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ZEAHORSE
USA Tour: Part 2
During our two week stint in LA we had a couple of quick little side trips - one out east into Arizona and one down south to San Diego. The first of the two was for a gig in Tucson. But we had a gig back in Long Beach (LA) booked for the following night... so it turned out to be a brutal one night road trip across the dessert.
Cactus rule.
Two 8-hour days on the road with gigs each night will make any man turn feral.
We played at a place called Solar Culture in downtown Tucson, a really cool venue/art space. And at the end of the night Steve, the old tripper who owned the joint, showed us his psychedelic palace next door, complete with multiple tripping caves. Which were hand-built mind you.
Trip Cave 1
I can't remember his exact words, but he said something along the lines of, "Yeah, we eat our cactus and then crawl into one of the tripping rooms and play didgeridoo". I couldn't quite tell if he was serious, or if he was trying to make an Australian joke... he was pretty stoned at the time.
The second side mission out of LA was for a gig in San Diego. This little trip is worth a mention because San Diego was where we had the best burger of the whole trip. And we ate a LOT of burgers, so this was something pretty special. Shout out to the Snack Shack for their out of control Triple Threat Pork Burger. Good lord, I'm getting wet just thinking about it (in my mouth, ya sicko).
Oh and we played an awesome show while we were there too... although apparently we were plan B for that Tuesday night in San Diego.
Surprised they even knew we were coming to town really.
So after a couple of weeks in the LA heat, we were pretty keen to get out of the city and get on the road northwards. First stop was San Francisco. We had a couple of days to spend in San Fran so we did a bunch of touristy shit like go to Pier 39, look at the seals, eat clam chowder, gaze over at Alcatraz, and crossed the Golden Gate Bridge.
Dork.
Also hit a pretty bangin park which had a butt load of squirrels in it, which to us was an amazing novelty. Cute little bastards, gotta be up there as the most loveable rodent.
"Nature wank anyone?"
Had a great gig in San Fran too at an awesome venue called Thee Parkside. Played with a local band Blood Sister, who turned out to be one of my favourite for the whole tour. Well worth checking them out.
And that's enough for now, next post we will continue up the coast to the Pacific Northwest and beyond. Thanks for reading ya'll. Hope you're having a banger.
Love Zeahorse xx
Posted by ZEAHORSE at 22:46 1 comment:
Ok, so the recount of our USA tour finally begins. I will try my best not to drag it out for too long and just concentrate on the best bits… but a lot of you guys helped fund this tour, so I'll try make sure you get your moneys worth too.
So let me start with Day 1 cause it was a bloody doozey. It was a baptism by fire, almost literally… we landed in a fucking heat wave. The entire two weeks we spent in Los Angeles the temp was pushing 40 friggin degrees Celsius plus. We went straight from the airport, jet lagged as fuck, to pick up our hire van. We dubbed the van "Sauso", cause she was long and sausage roll shaped. And boy were we stingin for a sausage roll by the end of the trip, crikey! Americans knows how to do deliciously bad road food EXCEPT for savoury baked goods.
(Jugs 4 Lyfe)
So anyhoo, after we'd acquired our road hog, we immediately set out on an almighty gear hunt to find an entire backline we could take around the country with us. I almost got shot in a pawn store for walking behind the counter, an innocent mistake I thought, but apparently the penalty for this is being blasted with a shot gun, of which they had two next to the register. Luckily for me they realised I was just a harmless, funny-sounding, dumb Australian. We were off to a good start.
(Our backline crammed into Sauso. The boys are lookin pretty chuffed with their work.)
After running around in the heat all day...
("Get fucked it's hot.")
...we were bloody exhausted and decided to find a place to crash for the night. The cheapest place we could find was a nice sounding motel in Inglewood (nice sounding on Trip Advisor anyway). Little did we know that Inglewood was a gnarly ghetto right next door to Compton. But being four innocent white boys from Australia we didn't know any better. Shit got pretty real all of a sudden when we walked around the neighbourhood later that night to find some dinner. Within a hundred meters from the motel we'd already encountered a pimp and his (white) ho, dealers slingin crack, and Latino gangsters complete with authentic crip walk and mean ass neck tatts. Morgs even busted in on some dude in the toilets doing the drugs he'd just acquired from out the front of the Japanese take away joint we were in. Ha! It was pretty damn obvious that we weren't locals. But we managed to avoid any trouble and quickly retreated back to the motel room, not daring to resurface till morning.
Day 2 was also pretty special because we played our first gig. Which just happened to be 4 hours north of LA in town called Fresno, the meth capital of America. Bizarre place for our first gig, and that's exactly the vibe we got from the place when we got there, strange. Luckily for us the people that organised the show were the nicest bunch of people you could hope to meet. We played at Peeve's Public House with Midwest Moms and Space Apes. Afterwards we got on the American tins! Crashed at the Midwest Moms place, and slept on the floor with the cockroaches. Big ups to Ryan and the others for their hospitality and for making our first gig experience in America a good one.
So next day we missioned back to LA, hung over AND jet lagged as fuck. Oh and hot as fuck too. We had another gig that night but this time in Murrieta, an hour or so south of LA, another slightly strange spot for a gig. We played at this place called The Dial, a really cool DIY space in the middle of nowhere. We were in the van kinda lost in some sort of industrial/business district with not a sole to be seen, until all of a sudden we turned a corner and were greeted by a sea of underage high school kids. We were a bit uneasy at first, feeling like a bunch of Rolf bloody Harris peddos, but all the teeny boppers went absolutely skitz when we played, so it turned out really well.
(The Dial)
They were definitely the two best and most interesting gigs of the first week or so. The shows we played in the actual city of LA were nothing special, so I'll spare you the details. I'm already at risk of this dragging out into a marathon saga of epic proportion. The next instalment will deal with our quick side trip into Arizona and our journey up the coast to the Pacific Norwest.
(Our best pal in LA, the Liquor Clown.)
Oh, and to those still waiting for pozible mail-outs, please know that they are not far off! We're really sorry for the delay, there's been a bunch of reasons for the hold up, but I'm not about to start whinging about them now. So rest assured, your goods will arrive soon. Thanks for being patient with us.
Posted by ZEAHORSE at 18:33 No comments:
USA Tour: Prologue
We've returned from the northern hemisphere, a place where the moon is up-side-down and they measure things in strange quantities like gallons and hogs heads. Which for a place with some very sensible metric ideas, such as organising the streets into blocks and labelling them by numbers, is like a bizarre ride at the contradiction carnival. BUT alas, this blog post is NOT about our wacky adventures in the land of the free, but just a little something to whet your appetite, the real dirt/gold (depends how you look at it) will be revealed over the coming weeks. This is also a chance to give a shout out to all of you who helped make our trip a reality.
So let me try and explain the weeks leading up to our departure. The idea was to play a run of shows around Sydney to raise some funds and to get gig-ready. It started with a show at Mona Pub on a Friday night with Coffin and our good buddies Milt. We hadn't played a show for a few months, so this was a slightly strange one to come back with, but man oh man the beaches boys go hard! I've got a very special memory of about a dozen long-haired surf rats in the front row head banging in effortless unison. Beautiful salty, golden locks of hair flailing in time with our high-voltage rock moves (HA!); so perfect it had an almost choreographed feel.
The next show was the very next night, our fundraiser show at Sashimi warehouse in Marrickville. A very special night for us. Firstly what a great venue, it was the perfect place for us to have our fundraiser and the turn out we got for it was extremely humbling. I'd like to thank everyone who came out to that show, it was a really special moment for us and hands down one of our best shows ever. Not only did we play with some of our favourite local bands, Ok Cocaine, The Nuclear Family, and Reckless Vagina, but it was a real tear-jerker moment to be in a room full of people and feel so supported by our home town. It really meant a lot to have our Sydney faithful show up and help us fuel the adventure we were about to embark on. Our good buddy Jack made a film clip with footage from that night, so post comments on facebook until someone puts it up.
