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Regular Mass Schedule
Saturday 5:00pm
Sunday 8:00am, 11:00am, 1:30pm(ES), 6:00pm
9:30am St. Peter
Monday & Friday 7:00am
Tuesday & Thursday 12:05pm
Holy Days of Obligation except 12/25 & 1/1 7:00am, 12:00 noon, 7:00pm
Weekday Mass on holidays See Sunday Bulletin
Main Church Wednesday 10am – 7pm
Adoration Chapel 24 hours per day
Wednesday: 10am and 6pm Holy Hr.
Saturday: 3:00pm
Wednesday: 5:00 pm
Monday – Friday: 9:00am – 12:00, 1:00pm – 5:00pm
St. Zita Cupboard Hours
Monday & Wednesday: 9:00am to 8:00pm
Tuesday, Thursday & Friday: 9:00am to 5:00pm
Also open before and after weekend Mass
This Week's Bulletin
(12 de Enero, 2020)
Breakfast with Father Ledford
Through the generosity of parishioners and the work of Frank Surdu and Paula Grant, we welcome back our former pastor, Father John Ledford. During his visit, he will bless the Last Breakfast window in his honor, and the St. Drogo Mosaic in honor of our St. Drogo Society. Father will join us for the 5:00 ...Read More
#whywemarch
Plans for our participation in the 2020 March for Life are underway! Do not let this opportunity go without you taking a stand for the unborn children. For those who cannot travel, we will again have a dedicated Adoration hour while those who can march do so. Stay tuned for more information! The information flyer ...Read More
And the winner is….
Women's Club Chili Cook-Off Saturday, January 25, 2020 You are invited to the Women's Club Chili Cook-off on January 25, 2020, in the Social Hall after the 5:00 pm Mass. Tickets will be on sale at St. Zita's starting December 18, 2019. The menu includes chili, mac and cheese for the little ones (if they ...Read More
Saint Peter's Cemetery Opens New Section
During the month of November, when Holy Mother Church remembers the dead, we must also remember that monastic call to "memento mori"... remember your death.
Our FORMED subscription will expire soon! Become a FORMED Sponsor Family!
Our Parish subscription will expire in a few short months and we are looking for families to help us renew it! We are grateful to the family who graciously gifted our parish with the initial subscription! After another year of enjoying great Catholic content for all ages, it is up to us to continue the subscription. If 100 families in our parish donated $19/year we would make this possible! $19 for a whole year of great Catholic movies, books, and studies! So much cheaper than Netflix, Hulu, and Amazon Prime! Please contact abone@stjameswv.org to become a Formed Family Sponsor.
New Parish Directory in 2020!
It's time for a new parish directory! If you have not registered with the parish yet, please do so soon. ...
We feed the hungry…will you come and help us?
Volunteers for the Mountaineer Food Bank are needed every month! Volunteers arrive at 9:30 am to help set up and...
Martina Hart Photo/The Catholic Spirit Participants of Pathways to Recovery - Interfaith Day of Hope ...Read More
Saint Joseph School thanked for support of veterans
Submitted photo Martinsburg, W.Va., Chapter 646 of the Military Order of the Purple Heart presented ...Read More
Sacred Heart Food Pantry Nearing 30 Years of Feeding Bluefield's Hungry
Courtesy Photo Cutting the ribbon for the new freezer/refrigerator unit at Sacred Heart Food Pantry ...Read More
Pope Francis' Monthly Prayer Intentions for 2019
Pope Francis asks the Church to pray for his particular intentions each month.
Please Call the Parish Office!
Call if someone is hospitalized, if there is a new baby, if there is death, or if you change your address or phone # or email.
Men, Join the Knights of Columbus in Service to Our Parish and Community!
See things that our St. Teresa of Calcutta Council knights do and why you should join.
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Nursing Home Mass Schedule
See schedule for Mass at Willow Tree Manor & Shenandoah Center
Diocese of Wheeling-Charleston Releases List of Priests Credibly Accused of Abuse Against Minors
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Barbara Rosenthal's Publications
presented at Artpool
Books, Pamphlets, Interactive Novelties
1. SOUL & PSYCHE: THE ZYGOTES OF ART, 1996, edition of 10 signed and numbered, 144 pp. 51/2 x 8 1/4, velox, xerox, black, white, aqua and fuchsia hand-bound-hand-made cover, smyth-sewn.hand turned, original photo tipped onto cover, journal-text in traditional sentences.
SOUL & PSYCHE 150 pp. 51/2 x 8 1/4, printed spine, Black, white, aqua and red cover, perfectbound. 150 surreal photographs, continuous fictively re-sequenced journal-form text from 1985-90.
Highly inventive experimental condensed language-form abbreviates English to only those letters and symbols absolutely necessary for comprehension. Three times as long as Rosenthal's previous books. Soul & Psyche, in addition to providing the reader with startling personal revelations, attempts to face the outside world of imposed stress, with deep insights into the nature of High Art, her "Lumpy Potato Theory of the Universe," and 35mm B&W photos which bring the beholder into a mysterious tiny, distorted universe, as Rosenthal continues the uphill struggle to find a place in it.
2. ONE 4-WORD BOOK / FOUR 1-WORD BOOKS s.p., NYC, 1995.
4"x5 1/2", 2 comb bindings, B&W, Amiga Computer & xerox.
Another of Rosenthal's Interactive Novelties, this single book-object, locked by bindings on two sides, becomes four books if owner cuts apart. Each 1/4 contains a single meaningful word in each direction, that word being also the name of its font and an explication of its cover. A play on up/down, forward/backward, left/right, single/many, positive/negative, the beholder must follow individuated clues to determine order and procedure for unraveling the puzzle, and without this description, even reading the title is a challenge.
3. WEEKS (a collaboration with the poet, Hannah Weiner), Xexoxial Ed., 1989
48 pps, 7 1/4 x 8 1/2, printed spine, bright pink cover, perfect binding, 25 of Rosenthal's "TV News" photographs and text from Weiner's journal, Weeks.
4. HOMO FUTURUS Visual Studies Workshop Press, 1986
48 pps. 51/2 x 8 1/4, printed spine, Varnished black, white and cyan cover, smyth-sewn. 37 surreal photographs, 26 trompe l'oeil overlays, 34 pps. of continuous journal-form text. The third book in Barbara Rosenthal's trilogy with Clues To Myself, Sensations and homo Futurus could be thought of as "Clues To Ourselves." Private, public, social and universal materials from news sources, literature, science and personal archives mix in unified visual-verbal double-page images to open in the reader a philosophical perception of art and humankind.
5. SENSATIONS Visual Studies Workshop Press, 1984
48 pp. 5 1/2 x 8 1/4, printed spine, black, white and yellow cover, emlock binding, 47 photographs. A beautiful novel composed of 47 surreal photographs and 50 fables and writings. Each double-page is an arena in which acute sensations release insight into humanity, personality, life, art and language.
"I love the book Sensations, am putting it alongside John Cage's and Alison Knowles' and Philip Corner's on my shelf of what's next in art, what's now in good American minds..." Carol Berge. "Life as fiction..." The Photo-Letter. "(These) image-text inquiries...feed my hope that ... content will re-emerge in contemporary photography..." A.D. Coleman, The Center Quarterly
6. CLUES TO MYSELF Visual Studies Workshop Press, 1981
48 pp. 7 1/4 x 8 1/2, printed spine, blue and yellow cover, smyth-sewn binding, 25 photographs and written texts.
"A well-spring for the intellect and the emotions..." Don Russell. "Evocative, dreamlike visions..." Shelley Rice, The Franklin Furnace Flue. "The paradox is to share the ultimately private..." George Myers, Jr., Introduction to Modem Times. "A sophisticated textbook for searching artists..." Photo-Communiqué.
[collections] [1996] [Artpool] [search] - [kereső] [Artpool] [1996] [gyűjtemények]

redpajama_set_name: RedPajamaCommonCrawl


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What LA County's New Coronavirus Isolation and Quarantine Orders Mean for You
The new orders are designed to protect the county's most vulnerable residents from COVID-19
By Jonathan Lloyd • Published March 27, 2020 • Updated on March 27, 2020 at 12:52 pm
New orders regarding self-isolation and self-quarantine measures were announced Friday morning by the Los Angeles County Department of Public Health.
The new orders are meant to protect vulnerable individuals, like seniors, from the spread of the COVID-19 virus, which has killed more than 20 people in LA County.
LA County Public Health officials also announced Friday that beaches and beach access points, trails, and bike paths were all closing to slow the spread of coronavirus and discourage gatherings.
Anyone told by a clinician they a presumed to be positive for COVID-19 are required to self-isolate for at least three days without symptoms, including being fever free without taking medicine, and seven days since symptoms started, whichever is longer, the health department said.
Isolation and Quarantine are the two tools we have to get the number of positive cases of COVID-19 down.
To learn more, go to:
Quarantine: https://t.co/v5Uk5pwMpl
Isolation: https://t.co/eoYMoDIi6D pic.twitter.com/eXl9FwPbmh
— LA Public Health (@lapublichealth) March 27, 2020
Anyone who has been in close contact with someone who is positive or presumed positive also must quarantine for 14 days from the last time they had contact with the ill person.
"It is critically important that everyone adheres to all the social distancing measures and practice good public health hygiene, including washing hands as frequently as possible," said Dr. Barbara Ferrer, director of the L.A. County Department of Public Health. "Individuals covered by these Orders should still contact their providers to get advice if they feel their symptoms are worsening."
Here are the key differences between self-quarantine and self-isolation and what the new order means for residents.
coronavirusCOVID-19


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Giacomo Puccini peut désigner deux compositeurs italiens de musique classique :
 Giacomo Puccini (1712-1781) ;
 Giacomo Puccini (1858-1924), fils de Michele Puccini et arrière-arrière-petit-fils du précédent ;

redpajama_set_name: RedPajamaWikipedia


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Cuncumén, 'murmelend water' in het Mapuche, is een Chileense folkloristische muziekgroep, gevormd in 1955 door een groep studenten van de Universiteit van Chili. Ze haalden hun inspiratie van het Chileense platteland.

