text:
Miliband opposes law change on charities' political campaigning
24 October 2007 by Indira Das-Gupta
The coalition of charities lobbying for a change in the law that would allow charities to dedicate all their resources to political campaigning has suffered a major setback after Cabinet Office minister Ed Miliband publicly opposed the idea.
During a debate on the Government's third sector review in the Commons last week, shadow charities minister Greg Clark asked Miliband if he believed that a charity "should be able to devote 100 per cent of its resources to campaigning politically". Miliband said: "No, that is not my view."
Clark seized on Miliband's words as evidence that the Government had been swayed by the Conservative Party's arguments on the issue and changed its stance.
In the third sector review, published in July, the Government said: "Provided that the ultimate purpose remains demonstrably a charitable one, the Government can see no objection, legal or other, to a charity pursuing that purpose wholly or mainly through political activities."
But a spokeswoman for Miliband denied the Government had ever been in favour of allowing charities to use all their resources for political campaigning.
"We support the Charity Commission's guidance from April 2007 that says, although charities can dedicate all of their resources to political campaigning for a period of time, they cannot do this in perpetuity," she said. "We think it would be wrong to change the law on this matter.
"We are waiting to see what the commission's new guidance says next month and whether this clarifies the situation. But we are not persuaded that there is a case for changing the law."
The Conservative Party has consistently and vehemently voiced its opposition to the coalition's proposals. The coalition is seeking a meeting with Clark to discuss his concerns.
"We would welcome the opportunity to put our arguments to Greg Clark in person," said Ian Leggett, director of human rights and environmental charity People & Planet and a member of the coalition.
"It has been claimed that we want charities to be able to have political objects, but we have never proposed that and we are totally against the idea of charities being in any way party political.
"This is about giving trustees the choice of dedicating all their resources to influencing public policy."
Clark said he would be happy to meet the coalition. "Although they say they are not proposing that charities should have political objects, the outcome of what they are proposing means the difference would be negligible," he added.
Policy and Politics Registered metered content
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News Analysis: Pushing the limits of campaigning
UK replacement for EU funding 'should be worth £4bn a year', report recommends
Official information on royal patronages 'inconsistent and very confusing', research concludes
Chair of trust and aide to Labour leadership hopeful suspended after 'antisemitic' tweets
Extinction Rebellion criticises inclusion on extremism watch list
Public sector volunteers 'less satisfied' than their charity counterparts, research shows


I'm in the middle of reading How to Break-Up With Your Phone: The 30-Day Plan to Take Back Your Life by Catherine Price.
Which seems like an extreme title except for the fact that I, like most people, am a bit too attached to my little device.
Like when I realize I spent 45 extra minutes scrolling Instagram instead of going to bed. Or when not-so-mild panic sets in after not seeing my email in over an hour.
The irony? I'm reading the goddamn book on my phone!!
One step forward. Eight steps backward.
But my issues are neither here nor there. Kinda.
What I really want to talk about is the parallel between design and copy manipulation.
You see, there's all these different ways our phones and apps are designed to keep up engaged and wanting more.
Like on Instagram, where the app is designed to withhold showing your "likes" until the right time. The right time being JUST when you are about to log off…oh and that time was selected by an algorithm based on your behavior.
While it's easy to point fingers and call companies "evil" it's human nature to focus on what's right in front of us. It's complicated. And it's hard to sync your moral compass if there isn't an obvious North Star.
And it got me thinking about how we as marketers use psychology and persuasion to create action. In many ways, it feels like we too are fighting for a short-term win. We all have moral limits but they can often feel undefined, tethered to a frisky North Star.
My guidepost, stolen from the oft-quoted Seth Godin, is to ask whether the customer will have buyer's remorse after purchasing the product or service I'm writing copy for. If the answer is yes, I won't move ahead.
But I've been wrong. And I try and be better next time. I'm evolving as a business owner and marketer. It's tricky.
And as a marketer, I think the most powerful thing we can all do is avoid reducing customers to one-dimensional avatars. This forces us to consider them as people and not solely as conversion opportunities. It keeps us grounded in the present and hopefully the future.
This is all to say, I'm working on my relationship with my phone.
And I hope "tech" is working on their relationship with their customers. Because manipulation for the sake of manipulation isn't a world I'm stoked about. But a world where empathy leads design and marketing decisions…that may be another thing entirely.
With that, let's put down our phones until we get a tad uncomfortable and get a little bored together.
Like this musing? There's more where that came from! Join my list The Zest which not only has thoughtful pieces like this, but also links to articles I love about copywriting and everything else. Plus there's music.


