text:
229.74(4) (4) Limitation on bonds secured by a special debt service reserve fund. A district shall accumulate in each special debt service reserve fund an amount equal to the special debt service reserve fund requirement under sub. (5) for the special debt service reserve fund. A district may not at any time issue bonds secured in whole or in part by a special debt service reserve fund if upon the issuance of these bonds the amount in the special debt service reserve fund will be less than the special debt service reserve fund requirement under sub. (5) for the special debt service reserve fund.
229.74(5) (5) Special debt service reserve fund requirement. The special debt service reserve fund requirement for a special debt service reserve fund, as of any particular date of computation, is equal to an amount of money, as provided in the bond resolution authorizing the bonds with respect to which the special debt service reserve fund is established, that may not exceed the maximum annual debt service on the bonds of the district for that fiscal year or any future fiscal year of the district secured in whole or in part by that special debt service reserve fund. In computing the annual debt service for any fiscal year, bonds deemed to have been paid in accordance with the defeasance provisions of the bond resolution authorizing the issuance of the bonds shall not be included in bonds outstanding on such date of computation. The annual debt service for any fiscal year is the amount of money equal to the aggregate of all of the following calculated on the assumption that the bonds will, after the date of computation, cease to be outstanding by reason, but only by reason, of the payment of bonds when due, and the payment when due, and application in accordance with the bond resolution authorizing those bonds, of all of the sinking fund payments payable at or after the date of computation:
229.74(5)(a) (a) All interest payable during the fiscal year on all bonds that are secured in whole or in part by the special debt service reserve fund and that are outstanding on the date of computation.
229.74(5)(b) (b) The principal amount of all of the bonds that are secured in whole or in part by the special debt service reserve fund, are outstanding on the date of computation and mature during the fiscal year.
229.74(5)(c) (c) All amounts specified in bond resolutions of the district authorizing any of the bonds that are secured in whole or in part by the special debt service reserve fund to be payable during the fiscal year as a sinking fund payment with respect to any of the bonds that mature after the fiscal year.
229.74(6) (6) Valuation of securities. In computing the amount of a special debt service reserve fund for the purposes of this section, securities in which all or a portion of the special debt service reserve fund is invested shall be valued at par, or, if purchased at less than par, at their cost to the district.
229.74(7) (7) State moral obligation pledge. If at any time of valuation the special debt service reserve fund requirement under sub. (5) for a special debt service reserve fund exceeds the amount of moneys in the special debt service reserve fund, the district board shall certify to the secretary of administration, the governor, the joint committee on finance and the governing body of each county in the district the amount necessary to restore the special debt service reserve fund to an amount equal to the special debt service reserve fund requirement under sub. (5) for the special debt service reserve fund. If this certification is received by the secretary of administration in an even-numbered year prior to the completion of the budget compilation under s. 16.43, the secretary shall include the certified amount in the budget compilation. In any case, the joint committee on finance shall introduce in either house, in bill form, an appropriation of the amount so certified to the appropriate special debt service reserve fund of the district. Recognizing its moral obligation to do so, the legislature hereby expresses its expectation and aspiration that, if ever called upon to do so, it shall make this appropriation.
229.74(8) (8) Information to joint committee on finance. The district shall provide to the cochairpersons of the joint committee on finance information concerning the district's projected cashflows and security features underlying each issuance of bonds under this subchapter.
229.74 History History: 1995 a. 56; 1999 a. 150 s. 672.
229.75 229.75 Bonds not public debt.
229.75(1)(1) The state and each county in the district's jurisdiction are not liable on bonds and the bonds are not a debt of the state or any county in the district. All bonds shall contain a statement to this effect on the face of the bond. A bond issue does not, directly or indirectly or contingently, obligate the state or a political subdivision of the state to levy any tax or make any appropriation for payment of the bonds.
229.75(2) (2) Nothing in this subchapter authorizes a district to create a debt of the state or a county in the district's jurisdiction, and all bonds issued by a district are payable, and shall state that they are payable, solely from the funds pledged for their payment in accordance with the bond resolution authorizing their issuance or in any trust indenture or mortgage or deed of trust executed as security for the bonds. The state and each county in the district's jurisdiction are not liable for the payment of the principal of or interest on a bond or for the performance of any pledge, mortgage, obligation or agreement that may be undertaken by a district. The breach of any pledge, mortgage, obligation or agreement undertaken by a district does not impose pecuniary liability upon the state or a county in the district's jurisdiction or a charge upon its general credit or against its taxing power.
229.75(3) (3) Bonds issued by the district shall be secured only by the district's interest in any baseball park facilities, including any interest in a lease with the department of administration under s. 16.82 (7); by income from these facilities; by proceeds of bonds issued by the district and other amounts placed in a special redemption fund and investment earnings on such amounts; and by the taxes imposed by the district under subch. V of ch. 77. The district may not pledge its full faith and credit on the bonds and the bonds are not a liability of the district.
229.76 229.76 State pledge. The state pledges to and agrees with the bondholders, and persons that enter into contracts with a district under this subchapter, that the state will not limit or alter the rights and powers vested in a district by this subchapter, including the rights and powers under s. 229.68 (15), before the district has fully met and discharged the bonds, and any interest due on the bonds, and has fully performed its contracts, unless adequate provision is made by law for the protection of the bondholders or those entering into contracts with a district.
229.77 229.77 Trust funds. All moneys received under this subchapter, whether as proceeds from the sale of bonds or from any other source, are trust funds to be held and applied solely as provided in this subchapter. Any officer with whom, or any bank or trust company with which, those moneys are deposited shall act as trustee of those moneys and shall hold and apply the moneys for the purposes of this subchapter, subject to this subchapter and the bond resolution authorizing issuance of the bonds.
229.79 229.79 Budgets; rates and charges; audit. A district shall adopt a calendar year as its fiscal year for accounting purposes. The district board shall annually prepare a budget for the district. Rates and other charges received by the district shall be used for the general expenses and capital expenditures of the district and to pay interest, amortization, and retirement charges on bonds. A district shall maintain an accounting system in accordance with generally accepted accounting principles and shall have its financial statements and debt covenants audited annually by an independent certified public accountant.
229.81 229.81 Assistance by state agencies.
229.81(1)(1) Definition. In this section, "state agency" has the meaning given in s. 20.001 (1).
229.81(2) (2) Assistance with respect to granted land or property. All state agencies may provide assistance to a district if the district has entered into a lease agreement with the department of administration under s. 16.82 (7).
subch. IV of ch. 229 SUBCHAPTER IV
LOCAL PROFESSIONAL FOOTBALL
STADIUM DISTRICTS
229.820 229.820 Legislative declaration.
229.820(1)(1) The legislature determines that the provision of assistance by state agencies to a district under this subchapter, any appropriation of funds to a district under this subchapter and the moral obligation pledge under s. 229.830 (7) serve a statewide public purpose by assisting the development of professional football stadium facilities in the state for providing recreation, by encouraging economic development and tourism, by reducing unemployment and by bringing needed capital into the state for the benefit and welfare of people throughout the state. The legislature determines that the taxes that may be imposed by a district under subch. V of ch. 77 are special taxes that are generated apart from any direct annual tax on taxable property.
229.820(2) (2) The legislature determines that a district serves a public purpose in the district's jurisdiction by providing recreation, by encouraging economic development and tourism, by reducing unemployment and by bringing needed capital into the district's jurisdiction for the benefit of people in the district's jurisdiction.
229.821 229.821 Definitions. In this subchapter:
229.821(1) (1) "Bond" means any bond, note, or other obligation issued under s. 66.0621 by a district.
229.821(2) (2) "Bond resolution" means a resolution of the district board authorizing the issuance of, or providing terms and conditions related to, bonds and includes, where appropriate, any trust agreement, trust indenture, indenture of mortgage or deed of trust providing terms and conditions for bonds.
229.821(3) (3) "Chief elected official" means the mayor of a city or, if the city is organized under subch. I of ch. 64, the president of the council of that city, the village president of a village, the town board chair of a town or the county executive of a county or, if the county does not have a county executive, the chairperson of the county board of supervisors.
229.821(4) (4) "District" means a special purpose district created under this subchapter.
229.821(5) (5) "District board" means the governing board of a district.
229.821(6) (6) "Football stadium" means a stadium that is principally used as the home stadium of a professional football team described in s. 229.823 at the time that a district is created, or if no home stadium exists at the time that a district is created, "football stadium" means a stadium that includes the site of a proposed home stadium of such a team.
229.821(7) (7) "Football stadium facilities" means football stadium property, tangible or intangible, including spectator seating of all types, practice facilities, parking lots and structures, garages, restaurants, parks, concession facilities, entertainment facilities, facilities for the display or sale of memorabilia, transportation facilities, and other functionally related or auxiliary facilities or structures.
229.821(8) (8) "Home stadium" means a stadium approved as provided in s. 229.823.
229.821(9) (9) "Members-elect" means those members of the governing body of a municipality or county, at a particular time, who have been duly elected or appointed for a current regular or unexpired term and whose service has not terminated by death, resignation or removal from office.
229.821(10) (10) "Municipality" means a city, village or town.