Tussen 1955 en 1973 werden negen LP's onder de naam "De folklore van Chili" opgenomen. De militaire staatsgreep van Pinochet voorkwam de tiende LP.

Leden
Bekende leden waren Rolando Alarcón, de eerste directeur en Víctor Jara, vermoord in 1973 door de militairen van Pinochet.

Leden tot 1970 waren:
Helia Fuentes (1957-61)
Silvia Urbina (1957-61)
Nelly Bustamante (1957-58)
Alejandro Reyes (1957-58)
Juan Collao (1957-1961)
Jaime Rojas (1957-70)
Rolando Alarcón (1957-62)
Víctor Jara (1958, 1961-62)
Adriana Ordenes (1958)
Gabriela Yáñez (1960-62)
Clemente Izurieta (1960-62)
Nancy Báez (1961-62, 1969-70)
Mariela Ferreira (1961-70)
Lucila Tapia (1962)
Lidia Durán (1964-67)
Ana María Báez (1964-67)
María Espinoza (1964)
Arturo Urbina (1964-70)
Mario Sánchez (1964-70)
Recaredo Rodríguez (1964-70)
Eugenia Contreras (1967)
Adrián Miranda (1967)
Olga Abarca (1969-70)
Gloria Cancino (1969-70)

Externe links
 Officiële website Cuncumén

Muziek in Chili


Cost shock: Even the Conservative-supporting Daily Telegraph has been complaining about high energy prices – as demonstrated by this cartoon from 2012.
To borrow a favourite David Cameron phrase: Let us be clear on this – any savings on your fuel bills as a result of the Coalition government's policy change will be added to general taxation in another way and you will still pay.
Energy firms' profits, which have tripled since 2010, will be unaffected. Cameron's plan is akin to shifting deckchairs on the Titanic (to borrow another well-known saying).
Why on Earth does he think anybody is going to be deceived by this silliness?
Even with the changes in place, prices will still rise by an average of around £70, at a time when people were already being forced to choose between (let's have yet another now-tired phrase) heating and eating. Average household incomes have dropped by nine per cent since David Cameron made himself Prime Minister by the back door three years ago.
Average pay for bosses of FTSE-100 companies has risen by 20 times the rate of pay growth for most workers, just in the last year. And let's not forget that they were getting much higher than average pay already!
It should surprise nobody that all of the 'Big Six' energy firms are part of the FTSE-100 – or were, before foreign takeovers.
This means average pay for these companies' bosses should be around £2,321,700, while profits have risen to £2 billion – up 75 per cent on last year (according to the Independent reports).
None of this will be changed by David Cameron's measures, which were hastily cobbled together in a bungled bid to regain the initiative from Labour, whose plan to freeze energy prices and re-order the energy market has captured the public imagination.
Instead Cameron – who once campaigned under the slogan 'Vote Blue – Go Green' – will postpone green policy targets to a later date, cutting the so-called 'green levy' on the energy firms accordingly. This means the UK will be forced to rely on greenhouse gas-producing carbon fuels for longer.
Subsidies for people in fuel poverty will be moved into general taxation, meaning we pay for them rather than the energy firms who should.
"Even after these changes to levies, energy bills are still rising and the average household will still be paying £70 more for their energy than last winter," said Labour's Shadow Energy and Climate Change Secretary, Caroline Flint. "Any help is better than none, but you can judge this Government by who they're asking to pick up the tab – the taxpayer. The energy companies have got off scot-free.
She was expected to tell the IPPR thinktank today: "If David Cameron and Nick Clegg think just doing what the energy companies ask of them is the answer to bills being too high, they are wrong.
"Energy bills have gone up by £120 this winter alone, so even with a £50 cut in levies, people's bills will still be higher this winter than last year. The real reason bills are rising year on year without justification is because the energy market is broken.
But we all know that David Cameron never stands up to his corporate masters, don't we?
Schizoid report: José Ángel Gurría, secretary general of the OECD. He'd probably object to the way we've defaced his sign, but it now provides a more accurate description of his organisation's opinions.
How can the Organisation for Economic Co-operation and Development tell George Osborne that he should invest in infrastructure projects but continue with his policy of cutting public spending, when the first public spending he cut was infrastructure projects?
Is this a sign of the delirium into which the western economies are sinking, partly through slavish adherence to neoliberal nonsense – in the face of all the facts – and party through a lack of raw intelligence?
The OECD, according to The Guardian, has revised down its economic growth forecast for the UK. What a surprise; they haven't revised our growth upwards since before Osborne became Chancellor – and that alone indicates where the problem lies.
It says spending cuts and a lack of consumer and business confidence are restricting what we should all call "the recovery" only in mocking terms.
What? It's still supporting the discredited view that when public debt hits 90 per cent of GDP, growth is slowed? Hasn't that idea been comprehensively rubbished – not only on paper but in the fact that UK growth hit standstill point the instant Osborne came in as Chancellor and inflicted his policies on us all?
It isn't the amount of debt that's the problem – its the stupid things that blinkered upper-class idiots do in response!
The OECD said the Labour market was "resilient", so it obviously has been paying too much attention to DWP press releases when it should have looked up the facts. According to the Resolution Foundation (yes, another thinktank), as reported in The Independent, "The jobs market remains weak and is likely to continue to struggle well into the second half of the decade, making this a more severe downturn for employment levels than the two previous recessions".
Once again, we see the facts do not support Coalition government press releases.
The OECD's claim that average real earnings are "weak", on the other hand, is realistic and gives the necessary perspective to a report from the Office for National Statistics that the total number of weekly hours worked across the economy hit a new record high of 950.3 million in the first quarter of the year.
If everybody's working so much, why haven't we got any money? Answer: Because the Tory-led government has been pushing wages downwards, ever since it came into power. Average earnings for bosses of FT350 companies have rocketed upwards, but the worker on the street had a pay rise of just 0.8 per cent last year. Look at the way benefit increases have been pushed below the rate of inflation (the DWP again!) in order to make the unemployed desperate to take whatever work they can get – no matter how poorly-paid – and to put those who have jobs in fear of losing them, so that they won't be demanding pay rises anytime soon.
Back to the OECD: It wants a house-building programme to spur jobs growth. Without this, it warned that house values could overheat, sparking another price bubble. Isn't that what George Osborne wants? Look at the so-called "second-home subsidy" he announced in the March budget, when he said the government would underwrite a percentage of new house purchases. Already we have seen warnings (from Sir Mervyn King in this Vox article) that it will create a price bubble.
So not only is Osborne right; he's also wrong. Growth is down because of his policy of cuts, but he should continue making them. Unemployment is down – but the jobs gap has grown.
Also, not only is Osborne wrong; he's very wrong. Low wages mean economy-boosting demand is also low – but the government is pushing wages down still further. House-building is needed to spur jobs growth and prevent a price bubble – but he isn't building houses and he is actively pursuing the creation of a price bubble.
That's what the OECD report says. There's no way Osborne should be using it to support his policies but I bet he will.
If I were the secretary of state in one of the government departments he's trying to squeeze for more cuts, I would be phoning the local mental hospital, saying a dangerous madman was loose in Whitehall and demanding that he should be sectioned.
But it seems that, instead of this, the ministers who've dragged their feet will be subjected to a grilling by the all-new 'Star Chamber', which is the name for the public expenditure committee Osborne has set up. Apparently 'Star Chamber' has a "mystique" about it (according to The Guardian); in fact it will consist of Osborne, Danny Alexander and those ministers who've given in and agreed cuts, haranguing the dissenters until they fold up like cheap thugs who've been punched in the kidneys once too often.
This is no way to run an economy.
I know I used this photo very recently, but it's the only one I feel really gets across the CHARACTER of our vampiric Chancellor.
Oh look, Gideon George Osborne's an idiot again. Or a genius, depending on whether you're a fan of responsible government or of shrinking the State.
He's going to cut government spending by £48 BILLION in the next government spending round (The Guardian says he could increase taxes by that amount but I think we all know that's not going to happen. Not to the rich, anyway).
It turns out the economy is weaker now than when he started – no surprises there, that's what his policies were intended to do – so he'll have a bigger gap to bridge when he makes his next set of multi-year spending plans. Let's bear in mind that there will be an election around this time; we can boot this bunch of economically-illiterate lunatics back out to rot in their country estates and get someone in who actually wants to do some good.
Assuming that doesn't happen, according to The Grauniad, in addition to the deep cuts in government departmental spending for 2010-15, Mr 0 pencilled in £26 billion of additional cuts for the next spending round "to complete" – don't laugh – "the repair work". Obviously "repair" was a space-holding word and they were looking for an appropriate one. "Demolition" seems a likely contender to me.
It turns out the UK's structural deficit – that's the shortfall in the public finances that will remain when the economy has fully recovered from the recession, as they love to remind us – was 1.1 per cent of GDP higher than forecast in March. So that wipes out the one per cent growth we had in the last quarter, then. Harumph.
This means that the current spending round's cuts of 2.3 per cent will be dwarfed by the 3.7 per cent further cuts required in the next one – so everything is going to plan, you see.
The paper quotes Ian Mulheirn, director of the Social Market Foundation thinktank, as saying: "The chancellor will have to lay out some eye-watering cuts at the next spending review and will prolong austerity deep into the next Parliament." Eye-watering to you, sir – MOUTH-watering to him.
For those of us who know we're going to have to pay for it (some of the poorest with their lives, I'm sure. It's already happened in this Parliament; if the Conservatives continue into the next, it'll only get worse) also know that it could be very different.
This government has overseen and facilitated some of the worst tax avoidance fiascos in the history of, well, taxation itself, I expect. Look at the article I posted yesterday about the water companies. Look at Starbucks, Google, and Amazon, that are all having to explain themselves because they are companies owned by Johnny Foreigner. It's all right for British businesspeople to stash your cash in tax havens abroad, but we can't let just anyone have it, can we?
Come to that, look at how gas prices are allegedly being manipulated for their own ends by the big power companies, which is the lead on The Guardian's website as I type this. That market is worth £300 billion, according to the paper. How much of that does the State get, and how much disappears?
If I hear one more overprivileged bozo telling me it's what the law allows I shall retch in my – in HIS – hat. The law allows it because the laws are being MADE by an overprivileged bozo – Gideon George Osborne!