The following weekend we played in Woolongong, our first time in The Gong. We were deflowered at Rad Café & Bar with Hound, Miners, and The Nuclear Family. Solid line-up. And kudos to The Gong locals for what was a good turn out and a fun show. Then the next night we were at Brighton Up Bar for the 1am slot. It was our last show before leaving for the states and was a good vibe to finish on. The vibe was so good we got half naked for half a set of skinny white-boy ghost rock (there may or may not be footage of this on you tube, ladies).
And that was it, we were ready. We'd had a good run of shows leading up to our departure, were gig hardened, had raised some funds and were ready to unleash our sausage-roll rock upon North America. And although we hit a few minor snags with our visa processing (and by minor I mean hugely expensive and time wasting) which somewhat squashed our momentum, we were super pumped to begin our adventure.
So we'd like to express our most heart felt "good on ya cobber!" to everyone who supported us. As I'm sure everyone knows, we ran a successful crowd funding campaign before we left, which we can't thank everyone enough for. We felt so loved and supported it was overwhelming, so THANKS!!! We love you all. Your treats and goodie-bags will be dispersed soon. And stayed tuned for the next post which will actually be about the USA tour, none of this pre-trip fluff.
xx Zeahorse
FUEL THE DREAM
So as most of you have probably already noticed, we've been flogging our pozible campaign like there's no tomorrow…
http://www.pozible.com/project/183692
But that's mainly because we're f**king touring AMERICA!! And we couldn't be more excited. So before I give the pozible campaign another shameless plug, let me first try to paint a picture of where we're at in terms of the tour plan.
So first of all, our flights are booked. We're leaving on September 2nd. We land in Los Angeles where the plan is to buy tour necessities; a bunch of amps and a hire van. Then the tour begins… we're basically doing a giant Z across the country. Quite fitting really.
We'll firstly make our way up the west coast to Seattle, then head South-East(ish) to Houston, then up to Chicago, before finally heading to New York and the east coast - with about a million shows in-between. Ok, more like 40 shows, but we'll still be covering A LOT of ground, and be putting A LOT of k's under the belt (well, miles technically). Pretty much gonna go something like, play a show, get in the van, drive to the next town, play a show, get in the van, etc. By the end of the tour our bodies, minds, gentle spirits and supple wallets will all be trembling… And we can't wait! It's going to be the time of our lives; we're all really excited.
BUT (cue shameless plug) we need a bit of a helping hand financially. Because after purchasing flights, back-line and a van (not to mention visas and other expensive bureaucratic shit), our collective bank accounts will have taken a relentless and unholy pounding. Albeit an awesome one, cause we're going to get an amazing experience out of it. We're not whinging about getting pounded, after all we're choosing to get pounded. We're just hoping that you guys will help soften the poundage. Which is where our pozible campaign comes in.
It's actually really cool to see all our buddies helping us out by chipping in what they can; it gives us a real sense of community. People we know and love (and some people we don't know) are coming together to collectively support us by providing the financial assistance we need to make this dream of ours come true. It's really quite amazing, and we thank everyone who has helped us out thus far. You're all fair dinkum true-blue bloody LEGENDS!
And it's not like you'll get nothing in return for your hard earned cash. You'll receive one of our awesome gifts in exchange for your precious money. So dig deep people and you will be rewarded!
Please find the link below:
Thanks again everyone, we love you all.
Shit Yeah!
After 192 grogs, 4 bottles of whiskey, 30 vallium and dozens of doobies, we've returned from the mountains with a bunch of demos for our next album.
Arguably the greatest week of all time, it had been a while since we'd spent a solid amount of time together writing new songs, so it was a liberating week for us all. And thankfully we've come back with something to show for it, apart from a steep decline in health and some well toasted buns (see below).
The week was spent in the beautiful Blue Mountains, in a shack in the middle of the nowhere surrounded by the serene bush of Megalong Valley.
It was a week full of mountain antics and anal burns. If anyone can correctly guess who these flaming buns belong to you will win the ultimate prize of becoming Zeahorse's official arse health & safety officer. You will have the opportunity to maintain the extremely high standard of well being of our combined arses. Does it get any better than that? As Jesus once said, "No".
But now we're really looking forward to recording these new songs sometime around the end of winter. So we'll keep ya'll posted as we progress towards the next release.
In more immediate news, we've got a few shows coming up really soon that we're super pumped for cause it's been a while since we've played.
We're playing this weekend at VISIONS (@ the Standard Bowl, Sydney) which is gonna be a banger! Plus it's FREE, so no excuses not to come along.
Then we're headed to Melbourne and are playing at The Public Bar with Wicked City, Worm Crown and Teenage Libido. Can you say, "SOLID LINE-UP!"? God damn!! Gonna be awesome.
And we've got a few records left from the first pressing of our LP "Pools" that we'll be selling at both shows, so get 'em while they're still around.
See ya'll soon!!
We're headed up to the mountains ya'll!!! And while this might not sound like big news, it's really exciting for us because we're planning to demo songs for our next album while we're up there.
We've got an awesome shack to stay in (courtesy of the fine Howell family) on a nice chunk of bushland. It's going to be a serene week of intense male bonding.
So in-between face licking sessions we will hopefully get enough jamming done to record some decent material for our next release. We're set to head up mid March, so finger crossed we come home with something to show after a solid week of mountain shenanigans.
We'll keep ya'll in the loop as to if we survived, but in the meantime have a good fucking week.
Love Zeahorse xxx
New Year, Drink Beer, Have Cheer, No Fear, Kill Deer, Turn Queer, Shed Tear, Stay Clear.
Hey ya'll.
Happy new year ya druggo's!!
As lame as it sounds, I'm gonna take this opportunity to quickly reflect on the events towards the end of last year and look forward to what 2014 holds in it's powerful, trembling hands.
I suppose the most notable and exciting thing to happen in the back end of the year was that we (finally) released our album, Pools. It was a long time coming and we're all super chuffed to have it out there and to be floggin it at our shows. We did album launch shows in Sydney and Melbs, which were both really great, so thanks to all ya'll that came out to support us. Big ups to Narrow Lands and No Art, who played with us in Sydney, and to Heads of Charm, ESC, and Strangers From Now On who played with us in Melbs. They're all bloody great bands and we were blown away at both shows by how much better they all were than us. Quality shit ladies and gents.
So 2013 was a damn fine year for us, full of good times and belly laughs. And 2014 is set to be no different... For starters we're getting the year off on the right foot with a couple of awesome festivals. The first being Fish Fest put on by our buddies Spewborg and Frizz, which is set to destroy the Northern Beaches on the 18th of Jan. So get yourself a ticket and come get fishy with us!
The other festival is of course Bad Day Out, put on by Morgs and Sam at the Petersham Bowlo on Australia Day. This is set to be a bloody doozey of a day, with a fair dinkum grouse line-up of Aussie bands. It's probably the most Australian thing you can do without being even remotely patriotic... with no bare chested, southern cross tattooed, Australian flag toting douche bags in sight. So get yourself a god damn ticket and sink some piss with us at the Petersham Bowlo on fucking Australia Day. Check the links below ya'll...
http://inticketing.greentix.com.au/evinfo.php?eventid=370918
We're also planning to start demoing for our next album soon, so 2014 will hopefully give birth to a new Zeahorse record. But while we slowly push that snarling beast our of 2014's supple vagina, we're also planning to do some touring (with some potential overseas touring too). So we'll keep you in the loop as to all those goings on throughout the year. And that's enough from me, so I hope to see you soon and have a great fucking year!
Throwing you many festive shakas,