229.821(11) (11) "Political subdivision" means a city, village, town or county.
229.821(12) (12) "Related party" means a corporation or business entity that is owned, controlled or operated by, or under common control with, a professional football team.
229.821 History History: 1999 a. 167; 2001 a. 38.
229.822 229.822 Creation and organization.
229.822(1)(1) There is created, for each jurisdiction under s. 229.823, a special district that is a local governmental unit, that is a body corporate and politic, that is separate and distinct from, and independent of, the state and the political subdivisions within its jurisdiction, that has the powers under s. 229.824 and the name of which includes "Professional Football Stadium District".
229.822(2) (2) A district is governed by its district board. Subject to sub. (3), the district board shall consist of the following members who shall be appointed not later than 30 days after the creation of a district:
229.822(2)(a) (a) Three persons appointed by the chief elected official of the most populous city located wholly or partly within the jurisdiction of the district. A person appointed under this paragraph serves at the pleasure of the appointing authority and may take his or her seat immediately upon appointment and qualification, subject to confirmation or rejection by a majority of the members-elect of the common council or council.
229.822(2)(b) (b) Three persons appointed by the chief elected official of the county in which the football stadium is located. A person appointed under this paragraph serves at the pleasure of the appointing authority and may take his or her seat immediately upon appointment and qualification, subject to confirmation or rejection by a majority of the members-elect of the county board.
229.822(2)(c) (c) One person appointed by the chief elected official of any municipality located wholly or partly within the jurisdiction of the district, other than the most populous city located wholly or partly within the jurisdiction of the district, that has a boundary at the time of creation of the district that is contiguous to a boundary of the site of the football stadium. A person appointed under this paragraph serves at the pleasure of the appointing authority and may take his or her seat immediately upon appointment and qualification, subject to confirmation or rejection by a majority of the members-elect of the governing body of the municipality.
229.822(3) (3) Upon appointment under sub. (2), the appointing authorities shall certify the appointees to the secretary of administration. The terms of office of the persons appointed under sub. (2) shall be 2 years expiring on July 1, except that the initial terms shall expire on July 1 of the 4th year beginning after the year of creation of a district. Persons appointed under sub. (2) serve at the pleasure of their appointing authorities, and may be removed before the expiration of their terms. Vacancies shall be filled by the appointing authority who appointed the person whose office is vacant. A person appointed to fill a vacancy under sub. (2) shall serve for the remainder of the unexpired term to which he or she is appointed unless removed at an earlier time. The appointing authorities shall confer with one another regarding their appointments with a view toward achieving diversity on the district board.
229.822(4)(a)(a) The district board shall elect from its membership a chairperson, a vice chairperson, a secretary and a treasurer. The secretary shall act as clerk of the district.
229.822(4)(b) (b) A majority of the current membership of the district board constitutes a quorum to do business. The district may take action based on the affirmative vote of a majority of those members of the district board who are present at a meeting of the district board.
229.822(5) (5) The members of the district board shall be reimbursed for their actual and necessary expenses incurred in the performance of their duties.
229.822(6) (6) Upon the appointment and qualification of a majority of the members of a district board, the district board may exercise the powers and duties of a district board under this subchapter.
229.822(7) (7) The district board shall name the district, and the name shall include "Professional Football Stadium District".
229.823 229.823 Jurisdiction. A district's jurisdiction is any county with a population at the date of the district's creation of more than 150,000 that includes the principal site of a stadium that is home to a professional football team, that is a member of a league of professional football teams that have home stadiums in at least 10 states and a collective average attendance for all league members of at least 40,000 persons per game over the 5 years immediately preceding the year in which a district is created, and that is approved by that league for use as a home stadium for that professional football team. Once created, the district's jurisdiction remains fixed even if population or attendance figures subsequently decline below the minimums described in this section.
229.824 229.824 Powers of a district. A district has all of the powers necessary or convenient to carry out the purposes and provisions of this subchapter. In addition to all other powers granted by this subchapter, a district may do all of the following:
229.824(1) (1) Adopt bylaws to govern the district's activities, subject to this subchapter.
229.824(2) (2) Sue and be sued in its own name, plead and be impleaded.
229.824(3) (3) Maintain an office.
229.824(4) (4) In connection with football stadium facilities:
229.824(4)(a) (a) Acquire, construct, equip, maintain, improve, operate and manage the football stadium facilities as a revenue-generating enterprise, or engage other persons to do these things.
229.824(4)(b) (b) Acquire; lease, as lessor or lessee; use; transfer; or accept transfers of property.
229.824(4)(c) (c) Improve, maintain and repair property, and fund reserves for maintenance, depreciation and capital improvements. Reserves for depreciation and capital improvements may not be created in the special fund maintained under s. 229.825 (1) or the fund established under s. 229.8257.
229.824(4)(d) (d) Enter into contracts, subject to such standards as may be established by the district board. The district board may award any such contract for any combination or division of work it designates and may consider any factors in awarding a contract, including price, time for completion of work and qualifications and past performance of a contractor.
229.824(4)(e) (e) Grant concessions.
229.824(4)(f) (f) Sell or otherwise dispose of unneeded or unwanted property.
229.824(5) (5) Employ personnel, and fix and regulate their compensation; and provide, either directly or subject to an agreement under s. 66.0301 as a participant in a benefit plan of another governmental entity, any employee benefits, including an employee pension plan.
229.824(6) (6) Purchase insurance, establish and administer a plan of self-insurance or, subject to an agreement with another governmental entity under s. 66.0301, participate in a governmental plan of insurance or self-insurance.
229.824(7) (7) Mortgage, pledge or otherwise encumber the district's property or funds.
229.824(8) (8) Subject to s. 229.8245, issue revenue bonds under s. 66.0621, subject to ss. 229.829 to 229.834, and enter into agreements related to the issuance of bonds, including liquidity and credit facilities, remarketing agreements, insurance policies, guaranty agreements, letter of credit or reimbursement agreements, indexing agreements, interest exchange agreements, and currency exchange agreements.
229.824(9) (9) Maintain funds and invest the funds in any investment that the district board considers appropriate.
229.824(10) (10) Promote, advertise and publicize its football stadium facilities and related activities.
229.824(11) (11) Set standards governing the use of, and the conduct within, its football stadium facilities in order to promote public safety and convenience and to maintain order.
229.824(12) (12) Establish and collect fees or other charges for the use of its football stadium facilities or for services rendered by the district.
229.824(13) (13) Establish and collect fees or other charges for the right to purchase admission to events at the football stadium if the proceeds from any amount that is collected under this subsection are used for purposes related to football stadium facilities.
229.824(14) (14) Enter into partnerships, joint ventures, common ownership or other arrangements with other persons to further the district's purposes.
229.824(15) (15) Impose, by the adoption of a resolution, the taxes under subch. V of ch. 77, except that the taxes imposed by the resolution may not take effect until the resolution is approved by a majority of the electors in the district's jurisdiction voting on the resolution at a referendum, to be held at the first spring primary or partisan primary following by at least 45 days the date of adoption of the resolution. Two questions shall appear on the ballot. The first question shall be: "Shall a sales tax and a use tax be imposed at the rate of 0.5 percent in .... County for purposes related to football stadium facilities in the .... Professional Football Stadium District?" The 2nd question shall be: "Shall excess revenues from the 0.5 percent sales tax and use tax be permitted to be used for property tax relief purposes in .... County?" Approval of the first question constitutes approval of the resolution of the district board. Approval of the 2nd question is not effective unless the first question is approved. The clerk of the district shall publish the notices required under s. 10.06 (4) (c), (f) and (i) for any referendum held under this subsection. Notwithstanding s. 10.06 (4) (c), the type A notice under s. 10.01 (2) (a) relating to the referendum is valid even if given and published late as long as it is given and published prior to the election as early as practicable. A district may not levy any taxes that are not expressly authorized under subch. V of ch. 77. The district may not levy any taxes until the professional football team and the governing body of the municipality in which the football stadium facilities are located agree on how to fund the maintenance of the football stadium facilities. The district may not levy any taxes until the professional football team and the governing body of the municipality in which the football stadium facilities are located agree on how to distribute the proceeds, if any, from the sale of naming rights related to the football stadium facilities. If a district board adopts a resolution that imposes taxes and the resolution is approved by the electors, the district shall deliver a certified copy of the resolution to the secretary of revenue at least 120 days before its effective date. If a district board adopts a resolution that imposes taxes and the resolution is not approved by the electors, the district is dissolved.
229.824(16) (16) Accept gifts, loans and other aid.
229.824(17) (17) Administer the receipt of revenues, and oversee the payment of bonds issued by the district.
229.824(18) (18) Adopt and alter an official seal.
229.824(19) (19) Subject to the limitation in this subsection, sell engraved tiles or bricks, which may be placed in or around football stadium facilities. The net proceeds from the sale of engraved tiles or bricks shall be deposited by the district into the fund under s. 229.8257. No tiles or bricks may be sold under this subsection if the net proceeds from such sales would exceed the amount that would jeopardize the federal tax-exempt status of the bonds.
229.824 History History: 1999 a. 167; 2001 a. 38; 2009 a. 2; 2011 a. 75.
229.8245 229.8245 Limitations on district.
