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Первый чемпионат Молодёжной хоккейной лиги проходил с 4 сентября 2009 года по 26 апреля 2010 года. Кубок Харламова, а вместе с ним и звание чемпиона МХЛ завоевал клуб «Стальные Лисы», в финале обыгравший команду «Кузнецкие Медведи».

Межсезонье

Турниры

События
 Решение о создании лиги молодёжных команд хоккейных клубов принято 26 марта 2009 года на совместном собрании клубов Континентальной хоккейной лиги, Федерации хоккея России и руководства КХЛ.
 В сезоне 2009/10 в МХЛ выступали 22 команды все из России.

Регулярный чемпионат

Формат
22 команды поделены по географическому принципу на две конференции — Западную и Восточную. Западная конференция включает в себя 12 клубов. Восточная конференция включает в себя 10 клубов.

Состав дивизионов
{| class="wikitable" style="width:100%; text-align:left"
! style="background:white; text-align:center; width:20%" | Команда
! style="background:white; text-align:center; width:15%" | Город
! style="background:white; text-align:center; width:45%" | Арена
! style="background:white; text-align:center; width:10%" | Основан
! style="background:white; text-align:center; width:10%" | в МХЛ
|-
! style="background:#6699FF; text-align:center" colspan=6 | Западная конференция
|-
| Алмаз
|  Череповец| Ледовый дворец
| align=center | 2009
| align=center | 2009
|-
| Красная Армия|  Москва
| Ледовый дворец спорта ЦСКА
| align=center | 2009
| align=center | 2009
|-
| Крылья Советов|  Москва
| УДС «Крылья Советов»
| align=center | 2009
| align=center | 2009
|-
| Локо|  Ярославль
| УКСК «Арена 2000»
| align=center | 2009
| align=center | 2009
|-
| МХК Динамо|  Москва
| Малая спортивная арена «Лужники»
| align=center | 2009
| align=center | 2009
|-
| МХК Спартак|  Москва
| Дворец спорта «Сокольники»
| align=center | 2009
| align=center | 2009
|-
| Мытищинские Атланты |  Мытищи
| Арена Мытищи
| align=center | 2009
| align=center | 2009
|-
| Русские Витязи|  Чехов
| Ледовый хоккейный центр «Витязь»
| align=center | 2009
| align=center | 2009
|-
| СКА-1946|  Санкт-Петербург
| Спортивный комплекс «Юбилейный» (малая арена)
| align=center | 2009
| align=center | 2009
|-
| Феникс|  Воскресенск
| Ледовый дворец спорта «Подмосковье»
| align=center | 2009
| align=center | 2009
|-
| Чайка |  Нижний Новгород
| Нагорный дворец спорта профсоюзов
| align=center | 2009
| align=center | 2009
|-
| Шериф|  Балашиха
| «Балашиха-Арена»
| align=center | 2009
| align=center | 2009
|-
! style="background:#FFCCCC; text-align:center" colspan=6 | Восточная конференция
|-
| Авто |  Екатеринбург
| Культурно-развлекательный комплекс «Уралец»
| align=center | 2009
| align=center | 2009
|-
| Барс|  Казань
| Татнефть Арена
| align=center | 2009
| align=center | 2009
|-
| Белые Медведи|  Челябинск
| Ледовая арена «Трактор»
| align=center | 2009
| align=center | 2009
|-
| Кузнецкие Медведи|  Новокузнецк
| Дворец спорта кузнецких металлургов
| align=center | 2009
| align=center | 2009
|-
| Ладья|  Тольятти
| Дворец спорта «Волгарь»
| align=center | 2009
| align=center | 2009
|-
| Омские Ястребы|  Омск
| Арена Омск
| align=center | 2009
| align=center | 2009
|-
| Реактор|  Нижнекамск
| Спортивно-культурный комплекс «Нефтехимик»
| align=center | 2009
| align=center | 2009
|-
| Сибирские Снайперы |  Новосибирск
| Концертно-спортивный комплекс «Сибирь»
| align=center | 2009
| align=center | 2009
|-
| Стальные Лисы |  Магнитогорск
| Арена-Металлург
| align=center | 2009
| align=center | 2009
|-
| Толпар |  Уфа
| Уфа-Арена
| align=center | 2009
| align=center | 2009
|}

 Основные события
 Чемпионат стартовал 4 сентября 2010 года матчем за Кубок Открытия в Москве между командами «Красная Армия» и «МХК Динамо». Матч закончился со счётом 6-2 в пользу «МХК Динамо».

 Кубок Вызова

Кубок Вызова — матч между лучшими игроками Запада и Востока, решено провести 6 февраля 2011 года в Санкт-Петербурге.

 Итоговая таблица
   * Выделены команды, вышедшие в плей-офф  М — место в дивизионе, И — игр, В — выигрышей, ВО — выигрышей в овертайме, П — поражений, ПО — поражений в овертайме, ГЗ забитые шайбы, ГП пропущенные шайбы, О — очковЗападная конференцияВосточная конференция'''

Плей-офф
Право на попадание в плей-офф получили команды, занявшие 1-8 места в конференциях. Второй этап чемпионата начался 13 марта 2010 года. Все серии будут проводиться до трёх побед. Ни одна из команд Западной Конференции не смогла выйти в четвертьфинал.

Итоговое положение команд

Примечания

Ссылки
Официальный сайт МХЛ

2009 год в хоккее
2010 год в хоккее
Молодёжная хоккейная лига


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PARKER – Runs & Rides
Born in Doncaster, brought up in Australia, and now living in Hackney, frontwoman Bryony Parker has had anything but a conventional life. The 21-year-old musician said her goodbyes to her family in Australia and bought a one way ticket to England to focus on her music career and she hasn't looked back since.
Captivated by Marina and the Diamond's honesty and Arcade Fire's unconventional lyricism, Parker's music likewise incorporates thoughtfully honed concepts into innovative cut-and-paste collages of fractured pop. Her music evokes a sense of not truly belonging to one specific place, and takes inspiration from her life in a rural Australian town, and the juxtaposition between this and the lavish lifestyles of her boarding school friends.
Format: Digital Single
Catalog: KMRDD094

redpajama_set_name: RedPajamaCommonCrawl


"Dabangg 2" is making news as it is nearing its release that is in December, during Christmas. The film has a new director this time, who is none other than Arbaaz Khan.
Salman normally releases all his movies during Eid; however, this will be after a long time that he will release his film during Christmas. Last when that had happened was in 1989 when his debut film "Maine Pyar Kiya" had released.
Sonakshi Sinha has been retained for the sequel to 'Dabangg', however, Malaika has been replaced by Bebo aka Kareena Kapoor. Kareena will be doing an item number for this movie which Malaika had previously done for 'Dabangg'.
Latest on this film is that there is a melodious number in this film that required Sonakshi Sinha to dance. What will be worth watching in this track will be that Sonakshi will be doing some of the signature steps of Chulbul Pandey from the prequel. And these steps have been taught to her by Chulbul Pandey himself.
This idea of making her do some of the steps of the previous film was Salman's idea and thus he also took interest in teaching her the dance steps that he did in the song "Munni Badnaam" alongside Malaika Arora Khan.
It was also revealed that Sonakshi learnt the steps pretty quickly.
The song that will film the duo has been named "Saanson Ne". The lead pair has left for Dubai to shoot for this song. The shoot will be completed in two or three days.
An insider has claimed "It's the final song of the film; a romantic track sung by Sonu Nigam and Tulsi Kumar, and will be picturised on Salman and Sonakshi. They have already flown out of the city and filming has already started."
Also after filming this song Salman Khan might throw a wrap-up party, to celebrate the completion of this film. The source added ""It will be a party for the cast and crew. Salman is very emotional and caring toward the team he works with. Being the last day of the shoot, he will definitely do something for the unit."