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SIGHTEDAllen White
Available Through January 09 at
Paranormal Investigator and struggling author Lucas Taylor finally has hard evidence in the palm of his hand. What began as a series of surreal text messages punctuated by a damning photo ends with a feverish obsession for the truth. In the soft light of a dying cell phone screen, a man stares back at Lucas with soulless eyes of drowning pitch, classically attired in a suit and fedora that seem out of place in the modern era. His close friend and collaborator Caden Wilson believes that he's been visited by this haunting figure after having been witness to a UFO. Fearing both for his friend's health and sanity he makes the trip out to him, the revelations that follow leave him stunned.
Show Me More: Paranormal Horror
SLITHERSWW Mortensen
From the international #1 bestselling author of EIGHT comes a new tale of horror and suspense.
On a remote country road, heading out to a weekend party, Tobe West and his friends pick up two hitchhikers. It seems like the right thing to do.
No-one could have predicted the freak car accident that is about to change their lives.
Stranded in the middle of nowhere, Tobe and the others are faced with a landscape suddenly unfamiliar, in a universe that has come loose from its moorings. Strange things slither in the woods, and spectral lights hover just off the road. A petrol station, shining brightly in a world otherwise dark and frightening, promises safe haven, but Tobe learns the biggest threat lies within the very people he's trying to protect.
As reality breaks down and dangers multiply, Tobe must uncover the hidden agenda of one of the survivors… and keep the others safe from something lurking in the darkness.
Something that is hunting them all.
If they are to survive the night, Tobe must face the horrifying truth–that nothing is as it seems, and that they are all part of a larger plan, part of someone else's unfinished business…
House Beneath the Bridge (A horror novel)Iain Rob Wright
"From bestselling horror author Iain Rob Wright comes his scariest novel yet."
Is it possible to infect a place with evil? Are some atrocities so awful that the land itself becomes contaminated? And what would happened if you found yourself trapped in such a place?
What begins with a car crash on an ancient bridge ends with the ultimate sacrifice. Follow the survivors of a horrific accident as they try to understand their fates and find rescue. A rescue that should have already come.
Tom and Sophie Sumner have been married for ten years. They won't make it to eleven. Infidelity and neglect have torn their relationship apart and they part ways today. Sophie is going home to the village she grew up in. Cottontree. If there's any chance of Tom persuading her to give their marriage one last chance, it's now.
But Cottontree is a place with a much darker past than anybody knows, and the Sumners are about to have much bigger problems than their marriage.
Winter PlagueIsla Jones
In a world ravaged by the dead, our words are all we have left. Who will tell the story of the last stand?
My name is Winter, and this is my story.
The world has been lost to a new strain of rabies, one that ravages those it infects and turns them into blood-thirsty killers. I don't know how I've survived for so long, but I have. And now, I've met a group … I've met him.
Winter's Plague is the found memoir of a cowardly survivor in a cruel world. With no government or operating military, Winter tells of how she wandered the country with her dog, hoping to be reunited with her sister one day. The dreams are what helped her get through the long days and even longer nights when the rotters rule the streets.
When Winter is trapped in an alleyway and the rotters are closing in on her, she is about to abandon all hope. Just as she thinks she is taking her last breath, they reveal themselves. The soldiers. The last of the military.
At least, that's what Winter had thought.
She links up with the soldiers and the band of survivors they carry with them, but she quickly realises that Leo–the one who saved her, the one who leads–has a secret. And it lies in the restricted RV with the top-secret cargo that they are transporting to Washington D.C. And Washington D.C. is exactly where her sister lived.
Will Winter find out what is so precious inside of that van? Or why Leo draws nearer, only to pull himself away?
And, most of all, will Winter survive long enough to realise the secrets they burden?
Her memoir will tell the tale.
Show Me More: Apocalyptic Horror
Blood Business: Crime Stories From This World And BeyondVarious Authors
Two books, one anthology.
The grift. The scam. The double-cross. Blackmail and burglary; murder and larceny. Blood Business tracks the underbelly of human nature as it drags itself through the muck of our lesser angels in twenty-seven crime stories set in this world… and beyond.
"Blood Business is as satisfying as a stiff drink after a tough case. Deliciously gritty, and dark as a day-old bruise, these stories will thrill any noir fan."
–Jaye Wells, USA Today bestselling author
"In Blood Business, duality is a theme but nuance reigns. Honesty won't save you. Virtue is subjective. And what if the only difference between appearance and a reality is what we choose to believe? Cinematic at times, uncomfortably intimate at others, Blood Business is a visceral delight."
–John Wenzel, The Denver Post
"Blood Business compiles an absolutely stunning collection of talent."
"Editors Acevedo and Viola offer an anthology of noirish tales exploring the dark recesses of both real and supernatural worlds… Two sharp, distinctive, and complementary clusters of stories."
"In this uniformly good anthology of noir stories, the authors are able to inject some life, of the supernatural variety, into a genre usually rife with clichés."
–IndieReader
"Take horror writing at its best and add a crime/mystery spin. Then pair this with psychological depth for the foundation of the special atmosphere and focus of Blood Business, where every story is powerfully wrought, filled with satisfying twists, and presented with a flair of originality and surprise not typically seen in crime story collections. For all these reasons, Blood Business is a unique, compelling, dark production very highly recommended for fans who like their crimes tinged with psychological depth and horror, and who look for original, unique, compelling productions where every story is a gem and no 'filler' is allowed."
–D. Donovan, Sr. Reviewer, Midwest Book Review
Dead Pool (Exorcist Files Book 1)Marty Shaw
Beneath the water's surface lurks a darkness that hungers for revenge.
Fifteen years ago, Susan 'The Shark' Jones helped her high school swim team, the Barracudas, become champions. Even more important, she helped them become popular, but popularity can lead to obsession, and sometimes even death.
Now Susan is back home. She has a daughter and the past is behind her, but her presence has awakened something dark, a sin from her days as a Barracuda, and it's hungry for vengeance.
Ashley Andrews is the hostess of an online ghost-hunting show and she's dying to capture some kick-ass footage of the high school swimming pool that has a nasty habit of killing people, but when an angry spirit tries to kill her, Ashley knows she needs help.
Lochlan O'Connor, exorcist and former priest, has no interest in helping Ashley achieve online fame, but when he comes face-to-face with the vengeful spirit, he knows he has no choice but to once again battle the dead in defense of the living.

