinsky would take only a few years later.
From 1906 to 1908 Kandinsky spent a great deal of time travelling across Europe, (he was an associate of the Blue Rose symbolist group of Moscow) until he settled in the small Bavarian town of Murnau. The Blue Mountain (1908–1909) was painted at this time and shows more of his trend towards pure abstraction. A mountain of blue is flanked by two broad trees, one yellow and one red. A procession of some sort with three riders and several others crosses at the bottom. The faces, clothing, and saddles of the riders are each a single color, and neither they nor the walking figures display any real detail. The flat planes and the contours also are indicative of some influences by the Fauvists. The broad use of color in The Blue Mountain, illustrates Kandinsky's move towards an art in which color is presented independently of form, and which each color is given equal attention. The composition has also become more planar, as it seems that the painting itself is divided into four sections- the sky, the red tree, the yellow tree, and the blue mountain containing the three riders
In his own words, "Composition VII" was the most complex piece he ever painted (Kandinsky 1913)
The Blue Rider (1911–1914)
The paintings of this period are composed of large and very expressive colored masses evaluated independently from forms and lines which serve no longer to delimit them but are superimposed and overlap in a very free way to form paintings of an extraordinary force.
The influence of music has been very important on the birth of abstract art, as it is abstract by nature—it does not try to represent the exterior world but rather to express in an immediate way the inner feelings of the human soul. Kandinsky sometimes used musical terms to designate his works; he called many of his most spontaneous paintings "improvisations", while he entitled more elaborated works "compositions".
In addition to painting Kandinsky developed his voice as an art theorist. In fact, Kandinsky's influence on the history of Western art stems perhaps more from his theoretical works than from his paintings. He helped to found the Neue Künstlervereinigung München (New Artists' Association) and became its president in 1909. The group was unable to integrate the more radical approach of those like Kandinsky with more conventional ideas of art and the group dissolved in late 1911. Kandinsky then moved to form a new group The Blue Rider (Der Blaue Reiter) with like minded artists such as August Macke and Franz Marc. The group released an almanac, called The Blue Rider Almanac, and held two exhibits. More of each were planned, but the outbreak of World War I in 1914 ended these plans and sent Kandinsky home to Russia via Switzerland and Sweden.
Kandinsky's writing in The Blue Rider Almanac and the treatise On the Spiritual In Art, which was released at almost the same time, served as both a defense and promotion of abstract art, as well as an appraisal that all forms of art were equally capable of reaching a level of spirituality. He believed that color could be used in a painting as something autonomous and apart from a visual description of an object or other form.
[edit] Return to Russia (1914–1921)
" The sun melts all of Moscow down to a single spot that, like a mad tuba, starts all of the heart and all of the soul vibrating. But no, this uniformity of red is not the most beautiful hour. It is only the final chord of a symphony that takes every color to the zenith of life that, like the fortissimo of a great orchestra, is both compelled and allowed by Moscow to ring out. "
Through the years 1918 to 1921, Kandinsky dealt with the cultural development politics of Russia and collaborated in the domains of art pedagogy and museum reforms. He devoted his time to artistic teaching with a program based on form and color analysis, as well as participating in the organization of the Institute of Artistic Culture in Moscow. He painted little during this period. In 1916 he met Nina Andreievskaia, who in the following year became his wife. His spiritual, expressionistic view of art was ultimately rejected by the more radical members of the Institute as too individualistic and bourgeois. In 1921 Kandinsky received the mission to go to Germany to attend the Bauhaus of Weimar, on the invitation of its founder, the architect Walter Gropius.
The Bauhaus (1922–1933)
The Bauhaus was an innovative architecture and art school whose objectives included the merging of plastic arts with applied arts, reflected in its teaching methods based on the theoretical and practical application of the plastic arts synthesis. Kandinsky taught the basic design class for beginners, the course on advanced theory as well as conducting painting classes and a workshop where he completed his colour theory with new elements of form psychology. The development of his works on forms study, particularly on point and different forms of lines, lead to the publication of his second major theoretical book Point and Line to Plane in 1926.