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Persia Nicole also known as "The Power of The P" has been dominating the airwaves for over 10 years! Throughout Persia's radio journey she has interviewed some of the greatest in the industry from Missy Elliott, Kendrick Lamar, Alicia Keys and Megan Thee Stallion to name a few. Persia is also the go to endorser for some of the biggest companies like Coca Cola, Comcast and Avion Tequila. Outside of radio you can catch Persia making appearances on Bravo, TV One and doing entertainment for our local news station FOX 45. Check out all of Persia's exclusive celebrity interviews and the latest trends on Persianicole.com or https://92q.com/category/persias-picks/. On air Monday-Friday 10:00am-3:00pm and on Saturdays from 10:00am - 2:00pm. Follow Persia: Twitter||Instagram @PersiaNicole
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Ed Reed Exposes Shannon Sharpe DM's Following Controversy
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How many of these hair trends did you try?
Scrunchies, claw clips, sky-high hair volume—if you didn't know what year it was, you'd think the biggest hair trends of 2018 were meant for 1988. Hair this year was all about looking to the past to predict the future, and it's been a wild ride revisiting some of beauty's more polarizing trends. From baby bangs to double barrettes, here's a look back at the biggest hair trends we saw in 2018.
There's big hair—and then there's the hair seen on the pre-fall 2019 Versace runway last night. Model Grace Elizabeth's hair was pulled into a super-high ponytail, decorated with three Versace brooches, and then pounds of fake hair were added in for the sky-high cascading effect. The look was reminiscent of the latest Valentino runway, where model Kaia Gerber stormed the catwalk in hair so voluminous you could practically see it from the ISS.
Kate Middleton basically invented the royal ponytail. The humble hairstyle, once thought to be too athletic and sporty for red carpets and royal families, has been a staple of the Duchess for years. Her version is always polished and perfect, but in late 2018, Middleton took her ponytail one step further. Instead of simply pulling her back with an elastic or wrapping the base with a strand of hair, Middleton has been wearing a black velvet elastic affixed with a bow.
"I love the way that something that's been around and has a funny connotation can come back," hairstylist Guido Palau said backstage at Alexander Wang of the designer's claw clip. If you remember the clips from the first time around—and perhaps still have a few of your own—Palau wants to make you feel really, really old: "Also, you've got to remember, lots of girls probably don't remember what the banana clip is. There's an 18 or 17-year-old girl, they don't know it has a funny connotation to it. They may just think it's super cool to do that in their hair."
Baby bangs—that is, fringe cut intentionally shorter than your eyebrows—have been trending since the beginning of the year. But it appears that the polarizing haircut trend is here to stay, at least until the end of spring 2019. Model Kaia Gerber hit the Miu Miu spring 2019 runway in Paris wearing one of the boldest baby bangs looks we've seen this year.
Hairstylist Renda Attia was behind Jasmine Sanders's breathtaking braid at this year's Met Gala. The braid was center-parted and plaited down the center of her back. Small red roses were pinned everywhere down the braid, while pink and red velvet ribbon were wrapped around various sections of hair. When you look closely, you can also see that gold ribbon and tiny pearls strung on gold wire were wrapped around section of hair too. There was a lot going on in the hair look—and it will probably take Sanders four hours to unravel—but the end result is nothing short of jaw-dropping.
If you're going to dye your hair one color this year, make it Nirvana Blonde. Hairstylists Nikki Lee and Riawna Capri dubbed the soft platinum hue they gave to Selena Gomez after the legendary Kurt Cobain. It has a lived-in effect from the moment you leave the salon, and it's easier on your roots, too.
At Moschino, Prada, Fendi, and Tom Ford, models stormed the runways in faux-cuts and choppy bangs that had a decidedly boyish quality to them.
Leave it to Rihanna to dream up one of the coolest hairstyles for 2018. At her spring Fenty Puma show, models walked the motocross-inspired runway with their ponytails wrapped in elastic neon string. Wrapped in sections and tied at random, the string created perfectly imperfect bubbled sections along the length of the tail.
The answer to whether or not you should get bangs is always yes—especially in 2018. Take a cue from Victoria's Secret Angel Taylor Hill and try a messy, choppy fringe paired with your long natural hair texture.
If you pick up one hair accessory this season, make it something acrylic. At Chanel, models wore clear plastic tubes fastened over their low ponytails. The look is unexpectedly fun and chic.
All hair types and textures can try this trend: two barrettes of your choice fastened parallel just above each temple. We love the gold ones at the Versace show, but a classic bobby pin done in a metallic finish works just as well.
For haircut and style inspiration in the coming year you should look to years past. Ends are rolled-under or flipped out, and cuts are blunter than ever, harkening back to the early '90s in the most fashion-forward way.
If you have natural curls or texture—don't just wear them, flaunt them. One of the biggest beauty moments of last year was Uzo Aduba's fantastic voluminous curls. Use a few key styling products like mousse, hairspray, or dry shampoo to take your natural texture to new heights.
The humble scrunchie made a return to the runways this season at the Mansur Gavriel show. By the end of 2017, celebrity hairstylist Jen Atkin had released her own line of fuzzy scrunchies. In 2018, it's safe to say the polarizing accessory is back for good. The 2018 version should be worn and fastened with purpose and done in a luxe finish like silk or velvet.
Get your Youtube braid tutorials at the ready. If it's been a few years since you learned how to weave a plait, you'll need to sharpen your skills for 2018. Braids of all kinds have made a comeback on the runway (including four-strand and fishtail). Our favorite way to wear the trend? A long, low, and loose fishtail, like the one at the Chanel Hamburg pre-fall show. Finish it off with a glitzy accessory fastened right at the nape. With that kind of styling, nobody could accuse you of wearing a 2010 boho braid.


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Shroud thinks Apex Legends' success changed Respawn's content plans
Published: 11/Mar/2019 3:57 Updated: 11/Mar/2019 4:49
by Vincent Genova
Apex Legends is set to receive a content update soon and Shroud thinks there is an explanation for the timing.
Apex has seen a rapid increase in popularity, far exceeding expectations on its way to becoming one of the biggest games in the world.
Shroud thinks this unexpected growth is the reason for a delay in the promised content updates.
"I think with Season 1, it was already supposed to be out," started Shroud. "But I think they wanted to do better."
Read More: Respawn's March 8 'Check In' addresses Apex Legends crashes and server issues
Respawn originally announced their plans for the future right after the game's surprise launch on February 4, saying Apex's first update will arrive in March.
Here's the roadmap for what's coming to Apex Legends in 2019. pic.twitter.com/iOle3XTQoG
— Apex Legends News (@TitanfallBlog) February 4, 2019
"I think the plan for Season 1 was real simple, it was just a Battle Pass and new characters, that was it," explained Shroud. He continued, " but the game took off and they didn't expect it, so now people are expecting more."
Shroud's timeline is a little off, Respawn already announced new loot and weapons to accompany the Battle Pass before Apex became popular. However, he could be right in that they took another look at their content after seeing the game take over Twitch.
It hasn't even been 4 weeks since we launched! The team is working hard, I promise
— Vince Zampella (@VinceZampella) March 3, 2019
It remains to be seen if Respawn has adjusted the timeline of the Battle Pass launch, since they originally said March and the month is not over. Respawn CEO Vince Zampella did have a response for those losing patience on the Apex Legends content drop. "It hasn't even been 4 weeks since we launched! The team is working hard, I promise," said the game's creator.


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Home › Health › Lost secrets of happiness or at least avoiding depression
Lost secrets of happiness or at least avoiding depression
Posted on February 26, 2018 by Jonathan Andreas — Leave a comment
Tim Harford reviewed a new book, The Origins of Happiness, which argues that happiness should guide government policy. Richard Layard has long argued that depression is an avoidable disease which should be one of the top health priorities of government. Unfortunately, Americans have spent $11.3 billion on anti-depressants per year in the 2010s, but it hasn't worked. Rates of depression have not decreased relative to where they were before we started medicating everyone. That is partly because anti-depressants don't work long term for the vast majority of people. Traditional societies don't have such high levels of depression like in the US. For example, the Amish have less trouble with depression than mainstream America and Costa Rica is happier than the US.
Johann Hari wrote a new book, Lost Connections, which explains that there are actually three causes of depression and America has almost exclusively focused on treating the biological cause with drugs which hasn't worked out well. He wrote a fascinating article to make his case:
Derek Summerfield happened to be in Cambodia conducting some research on the psychological effects of unexploded land mines — at a time when chemical antidepressants were first being marketed in the country.
The local doctors didn't know much about these drugs, so they asked Summerfield to explain them. When he finished, they explained that they didn't need these new chemicals — because they already had antidepressants. Puzzled, Summerfield asked them to explain, expecting that they were going to tell him about some local herbal remedy. Instead, they told him about something quite different.
The doctors told Summerfield a story about a farmer they had treated. He worked in the water-logged rice fields, and one day he stepped on a land mine and his leg was blasted off. He was fitted with an artificial limb, and in time he went back to work. But it's very painful to work when your artificial limb is underwater, and returning to the scene of his trauma must have made him highly anxious. The farmer became deeply depressed.
So the doctors and his neighbors sat with this man and talked through his life and his troubles. They realized that even with his new artificial limb, his old job — working in the paddies — was just too difficult, that he was constantly stressed and in physical pain, and that these things combined to make him want to just stop living. His interlocutors had an idea.
They suggested that he work as a dairy farmer, a job that would place less painful stress on his false leg and produce fewer disturbing memories. They believed he was perfectly capable of making the switch. So they bought him a cow. In the months and years that followed, his life changed. His depression, once profound, lifted. The Cambodian doctors told Summerfield: "You see, doctor, the cow was an analgesic, and antidepressant."
…[There are three causes of depression]: biological (like your genes), psychological (how you think about yourself), and social (the wider ways in which we live together). Very few people dispute this. But when it comes to communicating with the public, and offering help, psychological solutions have been increasingly neglected, and environmental solutions have been almost totally ignored….
…Irving Kirsch, a professor of psychology who now teaches at Harvard Medical School, was initially a supporter of chemical antidepressants – but then he began to analyze this data, especially the data the drug companies had tried to keep hidden from the public. His research concluded that chemical antidepressants give you a boost, above the placebo effect, of 1.8 points on average on the Hamilton scale. This is less than a third of the boost that you get, by some estimates, from improving your sleep patterns… Although antidepressant prescriptions have increased 500 percent since the 1980s, there has been no discernible decrease in society-wide depression rates.
… But the scientists who study the social and psychological causes of these problems tend to see them differently. Far from being a malfunction, they see depression as partly or even largely a function, a necessary signal that our needs are not being met.
Everyone knows that human beings have innate physical needs — for food, water, shelter, clean air. There is equally clear evidence that human beings have innate psychological needs: to belong, to have meaning and purpose in our lives, to feel we are valued, to feel we have a secure future. Our culture is getting less good at meeting those underlying needs for a large number of people — and this is one of the key drivers of the current epidemic of despair.
… Using [standard medical] guidelines, every person who has lost a loved one — every grieving person — should be classed as mentally ill. The symptoms of depression and the symptoms of grief were identical.
Embarrassed, the psychiatric authorities came up with an awkward solution. They created something called "the grief exception." They told doctors to keep using the checklist unless somebody the patient loved had recently died, in which case it didn't count. But this led to a debate that they didn't know how to respond to. Doctors were supposed to tell their patients that depression was a brain disease to be identified on a checklist — but now there was, uniquely, one life situation where that explanation didn't hold.
Why, some doctors began to ask, should grief be the only situation in which deep despair is not a sign of a mental disorder that should be treated with drugs? What if you have lost your job? Your house? Your community? Once you entertain the idea that depression might be a reasonable response to some life circumstances …our theories about depression require "an entire system overhaul."
Rather than do this, the psychiatric authorities simply got rid of the grief exception. Now grieving people can be diagnosed as mentally ill at once. Cacciatore's research has found that about a third …of parents who lose a child are drugged with antidepressants or sedatives in the first 48 hours after the death.
…To those doctors in Cambodia, the concept of an "antidepressant" didn't entail changing your brain chemistry, an idea alien to their culture. It was about the community empowering the depressed person to change his life.
‹ If #Pence2018, then is Trump Guilty? Does Trump deserve impeachment?
The mistaken libertarian/anarchist theology underpinning bitcoin and other blockchain currencies ›


text:
Ballenstedt är en stad i Landkreis Harz i det tyska förbundslandet Sachsen-Anhalt. Orten nämns för första gången i ett dokument från år 1073.