redpajama_set_name: RedPajamaCommonCrawl


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Responding to fan outrage: the best way to say "I'm sorry"
Leigh Alexander
Customer Relationships Customer Support
[Editor's note: If you're in San Francisco for Casual Connect on July 24, join us for our Level Up Happy Hour at Zendesk HQ. And now, back to your regularly scheduled blog post by gaming journalist Leigh Alexander…]
The video game industry has seen a seismic business shift over a relatively short period of time: Just a few years ago, retail-led "ship and forget" was the way—now always-online content with frequent updates and robust community features is the expected norm.
These days, games even reach passionate audiences of alpha and beta players before they're technically "finished," with feedback from these early audiences helping guide the last stretches of development. This approach mitigates risk for developers and lets audiences enjoy a closer and more direct relationship with the companies and products they enjoy.
Thanks to the pace and volume of social media, big game companies have had to quickly adjust their marketing and public relations strategies. What was once a carefully choreographed process of preview events and controlled access for the press in order to reach fans has now been blown wide open. Today, most players' interactions with games take place via free demos, community forums, and blog posts from major companies direct to their fans.
These new development and communication channels have re-mapped the mainstream game—the impact and lifespan of the boxed, single-player, AAA blockbuster has generally ebbed in favor of the living, evolving, multiplayer online experience. In a world where an increasing proportion of major titles are designed to support and engage large online communities over long periods of time, the work of community management has become more complicated.
Homogenous or stagnant communities of players pose a distinct obstacle to growing and diversifying gaming audiences sufficient to support large-scale development. Historically underrepresented audiences are virtually banging down the door to be welcomed into gaming communities but can be warded off by products that haven't considered their needs or perspectives. As long as being able to play as a woman, to have a gay relationship, or to enjoy a competitive session without worrying about sexist or racist epithets from teen boys are still widely considered "needlessly political" concerns in the social media conversation, companies are leaving entire audience opportunities on the table untouched.
Luckily for all, potential fans and players who feel alienated by certain aspects of the dominant culture now have many avenues to express their needs, and companies are beginning to listen. When it was revealed that Nintendo's playful, quirky life simulator Tomodachi Life would include spontaneous player weddings and relationships—but that none of them could be same-sex—fans were upset.
Nintendo's initial response only exacerbated its fans' sense that the company viewed their needs—their very identities—as optional or inconvenient: "We were absolutely not trying to provide social commentary," the company said.
Of course, to present a world where no one is gay is its own form of social commentary. The issue grew in volume, reaching major media outlets, and eventually the company issued a formal apology and pledged to address the issue in future games. Nintendo in particular is reputed for being relatively closed-off when it comes to public relations and community management, so the fact that its community could press a change in direction from the company is an important sign of the times. The apology was welcomed, and the lesson for companies is a simple one: The apology should come first, before explanations or excuses.
Outrage over inclusion and diversity problems can only be expected to increase. When Ubisoft's latest Assassin's Creed offered four new protagonists, none of which was a female character, fans again leveraged their social media muscle to demand answers. Again, the best tack for the company would have been to master the art of the immediate apology. Its initial explanation—that women characters would have presented insurmountable additional technical challenges—only worsened the firestorm of bad press (try googling "women are too hard to animate" to see how broadly the incident spread throughout geek culture).
Game companies will need to adapt to the idea that audiences they may not be accustomed to considering or marketing to now hold some of the keys to their future success, and will need to educate themselves on how to make content for an increasing and diverse online community. Meanwhile, though, mistakes are inevitable, and they happen under the high-volume microscope of our public lives online. There are plenty of skills community-facing personnel can master to try to weather these storms while still demonstrating respect for potential new fans.
Apologize first, don't explain. A consequence of the modern player's experience of being closely connected to a game and to a community of players is that these dialogues feel personal, and participants need to know that game companies sincerely care about making them feel welcome. When the first action in the wake of a snafu is a statement of accountability, it goes a long way—when you step on someone's foot, you don't stand there explaining why you stepped on their foot. You tell them you are sorry and you hope they are all right.
Avoid a defensive stance, no matter the complaint. Popular creators Vlambeer were surprised initially when they noticed conversation on Twitter suggesting that their fictional dogfighting game Luftrausers glorified Nazi imagery. Though the creators had meant to borrow many stylistic influences to create a fictional alternate reality of war, the company's Rami Ismail immediately stepped out in front of the issue. Importantly, Ismail expressed an important idea: No player's interpretation of a game is "wrong," no matter what the creator's intent.
Though Ismail devoted time to discussing Luftrausers' stylistic influences, the primary focus of his statement was to apologize for making some players uncomfortable. The team made no changes or compromises to its vision but accepted responsibility for the impact the game could have even on a minority of players. In this way, Vlambeer showed care for all of its players—and as an aside, denying, combating, or deriding the criticism would have surely magnified the negative event far more than a simple, caring apology.
A little consideration toward sensitive players goes a long way. Independent developer Mitu Khandaker provided an excellent demonstration of her commitment to treat every single one of her players—the people who bought her space-themed social networking parody, Redshirt—with care. When a single public letter from a concerned fan who'd been upset by some of her interactions in the game reached Khandaker, she treated the player with concern, explaining how to avoid the unpleasant interaction and committing to add warnings to her game.
No one is saying companies need to compromise their vision or alter their games to build a fantasy world where no one whatsoever is ever troubled or left out, but a little consideration for sensitive players goes a long way. Khandaker's entire player base and her relationship to her community surely benefited from the fact she compassionately addressed an incident many would have recommended she ignore or deny.
Games are undoubtedly expressive works on the part of their creator, and it's understandable that many industry veterans resist the idea that the player's needs and feelings should take precedence over a confident and well-executed vision. But it need not be an either/or decision, so long as companies are committed to handling communication around their games in a caring and constructive way with their growing and evolving communities—and with their massive as-yet-addressed audience, waiting to see whether these products might be fun for them, too.
Leigh Alexander writes about video games, interactive entertainment, and various other things. She is editor-at-large for Gamasutra and author of Breathing Machine, a memoir of growing up alongside computer games and the early Internet.
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Koto (instrument)
koto instrument for sale, koto instrument youtube
The koto Japanese: 箏 is a traditional Japanese stringed musical instrument derived from the Chinese zheng, and similar to the Mongolian yatga, the Korean gayageum, and the Vietnamese đàn tranh The koto is the national instrument of Japan1 Koto are about 180 centimetres 71 in length, and made from kiri wood Paulownia tomentosa They have 13 strings that are usually strung over 13 movable bridges along the width of the instrument There is also a 17-string koto variant Players can adjust the string pitches by moving the white bridges before playing To play the instrument, the strings are plucked using three finger picks, otherwise known as plectra, on thumb, index finger, and middle finger2
13-stringed koto performance of the song "Sakura Sakura"
Problems playing this file See media help
1 Names and Types
3 Construction
4 Koto today
Names and Typesedit
The character for koto is 箏, although 琴 is often used However, 琴 usually refers to another instrument, the kin 琴の琴; kin no koto 箏, in certain contexts, is also read as sō 箏の琴; sō no koto However, many times the character 箏 is used in titles, while 琴 is used in telling the number of kotos used clarification needed The term is used today, but usually only when differentiating the koto and other zithers The word for an Asian zither with adjustable bridges is "So" Variations of the instrument were created, and eventually a few of them would become the standard variations for modern day kotos The four types of kotos: Gakuso, Chikuso, Zokuso, Tagenso all were created by different subcultures but also to change the play style3
The ancestor of the koto was the Chinese zheng45 and was first introduced to Japan from China in the 7th and 8th century6 The first known version had five strings, which eventually increased to seven strings It had twelve strings when it was introduced to Japan in the early Nara Period 710–784 and increased to thirteen strings This particular instrument is known throughout Asia but in different forms: the Japanese koto, which is a relative to the Chinese zheng, the Korean gayageum, and the Vietnamese dan tranh7 This variety of instrument came in two basic forms, a zither that had bridges and zithers without bridges
An 1878 depiction by Settei Hasegawa of a woman playing the koto
When the koto was first imported to Japan, the native word koto was a generic term for any and all Japanese stringed instruments Over time the definition of koto could not describe the wide variety of these stringed instruments and so the meanings changed The azumagoto or yamatogoto was called the wagon, the kin no koto was called the kin, and the sau no koto sau being an older pronunciation of 箏 was called the sō or koto
The modern koto originates from the gakusō used in Japanese court music It was a popular instrument among the wealthy; the instrument koto was considered a romantic one Some literary and historical records indicate that solo pieces for koto existed centuries before sōkyoku, the music of the solo koto genre, was established According to Japanese literature, the koto was used as imagery and other extra music significance In one part of "The Tales of Genji Genji monogatari", Genji falls deeply in love with a mysterious woman, who he has never seen before, after he hears her playing the koto from a distance
The Koto of the chikuso was made for the Tsukushigato tradition and only for blind men Women could not play the instrument in the professional world nor teach it With the relief of the rule, women started to playing the koto, but not the Chikuso because it was designed for the blind which led to a decline in use; the other kotos proved to be more useful The two main koto still used today are the Gakuso and Zokuso These two have relatively stayed the same with the exception of material innovations like plastic and the type of strings The Tagenso is the newest addition to the koto family, surfacing in the 19th century, it was purposefully created to access a wider range of sound and advance style of play; these were made with 17, 21, and 31 strings 8
Perhaps the most important influence on the development of koto was Yatsuhashi Kengyo 1614–1685 He was a gifted blind musician from Kyoto who changed the limited selection of six songs to a brand new style of koto music which he called kumi uta Yatsuhashi changed the Tsukushi goto tunings, which were based on gagaku ways of tuning; and with this change, a new style of koto was born Yatsuhashi Kengyo is now known as the "Father of Modern Koto"
A smaller influence in the evolution of the koto is found in the inspiration of a woman named Keiko Nosaka Keiko Nosaka a musician who won Grand Prize in Music from the Japanese Ministry of Culture in 2002, felt confined by playing a koto with just 13 strings, so she created new versions of the instrument with 20 or more strings9
Masayo Ishigure playing a 13-string koto
Japanese developments in bridgeless zithers include the one-stringed koto ichigenkin and two-stringed koto nigenkin or yakumo goto Around the 1920s, Goro Morita created a new version of the two-stringed koto; on this koto, one would push down buttons above the metal strings like the western autoharp It was named the taishōgoto after the Taishō period