Geometrical elements took on increasing importance in his teaching as well as in his painting, particularly circle, half-circle, the angle, straight lines and curves. This period was a period of intense production. The freedom of which is characterised in each of his works by the treatment of planes rich in colors and magnificent gradations as in the painting Yellow – red – blue (1925), where Kandinsky shows his distance from constructivism and suprematism movements whose influence was increasing at this time.
The large two meter width painting that is Yellow – red – blue (1925) consists of a number of main forms: a vertical yellow rectangle, a slightly inclined red cross and a large dark blue circle, while a multitude of straight black or sinuous lines, arcs of circles, monochromatic circles and scattering of colored checkerboards contribute to its delicate complexity. This simple visual identification of forms and of the main colored masses present on the canvas only corresponds to a first approach of the inner reality of the work whose right appreciation necessitates a much deeper observation—not only of forms and colors involved in the painting, but also of their relation, their absolute position and their relative disposition on the canvas, of their whole and reciprocal harmony.
Kandinsky was one of Die Blaue Vier (Blue Four), with Klee, Feininger and von Jawlensky formed in 1923. They lectured and exhibited together in the USA in 1924.
In front of the hostility of the political parties of the right, the Bauhaus left Weimar and settled in Dessau from 1925. Following a fierce slander campaign from the Nazis, the Bauhaus closed at Dessau in 1932. The school pursued its activities in Berlin until its dissolution in July 1933. Kandinsky then left Germany and settled in Paris.
Composition X, painted during WWII. (Kandinsky 1939)
The great synthesis (1934–1944)
In Paris he was quite isolated since abstract painting—particularly geometric abstract painting—was not recognized, the artistic fashions being mainly Impressionism and cubism. Kandinsky lived in a small apartment and created his work in a studio constructed in the living room. Biomorphic forms with supple and non-geometric outlines appear in his paintings; forms which suggest externally microscopic organisms but which always express the artist's inner life. He used original colour compositions which evoke Slavonic popular art and which are similar to precious watermark works. He also occasionally mixed sand with paint to give a granular texture to his paintings.
This period corresponds, in fact, to a vast synthesis of his previous work, of which he used all elements, even enriching them. In 1936 and 1939 he painted his two last major compositions; canvases particularly elaborate and slowly ripped that he hadn't produced for many years. Composition IX is a painting with highly contrasted powerful diagonals and whose central form give the impression of a human embryo in the womb. The small squares of colors and the colored bands seem to stand out against the black background of Composition X, as stars' fragments or filaments, while enigmatic hieroglyphs with pastel tones cover the large maroon mass, which seems to float in the upper left corner of the canvas.
In Kandinsky's work, some characteristics are obvious while certain touches are more discrete and veiled; that is to say they reveal themselves only progressively to those who make the effort to deepen their connection with his work. He intended his forms, which he subtly harmonized and placed, to resonate with the observer's own soul.
Kandinsky's conception of art
The artist as prophet
Writing that "music is the ultimate teacher," Kandinsky embarked upon the first seven of his ten Compositions. The first three survive only in black-and-white photographs taken by fellow artist and friend, Gabriele Münter. While studies, sketches, and improvisations exist (particularly of Composition II), a Nazi raid on the Bauhaus in the 1930s resulted in the confiscation of Kandinsky's first three Compositions. They were displayed in the State-sponsored exhibit "Degenerate Art" then destroyed along with works by Paul Klee, Franz Marc and other modern artists.
Influenced by Theosophy and the perception of a coming New Age, a common theme among Kandinsky's first seven Compositions is the Apocalypse, or the end of the world as we know it. Writing of the "artist as prophet" in his book, Concerning the Spiritual In Art, Kandinsky created paintings in the years immediately preceding World War I showing a coming cataclysm which would alter individual and social reality. Raised an Orthodox Christian, Kandinsky drew upon the Jewish and Christian stories of Noah's Ark, Jonah and the whale, Christ's Anastasis and Resurrection, the Four Horsemen of the Apocalypse in the Revelation, various Russian folk tales, and the common mythological experiences of death and rebirth. Never attempting to picture any one of these stories as a narrative, he used their veiled imagery as symbols of the archetypes of death / rebirth and destruction / creation he felt were imminent to the pre-World War I world.