Ballenstedt består av fem Ortsteile:

 Asmusstedt
 Badeborn
 Ballenstedt
 Opperode
 Radisleben

Referenser

Kommuner och städer i Landkreis Harz

redpajama_set_name: RedPajamaWikipedia


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What an Author Should Avoid in Print-on-Demand Publishing
At present, it is unclear which business model will prevail, traditional publishing or print-on-demand (POD). Each model has one sub-category. Traditional publishing says that presses will print a certain number of books up front–20,000 for a promising book by a new author to 250,000 copies for an established writer. The POD model does not print any books until they are paid for by the customer. The book is kept in digital form and distributed online. These two business models could not be more different from each other, even though they share the same industry, compete for the same authors, and create the exact same physical books. It is the distribution that has radically changed in recent years. It should be noted that traditional publishing has a deep-seated aversion to POD, which I will explain presently.
The first sub-category, for traditional publishing, is a more conservative version of the original model of printing a lot of books up front, which I call half-hearted publishing. Half-hearted publishing means a larger house will print only 5,000 copies of a book that they might have once printed 50,000 copies. The marketing budget is severely cut.
This quasi-publishing model is neither traditional publishing nor POD publishing, and it is a model that is counter-intuitive to an industry that, if anything, requires boldness and much risk-taking. Half-hearted traditional publishing has formed as a result of various pressures on the traditional publishing industry in recent years, such as: the recession; the rise of the Internet and robust online advertising; the rapid growth of POD publishing; and even things like dying newspapers (that take with them their networks of book reviews and its own distribution).
The sub-category for POD publishing is a much larger industry than the main category; indeed, the very notion of POD publishing is my own invention. If one accepts, then, that POD publishing exists until I can prove why, POD's sub-category is vanity publishing and self-publishing. The two terms, vanity publishing and self-publishing, are indistinguishable; both involve the author paying money up front to have his or her book published and then obtaining a certain number of copies of that book and selling them. Traditional publishers–the large presses like Random House or Farrar, Straus Giroux (Macmillan)–have come to despise POD publishing because in their minds it is associated with self-publishing, which is and always was loathed by traditional houses.
Self-publishing has been frowned upon by every part of the book industry, in fact, from academia to the customers themselves, despite the fact that many noted American authors (Stephen Crane, Edgar Allen Poe, and Walt Whitman) self-published their work-oftentimes successfully both in terms of sales and their books' legacies. Recently, with the digitization of society, it has become far easier to self-publish for authors. Thus, a vast self-publishing industry has evolved online that incorporates POD technology. There is an additional stigma from traditional houses at the idea of selling books directly to authors, which is what self-publishers do. It is unclear why that stigma exists.
World Audience is not a self-publisher; but why that is fact is open to debate. Is it because we do not charge our authors to publish their books? It is common practice for new, independent presses to charge their authors in some manner, to help offset the costs of a book's publication. Once a new press reaches a certain maturity as a business and has acquired enough capital, it is no longer necessary for it to charge its authors. So if this is a criteria defining a press that self-publishes authors, it is a flawed one.
Is it because World Audience has an editorial staff and only publishes books we want to publish, as opposed to any book, as self-publishing companies do? The point is it does not matter so long as the press can sustain and grow its business. POD technology is revolutionary and World Audience has embraced it, along with all things tech–whereas traditional publishers have rejected these things, and are suffering as a result. A little stigma can be a dangerous thing.
With POD technology, a book remains in print indefinitely, housed digitally on databases throughout the Internet. This means that the author and the publisher are linked and must work together to make the author's book successful, over time. With traditional publishing, once the initial print run was sold, author and publisher parted ways; perhaps, even immediately after the book's publication. The marketing was over in a matter of months. POD publishing is altogether different: the marketing of a book can continue for years. The POD publisher cannot be expected to do all the marketing in this kind of arrangement. It is up to the author to market his or her book. World Audience's authors, such as Gene Ayres (Hour of the Manatee ISBN: 978-1-935444-08-4), Dr. Jay Granat (Zone Tennis ISBN: 978-0-9820540-9-3), and Dr. Frank Romano (Storm Over Morocco, 3rd Ed. ISBN: 978-1935444251) are but three of World Audience's authors who have always understood that they must work hard to market their book.
These authors have devoted their energies to building Web sites and marketing their books online in myriad ways. However, one of World Audience's authors, Chyna–along with her photographer Emillio O–refused to accept that an author must market her book. Perhaps her refusal arises from her lengthy publication record with books and magazines that incorporate the traditional publishing methods I have explained. Regardless, I canceled Chyna's and Emillio O's book, Paper Doll ISBN: 978-1-935444-22-0. It would have been easy for a celebrity of Chyna's status to do signings, which she agreed to do but then reneged on her offer. In fact, as her publisher I was able to arrange signings for Chyna very easily. There are costs involved in keeping a book in print with POD. By canceling Paper Doll, I have set an example for other authors that in the current climate there is little room for error, and publishers cannot afford to tolerate lackadaisical authors who are uninterested in their own books. During a revolution, which is what this is, such actions are the equivalent of sabotage.
And given the new paradigm of POD publishing, canceling Chyna's book is a new precedent that I have set. It is almost unheard of that an author would not care about the success of her book; but Chyna has shown me that it is indeed possible. Additionally, given the networked nature of the Web, POD publishing is a linked business and each author must rely on the success of the other writers published by World Audience. Each book that World Audience publishes is a vital part of that network, and is a major risk and investment. By not doing her part to market her own book, Chyna has diminished the opportunities of the other authors in World Audience, and even the press itself. Clearly, it was a major mistake to publish Chyna's book and World Audience nearly did not survive as a result. Without her help in marketing her book, Paper Doll is selling very slowly. Although I have canceled Paper Doll, the procedure takes time, and it is possible to reinstate it, should the author change her mind and decide to contribute to her book's success, which is easily obtainable.
The business model of POD publishing demands that the author and publisher work together. The profit per copy sold is much higher than with traditional publishing and there are less people involved in the operation because it is so efficient and has little overhead. Fewer copies have to be sold to make a profit. However, because there are a lot of books in print today, selling even a few thousand copies of a title can be a daunting task. But selling those few thousand copies means that that particular book has reached a wide readership, relatively-speaking. And there are very few returns with POD publishing, which is not the case with traditional publishing. The reality is, at present, there are no more mega-selling books. None. And the concept of a typical book that is published by a major press that becomes a large hit and sells hundreds of thousands of copies–in the summer of 2009–is a fantasy.
In conclusion, it is vital for authors to recognize and understand the ways publishing is changing if they want their books to succeed. Why else would an author go to the trouble to create a book in the first place? World Audience is competently navigating a course through the chaos of the publishing industry, and even growing very rapidly as a result of our stewardship, determination, and resourcefulness. World Audience is able to win in this game by relying on its authors to market their books. If writers do not do their part, their books will not be successful on their own. And if a writer neglects her book, the damage caused by that action is much greater than perhaps perceived. It is as if a ship is navigating extremely rough waters and one of its seaman has fallen into the water and is being dragged by the ship, still clinging to a rope connected to the ship. The crew is unable to pull the seaman in because of the heavy waves of obstinacy, so this unproductive member of the team has become a drag, literally, on the ship and she must be cut from the team. That dead weight endangers the entire crew. And so the captain must take a big axe and cut the rope and the seaman will float out to sea, alone and gone.
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It's wonderful to have a smart and superb cousin like you. It's wonderful to have a chance to wish you on your Birthday a lot of joy, luck, happiness, success and fortune in life.
Regardless of us being cousins, I'm just glad that I know you as a person because you are really cool! Birthday wishes and blessings are coming your way.