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Tag Archives: Madonna
WAP Grammys 2021 Performance is Not Empowerment or Feminism–It's Misogyny
Visibility is imperative. Pushing norms is progress. But disguising the objectification of women for the male gaze as empowered feminism is super-problematic, and that's what is happening here. Cardi b and Meghan Thee Stallion's Grammys 2021 performance was supposed to push boundaries, and shock. And it did! Madonna pushed boundaries of female sexuality with her cones and simulated sex scene prior to this. But I see the Miley Cyrus/Robin Thicke twirking on all the negative YouTube videos for 'top 10 cringe moments', 'celebs that are problematic', 'people who got cancelled', etc, etc… And let's not forget how Janet Jackson was ENDED over a fraction of a sec of nipple pasty action at the Superbowl. Can you say, double standard?!
Anyway, I keep seeing a lot of arguments for the merits of this song/performance because it matches what men do. Men have scantily-clad women on their videos, demean women as "bitches" (and far worse) in their lyrics, talk about sexual acts in explicit detail, and are "pimps" when they rack up the number of women they conquer. So people are arguing it's cool that now women can do that too.
Except here's the thing:
Feminism isn't doing whatever you want or being as disgusting as men, it is breaking away from objectification, truly empowering the individual self and collective group of women.
Joining in on objectification of women is not empowerment!
em·pow·er·ment (N)- Authority or power given to someone to do something. "individuals are given empowerment to create their own dwellings" the process of becoming stronger and more confident, especially in controlling one's life and claiming one's rights.
This performance isn't about women owning their bodies, sexuality, or controlling the narrative. This is women selling their image in a package that men like in order to make money and gain fame in the small niche that female rap artists have carved out.
Women in this patriarchal society have to fit in a box–the Madonna/whore dichotomy. Women in music, already in that narrow box of patriarchy, have to fit into an even smaller box of being a role model to girls while having sexual appeal for the general public. The rap category is an even teenier box a couple of select women have to fit in to keep going. In the end, the box is so small and limited, there is no space left.
People online are praising the performance as visible female sexuality, black women owning their own bodies, and empowerment. Which, I agree might be present (though in this writing, I'll argue it's in diluted form). I felt the performance was harmful to women's progress. What I don't want to do is add the the terrible narrative that black women's sexuality is wild/animalistic/scary/out of control that colonialism, racism, sexism, and patriarchy has painted it. I find the performance harmful because it is misogyny in feminist clothing, to borrow the sheep expression.
I know there's a whole song, and the music video that goes with it. I don't know much about either so my critiques are based solely on the following video of the 2021 Grammy performance:
My racap of the action:
-A stripper pole-references the men's domain of the strip club where women take off clothes and dance suggestively for men's entertainment.
-Cardi B backs up and puts her butt-crack on the pole. Side-note: Butt implants are for men. A women can die getting plastic surgery to enhance her body. Her clothes will fit differently. She will have to move differently, walk differently, lay down differently than she did before putting plastic in her butt. And she may have complications later. Leaking, autoimmune issues, cancer… This is not for a woman's pleasure–women's butts are not an erroneous zone, or secondary sex characteristic. A big butt is for men's pleasure.
-In case the viewer couldn't put it together, a giant, clear plastic stripper platform shoe flanks the stage. The type of shoe men like to look at, but women have trouble walking effectively in, and certainly running from danger is out of the question in such a shoe. It shows the power dynamic–females are weakened by such a shoe but men get pleasure from them wearing the shoe. Men are in power here. The women are just props for them to use to achieve sexual gratification.
-Other suggestive moves that drive home this is a performance to cater to men's sexual desire: Splay legs, she grabs/rubs her puss, gyrating hips and doing suggestive humping dance moves. Cardi B elevates and licks her own leg. Countless squats split legged. Laying with legs far apart on the bed. Crawling on the bed. Split legged humping. Laying on her back with split legs. The two women crawl toward each other on bed. They scissor their legs together. [Pet-peeve] this is NOT a thing! I mean, it might technically exist in the way the pile-driver is a thing, but not used in real life, it's only for porn. This scissoring maneuver is performative and it's is ignorant/Lesbphobic. As a matter of fact, if two out, butch lesbians did the same move, I'll bet the reaction would be totally different. Then to finish the show, more split legs.
Here's the test to know if it's empowering feminism or if it's misogyny:
a) if this is two women owning their own bodies, displaying confidence and empowerment
b) this is a sexually suggestive performance for the male gaze
In the above video and descriptive paragraph, trade out the women for men.
Have you seen men doing a similar performance before? Does it seem like the same type of performance? Would it garner the same reaction?
I'd say fail.
You do not/would not see two men: Dancing on a pole. Licking their own leg. Crawling toward another man on a giant bed. Or scissoring legs together with another man…
This is not women owning their sexuality. This is objectifying & commodifying women for the male gaze.
Research by Calogero has shown that the male gaze can have detrimental effects on women's self-esteem and self-objectification, leading to increased body shame and a worsened mental state. The male gaze creates a power imbalance. It supports a patriarchal status quo, perpetuating women's real-life sexual objectification.
So that's why I don't like it. I'm not even going to mention being role model for girls, b/c the conservatives always trot out "save the children!" to shame women. But I will say it would be nice if society was better at recognizing misogyny. I can understand why it's difficult because it's ubiquitous and pervasive. But we need to educate ourselves a lot better, because things are still BAD for women. And I would love to see women being successful by truly own their own bodies and sexuality in an empowering way. I hope it happens.
But this was not it.
Tags: 2021, cardi b, dancing, empowering, empowerment, feminism, feminist, Grammys, Janet Jackson, Madonna, megan thee stallion, Miley Cyrus, misogeny, misoginyst, music, patriarchy, sex, sexuality, society, superbowl, WAP, women, women's studies
Categories music
Album Countdown 2019: My Disappointments (19-28, rather 28-19)
I usually rank all of these artists higher, so I was particularly disappointed in them in 2019. And can we just talk about how country music is totally off the rails right now? Like, what the fuck happened to it? Where has it gone? It's really superficial, lacking most of the elements I look for in a good country song. The closest thing to it is this folksy Americana/roots stuff that Brandi Carlile ran off into. Roots in fine in small doses. But I want country, country! And I'd like Brandi to go back to a more folk-rock sound. Please and thank you.
28. David Gray:
He used to be one of my staples. And I was very excited to see his new album had 'jazz' right in the title! I really expected something. But alas, the tunes were quited and meh. And I aborted (which I never take lightly) the song by song review because of boredom.
27. Marren Morris
Her breakthrough albums made me an instant fan! I really liked it and had it on heavy rotation for 2 years. So I was excited to see her next effort since she has more fame, clout, money to go in a direction she wants musically. I'd have liked to see more personality on the 2nd album–it was kinda forgettable despite the duets. What a disappointment.
26. Madonna
File this one under: Expert Trying Too Hard. Yes, Madonna will always have it. But I could tell she was really trying to get in touch with a moment to better fit the aesthetic of 2019. Like that mom that borrows her 16 year old's clothes to try to fit it with the kids.
"Extreme Occident" right/left/lost is not strong enough, and I found it to be a political cop-out. Madonna has never shied away from telling us who she is and what she thinks. Also, she has a large following and big audience that she influences. Finally, she's a bit removed from the chasing fame and certainly financially stable. So what does she have to lose by making a big statement?
"Bitch I'm Loca" speaking part at the end was funny.
"I Don't Search" very electronic (house?) with kinda dreamy lyrics. I, of course, like the "Vogue"-eske snaps.
"Faz Gastoso" is foreign language (Spanish?) and has an R&B tough-gal sound and a lot of tongue-rolling. It also has that sound given to a lot of 3rd world scenes with the instrumental breakdown and all. As a matter of fact, I felt a sense of dejavu listening to it, and was trying to figure out if it was copied from something…
23. Lady Antebellum:
I found the album a little 'too." You know overly sentimental and trying too hard.
-"The Thing That…" Nice harmony and nice like echo effect of the singing.