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Internet animated blog series Blah Girls, which launched in October 2008, is moving into licensing.
The show recently debuted as a series of one-minute interstitials on the entertainment newsmag strip The Insider, and has generated a lot of interest among its audience of young hipsters obsessed with celebrity life. The property has plans to expand into all media, including a standalone TV series and merchandise.
Blah Girls features Krystle, Britney and Tiffany—a trio of girls who lounge around Krystle's bedroom and gossip about celebrities' lives. The animated blog is co-produced by Todd Goldman, the creative power behind the David & Goliath brand and Katalyst Films, an animation company spearheaded by Hollywood A-lister Ashton Kutcher.
The property has more than 70 one-minute episodes online to date and has received more than two million views online. In addition, the Blah Blah blog is well on its way to become a success by mixing animation with instantaneous viewer feedback. It resonates with its audience of Web-savvy girls who tend to spend a lot of time online blogging and connecting with friends on Facebook and MySpace. The main characters each have their own page on Facebook, which offers an opportunity for fans to stay connected.
Brand Sense Partners is planning to expand Blah Girls into apparel, stationery, plush, interactive, cosmetics and toiletries, and home décor.


BALTIMORE - Everyday, Transportation Security Administration (TSA) officers interact with nearly two million travelers across the U.S. with a single goal in mind, ensuring the safety of the traveling public. TSA had a busy year in 2016, screening more than 738 million passengers, 43 million more passengers than in 2015.
In total, 3,391 firearms were discovered in carry-on bags at checkpoints across the country, averaging approximately 9 firearms per day, about a 28 percent increase in firearm discoveries from the total of 2,653 in 2015. Eighty-three percent of the guns caught in 2016 were loaded.
At Baltimore Washington International Thurgood Marshall Airport, TSA officers detected 24 firearms in 2016, up significantly from the 16 detected in 2015, a 62 percent increase.