229.8245(1)(1) The name of a football stadium may not be changed without the written consent of the municipality in which it is located and the professional football team described in s. 229.823.
/statutes/statutes/229 true statutes /statutes/statutes/229/iv/820/2/_1 Chs. 228-229, Populous Counties and Cities section true


Actor Jason Lee (My Name is Earl) and lead singer Eric Pulido discuss their new live concert film Midlake: Live in Denton, TX. The footage was captured at an iconic venue in the bands hometown. Directed by Eric Noren.
February 26th @ Hackney Picturehouse.
Head to THE GUARDIAN for more info.
With just a few tickets still available for his UK tour, and his Village Underground show having sold-out within just a few hours, FATHER JOHN MISTY has today unveiled a video for "Chateau Lobby #4 (in C for Two Virgins)" from his new album I Love You, Honeybear.
Josh Tillman says of the video, "A few months ago, I had an idea for a music video. I was going to rent a wedding chapel, get a dozen kittens and stage a kitten wedding, over which I would preside and intercut with performance footage of me lip-syncing the song which you're hearing today, "Chateau Lobby #4 (in C for Two Virgins)".
"Sounds great, right? It may have even gone viral because: kittens. If a video goes viral, that means you're reaching a wider audience, and you might even get on a chart. If you get on a chart that means you're streaming more records, and the more records you're streaming the more money you supposedly have for hiring kitten wranglers.
"Aside from the fact that kitten wranglers are considerably more expensive than you may realize and that said-kitten wranglers all informed me there was no way we were going to be able get the outfits I had mocked up onto said-kittens, there was another extenuating factor involved in the decision to abort this music video concept and ruin the slim likelihood that I might ever get to see the Huffington Post entertainment headline "EX-FLEET FOXES DRUMMER WEDS CATS".
"That reason is that the song actually means a great a deal to me. It's got the #4 on it because this iteration of Chateau Lobby was the 4th attempt at arranging and producing the song that did not turn out perversely sentimental. Sentimentality brutalizes emotion. Much like ironic music videos.
"I don't care all that much if you like the music video or not. The label isn't crazy about it. Management isn't crazy about it. I have been informed I'm basically kissing an MTV "Woodie" award goodbye forever. I made it on an iPad on my wedding anniversary with the one I love. We ate pancakes.
Preorders for I Love You, Honeybear are now available via http://fatherjohnmisty.merchline.com and iTunes. The album will be available on CD, download and 2 x LP in a gatefold jacket and black vinyl. A limited edition deluxe 2XLP alternate-cover version on tricolor vinyl in a Dioramic, Meta-Musical Funtime gatefold jacket All CD and LP formats will come with a fold-out poster, featuring a collage of Emma Tillman's intimate photos, designed by Alia Penner and an extensive "Exercises for Listening" written by Josh Tillman.
I Love You, Honeybear will be released 9th Feb in the UK/Europe on Bella Union (10th Feb in the rest of the world via Sub Pop).
Bloodbarf is taken from Clarence Clarity's debut album NO NOW.


HTC Alfa photographed in Liverpool. Its a real shame that the view of this particular dock is now obscured by the enormous steel beam which is now a permanent resident here.
She was built by Taizhou Sanfu Engineering Limited in 2013 as Yard Number sf110101 and is 189.99m long with a 32.19m beam and 12.81m draft.
GT = 32,967 & DWT = 56,601.
She has a MAN B&W 6S50MC-C8 marine diesel engine (12,889bhp/ 9,480kW) giving a service speed of 14.2 knots.


(Oxford, 26 November 2016) 200 pp.
Reviewed by Peter Womack on 2017-07-29.
Publishing this book is an odd thing for Oxford University Press to have done. Since 2000 it has been generating a monumental academic edition of The Complete Works of Oscar Wilde, with Volume 8 due out late this year. At first sight, the present book seems to be a volume in that series: like the others, it is an imposing Oxford hardback edition of a text by Wilde, carefully edited and generously annotated. However, it turns out that this book is not part of the Complete Works; rather, it is a sort of appendix or postscript, neither quite integrated with the main project nor quite independent of it. Reviewing the book, then, entails addressing the unexpectedly tricky question of what it actually is.
Not long after taking his Oxford degree in the summer of 1878, Wilde decided to go in for the Chancellor's Essay Prize, an annual competition still held today. Every year there is a set topic, and that year it was "Historical Criticism among the Ancients." Wilde wrote an essay of a little under 25,000 words on this subject, which did not win the prize (it is possible that he did not ultimately submit the essay), and was not published in his lifetime. Surviving in manuscript, it first appeared in print, after some heavy-handed editing, in Robert Ross's 14-volume Collected Works of Oscar Wilde (1908). While Wilde was working on this essay in 1878-9, he kept a notebook in which to put quotations, ideas, and drafts. The notebook found its way into the collection of Wilde materials that was amassed by Viscountess Eccles and bequeathed to the British Library on her death in 2003. This is the document that OUP has now reproduced in print, with exhaustive explanations of its allusions and minute descriptions of its lacunae and marginal scribbles.
Operating, then, at a high level of scholarly obscurity, this book enshrines the preparatory notes for an unpublished student essay. Or, to be more precise, some of the notes for a draft of an unpublished student essay -- since the textual scrutiny attendant on the publication has suggested both that there were other notebooks which have not surfaced and that the text of the essay itself is not quite a fair or final copy. The fragmentary text that results cannot plausibly be represented as something from Wilde's oeuvre; it is more like something from his waste paper basket. That makes it fair to ask whether the waste paper has anything written on it that rewards the labor of retrieving it. But before we get to that question there is another layer of context: the interlocking editorial activities that have now come to surround these primary texts.
Systematically edited for the first time, Wilde's essay on historical criticism appeared in the new Oxford Complete Works, volume 4 (2007). The editor, Josephine Guy, annotated it copiously, tracing its sources in both classical authors and nineteenth-century historians and philosophers. This was a necessary operation, since the essay is both impressively learned and completely devoid of footnotes. Guy was much assisted in her task by Philip E. Smith's own earlier work. In 1989 he and Michael S. Helfand edited two other student manuscripts as Oscar Wilde's Oxford Notebooks: A Portrait of a Mind in the Making. Since these notebooks reveal a great deal about what Wilde had been reading and what he had been thinking about it, Smith and Helfand's researches flowed naturally into Guy's commentary. But she made no use of the then unpublished "Historical Criticism Notebook," either because she judged it unhelpful or was unaware of its existence.
The trouble with this sequence of events is that the newly published notebook is really intelligible only in specific relation to the essay. Whereas the other "Oxford Notebooks" were more like general commonplace books, collecting miscellaneous thoughts and quotations, the "Historical Criticism Notebook" is a working document from a single academic project. As Smith more or less warns at the outset, one needs to have the Oxford edition of the essay always open next to it: to an unusual extent, this book does not stand alone. Its ideal reader would be someone preparing a scholarly edition of the essay, but alas, it has come too late for that. Since the notebook mostly contains drafts of sentences and paragraphs that will arrive at their final form in the essay, annotating the notebook mostly means dealing with exactly the same materials as annotating the essay, so that Smith is perforce treading, step by step, in Guy's footmarks. When he occasionally manages to fill in one of Guy's gaps or correct one of her errors, he does so with a slightly unnecessary emphasis. For a while I thought I could detect a note of Casaubon-like resentment at being investigatively outrun, but that is probably unfair. Rather, what I could hear was the relief of having, for once, something independent to do. Smith's project seems painfully fenced in. For too much of the time, all he can do is confirm that Wilde was indeed on the page of Buckle or Polybius that he already seemed to be on.
What we are left with, in other words, is an exhibition of rigorous erudition lavished upon an object that seems inadequate to it. First, the "Historical Criticism Notebook" can illuminate nothing but the "Historical Criticism Essay," and in practice the notebook tells us little about the essay that the essay does not tell us about itself. One might object that any material contribution to the understanding of Wilde's canonical writings is valuable, however marginal it might be, and that cashing out that value is the business of the next generation of critics. But this argument makes a large assumption about the essay's importance. And here, I would say, is the real point of this publication: not so much its utility to Wilde scholars (who would perhaps be as well served by the digitization of the original), but its dramatization of the idea that "Historical Criticism" itself is a major work. Smith and Helfand were already advocating that view in the long and persuasive introduction to their 1989 edition of the other Oxford notebooks, and it is clear from his acknowledgments in this new book that Smith has been energetically on the case for many years. What is at stake is the shape and scale of the Wilde canon: is it so important, and so coherent, that even the most indirect evidence of its genesis deserves this minute attention?