-"What If I Never" I liked how they alternate male vs female vocals on the verse then came together on the chorus. It's a good concept-the thought that time might not always heal broken hearts caused from breaking up.
-"Pictures" Short and meh.
-"Downtown" Tells a story, with a lot of description.
-"On a Night Like" Is a nice love song.
22. Avett Brothers
-ugh! Too much talking! Every song is ruined with talk.
-"New Woman…" good political points/feminism, but I think it must have been written before Trump? It's pretty optimistic, and the current political landscape and state of feminism is (I would say) bleak.
21. Jonas Brothers
The album seems quite generic and boring.
"Used to be" poppy. Just Ok.
"Love Her" is nice with the snaps and la-las.
"Hesitate" I like the sentiment of the lyrics.
20. Luke Combs
I was actually pretty disappointed this album was such a let down compared to the prior one that was well written. This one felt more forced and came off as phony to me–not nearly as authentic as the last album. I also thought that deep, resonant singing got lost on this one.
-"Angels Workin…" Has a good beat, is a good tailgate song, and was probably the strongest offering on this album.
-"Every Little Bit.." I like that it's sad and cheeky. I always enjoy a good break up song, and this one is relatable.
-"Beer Never Broke" is a good tailgate song.
-"Even though…" Daddy? Um no, you're too old for that, Luke. The song is folksy.
-"Frigerator Door' is trying too hard to force sentimentality.
-"Mexico" is kinda short and meh-not that notable.
-"Better Together" is just OK. The singing is kinda rough.
-"Lovin on You" sounds like a jukebox song, with a good beat, and love lyrics.
-'Even Though" is too much for me. I put in in the 'Army Wives' category.
19. Thomas Rhett:
It isn't the autobiographical catchy tunes of the other album I liked. I found most of the songs felt too short. He did more shorter songs and I wish he had added to each one even if the album turned out shorter.
-"Don't Threaten me w/a Good Time" party song, fun, jam-band instrumentals
-"blessed" nice love song, only complaint is that it's too short
-"VHS" is mildly catchy like the other album, but not in a strong way. Watered down summer jam.
-"Notice" is a nice, catchy love song. I like the detail in it, and I like how singable it would be at concerts.
-"Sand" is a summer party song and also a love song. I think the singing is good here-some higher notes
-"Beer Can't Fix" is the Jimmy Buffet island song of the album. Calypso sound and duet sounds nice for the beach.
-"Don't Stop Drivin'' has a nice beat, more poppy.
-"Barefoot" gives a nice mental image. Has some background vocals reminiscent of the other album.
Tags: albums, Avett Brothers, Brandi Carlile, countdown, country, David Gray, Jonus Brothers, luke coombs, Madonna, Maren Morris, thomas rhett
Robo-Music: Countdown of Top Albums from 2015
I'm not certain if it's this era in music I don't really care for or if it's the tastes of Utah. Here in Salt Lake City, at least, everyone is in to DJs. And electronic. And very pop-1980s throwbacks. It's nothing live, nothing that has heart. And that's the whole thing for me. I need substantial lyrics and some belting out. Instrumentation. The popular music in the Salt Lake City area is computer-generated or superficial. So I feel like I'm musically starved. And I hope it's just this region that doesn't know the story. I did manage to scrape up some contenders for this list.
This list was compiled based on album alone. Catalog, concerts, expectations, hype, and cuteness were not factors. And as an aside, I posted this before really going through it with a fine-toothed comb, so to speak. In the interest of time. I've been notorious in previous years for wanting to perfect these or wanting to listen to ALL the options, then not ever posting them. Or posting them a year late. So up it goes, but I may edit or add some things later.
DIDN'T Likes (Worst to Don't Love Listening):
What happened to the Puffy/Biggy days when there was a melody or two within the rap? This is harsh and displeasing. Almost grating. I think it's that electronic influence rearing it's ugly head again. Also, rapping was not really a thing (which is the point?) so I didn't really connect with any lyrics either. A disappointment.
Some people might like "No Cities to Love". I am not one of them. But I don't think this album is bad, it seems well thought-out and well-executed. It is just not my taste AT ALL.
I have liked her past albums. Like a lot. I think she is one of few that speaks for feminists. And that's so important, especially in the male-dominated music industry. This album was barely listen-able for me. It felt like a cheesy Disney soundtrack or a musical. Very overwrought and sappy to the point of-barf. I hope she goes back to her roots.
Matt and Kim
It's TOO harsh. I understand they are supposed to be electronic and robotic. But "New Glow" is robots in a war. I need something to sing to, some catchy chorus, somewhere. All the noise makes that difficult to find. And even as an exercise album, which I expect substantially less from lyrically, it was too jarring and too syncopated.
Blah-Neutral, Try Harder in the Future, and Up and Coming in no particular order (Medium-Passion from Me):
Emmylou Harris, Rodney Crowell
The first two songs made me think they were going to steal the Grammy from Brandi. Which, despite a flagging enthusiasm for Brandi's latest, I most definitely want her to WIN that prize. So I was horrified, I really liked a couple of Emmylou's songs. It's old country and Americana as the category has nominated her for, but every song was not a winner. The album lost steam in a few places. Aside from some boring tunes, it's a down-home oldy-feeling work of art that a person could listen to one or two times before totally losing interest.
It's hard not to compare Isbell to Brandi Carlile–since they're up for the same Grammy and all. But, this artist is ranked under Brandi, because I said I would look at the albums singularly. And his is a whole different thing. I think in some ways it is more listen-able then "Firewatcher's Daughter" in that it makes easy, background music. I like the gentleness of the sound. But when it comes down to it, I personally like catchy things sung well and with feeling. And this album has no hooks or unbelievable vocal range, as Brandi's does. But it's a chill-mood and none of the songs are unlikeable (which I can't always say about Brandi's songs). So check it out–but it BETTER not steal Brandi Carlile's Grammy if it knows what's good for it!
More of the same. I've always liked Clarkson, especially her breaking up songs. Except, I feel like her albums and sound are becoming more and more of a manufactured machine. The genuineness is simply not there. I think Clarkson should write from her heart and sing from her soul rather then doing mathematical calculations in trying to secure top chart numbers and album sales. I want to hear her stripped down and authentic–even at the risk of being less corporate.
Went skating. Skating by on prior success, on his image, and on his fan-base. I thought there was nothing at all special about this album. I would like to see him strive for the next work–I know he is capable of growth, of branching out, and getting out of his comfort zone a little. This album was put out for the sake of remaining relevant, and unfortunately, you can tell.
On the other hand, Jewel tried too hard. I can hear that she tried to replicate her earlier success. But the effort had a disingenuous, forced quality about it that I didn't like. The poetry was there, some sweet-signing, and a little discord. Folk was full-force, but "Picking Up the Pieces" still wasn't comparable to "Pieces of Me" as I'm sure she intended. Jewel formerly sold out and went straight pop for the money. Then she tried to recapture success easily by going to the easier realm of country. After that failed, she's floundering–and it shows. I wish Jewel would forget the record sales and corporate numbers and actually be genuine. I think she has a place in music–but it's not going to be through her own force of will. She needs to get in tune (pun!) with herself and her story if she's going to get out of her slump.
Also offered nothing really special or nothing really groundbreaking here. I used to like their rebellious sound. The blend of punk, pop, and rock they had going. Now, it's a little formulaic, with no real standouts. Can't music forgo corporate manufacture and be real?!
"Stories" could be a great album. But the first album, "True" (?) that I listened to raised my expectations very high so this newest one was sort of a big yawn for me. After falling in LOVE with the last album, I just could find anything to attach to in this one. I think it's still OK, but it hardly equals "True."
Worth Mentioning (but not a blurb):
Adele- probably would rank on my list, but no Spotify, no rank.
Christine and the Queens- self titled
Death Cab for Cutie- Kintsugi
The Decemberists- What a Terrible World. . .
Imagine Dragons- Smoke + Mirros
Kendrick Lamar- To Pimp a Butterfly
Luke Bryan- Kill the Lights
Sports- All of Something
AAANNNNNND Top Albums of 2015 Countdown from Good to Very Best:
11 (honorable mention).
