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U.S. Supreme Court Rules Arkansas Must Allow Lesbian 'Spouses' to Be Listed on Birth Certificates
By Heather Clark on June 26, 2017 96 Comments
WASHINGTON — The U.S. Supreme Court has ruled that the State of Arkansas must allow the "spouses" of lesbian women who conceive by a male sperm donor to be recognized on birth certificates even though they are not the biological parent.
"Obergefell proscribes such disparate treatment. As we explained there, a State may not 'exclude same-sex couples from civil marriage on the same terms and conditions as opposite-sex couples,'" the court wrote in its 6-3 decision. "Indeed, in listing those terms and conditions—the 'rights, benefits, and responsibilities' to which same-sex couples, no less than opposite-sex couples, must have access—we expressly identified 'birth and death certificates.'"
As previously reported, in 2015, six lesbians filed suit against the Arkansas Health Department's Vital Statistics Bureau after it declined to recognize both the biological mothers and their female partners as the parents on their children's birth certificates, which they sought to do in order to obtain insurance coverage for the children.
The bureau stated that the women needed to obtain a court order in the matter.
In their lawsuit, the women alleged that the refusal violated the U.S. Constitution because they could not both be listed just like heterosexual parents. But the state argued that the requirement to obtain a court order is the same for heterosexual couples who have children out of wedlock and marry after the birth.
In November 2015, Pulaski County Circuit Judge Tim Fox sided with the lesbian women, stating that the birth certificates should be amended to include both of their names.
He drew a distinction between the various plaintiffs, however, as some had "married" before the birth and some after. Fox said that the latter scenario was not as clear in his mind in siding with the women, but decided to likewise allow their names to be listed.
Last December, the Arkansas Supreme Court overturned Fox's ruling, stating that there is an "important governmental objective" in requesting that biological parents be listed on the birth certificate, such as having genetic information available for medical purposes.
"The purpose of the statutes is to truthfully record the nexus of the biological mother and the biological father to the child," it outlined.
"[T]he challenged classification serves an important governmental objective—tracing public-health trends and providing critical assistance to an individual's identification of personal health issues and genetic conditions—and that the means employed—requiring the mother and father on the birth certificate to be biologically related to the child—are substantially related to the achievement of those objectives."
It found that such a requirement does not violate the Equal Protection Clause of the 14th Amendment.
However, upon appeal, the U.S. Supreme Court's majority opinion concluded on Monday that, in accordance with its 2015 ruling on same-sex "marriage," birth certificate recognition is a right and benefit that accompanies the relationship just as much as between a married man and a woman.
It noted that when a married heterosexual couple has a baby via in vitro fertilization, the husband—who is not the biological father in such instances—is allowed to be listed on the birth certificate. Therefore, the court ruled that the same must be permitted for lesbian relationships.
"Arkansas has thus chosen to make its birth certificates more than a mere marker of biological relationships: The State uses those certificates to give married parents a form of legal recognition that is not available to unmarried parents. Having made that choice, Arkansas may not, consistent with Obergefell, deny married same-sex couples that recognition," the majority concluded.
However, Justices Neil Gorsuch, Clarence Thomas and Samuel Alito dissented, stating that the state's interest of recording a child's genealogical lineage on his or her birth certificate "in no way" violates the Obergefell decision.
"[T]he State argued that rational reasons exist for a biology based birth registration regime, reasons that in no way offend Obergefell—like ensuring government officials can identify public health trends and helping individuals determine their biological lineage, citizenship, or susceptibility to genetic disorders," Gorsuch wrote.
"And it is very hard to see what is wrong with this conclusion for, just as the state court recognized, nothing in Obergefell indicates that a birth registration regime based on biology, one no doubt with many analogues across the country and throughout history, offends the Constitution."
U.S. Supreme Court Rules Arkansas Must Allow Lesbian 'Spouses' to Be Listed on Birth Certificates added by Heather Clark on June 26, 2017


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Not brightly luminous; faintly light.
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Melancholy is sweet to us then, and delight is shadowy, for the soul is half asleep.
With the same shadowy smile Deerfoot looked inquiringly at Fred Linden.
The pageant would be presented in the clear green space with the grove of shadowy trees as background.


Tianwan Nuclear Power Plant is China-Russian nuclear energy cooperation project, which is the largest technical and economic cooperation project so far. Since the commercial operation of Units 1 and 2 in the first phase in 2007, the Tianwan Nuclear Power Station has cumulatively generated more than 160 billion kWh of electricity, which can be used by 100 million Chinese households for one year.
With the construction of the second and third phases of the Tianwan Nuclear Power Station, Weihua Crane has also frequently installed on the site. Recently, Weihua's 80/20t bridge crane for AC plant at Unit 6 of the Tianwan Nuclear Power Station has been in the installation and Weihua is about to serve Tianwan Nuclear Power Station again.
At 17:30 of March 28th, the 80/20t high position bridge crane for AC plant (radioactive repair workshop) of Units 5 and 6 was finished the installation, which creates conditions for the construction of the follow-up AC plant, and the installation of the main pump assembly platform.
At present, the No. 6 ring crane, rail beam, dome roof assembly and internal installation are under processing, and the construction site management pressure is very large. If the AC plant is installed on the site at the same time, it will affect the working of 1350T crawler crane for the dome.
In the face of site difficulties, the engineering company for Tianwan Project made full use of the time difference, completed the installation before the installation of the ring rail beams, and the work was completed in a safe and efficient manner.
Click to know more about Weihua Nuclear Power Station Crane.


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Neurolance is using Artificial Intelligence (AI), patented Virtual Reality (VR), Near Infrared Light Therapy and other patent pending technologies to innovate prevention making it earlier, personalised and automated.
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The timing is urgent for clinicians to use positive behavioural techniques to measure, motivate, and strategize. To increase compliance with new neuroscience associated with driving neuroplasticity in a positive direction.


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Review: Tom Holland's new film Uncharted feels like a copy of a copy
Published 17 Feb, 2022 10:05am
The movie, based on the PlayStation video game, cribs heavily from adventures like The Goonies and Indiana Jones.
Goonies never say die, and neither do some of their storylines.
Uncharted, a new movie based on the PlayStation video game, cribs heavily from adventures like The Goonies and its holy grail, Indiana Jones. It's the kind of movie that wears its influences proudly on its sleeve to perhaps enlarge itself by those associations. Nathan Drake (Tom Holland), who was raised in an orphanage, has no reptile phobia to speak of but when his travels brings him to a cathedral, he utters in a very Jonesian fashion: "Nuns. Why's it always got to be nuns."
Uncharted is the latest in a proliferation of video game adaptations, and it's not hard to see why this PlayStation game, which launched with Uncharted: Drake's Fortune in 2007, was quickly picked up by Hollywood. The game, which came a few years on the heels of National Treasure, with Nicolas Cage, was very much based on movies. So it's probably inevitable that Uncharted feels like a copy of a copy.
But, you might thinking, so what? Globe-trotting adventures with puzzles and tunnels and booby trap are, by their nature, fun. Even a bland imitation — which is what Uncharted is — can be a good enough time. What you get out of Uncharted will likely depend on your standard of "a good enough time," but you can't fault it for skimping on scale, or failing to stuff itself to the gills with ancient texts and symbols and old maps. If it's treasure hunting you seek, regardless of reward, you have found it.
Director Ruben Fleischer, who eventually took over after Uncharted was in development for years with a long list of filmmakers, brings visual clarity and a touch of inventiveness to a handful of glossy set pieces. The movie opens with Nathan spinning through the air, a fitting place to start given that Uncharted trails Holland's last flight in Spider-Man: No Way Home by just two months.
But after a few swings behind a cargo plane, Uncharted jumps back to Nathan's childhood in New York. He's there with his older brother, Sam (Rudy Pankow), who describes them as descendants of the English explorer Sir Francis Drake and exhibits some of the same spirit of exploration. He's particularly fixated on the path of Ferdinand Magellan and treasure said to have been hidden by his expedition in the 16th century. When they're caught trying to steal Magellan's map, Sam is kicked out of the orphanage and the two never see each other again. Nathan occasionally receives postcards from far away.
It is, for sure, a postcard-thin backstory. But Uncharted gets properly underway when Nathan, now working as a bartender and petty thief, encounters Victor "Sully" Sullivan (Mark Wahlberg), an old treasure-hunting companion of Nathan's brother, who comes to him with a mission to find Magellan's lost treasure. Once they've tracked down a pair of MacGuffins — er, ancient keys — they set off for more clues in Barcelona. They have some competition, including a maybe-trustworthy adventurer named Chloe (Sophie Ali). But their main foe is a wealthy Spanish descendant of the Moncada family that financed Magellan's trip, still looking to recoup. He's played by Antonio Banderas, in his most growling villain mode, who's joined by a lethal martial artist (Tati Gabrielle).
The buddy movie balance of Uncharted never clicks. Wahlberg, who was once attached to play Holland's part, plays Sully like Nathan's roguish, less tech-savvy elder. But they lack the needed chemistry and the script, by Rafe Lee Judkins, Matt Holloway and Art Marcum, doesn't give them enough comic material to do much with. Uncharted is propelled instead by Holland's boyish enthusiasm. He's an awfully earnest protagonist for a swashbuckler like Uncharted. There isn't a hint of danger in him, nor is there any romance found along the way. Instead, Fleischer's film has retrofitted a kind of coming-of-age story to suit Holland's generic but sweet do-gooder charm. It's hard not to nod in agreement when Chloe tells him: "You're a good guy, Nate. Too good."
There are other things a little out of sync in the wanly watchable Uncharted. Every artefact uncovered in pursuit of the lost gold would, in their own right, be worth a fortune. And the bad guys here are so well financed that they could probably just sell their gear and be equally wealthy.
But preposterousness, not realism, is the mission of Uncharted. And by that measure, the movie achieves what it set out to do in the Philippines finale that leads, like The Goonies did, to gold-filled underground ships. A high-speed helicopter chase ensues, with each towing a 16th century vessel. The Fast & Furious films are probably to blame, or thank, for the propensity of today's action films to stretch toward increasingly absurd heights. But the Uncharted climax is so grandly silly to make you want to mutter an old "Goonies" line: "Hey, you guys."
Uncharted, a Sony Pictures release, is rated PG-13 by the Motion Picture Association of America for violence/action and language. Running time: 116 minutes. Two stars out of four.
Spiderman: No Way Home is now the third biggest US domestic box office hit, surpassing Avatar
Marvel's Doctor Strange in the Multiverse of Madness' official trailer is finally out
There's a new Fresh Prince of Bel-Air and his name is Jabari Banks