At the beginning of the Meiji Period 1868–1912, western music was introduced to Japan Michio Miyagi 1894–1956, a blind composer, innovator, and performer, is considered to have been the first Japanese composer to combine western music and traditional koto music Miyagi is largely regarded as being responsible for keeping the koto alive when traditional Japanese arts were being forgotten and replaced by Westernization He wrote over 300 new works for the instrument before his death in a train accident at the age of 62 He also invented the popular 17 string bass koto, created new playing techniques, advanced traditional forms, and most importantly increased the koto's popularity He performed abroad and by 1928 his piece for koto and shakuhachi, Haru no Umi Spring Sea had been transcribed for numerous instruments Haru no Umi is even played to welcome each New Year in Japan10
Since Miyagi's time, many composers such as Kimio Eto 1924–present, Tadao Sawai 1937–1997 have written and performed works that continue to advance the instrument Sawai's widow Kazue Sawai, who as a child was Miyagi's favored disciple, has been the largest driving force behind the internationalization and modernization of the koto Her arrangement of composer John Cage's prepared piano duet "Three Dances" for four prepared bass koto was a landmark in the modern era of koto music
For about one hundred and fifty years after the Meiji Restoration, the Japanese shirked their isolationist ideals and began to openly embrace American and European influences; which is most likely why the koto has taken on many different variations of itself11
Constructionedit
Detail of koto
A koto is typically made of Paulownia wood The treatment of the wood before making the koto varies tremendously: one koto makerwho seasons the wood for perhaps a year on the roof of the house Some wood may have very little treatment Kotos may or may not be adorned, some adornments include inlays of ivory and ebony, tortoise shell, metal figures, etc The wood is also cut into two types, itame also mokume which has a swirling pattern or straight lined, masame The straight lined pattern is easier to manufacture so the swirl raises the cost of production therefore is reserved for decorative and elegant models 3
The body of a traditional koto is made of a wood called kiri 8 Every piece of the instrument comes with cultural significance, especially since the koto is the national instrument Kiri is also important to Japan because it is the Imperial family crest for the Empress Kiri is dried and cut into precise measurements The size of the soundboard on a standard modern koto has remained approximately 182 centimeters In the past the measurement ranged from 152 to 194 centimeters
The bridges Ji used to be made of ivory, but nowadays are typically made of plastic, and occasionally made of wood One can alter the pitch of a string by manipulating or moving the bridge2 For some very low notes, there are small bridges made, as well as specialty bridges with three different heights, depending on the need of the tuning When a small bridge is unavailable for some very low notes, some players may, as an emergency measure, use a bridge upside down Of course, such an arrangement is unstable, and the bridge would have a tendency to fall down Bridges have been known to break during playing, and with some older instruments which have the surface where the bridges rest being worn due to much use, the bridges may fall during playing, especially when pressing strings There are, of course, various sorts of patch materials sold to fill the holes which cause the legs of a bridge to rest on an unstable area About six feet long and one foot wide, the koto is traditionally placed on the floor in front of the player, who kneels12
Ji bridge
The strings are made from a variety of materials Various types of plastic strings are popular Silk strings are still made Silk strings are usually yellow in color They cost more and are not as durable, but claimed to be more musical The strings are tied with a half hitch to a roll of paper or cardboard, about the size of a cigarette butt, strung through the holes at the head of the koto, threaded through the holes at the back, tightened, and tied with a special knot Strings can be tightened by a special machine, but often are tightened by hand, and then tied One can tighten by pulling the string from behind, or sitting at the side of the koto, although the latter is much harder and requires much arm strength Some instruments may have tuning pins like a piano installed, to make tuning easier
The makura ito, the silk thread used in the instrument, is a pivotal part of its construction This feature was not seen on the speculated nobility style instruments because they used a more tension of theirs and valued the relict nature of their instruments The commoners did all the innovations that made the Koto not only a sturdy instrument, but more sonically adept The makura ito was used in paper so the fine silk was in abundance in Japan As of the beginning of the 19th century, an ivory called makura zuno became the standard for the koto13
For every part of the koto there is a traditional name which connects with the opinion that the body of a koto resembles that of a dragon Thus the top part is called the "dragon's shell" 竜甲 ryūkō; the Asian dragon is believed to have a shell like that of a turtle, while the bottom part is called the "dragon's stomach" 竜腹 ryūfuku One end of the koto, noticeable because of the removable colorful fabricshell, is known as the "dragon's head" 竜頭 ryūzu, consisting of parts such as the "dragon's horns" 竜角 ryūkaku - the saddle of the bridge or makurazuno 枕角, "dragon's tongue" 竜舌 ryūzetsu, "dragon's eyes" 竜眼 ryūgan - the holes for the strings and "dragon's forehead" 竜額 ryūgaku - the space above the makurazuno The other end of the koto is called the "dragon's tail" 竜尾, ryūbi; the string nut is called the "cloud horn" 雲角, unkaku
Koto todayedit
Koto concert at Himejijo kangetsukai in 2009 Michiyo Yagi playing a 21-string koto
The influence of Western pop music has made the koto less prominent in Japan, although it is still developing as an instrument The 17-string bass koto, called jūshichi-gen in Japanese, has become more prominent over the years since its development by Michio Miyagi There are also 20-string, 21-string, and 25-string kotos Works are being written for 20- and 25-stringed kotos and 17-string bass kotos Reiko Obata has also made the koto accessible to Western music readers with the publication of two books for solo koto using Western notation The current generation of koto players such as American performers Reiko Obata and Miya Masaoka, as well as Japanese master Kazue Sawai and her students, including Michiyo Yagi, are finding places for the koto in today's jazz, experimental music and even pop The members of the band Rin' are popular jūshichi-gen players in the modern pop/rock music scene
June Kuramoto of the jazz fusion group Hiroshima was one of the first koto performers to popularize the koto in a non-traditional fusion style Reiko Obata, founder of East West Jazz band, is the first to perform and record an album of jazz standards featuring koto Obata also produced the first-ever English language koto instructional DVD "You Can Play Koto" Obata is one of the few koto performers to perform koto concertos with US orchestras, having done so on multiple occasions including with Orchestra Nova for San Diego's KPBS in 201014
Other solo performers outside Japan include koto player and award-winning recording artist Elizabeth Falconer, who also studied for a decade at the Sawai Koto School in Tokyo, as well as koto master Linda Kako Caplan, Canadian daishihan grandmaster and a member of Fukuoka's Chikushi Koto School for over two decades Another Sawai disciple, Masayo Ishigure, holds down a school in New York City Yukiko Matsuyama leads her KotoYuki band in Los Angeles Her compositions blend the timbres of World Music with her native Japanese culture She performed on the Grammy winning album Miho: Journey to the Mountain by the Paul Winter Consort garnering additional exposure to Western audiences for the instrument In November 2011 worldwide audiences were exposed to the Koto when she performed with Shakira at the Latin Grammy Award show
In March 2010 the koto received widespread international attention when a video linked by the Grammy Award-winning hard rock band Tool on its website became a viral hit The video showed Tokyo-based ensemble Soemon playing member Brett Larner's arrangement of the Tool song "Lateralus" for six koto and two bass koto Larner had previously played koto with John Fahey, Jim O'Rourke and members of indie rock groups including Camper Van Beethoven, Deerhoof, Jackie O Motherfucker and Mr Bungle
In older pop and rock music, David Bowie used a koto in the instrumental piece "Moss Garden" on his album "Heroes" The multi-instrumentalist, founder and former guitarist of The Rolling Stones Brian Jones played the koto in the song Take It Or Leave It, on the album Aftermath, 1966 Paul Gilbert, a popular guitar virtuosoist, recorded his wife, Emi playing the koto on his song "Koto Girl" from the album Alligator Farm Rock band Kagrra, are well known for using traditional Japanese musical instruments in many of their songs, an example being "Utakata" うたかた, a song in which the koto has a prominent place Winston Tong, singer with Tuxedomoon, uses it on his 15-minute song, "The Hunger" from his debut solo album Theoretically Chinese The rock band Queen used a toy koto in "The Prophet's Song" on their 1975 album A Night at the Opera Ex-Genesis guitarist Steve Hackett used a koto very effectively on the instrumental song "The Red Flower of Tachai Blooms Everywhere" from the album Spectral Mornings The koto played by band member Hazel Payne is featured in A Taste of Honey's 1981 English cover of the Japanese song Sukiyaki15 Asia band used a koto on the middle-eight scetion of "Heat of the Moment" on their eponymous 1982 album16 A synthesized koto is also played by her in their cover of the song I'll Try Something New17 Dr Dre's 1999 album Chronic 2001 prominently features a synthesized koto on two of its tracks - "Still DRE" and "The Message"
Jazz pianist Dave Brubeck composed "Koto Song" that, while not featuring the koto itself, is played to allow the piano to emulate its sound Brett Larner was also active in jazz, recording a duo CD with saxophone legend and composer Anthony Braxton
Recordingsedit
Silenziosa Luna - 沈黙の月 / ALM Records ALCD-76 2008
17-string koto
Đàn tranh
Gayageum
Kacapi
Taishōgoto
^ "Koto" Encyclopædia Britannica Online Retrieved 2008-03-18
^ a b "Select Your Library - Credo Reference"
^ a b Johnson, Henry 1996 ""A Koto" by Any Other name: Exploring Japanese Systems of Musical Instrument Classification" Asian Music 49: 38–64
^ Deal, William E 2006 Handbook to life in medieval and early modern Japan New York: Infobase Publishing pp 266–267 ISBN 0-8160-5622-6
^ Encyclopedia Americana, Volume 2 international ed Minnesota: Americana Corp 1966 p 400
^ Speed, Burgess 2008 Japan: Your Passport to a New World of Music Alfred Publishing p 7 ISBN 978-0-7390-4303-5
^ "Hugo's window on the world of Chinese zheng" Chime Leiden: European Foundation for Chinese Music Research 16-17: 242 2005 Throughout the centuries, the zheng became the parent instrument of the Asian zither family as it spread from China to a number of adjacent countries giving birth to the Japanese koto, the Korean kayagum and the Vietnamese dan tranh
^ a b Johnson, Henry M 1996 "Koto manufacture: The Instrument, Construction Process, and Aesthetic Considerations" The Galpin Society Journal 49: 38–64
^ Wade, Bonnie C Music in Japan: Experiencing Music, Expressing Culture Oxford: Oxford Univ, 2005 Print
^ "sian Instrument Collection in the Beckwith Music Library" Bowdoin Bowdoin College Library Retrieved 28 September 2013
^ Johnson, Henry M "Traditions Old and New: Continuity, Change, and Innovation in Japanese "Koto"-Related Zithers" Journal of the American Musical Instrument Society 29 2003: 181-229 ProQuest Web 30 Sep 2013
^ "Contemporary Music for Japanese Instruments: Sawai Koto Ensemble" FREER|SACKLER Smithsonian Instittution Retrieved 2013-09-28
^ Miyazaki, Mayumi Fall 1999 "Music in Art: International Journal for Music Iconography" The History of Musical Instruments in Japan and Visual Sources 24: 51–56
^ "Reiko Obata Performs with Orchestra Nova on KPBS" Youtube Retrieved 11 March 2014
^ "Sukiyaki by A Taste of Honey on Soul Train" Youtube Retrieved 4 March 2012
^ Rosen, Craig 1996 The Billboard Book of Number One Albums New York: Billboard Books p 269 ISBN 0-8230-7586-9
^ "I'll Try Something New by A Taste of Honey on Soul Train" Youtube Retrieved 17 June 2012
Edmonds, Richard Louis et al "Japan" Grove Art Online Oxford Art Online July 30, 2008
Johnson, H 2004 The Koto: A Traditional Instrument in Contemporary Japan Amsterdam: Hotei
Malm, W P 2000 Traditional Japanese Music and Musical Instruments Rev ed New York, NY: Kodansha International
Sachs, C 1940 The History of Musical Instruments New York, NY: W W Norton & Company Inc Publishers
Further readingedit
The Koto: A Traditional Instrument in Contemporary Japan, by Henry Johnson Hotei, 2004
The Kumiuta and Danmono Traditions of Japanese Koto Music, by Willem Adriaansz University of California Press, 1973
Wikimedia Commons has media related to Koto
Koto, early 17th century, Japan at The Metropolitan Museum of Art
Koto no Koto - Koto no koto: the website with general information
Traditional Japanese musical instruments
Ichigenkin
Gottan
Yamatogoto
Tonkori
Kokyū
Flutes and
Gakubue
Kagurabue
Komabue
Minteki
Nōkan
Ryūteki
Shinobue
Yokobue
Hichiriki
Hotchiku
Free-reed
Shō
Horagai
Kakko
Ōtsuzumi
Shime-daiko
Tsuzumi
Tsuri-daiko
San-no-tsuzumi
Den-den daiko
Hyōshigi
Sasara
Ita-sasara
Binzasara
Shakubyoshi
Sanba
Shōko
Kagura suzu
Mukkuri
Ajaeng
Geomungo
Indonesian siter
Yangqin
Yanggeum
Yazheng
West and South Asia
Nuzhe
Indian santoor
Persian santur
Iraqi santur
Bowed psaltery
Gusli
Kannel
Kanklės
Kokles
Langeleik
Psaltery
Scheitholt
Tsymbaly
Mexican salterio
Tremoloa
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In February 1999, three clashes occurred between the aviation of Ethiopia and Eritrea. The events were part of the Badme War.