I'm a bargain shopper- and that doesn't change when it comes to food. That's why I love when the Washingtonian comes out with their Cheap Eats edition of their magazine. Of course, it has taken me a couple months to even pick up the magazine but I had some free time this weekend. Surprisingly, the first restaurant mentioned in the Washingtonian's 25 Best Inexpensive Restaurant list is Hyattsville's Taqueria el Mexicano with the "best mole sauce we've ever tasted." (see picture above) Have any of my readers been there before? I'd love some commentary on the place. I've never heard of it before but now I'm dying to go. Inside the Washingtonian, not only did I find some wonderful words about Taqueria el Mexicano, I also read a great review of Spice 6, the Indian food about 5-10 min away and Taqueria la Placita. Anyone else getting hungry?!
ps- I had a wonderful weekend in Cheverly. I only left our city limits twice- once to go out for gluten free/goat cheese pizza at Annapolis Mall (where I saw a shoplifter get arrested- although I didn't know the woman was a shoplifter and I started screaming "honey, go help that lady. She's being tackled by two men!" Oh my) and the second to go to church. Otherwise I enjoyed conversations with friends at the market and swam with my little ones at the pool on Sat and Sunday. Again, so grateful.
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text:
This Pig Wants To Party: Maurice Sendak's Latest
Bumble-ardy is a deeply imaginative tale about an orphaned pig who longs for a birthday party. Sendak, who is 83, wrote and illustrated the book while caring for his longtime partner, who died of cancer in 2007. "I did Bumble-ardy to save myself," Sendak says. "I did not want to die with him."
Other segments from the episode on September 20, 2011
Fresh Air with Terry Gross, September 20, 2011: Interview with Ron Suskind; Interview with Maurice Sendak; Review of Stephen Greenblatt's non-fiction book "The Swerve: How the World Became Modern."
In The Obama White House, A Crisis Of 'Confidence'
Pulitzer Prize-winning journalist Ron Suskind talks about his unflattering picture of rivalries and dysfunction within President Obama's first economic team in his book Confidence Men: Wall Street, Washington, and the Education of a President. Some of officials quoted in the book say they were misquoted or that their comments were taken out of context.
Ron Suskind
'The Swerve': Ideas That Rooted The Renaissance
Stephen Greenblatt chronicles the unlikely discovery of Lucretius' poem "On the Nature of Things" — by a 15th-century Italian book hunter. The Swerve is a masterfully written meditation on the fragile inheritance of ideas.
TERRY GROSS, host: This is FRESH AIR. I'm Terry Gross. Some political experts say President Obama started a new chapter in his presidency yesterday when said he'd veto any debt reduction plan that cut Medicare benefits without also raising taxes for the wealthiest Americans or corporations.
This uncompromising approach contrasts with the presidential portrait in the new book "Confidence Men: Wall Street, Washington, and the Education of a President" by Pulitzer Prize-winner reporter Ron Suskind. The book starts during the presidential campaign, when Obama first learns a financial crisis is looming and ends in early 2011.
The focus is on the president and his economic team, disagreements within that team and how the president's efforts to find consensus sometimes delayed or avoided decision-making. Several of the people quoted in the book say they were misquoted or quoted out of context.
Suskind's other books include "The One Percent Doctrine," a critical look at how the Bush administration waged the war on terrorism, and "The Price of Loyalty," a critical look at the Bush White House from the point of view of its departed Treasury Secretary Paul O'Neill.
Ron Suskind, welcome to FRESH AIR. Your book, "Confidence Men," is getting a lot of attention. Some of the people quoted in it say they didn't really say what you say they said. So before we get to some of the controversies that the book is creating, I want you to give an overview of what you think the book is about. Like, what's the framing issue of your book?
RON SUSKIND: This is a book about a four-year arc. It's the rise of Barack Obama and the collapse of the American economy, driven largely or significantly by Wall Street, and then two, two-and-a-half years in which our two capitals, New York and Washington; one of private endeavor, other of public purpose, kind of fight it out as to who's going to really own and guide America.
As you see Obama rising, obviously his rise is connected to the financial collapse, and as well, he gets schooled - he's so tight with Wall Street and many contributors there, the irony here is that his connections to Wall Street helped him as a candidate, but he needed to turn on his heel once it was clear he was going to win the presidency and say thank you, guys, but I need right now people who are going to give Wall Street the tough medicine and do very dramatic Rooseveltian things.
He didn't do that. Instead he brought in Tim and Larry, who are not Wall Street guys but are enormously affectionate and attentive to Wall Street. That was a key moment where I think the president lost his way.
GROSS: Now, you write about internal rivalries within Obama's economic team, the team that he initially appointed. Now, Obama said that what he wanted to do was create a team of rivals like Lincoln did and have people in his cabinet who would have different points of view, who would argue with each other, and out of that, something, you know, important and interesting would emerge.
So did the rivalries within the earlier part of the Obama administration live up to the team of rivals, or do you think it was more of a problem than a creative process?
SUSKIND: I think that certainly in the first year, into 2010, it is indisputably not working, the kind of tension that reveals or yields creative outcome. I think it was more than a team of rivals; it was a sort of rise of various power centers of very significant lieutenants who were in close conversation with one another as to what to do, often what the president should do, what the president knows or doesn't know, what he shouldn't decide because he'll make a mistake in some cases.
And they were ever more guiding what we call policy, and I think that was, you know, something that the book shows with some force but also something that I contextualize. You know, presidents often take a while to learn the job, even if they're folks with some experience, even executive experience, like a governor. You know, that sometimes takes a year.
Obama was sort of a victim of very difficult and pernicious circumstances by virtue of being kind of a brilliant amateur, a guy with very little experience. And he steps at a time of extraordinary crisis atop the most complex managerial organism on the planet.
Some readers will say, well, the White House is making a point that he has evolved through these very difficult times and has gotten rid of most of those folks in that first round, that first group of staffers. That's the point the White House makes. But of course, everyone focuses, understandably, in the deep well of the middle; those first two years, especially the first year but well into the second year.
GROSS: Well, that's the focus of your book.
SUSKIND: Well, that's the main...
GROSS: It is the focus of your book.
SUSKIND: It's the core of it. It's the core of it. The last part is important, too, there's no doubt about it, you know, Obama's response and after the midterms, and, you know, he seems to get his balance. And he says it in the interview, you know, I now have what I need. I now have the staff I need to be essentially the president people hoped I would be.
And in the spring and early summer of this year, lots of folks felt that had actually occurred, but now let's just say some people are looking back at that period, you know, when he done the midterm deal on the Bush tax cuts and the payroll tax on the stimulus, and, you know, he had given that extraordinary speech in Tucson in and around the tragedy of Gabby Giffords.
And right around the time I'm interviewing him, he has bin Laden in the crosshairs. That was the view of folks then. But I think after the debt ceiling debacle and where he stands now, there are lots of folks who will look at that period as something of a false spring.
GROSS: So in looking at Obama's economic team, his first economic team as president, you say Larry Summers took charge of that team, and Summers was head of the National Economic Council. What direction did he push the team in?
SUSKIND: It was complex, as Obama brought what I call Team B in. He gets rid of the team, which is a sort of fascinating, fairly ecumenical bipartisan team he has during the campaign: Paul Volcker; Laura Tyson, advisor to Bill Clinton; he's got Austan Goolsbee in it, a very sort of edgy and brilliant economist from University of Chicago; Robert Wolf, a Wall Street guy, is sort of key and helpful.
It's the team that brings him here, but he brings in Team B, which is led by Larry, and Larry, you know, mostly wants to lead it by fiat. He'd like to control the show. The economic policy will be what Larry decides in consultation with the president, who has very, very little in the way of training on either economic theory or practice.
GROSS: So, you know, you describe Larry Summers as really having the president's ear on economic issues, perhaps more than anyone else on the team. And at the same time, you quote Lawrence Summers as saying about the Obama administration, the Obama presidency, we're home alone, there's no adult in charge. Clinton would never have made these mistakes. And Summers had served in the Clinton administration.
Now, Summers has denied that he said these things. He told the Washington Post in an email Friday that the hearsay attributed to me is a combination of fiction, distortion and words taken out of context. I can't speak to what others have told Mr. Suskind, but I have always believed that the president has led this country with determined, steady and practical leadership.
So Summers is on the record as saying this is not what he said, but you say he did do this whole we're home alone quote. You stand by that?
SUSKIND: Oh, absolutely. And we talked, Larry and I talked about it. You know, I tend to go back at the end of the process and talk to all the key actors and tell them for the most part what's going in the book next to their name. And Larry and I had a conversation about this not too long ago, when the book was coming to finale.
And I said look, here's a quote. You're going to need to respond to this on the record at the end of this interview. And I laid it out: We're home alone. There's no adult in charge. Clinton would never make these mistakes. First, Larry said I deny it, you know, just sort of blurted this out, you know, rather dramatically.
And then I said look, Larry, lots of people heard you talk about this and say this. This was not something you uttered once to one person. In fact, some folks even remember when they heard it, not only how they felt but what you said when you said it, what they responded. So I laid a few of those things out for him.
And after a few minutes, he came back with his response, as he says look, we had five times as many problems, and we didn't have five times as many people. It was an overwhelming time, very difficult for everyone involved. He lays it on the door, circumstances. You know, and I sent the response to him prior to publication, which I said I would.
He said would you send this to me, what I said? I said sure, easy as pie, and I emailed to him. And now, of course, after the book comes out, this is not something that - the Washington walk-back has a long history, as anyone who has worked in this town knows.
GROSS: It's hasn't been a lot with your books. Does it - how does that affect how you go about quoting people, and then how does it affect how you deal with it after the book is published, and then the controversy really begins, and the public denials really begin?
SUSKIND: Well, I think over the history of this, I mean, this is my fourth major book on Washington since the three books on George Bush. You know, they have a pattern, and it's a pattern that's not new to me. You know, look, I'm an old reporter. I've been at this a long time. I'm north of 50 now, and, you know, I come from an era and an ethic, maybe, that's a little different.
When they come after you, know you did it right. I think what's interesting is the media model that, again, people are becoming more sophisticated about is, it's essentially to get everyone to say whatever they can - I wasn't here, that was misquoted, I didn't mean that, I mean the opposite, whatever is possible - to kick up dust in the first week of the launch of a book and win four or five news cycles in a row, or attempt to.
I think all of the Bush books, where they came after me vituperatively have indicated that that ultimately doesn't work. Once people read the book, and once other people report almost identical things, you know, that becomes the record.
GROSS: My guest is Ron Suskind, author of the new book "Confidence Men: Wall Street, Washington, and the Education of a President." We'll talk more after a break. This is FRESH AIR.
GROSS: Let's get back to our interview with Ron Suskind, author of the new book "Confidence Men," about President Obama's first two years in office, his decision-making style, his first economics team and the relationships with Wall Street.
Let's talk about Timothy Geithner, this secretary of the treasury. He's the only person from President Obama's original economic team that is still in place. And you tell a story about how the president wanted Timothy Geithner to shut down and then reopen some of the, you know, too-big-to-fail banks that had helped create the financial meltdown and that were also collapsing as a result of it.
And Geithner just didn't move on it. You say it's kind of the equivalent of insubordination. Why do you think Geithner didn't move in the direction that he was directed to by the president?
SUSKIND: I think it's summed up in something Peter Orszag says, and specifically about Larry Summers, but others said it about Geithner. He felt like he knew more than the president. The president didn't understand what he was proffering and suggesting, and the president needed to be protected against himself. That's basically the bottom line.
GROSS: And what was President Obama's reaction to having what someone would describe as Timothy Geithner's slow-walking or ignoring the president's suggestion or order, directive, I'm not sure exactly what word to use there?
SUSKIND: Well, you know, I think all of them would apply. The president in April, when he finds out that there's no plan, he says, my God, what do you mean there's no plan? You know, there better be. You know, he's quite agitated. And so I talked to the president about it, laid out the whole story.
I said, you know, you were agitated. What'd you say to Tim when you saw him next? And he says I'm not sure if agitated would be exactly the word, but, you know, clearly they had a discussion. I talked to Tim about what the president said. He said, well, it was part of a rolling discussion. He was not specific about it.
But at the end of the day, the conversation with Tim, you know, affirms the essence of that story and its flow of events. You know, that's between Tim and the president.
GROSS: And I should say here that in response to the story, Timothy Geithner has been quoted as saying that he would never slow-walk the president.
SUSKIND: That's in my book.
GROSS: Oh, OK. I knew I read it.
SUSKIND: Correct. Tim has a long response in the book. We talked about this for a good 35 minutes. I said, look, Tim, you're going to need to respond to this. And he did. The president does talk about the bureaucracy, so-called, not responding to him. This is not the bureaucracy. This is his treasury secretary.
This is the kind of thing, to be fair, that might result in either a real scolding, and if you ever do it again, pack your bags, and even with some presidents, like Richard Nixon, let's say, you pack them up today.
GROSS: So why do you think President Obama has stayed with Timothy Geithner?
SUSKIND: You know, the president is a fascinating and brilliant guy. No one disputes that. He also in this portrait is one of a real loyalty. He has real loyalty to his folks. And he's very reluctant to let people go, even folks who really need to go. And this gets reflected, Terry, in memos in February of 2010 of how the president needs to get control of his White House from Pete Rouse, who's really his right-hand man in a lot of ways, his kind of quiet advisor.
You know, it's basically you've got to get rid of almost everybody is what those memos indicate, from Rahm Emanuel on down. The president, you know, still is reluctant. You know, he - you know, you've been good to me, and we've been good together, and keep in touch, and when's a good time for you to leave.
And it drags on. The moment where Rahm Emanuel gets the nod that the mayor of Chicago's not going to be running for re-election, and he can make his run for mayor of Chicago, something he said he's wanted to do, at that point, from the memos, the president almost fired Rahm in February.
He was very angry at him, but Rahm stayed on, and then come September, when this happens, it's dragged on for months, the president hasn't stepped up, and the joy both in the president and around the White House that this is an elegant exit for Rahm, you know, it's palpable.
GROSS: Let me talk about another part of your book that I think is surprising a lot of people. So you say in spite of the fact that President Obama has surrounded himself with very smart women in the White House, and although President Obama seems to be very enlightened when it comes to women's issues, that the White House early on in the presidency was not a very hospitable place for women who work there.
And outline what you see as the problem from what you were told.
SUSKIND: Well, this had been reported. Mark Liebovitch of the New York Times wrote a story in the fall of 2009. Jonathan Alter dealt with it some in his book. I went at it, and I talked to the various folks, and what I found, especially after many of them had left the White House, it was much more virulent and much more contested and angry, emotional, than had been reported.
I was surprised, but the folks I talked with, you know, they were - the women were really quite upset. And what the reporting shows is that I think it was a combination of two things.
One of them was the managerial chaos. With Rahm Emanuel, who is not a natural manager; the president was warned about this. He's very impulsive, he's tactical, but he's not the kind of guy most presidents put in that chief of staff job. There was chaos, where people weren't sure who's supposed to be invited to what meeting.
In many cases, the women were excluded. The guys banded together, the president was sort of not monitoring it, the women were excluded, they felt like, hey, what about me? And in meetings, as well. This is a bit more troubling...
GROSS: And this is the economic team that you're talking about.
SUSKIND: And all throughout the - it's not just the economic team. It's the women throughout the government, you know, in health care, in all parts. There was a woman's group that gathered together, and they were women spread across senior positions.
I think many of them felt, you know, here they are a murderer's row of accomplished women. They were briefed up to the gills for big meetings, and they would sit there, and the president would mostly talk to the guys. And after several of these meetings, they started to come to Valerie Jarrett, who was the president's, you know, kind of mother, sister, friend and advisor, you know - and the most senior woman and of course the one who's known Obama longest - and complained.
And a woman's group formed, and it grew from the early spring all the way through to November when they met with Obama in a dinner, which is recounted in the book. It was very edgy, and of course there's a quote that is out there from Anita Dunn, which was said in the White House, and other people said the same thing in various ways and sometimes almost using these words, that this is a hostile environment for women during this period, that since the...
GROSS: Well, what you say she said is that this fit all of the classic legal requirements for a genuinely hostile workplace for women.
SUSKIND: That's right, that's right.
GROSS: And she also said she was misquoted or misconstrued.
SUSKIND: Well, that's ridiculous. She said it to people in the White House. She said it to me. We talked about the quote. There's nothing nuanced here. Other people were saying similar things in the White House. Anita was saying it. She was forceful. She's a very bright woman and somewhat outspoken, but that was the fact of it. That's the reporting.
You know, and some of it I think was shrouded over this period and has become clear as women are out of the building.
GROSS: So, you know, you did this book, and some people are saying I didn't say that. When you record an interview with somebody, do you - when you do an interview with somebody, do you record it so you have some evidence of what was said?
SUSKIND: Generally I do. I mean, at the beginning of the process, we sit down, I say, look, I record most of what I do, much of it. Sometimes I don't. But, you know, it creates a lot of recording. We sit for hour after hour. I mean, some of these sources I've spent 20, 30 hours with over this period, stretched across two years.
And the key to it is at the end of the day, everything gets cross-referenced with other people, and the sources are mostly sat down to say here's pretty much the important stuff that is attached to your name, here are the scenes where you're one of the actors, here's the way it's rendered. And I felt that was important to do.
I tried to do in the Bush books, and I certainly do it forcefully here, and...
GROSS: Just a question about the technique you use in telling the story, there's a lot of dialogue in the book. When something is in quotes, does that mean that it actually came from a transcript, a recording, or that's something that somebody directly told you?
SUSKIND: Yes, it's something someone directly told me, and the fact is almost all the quotes in the book are things that were directly told to me, and others in the room affirm. Yeah, that's pretty much exactly it. That's pretty much what I remember, too. And that's the way this reporting goes.
I have more than 200 sources here, more than 700 hours of interviews. I've been doing this, Terry, for 25 years. What's in the book is solid as a brick, and ultimately the White House will have to deal with it, whether internally or externally, in some way because this is really the history of this period.
GROSS: Well, Ron Suskind, thank you very much for talking with us.
SUSKIND: Oh, thank you, Terry, it's been fun.
GROSS: Ron Suskind is the author of the new book "Confidence Men." You can read an excerpt on our website, freshair.npr.org. I'm Terry Gross, and this is FRESH AIR.
TERRY GROSS, host: This is FRESH AIR. I'm Terry Gross. Maurice Sendak is like part of the extended family for those people who grew up reading his books or who have read his books to their children. Books like, "Where the Wild Things Are," "In The Night Kitchen" and "Outside Over There."
Me, I was slightly too old to grow up with those books, but I came to love them as an adult and I try to talk with Sendak whenever he has a new book, which he does now. It's called "Bumble-ardy."
On Sunday, in the back page essay of The New York Times book review, Pamela Paul wrote, quote, "Sendak, Shel Silverstein and Theodor Geisel, aka Dr. Seuss, are so much a part of the childhood vernacular today that it's hard to imagine their books were once considered to be wholly inappropriate for children."
"They brought a shock of subversion to the genre - defying the notion that children's books shouldn't be scary, silly or sophisticated. Their books encouraged bad or perhaps just human behavior," unquote.
Maurice Sendak is now 83. It would have been difficult for him to get to a studio, so we called him at home.
Maurice Sendak, congratulations on your new book. And it gives me this opportunity to call you up and see how you're doing and say hello and talk with you about your work. So how have you been?
MAURICE SENDAK: Well, it's been a rough time. I've gotten quite old, Terry, since you've seen me last, which is not very unusual. And I'm working very hard but I feel that I'm working for myself at this point because everything I'm doing is, if it's publishable, fine. If not, it makes not too much difference because I claim that this time is for me and me alone.
GROSS: Do you have a secret stash of work that you've never published?
SENDAK: Yes. Oh, sure.
GROSS: You do? Yeah? A lot of it is junk...
SENDAK: ...which should not be published. Some of it is good and some of it is just fits and starts of things. I'm writing a poem now about a nose. I always wanted to write a poem about a nose. But, you know, I thought gee, it's a ludicrous subject. Well, that's why, you know, when I was younger I was afraid of something that didn't make a lot of sense and there was nothing to worry about. It doesn't matter.
GROSS: Well, in your new book "Bumble-ardy," the main character is a pig who is orphaned and lives with his aunt.
SENDAK: Yeah.
GROSS: And when his parents were alive he never had a birthday party because his immediate family frowned on fun. Then he turns nine. His aunt buys him some gifts to through him a quiet party for two. But then he decides to throw a costume party for himself and he invites some grubby swine. The party begins after his aunt leaves for work and then mayhem ensues. And when his aunt returns, she throws everyone out and says, OK smarty, you've had your party but never again. And then Bumble-ardy says in tears, I promise, I swear, I won't ever turn 10.
SENDAK: Right.
GROSS: So when the aunt says never again, which people say about the Holocaust, when she says that in reference to never having a party again, that's really, really loaded.
SENDAK: I don't know what to answer to that. You've just picked the two lines of the book are my favorite lines. They're something so poignant and extremely funny – if you could say that's funny about his answer, I'll never turn 10. In fact, it sums up my life, it sums up my work, whether it's mad or ludicrous or funny and odd, it's true. What you just said is extremely insightful. Nobody has said anything like that. But I always expect that from you. Those two lines are essential. I'll never be 10, it touches me deeply but I won't pretend that I know exactly what it means. I only know it touches me deeply, and when I thought of it, I was so happy I thought of it. It came to me, which is what the creative act is all about. Things come to you without you necessarily knowing what they mean.
GROSS: You know, let me ask you, those two lines where she says OK smarty, you've had your party but never again. And he says, I promise, I swear, I won't ever turn 10. What a bargain that is, you know?
GROSS: He has to promise to never have boisterous fun again, to not get older, to just like stay in that moment, the nice little boy.
SENDAK: That is correct. I will do as you say.
GROSS: You know, did you have to make that bargain with your parents to get love?
SENDAK: I had somewhat the same problem. I had a brother who was my savior, made my childhood bearable. He was older by five years – Jack Sendak. He wrote a number of books. He was very, very, very gifted. More importantly to my life, he saved my life. He drew me away from the lack of comprehension that existed between me and my parents, and he took his time with me to draw pictures and read stories and live a kind of fantastical life.
And my sister occasionally joined in, but mostly after all, she was a girl. All that was expected of her was that she should grow up and be very pretty and marry a decent man. So she had to concentrate on what my parents expected of her. And she didn't have the creative insanity that existed between me and my brother to go further with that. I wish she had. I loved her very much. But that life with him contradicted the prosaic life that I was expected to be a decent child. I was expected to be with my brother and help him and to shut up and just be a quiet kid. I hated them for a long time but I don't anymore because God knows, it's a blessing to have a quiet kid.
MAURICE SANDAK: I don't have kids at all and I thank God that I never did.
GROSS: Yeah. But isn't there a part of you that wishes like you had a son or a daughter to come help take care of you and shop for you and bring you things and...
SENDAK: Yes. I would infinitely prefer a daughter. If I had a son I'd leave him at the A&P...
SENDAK: Or some other big advertising place that, you know, where somebody who needs a kid would find him and he would be all right.
GROSS: Why? Isn't that stereotyping what a son would be?
SENDAK: I suppose it is but I'm just an ordinary human being. A daughter would be drawn to me. A daughter would want to help me. I mean girls are infinitely more complicated than boys and women more than men. And there's no doubt about that, we all know it, we just don't like to think about it and certainly the men don't like to think about it. But a daughter would – oh God, I've fantasied a daughter. I have lived my whole life with a dream daughter.
GROSS: Well, let me ask you this. You came out a few years ago.
SENDAK: Correct.
GROSS: If you were able to be out in a period like we live in today where it's socially acceptable in lots of circles to be gay and have children, it's so much easier to be gay and have children now, would you have had a child?
SENDAK: No. No.
GROSS: But you just, you just said that you fantasized all your life about having a daughter.
SENDAK: But fantasized.
GROSS: OK.
(SOUNDBITE OF LAUGHTER )
SENDAK: There's too much hard work involved.
SENDAK: And I am devoted to being an artist and a person who reads books for the rest of my life, however long I have.
GROSS: And that takes a certain amount of self absorption to be able to do that.
SENDAK: Well, I think so and I think it has to do with time spent trying to understand what it means to be an artist. To get under the skin of what is happening as best you can. And to have a real child, a real daughter would be hard work, work I would not want to do.
SENDAK: Changing clothes, fixing, taking her to school, putting up with her anger, putting up with her indifference and praying all the time that she grow up to be a good woman and take care of her poor old dad, yes...
SENDAK: It is typical of a male and it doesn't make any difference what kind of male you are, you are a selfish pig in very, very complicated ways.
SENDAK: And yes, I would fantasize a daughter full-grown. She would have to be in her late 30s or early 40s and be all over me and taking care of poor old dad.
GROSS: Do you have someone to help you?
SENDAK: Yes. Yes. And she is a youngish lady who puts up with my oldness, that is I'm fighting and struggling against. She puts up with my bad behavior and she loves me and I love her.
GROSS: Is she a friend? Is she a nurse?
SENDAK: She's a friend.
GROSS: That's great.
SENDAK: And I've known her since she was a little girl.
GROSS: Oh, wow. So it's kind of almost like a daughter.
SENDAK: Yes. And she belonged down the road and her mother was a saint in the best sense of that word, the best sense of what I imagine Christianity is all about. I adored her mother and I adore her. Her name is Lynn(ph) and I adore her brother, his name is Peter. And they both have grown up and are attached to me and I might as well have had them for my kids. They put up with everything.
GROSS: Oh, that's beautiful. Plus, you didn't have to do the work, so...
GROSS: My guest is Maurice Sendak. He has a new children's book called "Bumble-ardy." We'll talk more after a break. This is FRESH AIR.
GROSS: Let's get back to my phone conversation with Maurice Sendak, the beloved children's book author, who is best known for "Where the Wild Things Are" and "In The Night Kitchen." He has a new book called "Bumble-ardy."
We've talked before how you've been in therapy. And your late partner, who died in 2007, you were together for about 50 years? Do I have that right?
SENDAK: Oh, about 50 years. Yeah.
GROSS: Yeah. And he was a psychoanalyst, right?
SENDAK: He was a psychoanalyst.
GROSS: OK. So here's the thing: like when you're in therapy, you have to decide if you're going to tell your spouse, your friends, your family about things that happen in those sessions, things you learned about yourself, things you said about other people or not. You know, whether you can confide in people about that or not. So since your partner was a psychoanalyst, did you talk to him about your therapy sessions?
SENDAK: About my therapy…
SENDAK: ...with him. No. No. It just seemed like, why? I don't know why. I don't know why. It just seemed inauthentic and incorrect to burden him with that. My therapies went on forever. My being gay was something of not great interest to me - you just have to believe that. And the person I lived with - we lived together for all of the years so that we make trips to our favorite places in Europe, so that we could read our favorite books, so that we could – and this is most important - we could listen to music.
Now I couldn't deal with 9/11 the other day. I just couldn't bear it. I...
GROSS: The 10th anniversary of 9/11?
SENDAK: Yes. But that evening of 9/11, they conducted Mahler's "2nd Symphony," the "Resurrection" symphony, which has never been a great favorite of mine, but Mahler is a great favorite of mine. And I sat there and cried like a baby listening to the music. It got through the way the whole day had not gotten through to me. I just couldn't deal with the whole situation. But sitting there and listening to music that was written almost now a hundred years ago, it had nothing to do with 9/11, except that it had to do with the life and death of human beings, which takes me back for some reason to "Bumble-ardy," I won't turn 10. The fragility of life, the irrationality of life, the comedy of life. My tears flow because two great, great friends died close together - a husband and a wife - who meant everything to me and I am having to deal with that and it's very very hard.
GROSS: Did they die very recently?
SENDAK: Yes. She died two months ago and he died the day before yesterday. And I was, except for his son, the last person to speak with him. He was my publisher and I loved him and I loved her.
GROSS: Are you at the point where you feel like you've outlived a lot of people who you loved?
SENDAK: Yes. Of course. And since I don't believe in another world, in another life, that this is it. And when they die they are out of my life. They're gone forever. Blank. Blank. Blank. And I am not afraid of death. And I begin to - as maybe a good many elderly people do. Who knows? When I did "Bumble-ardy" I was so intensely aware of death. Eugene, my friend and my partner, was dying here in the house while I did "Bumble-ardy." And I did "Bumble-ardy" to save myself. I did not want to die with him. I wanted to live, as any human being does. But there's no question that the book was affected by what was going on here in the house.
GROSS: We've talked before about how, you know, you're Jewish but you're very secular. You don't believe in God. You don't...
SENDAK: No, I don't.
GROSS: Yeah. And I think having friends who die, getting older, getting closer toward the end of life tests people's faith and it also tests people's atheism. It sounds like your atheism is staying strong.
SENDAK: Is what?
GROSS: Staying strong.
SENDAK: Yes. I'm not unhappy about becoming old. I'm not unhappy about what must be. It makes me cry only when I see my friends go before me and life is emptied. I don't believe in an afterlife, but I still fully expect to see my brother again. And it's like a dream life. I am reading a biography of Samuel Palmer, which is written by a woman in England. I can't remember her name. And it's sort of how I feel now, when he was just beginning to gain his strength as a creative man and beginning to see nature. But he believed in God, you see, and in heaven, and he believed in hell. Goodness gracious, that must have made life much easier. It's harder for us nonbelievers.
But, you know, there's something I'm finding out as I'm aging that I am in love with the world. And I look right now, as we speak together, out my window in my studio and I see my trees and my beautiful, beautiful maples that are hundreds of years old, they're beautiful. And you see I can see how beautiful they are. I can take time to see how beautiful they are. It is a blessing to get old. It is a blessing to find the time to do the things, to read the books, to listen to the music. You know, I don't think I'm rationalizing anything. I really don't. This is all inevitable and I have no control over it. "Bumble-ardy" was a combination of the deepest pain and the wondrous feeling of coming into my own and it took a long time. It took a very long time, but it's genuine. Unless I'm crazy. I could be crazy and you could be talking to a crazy person.
GROSS: I don't think so.
SENDAK: I don't know anymore and I don't care.
GROSS: What are your physical restrictions like? Can you walk OK? Can you get around...
SENDAK: No, I can't walk OK. I love to walk. That's why I've been doing that since the '70s when I had my first coronary. I have heart trouble and I've had a very bad time after Eugene died and I was very sick and they thought I would die and I came back to do "Bumble-ardy." And I have nothing but praise now, really, for my life. I mean I'm not unhappy.
SENDAK: I cry a lot because I miss people. I cry a lot because they die and I can't stop them. They leave me and I love them more. And I'm in a very soft mood, as you can gather...
SENDAK: ...because new people have died.
SENDAK: They were not that old. And so it's what I dread more than anything is the isolation.
SENDAK: But I have my young people here, four of them who are studying and they look at me as somebody who knows everything, those poor kids.
SENDAK: If they only knew how little I know. But obviously I give off something that they trust, because they're all intelligent. Oh God, there are so many beautiful things in the world which I will have to leave when I die but I'm ready, I'm ready, I'm ready.
GROSS: Well, listen - yeah.
SENDAK: You know, I have to tell you something.
GROSS: Go ahead.
SENDAK: You are the only person I have ever dealt with in terms of being interviewed or talking to who brings this out in me. There's something very unique and special in you, which I so trust. When I heard that you were going to interview me or that you wanted to, I was really, really pleased.
GROSS: Well, I'm really glad we got the chance to speak because when I heard you had a book coming out I thought what a good excuse...
SENDAK: Well...
GROSS: ...to call up Maurice Sendak and have a chat.
SENDAK: Yes, that's what we always do, isn't it?
GROSS: Yeah. It is.
SENDAK: That's what we've always done.
GROSS: It is.
SENDAK: Thank God we're still around to do it.
SENDAK: And almost certainly, I'll go before you go, so I won't have to miss you.
GROSS: Oh, God what a...
SENDAK: And I don't know whether I'll do another book or not. I might. It doesn't matter. I'm a happy old man. But I will cry my way all the way to the grave.
GROSS: Well, I'm so glad you have a new book. I'm really glad we had a chance to talk.
SENDAK: I am too.
GROSS: And I wish you all good things.
SENDAK: I wish you all good things. Live your life, live your life, live your life.
GROSS: Maurice Sendak's new book is called "Bumble-ardy" and you can see a slideshow of images from the book on our website, freshair.npr.org. Thank you for that conversation, Maurice.
Coming up, Maureen Corrigan reviews the new nonfiction book "The Swerve," by Stephen Greenblatt, who wrote the bestseller about Shakespeare called "Will in the World." This is FRESH AIR.
TERRY GROSS, host: Harvard professor Stephen Greenblatt extended his reach far beyond academic readers with "Will in the World," his best-selling 2004 book about Shakespeare's life. "Will in the World" was a finalist for the Pulitzer Prize and the National Book Award. Greenblatt has just published a new book called "The Swerve." After reading it, our book critic Maureen Corrigan was inspired to say: move over Will Shakespeare, a craze for the Roman poet Lucretius is about to begin. Here's her review.
MAUREEN CORRIGAN: The latest distress signal being sounded on the chat sites I share with my bookish friends is that IKEA is about to introduce an updated version of its classic BILLY bookcase - some 10 of which totter to overflowing in my own basement. Anticipating the death of the book, IKEA has redesigned the good old BILLY with deeper shelves and glass doors, thus transforming it from a bookcase into a tchotchke cabinet.
What a relief then it's been to escape from this most recent alarmist speculation into - what else? - a book that itself attests to the power of books, or in this case, a single book to change the world. Stephen Greenblatt's new nonfiction wonder called "The Swerve" is part adventure tale, part enthralling history of ideas. As Greenblatt's story reminds us, there have been other, much grimmer times in history when books as objects very nearly disappeared - without Kindles, Nooks or iPads to take their place.
At the center of "The Swerve" is the forgotten story of a 15th-century Italian book hunter named Poggio Bracciolini, who set out on several expeditions throughout monasteries on the continent and England, hoping to discover some lost classical texts. Poggio served as scribe and secretary in the papal court, a place he cynically thought of as the lie factory. But his passion was for books, especially for the ancient authors, copies of whose books, if they survived at all, had been squirreled away in monasteries.
One of the startling pieces of information Greenblatt shares with the lay reader is just how few classical works managed to crawl into the Middle Ages. Greenblatt tells us that: Apart from some charred papyrus fragments recovered from a villa near Pompeii, there are no surviving contemporary manuscripts from the ancient Greek and Roman world. Everything that has reached us is a copy, most often very far removed in time, place and culture from the original.
One of the ancients whose works seemed to have completely disappeared in what Greenblatt calls the great vanishing was the Roman poet Lucretius, whose name was mentioned in some other classical works that did survive. On a fateful January day in 1417, the intrepid Poggio found himself in the library of a German monastery and reached up for a manuscript. It turned out to be the only surviving copy of Lucretius's poem "On the Nature of Things" - a rich, dangerous, mind-blowing poem written around 50 B.C.E., whose ideas, Greenblatt says, would jumpstart the Renaissance and lay the groundwork for modernity. Pretty huge claims, but Greenblatt is both scholar and storyteller enough to support them.
Among other radical notions, Lucretius, who was a follower of the philosopher Epicurus, claimed that all matter is composed of atoms; that matter is constantly in motion; that human beings return to this cosmic atomic dance when we die and that there is no religiously sanctioned afterlife; and, finally, joy in existence - not suffering, or atoning or endurance - is the point of life. Greenblatt says that some of the world shakers who would be directly influenced by Lucretius's ideas are Galileo, Einstein and our very own American apostle of the pursuit of happiness, Thomas Jefferson.
Surely, sales of Lucretius's "On the Nature of Things" will spike as a result of Greenblatt's book: his awestruck discussions of the poem make it sound so weird and beautiful that most readers will want to give Lucretius a whirl themselves. And what a service Greenblatt has performed in bringing to light Poggio Bracciolini, a great explorer who discovered, not lost continents, but lost books.
"The Swerve" is one of those brilliant works of nonfiction that's so jam-packed with ideas and stories it literally boggles the mind. But throughout this profusion of riches, it seems to me a moral emerges: something about the fragility of cultural inheritance and how it needs to be consciously safeguarded. Greenblatt, of course, doesn't preach, but as a master storyteller, he transports his readers deep into the ancient and late medieval past. He makes us shiver at his recreation of that crucial moment in a German monastery when modern civilization, as we've come to know it, depended on a swerve of Poggio's grasping fingers.
GROSS: Maureen Corrigan teaches literature at Georgetown University. She reviewed "The Swerve: How the World Became Modern" by Stephen Greenblatt.
Artist, Writer and Designer Maurice Sendak
His new book Brundibar is based on a Czech opera of the same name. It was set to music by Hans Krasa, who was imprisoned in the Nazi concentration camp Terezin and later killed in Auschwitz. The opera was performed 55 times by the children of Terezin. Sendak has also written and illustrated the classic children's books Where the Wild Things Are, In The Night Kitchen and Outside Over There. Time magazine has said, "For Sendak, visiting the land of the very young is not something that requires a visa.
Children's Book Writer and Illustrator Maurice Sendak.
Children's book writer and illustrator Maurice Sendak. He's been at it for over 40 years. His books are classics: "Where the Wild Things Are," "In the Night Kitchen," and others. They are "unsentimental fantasizes" (LA Times Magazine), challenging the belief that children should be protected from their fears and anxieties. In all, Sendak has illustrated 80 children's books (19 of which he wrote).
Maurice Sendak on the Darkness of Children's Stories
Sendak illustrated a version of a recently-discovered Grimm story, about a girl named Mili who loses her mother during a war. Sendak, best known for his book Where the Wild Things Are, often incorporates difficult subjects like death and divorce into his children's books.