"Historical Criticism" is after all a serious piece of work, which is itself an interesting fact given the damage Wilde was later to inflict on that very adjective. It interprets the title -- "Historical Criticism among the Ancients" -- as an invitation to trace the emergence of a critical spirit in classical Greek historiography, which it does through careful readings in Herodotus, Thucydides, and Polybius, as well as in Plato and Aristotle. This procedure opens up several large themes: the tension between idealism and empiricism in the philosophy and practice of history; the way modern methodological debates are prefigured in Hellenic culture; and the Hegelian narrative according to which the human spirit progressively works out its freedom. The seriousness with which Wilde takes up these questions -- a seriousness which is certainly underlined by the Notebook's evidence of his industrious preparations -- is ammunition to use against readers who regard him as a sort of high-cultural jester on the strength of such texts as "The Decay of Lying" or the "Maxims For the Instruction of the Over-Educated." On the contrary, if we read the later writings in the light of this early essay on historical criticism, Wilde arguably takes his place alongside Arnold or Ruskin in the great Victorian debate about culture and society.
A passing reviewer is hardly positioned to say just how convincing this argument is. But Smith's work prompts one sceptical reflection: unlike Wilde himself, this way of affirming his significance pays too little attention to the question of audience. As Regenia Gagnier pointed out a generation ago (in Idylls of the Marketplace, 1986), Wilde's ambiguities often reflect his efforts to reach discrete if overlapping publics. The literary monthlies, the West End, the American lecture circuit, and the Uranian subculture all traded in different and incompletely convertible intellectual currencies. But the currency of "Historical Criticism" is exceptionally self-contained and easy to label: it is that of Oxford University. The intended readers are the judges of an Oxford competition; the dominant texts, the characteristic questions, and the Hellenism all come from the syllabus of Oxford Greats in the era of Jowett. At age 24, having just graduated with a first-class degree, Wilde may well have been thinking of aiming for a college fellowship. If the essay was serious, then, it partly expressed the seriousness of a student trying for top marks. And if it is now being oversold, as I am inclined to suggest, it is partly because the sellers are professional academics working with a distinguished university press. The appropriateness of it is a little comical: Wilde today may be a world-famous wit and gay icon, but we in the Faculty are not fully convinced of his importance until he appears, also, as an exemplary graduate student.
And there is indeed something a bit bon enfant about the essay's formulations. The young classicist deplores the Greeks' "fatal legacy of a mythology stained with immoral and monstrous stories imputing evil and sin to God" (Notebook 75; see also Complete Works 4: 5-6), and shakes his head at the way later Hellenic historians valued style above the scientific evaluation of evidence (CW 4:41, Notebook, 15). It is hard to imagine the London Wilde concurring even though these sentiments were once definitely his own, for there is no sign that heterodox views expressed in the notebook are suppressed in the fair copy of the essay. On the whole, the personal touches in the fragmentary notes -- the occasional Paterian purple patch, the occasional joke -- survive into the final draft; the candidate, you might say, is exhibiting flair as well as conscientiousness. But the discursive requirements of a particular intellectual genre lead Wilde to say certain kinds of thing. It is not unconnected with his subsequent trajectory: he presents himself as the product of a classical education, from which he will go on to become a poet, dramatist, and cultural journalist. But the connections are not straightforward, because he was never in the same situation again.
I have implied that the notebook is of limited interest because most of its substance can also be found in the essay, which is for obvious reasons more readable. This is not entirely true, for some of the particular starts and trains of thought in the notebook did not lead to anything in the completed work. Only the notebook, for instance, includes a rather reverberant reflection on the way Tacitus and other imperial historians like writing about criminality (126-7). More generally, as compared with the finished essay, the notebook shows more emphasis on two related questions: what do historians do when their sources include evidently fabulous or miraculous narratives, and how far do historians admit of divine or providential interpretations of events, rather than depending on wholly naturalistic types of causation? The notebook thus rather surprisingly embeds the "Historical Criticism" essay in the classic mid-Victorian antinomies of faith and rationality.
This move could have sprung from both larger and smaller causes. A small one is that despite his glittering First, Wilde had failed an exam in Divinity and had to resit it at the time he was working on the essay. A larger one is that 1870s Oxford was a historically ecclesiastical institution in the difficult process of secularizing itself, and Wilde, arriving from the confessional complexities of Dublin, could see that controversies in current Christianity were everywhere implicit in Oxford's overtly classical curriculum. However that may be, this large silo of scholarly labour seems here to yield at least one fruitful grain of suggestion: when, less than a year later, Wilde burst upon the world as an aesthete (see below), he was really conducting a dialogue with religion.
Oscar Wilde as the Bard of Beauty (April 1880). Creator unknown.
Peter Womack is a Professor in Literature and Drama at the University of East Anglia, Norwich, England.
Leave a comment on Peter Womack's review.


I can not believe that today is the last day of January. Seriously this year is going to fly by so quickly. My daughter is already talking about turning six (her birthday isn't until November so she may be getting excited a little too early lol). How has everyone's January been so far? Apart from it going by quickly mine has been good. I've managed to catch up with lots of people and do some fun things with Olivia before school starts in a couple days. Eeek! I can't believe my baby is big enough to be going to school.
Today I have my monthly favorites for January. I haven't fully decided what sort of format or things I am planning on putting in these monthly favorites at this point, so if I have missed anything that you would like me to include you can let me know. Now this month has been a bit "quiet" in terms of new products. I did order Orly's La La Land Collection back in December but for whatever reason they still haven't arrived. I've now re-ordered them from another company so they should be here soon - plus I have some other goodies that I have purchased so February should have some new things for me to share with you so yay! I love new things.
This month has been full of nail art! There has been a total of twenty four nail art related posts, how crazy is that? I really didn't realize that there was that many. I always have trouble narrowing down my favorites to four (I don't think it helps that I do so many manis in a month) so here are my favorite eight manis. The warmer weather certainly has made me break out a lot of bright colours!
Seems we are talking about nail art I thought I should throw in some of my favorite nail art products I have been loving this month.
I have a whole review on this plate which you can find here but long story short - there are a whole bunch of full sized images on this plate that I just love! It's definitely a very me plate. I do have a bunch of other new Lina plates that I want to use so I have had to stop myself from just grabbing this plate constantly.
This plate is from Bundle Monster's Mystic Woods Set Two Stamping Plate Collection. There is actually few plates from this collection that I really like but the butterfly wings really make my heart sing. I can't wait to use this plate again!
As I mentioned earlier, this month has definitely been very quiet when it comes to new polishes for me. I have however had a chance to swatch some more of the polishes that I purchased last year (yay for staying on track with my New Years Resolution!). I have also had a chance to rediscover some older polishes that I have worn before.
This collection isn't a favorite of mine when it comes to wearing each polish as a full mani, however I do love the colours for nail art (as you can probably tell from my nail art collage above). You can see my full review of these here in case you want more of my thoughts.
This is such a stunning colour and the formula is great. I think this one would have made it into my favorites of last year if I had actually gotten around to wearing it in time.
This is another one of the polishes that would have made it into my favorites from last year. Seriously I need to stay on top of my purchased better this year! You can see more pictures of this polish here.
This month I have also rediscovered my love for Matte Top Coats. I don't know why I don't use them more often. Brace yourselves - there will probably be a lot of matte manis coming!
I thought it would be fun to include some of the things that you guys have been liking. These are my nine most liked pictures on Instagram for this month. It's great to know that some of my favorite manis are yours as well.
I think that about covers everything that I have been loving this month. I am so excited for February. I should have a few new things to play with and of course lots more nail art to share with you guys.
What are some of the things that you have been loving this month?
Today is the last mani for the 30 Days Of Colour Challenge...well for this month anyway. I haven't seen the themes for February yet (or the dates) so I am not 100% certain if I will be joining in next month. I guess only time will tell. Anyway, today's theme is recreation. Now I'm really not sure if this prompt is going for a hobby type of thing or more re-creating someone else's mani. I am kinda going with both. I spend hours scrolling through Instagram and Pinterest looking for a mani that I wanted to do when I came across Ana's Manis recent blog post and thought it was the perfect mani. It's gorgeous! If you haven't seen Ana's work definitely check it out!
For my base I used OPI's You're Such A BudaPest (which is such a stunning polish. I have fallen in love with it again). I then used OPI's Flip Flops & Crop Tops and Love Angel Music Baby for the followers and OPI Alpine Snow for the dots.
I couldn't resist grabbing out OPI's Matte Top Coat for this one. I seriously need to do more matte manis.
I'm so glad I saw Ana's mani and recreated it. Not only is it a gorgeous mani but it made me fall in love with OPI's You're Such A BudaPest and Matte manis all over again.
Did you complete this challenge?
It's time again to celebrate another Digit-al Dozen member's brithday. January is the birth month of Shelly (or Sassy Shelly as some of you may know her as) and she has picked this really colourful Galaxy design for us to use for our manis. Now if you have followed me for a while then you will know that I don't like Galaxy nails. I like them on other people but I don't like doing them at all. In fact, I will avoid them whenever I can. Apparently my time has come again to attempt another Galaxy mani.
For my base I used Pretty Serious Cosmetics Absence, and then randomly sponged on OPI Alpine Snow. To continue the randomness I sponged on China Glaze's Seduce Me, I've Got A Blue Attitude, That's Shore Bright, DJ Blue My Mind, Neon & On & On, Too Yacht To Handle and Snow Globe. Lastly I added some random white dots.
I really do like the Galaxy picture. If I could magically get it on my nails then I would do that. I can't wait to see the other girls manis.