During the clashes on February 21, 25 and 26, Ethiopian Su-27s fought against Eritrean MiG-29s. There is a possibility that pilots from the former USSR participated in the battles. In all three skirmishes, the Ethiopians won. As a result of the events, the Ethiopian aviation gained complete air supremacy. The aerial victory helped to raise morale. After February 1999, Eritrea avoided direct combat with enemy aircraft and did not commit air attacks.

It is noteworthy that earlier MiG and Sukhoi aircraft did not meet in battles as opponents. This was the first such case.

Literature
 Михаил Жирохов. Война в воздухе на Африканском Роге // Уголок неба : авиационная энциклопедия. — 2004.
 А. Иванович. Эфиопия — Эритрея : Уроки воздушной войны // Авиация и время : журнал. — 2009. — № 4. — стр. 40—46.

References

Eritrean–Ethiopian border conflict
February 1999 events in Africa
1999 in Eritrea
1999 in Ethiopia

redpajama_set_name: RedPajamaWikipedia


Dear Readers, we are providing preliminary exam Questions asked in IPPB Exam -7th January 2017 based on students feedback.
Puzzle 1 -CIRCULAR BASED PUZZLE::--A, B, C, D, E, F, G and H are sitting around a circular table at equal distances between each other, but not necessarily in the same order.
B faces outside. D sits second to the left of B. A and F are immediate neighbours of D. H sits second to the right of A. C sits third to the left of H. E sits to the immediate right of G. D sits third to the left of E. D faces the same direction as H. F sits to the immediate right of C. F and G take same directions.
PUZZLE 2:- FLOOR BASEDEight people D,E,F,O,P,Q,R,S lives on 8 different floors .. the lowermost is numbered 1 and the topmost is numbered 8. Q lives on an odd numbered floor but not on floor 1.. P lives immediately above Q but not on the topmost floor..There are 3 people's between P and R the no. Of people below P is equal to the no. Of people above D. Two persons live between E and P and E lives immediately below R.. F lives immediately above O..
PUZZLE 3 ::--- PARALLEL SEATING ARRANGEMENTTen people are sitting in two parallel rows containing five people. In row-1 A, B, C, D and E are seated (but not necessarily in the same order) and all of them are facing north. In row-2 J, K, L, M and N are seated (but not necessarily in the same order) and all of them are facing south.
B sits third to left of A. The one who faces B sits second to right of J. Only one person sits between J and M. One of the immediate neighbours of J faces C. K and L are immediate neighbours of each other. L does not sit at any of the extreme ends of the line. One of the immediate neighbours of A faces M. M does not face E.
1) 180 191 193 203 206 215 ?
3) 153 155 160 170 187 ?
5) 3, 4, 9, 28, ?
Q. Anamika's is 32 years old. If Mridul's age is 16% greater than that of Anamika then how much percent Anamika's age is less than Mridul's age?
Q. Omkar and Ritu can together finish a work in 36 days. They worked together for 4 days and then Omkar left for another job. After another 8 days, Ritu finished the remaining work. In how many days Ritu alone can finish the work?
Q. Two trains of similar lengths take 20 seconds and 45 seconds respectively to cross a phone post. If the length of each train be 165 metres, in what timewill they cross each other travelling in opposite direction?
Soon More Questions will be Updated. Stay on this Page.


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RootsAndWingsCo: Happy Chinese New Year!
Today is the Chinese New Year. This year is the year of the Rabbit.
I love celebrating different country's or family's traditions. It is a fun way to learn about other people, countries, and cultures. Chinese New Year is fun to me because of the symbolism.
First of all prior to the first day of the Chinese New Year, many families clean their homes from top to bottom. This is to get rid of any bad luck from the last year. I love this idea! Along with this you could buy new clothes or cut your hair, which symbolize a fresh start!
I hung up the Chinese lanterns that we made, this morning. Then, my children will each get an orange and a fortune cookie as a snack after school. We will also be ordering out Chinese food for dinner.
There are so many more fun parts to this holiday. What I do, I have just gathered from information on the internet. I'd love to know what other people do that celebrate this with their families.
This is the first year that I celebrated with my family. Like you we made lanterns. I also had trays of oranges and fortune cookies (that I made today). We ate just a basic stir fry, but I introduced my 6 and 4 year old to chopsticks. My daughter is taking hers for show and tell tomorrow. She loved them! They're favorite part though was the red envelope with a dollar inside -- a common tradition. We also decorated with lots of red. Gung hay fat choy!


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Segregationist roots of Right-to-Work
Those who do not remember the past are condemned to relive it. Note: nostalgia *is* allowed.
Segregationist roots of Right-to-Work#14130205
By Jeliza-Rose - 14 Dec 2012 21:41
- 14 Dec 2012 21:41 #14130205
http://www.nsfwcorp.com/dispatch/right-to-work
In 1936, Vance Muse, an oil industry lobbyist from Houston Texas, founded the Christian American Association with backing from Southern oil companies and industrialists from the Northeast.
Big business in America regarded the rest of the population and its labor pool much the same way colonial powers viewed the local Natives — as inherently hostile, alien savages whose only purpose was to enrich their masters, and who must not be given even the slightest concessions, such as child labor laws, lest it put ideas in their heads about "rights".
To big business plutocrats, the New Deal labor laws represented a sort of political Holocaust that they never forgot or forgave. They lost their full spectrum political dominance over their workers and over the political and judicial direction of the country, and all that essentially because FDR brought to an end America's "open shop" culture and empowered unions with "closed shop" union security.
Martin Luther King, Jr. saw an alliance with labor as crucial to advancing civil rights as well as economic justice for all workers, he spoke out against right-to-work laws in 1961...
"In our glorious fight for civil rights, we must guard against being fooled by false slogans, such as 'right to work.' It is a law to rob us of our civil rights and job rights. Its purpose is to destroy labor unions and the freedom of collective bargaining by which unions have improved wages and working conditions of everyone…Wherever these laws have been passed, wages are lower, job opportunities are fewer and there are no civil rights."
"Poverty is therefore a most necessary and indispensable ingredient in society…It is the source of wealth, since without poverty, there could be no labour" - Patrick Colquhoun, 1745 – 1820
Jeliza-Rose
Ideology: None
Re: Segregationist roots of Right-to-Work#14130236
By Soixante-Retard - 14 Dec 2012 22:03
I think you are barking up the wrong tree here. Apartheid in South Africa was partly a result of non existence of "right-to-work" laws. You either hired a white union member or hired a black non-union member and hope you didn't get caught. See here.
"We fight for and against not men and things as they are, but for and against the caricatures we make of them."
"What are these crazy questions that they're asking of me?"
Soixante-Retard
Ideology: Libertarian
"In 1936, Vance Muse incorporated in Texas another union-busting outfit called the "Christian American Association" which was closely associated with the Texas Ku Klux Klan as well as the American Legion, a far-right veterans' group used to bust up unions and terrorize minorities and suspected Communists. It was this same Christian American Association which launched the "right to work" anti-union campaign using that very same euphemism."
I think the author Mark Ames is clutching at straws to imply that "right-to-work" laws are similar to "bust[ing] up unions and terrorizing minorities". He is clearly make an association fallacy here. It makes it much easier, I imagine in his eyes, to not address "right-to-work" laws and instead just offer some, quite frankly, useless associations to dismiss the issue.
By Doug64 - 16 Dec 2012 20:29
We could just as easily talk about the eugenics origins of abortion on demand, or the racist origins of gun control laws. Even if true, what does any of that have to do with the situation today?
We are all ignorant, only in different ways, and no one is as ignorant as an educated man outside his own field.
To educate a man in mind and not in morals is to educate a menace to society.
Ideology: Conservative
Location: Nevada, US
Return to "History"