redpajama_set_name: RedPajamaCommonCrawl


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Can a Paper Flower Make for the Finest Jewelry? Tiffany & Co.'s Reed Krakoff Discusses His Witty New Collection
We spoke to Tiffany's chief artistic officer about his first foray into jewelry design for the storied American luxury brand.
Nan Stewert, May 14, 2018
A pair of earrings from Tiffany's Paper Flowers collection. Image courtesy of Tiffany & Co.
When Reed Krakoff joined Tiffany as chief artistic officer last year, he came into the job with a mission: to let people know that the storied American luxury brand, long synonymous with swoon-worthy engagement rings and celebratory life moments, also has a playful, irreverent, even wisecracking side.
The first realization of this vision came in the form of the Everyday Objects home decor collection, for which Krakoff—previously executive creative director of Coach, and an energetic collector of contemporary art—combined Tiffany craftsmanship with a Pop-art sensibility, creating covetable sterling-silver versions of tin cans, crazy-straws, and other quotidian odds and ends. Now, for his first jewelry collection for Tiffany, Paper Flowers, he has taken this sense of whimsy to an even higher level of refinement.
Inspired by the kind of cut-out paper flowers that conjure youthful memories of arts-and-crafts class, the collection marries the charmingly unassuming form with the most extraordinary materials—diamonds, platinum, rare gems, and more. To learn more about the thinking behind Paper Flowers, and how the collection fits into Krakoff's master plan for Tiffany, we spoke to the chief artistic director about his breakthrough jewelry moment.
A bracelet from the Paper Flowers collection. Image courtesy of Tiffany & Co.
Where did you get the idea for using the homespun, heartwarming, and relatively humble form of the paper flower as the inspiration for your new collection? What about the paper flower appealed to you as a subject for refined jewelry?
The inspiration behind Paper Flowers was the concept of combining the organic and feminine as seen through a modern, graphic lens. We wanted to create a juxtaposition that makes the familiar feel new again and started with the idea of a flower, cut from paper—the perfect pure canvas where anything is possible.
Paper Flowers is an exciting twist on the Tiffany tradition. How would you say the collection relates to the company's history, and how does it chart new terrain?
Tiffany has always embraced the beauty in nature, and rendered nature's forms in different ways. We're beginning a new chapter of creativity, maintaining a reverence for the past but at the same time bringing excitement and surprise so that people consider us in a new way.
Tiffany is famous for its elite craftsmen who work out of the company's hollowware shop in Rhode Island. Were there any technical challenges that you encountered while bringing your vision into reality that they had to solve?
Most challenging was the timeframe for the Paper Flowers collection, which was incredibly tight. Thanks to the extraordinary team at Tiffany, we were able to create a major collection with an important story in a very short time.
A porcelain "paper" cup from the Everyday Objects collection. Image courtesy of Tiffany & Co.
Your recent Everyday Objects collection of silver paper plates, coffee cups, and paperclips had a sense of humor and playfulness that recalled Jeff Koons's ballon-animal sculptures. Are there any particular artists who you look to for inspiration time and again?
The legacy of Tiffany is a constant source of inspiration. This contrast of precious and simple is a deep part of our heritage, specifically in relation to [longtime Tiffany artistic director] Gene Moore's windows, from a diamond sitting on a bed of sand with a toy steam shovel to a strand of pearls that had come undone. There's something very casual and offhanded about that, which I think is inherent in American design.
How do you see the kinds of objects that Tiffany creates as similar to contemporary art, and how would you define the distinction between the two genres of creativity?
There are similarities in the design process, since both entail shaping your designs in a way that is both new and viscerally desirable. It's always important to connect designs with a narrative context so that you're not making something that's just pretty but also has intrinsic meaning.
What was the company's aim in sponsoring the Whitney Biennial, and what was the most satisfying aspect of the partnership?
Tiffany & Co. has a long history of supporting the arts that dates back to its founder Charles Lewis Tiffany. The partnership brings together two American institutions whose founders were dedicated to arts and the pursuit of originality. Today, we continue to celebrate innovation and creativity, and it's been gratifying to support emerging artists.
A necklace from the Paper Flowers collection. Image courtesy of Tiffany & Co.
What role do you want Tiffany to occupy in the popular culture under your leadership? How do you want people to think of the company?
I want people to think of Tiffany as a destination to discover timeless jewelry and objects with a little irreverence and surprise.
Where are you looking for inspiration now for your next collection?
What interests me is stripping away all of the rules associated with fine jewelry and the idea that luxury doesn't need to be formal. I want to create beautiful things that people want to wear and live with every day.
Nan Stewert
11 Art World Players Who Made the 2018 Sunday Times 'Rich List'
By , May 15, 2018
What Do Moms Want to Know About the Art World? For Mother's Day, We Texted Our Own to Find Out


Choosing a Mendota luxury fireplace feels like an indulgence as you gaze at the incredible, authentic fire or browse the array of designer fronts and doors. Then you realize the warmth, beauty and efficiency of your Mendota will be yours for a lifetime, and suddenly it feels like an investment. That's not just luxury—it's luxury where you live.
American Home Fireplace & Patio | Powered by Mantra & WordPress.


Roman warrior Titus Andronicus finds himself trapped in a nightmarish cycle of vengeance, misery, and bloodshed.
Charming full text, modern, location based screen adaptation of William Shakespeare's play Twelfth Night.
Stump the Critic - "Darned Near Perfect"
Generally, this space gets lists of good points, lists of bad points, a few irrelevant personal details, and if we're lucky, the reviewer's pet's reaction.
Well, this video is as close to perfect as you could hope for. A strong cast without a weak link, excellent pacing, gratifying visual design.... What am I going to complain about?
Um...Sir Andrew Aguecheek didn't have to go up into falsetto quite so often.
Oh, just go ahead and watch it. It doesn't get any better than this.


With all the merchant's fragrant powders?
Who is this coming up from the wilderness, Leaning upon her beloved? I awakened you under the apple tree. There your mother brought you forth; There she who bore you brought you forth.
Who is this that comethH5927 out of the wildernessH4057 like pillarsH8490 of smoke,H6227 perfumedH6999 with myrrhH4753 and frankincense,H3828 with all powdersH81 of the merchantH7402?
Who is this coming out of the wilderness Like pillars of smoke, Perfumed with myrrh and frankincense, With all the merchant's fragrant powders?


Liberty musician Jordan Page discusses the plight of Schaeffer Cox, an Alaska liberty activist and militia leader who is being held by the federal authorities in a high-security prison.
James Heathers and his fellow data vigilantes captured the limelight after exposing problems in the work of a world-famous nutrition researcher, which led to the retraction of five papers.
Bentham began as a devoted Smithian, but over time he became more and more statist.


The flatware has a stainless steel blade famous for its shock-resistance.
The 24 pieces that composed this Laguiole Production cutlery set enable to lay a very elegant table for 6 guests. It is a perfect match for the Laguiole Evolution cutlery with red or blue acid colours.
Very resistant, this stainless steel cutlery set with traditional design is signed Lisa d'Alban and is dishwasher safe.