text:
Posted on March 23, 2015 by davidswanson
The Russian Military Asked Me to Publish Its Propaganda
On Friday, March 20th, I spoke at the University of the District of Columbia Law School in Washington, D.C., as part of a series of teach-ins about peace organized by SpringRising.org. While there, a young man in a suit with a Russian accent approached me. He gave me his card, which says at the top "Embassy of the Russian Federation." It identifies him as a Major and as The Air Attaché Assistant. His name: Alexsei G. Padalko. The card includes the address of the Russian Embassy in Washington, two phone numbers, a fax number, and a gmail email address. His name appears on lists of diplomats on the websites of the Russian Embassy and the U.S. State Department.
Alexsei bought one of my books, which I signed, but he said he had another he hadn't brought with him and wanted signed, and he wanted to discuss working together for peace. I said I'd meet him the next day at a coffee shop. When we met, he began talking about having information about Ukraine. He wanted to slip me articles already written and pay me to publish them under my name. He claimed a personal interest in peace and a desire to keep this secret from his employers. It was fine to email him, he said, but he'd have to give me the articles in person. I told him that I would not post articles as by me if not by me, and I would not post them with a pseudonym for someone working for the Russian (or American or any other) military, but if he wanted to give me information to report on under my name in articles I researched with multiple sources, I would keep the confidentiality of any source entirely. I, of course, had told him I wouldn't take any money for anything. And he didn't explain where the money would have come from. He said the information was not secret. He had no interest in using secret email. Nothing was less than above board, he said. But then why the secrecy? And who would be writing the articles? (This man's English was not up to the job.) I told him what I considered proper journalistic behavior and he expressed surprise and concern that I would bring up journalism since I was a blogger. Apparently a blogger is someone you can feed propaganda to, while a journalist is someone who's out to get you. I tried to tell him I was actually interested in communicating the facts about Ukraine to the U.S. public and that I thought that doing so would benefit both Russia and peace. We parted with the understanding that I would email him a time to meet in Washington, and that he would give me information that I could use as a reporter.
I gave it some thought. I could not believe that he was acting against the wishes of his employers. Where was the money to have come from? Who was writing the articles? Why so openly give me his card and meet with me? And what would he want known in the interests of peace that his employers wouldn't? No, he was doing his job. I decided that I would avoid any of the secrecy, and if he wanted to tell me anything that I could report he could do that openly. I would, of course, seek to confirm it with other sources, give the State Department its chance to comment, and report it.
Later that same day I emailed him this:
"Alexsei,
"I'd like to write an article on Ukraine that includes Russian points of view, regarding any of the following: the history of NATO expansion, the coup, Malaysian Flight 17, Crimea, recent conflict, U.S. and NATO allegations, possible peaceful resolution.
"If you or anyone you know can provide any perspective on the matter, please just email or call."
He replied:
"No problem, deal"
Late that night, I wrote:
"Also, would Ambassador Kislyak like to explain Russia's view of Ukraine on a radio show that airs on lots of stations? See http://TalkNationRadio.org I'm the host, and the shows are pre-recorded by telephone at the guest's convenience. An interview can be anywhere from 1 to 28 minutes. I recommend 28 minutes. I would simply ask him for his view of the situation in Ukraine and let him talk. You can just let me know a day and a time and a phone number."
Alexsei has not yet replied to that offer.
Now, I'd like to call the Russian Embassy's main number and ask to be connected to Alexsei and make sure it's the same person. But a friend warns me that doing so produces "meta-data" to be used in framing people with crimes. And I don't seriously doubt the man's identity.
I write this in order to protect myself from any misunderstanding or frame-up, and in order to offer my unsolicited advice to the Russian government: My friends, independent media and small media outlets that are interested in the truth and in considering your points of view are in that position because of their honesty. When you approach them with secrecy and money you ruin the opportunity to have information shared in a credible and effective way. I and countless other bloggers and freelancers who could never bring ourselves to write the Pentagon propaganda that passes for journalism in major U.S. newspapers are not on your team. We're on the side of truth and the side of peace.
Many of us are well aware of the lie that NATO and the U.S. told Russia upon the reunification of Germany to the effect that NATO would not expand eastward. We're outraged by the expansion to your borders. We condemn the U.S.-backed violent coup in Kiev. We denounce the Nazi and foreign-imposed government of Ukraine. We oppose the U.S. arms shipments, the U.S. "National Guard" now guarding the wrong nation, the war games, the baseless characterizations of Russia's behavior, the lies about your aggression.
But you can't fix lies about your aggression by behaving aggressively. If the truth is on your side, don't imagine that it can't be reported and understood at least by some.
I'm aware that most of the military commentators in U.S. media outlets are in the pay of the U.S. military or its private contractors or their think tanks. I'm aware that matters of life and death cause rash decisions. But I encourage you to openly publish your views and to send them to me and anyone else open to them. I encourage you to place guests on my and other radio shows. Don't give those who have twisted reality beyond recognition an excuse to accuse you of the same.
CategoriesUncategorized TagsPeace and War, Political Ideas
7 Replies to "The Russian Military Asked Me to Publish Its Propaganda"
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Jim Glover says:
When Oleg Kalugin in NYC asked me to work for Russia because of my first hand knowledge of the JFK plot I told him I don't spy for any country, I spy for everyone. He left smiling. I never herd of him at the time and thought he was setting me up as a Russian agent. Since he became a defector to the US I still don't know what or who he was working for. Are you sure your Russian Contact was not trying to set you up or a double agent?
davidswanson says:
How could I be sure of that? The level of incompetence certainly had a CIA flavor to it, but who's to say the Russians can't match it on their own?
I have no way of knowing
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text:
\section{Introduction}

It is a well-known fact that the gauge-field approach to pure
Einstein theory of gravitation in D=4 exhibits unitarity at the tree-level, although
renormalizability is not attained. Pure gravity is on-shell finite
only at the 1-loop level [1].