Happy Saturday everyone! I hope you all have something fun or relaxing to do this weekend. I am actually off for a day of fun in Geelong with some friends of ours. It's meant to be good weather so should be a great day. Anyway, recently I received Uberchic Beauty's UberSwatchers to try out and share with you guys so let's take a look shall we?
In case you don't know what UberSwatchers are they are polish swatcher toppers for your polish bottles and come in two parts - a hard white top and a flexible outer wrapper. Now why in the world would you need these? If you are like me, you may store all of your polishes in drawers and will know the frustration of not being able to see the colours you have without pulling them out. That is where the UberSwatchers can come in handy.
As mentioned, the UberSwatchers come with two part - the white top and the flexible wrapper. They arrive joined together but are simple to separate so that you can paint them with your desired colour. Putting them back together however is a little more fiddly. It's not difficult, but definitely fiddly.
The huge pro to these is that you can easily see what polishes are in your drawers which makes it a lot quicker to find what you are looking for. There are a couple of cons (in my opinion) of this. If you have a large collection you are going to be in for $$$$ to have UberSwatchers on all of your polishes (you will also be spending a lot of time swatching them all). The other downside is that these don't actually fit on all polish bottles. For me personally, I have no issues with seeing the bulk of the colours in my collection as the bottles are larger than the caps. I do have troubles with rounded stamping bottles with the black caps so I was hoping that the UberSwatchers would fit nicely over them. Sadly, this is definitely not the case. As you can see below the UberSwatchers are way too small.
Now while I won't be rushing out to buy the UberSwatchers for my entire polish collection (I have over 2500 polishes) I do like the UberSwatchers for my gel polishes. Gel polishes are in a black bottle which makes it impossible to see what colour is inside plus the labels on the fronts of the bottles aren't a good colour representation. The UberSwatchers are a perfect solution for that!
The UberSwatchers are available in a variety of packs from Uberchic Beauty.
I'm a little late to this challenge but I have decided to join in. I joined the Nail Crazies Unite Facebook group last year and had all intentions of starting from the beginning of the challenge but got side tracked by trying to swatch things etc. I then completely forgot about it when I started joining all the other challenge, until now!
As you can see I have missed a number of themes but I will be starting from today and working my way through with the rest of the prompts. Fingers crossed I can keep up. Anyway, today's theme is blue and white. I went for a nice simple mani. For my base I used OPI Alpine Snow and then stamped Bundle Monster Astronomical and Cosmic Latte. Stamping designs are from Uberchic Beauty 14-03.
I actually really like the little triangles by themselves. I think that make for a really cute and simple mani. I think next time I will do some double stamping with this image.
Have you been joining in with this challenge?
Today I have a completely different post for you. Well maybe it's not completely different as it is still nail polish, but today I have gel polishes from Opallac Gel Polish to share with you. I was sent a seventeen polishes to swatch so I have decided to split them into two posts. The second part I'll post probably in a couple of weeks, as I'll need the time to swatch them still (gels definitely take me longer to swatch than regular polish). Today I have nine of the polishes to share with you.
I haven't ever tried gel polishes that require a lamp to set them so this has definitely been a bit of a learning curve for me, and a very steep learning curving at that. I spent the first three days (and countless hours) trying different ways of applying the polishes so that they didn't bubble on me. From shaking the bottle (which you are instructed to do to ensure the polish is mixed) and not shaking to bottle, I tried thin coats, medium coats and thick coats and it was nothing but frustration. I asked around and apparently no one had experienced this so I emailed Opallac to see if they could help. Turns out there must have sent a faulty top coat so I used the back up bottle I had. Did that help? Yes, kind of. I still do get bubbling in the polishes (including the top coat) but not as bad as the original few days.
As I mentioned using these gel polishes has definitely been a learning curve for me. If you apply them like a regular polish they pool and slide off the nail and are an absolute pain to clean up. I found if you applied them too thin then they bubble like crazy and you have to use multiple brush strokes to try and get the bubbles out. From what I can gather I seem to be the only person who has experienced this issue, so I am going to guess that it must be a body chemistry thing that is causing them to bubble on me.
Each of these polishes need to be cured for 90 seconds under the UV lamp. I did notice that the lamp does cause the polish to shrink/move a little so I definitely recommend wrapping you tips so it's as bad. Once the polishes are cured you can't do any form of clean up (which personally was driving me nuts!) so I do apologize that I don't have nice clean lines on some of my swatches.
Right I think that about sums up my experience so let's take a look at the swatches shall we?
24 Carats is a gold glitter in a clear base. This polish didn't come with a label attached so I am taking a bit of a guess that this is the name. Now I am not sure if this is designed as a glitter topper or is meant to be worn alone. I decided to swatch it by itself, because why not? This is super sparkly so I would suggest avoiding driving with sunlight because you may get blinded. My swatch shows three coats.
Appletini is a pastel green creme. This one does apply quite unevenly and needed three coats to even out. I think it is a pretty colour. I used three coats for my swatch.
Babes In Bondi is a pastel peach creme with a very subtle shimmer. I used three coats for my swatch.
French Affair is a white creme. You can never go wrong with white nails. This one is nice and opaque and only needed two coats to be opaque. I did notice that this one came off slightly when applying the top coat (you could see white on the top coat brush).
Go Gaga is a fluro pink. This one is quite sheer in colour. I used four coats for my swatch and still had a slight visible nail line. I think this one would be better over a white base.
Popsicle is a bright purple creme. I think this is such a pretty colour. For my swatch I used two coats.
Scarlet is a watermelon creme. This one actually surprised me. I thought it was going to be a red (the labelling looks red and the name suggests red to me). I used three coats for my swatch.
Strawberries & Cream is a thermal polish that shifts from a cream colour to a pink. This definitely quite interesting to watch. When you apply it, it starts as pink but immediately changes to cream once it is on the nails. Even with my long nails the polish remained in the warm state. To get to show the pink I needed to ice the tips. I should point out that it wasn't particularly hot when I swatched this one either. I think they are just very reactive. My swatch shows three coats.
True Blue is a blue creme. I really like the colour of this one. My swatch shows two coats.
I haven't actually worn any of these polishes for more than 24 hours so I can't comment on their wearability. They are designed to last up to fourteen days which is great if you don't switch up your polish often. For someone like me who switches up their nails on a daily basis, I don't think these are worth the extra effort (especially seems I get some bubbling as well) it is to apply these and then to remove them. My nails and cuticles certainly aren't liking how drying the remover is either.
Opallac Gel Polish are available at Priceline and from the Opallac website.
Today's theme for the 30 Days Of Colour Challenge is jewels. Now when I saw this theme I thought it was the perfect opportunity to play in my stud drawers. Yes believe it or not I do own a lot of studs and other nail art things but don't use them very often. Why? No clue. There really is no good reason. Anyway, I have been busy swatching some gel polishes (which I will being a post about tomorrow) and thought why not team the gel polishes with some bling? This definitely isn't a mani that I would wear on a day to day basis but it was fun as a once off thing.
I used Opallac Gel Polish in Babes In Bondi and the rhinestones are from Born Pretty Store.
I'm excited to see what everyone else comes up with for this theme!
I'm sure by now you are all aware by now that I have a lot of untried polishes....well the same can be said about my stamping plate collection as well. Why am I mentioning this now? Well it has occurred to me that while Uberchic Beauty have just released their Love & Marriage 03 Stamping Plate (there are also a couple of other new releases which I will be sharing with you soon) I still haven't gotten around to swatching and reviewing Love & Marriage 01. I think I have used it so that is at least a good start. I have got a blog post on Love & Marriage 02 if you are interested. Anyway, let's look at the third addition to this collection.
This is a mani I actually did for a challenge over the weekend. I love the lace of the mint! Such an unexpected combination (well at least for it is unexpected). Polishes used are China Glaze's Re-fresh Mint and Powder Perfect's White Stamping Polish.
For my second mani I actually used two different stamping images from this plate. The stripes are actually vertical on the plate (with hearts on top) but they fit horizontally across my nails. It's like two images for the price of one. I love the stripes teamed with the hearts image. I can see me using this heart image a lot, especially with Valentine's Day just around the corner. Polishes used for this mani are Opallac Gel Polish's Go Gaga, China Glaze's Glistening Snow and Powder Perfect's Black Stamping Polish.
I think this is a great plate, especially if you are like me and love girly images/manis. As always the images on this plate stamp beautifully.
The Love & Marriage 03 Stamping Plate is available now from Uberchic Beauty.
Today I have the last winter look that I will be doing for the Nail Challenge Collaborative. I was actually a little stumped with what to do for my last mani so I was scrolling through my winter board on Pinterest when I saw a pink and black snowflake mani by @glittr and just knew I had to do something very similar.
For this mani I used OPI's Mod About You, China Glaze's Glistening Snow (which side not: is drying out nooooooo), and Pretty Serious Cosmetics Absence. For my stamping I used Powder Perfect's Black Stamping Polish and the image is from Lina Nail Art Supplies 4 Seasons - Winter 01.
I'm not too sure if I will be joining in again with this challenge next month (I can't believe it's already time to start thinking about February already!). It really will depend completely on what theme is picked. Are you going to be joining in with The Nail Challenge Collaborative?