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The Outsider Whose Vision Changed the Way We See
by Gary Hoover | Aug 14, 2017 | Articles, Media & Entertainment
This article first appeared on August 14, 2017 in The Archbridge Institute's 'American Originals' series.
It was 1912. The wiry, soft-spoken, short (five-foot five-inch) immigrant with the thick Hungarian accent waited for hours to see the powerful Jeremiah Kennedy, head of the "Edison Trust" (Motion Picture Patents Company). Adolph Zukor, like many American Originals, had come to this country 23 years earlier with nothing. Now he had a vision that was to change America, the world, and the way all of us see that world.
Nickelodeons and early motion picture theaters continually ran 5–10 minute reels showing chase scenes and pratfalls. But Zukor had the idea that audiences might enjoy something longer, a full "feature" story. He had invested his savings in the American rights to a 40-minute European film, Queen Elizabeth, starring the most famous actress of the day, Sarah Bernhardt.
However, no film could be shown on Edison projectors without a license from the Edison Trust, and films made by anyone but the 10 designated producers were suspect. These members of the trust were making plenty of money without rocking the boat or trying anything new. Jeremiah Kennedy had all the power. So Zukor waited. He told the story to Harvard students 15 years later:
After waiting long enough for the letter to be delivered, I called at the offices of the "trust" and applied to the receptionist to see Mr. Kennedy. One historian has written that I cooled my heels for seven hours in the anteroom. But that report is exaggerated. The wait was hardly longer than three hours. The discourtesy was not intentional, for I was not considered of enough importance to justify discourtesy. Patience always seemed to me more than a copy-book virtue, and I decided that here was a good time to be virtuous. When at last I was remembered and given a hearing, Kennedy was polite but cold. He sat behind his big desk, looking every inch the captain of industry, listening with some impatience while I recited my arguments. "No," he said, "the time is not ripe for feature pictures, if ever it will be." In the eyes of the trust, I was an outlaw.
The "little man," Adolph Zukor, would sooner or later get his way, and change the world as only a few other men and women have. Zukor's story, and that of the empire he built — Paramount Pictures — is one of the great epics of innovation and entrepreneurship in American history. Let's rewind to the beginning of this saga.
Adolph Zukor was born in the village of Ricse, Hungary, on January 7, 1873. A year later, his father died. His mother, who never fully recovered from the death of her husband, despite remarrying, died seven years after that. As his stepfather had no use for Adolph, he was sent off to live with his uncle, Kalman Lieberman.
Lieberman was a "stern, dedicated, argumentative Judaic scholar," but Zukor wasn't interested in arcane disquisitions on the Talmud and Jewish law. "What I was interested in," he said later, "was the Bible . . . the story and the individuals — their lives fascinated me." While his elder brother was a "success," going on to become a rabbi in Berlin, there seemed little hope for Adolph, at least in his uncle's eyes.
So off to a neighboring village went Adolph, where he apprenticed in a large dry goods store. The owners, the Blau family, took him in as one of their own. The Blau daughters introduced the boy to American pulp fiction — and his first view of American culture. He also devoured the Hungarian novelists and the great Western European writers like Dumas and DeFoe. Combined with his strong Jewish traditions of learning and storytelling, Zukor's love of reading remained a lifelong passion.
Still, the young orphan was not satisfied. He could not imagine himself spending his life in the store, despite a generous offer to become a full assistant for $2 a month salary. Zukor later said, "I had no father and no mother, and I had nobody that lay awake at night to figure out how to educate me . . . I was alone."
With great effort, he convinced his uncle and the orphans' authorities to let him have $40 and passage to America, the land of dreams. In 1889, at the age of 16, he sailed for the US in the lowest class of passage. He sewed the $40 into the lining of his clothes to ward against theft, and slept in those clothes in his bunk during the long, unpleasant passage.
Upon arrival, as an Eastern European Jew, he was looked down upon, not only by the sometimes-wealthy German Jews who had arrived years earlier and "made it," but by everyone else as well. This did not stop him. He got a job working as a furrier's apprentice at $2 a week. He went to night school to learn English by 1891, though he never lost his thick accent. He "assimilated" as fast as he could. He took up boxing, earning a cauliflower ear, and later became a baseball enthusiast and player. He exercised throughout his life.
He also became an excellent fur designer, striking out on his own as a contract worker at 19, selling his own furs. Zukor clearly had the entrepreneurial bug, the desire to be the master of his own fate.
In 1893, the talk of America was the World's Columbian Exposition in Chicago. This great world's fair attracted a bigger share of the American people than any fair before or after. Dreamers and innovators including Henry Ford and Henry Heinz were there. So was 20-year-old Adolph Zukor.
Impressed by the booming city, he stayed and became a 50% partner (and main designer) in the Novelty Fur Company, specializing in fox clasps. The first season, the partners each cleared $1,000. The next season they expanded to 25 men. They each cleared $8,000 (in today's money, $234,000).
In 1896, the partners split, Zukor taking the Chicago operation and his partner taking the branch in Peoria. Zukor sunk all his money into a voguish fur cape, but this time his instinct failed him. The cape was a disaster. Adolph was learning the vagaries of a fashion business, one subject to fads and fizzles. In 1897, he had seen his first motion picture, lasting less than a minute, and found it fascinating.
But he was broke again. Bailed out by another furrier, Morris Kohn, in 1896, the two went into a partnership which lasted 10 years. And Zukor married Kohn's niece, the beautiful and lively Lottie Kaufman, in 1897. In 1899, they opened a New York office. The partners moved to New York in 1900.
There he met fellow furrier Marcus Loew, three years older. Loew was born on the Lower East Side of Manhattan to a poor family, but prospered in furs and then invested in real estate, especially Vaudeville theaters. Loew suggested Adolph rent an apartment across the street from his own home, and they became lifelong friends. Years later, Zukor's daughter Mildred married one of Loew's twin sons. Neal Gabler, in his fascinating book An Empire of Their Own: How the Jews Invented Hollywood, says,
Though they were friends, after a fashion, two men could not have had more dissimilar temperaments. Zukor was quiet, grave, measured, and private. Loew was garrulous, chipper, impulsive, and extroverted. Zukor had extraordinary foresight but moved with extreme caution and deliberation. Loew had less foresight but was far more apt to take chances.
In 1902, Zukor guessed that red fox was going to be the fashionable fur of the season, and this time his prophecy proved correct. In 1902 and 1903, the company rode the wave of the fad in red fox. The company's profits soared. Zukor, barely 30 years old, estimated his own windfall at somewhere between $100,000 and $200,000 ($2.8 to $5.6 million today). Zukor was learning how to dominate a market. And he had the cash to pursue his passions and consume his abundant energies.
FAMOUS PLAYERS IN FAMOUS PLAYS
An opportunity came in 1903 when a fellow named Mitchell Mark needed the money to open a penny entertainment arcade, money which Adolph, his fur partner Morris Kohn, and others put up. Phonographs (with multiple recordings to choose from) were the most popular, but there were also peep shows, punching bags, and target practice games — all a penny each. Named "Automatic Vaudeville" (as opposed to live Vaudeville) it was located on 14th Street near Broadway, facing Union Square. Automatic Vaudeville took in $100,000 in pennies the first year. While it was a side venture to the fur business, Zukor said, "I couldn't keep away from the arcade." Before the end of 1903, they had expanded to Newark, Philadelphia, and Boston. Soon enough he dropped out of the fur business.
Zukor started showing motion pictures on the top floor of Automatic Vaudeville. The theater had 200 seats and offered a 15-minute show for a nickel. Zukor said, "Most of our customers didn't know what moving pictures were and were used to paying one cent, not five. So we put in a wonderful glass staircase. Under the glass was a metal trough of running water, like a waterfall, with red, green, and blue lights shining through. We called it Crystal Hall, and people paid their five cents mainly on account of the staircase, not the movies. It was a big success."
In his autobiography Zukor says, "In the Crystal Hall it was my custom to take a seat about six rows from the front. . . . I spent a good deal of time watching the faces of the audience, even turning around to do so. . . . A movie audience is very sensitive. With a little experience I could see, hear, and "feel" the reaction to each melodrama and comedy. Boredom was registered — even without comments or groans — as clearly as laughter demonstrated pleasure."
In 1906, Zukor and theatrical entrepreneur William Brady bought the New York rights to Hale's Tours, which had been a big hit at the 1904 St. Louis World's Fair. This concept consisted of a Pullman railroad car, or likeness of one, rigged up inside a theater. Ticket collectors were dressed up like railroad conductors. Customers took their seats, bells clanged, the whistle tooted, and the car would rock and shake. The filmed travelogues of distant places would then be projected onto a screen at the end of the car. The first one, in New York, was a big hit.
Zukor took the idea to Pittsburgh, Newark, and Coney Island. But the novelty soon wore off once customers had seen the show. Zukor begged the film producers — all those in the Edison Trust — to make more travelogues like the ones he had of Switzerland and Italy, but they couldn't be bothered with the expense. Soon the business collapsed and the company was $160,000 in debt. Again, per Neal Gabler's book:
His partner, the well-known Vaudeville entrepreneur and producer William Brady, suggested they declare bankruptcy. "It was as though I had touched him with a live wire . . . . I never dreamed he had such a temper. … 'I won't go into bankruptcy! I won't!'" For Zukor, who had the sternest and least forgiving of moral codes, bankruptcy was not so much an admission of defeat as the breaking of an obligation. To break an obligation was tantamount to lying — one of Zukor's cardinal sins."
Instead Zukor converted the Hale's Tour locations to movie theaters, not unlike the Crystal Hall. At the end of two years he had retired the debt and was showing a profit.
Throughout these years, Zukor was continually frustrated by the lack of good content to show in his theaters. With his love of great novels, plays, and stories, he believed the public was ready to stay longer and enjoy a "feature" motion picture. But he had no intention of producing pictures himself, saying, "I had no experience in making pictures and nothing was farther from my mind."
By 1909, it was suggested that Zukor and his associates combine their theaters with Marcus Loew's now larger chain. They pooled their assets into Loew Enterprises, and Zukor retired from active management. He later told the Harvard students:
Turning my interests into Loew Enterprises gave me an opportunity to be foot-loose. I was well-taken care of: the corporation paid good dividends, and from 1909 to 1912 I made a study of moving pictures. I traveled all through Europe and this country, watched the audiences, and was interested in any picture that had a subject that I felt would appeal to the public. In my own mind I wanted to verify whether my judgment was right. I would go to a theatre, take the first row or sit in a box and there study the audience and see what effect the picture had on them … In 1911 I made up my mind definitely to take big plays and celebrities of the stage and put them on the screen.
He came to believe that the motion picture industry would only prosper if he raised the stature of the films he showed. Zukor said, "It occurred to me that if we could take a novel or a play and put it on the screen, the people would be interested. We should get not only the casual passers-by but people leaving their homes, going out in search of amusement." "Famous Players in Famous Plays" became his watchword. Zukor moved into film production. To learn, he observed pioneering filmmakers Edwin S. Porter and D. W. Griffith at work. The man's curiosity was boundless.
Zukor later said, "Everybody thought I was crazy and told my wife I'll lose all my money — made all kinds of predictions why I'll 'go to the wall.' Nobody believed that people would sit through a picture for hours as they would a play. There were all sorts of reasons why the thing would not succeed."
In 1911, he bought the US rights to the European film Queen Elizabeth, starring Sarah Bernhardt, the most famous actress in the world. He paid the outrageous price of $35,000. The film ran an incredible 40 minutes, twice as long as any prior film. In May of 1912 Zukor formed the Famous Players Film Company to release the movie. The premiere in July of 1912 was a major success. Zukor linked up with Broadway producer Daniel Frohman, one of the few theater barons who thought moving pictures might have a future. Zukor and Frohman convinced Broadway star James K. Hackett to do a film version of his hit play The Prisoner of Zenda. Zukor sold his position in Loew's and funneled all his money into Famous Players. By the summer of 1913, the company had produced five feature films and decided to enter the European market, among the first Americans to do so. (Foreign revenues today represent half or more of most movies' box office receipts.)
Throughout this period, the Edison Trust fought him, as evidenced by his meeting with Jeremiah Kennedy described earlier. But the box office results of Zukor's films proved him right — and people were even willing to pay a dime rather than a nickel (at a time when Broadway's live theater charged $1.50). Gradually other filmmakers followed Zukor's lead. The Edison Trust cracked when the Eastman Kodak Company agreed to sell their critically important film stock to the independent producers, the "outlaws." The Motion Picture Patents Company was soon powerless and forgotten.
One of his biggest challenges was finding actors who could make the transition from stage to film. Few knew how to perform for a camera. One young stage star, Mary Pickford, had done some film work, and Zukor offered her $500 a week compared to the $175 she was making on Broadway. By 1916, she was being paid $10,000 a week, the equivalent of $220,000 today.
Zukor in 1916 merged his Famous Players Company with friend Jesse Lasky's independent firm, which had already completed 21 features based on plays and novels by 1914, creating Famous Players-Lasky.
At the same time that Zukor was building his production company, William Hodkinson had created Paramount Pictures in 1914. Paramount was neither a theater operator ("exhibitor" in the language of the industry) nor a producer of films, but a distribution company. Distribution is the great unseen force in the movie industry, the link between producers and exhibitors, the conduit through which the "product" flowed. Hodkinson wanted to create a national distribution system, compared to the regional and state operators that were the standard. He went further, providing capital to producers prior to production, in effect financing the industry. Then he took the films and determined which theaters to best show them in, set the rental prices, handled the advertising, and split the proceeds 35% to Paramount and 65% to the producer. The company was owned by all the participating producers. Hodkinson also created one of America's great corporate logos, the Paramount Mountain ringed by stars.
Famous Players and Lasky were founding members of Paramount, as the idea of uniform national distribution appealed to Zukor. When they merged, they became key to Paramount, providing three-quarters of their films. Zukor bought out the other producers and in 1916 replaced Hodkinson as president — with himself.
While Famous Players-Lasky and Paramount boomed, the times were not without challenges. World War I cut off the European market, and the influenza pandemic of 1918 closed theaters nationwide for most of two key months. The combined Paramount-Famous Players production and distribution enterprise lost $1.25 million, its first annual loss. Despite the war, by 1920 Zukor's Paramount had distribution around the globe — from Europe to Asia, from Australia to South America — everywhere but the USSR.
Another challenge was the rise of First National Exhibitors' Circuit (later First National Pictures), founded in 1917 by the merger of 26 of the biggest first-run theater chains in the United States. These theater owners combined out of the fear of the rising power of Paramount — and the possibility they wouldn't be able to get the films they needed. Over time, they controlled over 600 theaters, and determined to go into film production, starting in 1917. Adolph Zukor tried to convince them this was not a good idea, that he could supply their needs, but to no avail.
In defense, Zukor, who had abandoned theater operation to concentrate on making movies, felt forced to get back into the theater business himself. In 1919, Paramount raised $10 million from Wall Street to keep up with Adolph's ambitions. By 1921, Paramount had acquired 303 first-run theaters in major cities across America. It was the largest film-making and distribution company in the world.
Likewise, in a defensive move, his old friend and important New York theater-owner Marcus Loew had decided to get into production, buying the Metro studio in 1920. Assembling talent, Loew's studio division was soon named Metro-Goldwyn-Mayer (MGM), and became Paramount's most powerful rival. But the industry was still embryonic, churning out only silent films.
THE PARAMOUNT EMPIRE IN THE ROARING TWENTIES
In 1923, Paramount released The Covered Wagon, which cost $336,000 to make but made a profit of $1.6 million. Those records were broken that same year with Cecil B. DeMille's epic The Ten Commandments, the most expensive movie ever made up to that time at $2 million ($29 million today), using 2,500 actors, 3,000 animals, and 55,000 feet of lumber for set construction. It too made huge profits.
In July of 1925, Zukor announced a major expansion in his theater program, budgeting $20 million to build 22 new theaters. He also went on a buying spree, acquiring hundreds of theaters. But he needed someone talented to run those theaters, and toward that end, in 1926 he acquired control of the real gem: Chicago's Balaban and Katz (B&K) chain, the most profitable group of movie theaters in the world.