Dave Matthews Band's Lovely Ladies must have stepped into the recording studio with Kid Rock. This album is good, but very, very different from previous efforts. It's more grown up and country/blues, than rebel rock. I liked the gospel and southern flair and thought they were appropriate to the tracks. The thing that would make the album stronger is a little more variation in the songs. They all started to sound the same to me. And though cohesive as an album, even the 80's hard-rock Gods knew to throw in a ballad once in awhile. There should be something that doesn't meet expectations in here to really flesh it out. And fans of the first few albums–prepare your ears–I'm not sure you're going to like this even a little bit.
This album would have ranked higher, because the songs that I like, I really, REALLY like. But there was some electronic/club influence that I'm trying to get away from—as you heard. My top 10 is all about the human aspect of music. What I liked was the variability in the album. It all meshed together, but the songs were distinct and had different feels and influences in them. We have a broken heart, dancy-club, a Jamaican sound, and of course electronic. I especially give top marks for this seldom-seen vulnerability in many of the tracks. It's a softer, riskier sound for Madonna, and I feel like I know her better as a person because of it. Of course I also like the stronger side of her personality and artistry, and that's here as well. Madonna's sound has matured and she has leaned tons from her years topping the charts–but she's still got IT.
Let me just get it out there. No, I have to soften it a little by saying Brandi is perhaps my favorite artist of the last 6 years. And her shows are THE best! She seems genuine and she's personable, and of course she's cute. So my expectations for a new album were SKY-high. Bear Creek was phenomenal, in my opinion. The follow-up was sure to be even better. But it wasn't. Not to me, at least–the rest of the world seems to disagree and is finally catching on to MY band. Washington state, especially Seattle, feel like the band is OURS. So I very much hate to say "Firewatcher's Daughter" just seemed to meander too far to the right for me. I'm not saying it was bad by any means. But usually I attach to all but 1, or maybe 2 songs on Brandi's albums. This time, I only really-liked 2-3. "These Things I Regret" was good and I think sort of a fan-song. It was more the old style, the one I fell in love with. "Mainstream Kid" with its strength and rock-flavor is the other obvious hit on the record. And "Wherever is Your Heart" shows the band's range and energy. Honorable mention goes to "The Stranger at my Door" for most awesome song-ending ever. The rest? Too. . . I don't know, maybe just not MY style. "The Eye" is not an album-song. It's meant for the live, breath-taking, 'wow that's almost a Capella and look how they blend together as a group' sentiment. But even live (at the Gorge) the choruses repeat to the point of boredom and it just got tedious to me. The Avette Brother's cover is good. But it also bothers me. One, it seems too soon cover them–the Avettes (though their catalog is HUGE) are JUST going mainstream. Mostly, though it seems (as gleaned from show commentaries and interviews) to be Brandi's love song to her family and a gay anthem (from her perspective, I gather). But it's obviously written (and unchanged) for brothers, or at least siblings. With the 'which one of us would Dad be proud of' stuff. I want her to tailor it to her needs or really, just leave it to the Avette Brothers. And "Wilder, We're Chained" if it's not a direct Fleetwood Mac cover, it's MUCH too similar, and with "The Eye" having that same tone, it just feels like a throw away song. I guess I won't go into any more specific song detail (because I already wrote that blog) but I feel compelled to justify my options. I don't like "going against" my favorites. Because–I feel guilty for being disappointed. I am happy Brandi Carlile's career is finally taking off in a mainstream way and she's getting some long-deserved media-attention. But, I hope Brandi Carlile does not continue to scout territory which takes her farther away from her core group of fans. I liked the former albums–even if they didn't garner all the attention, hype, and accolades. Though they should have and I don't know why she's just now blowing up–it's long overdue. Maybe now that everybody's watching she can go back to the more rock-folk style that I like better?
8. Kacey Musgraves
I like it: A cheeky country gal. The songs are catchy and foster an independent rebel spirit that I like, and that I think is totally necessary in the still good-ol boys country network. I think she'll join modern trail-blazers Shania Twain, Carrie Underwood, and especially Miranda Lambert as the new spunky voice of country women, working to bust stereotypes and get outside of the social norms. This album gives me an idea of what Musgraves stands for, and I like that message even better then the songs.
Is back to herself–thank goodness! I love her bitter songs where she gets feisty and this album has that in spades. Seeing Underwood sell-out and try to please mainstream (impossible/boring) was sad, so "Storyteller" is all the better. It offers almost every song as independent woman, talking trash to some loser who mistreated her. The passion in Underwood's voice is back to go nicely with her always strong voice. Love. And I hope she remains true to her roots from now on.
I loved their sound so much. When "Babel" exploded onto the scene, it was stripped down, featured a kind of country feel, and was completely different. So I'm a little disappointed the band has chosen to deviate to the sound that contributed to their huge mainstream popularity. I liked it because it WAS different and not the normal mainstream sound. But alas, though I'm not sure I'm on board with the band changing its tune (another pun!), but I'm judging "Wilder Mind" by itself. And it's masterfully done. Really, it's a solid work as a group. You can listen to the album over and over and it's a really great work. There are no real individual songs that pop though. And as a side-note to the band–get back to your acoustic roots.
Mika- The Origin of Love
Yes, this album is pretty-pure pop. BUT it is strong in a socially-conscious way. Mike SAYS something in this album. Opposed to Cee Lo's closet-case, Mike is totally uninhibited gay. Like, old-school, flamboyant, proud to be a little feminine, gay. This album is an anthem for all the homos everywhere, even going so far as to ask, "Where Have All the Gay Guys Gone?" And the songs are catchy and dancy which doesn't hurt one bit.
4. The Indigo Girls
When I was just thinking about the album, I felt sorry that I was a little disappointed in it. "One Lost Day" is not an evolution. Some past albums were much stronger, showed more growth, or talked more of political issues. But if the Indigo Girls can do anything, they can subtly change their sound to remain relevant in current times. Just look back at how long they've been around. And just TRY to sound two very similar albums from there—they are all different. And apparently, in order to be relevant in 2015, you have to have an electronic or strong-pop flavor. I couldn't remember any stand-out songs when I thought about the tracks of "One Lost Day," and I even thought maybe the new album was a little too pop. When I actually turned on the songs to hone in on my list-placement, I remembered why the Indigo Girls are masters at what they do: The album has a clear ark and tells a cohesive story. Each song contributes to an overall story. The songs are polished and you know the duo has absolutely perfected their writing/recording process. But there is always a feeling-invoked and an authenticity about their works. Yes, obvious success and maybe a little pandering is going on, but The Indigo Girls still have their amazing harmonies, their political ideologies, and a personal story to tell. I call this one polished, but not superficial.
I didn't even want to sample Hart's new album, because Douche had told me once that she attended a Beth Hart concert and the artist was sloppy. Like, obviously impaired, and asking the audience for drugs while performing on stage. And I'm not into supporting obvious drug-addicts. BUT I came across a recent article about Beth Hart outlining her addiction, new sobriety, and bipolar diagnosis. So I listened to "Better Than Home". And I'm glad I did! It's bluesy and stands out from the crowd right now. Hart's voice is resonant and her lyrics deep. Also, she has this vibrato singing style that's very technical and amazing. It's a different sound in a sea of similar female voices.
Vanessa Carlton
Where did she come from?! All I remember is that "A Thousand Miles" song that was over-played to the extreme until it became hostile to listen to again. But "Liberman" is so great. It's a stripped-down feel, heavy on the piano, and with good song-writing. It's a chill listen without being boring. I don't know if you could over-play this album–it's sure been heavy on my rotation and I've yet to tire of it. Think Ben Folds Five, but with a female vocalist.
This is totally beside the point, but does anyone else think Green is a seriously closeted gay? This album sets off my gay-dar. It's upbeat and dancy, but in a good way. I may not have a lot to write about the album, but I want to convey it's a fun, yet serious album that has good singing, true writing, and I found it very pleasing to my ears.
P.S. Yes! I finished this entire post, BEFORE the next year. This is the first time in 3(?) years I can say that. I am very pleased, and this means good omens for 2016.
Tags: Beth Hart, Brandi Carlile, Carrie Underwood, Cee Lo Green, Diddy, emmylou harris, indigo girls, Jewel, Kelly Clarkson, Kid Rock, Madonna, Matt & Kim, Mumford & Sons, music, Papa Roach, sara bareilles, sleater-kinney, Tim McGraw, Vanessa Carlton