Today is one of those days where I feel like I am chasing my tail and going around in circles. Ahh! Hopefully I can get everything I need to get done. All that being said I am going to make today's post a quick one.
Today's theme for the 30 Days Of Colour Challenge is Calm. This theme really could go any which way but I thought I would go for a nice pastel colour and a simple design. I originally was going to use China Glaze's Keep Calm, Paint On but switched to Re-fresh Mint. They are quite similar colours, except Re-fresh Mint is a creme polish. Fun fact: Re-fresh Mint was the first China Glaze polish that I ever purchased and it was the polish that really pushed me away from my "buy only OPI polishes". It's great to revisit this polish. Anyway, I decided to stamp this really pretty lace image from Uberchic Love & Marriage 03 stamping plate (I will have swatches and a review of this plate for you guys next week).
I think that the mint is such an unexpected colour for a lace mani. Or maybe it's not unexpected at all, except to me. I usually go for pinks, nudes or even reds for lace. No idea why. Right, now I must get moving. I hope you all have a great day!
Well, well look at me switching gears here. This is my first blog post that isn't nail art related since January 5th. That's right, that is fifteen days of non stop nail art. There has been a mix of nail art challenges, nail vinyls and stamping plate reviews but now it's time for me to get back into swatching some of the polishes that I purchased last year. I really want to get through these before I go back into buying season with all the new polishes that are going to be soon released.
I have had these five Emily de Molly polishes waiting for me to swatch them since June last year. How crazy is that? There was actually six polishes released and I did manage to swatch one of them last year before I had a major break in my nail and was forced to take a break. In case you missed the post with Quest For Immortality you can find it here. This polish was actually in my favorites from last year. It is such a gorgeous polish, I seriously love it! Anyway, I should stop babbling and show you guys the other five polishes that were released in June last year.
Crystal Cavern is a lavender pink foil with gold/green/blue shifting shimmer. This is a really pretty colour. I couldn't stop looking at my nails when I wore this one. The colour is a little on the sheer side. I used three coats for my swatch.
Cubicle Gangster is a bright green creme with an orange overlay. This is definitely unique in my collection. It's not a favourite of mine but I still quite like it. The formula is great and easy to work with. I used two coats for my swatch.
Damaged Bills is a dark teal with overlay. Another really pretty polish with an amazing formula. My swatch shows two coats.
Hybrid Theory is a light blue strong holo with green to copper multichrome flakies. OMG this polish is amazing! I am so disappointed with myself that I haven't worn this until now. Seriously Tracy? Why? It's so stunning, and the formula is so easy to use. I should also point out that is polish is a lot more holo than it looks in my sunshine pic. I took that picture early in the morning so the sun wasn't as strong. I stupidly forgot to take another picture when the sun was stronger. I used three coats for my swatch.
Lunar Haze is a light green holo with very slight beige undertones and orange overlay. It also has iridescent purple microflakes (which are visible in person but my camera didn't pick them up too well in my pictures). This is another really pretty polish that would also make for a fantastic base from some nail art. The formula is easy to use. I used three coats for my swatch.
Emily de Molly really does make some of the best polishes in the business if you ask me. I am such a HUGE fan, which really isn't new information. You guys would probably already know that. I'm definitely excited to see what Hayley has in store for us this year. I'm just hoping my wallet can keep up. Anyway, my personal favourites that were released in June 2016 were Quest Of Immortality (seriously check it out if you haven't!), Hybrid Theaor and Crystal Cavern.
All of these polishes are still available now from Emily de Molly's Australian site and I am guessing they are still available from the international site. If not, check out one of Emily de Molly's stockists.


I'm not entirely sure why this CD album Riflessi: Art Songs From Malta CD escaped this podcast last year, when it was first released. It certainly hadnt' escaped my attention, particularly because I even attended a live concert by Miriam Cauchi with Alex Vella Gregory in Valletta. Anyhow, it's time to rectify that by including this track on this edition of the podcast.
This entry was posted on Saturday, February 20th, 2016 at 10:11 pm	and is filed under Podcasts and tagged with M3P, MMI. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


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Peter Kleinhans - Something's Not Right | Album Review
Peter Kleinhans is a New York based singer-songwriter who started his music career a little later on. He had a career horse racer but was forced to give up his career at the age of 47. In a search for new meaning, Peter took an introductory song writing course. Over the last five years, he wrote the lyrics and music to his debut album 'Something's Not Right'.
I do like this album - it might not be an album I would put on repeat but I do like Peter's artistic take to music. Through out the album, it seems like Peter has experimented with several genres which is what I like to see small artists doing. I am not sure if it just me but I can hear mainly country-folk infused melodies underneath the other lively rock-folk instrumental.
A mixture of vocals (both male and female when the chorus arrives in some songs) and a mixture of different acoustic instruments really put a good feel to the album. When listening to the album, I certainly don't feel like it is debut album - it feels and sounds more advanced than normal debut albums that are released.
I don't have a favourite song from the album; I think they are all as good as one another. I am looking forward to hearing some future music from Peter as this is only the start - as an artist will progress each time and I am excited to see it.
Keep up the good work Peter!
I got the chance to do a little Q&A session with Peter Kleinhans about his debut album 'Something's Not Right'.
What was the inspiration behind your album 'Something's Not Right'?
Originally, I don't know if I had any specific inspiration into writing this album- I hadn't set out to write an album at all. This was really my first foray into music, and I would have been happy to come up with one or two songs I was happy with. But Something's Not Right turned into its own thing- an ode to different characters with a special empathy for those struggling or feeling stuck in place.
I began with a song called Travelling Blind, which didn't even make the final cut of the final album. It was about an every man, braving the Minnesota winters, with a son still living at home at 29, a wife with what could possibly be the beginnings of dementia. None of their problems are exceptional these days, and yet I found that they've rarely been the stuff of songs. Having lived in the Midwest for many years, I wanted to tap into a certain kind of dissatisfaction that I'd sensed- the feeling that something was just off. I wrote that song in 2013, but I still think that this feeling of "off"ness is with us- and is behind so much of the divisiveness in American society today. Everyone knows something is wrong, but can't agree on what it is, exactly, and who is to blame. In my next album, I explore some of this phenomenon, but here I only wanted to capture that initial feeling of uneasiness. The title song, Something's Not Right, now remains the standard-bearer for that feeling. The song begins with the banality of Applebee's and Lowe's- it could be anywhere in America and would look exactly the same. That's part of the sense of quiet tragedy I'm trying to communicate.
Slowly, the album began to take on a shape, and it became an interesting challenge to try to balance it out, so that it combined empathy with fun, thoughtfulness with whimsy. I wrote a song about an ageing man- in either a nursing home or hospital- and his daily struggle just to deal with that day. I added one about a single mother, one about an itinerant worker who has just gone through a breakup and is at loose ends. The characters are still what this album is all about- a tribute to people who aren't given enough attention. I also put a lot of energy into the photography that goes with each song, and with the cover and packaging, because I wanted the album to feel like something substantial, not just a collection of songs.
How long did it take to write and record the album?
From the point I decided I was going to work on a completed album to its completion was about three years, from late 2013 to late 2016. Again, since I hadn't contemplated the idea of a completed album, it progressed slowly. But once I teamed up with Tony Conniff to produce the album, we really hit a stride, and it was exhilarating. I'd write the parts at home on Garage Band (I've since switched to Logic), and then we'd get musicians to replace most of my parts- because while I'm decent on piano and mediocre on guitar, this team we've put together is so much better. I love being in the writer's chair, watching and listening to the whole thing come together. It's thrilling to write a musically-complex part that I might not be able to play perfectly, then listen to someone like Larry Saltzman, an incredibly-talented session guitarist, take that part and bring it to life. It's become a more streamlined process, and I'm almost done with the second one. We're also playing gigs every three months at The Bitter End, and we're developing a little bit of a following because we really are committed to giving the audience an hour- and no more- of enjoyable and thoughtful music.
How would you describe your music to people who haven't heard it before?
I find it tough to describe my music to others, because I don't really know exactly where it falls. It's definitely closer to classic rock or folk rock than anything else, I think, but I'm always trying to bring in new influences. My new song, 91st Street, for example, is a tribute to subway graffiti and its hip-hop roots, but it would never be confused for hip-hop itself. One thing I can say is that none of the songs are "throwaways". I don't know if they all succeed in "saying something that has to be said", but that's the hope. I'm also pivoting a little bit more towards humour in the second album because I've realised that a little whimsy goes a long way in connecting with a crowd.
What would you like to achieve in the next 5 years?
I hope the next five years will be extremely prolific. At age 53, I'm acutely aware of the need to create efficiently and quickly, or else face the fact that I might end up with nothing but two or three albums. I'm not interested in being any kind of "star", but I wouldn't be doing this if I didn't believe I'm capable of creating something that will add to others' experience of the world. If I were thirty years younger, I'm sure I wouldn't feel the same urgency, and I intend to use that feeling to my advantage. If I can get this current album finished, do two more, and plenty of regular gigs, I'd say that would be a great next five years.