Recently, some effort has been done to analyse Einstein-Chern-Simons
models in D=3 space-time [2], which provides not only
renormalizability, but finiteness and unitarity [3]. Essentially, the
physics of this model consists in giving the graviton a mass
without explicitly or spontaneously breaking gauge symmetry.

Our actual purpose in this paper is to discuss possible consequences
of adding a Proca-like mass term to the Einstein-Chern-Simons  model.
We start our study by analysing the simpler case of Einstein-Proca
gravity in three and four-dimensional space-times (section 2). Then,
in section 3, we concentrate on the Einstein-Chern-Simons-Proca
gravity model in D=3, drawing our attention to the behaviour of the
graviton propagator, in order to infer about unitarity at the
tree-level. The problem of light-ray deflection in a gravitational
field is also contemplated. Finally, in section 4, our concluding
remarks are presented.

\paragraph*{}
\section{The Einstein-Proca Model}

Our starting point is the Einstein-Hilbert action for gravity in D dimensions:
\begin{equation}
\pounds_{{}_{H.E}} = - \frac{1}{2\kappa^2} \sqrt{-g} \ R \ ,
\end{equation}
where $R$ is understood to be the scalar curvature. In the weak-field
approach, the metric can be decomposed around the background
flat-space metric as
\begin{equation}
g^{\mu\nu} (x) = \eta^{\mu\nu} - \kappa h^{\mu\nu} \ .
\end{equation}

So, by replacing (2) into (1), the non-interacting part of the
Lagrangian turns out to be given by the bilinear terms on the
fluctuation $h_{\mu\nu}$ -- field as below:
\begin{equation}
\pounds_{{}_{H.E}}^{\; (2)} = \frac{1}{4}
\partial_{\lambda}h_{\mu\nu}\partial^{\lambda} h^{\mu\nu} -
\frac{1}{4} \partial_{\lambda}h^{\mu}_{\;\; \mu}\partial^{\lambda}
h^{\nu}_{\;\; \nu} + \frac{1}{2} \partial_{\lambda} h^{\lambda}_{\;\; \mu}
\partial^{\mu} h^{\nu}_{\;\; \nu} -
\frac{1}{2} \partial_{\lambda}h^{\lambda}_{\;\; \mu}
\partial_{\nu}h^{\nu\mu} \ .
\end{equation}

If we add by hand a Proca mass term for the graviton,
\begin{equation}
\pounds_{mass} = -\frac{1}{4}\  m^2 (h^{\mu\nu}h_{\mu\nu} -
h^{\mu}_{\;\; \mu} h^{\nu}_{\;\; \nu}) \ ,
\end{equation}
the complete bilinear Lagrangian can be cast as follows:
\begin{equation}
\pounds = \frac{1}{2} \ h^{\mu\nu} {\cal
O}_{\mu\nu,k\lambda}h^{k\lambda} \ ,
\end{equation}
where ${\cal O}_{\mu\nu,k\lambda}$  can be decomposed on it's Lorentz basis
of spin-operators for
symmetric rank-2 tensors   [4]:
\begin{equation}
{\cal O}_{\mu\nu,k\lambda} = \left\{-\frac{1}{2} (\Box + m^2)
P^{(2)}-\frac{m^2}{2} P^{(1)}_m +  (\Box + m^2)
P^{(0)}_s + \frac{\sqrt{3}}{2} m^2 \left(P^{(0)}_{sw}
 + P^{(0)}_{ws}\right)\right\}_{\mu\nu,k\lambda} .
\end{equation}

\noindent
We stress that, since this theory is not gauge invariant, due to the
Proca-like mass term, we do not need to introduce any gauge-fixing
term into (6).