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All Members and Directors
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Bridging the Long Island Library Community
Full-Time Temporary Project Curatorial Fellow - The Art of Edward Lange - Preservation Long Island
January 12, 2021 10:56 AM | Erin Hunter (Administrator)
Title: Project Curatorial Fellow – The Art of Edward Lange
Job Type: Full time, temporary (one year), beginning summer 2021
Reports to: Curator
Application deadline: March 7, 2021
Preservation Long Island seeks a curatorial fellow to collaborate with the Curator on the creation of a digital database and virtual exhibition focused on the life and work of Long Island artist Edward Lange (1846–1912), a German immigrant and prolific self-trained painter who rendered the region's towns, landscapes, and industries with precision and historical accuracy during the 1870s and 1880s.
Funded by the Gerry Charitable Trust, the fellowship offers hands-on experience in collections and curatorial work, as well as digital content creation, for an emerging museum professional who will take ownership over the project as an integral member of a small, dynamic team for the period of one year.
Collections research and cataloguing: Locate and survey artworks by Edward Lange and maintain an inventory spreadsheet; fully research and catalogue individual artworks as needed; enhance PLI's collection files and catalogue records.
Digitization: Oversee and coordinate professional photography with institutional colleagues and secure permissions to use and reproduce images. Work with the curator and an IT specialist to create and design the digital database and website.
Exhibition development and writing: Develop interpretive concepts and draft label copy; assist with the finalization of content and launch website.
Outreach and social media: Publicize the on-going project through the creation of content for Preservation Long Island's blog and social media platforms (Facebook, Instagram, Twitter, Vimeo).
Candidates should possess an M.A. in art history, history, museum studies, material culture, or a related field, or equivalent work experience. The position requires a self-motivated individual with excellent research, written, and verbal communication skills. Proficiency in collections/content management software, Microsoft Office, Google Suite, and social media platforms are preferred. Past experience managing projects and development of web-based content is also a plus.
Individuals from diverse backgrounds, including people of color, women, and LGBTQ-identified individuals are encouraged to apply. Preservation Long Island is an equal opportunity employer and recognizes and values the benefits of a diverse workforce.
This is a temporary, non-exempt position compensated at a rate of $20.00 per hour (less applicable with holdings) based on a work week of 35 to 40 hours for a period of twelve months. Benefits include paid holidays as well as vacation days calculated on an accrual basis after six months of employment. Paid sick leave is also available. Health insurance is not included. The candidate must have a valid US driver's license and access to a car for travel to offsite locations for research/survey purposes.
Submit a CV, letter of interest, and a short writing sample (5-10 pages) to Lauren Brincat, Curator, at lbrincat@preservationlongisland.org
For additional information: preservationlongisland.org
About the Art of Edward Lange Project
The Art of Edward Lange is a multi-year, multi-phase collaboration with the Long Island Museum in Stony Brook, NY and cultural institutions across the Long Island region. The project includes the creation of a digital exhibition and database website (phase 1), the curation of a full-scale gallery exhibition at the Long Island Museum (phase 2), and the publication of a scholarly catalogue by Preservation Long Island (phase 3).
About Preservation Long Island
Headquartered in Cold Spring Harbor, NY, Preservation Long Island advances the importance of historic preservation in the region through advocacy, education, and stewardship. Working to raise awareness, appreciation, and support for the protection of a shared past, our program areas include interpreting historic sites; collecting art and material culture pertaining to Long Island history; creating publications and exhibits; and providing direct support and technical assistance to individuals and groups engaged in local preservation efforts. Our mission is to celebrate and preserve Long Island's diverse cultural and architectural heritage through advocacy, education, and stewardship of historic sites and collections.
Long Island Library Resources Council
627 N. Sunrise Service Road
Bellport NY, 11713
info@lilrc.org