What have you got planned next? Any new music?
Yes. I'm about nine-elevenths of the way through my second album. I've changed gears a little; this next album will be a little more lighthearted and hopefully a little less wordy than my first. My undergraduate degree was in creative writing with a focus on poetry, and I think that comes through pretty clearly in the first album. But I've realised that the change of even one of two words can make enormous differences in a song, and so I've become much more forgiving of my first drafts of a song. I don't have to have every line just right at first; there's no shame in revision. Musically, I've found certain concepts that I'm really enjoying playing around with, such as randomly-alternating major and minor chords that add to a sense of surprise. Not being a music "lifer", I think I have the advantage that sometimes comes with being an outsider- I may discover something musical that hasn't been thought of completely before. That's exciting to me!
Album Review Peter Kleinhans Something's Not Right
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Home / Uncategorized / International Women's Day 2022
Monika Nowaczyk March 8, 2022 Uncategorized 0
International Women's Day 2022: Celebrating Cambodian Women
This year's International Women's Day theme is "gender equality today for a sustainable tomorrow," and here at Beebee+Bongo we want to honour, and credit, the incredible women that make our products through our production partners in Cambodia. We carefully choose who we work with and seek out partners who share our values and ethics, whether that be in terms of inclusion, fair production practices or women's empowerment—and preferably all three.
Traditionally and culturally, women in Cambodia have been, and continue to be, disadvantaged. Illiteracy rates are higher for women than for men, with a reported 1 in 4 women over the age of 15 being illiterate[1]. Girls have a much lower chance of completing their schooling beyond the primary level, with only 1 in 3 completing high school[2]. Additionally, women carry the burden of childcare and housework. With limited skills, education and time, paired with few opportunities, women find it difficult to earn income towards their family needs.
There is also the continued prevalence of a 300+ year old poem, the Chbab Srey, roughly translated as Rules for Girls, that is often passed down orally from mother to daughter, describing rules of "good" or "proper" women and generally promotes subservience, modesty and obedience. Still taught in schools, the poem promotes archaic gender roles for women, encouraging them to be quiet, gentle and focus on housework.
The village crochet team of Cambodia Knits
Yet, the women we have come to know through our brand partners are very much the opposite: they are strong, powerful and resilient. They are fiercely committed to their families and their communities and given opportunities, they strive to improve their situation and that of their family, breaking gender stereotypes along the way.
Our key production partner is Cambodia Knits (CK), a company that oversees a network of knitters and crocheters who produce our high-quality toys. CK was launched with the goal to provide women with income through flexible and fair economic opportunities which acknowledge the traditional, cultural, and societal constraints they face, and provides work that can be done at home, on their schedule. CK fully supports their producers through training and the provision of all materials. This means that the women who produce for CK, take no risks (other than their time) to learn the skills and make the products.
The drawstring bags that our educational toy line is packaged in are made by the Cambodian Women's Support Group, another female led organization that acts as an independent sewing cooperative. Kanary, who leads the group, is another example of the strength and resilience of Cambodian women. After the sewers lost their main source of income in 2015, when the NGO they worked for shut down, she took on the challenge to find new clients and secure work for the rest of the team. She continues to lead with enthusiasm and determination to provide opportunities for her small team.
These partners are on the ground in Cambodia, led by women who live in the communities, so they know best what women in their networks need, how to support them and can do so within the constraints women face and the legal frameworks in the country.
The sewing team of Cambodian Women's Support Group
We are proud to be able to partner with ethical and fair production organizations like these two, and to support them through the purchase and sales of their high-quality products, which in turn enables them to provide more economic opportunities. By supporting women to have access to jobs, these organizations are directly supporting this year's theme of "gender equality today for a sustainable tomorrow."
We don't believe Cambodian women need to "be empowered" by outsiders like us. Rather they need the opportunities to thrive. And so, on this Women's International Day, we, Beebee+Bongo, recommit ourselves to the following:
Fair Trade Principle 6: Gender equality is promoted and ensures that women are given opportunities, full employment rights and full statutory employment benefits and receive equal pay for equal work
Sustainable Development Goal 5: Girls and women everywhere have equal rights and opportunities.
[1] World Bank, https://data.worldbank.org/
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Monika Nowaczyk February 23, 2022
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If you're like the majority of home proprietors, you might want to redesign your outdated bathroom to ensure that you'll finish track of an attractive, elegant and modern bathroom. However, the issue facing many home owners is they are less than sure how to pull off this project to ensure that they finish track of not just their dream bathroom but additionally stay inside their initial budget.
You'll find great bathroom renovation ideas by going to new houses available nearby to discover exactly what the contractors/renovators did. Contractors not just use elegant designs and materials they also give consideration to prices to be able to ensure a great return of investment. There is also many bathroom renovation ideas from various home renovation magazines.
With respect to the size your bathrooms you might be limited wide for cabinetry. Within this situation it might be a wise idea to maneuver the cabinetry for the corner along with the side to ensure that you are able to make the most of the area you've.
Lighting is a vital feature now most lavatories use Pot lights or lights that are affixed to the wall or a mix of both. Keep in mind probably the most costly a part of bathroom renovation may be the labor not materials. Thus, if you're operation on the small budget, it might be a smart idea to exchange existing lighting fittings rather than having to pay an electrical installer to operate new wires to various locations.
Bathroom vanity is definitely an absolute mark associated with a modern bathroom. Make certain that you simply look around as prices can differ a good deal. Certain that your to find out if any store is advertizing a wholesale. For just a few $ 100 you need to have the ability to look for a very elegant vanity. Please create cut costs by utilizing cheap plumbing material as it can certainly result in a leak later on and can cost you a lot more to repair the problem.
Bathroom renovation doesn't imply tearing lower walls and getting rid of flooring. A sizable elegant bathroom mirror can greatly boost the overall picture of your bathrooms. The good thing about bathroom mirrors is they are affordable and you may even hang it yourself with little difficulty.
Modern and shinny bathroom taps are another must if this involves remodeling your bathrooms. Taps are utilized whenever someone uses the restroom and therefore, they're very noticeable. It's not necessary to spend a leg along with a leg on taps. You will find many elegant taps which have an acceptable cost and also have lifetime warranty.
Bath tub sliding screens bring plenty of charm for your bathroom which is stronger and simpler to keep compared to shower curtains. You need to have the ability to easily do the installation yourself by using the manufacturer's instructions.
Without having ceramic flooring or even the flooring now has wrinkles and ugly, you need to install ceramic tiles to enhance the look of the bathroom.
Remember that a fresh paint job could make miracles. Once all of the above remodeling jobs are completed, make sure to fresh paint the walls and also the ceiling. Visit new houses available or take a look at home renovation magazines to obtain an concept of popular colors for the bathroom.


The actual construction of Binondo-Intramuros Bridge connecting Solana Street and Riverside Drive in Intramuros with San Fernando Street in Binondo, Manila has started with the drilling of the first bored pile at down ramp section near Maestranza Park.
The project is part of the administration's Metro Manila Logistics Improvement Network project.
"Financed under China Grant-aid in the amount of P4.243 Billion, the bridge is planned for completion by January 2021," the Department of Public Works and Highways (DPWH) said.
According to DPWH, the 710-meter bridge will have four lanes and will exhibit a steel bowstring arch design with inclined arches.
"No less than President Rodrigo Duterte and Chinese Ambassador to the Philippines Zhao Jianhua led on July 17, 2018 the groundbreaking ceremony for iconic Binondo-Intramuros Bridge Project and another China grant-aid project in Estrella-Pantaleon Bridge connecting Estrella Street, Makati City and Barangka Drive, Mandaluyong City," DPWH said.


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She was in an abusive relationship a decade ago. Now she's an advocate for domestic violence survivors.
Brinley Hineman
It's been more than a decade since Gina Iser left her abuser. Now she's helping survivors of domestic violence in Williamson County.
Moving to Franklin was a pivotal point in Iser's journey from victim to survivor.
When she called Franklin police on her ex-husband, an officer separated the couple and discretely gave Iser contact information for Bridges Domestic Violence Center, a nonprofit organization in Williamson County that helps those experiencing abuse.
It wasn't her first time calling the police on her ex, but it was the first time an officer pulled her aside to share options. She later called Bridges. That call changed her life.
She began attending a support group and crafting her "exit plan," which is a plan to leave an abuser in the safest way possible. She left for good on April 1, 2009.
Now Iser works as a court advocate where she helps domestic violence victims navigate the court system and the legal process for getting orders of protection, which come with a mountain of paperwork.
"Court is overwhelming," she said.
Iser also sits with the victim during court sessions when they face their abuser, which can be a stressful and terrifying experience. She connects them with other advocates and puts them in touch with needed resources, like shelters.
Being an advocate is empowering for Iser, especially since she knows what the victims are facing. She doesn't always share her own story with her clients, but she sometimes opens up to let them know she's faced abuse, too.
"The biggest resource that you can be is a listener and give them space and room to make their own decisions," she said of her work. "I do know the key for me was reaching out to Bridges."