As he stated in Concerning the Spiritual In Art (see below), Kandinsky felt that an authentic artist creating art from "an internal necessity" inhabits the tip of an upward moving triangle. This progressing triangle is penetrating and proceeding into tomorrow. Accordingly, what was odd or inconceivable yesterday is commonplace today; what is avant garde today (and understood only by the few) is standard tomorrow. The modern artist/prophet stands lonely at the tip of this triangle making new discoveries and ushering in tomorrow's reality. Kandinsky had become aware of recent developments in sciences, as well as the advances of modern artists who had contributed to radically new ways of seeing and experiencing the world.
Composition IV and subsequent paintings are primarily concerned with evoking a spiritual resonance in viewer and artist. As in his painting of the apocalypse by water (Composition VI), Kandinsky puts the viewer in the situation of experiencing these epic myths by translating them into contemporary terms along with requisite senses of desperation, flurry, urgency, and confusion. This spiritual communion of viewer-painting-artist/prophet is ineffable but may be described to the limits of words and images.
Artistic and spiritual theoretician
As the Der Blaue Reiter Almanac essays and theorizing with composer Arnold Schoenberg indicate, Kandinsky also expressed this communion between artist and viewer as being simultaneously available to the various sense faculties as well as to the intellect (synesthesia). Hearing tones and chords as he painted, Kandinsky theorized that, for examples, yellow is the color of middle-C on a piano, a brassy trumpet blast; black is the color of closure and the ends of things; and that combinations and associations of colors produce vibrational frequencies akin to chords played on a piano. Kandinsky also developed an intricate theory of geometric figures and their relationships, claiming, for example, that the circle is the most peaceful shape and represents the human soul. These theories are set forth in Point and Line to Plane (see below).
During the months of studies Kandinsky made in preparation for Composition IV he became exhausted while working on a painting and went for a walk. In the meantime, Gabriele Münter tidied his studio and inadvertently turned his canvas on its side. Upon returning and seeing the canvas—yet not identifying it—Kandinsky fell to his knees and wept, saying it was the most beautiful painting he had seen. He had been liberated from attachment to the object. As when he first viewed Monet's Haystacks, the experience would change his life and the history of Western art.
In another event with Münter during the Bavarian Abstract Expressionist years, Kandinsky was working on his Composition VI. From nearly six months of study and preparation, he had intended the work to evoke a flood, baptism, destruction, and rebirth simultaneously. After outlining the work on a mural-sized wood panel, he became blocked and could not go on. Münter told him that he was trapped in his intellect and not reaching the true subject of the picture. She suggested he simply repeat the word "uberflut" ("deluge" or "flood") and focus on its sound rather than its meaning. Repeating this word like a mantra, Kandinsky painted and completed the monumental work in only a three-day span.
Theoretical writings on art
The analysis made by Kandinsky on forms and on colors doesn't result from simple arbitrary ideas associations, but from the inner experience of the painter, who has passed years creating abstract paintings of an incredible sensorial richness, working on forms and with colors, observing for a long time and tirelessly his own paintings and those of other artists, noting simply their subjective effect on the very high sensibility to colors of his artist and poet soul.
So it is a purely subjective form of experience that everyone can do and repeat taking the time to look at his paintings and letting acting the forms and the colors on his own living sensibility. These are not scientific and objective observations, but inner observations radically subjective and purely phenomenological which is a matter of what the French philosopher Michel Henry calls the absolute subjectivity or the absolute phenomenological life.
Concerning the Spiritual in Art
Originally published in 1911, Kandinsky compares the spiritual life of humanity to a large triangle similar to a pyramid; the artist has the task and the mission of leading others to the top by the exercise of his talent. The point of the triangle is constituted only by some individuals who bring the sublime bread to other people. It is a spiritual triangle which moves forward and rises slowly, even if it sometimes remains immobile. During decadent periods, souls fall to the bottom of the Triangle and men only search for the external success and ignore purely spiritual forces.