B&K had been founded by Barney Balaban and four of his six brothers and their brother-in-law, Sam Katz. The Balabans' mother, Goldie, who operated a small store, had noticed that customers paid their nickel at the nickelodeon without even knowing what they'd see. She told her sons, "This is the business we need to be in!" Their fifth theater, the Central Park on the west side of Chicago, was the first true "Picture Palace." This was the first air-conditioned theater — with fans blowing air over blocks of ice. It was therefore the first theater open throughout the formerly intolerable summer.
But B&K, under Sam Katz's leadership, went further than that — triumphal arches, grand staircases, uniformed ushers, pipe organs, orchestras, child care centers with sandboxes and slides — things never before seen in a movie theater. With financing from Sears' Julius Rosenwald, Yellow Cab founder and car rental pioneer John Hertz, and chewing gum magnate William Wrigley, B&K developed a chain of over 40 theaters in the Chicago area, with their supreme achievement being the Chicago Theater on State Street, still in operation today. Zukor put Sam Katz in charge of his entire theater empire, now renamed Paramount-Publix. Barney Balaban stayed behind and ran the important Chicago operation.
The 1920s also showed Zukor's odd combination of foresight and caution. On the one hand, Paramount made a small investment in William Paley's struggling but promising radio network, CBS, buying a half-interest. Zukor always had more respect for broadcasting than his movie-making peers. On the other hand, at first Zukor rejected the "talkies" when they arrived in 1927, led by the Warner Brothers and Fox studios. An expensive and unproven technology, film-makers were concerned that they would lose their large immigrant audiences who did not speak English. But soon enough, Zukor came around, and all Paramount theaters had sound systems installed.
With Katz's skills and Paramount's money, the company controlled 1,600 theaters by the end of the 1920s, more than all the other movie companies combined. As of late 1929, it had paid dividends for 44 consecutive quarters, totaling $32 million since Zukor started it. Corporate profits rose from $5 million a year in the mid-twenties to $8 million in 1927. Revenues of the theaters rose from $30 million in 1927 to $113 million in 1930. The studio (production part of the company) had record revenues of $69 million in 1930.
Paramount was at the top of its game. Adolph Zukor's whole net worth was tied up in his $50 million worth of Paramount stock in 1930, as the stock reached as high as $78 per share. His 1929 salary and bonus was $900,000, equivalent to $13.2 million today.
In 1926, Zukor broke ground on the Paramount building at 42nd and Broadway in New York, right on Times Square. This skyscraper would include their $5 million Paramount Theater, showcase of the corporation.
Marcus Loew felt that perhaps Zukor's ambition had been too great, his moves too fast. He watched the construction of the new building from his office across the street. Gabler says,
Loew, ever cautious and conservative, regarded Zukor's ambitious moves with anxiety and misgiving. He would stand at the window and gaze down into the hole they were excavating for the new Paramount building and theatre, and shake his head sadly and mutter, "Adolph is digging his grave."
The multiple ironies in this statement only became clear in coming years. Marcus Loew died of a heart attack on September 5, 1927. He was 57 years old.
But perhaps the most interesting paragraph comes from the biography of Zukor, The House That Shadows Built, written by Will Irwin and published in 1928. The last chapter ends with this paragraph:
As I write, Adolph Zukor is fifty-four years old; and the work is done that he was born to do. Looking out from his tower on late winter afternoons, he beholds a field of glittering electric signs which proclaim the triumph of his idea. They mark the moving-picture houses which, stably and exclusively, hold Times Square. As though in revenge for the days when Broadway snubbed the hoydenish cousin of Union Square, they have pushed the spoken theatre into the side streets. His creation stands rounded and complete. What with his native constitution, his moderation in eating and drinking and his systematic exercise, he may have twenty years of work still in him. But the rest will be an easy pull up a gentle slope. Struggle is over for him — and perhaps his creation.
Such was not to be the case, for Adolph Zukor's (and Paramount's) struggles were far from over.
DEPRESSION AND COLLAPSE
At first, in 1929 and 1930, the Great Depression did not have much impact on the movie industry. But that would soon change as the nation dug deeper into the economic ditch. In 1929, Americans spent $720 million on movie tickets; four years later that had dropped by one-third, to $482 million. From a high of $113 million in 1930, Paramount's theater revenues dropped to just $25 million. In 1932, the company lost an astonishing $21 million on the bottom line.
Making matters worse, the huge theater acquisition program carried with it debts of millions in mortgages and bonds. In some cases, Zukor had paid in stock, but promised to buy back the theater sellers' shares at $80 a share — obligations totaling over $11 million by the early 1930s, one of his most significant mistakes. But the stock collapsed from $78 to $8 a share. There was no way out but bankruptcy and receivership. Zukor was out. Katz was out. "Fifty-three different law firms, banks, protective committees, and experts yammered and bled for two and one-half years over the sick giant and its 500 subsidiaries," according to Fortune magazine. In a few years, 10 changes were made to the board of directors. Financial types, not movie people, went through the revolving "leadership" door. Had Adolph Zukor's dreams come to an end?
When in 1935 the dust settled and a plan of reorganization was approved, Barney Balaban of Chicago theater fame emerged as president of Paramount, with Zukor's blessing. Not only did the "old man" end up on his feet, he was named chairman of the board, and moved from New York to Los Angeles to oversee the now-troubled studio.
Barney Balaban understood the business inside out. Trained as an accountant, he was "a devil with figures." He watched 250 movies a year, international and domestic, those of Paramount and all their competitors. Every Monday morning he reviewed the week's box office take. He sold a half-interest back to many of the regional theater chain owners they had bought out, or contracted with them to operate the theaters on Paramount's behalf. The company sold Bill Paley back their half-interest in CBS at a bargain price. Whatever it took to raise cash.
All these steps worked. In 1936, the company made a profit of $6 million. By 1945, the number was $17.9 million. In 1946, Paramount made $44 million, the most money of any movie company in history, twice the nearest competitor. The company was by then free of debt and had $31 million in cash in the bank. And it still owned all or part of 1,537 theaters, by far the largest chain. With Zukor's enthusiasm, the company even made an investment in television, which most of the other movie moguls hated. They owned 29% of the Dumont Network, and owned stations in Chicago and Los Angeles.
Zukor's initial insight that people would sit still for a great story was more than vindicated in 1939 when the almost-four-hour-long Gone With The Wind(from MGM) broke all box office records. As of 2017, it is still the largest grossing movie of all time if one adjusts for inflation in ticket prices.
Still, the waters were not permanently calmed. Television did rise quickly. In 1946, Americans bought a grand total of 6,500 television sets. By 1949 there were 4 million television homes; by 1959, 41 million. While some studios fought TV — banning their movie stars from appearing on it — Paramount became involved in producing television series. That didn't help the theaters, which were cash-rich but declining in revenue.
In 1948, after years of trying, the federal government was able to break up the movie giants, forcing them to separate their theater chains from their studios. In 1950, Paramount spun out United Paramount Theaters to its shareholders. It was the largest theater chain in the nation, now run by Barney Balaban's young protégé, Leonard Goldenson.
Looking for ways to grow his new company and use his ample cash reserves, Goldenson in 1951 purchased the American Broadcasting Company (ABC), a distant third in the television race against giants NBC and CBS. Goldenson hoped to use movies to boost his network's position.
In his book Beating the Odds, Goldenson tells of the reaction of media barons to his plan to acquire ABC. He got three calls, the first from Nick Schenck, head of Loew's and MGM, successor to Marcus Loew. Schenck said, "You're a traitor. … You'll be competing with movie theaters for the audience's time." The second call came from "General" David Sarnoff, the potentate of RCA and its NBC subsidiary. Sarnoff said, "Who's going to watch film? Audiences want to watch things live." Sarnoff suggested he rerun old programs from NBC and CBS. The third call came from Adolph Zukor, approaching 80 years of age. Zukor said, "You now have a great opportunity to reach many more people than we could ever reach with motion pictures. I want to tell you how much I admire what you're doing in trying to establish a viable third network." Goldenson added, "Zukor's blessing banished all the doubts I'd harbored since I first went after ABC."
After Barney Balaban retired in the mid-1960s, Paramount fell into the hands of conglomerate mogul Charles Bluhdorn's Gulf & Western Company. Today it is part of Sumner Redstone's Viacom. The studio may have seen its best days: over the five years since 2011, Paramount has ranked sixth or seventh among the big movie studios in box office revenue. The list has often been led by Disney in recent years, in part due to its acquisitions of Lucasfilm (Star Wars) and Pixar (from Steve Jobs). Perhaps Paramount might have made these foresighted acquisitions had Zukor remained in the driver's seat.
OUTLASTING THEM ALL
It has been said that Zukor predicted he would "outlive all his enemies," though with his partnerships and friendships with almost everyone in the industry, competitors might be a more fitting word than enemies. But Adolph's prediction turned out to be right. He outlived virtually everyone of his generation.
At the age of 80, he wrote his autobiography, The Public is Never Wrong. His closing line of the book was "The film industry is still in swaddling clothes. The great days lie in the future." His optimism never abated.
At 83, in 1956, he lost his beloved wife of 59 years, Lottie. His son, Eugene, reminisced, courtesy of interviews with author Gabler:
No matter how dire their financial circumstances, he never failed to give her two dozen long-stemmed roses for her birthday and a letter expressing his love for her. … For her big event, the Ladies' Aid Society Ball, he got Clark Gable or Maurice Chevalier to show up.
And Lottie always stood by him, through thick and thin. Says Eugene:
She would say, "Well, so we move again. I'll find a place. Now how much can we afford?" So Pa said, "As little as possible and still be near a good school."
His belief in education and learning was another constant throughout his life.
Amazingly, Adolph Zukor continued as chairman of the board of Paramount until 1964, when he was "kicked upstairs" to chairman emeritus, at the age of 91. His younger colleagues were smart enough to keep the old boy around for counsel.
His son, Eugene, continues:
At ninety-three he still smoked three cigars a day, though he had been forced to surrender his daily steambath. At ninety-six he was living alone in an apartment at the Beverly Hills Hotel. At ninety-seven he was still spending two hours at the studio each day, scanning the Paramount grosses every Monday morning just as he always had. At one hundred he had moved to a high rise in Century City and hired a young housekeeper, but he shuffled out for daily lunches at the Hillcrest Country Club and then watched the afternoon bridge games.
In January of 1973, Paramount threw a huge celebration of his 100th birthday. Over a thousand people crowded the ballroom in a Los Angeles hotel.
On June 10, 1976, Adolph Zukor, dressed in suit and tie as he always was, took a nap and never woke up. He was 103 years old.
Zukor's lifelong commitment to exercise could not have hurt — he was known to take night walks, and at least once walked halfway down Manhattan and back, from Central Park to the Battery.
He apparently passed his genes or his will to live to his son, Eugene, who lived to 97. Eugene's wife had died a year earlier, after 73 years of marriage. Both men were the ultimate family men, in an industry not known for marital fidelity. More from Eugene:
I can hardly remember a time when the four of us — my father and mother and sister and I — didn't sit down to dinner together. My father would discuss all the events of the day, good and bad. And if disaster was ahead we would know it and be prepared for it. And if he had made a mistake in judgment, we would know it. We were always moving from an apartment with an elevator and servants to an apartment over a candy store, from Riverside Drive to Broadway.
INSIGHTS AND LESSONS FROM THE LIFE OF ADOLPH ZUKOR
The man was not perfect. Instead, he was human. We have seen how his optimism hurt him when he promised to repurchase Paramount stock for $80. He was stung and dethroned by the Great Depression.
Like any person of achievement or power, he had plenty of detractors. When he passed into his 90s, Louis B. Mayer's daughter Irene Mayer Selznick said, "There was barely anyone around to remember how rough and ruthless he could be."
At the same time, in a business full of profligates, Zukor retained his strong if stern moral code. Some called him puritanical. And he had a temper, as shown in these stories provided by Neal Gabler:
Adolph Zukor hated two things. One was losing. It didn't matter what the stakes were. A friendly bridge game with his associate Marcus Loew could suddenly erupt, as one witness noted, into a shouting match followed by the crash of a table. "Loew came out, followed by Zukor, who was trembling with rage. After some discussion, the host cleared up a point about a certain club lead," but the antagonists still refused to speak to one another. On another occasion Jesse Lasky, a rival producer, tried to lure away one of Zukor's stars. Zukor topped Lasky's initial offer, and a bidding war ensued, with Zukor upping the ante by one or two thousand dollars each time, until Lasky finally folded. Then Zukor promptly turned around and lent Lasky the star for his next production. The victory was all.
The second thing Zukor hated was being lied to. Once, he invited a new member of his company's sales staff to one of his famous bridge games. The man had claimed some expertise in cards, but after the first bid Zukor could see he had been bluffing to win favor. After the third deal, remembered Zukor's son, Eugene, "My father took the deck of cards and threw them on the floor. He said, 'I can tolerate a person who will admit he doesn't know. … But you said you are a bridge player, and you don't know the first goddamn thing about it, and you spoiled our whole evening and this I won't tolerate. … As far as I am concerned, you can leave right now." And the guy packed up and went home.'"
As he turned the ABC Network into a powerhouse, Leonard Goldenson sought the aging Zukor's advice every time he went to Los Angeles. Perhaps his comments offer a more well-rounded perspective on the old man:
Under him, Paramount had been the first to induce stars from the legitimate theater to make movies, the first to make movies in Hollywood, first to produce feature-length films, first to distribute and exhibit color movies, first to import foreign talent for American movies, and the first to introduce American films abroad.
Zukor had a lot of courage. Even after he was wiped out, the old man never lost his bearings. Until he was ninety-seven, he went to the studio every day for a few hours. He had an almost innate sense of what people wanted to watch.
To me, Adolph Zukor was the greatest showman of his generation. His appreciations of programming, promotion, and advertising remained unfailing almost up to his death … his mind remained crystal clear. He wanted to know everything about each picture. Not only Paramount's films but those of the other studios as well. He made the most astute observations as to why a picture didn't do well. His counsel benefited the company almost to the day he died, at age 103, in 1976.
Even Gabler, who entitled his chapter on Zukor "The Killer," had to admit:
Few rulers relished their role of leadership as much as Adolph Zukor relished his. He was the self-possessed, genteel master — cautious, remote, seigniorial, conscious of his position. The pose was respected. Zukor became the father confessor of his associates and friends; they would call him regularly on personal matters as well as business. Even competitors sought audiences to receive Zukor's counsel. On one occasion Carl Laemmle, the head of [competitor] Universal, made a courtesy call, ostensibly to discuss the state of the industry, but he soon confessed that he was having some serious financial difficulties. Zukor offered to contact his banking connections and vouch for Laemmle, and he did.
Within the context of the study of entrepreneurship and innovation, Zukor stands tall. As is common in most of the great innovators, he was obsessed with listening to the customers and caring about the "average person," not just the stars whose fame and fortunes he helped create. He was a lifelong learner and reader. He learned from his experiences — by combining an understanding of storytelling and of how fads come and go, he became the ideal leader of a movie studio. He was never afraid of failure, and confronted it calmly and realistically. He had partnerships and friendships that lasted his whole life. He was above all else a survivor, in every sense of the word.
Ironically, the movie industry rarely celebrates the lives of our great business leaders and entrepreneurs these days. Perhaps they think there is not enough drama there. It would be hard to think of a better theme for a biographical picture ("biopic") than the saga of their own Adolph Zukor, the man who saw the movie industry in his head, long before the rest of the world had ever seen a feature film.
Notes on Sources and Further Reading:
The motion picture industry is one of the best-documented businesses in the world, with thousands of books about the companies, their leaders, their directors, and their stars. My favorite concise history of all the major studios is The Hollywood Studio System: A History, by Douglas Gomery (2005). Well-written with original research but opinionated is An Empire of Their Own: How the Jews Invented Hollywood, by Neal Gabler (1988), the source of many quotes in this article, including those of Eugene Zukor. Zukor's own words come from his autobiography, The Public is Never Wrong: My Fifty Years in Motion Pictures, by Adolph Zukor with Dale Kramer (1953), and from the outstanding but more expensive The Story of Films, a compilation of lectures given at Harvard by most of the industry leaders and edited by Joseph P. Kennedy, who organized the lectures (1927). Zukor's biography, The House That Shadows Built, by Will Irwin (1928), contains a lot of great detail.