The pandemic likely worsened things for abuse victims, Iser said. She saw a slowdown of orders of protection at the beginning of the pandemic, likely due to victims having little time away from their abusers and no privacy to call for help. When things started opening again, she said "there was a flood of contact" of people seeking help.
How the center fared during the pandemic
Domestic violence at the beginning of the pandemic was "an extremely stressful time," said Lynn Schroeder, the development director for Bridges. Isolation is often a factor in abusive situations and was only worsened as the world shut down.
The Tennessee Bureau of Investigation reports that law enforcement agencies in Williamson County responded to almost 570 reports of domestic violence in 2020.
In the latest fiscal year, from July 1, 2020 to June 30, 2021, Schroeder said the center helped more than 1,900 people — mostly women and children. While Bridges primarily helps Williamson County residents, the center doesn't turn anyone away who needs help.
With the county being one of the most affluent in Tennessee, some might be surprised at the domestic and family violence occurring there. Financial abuse is common in the county, Schroeder pointed out. Women will often show up in luxury cars they can't afford, she said.
"You would think these kinds of things wouldn't happen," Schroeder said. "It doesn't matter. It crosses all socioeconomic levels."
The center had to reshape some things during the pandemic, like shrinking the number of beds they could offer in their emergency shelter from 15 to 10 to accommodate social distancing. Their transitional housing has operated the same and is currently helping 27 people. Tenants pay low rent to the center and can live in the homes for up to a year.
"It enables people to get their feet on the ground who don't want to live in a community shelter anymore," Shroerder said.
Many of the center's clients come to them after police intervention. Schroeder was a volunteer officer in the '80s and established connections with Williamson County law enforcement. When police respond to a domestic violence incident, they can ask the center to send a representative to share options with the victim.
The center, which was founded in 1998, has expanded its services to include counselors, a health clinic and a pet shelter. Some victims can be scared to leave their pet behind, so this gives them one less hurdle in seeking safety, Schroeder said. The center is designed to help victims every step of the way as they leave their abuser.
Bridges added batterer intervention classes to its roster in 2017. The students attend under a court order from a Williamson County judge for the 26-week course. The educational program aims to break the cycle of violence and rehabilitate the abuser.
The center hopes to expand its services in the coming years to include a staff attorney and beef up its transitional housing options. Their housing is full 96% of the time, Schroeder said.
How to help and get help
The center is in need of donations, whether that's financial, items or even volunteers. Visit the center's website to see what it needs.
For those in need of help, call the center at 615-599-5777.
Reach Brinley Hineman at bhineman@tennessean.com and on Twitter @brinleyhineman. To stay updated on Williamson County news, sign up for our newsletter.


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Meet Models Own Sticky Fingers – playful colours with added stickers! While they're not exactly at the forefront of innovation, they are very cute for when you feel like jazzing up your nails. Although it's recommended that you use a top coat after putting the stickers on, I found that it's better without – and you really do need to wait til the polish is good and dry before you add the stickers.
I used tweezers to place the flowers and the tiny ones stick down better than the bigger ones which seem to just flick up at the edges in some cases. Remember that in the picture you are seeing them very close up – nobody would ever see your fingers at this range, so they look a little more raised than they actually are in real life (plus my real-life fingers aren't that big -I'd need to be about 18 feet tall for that to be the case!).
There are five choices; POW, Pastel Petals, Drips & Dots, Bows and Candy stickers launching in March for £6 each at www.modelsownit.com and www.superdrug.com. I really like my little yellow flower nail!
very spring appropriate! so pretty.


Insects that bite do it to get access to your blood as that is what they feed on. Biting insects include mosquitos, fleas, sand flies or midges and bedbugs.
In New Zealand, biting insects do not carry diseases such as malaria, dengue fever or lyme disease, as they do in other countries. But the result of an insect bite is frequently intense itching, as the insect injects a small amount of an anti-clotting substance so that the blood may be fed on more easily. This often develops into a raised reddened lump at the site of a bite, and may also blister. The major problem with these bites is that the itching results in scratching the area, causing infections and sores to develop, which may take some time to heal, and may also cause scarring.
In order to treat an insect bite you need to relieve the itch. There are many preparations available from your community pharmacy that will help to treat the itch, as it may continue for several days after the bite if you are particularly sensitive to that insect. Often people that are new to an area may have a more severe allergic response to the insects that inhabits that region. Travellers or those on holiday often have a more severe reaction to insects than those that live locally, as an immunity to the insect appears to develop with repeated exposure or bites in the past.
Preparations that your community pharmacist may advise you to use to treat the itch of insect bites include soothing, numbing or mild steroid creams and lotions. If there are many bites, or your reaction is severe, then antihistamine tablets may also be helpful to deal with extended periods of itching. The itch of bites tends to worsen at night when you are in bed and this is when antihistamine tablets are particularly helpful.
As with all preventable conditions, the best treatment of insect bites is not to get bitten in the first place. Regular flea treatment of cats and dogs and good household and personal hygiene will help to remove fleas and bedbugs. It is also helpful to remove or cover pools of water to deter mosquitos.
Your community pharmacist is also able to advise you of suitable products to use to repel biting mosquitos, sand flies and other insects; as well as advise you about how to discourage insects from being attracted to you or your surroundings.


Eights on Sava - Zagreb :: Why on Sava?
After many years of absence of rowing on Sava River in Zagreb, except some unsuccessful tries, HAVK Mladost took serious steps to add one more rowing venue in the City of Zagreb. In addition to the first class facility on Jarun Lake, rowing has returned to its natural surrounding on Sava. In November, 2015 Zagreb hosted an international rowing regatta "Eights on Sava". It was planned that this regatta continues as an international rowing event on Sava, as well as a part of the traditional "Capital Cup" which hosted rowing regattas in Budapest and Vienna (as of 2017, Prague has joined the Capital Cup regattas). Furthermore, it is expected that "Return to Sava" motivates the public institution and the general public to partake in getting to the banks of river Sava in all respects, particularly in sports and recreation.
Rowing in Zagreb has a long tradition. The official Web pages of the Croatian Rowing Association state that on June 9, 1872 "The first Croatian rowing and fishing association" was established. Thirteen years later, in 1885, "Hrvatski Sokol" formed its rowing section. The first exclusively rowing club, "Croatian rowing club" was established on March 19, 1912. Following some name changes, this original club is todays HAVK Mladost.
During the following years other rowing clubs have sprung out, hence Zagreb today has seven more rowing clubs - VK Trešnjevka (1923), VK Zagreb (1930), VK Croatia (1934), VK Jarun (1990), VK Sava (2002), VK Nova (2003), VK Purger (2004).
Second race "Eights on Sava", which is also the first race for the "Capital Cup 2017". was held in Zagreb on November 5th, 2016.
The third race "Eights on Sava", which was, for the season 2018, the second regatta for the "Capital Cup" (the first one was in Prague in October of 2017), occured on November 4, 2017.
The fourth, now traditional Capital Cup race will take place in Zagreb on November 3, 2018.


Jesus today warns us about being a pretender and not a possessor of true Christian piety. The scribes and Pharisees pretended to have a more exact knowledge of the law. They felt they, only, had the accurate interpretation of the laws of God. They received money for prayers while purporting to assist widows and others but they were bringing poverty rather than blessing and prosperity. They were known for their long prayers, some lasting up to three hours and trying to manipulate unsuspecting widows to part with their money.
How sad it is that eloquent and even lengthy prayers can be said without God even hearing and, of course, not answering them.
The length of a prayer, or time spent in prayer, is not what impresses God, but the faith of our prayers. Praying to be heard by others, or praised for the poetry of the prayer, does not bring an answer from God.
When we pray it is simply talking to God, believing He will hear and answer our prayers. Prayer must be more than words flowing from our mouth - they must be from the heart.
Of course prayer must be according to the will of God and in faith. To be seen and heard was the attitude of the scribes and Pharisees and Jesus says this was all a sham.
Make sure today that you are not a pretender when it comes to the things of God, but in all things a true expression of Him. Not a person of self-righteousness but a person of love, faith and integrity.
Dear heavenly Father You have given me yet another day in which to serve You. Thank You for this wonderful privilege. Please make me aware of any pretence or tendency towards self-exaltation and self-righteousness. Help me to serve You today in truth and humility, I ask this in the name of the Lord Jesus.


As a self employed consultant, and previously as a corporate manager, I've invested considerable effort over several years to hone the approach I use to getting work done, remaining focussed on the current task, and maintaining a balance with my life beyond work. This post is about the tools I use and the workflow i employ to help me be more effective.
This entry was posted in 4. Personal Productiivity and tagged Evernote, OmniFocus, productivity on January 7, 2016 by Pete Jakob.
In my view, time off at Christmas and New Year is mainly about having fun with the family and catching up with old friends. However it's also a great opportunity to reflect on the last year and to think about your approach for the year ahead. This week is a great time to kick back and have a think about what lies ahead for the New Year and everything you want to achieve.
This entry was posted in 4. Personal Productiivity on December 30, 2015 by Pete Jakob.
71% Burn Out among Marketers? Bothered?
This entry was posted in 4. Personal Productiivity and tagged prioritisation, productivity, stress on September 18, 2015 by Pete Jakob.