When we look at colours on the painter's palette, a double effect happens: a purely physical effect on the eye, charmed by the beauty of colors firstly, which provokes a joyful impression as when we eat a delicacy. But this effect can be much deeper and causes an emotion and a vibration of the soul, or an inner resonance, which is a purely spiritual effect, by which the color touches the soul itself.
The inner necessity is for Kandinsky the principle of the art and the foundation of forms and colors' harmony. He defines it as the principle of the efficient contact of the form with the human soul. Every form is the delimitation of a surface by another one; it possesses an inner content which is the effect it produces on the one who looks at it attentively. This inner necessity is the right of the artist to an unlimited freedom, but this freedom becomes a crime if it is not founded on such a necessity. The art work is born from the inner necessity of the artist in a mysterious, enigmatic and mystic way, and then it acquires an autonomous life; it becomes an independent subject animated by a spiritual breath.
The first obvious properties we can see when we look at isolated color and let it act alone; it is on one side the warmth or the coldness of the colored tone, and on the other side the clarity or the obscurity of the tone.
The warmth is a tendency to yellow, and the coldness is a tendency to blue. The yellow and the blue form the first big contrast, which is dynamic. The yellow possesses an eccentric movement and the blue a concentric movement; a yellow surface seems to get closer to us, while a blue surface seems to move away. The yellow is the typically terrestrial color whose violence can be painful and aggressive. The blue is the typically celestial color which evokes a deep calm. The mixing of blue with yellow gives the total immobility and the calm, the green.
Clarity is a tendency to the white and obscurity is a tendency to the black. The white and the black form the second big contrast, which is static. The white acts like a deep and absolute silence full of possibilities. The black is a nothingness without possibility, which is an eternal silence without hope, and corresponds to death. That's why any other color resonates so strongly on its neighbors. The mixing of white with black leads to gray, which possesses no active force and whose affective tonality is near that of green. The gray corresponds to immobility without hope; it tends to despair when it becomes dark and regains little hope when it lightens.
The red is a warmth color, very living, lively and agitated, it possesses an immense force, it is a movement in oneself. Mixed with black, it leads to brown which is a hard color. Mixed with yellow, it gains in warmth and gives the orange which possesses an irradiating movement on the surroundings. When red is mixed with blue, it moves away from man to give the purple, which is cooled red. The red and the green form the third big contrast, while the orange and the purple form the fourth one.
Point and line to plane
Kandinsky analyses in his writings the geometrical elements which compose every painting, namely the point and the line, as well as the physical support and the material surface on which the artist draws or paints and which he calls the basic plane or BP. He doesn't analyze them on an objective and exterior point of view, but on the point of view of their inner effect on the living subjectivity of the observer who looks at them and lets them act on his sensibility.
The point is, in practice, a small stain of color put by the artist on the canvas. So the point used by the painter is not a geometric point, it is not a mathematical abstraction, it possesses a certain extension, a form and a color. This form can be a square, a triangle, a circle, like a star or even more complex. The point is the most concise form, but according to its placement on the basic plane it will take a different tonality. It can be alone and isolated or put in resonance with other points or lines.
The line is the product of a force. It is a point on which a living force has been applied in a given direction, the force applied on the pencil or on the paint brush by the hand of the artist. The produced linear forms can be of several types: a straight line, which results from a unique force applied in a single direction, an angular line, which results from the alternation of two forces with different directions, or a curved or wave-like line produced by the effect of two forces acting simultaneously. A plane can be obtained by condensation, from a line rotated around one of its ends.
The subjective effect produced by a line depends on its orientation: the horizontal line corresponds to the ground, on which man rests and moves; it possesses a dark and cold affective tonality similar with black or blue. The vertical line corresponds to height which offers no support; it possesses a luminous and warm tonality close to white and yellow. A diagonal possesses by consequence a more or less warm or cold tonality according to its inclination according to the horizontal and to the vertical.