In 2002, an ordinance was proposed that would have allowed outdoor diners to drink alcohol. The council rejected that ordinance with a 5-2 vote.
On Tuesday the council seemed receptive to the idea of adjusting the ordinance, but delayed the initial vote to allow city staff to redraft it based on the council's suggestions.
The draft ordinance would have allowed drinking on public property within the core commercial district, including the street and sidewalks.
But Councilman Rudolph Bradley said he did not want people to be allowed to walk up and down the streets "parading drinking. It is incumbent upon us that it is done in order and decency," he said.
Bradley said he did not have a problem allowing people to sit at a table in front of a restaurant "and drink sociably and maintain the law." But he said allowing people to travel from one establishment to another with a drink in their hand "is a gateway to trouble." Council members Jeanette Ard and Clarence Smalls agreed with Bradley.
Ard said the ordinance should be "a little stronger, so people aren't just walking around." But Mayor Jack Scoville said he didn't think having people be able to walk, for example, down the boardwalk with a drink in their hand would be a problem.
He pointed out that on the Murrells Inlet harborwalk, people are allowed to drink.
"They don't have a problem," he said.
Scoville said he thought allowing things such as pub crawls in downtown Georgetown would help tourism.
"We're talking about adults who are acting like adults," he said. "Downtown has changed a lot. We need to upgrade the law to reflect it."
But Paul Gardner, the Georgetown police chief, said he thought allowing people to drink while walking down the street would require an increased police presence downtown.
"I think the cafe would work," he said. "It will satisfy the business owners and the public's ability to entertain." City staff will present a revised ordinance at the next Georgetown City Council meeting on Sept. 16.