have one properly initialized. VNC Console cannot be brought up via virt-install as it supposed to happen.
will also suggest to bring up VNCSERVER at DomU during install and will finally create create same F12 domain without VFB specifified.
Logged in and add non root user , then switch initidefault to 5 in /etc/inittab .
to rhel54-vfb.xml and change domain name say to RH54FB.
This entry was posted on Sunday, December 27th, 2009 at 6:03 pm and is filed under Uncategorized.	You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
I genuinely enjoy this blog.


If you are ready to tryout for club volleyball, we have created a step-by-step process to make it easier for you.
Click on each step and follow the instructions on that step before moving on to the next step.
All players must register or renew their Arizona Region tryout membership online for the new season PRIOR to the Open House evaluation sessions and Tryouts. You must provide the club with your new membership card or PAID confirmation page that shows you have registered for this season in order to tryout with any club.
Previously played Club Volleyball in Arizona?


MASIL is a historic exchange between Indigenous Mapuche activists in Chile/Argentina and Aboriginal activists in Australia.
To establish face to face contact and dialogue and build links between Indigenous communities protecting their lands.
To produce a documentary of approximately 60 minutes duration, for distribution in Australia and internationally.
My grandmother did two things for me: let me use teatowels as costumes (we had no dress-up box) and encouraged my singing… she taught me that I was entitled to dreams and hopes and that those hopes and dreams were valid.
umbilical cord of history so thin?
We have a WOW because we want to celebrate what women are doing.
It starts with a "Think In" – what does WOW look like where you are?
they are tired and they're frightened.
the builders said they didn't have time.
She answered: "Teach me to make a brick".
Social justice is not discretionary.
Intersectionality is embodied in the margins.
are where social change meets intersectionality in a practical way.
to back ourselves on what we feel and what we know.
Communities are strengthened through diversity.
I have to be authentic to who I am.
The nature of my ambition has changed.
I believe in the power of one to affect social change.
We are theory and theory is ours.
Arts, politics… theory is everyday life.
Education in Australia separated self and theory.
Theory became externalised from the body.
It went from everywhere to nowhere.
Not 'by us' but 'to us'. Not changing, but static.
Institution imposed a hierarchy of knowledge.
The indigenous people of Central America knew astrology, geography, how to make chocolate. They wrote in hieroglyphics and were writers, philosophers, theorists… there has been a genocide of knowledge = epistemicide.
They have colonised not just our bodies but our minds.
In my culture, cooking is at the centre of community.
With white feminism – I didn't want to learn my mother's cooking.
acknowledge my ancestors, my mother or the role of hospitality as resistance – my mother cooked for the group that met at the house.
these ways of knowing are resistance.
It's not known or recognised how strong women of colour are.
will I notice, will I do something?
It's hard. That's why we need you to be there.
Research is embodied. We write struggle.
When we theorise, we write with our bodies.
To write/use a theory, you need to embody it. Resist epistemicide.
You write and exist in the in-between. Don't lose yourself.
There is no such thing as a part-time revolution.
We're not here for black liberation but for all liberation.
we came kicking and screaming.
we gave them the experience of something worth fighting for.
Are we breaking the glass ceiling to be oppressors ourselves?!
No. We have a common enemy.
Can't see ourselves in competition with anyone else.
What is our agenda as women?
To find solidarity with the others who are suppressed.
Learn how to situate yourself.
Do not let your feminism drive your racism.
you experience yourself as a part of others.
It is a form of activism to thrive, not just survive.
Art is not living but living can be art.
"The world will crumble one day.
It's ok. We know how to be poor.
To see your reality reflected back you.
How much of my gender came out of a book? A ship?
The convent that beat my grandmother?
We need to consider: how is gender colonised?
Your black body is never quite yours in this country.
Hyper-sexualised vs. not attractive at all. Strong vs. not strong at all.
What other personal reclamations can I make of my own body?
Keep this flesh vessel tight [runs regularly].
Just in case you missed it – the Sovereignty exhibition at ACCA was stunning.
family, for truth telling and for beauty.
ACCA is proud to present Sovereignty, an exhibition focusing upon contemporary art of First Nations peoples of South East Australia, alongside keynote historical works, to explore culturally and linguistically diverse narratives of self-determination, identity, sovereignty and resistance.
Taking the example of Ngurungaeta (Elder) and Wurundjeri leader William Barak (c.1824–1903) as a model – in particular Barak's role as an artist, activist, leader, diplomat and translator – the exhibition presents the vibrant and diverse visual art and culture of the continuous and distinct nations, language groups and communities of Victoria's sovereign, Indigenous peoples.
We value God's priority for the poor and seek to prioritise the marginalised of Footscray. We do not want to just show mercy, but instead offer our lives, in voice and activity, with those who we seek to serve.
Who do we think are "the poor"?
Those who are poor in heart? in spirit? or without money? It's those who are poor in spirit that are worst off = those who feel empty. When you eat you're full. If you don't eat you're empty.
We need to be helping one another more.
What can we learn from the bible about living the Value: Seeking justice for the poor?
Who gets behind and left out? What kinds of people?
What does it mean to "have a huge head-start in the faith stakes"?
with spacious rooms and fancy windows.
living in a fancy palace?
Your father got along just fine, didn't he?
And things went well with him.
And things went well for Judah.
"But you're blind and brainless.
……..Sisters and brothers, if you really believe in our glorious Lord Jesus Christ, how come you still play favourites? If people walk into one of your meetings and you make a fuss of the ones dressed up to the nines and looking a million dollars, ushering them to the best seats in the house, while at the same time turning up your nose at those dressed like battlers, down on their luck, telling them to stand out in the foyer, aren't you practicing apartheid, segregating God's children? You're as crooked as a judge who bases your sentence on the length of your skirt!
……..Get this straight in your minds, dear friends. God has turned the world's opinion polls upside down. Those who have been deprived of what the world values have a huge head-start in the faith stakes. Their names are at the top of the list of those who God has chosen to inherit the riches of the kingdom. All who love God have an equal share in God's promises, but you're insulting some of them by means-testing your welcome.
Who are "the poor" in Footscray?
what ways are we doing this now?
what ways could we start?
On the weekend of 24-25 September Whitley College hosted a conference called Constitutions and Treaties: Law, Justice, Spirituality – these are notes from session 8 of 9. We acknowledge that this gathering, listening and learning occurred of the land of the Wurundjeri People of the Kulin Nations and offer our respects to their elders past and present, and all visiting Aboriginal and Torres Strait Island visitors present.
Terrific to be part of the Minutes of Evidence project – collaborative performance sparking conversations about structural justice.
British colonisers ran a "Paper Empire" – numbers, counting surveillance… combined with counter-archives (other ways of knowing) can be used to create sources/proofs. Presumption of colonisation (denial of sovereignty) complicit and absolutely imbued in statutes and policies.
"…powerfully committed to hunting grounds" the Committee couldn't break or deny this connection to Country… this is why the regional system of Missions was put in place. The testimony of these men changed the political "solution"/outcomes. Although 50 years later the missions were closed after all and people were centralised.
On the subject of children being taken away, missionaries testified that: Those on the Missions knew of all the children in their District when a white couple adopted a girl then no longer wanted her – they were going to send her to Sydney, the Aboriginal people on the Mission appealed to take her in. There is no such things as orphans… every child had two parents. 100s of letters written by Aboriginals exist speaking to self-determination, religious freedom and for rights.
Political activism was happening pre-1920s. Is it racial prejudice that dismisses testimony of "pining away" or "affection" for the land as irrational/emotional but this speaks to the depth of feeling of cultural belief/commitment, assertion of rights, sovereignty and justice. Not able to recognise the implications of what you 'see' in front of you but providing testimony of it jsut the same.


Watch Three Weeks, Three Kids online. Watch this and other classic & family movies streaming online from Hallmark Movies Now. Join now!
Twenty-five-year-old Jennifer Mills (Anna Chlumsky) lives her life without commitment, relieved her boyfriend isn't even close to putting a ring on her finger. But her mother, Kathryn (Susan Hogan), sees Jennifer's wild ways as a fear of settling down, and hatches a secret plan to take her from playful to parent in just three weeks.


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redpajama_set_name: RedPajamaGithub