Tattershall is situated on the southern edge of the Wolds, an attractive village dominated by its castle.
Tattershall Castle - built by the 3rd Lord Cromwell and restored in this century, is a magnificent medieval red brick tower, and a landmark of the Fens, which can be seen for miles around. This 14th century fortified house, now in the care of the National Trust, is a splendid example of medieval brick building.


text:
Commentary - Aus Vs Pak 3rd T20i Pakistan Tour Of Australia 2019, cricinfo, mobilecric, cricbuzz, livescore and more
Aus vs Pak, Perth Cricbuzz, Mobilecric or Vcricket livescore Aus vs Pak, Perth 23 Thursday January 2020 132439000000 Australia won by 10 wkts Cricinfo Commentary updated on 23 Thursday January 2020 132439000000 Aus - 109/0 (11.5 Ovs) Pak - 106/8 (20 Ovs) Cricinfo Commentary updated on 23 Thursday January 2020 132439000000 Summary Scorecard If ever there was an antidote to the madness at Napier, it was this. It swung, it bounced, it troubled. And when you come in with this kind of inexperience against these home bullies, all you do is pray. Nope, nothing divine intervened. That's all we have for you from here, and from a scoreline as unjust as 2-0, this is Vineet Anantharaman signing off on behalf of Raju Peethala, Sriram AS and our scorer Sreenivas. Until more of a contest in the whites, ta ta!! Aaron Finch | Winning skipper : Really proud of the boys with the way we applied ourselves in the last couple of weeks. Each time we turn up at training we are improving ourselves and that is very important. The way that Agar bowled through this series and in the SL series was agruably our Man of the Series. He was just brilliant. We also kept getting wickets in the powerplays, Richardson and the rest were unbelievable. We always talk about one of the top three batting deep and batting a majority of the overs. It's nice to do it against a top team. We are growing as a team and hopefully some big things to come. The next thing for me is the Shield game and then the ODIs for Australia in India. Babar Azam | Losing skipper : Kaafi (Quite) disappointed that we lost to a team like this. But we have learnt a lot from this series and we'll take the positives and come back hard in the next series. I have learnt a lot, there is a lot to learn as well. Hopefully I'll apply it in the future. Musa and Hasnain were bowling quick. But Finch and Warner played really well. We played them so that they can use this experience in the future. We have a three day gap before the practice match; looking forward to the Test series. [Loose Urdu translation] Steven Smith | MoS : It was nice to contribute in this series. I batted only once in three games, so slightly surprised to be getting this. The bowling has been superb, right through the Sri Lankan series. You always want to get better and do well for the team. It is all about being consistent. Hopefully the top two can keep smacking them and I have to back them when they don't. Sean Abbott | MoM: Obviously it is a privilege to be named in an eleven that has been playing so well lately. Lot of hard work has gone into it. There is a lot of talent in the country so I only had to keep up the hard work. The guys have been playing really well and have welcomed me into the group really well, so I wasn't as nervous as I thought I'd be. David Warner : Fantastic start to the summer. He (Kane Richardson) bowled fantastically. Our bowlers have done the job throughout the series. Credit to them, we'll look to set the bar high before the World Cup. We will look to keep performing. It's a long way to go (the World Cup), hopefully we can continue the momentum. He (Sean Abbott) just proved why he got that opportunity here and I am happy for him. I got to keep putting runs on the board and keep practising hard in the nets, that's my job. It's about making sure I am doing the right things for the team. 19:21 Local Time, 11:21 GMT, 16:51 IST: Here's a cruel fact -- the Aussies in this entire series have lost only three wickets, and in the whole of 2019 are still to lose a T20, sitting pretty on an eight-match winning streak. Oh and surprise, surprise, they won't lose one. This wasn't even a contest. Perth's reputation is often a challenge too hard for Asians to overcome, but Pakistan, today, didn't even show up. There are defeats, there are thrashings and then there is whatever this was. The fact that only two out of their eleven got into double digits should tell you a story. And the fact that one of them ended up with over 40% of the team's eventual total should add more clarity. And when you have only 106 and bowlers who've never bowled here defending it against Finch and Warner on this kind of a rampage, you'd rather surrender. Pakistan did just that. Hang around, the presentations are here .. 11.5 Muhammad Musa to Finch, FOUR , and the fifty is Finch's , the series is Australia's and the embarrasement is Pakistan's. Musa feeds length at this stage for Finch to get under, swing through the line and then loft it over mid-off. Babar's over there, and he's not even bothering to chase this. Yea, that's how bad the mental thumping has been .. Okay this is the most fun we'll be having tonight -- Australia need two runs and both batsmen need two respectively for their personal fifties .. 11.4 Muhammad Musa to Warner, 1 run, 121kph, cutter, but on the hips. Nurdled, down to fine leg The equation: A run every 17 balls. 11.3 Muhammad Musa to Finch, 1 run, 141.6kph, lofted uppishly, high elbows, high batface, long-on 11.2 Muhammad Musa to Finch, no run, neat square punch, and backward point does a good diving job 11.1 Muhammad Musa to Finch, 2 runs, 143.1kph, drives, squirting the inside edge through square leg 11.1 Muhammad Musa to Finch, wide , 119kph, slower sucker, but it's almost cutting the pitch outside off 10.6 Mohammad Hasnain to Finch, 1 run, chops an attempted pull onto his thigh, and then to gully 10.5 Mohammad Hasnain to Warner, 1 run, full on middle, whipped down the ground 10.4 Mohammad Hasnain to Finch, 1 run, pitched up outside off. Finch moves away to drill it wide of mid-off 10.3 Mohammad Hasnain to Warner, 1 run, 137.5kph, ungainly hoick this .. and he's in no control as he squirts this off a toe-end. Again, it's an Aussie night, with there being nobody where this ball falls, at deep point 10.3 Mohammad Hasnain to Warner, wide , short, Warner's happy claiming these overhead extras Next
Aus vs Pak, Perth
Cricbuzz, Mobilecric or Vcricket livescore Aus vs Pak, Perth 23 Thursday January 2020 132439000000
Australia won by 10 wkts
Cricinfo Commentary updated on 23 Thursday January 2020 132439000000
Aus - 109/0 (11.5 Ovs)
Pak - 106/8 (20 Ovs)
Summary Scorecard
If ever there was an antidote to the madness at Napier, it was this. It swung, it bounced, it troubled. And when you come in with this kind of inexperience against these home bullies, all you do is pray. Nope, nothing divine intervened. That's all we have for you from here, and from a scoreline as unjust as 2-0, this is Vineet Anantharaman signing off on behalf of Raju Peethala, Sriram AS and our scorer Sreenivas. Until more of a contest in the whites, ta ta!!
Aaron Finch | Winning skipper: Really proud of the boys with the way we applied ourselves in the last couple of weeks. Each time we turn up at training we are improving ourselves and that is very important. The way that Agar bowled through this series and in the SL series was agruably our Man of the Series. He was just brilliant. We also kept getting wickets in the powerplays, Richardson and the rest were unbelievable. We always talk about one of the top three batting deep and batting a majority of the overs. It's nice to do it against a top team. We are growing as a team and hopefully some big things to come. The next thing for me is the Shield game and then the ODIs for Australia in India.
Babar Azam | Losing skipper: Kaafi (Quite) disappointed that we lost to a team like this. But we have learnt a lot from this series and we'll take the positives and come back hard in the next series. I have learnt a lot, there is a lot to learn as well. Hopefully I'll apply it in the future. Musa and Hasnain were bowling quick. But Finch and Warner played really well. We played them so that they can use this experience in the future. We have a three day gap before the practice match; looking forward to the Test series. [Loose Urdu translation]
Steven Smith | MoS: It was nice to contribute in this series. I batted only once in three games, so slightly surprised to be getting this. The bowling has been superb, right through the Sri Lankan series. You always want to get better and do well for the team. It is all about being consistent. Hopefully the top two can keep smacking them and I have to back them when they don't.
Sean Abbott | MoM: Obviously it is a privilege to be named in an eleven that has been playing so well lately. Lot of hard work has gone into it. There is a lot of talent in the country so I only had to keep up the hard work. The guys have been playing really well and have welcomed me into the group really well, so I wasn't as nervous as I thought I'd be.
David Warner: Fantastic start to the summer. He (Kane Richardson) bowled fantastically. Our bowlers have done the job throughout the series. Credit to them, we'll look to set the bar high before the World Cup. We will look to keep performing. It's a long way to go (the World Cup), hopefully we can continue the momentum. He (Sean Abbott) just proved why he got that opportunity here and I am happy for him. I got to keep putting runs on the board and keep practising hard in the nets, that's my job. It's about making sure I am doing the right things for the team.
19:21 Local Time, 11:21 GMT, 16:51 IST: Here's a cruel fact -- the Aussies in this entire series have lost only three wickets, and in the whole of 2019 are still to lose a T20, sitting pretty on an eight-match winning streak. Oh and surprise, surprise, they won't lose one. This wasn't even a contest. Perth's reputation is often a challenge too hard for Asians to overcome, but Pakistan, today, didn't even show up. There are defeats, there are thrashings and then there is whatever this was. The fact that only two out of their eleven got into double digits should tell you a story. And the fact that one of them ended up with over 40% of the team's eventual total should add more clarity. And when you have only 106 and bowlers who've never bowled here defending it against Finch and Warner on this kind of a rampage, you'd rather surrender. Pakistan did just that. Hang around, the presentations are here ..
11.5 Muhammad Musa to Finch, FOUR, and the fifty is Finch's, the series is Australia's and the embarrasement is Pakistan's. Musa feeds length at this stage for Finch to get under, swing through the line and then loft it over mid-off. Babar's over there, and he's not even bothering to chase this. Yea, that's how bad the mental thumping has been ..
Okay this is the most fun we'll be having tonight -- Australia need two runs and both batsmen need two respectively for their personal fifties ..
11.4 Muhammad Musa to Warner, 1 run, 121kph, cutter, but on the hips. Nurdled, down to fine leg
The equation: A run every 17 balls.
11.3 Muhammad Musa to Finch, 1 run, 141.6kph, lofted uppishly, high elbows, high batface, long-on
11.2 Muhammad Musa to Finch, no run, neat square punch, and backward point does a good diving job
11.1 Muhammad Musa to Finch, 2 runs, 143.1kph, drives, squirting the inside edge through square leg
11.1 Muhammad Musa to Finch, wide, 119kph, slower sucker, but it's almost cutting the pitch outside off
10.6 Mohammad Hasnain to Finch, 1 run, chops an attempted pull onto his thigh, and then to gully
10.5 Mohammad Hasnain to Warner, 1 run, full on middle, whipped down the ground
10.4 Mohammad Hasnain to Finch, 1 run, pitched up outside off. Finch moves away to drill it wide of mid-off
10.3 Mohammad Hasnain to Warner, 1 run, 137.5kph, ungainly hoick this .. and he's in no control as he squirts this off a toe-end. Again, it's an Aussie night, with there being nobody where this ball falls, at deep point
10.3 Mohammad Hasnain to Warner, wide, short, Warner's happy claiming these overhead extras