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I have configured the network proxy in the settings.xml as well as in STS network configuration console and i see https://repo.spring.io/snapshot is opening from the embedded browser that STS provides.
Error is : 'Project build error: Non-resolvable parent POM: Failure to transfer org.springframework.boot:spring-boot-starter-parent:pom:1.5.17.BUILD-SNAPSHOT from https://repo.spring.io/snapshot was cached in the local repository, resolution will not be reattempted until the update interval of spring-snapshots has elapsed or updates are forced. Original error: Could not transfer artifact org.springframework.boot:spring-boot-starter-parent:pom:1.5.17.BUILD-SNAPSHOT from/to spring-snapshots (https://repo.spring.io/snapshot): Failed to authenticate with proxy and 'parent.relativePath' points at no local POM'
settings.xml in C:\Users\my_user.m2\repository is pointed in STS and it has proxies configured
POM.xml

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<version>1.0</version>
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<name>Demo Project</name>
<description>Demo project for Spring Boot</description>

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    <cxf.version>2.7.14</cxf.version>
</properties>

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        <groupId>org.springframework.boot</groupId>
        <artifactId>spring-boot-devtools</artifactId>
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        <groupId>org.apache.logging.log4j</groupId>
        <artifactId>log4j-api</artifactId>
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        <artifactId>jcl-over-slf4j</artifactId>
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        <artifactId>log4j-slf4j-impl</artifactId>
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    <!-- https://mvnrepository.com/artifact/com.google.code.gson/gson -->
    <dependency>
        <groupId>com.google.code.gson</groupId>
        <artifactId>gson</artifactId>
    </dependency>

    <!-- https://mvnrepository.com/artifact/org.apache.cxf/cxf-rt-frontend-jaxws -->
    <dependency>
        <groupId>org.apache.cxf</groupId>
        <artifactId>cxf-rt-frontend-jaxws</artifactId>
        <version>${cxf.version}</version>
    </dependency>

    <dependency>
        <groupId>org.apache.cxf</groupId>
        <artifactId>cxf-rt-transports-http</artifactId>
        <version>${cxf.version}</version>
    </dependency>

    <dependency>
        <groupId>org.apache.cxf</groupId>
        <artifactId>cxf-rt-ws-security</artifactId>
        <version>${cxf.version}</version>
    </dependency>

    <dependency>
        <groupId>org.apache.ws.security</groupId>
        <artifactId>wss4j</artifactId>
        <version>1.6.7</version>
    </dependency>

    <!-- https://mvnrepository.com/artifact/javax.activation/activation -->
    <dependency>
        <groupId>javax.activation</groupId>
        <artifactId>activation</artifactId>
        <version>1.1.1</version>
    </dependency>

    <dependency>
        <groupId>org.apache.cxf</groupId>
        <artifactId>cxf-rt-bindings-soap</artifactId>
        <version>${cxf.version}</version>
        <scope>compile</scope>
    </dependency>

    <dependency>
        <groupId>org.apache.cxf</groupId>
        <artifactId>cxf-rt-frontend-jaxws</artifactId>
        <version>${cxf.version}</version>
        <scope>compile</scope>
    </dependency>