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English Language Day
Home » General English » Magazine
English Language Day is celebrated on 23 April. Read about where English came from, how it came to be spoken all over the world and how it is changing.
Do the preparation task first. Then read the article and do the exercises.
What is English Language Day?
English Language Day was first celebrated in 2010, alongside Arabic Language Day, Chinese Language Day, French Language Day, Russian Language Day and Spanish Language Day. These are the six official languages of the United Nations, and each has a special day, designed to raise awareness of the history, culture and achievements of these languages.
Why is English Language Day celebrated on 23 April?
This day was chosen because it is thought to be Shakespeare's birthday, and the anniversary of his death. As well as being the English language's most famous playwright, Shakespeare also had a huge impact on modern-day English. At the time he was writing, in the 16th and 17th centuries, the English language was going through a lot of changes and Shakespeare's creativity with language meant he contributed hundreds of new words and phrases that are still used today. For example, the words 'gossip', 'fashionable' and 'lonely' were all first used by Shakespeare. He also invented phrases like 'break the ice', 'all our yesterdays', 'faint-hearted' and 'love is blind'. Can you guess what they mean?
The origins of English
The story of the English language began in the fifth century when Germanic tribes invaded Celtic-speaking Britain and brought their languages with them. Later, Scandinavian Vikings invaded and settled with their languages too. In 1066 William I, from modern-day France, became king, and Norman-French became the language of the courts and official activity. People couldn't understand each other at first, because the lower classes continued to use English while the upper classes spoke French, but gradually French began to influence English. An estimated 45 per cent of all English words have a French origin. By Shakespeare's time, Modern English had developed, printing had been invented and people had to start to agree on 'correct' spelling and vocabulary.
The spread of English
The spread of English all over the world has an ugly history but a rich and vibrant present. During the European colonial period, several European countries, including England, competed to expand their empires. They stole land, labour and resources from people across Africa, Asia, the Americas and Oceania. By the time former British colonies began to gain independence in the mid-20th century, English had become established in their institutions. Many brilliant writers from diverse places across Africa, the Caribbean and Asia had started writing in English, telling their stories of oppression. People from all over the world were using English to talk and write about justice, equality, freedom and identity from their own perspectives. The different varieties of English created through this history of migration and colonisation are known as World Englishes.
More than 1.75 billion people speak English worldwide – that's around 1 in 4 people around the world. English is being used more and more as a way for two speakers with different first languages to communicate with each other, as a 'lingua franca'. For many people, the need to communicate is much more important than the need to sound like a native speaker. As a result, language use is starting to change. For example, speakers might not use 'a' or 'the' in front of nouns, or they might make uncountable nouns plural and say 'informations', 'furnitures' or 'co-operations'.
Are these variations mistakes? Or part of the natural evolution of different Englishes? 'International English' refers to the English that is used and developed by everyone in the world, and doesn't just belong to native speakers. There is a lot of debate about whether International English should be standardised and, if so, how. What do you think? If you're reading this, English is your language too.
http://www.un.org/en/events/englishlanguageday/
TrueOrFalse_MjM0MjQ=.xml
GapFillDragAndDrop_MjM0MjU=.xml
Who do you speak English with?
ignacio perez replied on 24 April, 2019 - 18:01 Spain
I'm learning English but I don't have anybody to speak with. Next year I'm going to sign up for a reading club in English in order to read and to speak English to other people interested in.
Chiquado replied on 20 April, 2019 - 11:53 Nigeria
English is my racing language, The only language that i can speak, read and write on paper. I can speake my local language, but can't read or write it correctly on paper because i did not study in it.
samosse replied on 20 April, 2019 - 11:45 Angola
Wonderful, I'm learning something special on improving my vocabulary .
Anaitat replied on 19 April, 2019 - 06:14 Belarus
English is spoken and studied all over the world. Learning English means to me a way to enjoy my life, to earn good vibes and be improved through the culture and language of a great country. I am going to improve my four language skills with British Council. It is fascinating!