The graviton propagator, in configuration space,  is given by:

\begin{equation}
\langle T[h_{\mu\nu}(x) h_{k\lambda}(y)]\rangle =
i{\cal O}^{-1}_{\mu\nu,k\lambda} \delta^D(x-y) \ ,
\end{equation}

\noindent
where the inverse operator ${\cal O}^{-1}$ can be determined with the
help of the multiplicative table of the Barnes and Rivers spin-operators
[4,5]. Basically, one writes the inverse
operator as a linear combination of the spin-operators as below :

\begin{equation}
{\cal O}^{-1}_{\mu\nu,k\lambda} = \left\{X
P^{(2)} + Y P^{(1)}_m + ZP^{(0)}_s +
WP^{(0)}_w + RP^{(0)}_{sw} + SP^{(0)}_{ws}\right\}_{\mu\nu,k\lambda}
\ .
\end{equation}
Then, with the help of the tensorial identity for  the rank-2 symmetric
tensor,
\begin{equation}
{\cal O}_{\mu\nu}^{\rho\sigma}{\cal O}^{-1}_{\rho\sigma ,k\lambda}
= \left(P^{(2)} + P^{(1)}_m + P^{(0)}_s +
P^{(0)}_w\right)_{\mu\nu,k\lambda} \ ,
\end{equation}
the propagators are uniquely determined. The explicit forms of the operators
appearing above can all be found in Ref. [4,5].

In our case,
\begin{equation}
{\cal O}_{\mu\nu ,k\lambda} =
\left\{AP^{(2)} + B P^{(1)}_m +
C P^{(0)}_s + D P^{(0)}_w  +
EP^{(0)}_{sw} + FP^{(0)}_{ws}\right\} \ ,
\end{equation}
where
\begin{eqnarray}
&& A = -\frac{1}{2} (\Box + m^2) \nonumber \ ; \\
&& B = -\frac{m^2}{2} \nonumber \ ; \\
&& C = (\Box + m^2)  \ ;  \\
&& D = 0 \nonumber \  ;  \\
&& E = \frac{\sqrt{3}}{2} m^2 \nonumber \ ; \\
&&F =  \frac{\sqrt{3}}{2} m^2 \ . \nonumber
\end{eqnarray}
Then, one  gets the solution:
\begin{equation}
\begin{array}{lll}
X = \displaystyle{-\frac{2}{(\Box + m^2)}} & ; & W =\displaystyle{ -\frac{2(-2\Box + \Box D-2m^2+m^2D)}{m^4(D-1)}}  ;  \\
Y = \displaystyle{-\frac{2}{m^2}} & ; & R = \displaystyle{\frac{2\sqrt{3}}{m^2(D-1)}} ;  \\
Z = \displaystyle{-\frac{2(D-4)}{(D-1)(\Box + m^2)}} & ; & S =\displaystyle{ \frac{2\sqrt{3}}{m^2(D-1)}} .
\end{array}
\end{equation}

\newpage

For $D=3$, the Einstein-Proca propagator reads as below :