    <dependency>
        <groupId>com.sun.xml.wss</groupId>
        <artifactId>xws-security</artifactId>
        <version>3.0</version>
        <exclusions>
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                <artifactId>stax-api</artifactId>
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    </dependency>

    <dependency>
        <groupId>org.springframework.boot</groupId>
        <artifactId>spring-boot-starter-data-jpa</artifactId>
    </dependency>

    <dependency>
        <groupId>com.oracle</groupId>
        <artifactId>ojdbc6</artifactId>
        <!-- <version>10.2.0.4.0</version> -->
        <version>11.2.0.3</version>
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        <systemPath>${basedir}/src/main/webapp/WEB-INF/lib/ojdbc6.jar</systemPath>
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        <version>1.0</version>
        <scope>system</scope>
        <systemPath>${basedir}/src/main/webapp/WEB-INF/lib/ldap.jar</systemPath>
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        <url>https://repo.spring.io/milestone</url>
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        <name>Spring Milestones</name>
        <url>https://repo.spring.io/milestone</url>
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redpajama_set_name: RedPajamaStackExchange


text:
Tue, 01 December 2020 at 7:06 pm
Taylor Swift Wins Icon Award at Virgin Atlantic Attitude Awards 2020!
Taylor Swift has another trophy to add to her mantle!
The almost 31-year-old singer won the Attitude Icon Award at the 2020 Virgin Atlantic Attitude Awards, which were held on Tuesday (December 1) in London.
"First of all, Todrick, thank you for that amazing introduction. I'm really, really grateful for this," Taylor says in her speech. "This is so amazing. I want to say thank you to anyone who had a hand in deciding that I should deserve this."
"Mostly, I want to say thank you to the fans for giving me a platform to make music and to be vocal about the things that I think are right and wrong. I just believe very firmly that everyone should be able to live out their love story without the fear of discrimination, and the way for that to happen is for us to continue to keep pushing governments to put protections in place for members of the LGBTQ community," she continued.
"And I promise to always advocate for that, and I'm just so grateful for this amazing award. Thank you so, so, so, so, so, so much!"
"I just believe very firmly that everyone should be able to live out their love story without the fear of discrimination." 🌈❤@taylorswift13 accepts the Attitude Icon Award, supported by @JaguarUK.
Watch the #AttitudeAwards: https://t.co/6FcyQCcUQ1 pic.twitter.com/mQKduJpeiQ
— Attitude (@AttitudeMag) December 1, 2020
Photos: Getty
Posted to: Taylor Swift


Zovirax having acyclovir as its active component is an antiviral drug used for the treatment of cold sores and blisters formed due to herpes or chicken pox. Zovirax gradually reduces the reoccurrence of sores and reduces irritation and intensity of the outbreak. However, Acyclovir is not intended to cure herpes. It only acts as an agent to reduce the pain and occurrence of the sores and hence people can buy Zovirax Generic online and use it without any fear.
Zovirax can be used in patients who are bothered by the sores resulting from chicken pox. It reduces the spreading of the infection. The infection caused by herpes virus gives rise to genital herpes, shingles, and cold sores.
The infections resulting from herpes are contagious, so contact with other people should be limited. Never let infected areas to come in contact with others. Avoid touching the infected area and in the case of contact, please rinse your hands thoroughly with a disinfectant. Lesions resulting from herpes should be kept as dry as possible. Wearing loose cotton clothing can prevent the irritation and outbreak.
Avoid taking Zovirax if you had allergic reactions from acyclovir or valacyclovir (Valtrex) in the past. Always inform you doctor about all the medications that you have been allergic to. In addition, indicate to him/her about all the prescription and over the counter drugs that you currently consuming. This may avoid the risk of being subjected to dangerous drug interactions. You should not take Zovirax if you have kidney diseases, or a weak immune system.
Zovirax is not known to inflict harm to the fetus. However, this medicine, if passes into the breast milk, may harm a nursing baby. A newly born baby can be infected with herpes if the mother has a genital lesion during child birth. The efficacy of Zovirax usage is not proven for children below the age of 2 years. Consult your pediatrician before buying Zovirax and giving it to your child.
Zovirax is also available in liquid form and ointment.
When taking the liquid form of Zovirax, shake the bottle well and always measure the liquid using the measuring spoon provided to you with the product. Using other spoons may cause over dose. Consult a doctor to get dosage instructions for the liquid Acyclovir.
The ointment form of Zovirax should be applied over the affected areas when redness or blister formation happens. It can be applied up to 5 times a day.
Zovirax should strictly be taken based on the recommendations from your health care professional. This medication should be used for the whole recommended duration. Do not take Zovirax shorter or longer than suggested.
You should purchase Zovirax and start the treatment of Acyclovir as soon you notice the appearance of the symptoms such as blisters or burning sores. Zovirax can be consumed with/without food. However, plenty of water should be taken along with this medicine to keep the kidneys to function properly.
Zovirax should be stored at room temperature away from the reach of children. Do not store in a humid or moist place.
If you miss a dose of Zovirax, take it as soon as you remember. But if it is close to your next scheduled dose, skip the missed dose and continue with your regular schedule. Avoid skipping it too many times, as the effectiveness of Zovirax will be lost.
Symptoms of kidney problems such as no or painful urination, swollen feet and ankles.


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What Happens to Farmland When Urban Sprawl Encroaches?
Harvest Public Media Mar 30, 2018
• When cities begin to spread into farmland, county services experience strain and often struggle to keep pace with growth.
• How can policy shape growth so that it does not overburden unprepared public services? How can government funding help growing cities keep up with demands?
• Find out how urban sprawl impacts climate.
Big cities in the Midwest are gaining ground on the rural communities that, for many decades, have thrived on the edges of urban development.
Since 1980, the amount of land being farmed or grazed in the U.S. has dropped 13 percent, according to the U.S. Department of Agriculture. Much of it now is covered by housing subdivisions, big-box stores, and computer-server farms.
Outward growth from metropolitan areas can strain courts, schools, and traffic. It also can change the cultural and regional identity of once-rural communities — something visible on the outskirts of two metro areas connected by Interstate 35 and an agricultural heritage.
Urban areas have expanded in Dallas County, west of Des Moines, from 1950 to last year. About 11 percent of county land has been annexed by cities. And the county population grew from just over 66,000 in 2010 to more than 84,500 in 2016, according to Census Bureau figures.
County planner Murray McConnell noted that the county tries to discourage development on prime farmland. But once a city annexes county land, development is likely, he said. And it puts a strain on county services.
The historic courthouse in Adel, 30 minutes west of Des Moines, is bursting at the seams. Two new courtrooms were added a decade ago, but county clerk Anna Butler said there's already not enough space.
Read the full article on urban sprawl by Amy Mayer andErica Hunzinger at Harvest Public Media
Learning and benchmarking are key steps towards becoming an impact giver. If you are interested in giving with impact on Economic Dev take a look at these selections from Giving Compass.
Social Investments in Asia: What You Need to Know
Economic progress has brought much growth and prosperity to Asia in the past decade, but with that progress, comes a growing disparity between the rich and the poor. Population growth, lack of proper education and stable livelihoods, growing health concerns and environmental challenges are serious issues in Asia that must be addressed at an ecosystem level. By this, we mean - no one group can tackle this challenge alone. We need collaborative solutions that cross sectors and borders, inspire innovative ideas and combine resources to empower stakeholders and create lasting impact. How Are Funders Investing in Asia? This ecosystem approach requires working with social investors that span from philanthropic foundations to impact investors, corporate CSR initiatives and governments' development schemes. We refer to this whole group of diverse funders as social investors because regardless of their return assumptions – social returns only or blended financial and social returns – all of these stakeholders are investing in a brighter future for Asia. At AVPN we have begun to see funders functioning less in easily delineated buckets – grantmaker versus impact investor – but rather leveraging a range of investment practices to better support the needs of social enterprises and NGOs. For instance, foundations are beginning to explore market-based tools such as debt and equity to support social enterprises looking to scale. On the other end of the spectrum, impact funds are increasingly using grants or softer repayment terms to help build the pipeline for more scalable projects with meaningful impact and competitive returns. Said differently, there is a blurring of the lines between different types of investors and a movement towards using broader set of tools to fund social impact. We call this the "Continuum of Capital" and are devoting a good deal of work to further exploring this phenomenon and helping to facilitate the movement of capital along this continuum so it can more easily and more effectively reach the organizations that need it. With this shift, it is becoming more important than ever before for social investors to be connected to and learn from one another. Models that have worked in Malaysia may have practical implications in Thailand. Or Chinese foundations can extract learnings from their Indian counterparts' experiences and vice versa. A grantmaker may be looking to help their grantee obtain a loan or equity investment to help them reach the next stage or a government may need financial backing for development programs. AVPN is working to facilitate the connection and knowledge sharing of these many stakeholders through a number of initiatives. In the meantime, social investors in Asia can take action in the following ways: Become more strategic, collaborative and outcome-focused by tapping into resources like AVPN's Knowledge Centre. Research opportunities in social investment in Asia. Learn more about impact investing and venture philanthropy at Giving Compass. ___ Original contribution by Allison Hollowell, Director of Marketing & Communications for AVPN.
In addition to learning and connecting with others, taking action is a key step towards becoming an impact giver. If you are interested in giving with impact for Economic Dev take a look at these Giving Funds, Charitable Organizations or Projects.
Schools Taking the Lead for College Students with Learning Disabilities
A Tale of Two Rural Funding Organizations in New England
How One City is Bringing Tech Training to Scale to Attract Businesses