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Product type All categoriesControllerLEDLED moduleLED stripLED strip profileMiscellaneousPower supply
Article 1 - General conditions
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If the acceptance deviates (whether or not on minor points) from the offer included in the quotation or offer, Luxalight B.V. not bound by it. The agreement will then not be concluded in accordance with this deviating acceptance, unless Luxalight B.V. indicates otherwise.
A composite quotation obliges Luxalight B.V. not to perform a part of the assignment against a corresponding part of the stated price. Offers or quotations do not automatically apply to future orders.
Article 3. Contract duration; execution times, transfer of risk, implementation and amendment of the agreement; price increase
The agreement between Luxalight B.V. and the Client is entered into for an indefinite period of time, unless the nature of the agreement dictates otherwise or if the parties expressly agree otherwise in writing.
If a period has been agreed or specified for the execution of certain work or for the delivery of certain goods, this is never a fatal term. If the term is exceeded, the Client must provide Luxalight B.V. therefore give notice of default in writing. Luxalight B.V. a reasonable period must be offered in order to still implement the agreement.
Luxalight B.V. shall execute the agreement to the best of its knowledge and ability and in accordance with the requirements of good workmanship. All this on the basis of the current state of knowledge at that time.
Luxalight B.V. has the right to have certain work carried out by third parties. The applicability of article 7: 404, 7: 407 paragraph 2 and 7: 409 Dutch Civil Code is expressly excluded.
If by Luxalight B.V. third parties engaged in the context of the assignment work are performed at the location of the Client or a location designated by the Client, the Client shall provide free of charge the facilities reasonably desired by those employees.
Delivery takes place from Luxalight B.V. . The Client is obliged to take delivery of the goods at the moment they are made available to him. If the Client refuses to take delivery or is negligent with providing information or instructions necessary for the delivery, then Luxalight B.V. entitled to store the goods at the expense and risk of the Client. The risk of loss, damage or depreciation is transferred to the Client at the time at which the items are available to the Client.
Luxalight B.V. is entitled to execute the agreement in various phases and to invoice the thus executed part separately.
If the agreement is executed in phases Luxalight B.V. to suspend the execution of those parts that belong to a following phase until the Client has approved the results of the preceding phase in writing.
The Client shall ensure that all data, of which Luxalight B.V. indicates that these are necessary or of which the Client should reasonably understand that these are necessary for the execution of the agreement, timely to Luxalight B.V. be provided. If the data required for the execution of the agreement are not sent to Luxalight B.V. have been provided, Luxalight B.V. the right to suspend the execution of the agreement and / or to charge the Client for the additional costs arising from the delay in accordance with the then customary rates. The execution period does not start before the Client submits the data to Luxalight B.V. has made available. Luxalight B.V. is not liable for damage of any kind, because Luxalight B.V. is based on inaccurate and / or incomplete information provided by the Client.
If it becomes apparent during the execution of the agreement that it is necessary for a proper execution thereof to change or supplement it, the parties shall proceed to the adjustment of the agreement in time and in mutual consultation. If the nature, scope or content of the agreement, whether or not at the request or instruction of the Client, of the competent authorities, etc. is changed and the agreement is thereby changed qualitatively and / or quantitatively, this may have consequences for what was originally agreed. As a result, the originally agreed amount can also be increased or decreased. Luxalight B.V. will make a quotation of this as much as possible in advance. By an amendment to the agreement, the originally stated term of execution can be changed. The Client accepts the possibility of changing the agreement, including the change in price and term of execution.
If the agreement is changed, including an addition, Luxalight B.V. entitled to perform this first after having been approved by the Luxalight B.V. the authorized person and the Client has agreed to the price and other conditions specified for the execution, including the time to be determined at that time. The non-execution or non-immediate execution of the amended agreement does not constitute a breach of Luxalight B.V. and is no reason for the Client to terminate or cancel the agreement.
Without being in default, Luxalight B.V. reject a request to amend the agreement if this could have qualitative and / or quantitative consequences, for example for the work to be performed or the goods to be delivered.
If the Client is in default in the proper fulfilment of what he has to Luxalight B.V. the Client is liable for all damage on the part of Luxalight B.V. thereby directly or indirectly.
If Luxalight B.V. with the Client a fixed fee or fixed price, then Luxalight B.V. nevertheless at all times entitled to increase this fee or this price without the Client being entitled in that case to dissolve the agreement for that reason, if the increase of the price ensues from a power or obligation under the laws or regulations or it is caused by an increase in the price of raw materials, wages, etc. or on other grounds that could not reasonably have been foreseen when the contract was entered into.
If the price increase other than as a result of an amendment to the agreement exceeds 10% and takes place within three months after the conclusion of the agreement, then only the Client who is entitled to title 5 section 3 of Book 6 of the Dutch Civil Code is entitled agreement by dissolving a written statement, unless Luxalight BV
- is still prepared to execute the agreement on the basis of the originally agreed;
- if the price increase ensues from a license or on Luxalight B.V. resting obligation under the law;
- if it is stipulated that the delivery will take place more than three months after the conclusion of the agreement;
- or, on delivery of a good, if it is stipulated that the delivery will take place more than three months after the purchase.
Article 4. Suspension, dissolution and premature termination of the agreement
Luxalight B.V. is entitled to suspend the fulfilment of the obligations or to dissolve the agreement if the Client does not, not fully or not timely fulfil the obligations from the agreement, after the conclusion of the agreement Luxalight B.V. come to the knowledge of circumstances giving good grounds to fear that the Client will not fulfil the obligations, if the Client at the conclusion of the agreement is requested to provide security for the fulfilment of its obligations under the agreement and this security fails or is insufficient or if due to the delay on the part of the Client, no longer from Luxalight BV may be required to comply with the agreement under the originally agreed conditions.
Furthermore, Luxalight B.V. authorized to dissolve the agreement if circumstances arise which are of such a nature that fulfilment of the agreement is impossible or if circumstances arise otherwise that are of such a nature that unaltered maintenance of the agreement cannot reasonably be made by Luxalight B.V. can be required.
If the agreement is dissolved, the claims of Luxalight B.V. on the Client immediately due and payable. If Luxalight B.V. the performance of the obligations is suspended, he retains his rights under the law and agreement.
If Luxalight B.V. to suspension or dissolution, he is in no way obliged to compensation for damage and costs thereby arise in any way.
If the dissolution is attributable to the Client, Luxalight B.V. entitled to compensation for the damage, including the costs, thereby directly and indirectly arising.
If the Client fails to comply with its obligations under the agreement and this non-fulfilment justifies dissolution, Luxalight B.V. entitled to terminate the agreement immediately and with immediate effect without any obligation on its part to pay any compensation or compensation, while the Client is obliged to pay compensation or indemnify due to breach of contract.
If the agreement is prematurely cancelled by Luxalight B.V., Luxalight B.V. to arrange transfer of work still to be performed to third parties in consultation with the Client. This unless the cancellation is attributable to the Client. If the transfer of work for Luxalight B.V. additional costs entail, these will be charged to the Client. The Client is obliged to pay these costs within the specified period, unless Luxalight B.V. indicates otherwise.
In the event of liquidation, (application for) suspension of payments or bankruptcy, of attachment - if and insofar as the attachment is not lifted within three months - at the expense of the Client, of debt restructuring or any other circumstance as a result of which the Client will no longer be free to Luxalight BV has access to its assets free to terminate the contract immediately and with immediate effect or to cancel the order or agreement, without any obligation on its part to pay any compensation or indemnity. The claims of Luxalight B.V. on the Client in that case immediately due and payable.
If the Client cancels all or part of an order placed, the work performed and the items ordered or prepared for it, plus any delivery and delivery costs thereof and the labor time reserved for the execution of the agreement, will be fully integrated. the Client will be charged.
Article 5. Force majeure
Luxalight B.V. shall not be obliged to fulfil any obligation towards the Client if he is prevented from doing so as a result of a circumstance that is not due to fault, and neither under the law, a legal act or generally accepted for his account.
Force majeure is understood in these general terms and conditions, in addition to what is understood in the law and jurisprudence, all external causes, foreseen or not foreseen, on which Luxalight B.V. cannot exert any influence, but as a result of which Luxalight B.V. is unable to meet his obligations. Work strikes in the company of Luxalight B.V. or from third parties. Luxalight B.V. is also entitled to invoke force majeure if the circumstance that prevents (further) performance of the agreement occurs after Luxalight B.V. should have fulfilled his commitment.
Luxalight B.V. can suspend the obligations under the contract during the period that the force majeure continues. If this period lasts longer than two months, then each of the parties is entitled to dissolve the agreement without any obligation to compensate the other party for damage.
Provided Luxalight B.V. at the time of the occurrence of force majeure, the obligations arising from the agreement have in the meantime been partially fulfilled or will be able to comply with them, and if the part to be fulfilled or to be fulfilled is independent value, Luxalight B.V. entitled to separately invoice the part already fulfilled or to be fulfilled. The Client is obliged to pay this invoice as if it were a separate agreement.
Article 6. Payment and collection costs
Payment must always be made within 30 days after the invoice date, on a by Luxalight B.V. to be specified in the currency in which is invoiced, unless written otherwise by Luxalight B.V. indicated. Luxalight B.V. is entitled to invoice periodically.
If the Client fails to pay an invoice in time, then the Client is legally in default. The Client then owes interest of 1% per month, unless the statutory interest is higher, in which case the statutory interest is due. The interest on the due and payable amount will be calculated from the moment the Client is in default until the moment of payment of the full amount due.
Luxalight B.V. has the right to have the payments made by the Client go first of all to reduce the costs, subsequently to reduce the interest still due and finally to reduce the principal sum and the current interest. Luxalight B.V. can, without being in default, refuse an offer of payment if the Client designates a different order for the allocation of the payment. Luxalight B.V. may refuse full payment of the principal sum, if the interest and collection costs are not paid.
The Client is never entitled to set off the amount due to Luxalight B.V. due. Objections against the height of an invoice do not suspend the payment obligation. The Client who does not appeal to Section 6.5.3 (Articles 231 to 247 of Book 6 BW) is also not entitled to suspend the payment of an invoice for any other reason.
If the Client is in default or omission in the (timely) fulfilment of his obligations, then all reasonable costs incurred in obtaining payment out of court are at the expense of the Client. The extrajudicial costs are calculated on the basis of what is customary in Dutch debt collection practice, currently the calculation method according to Rapport Voorwerk II. If Luxalight B.V. however, higher costs for collection have been made that were reasonably necessary, the actual costs are eligible for reimbursement. Any legal and execution costs incurred will also be recovered from the Client. The Client also owes interest on the collection costs due.