SEEN takes first place for its Women's Issue at the 2018 Folio: Eddie and Ozzie Awards, recognizing the best editorial and design among magazines nationwide.
SEEN Magazine took first place for a full issue in the Midwest category at the 2018 Folio: Eddie and Ozzie Awards on Oct. 9 at the Hilton Midtown in New York City.
SEEN received an Eddie Award for its May 2018 Women's Issue, which featured women leaders in business, entertainment, health, food, nonprofits and education who are making an impact in Metro Detroit and beyond.
Other finalists in the category included Hour Detroit's November 2017 issue and the Historical Society of Michigan's January/February 2018 issue.
SEEN also received an honorable mention in the immersive and interactive storytelling category for its use of the Blippar app for readers to take a 3D home tour of Mat and Emily Ishbia's Bloomfield home in the March 2018 issue. The 3D home tour was created by SEEN contributing photographer Brett Mountain.
The home of Mat and Emily Ishbia.
Publisher Kevin Browett started SEEN as a hyper local monthly lifestyle magazine for Metro Detroiters over four years ago. The team includes COO Amy Gill, Managing Editor Stephanie Steinberg, Creative Director Michelle Sheridan, Fashion Director Rachel Schostak, Copyeditor Dorothy Hernandez, Social Media Specialist Chelsie Dzbanski, Client Relations Director Andrea Gusho and Sales Director Christine Cook. Contributing photographer Boswell Hardwick took the cover photo for the May issue.
The SEEN Magazine team: Managing Editor Stephanie Steinberg, Sales Director Christine Cook, Client Relations Specialist Andrea Gusho, Publisher Kevin Browett, Social Media Director Chelsea Dzbanski, Fashion Director Rachel Schostak and COO Amy Gill.
According to Folio, a panel of over 300 judges reviewed over 2,500 entries nationwide. In total, 263 awards were granted across 33 categories. See the full list of winners here.