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Home » Cover » Prachanda Cabinet to expand, Kamal Thapa joining in as DPM
Prachanda Cabinet to expand, Kamal Thapa joining in as DPM
Onlinekhabar March 9, 2017
Kathmandu, March 9
Prime Minister and CPN-Maoist Chair Prachanda is preparing to expand the Cabinet. He is preparing to bring in Rastriya Prajatantra Party President Kamal Thapa as deputy prime minister and minister for local development.
Along with Thapa, RPP is to get one more ministerial berth that will turn the present Cabinet into a 45-member team. The swearing-in is to take place at 6.30 pm.
Thapa will replace Hitraj Pandey, a Maoist leader, as local development minister. PM's press adviser Govinda Acharya told Onlinekhabar that preparations are on to make Pandey a minister without portfolio as per the Maoist party's suggestion.
The new minister representing the RPP will lead the Ministry of Tourism and Civil Aviation, replacing Nepali Congress leader Jivan Bahadur Shahi.
Most probably, Shahi will get another portfolio. Notably, PM Prachanda is yet to appoint Minister for Animal Development as well as Minister for Science and Technology.
The Cabinet expansion is being seen as PM's bid to muster a two-third majority of the Parliament for Constitution amendment. The government has already tabled an amendment proposal in the House, but the amendment process has not made much progress.


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Tim1965 via Wikimedia Commons | CC BY-SA 3.0
[UPDATE] 27 State AGs Seek New Reverse Mortgage Relief During Pandemic
By Chris Clow | May 1, 2020 May 4, 2020
A coalition of attorneys general from 27 different states, led by New York A.G. Letitia James, sent a letter Friday to the Secretary of the U.S. Department of Housing and Urban Development (HUD), Dr. Ben Carson, urging the Department to take further action to protect seniors with Home Equity Conversion Mortgages (HECMs) who have been impacted by the economic effects of the COVID-19 coronavirus pandemic.
While the coalition of states approves HUD's actions thus far in allowing borrowers certain forms of relief as laid out in Mortgagee Letters (MLs) 2020-06 and 2020-12 – which allows a delay on foreclosures for reverse mortgages and guidance for new assignment of loans to HUD, respectively – the national response thus far is insufficient to protect American seniors from risk, they contend.
"Our national response […] must continue to evolve to meet the impact of COVID-19," the letter reads. "The proposals outlined in this letter are based on our collective experience with past disasters and financial crises, and our acknowledgment that COVID-19 will present unprecedented challenges to senior homeowners and the mortgage servicing industry. We urge HUD to implement these recommendations to ensure that senior homeowners are given a fair opportunity to retain their home as we fight this pandemic together."
The need for servicers to contact borrowers proactively, recognize local forbearance options
The coalition of attorneys general lists five specific recommendations in their letter to HUD. The first recommendation is for HUD to require reverse mortgage servicers to solicit borrowers for an extension period under ML 2020-06 whenever a default occurs, instead of relying on the borrower to make the request themselves. Because many reverse mortgage borrowers may not be in regular contact with their servicers, they may not know to make this request, the AGs write.
New York State Attorney General's Office | CC0
New York Attorney General Letitia James
"For example, a borrower who needs additional time to make property tax payments may contact their local taxing authority without thinking to inform their servicer," the letter reads. "Therefore, servicers should be required to contact their customers and advise them of the availability of an extension period when a default occurs. HUD should advise servicers to make repeated efforts to contact homeowners who are difficult to reach, and to use plain language notices to explain the benefits of forbearance relief to any borrower who has a COVID-19-related hardship."
Second, the attorneys general recommend that HUD allow servicers to recognize local property tax forbearance, deferral, repayment and forgiveness plans, which are ordinarily not allowed under HECM contracts and rules in the event they create a lien of priority over the HECM itself.
"However, additional flexibility is needed to help local governments protect their senior homeowners through this crisis," the letter reads. "Servicers should also give borrowers additional time to seek local property tax relief before making delinquent payments."
At-risk extensions, CARES Act forbearance, time extension
The third recommendation states that HUD should automatically renew at-risk extensions, or allow the homeowner to self-certify. Currently, there is a HUD requirement that servicers submit renewal applications with supporting documentation for at-risk extensions during the current national emergency, but this should be waived, the attorneys general write.
"HUD should not require senior citizens to seek unnecessary documentation or visits with their physicians when doing so may pose a significant health risk to the borrower," the letter reads.
The coalition also recommends that HUD provide HECM borrowers with a "forebearance-like product" under the Coronavirus Aid, Relief, and Economic Security (CARES) Act by permitting reverse mortgage servicers to add missed tax and insurance payments to the end of the reverse mortgage loan balance.
In this specific recommendation, the letter contends that existing forward mortgage borrowers can defer forborne payments to the end of their loan term under emergency servicing guidelines for FHA-insured mortgages. Reverse borrowers, the attorneys general argue, should have the same capability when they miss tax and insurance payments as a result of financial hardship that stems from the coronavirus.
"Therefore, HUD should allow servicers to add missed property tax and homeowner insurance payments to the end of the loan balance," the letter reads. "This may create additional costs to HUD's Mutual Mortgage Insurance Fund (MMIF). But the cost to the Fund will be relatively minor when compared to the overall costs of COVID-19 relief for our nation – or the overall costs to these seniors if they lose their homes while they remain vulnerable to COVID-19."
Finally, the coalition recommends that HUD should be preparing now to extend protections for HECM borrowers beyond 12 months, if so needed. This is because even when current virus mitigation efforts begin to wind down, seniors will remain at risk of serious illness from COVID-19 until there is a viable vaccine developed, the letter reads.
"HUD should start preparing now for this possibility and consider ways to extend the above requested actions beyond the CARES Act's 12-month protection," the attorneys general wrote.
Initial response
The Federal Housing Administration says it is continuing to streamline processes but points to its COVID-19 Standalone Partial Claim option for borrowers as the best option for borrowers requesting forbearance, according to a statement provided to RMD.
"FHA's new COVID-19 Standalone Partial Claim takes a borrower's missed payments and converts them into an interest-free subordinate lien that sits behind the first mortgage once they are able to resume their prior mortgage payment," according to a senior HUD official. "That subordinate lien is only due at the end of the first mortgage. For most borrowers, this will be when they sell the home, refinance, or come to end of their mortgage term. We believe the COVID-19 Standalone Partial Claim is the best option for the majority of borrowers who obtain forbearance, and the one that is likely to be the most successful in helping them avoid further loss mitigation. In terms of ensuring that servicers are meeting their commitments to borrowers, FHA is continuing to work with stakeholders on opportunities to streamline processes."
The National Reverse Mortgage Lenders Association (NRMLA) is in the process of reviewing the full scope of the recommendations made by the attorneys general, according to NRMLA President Steve Irwin.
"NRMLA appreciates the heightened sensitivity to consumer protections at this time," Irwin said. "HUD has always been a careful steward of the HECM program, and we are confident they will act as necessary when there's a better understanding of the scale of this crisis."
Representatives of HUD could not be reached for comment by press time. Read the full letter at the New York Attorney General's website.
Federal Housing Administration, NRMLA, U.S. Department of Housing and Urban Development
This is a professional community. Please use discretion when posting a comment.
James E. Veale, CPA, MBT says:
As to the financial portion of these HECM suggestions one must ask if the Secretary of HUD has the power to accept this additional risk to the MMIF? It would not seem so under the Reverse Mortgage Stabilization Act (RSMA) of 2013 [as codified 12 USC z-20(h)(3)] which states the following:
"The Secretary may … (3)establish, by notice or mortgagee letter, any additional or alternative requirements that the Secretary, in the Secretary's discretion, determines are necessary to improve the fiscal safety and soundness of the program authorized by this section, which requirements shall take effect upon issuance."
The key words in the RMA as to accepting the financial changes suggested are: "…the Secretary, in the Secretary's discretion, determines are necessary to IMPROVE the fiscal safety and soundness of the program." Paying property charges on behalf to HECM borrowers who are facing financial distress due to Covid-19 does not appear to meet that standard. Whom the state AGs should be requesting the financial changes to HECM to is Congress, not HUD. Congress can fund these additional costs to avoid further harm to the HECM portion of the MMIF.
The changes adopted by HUD on forward mortgages make more sense since most FHA forward mortgages are paid down monthly and eventually get paid in full over the scheduled amortization period. Thus few FHA forward mortgages will suffer loss due to the deferral since once the mortgage is paid in full (other than deferrals), since forward mortgage borrowers should easily be able to pay off the amounts deferred over time at the end of the amortization period. Thus it is doubtful if this policy change will result in substantial losses to the forward portion of the MMIF.
Since so many HECMs terminate underwater, it is hard to perceive how deferred payment of property charges will not result into anything but large losses to the HECM portion of the MMIF.
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