Article 7. Reservation of ownership
It passes through under the Luxalight B.V. delivered remains the property of Luxalight B.V. until the Client removes all obligations from Luxalight B.V. contract (s) has been properly fulfilled.
The Luxalight B.V. goods delivered under the retention of title pursuant to paragraph 1. may not be resold and may never be used as a means of payment. The Client is not authorized to pledge or encumber it under the retention of title in any other way.
The Principal must always do everything that may reasonably be expected of him for the property rights of Luxalight B.V. to secure. If third parties seize the property delivered or rights to establish or exercise, then the Client is obliged to Luxalight B.V. immediately. Furthermore, the Client undertakes to insure and keep insured the goods delivered under retention of title against fire, explosion and water damage as well as against theft and the policy of this insurance on first request to Luxalight B.V. for inspection. In case of a possible payment of the insurance, Luxalight B.V. entitled to these tokens. Insofar as necessary, the Client undertakes towards Luxalight B.V. in advance to cooperate with everything that may prove necessary or desirable in that context.
For the case Luxalight B.V. wishes to exercise ownership rights as referred to in this article, the Client shall grant unconditional and non-revocable consent to Luxalight B.V. and by Luxalight B.V. to designate third parties to enter all those places where the properties of Luxalight B.V. find themselves and take them back.
Article 8. Guarantees, research and complaints, limitation period
The Luxalight B.V. Items to be delivered meet the usual requirements and standards that can reasonably be set at the time of delivery and for which they are intended for normal use in the Netherlands. The guarantee mentioned in this article applies to items intended for use within the Netherlands. In case of use outside the Netherlands, the Client must verify itself that its use is suitable for its use and comply with the conditions imposed on it. Luxalight B.V. in that case can set other guarantee and other conditions with regard to the goods to be delivered or work to be performed.
The guarantee referred to in paragraph 1 of this article applies for a period of 2 years after delivery, unless the nature of the delivered results differently or parties have agreed otherwise. If the Luxalight B.V. If the warranty provided concerns a case that was produced by a third party, then the guarantee is limited to that provided by the manufacturer of the item, unless otherwise stated.
Any form of guarantee shall lapse if a defect arises as a result of or arising from improper or improper use thereof or use after the expiry date, incorrect storage or maintenance thereof by the Client and / or by third parties when, without the written permission of Luxalight BV , the Client or third parties have made or attempted to make changes to the item, other matters have been confirmed which must not be confirmed or have been modified or processed in a manner other than that prescribed. The Client is also not entitled to a guarantee if the defect arises due to or is the result of circumstances where Luxalight B.V. cannot influence, including weather conditions (such as, but not limited to, extreme rainfall or temperatures), et cetera.
The Client is obliged to inspect the delivered goods or have them inspected, immediately at the time that the items are made available to him or the relevant work has been carried out. In doing so, the Client must investigate whether the quality and / or quantity of the delivered goods corresponds with what has not been agreed and meets the requirements that the parties have agreed on in this respect. Any visible defects must be submitted to Luxalight B.V. in writing within fourteen days of delivery. to be reported. Any invisible defects must be reported immediately, but in any event no later than within fourteen days, after discovery thereof, in writing to Luxalight B.V. to be reported. The report must contain as detailed a description as possible of the defect, so that Luxalight B.V. is able to respond adequately. The Client must serve Luxalight B.V. to have the opportunity to investigate a complaint.
If the Client makes a timely complaint, this does not suspend his payment obligation. In that case, the Client will also be obliged to purchase and pay for the otherwise ordered goods and what he has to do for Luxalight B.V. commissioned.
If a defect is reported later, the Client will no longer be entitled to repair, replacement or compensation.
If it is certain that a case is defective and in that case it is timely filed, Luxalight B.V. the defective item within a reasonable period after the return of it or, if returning is not reasonably possible, written notice regarding the defect by the Client, at the option of Luxalight B.V. , replace or take care of repair or replacement fee to the Client. In case of replacement, the Client is obliged to replace Luxalight B.V. to return and ownership thereof to Luxalight B.V. to provide, unless Luxalight B.V. indicates otherwise.
If it is established that a complaint is unfounded, then the costs arise, including the research costs, on the side of Luxalight B.V. as a result, fully paid for the account of the Client.
After expiry of the guarantee period, all costs for repair or replacement, including administration, shipping and call-out costs, will be charged to the Client.
Notwithstanding the statutory limitation periods, the limitation period of all claims and defences against Luxalight B.V. and the Luxalight B.V. third parties involved in the execution of an agreement, one year.
Article 9. Liability
If Luxalight B.V. liable, then this liability is limited to what has been regulated in this provision.
Luxalight B.V. is not liable for damage of any kind caused by Luxalight B.V. is based on incorrect and / or incomplete data provided by or on behalf of the Client.
If Luxalight B.V. should be liable for any damage, then the liability of Luxalight B.V. limited to at most the invoice value of the order, at least to that part of the order to which the liability relates.
The liability of Luxalight B.V. is in any case limited to the amount of the benefit of his insurer, if any.
Luxalight B.V. is only liable for direct damage.
Direct damage is exclusively understood to mean the reasonable costs to determine the cause and extent of the damage, insofar as the determination relates to damage in the sense of these conditions, any reasonable costs incurred to the defective performance of Luxalight B.V. to have the agreement answered, for as much as Luxalight B.V. can be imputed and reasonable costs incurred to prevent or limit damage, insofar as the Client demonstrates that these costs have led to the limitation of direct damage as referred to in these general terms and conditions. Luxalight B.V. is never liable for indirect damage, including consequential damage, loss of profit, missed savings and damage due to business stagnation.
The limitations of liability included in this article do not apply if the damage is due to intent or gross negligence of Luxalight B.V. or his managerial subordinates.
Article 10. Indemnity
The Client indemnifies Luxalight B.V. for possible claims by third parties, who suffer damage in connection with the execution of the agreement and whose cause is due to other than Luxalight B.V. is accountable. If Luxalight B.V. for that reason, third parties may be held liable for this, then the Client shall be held Luxalight B.V. to assist both outside and in court and to do everything that may be expected of him in that case without delay. Should the Client fail to take adequate measures, Luxalight B.V., without notice of default, is entitled to proceed to this himself. All costs and damage on the part of Luxalight B.V. and third parties arise as a result, are fully at the expense and risk of the Client
Article 11. Intellectual property
Luxalight B.V. reserves the rights and powers that accrue to him under the Copyright Act and other intellectual laws and regulations. Luxalight B.V. has the right to use the knowledge gained through the execution of an agreement for other purposes, insofar as no strictly confidential information of the Client is brought to the knowledge of third parties.
Article 12. Applicable law and disputes
On all legal relationships whereby Luxalight B.V. is a party, only Dutch law applies, even if an obligation is fully or partially executed abroad or if the party involved in the legal relationship is domiciled there. The applicability of the Vienna Sales Convention is excluded.
The judge in the location of Luxalight B.V. has exclusive jurisdiction to hear disputes, unless the law prescribes otherwise. Nevertheless, Luxalight B.V. the right to submit the dispute to the competent court according to the law.
The parties will first appeal to the court after they have made every effort to settle a dispute in mutual consultation.
Article 13. Location and change of conditions
These conditions have been filed with the Chamber of Commerce South East Brabant.
Applicable is always the last registered version or the version that applied at the time of the establishment of the legal relationship with Luxalight B.V.
The Dutch text of the general terms and conditions is always decisive for its interpretation.
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Flood water is often dangerous, due to its speed, depth, hidden obstacles or contamination in the water.
The most important thing to do is to make sure that you and your employees remain safe!
Either move to upper parts of the property and call for assistance, or leave the property by a safe, dry route. If anyone remains in the flooded property and the mains electricity supply was not turned off before the flood, do not touch any electrical appliances until you are told it is safe to do so.
Call 999 if there is any threat to life.
When can I return to my business?
How do i repair my business?
Although you cannot yet identify the damage caused, you can establish whether they will provide alternative work space and emergency funding which may enable your business to continue running.
This is so that families know where their relative is.
If applicable, notify customers of the temporary disruption.
Renting another property in the area (as a short term solution).
Do not return to the property until you are told it is safe to do so.
More details are available here on how you can do this.
Contact your insurance company again, if you have one. You may have done this already, to advise them that the property has been flooded and to arrange a temporary alternative workplace. Once you regain access to the property, you will need to contact them again to arrange for a loss adjuster to visit. They should also be able to explain to you how the claims process works. If the property is rented, it may be the landlords insurer (and loss adjuster) who will be involved in assessing the damage to the building whilst your own insurer will assess the loss of contents, stock, equipment and business interruption. To complete the process you will need to liaise with both insurers.
Follow our guidance for advice on how to do this.
If you are a tenant of the property, or only lease part of the building, it is likely to be your landlord who organises this process. Where an insurer is covering part or all of the cost, their loss adjuster will be the main point of contact between you and the insurance company. Although decisions on the claim are the sole responsibility of the insurance company, who will usually still remain in contact with you or the landlord, it is the loss adjuster who you will deal with on a regular basis. So do not commission works until the insurer has agreed. If you are not insured (and own the property), you may start work immediately. More information on loss adjusters and loss assessors is available here.
If the property is likely to be flooded again, they may want to do the repair work in a way that helps to reduce the damage that the next flood causes. This can be done by installing Property Flood Resilience (PFR) measures. Sometimes the insurer will be willing to fund all or part of the cost of that work. For more information on what PFR measures are and what types are available, please click here.
You may need your lender's consent, or consent from your landlord or a superior landlord, for any repairs or replacement of parts of the property, so check your mortgage deed and lease, or call the lender. It is prudent to wait until you have that consent before starting work. More information on things to consider about the clean up, is available here.
Grant funding may be available to help meet the cost of flood protection measures. Further information about the sources of grant funding that is available to for is available here.
There are recognised quality standards for property flood resilience measures currently available in the UK. You can find out more about what standards are available, and what is covered by each, through the standards section of our website.