The Medicines for Human Use (Clinical Trails) Regulations state that clinical trials will be conducted according to the principles of Good Clinical Practice.
Regulation 31A requires that a readily available Trial Master File is kept, which contains the essential documents relating to that clinical trial. In addition to demonstrating compliance with the principles of GCP, the filing of essential documents in an orderly, timely manner also greatly assists the smooth running of the trial and any future audit or inspection.
With the large volume of documentation required for each trial a satisfactory filing system is necessary.
It is the responsibility of the Chief Investigator to establish a TMF for each clinical trial they initiate, by utilising the TMF template associated with this SOP (see Section 5.1). Chief Investigators conducting multi-centre trials will also establish an ISF and to do this they will utilise the ISF template associated with this SOP (see Section 5.2). For Chief Investigators conducting single centre trials, it is acceptable for all documents to be held in one single file which will act as both the TMF and ISF.
Chief Investigators for multi-centre trials will ensure a suitable ISF is in use at host sites. They should also consider providing ISFs to the Principal Investigators at each of the other site locations.
Where there is an external Sponsor, the Principal Investigator may be provided with an ISF for their site, with the TMF being held by the Sponsor. If the Sponsor does not provide an ISF, it is the	responsibility of Principal Investigators to establish one for themselves.


Members of Ontolog, especially if they are in the DC area, may be interested in participating in our free geo-science workshop to held at the USGS National facility in Reston VA Nov 29-30. This is one of the Spatial Community of Practice's (SOCoP) annual workshops organized in collaboration with USGS.
This will be small group sessions to work on conceptual models, vocabularies and ontologies for focused topics. It builds on past Geo-VoCamps organized at UCSB and Dayton.
3. USGS topic on Terrain models.
Feel free to pass this message to other parties, not part of Ontolog, that might be interested.


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The pristine rural beauty of Palashban village in Birbhum district of West Bengal does not move 14-year-old Siuli Mondal. Her only concern is that vertigo should not grip her, as she climbs atop the rim of the old well in her village and peers in to check the water level.
"There has been no irrigation or canal project in this region in over six decades of Independence," says Nandalal Hara, a retired school master. But he reveals that the villagers – totally dependent on agriculture for their livelihood – have themselves worked out an ingenious method to tackle this perennial water crisis. They have put into place a unique water management system for the use and conservation of this precious natural resource.
"In Palashban, just after the monsoons every year, the 20-odd ponds are divided up – ten for agriculture and ten for household use like washing clothes and utensils, bathing, cleaning, washing and feeding cattle, making cow dung based energy sources like 'gul' or 'goitha' for cooking," says Shankuntala Choudhury, 38. Every villager, irrespective of the ownership of the ponds, abides by the division taken collectively, with women having a big say on which ponds would be given to them.
Once the division is over, women have full control over the ponds earmarked for non-irrigation purposes. They decide which ponds are to be used by which households. Ponds are earmarked for washing clothes and bathing, washing utensils and for other ablutions. Water can be collected and taken home for cleaning or feeding cattle only from particular ponds, according to Rebati Mondal, 62.
"At my age I find it difficult to make the long walk to different ponds for washing or collecting water. But we have no choice. This system has been in place for years in not just our village, but in most of the surrounding villages. We have survived severe water crisis only because we follow the rules," observes Rebati.
Water is pumped out from the ponds earmarked for agriculture and the crops – mainly paddy, mustard, vegetables and sugarcane – are irrigated with it. However, by summer time, the men are reduced to negotiating with the women in charge of the ponds earmarked for household purpose, to procure more water for irrigation.
With standing crops dying in the fields due to lack of water – this year they have lost 80 per cent of the standing crop – the men drive a hard bargain and the women, knowing that without a good harvest families would starve, slowly let go of one pond after another through the year, reveals Bhagwati Mondal, 52. "But we hold on to at least four ponds through the year for household needs. Even though some houses have sanitation facilities and bathrooms, we have to do all our ablutions at the ponds because there is no water at home," she says.
The division of ponds has ensured that over the year there is at least some access to water. If this were not done, the men would just put in pumps in all of them at one go and use up all the water for irrigation all at once. Now both women and men have learnt to conserve water while using it for household needs as well as cultivation. No water is wasted, adds Bhagwati.
However, according to Sailen Mondal, 26, improper irrigation affects production. Farmers lose the whole of their standing crops some times. There is also a severe crisis of drinking water. The wells have polluted hard water, which is used to feed cattle and for cleaning for a couple of months after monsoons. The pond water is undrinkable. There are only three tube wells in Palashban. One of which contains water with heavy iron content. Only two tube wells are in use for drinking purposes for the 2,500-odd people in this village of 260 families.
Scrounging for water has become so important that neither the young girls like Siuli nor the old women like Rebati hesitate to climb atop the rim of the four or five wells in the village to check on the water levels every day. While there are two community wells, the other are owned by local families. However, from the absence of pulleys, it's obvious that the wells are hardly in use. In the two months or so when there is water, the women simply climb atop the rim, bend down, throw in the bucket tied to a rope and pull up the water. "There is no point in bothering with pulleys or safety measures, since the water is available just for a few days any way," says Siuli dismissively.
Palashban has about 2,000 bighas of cultivable land but the yield from it is below half of what is the norm. This is because of the lack of water. But life has to go on. The 260 families here have learnt to conserve water. Before the monsoons, the ponds are cleaned and widened in the hope that more rainwater can be harvested.
The rain gods have not been too kind to them so far. With no irrigation or canal project in sight, the low levels of ground water and no river anywhere around, the water woes of this community are set to continue. It's only their indigenously developed system of water management that has sustained them so far.


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