A force which deploys itself without obstacle as the one which produces a straight line corresponds to lyricism, while several forces which confront or annoy each other form a drama. The angle formed by the angular line possesses as well an inner sonority which is warm and close to yellow for an acute angle (triangle), cold and similar to blue for an obtuse angle (circle) and similar to red for a right angle (square).
The basic plane is, in general, rectangular or square, thus it is composed of horizontal and vertical lines which delimit it and define it as an autonomous entity which serves as support to the painting, communicating its affective tonality. This tonality is determined by the relative importance of horizontal and vertical lines, the horizontals giving a calm and cold tonality to the basic plane, while the verticals give it a calm and warm tonality. The artist possesses the intuition of this inner effect of the canvas format and dimensions, which he chooses according to the tonality he wants to give to his work. Kandinsky even considers the basic plane as a living being that the artist "fertilizes" and of which he feels the "breathing".
Every part of the basic plane possesses a proper affective coloration which influences the tonality of the pictorial elements that will be drawn on it, and which contributes to the richness of the composition which results from their juxtaposition on the canvas. The above of the basic plane corresponds to the looseness and to lightness, while the below evokes the condensation and heaviness. The work of the painter is to listen and to know these effects in order to produce paintings which are not just the effect of a random process, but the fruit of an authentic work and the result of an effort toward the inner beauty.
Quotations on Kandinsky
* "[Kandinsky] has not only produced a work whose sensorial magnificence and invention richness eclipses those of its most remarkable contemporaries; he has given moreover an explicit theory of abstract painting, exposing its principles with the highest precision and the highest clarity. In this way the painted work is coupled with an ensemble of texts that enlighten it and that make at the same time of Kandinsky one of the major theorists of the art." (Michel Henry, Seeing the invisible, on Kandinsky)
* "Kandinsky has been fascinated by the expression power of linear forms. The pathos of a force entering in action and whose victorious effort is annoyed by no obstacle, that's lyricism. That's because the straight line proceeds from the action of a unique force with no opposition that its domain is lyricism. When on the opposite two forces are in presence and enter in conflict, as this is the case with the curve or with the angular line, we are in the drama." (Michel Henry, Seeing the invisible, on Kandinsky)
* "Kandinsky calls abstract the content that painting must express, that's to say this invisible life that we are. In such a way that the Kandinskian equation, to which we have alluded to, can be written in reality as follows : Interior = interiority = invisible = life = pathos = abstract." (Michel Henry, Seeing the invisible, on Kandinsky).


New Delhi: HRD Minister Prakash Javadekar clarified to Rajya Sabha on Tuesday that the government had no plans to remove Rabindranath Tagore from school textbooks. The issue was raised by TMC MP Derek O'Brien during the Zero Hour, to which Javadekar said the government respected Tagore and all others who had contributed to the freedom and literature of the country.
"We hail everybody and nothing will be removed," he said. Javadekar said for NCERT books, teachers and others have been asked to give suggestions to correct or remove "any factual errors" in textbooks. Naresh Agarwal (SP) said the Nyas has also suggested the removal of Urdu words and Mirza Ghalib from the textbooks.
As many as 7000 suggestions have been received, Javadekar said. "We will not do anything which will create some problem." Raising the issue, O'Brien said the HRD Ministry had called for suggestions and one of the suggestions from RSS-affiliated Shiksha Sanskriti Utthan Nyas was to remove Tagore's works and references from the syllabus. "Rabindranath Tagore does not need a certificate from anybody," he said and asked the minister to disassociate from the Nyas.
After the minister's statement, O'Brien walked up to Javadekar to present to him three books on Tagore for his reading. During the Zero Hour, D Raja (CPI) raised the issue of thousands of college and university teachers staging a demonstration in the national capital to protest the government "apathy" regarding the education sector.
UGC and AICTE are under a cloud of uncertainty and there are fears of they are being dismantled and replaced, he said, adding this was an attempt to "bureaucratise, centralise and commercialise education".


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