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'Melancholic, intimate, eerie' | Interview with Cecil Opia
Admin September 17, 2022 September 17, 2022 Interviews
Cecil Opia's last work is sentimental, highly kind and seriously sensitive. Cecil intends to make their listeners feel less alone. And thankfully, for our own sake, manage to accomplish that entirely. Read our discussion with the artist below!
Describe your sound in 3 words
Melancholic, intimate, eerie.
Tell us a few things about everything ends. What is the story behind it?
At its core, "everything ends" is about not wanting good things in your life to end and how it can be challenging to live in the moment when you know nothing lasts forever.
It is also the first song from my upcoming EP that explores the concepts of love and self-worth while narrating the story of a toxic relationship. You can probably already spot some red flags in the lyrics of this song. The chromatic movement in the chorus melody and the slight dissonance in the verses are meant to evoke danger and anxiety, whereas the dreamy keys, pads, and gentle drums in the instrumental are meant to evoke the feeling of being in love in the honeymoon phase.
Your most honest and personal lyric?
"what's the amount of words I can use before I expire?"
Your songwriting uses metaphors extensively. Tell us a song, with really metaphoric lyrics, you wish you had composed yourself.
I'm a big Halsey fan, and there's a song on their latest album called "You asked for this" that has some of the most clever writing I've heard!
But questions like this are always tricky because I wouldn't want to live in a world where the original version didn't exist.
Your music has a strong dose of melancholia. Why does melancholy feel so good?
Melancholic music has an almost soothing effect on me. When the world we live in is so loud, a song with a healthy dose of soft melancholia can help you breathe and deal with pent-up emotions you might be carrying inside.
If the music of Cecil Opia was used in the end titles of any film, which film would you choose?
If I had to choose an existing film, "Perfect Blue" by Satoshi Kon would be my pick. It's one of my all-time favourites, and I think my music would fit the feel of the film.
As a person who also composes music for video games, short films, et cetera, the relationship between visual and auditive storytelling has always been close to my heart.
How do you cope with the fact that nothing lasts forever?
As you can probably tell from the way "everything ends" is written, it is something I struggle with. Time can be a terrifying concept but I do see the beauty in it as well. And what's comforting is that it also means that the difficult times in our lives don't last forever.
What's your advice to humanity?
LISTEN. You can't always see when somebody's hurting.
I believe that most of the hatred in the world stems from a lack of understanding, and we should all educate ourselves by listening to one another. Everybody's story matters.
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Alt-Pop, Cecil Opia, Electronic, everything ends, Finland, Indie Electronic, Indie pop, Pop/R&B
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