\begin{eqnarray}
&& {\cal O}^{-1}_{\mu\nu ,k\lambda} =
-\frac{1}{(\Box + m^2)} (\eta_{\mu k}\eta_{\nu\lambda}+\eta_{\mu\lambda}\eta_{\nu k}) +
\frac{2}{3(\Box +m^2)} \eta_{\mu\nu}\eta_{k\lambda} + \nonumber \\
&&  + \frac{1}{3} \frac{1}{(\Box + m^2)} \eta_{\mu\nu}\eta_{k\lambda} +
\omega_{\mu\nu}\omega_{k\lambda}
\left[\frac{-2}{\Box + m^2} + \frac{2}{3(\Box + m^2)} + \frac{4}{m^2}\right. +
\nonumber \\
&& + \left. \frac{1}{3} \frac{1}{(\Box +m^2)} -
\frac{(\Box + m^2)}{m^4} - \frac{2}{m^2}\right] +
\eta_{\mu k}\omega_{\nu\lambda} \left[\frac{1}{(\Box +m^2)} -
\frac{1}{m^2}\right] + \nonumber \\
&&  + \eta_{\mu\lambda}\omega_{\nu k} \left[\frac{1}{(\Box +m^2)} -
\frac{1}{m^2}\right] + \omega_{\mu k}\eta_{\nu\lambda}
\left[\frac{1}{(\Box + m^2)} - \frac{1}{m^2}\right] +  \nonumber \\
&&  + \omega_{\mu\lambda}\eta_{\nu k}
\left[\frac{1}{(\Box + m^2)} - \frac{1}{m^2}\right] +
\eta_{\mu\nu}\omega_{k\lambda}
\left[\frac{-2}{3(\Box +m^2)} - \frac{1}{3(\Box + m^2)} +
\frac{1}{m^2}\right] + \nonumber \\
&& + \omega_{\mu\nu}\eta_{k\lambda} \left[\frac{-2}{3(\Box + m^2)} -
\frac{1}{3(\Box + m^2)} + \frac{1}{m^2}\right] \ .
\end{eqnarray}

Proceeding along the same lines, it can be found that the
propagators for Einstein gravitation [5] in $D=4$, $m=0$; $D=3$, $m=0$;
and for Einstein-Proca [5],
$D=3$, $m\neq 0$ and $D=4$, $m\neq 0$ (Einstein-Proca) are respectively
given by:
\begin{eqnarray}
&& \langle T[h_{\mu\nu}(-k) h_{k \lambda}(k)]\rangle =
\frac{i}{k^2} (\eta_{\mu k}\eta_{\nu\lambda} +
\eta_{\mu\lambda}\eta_{\nu k} - \eta_{\mu\nu}\eta{k \lambda}) ;
 \\
&&   \langle T[h_{\mu\nu}(-k) h_{k\lambda}(k)]\rangle =
\frac{i}{k^2} (\eta_{\mu k}\eta_{\nu\lambda} +
\eta_{\mu\lambda}\eta_{\nu k} - 2\eta_{\mu\nu}\eta{k \lambda}) ;
 \\
&& \langle T[h_{\mu\nu}(-k) h_{k \lambda}(k)]\rangle =
 \frac{i}{(k^2-m^2)} (\eta_{\mu k}\eta_{\nu \lambda} +
\eta_{\mu\lambda}\eta_{\nu k} - \eta_{\mu\nu}\eta_{k\lambda});  \\
&&   \langle T[h_{\mu\nu}(-k) h_{k\lambda}(k)]\rangle =
\frac{i}{(k^2-m^2)} (\eta_{\mu k}\eta_{\nu \lambda} +
\eta_{\mu\lambda}\eta_{\nu k} - \frac{2}{3} \eta_{\mu\nu}\eta_{k\lambda}).
\end{eqnarray}

Coupling these propagators to conserved external sources (energy-momentum tensors),
$T^{\mu\nu}$, one writes the following current-current amplitudes:
\begin{equation}
A_{m=0} = T^{\mu\nu} (\Delta_{\mu\nu,k \lambda}) T^{'k\lambda{}} =
g^2 T^{\mu\nu} \langle h_{\mu\nu} h_{k\lambda}\rangle_{m=0} \ T^{'k\lambda}
\end{equation}
and
\begin{equation}
A_{m\neq 0} = T^{\mu\nu}
(\Delta_{\mu\nu,k \lambda}) T^{'k \lambda{}} =
\tilde{g}^2 T^{\mu\nu} \langle h_{\mu\nu} h_{k \lambda}\rangle_{m\neq
0} \ T^{'k \lambda} \ .
\end{equation}
Now taking static sources, where only the $T^{00}$ -- component
contributes, the explicit forms of the amplitudes for massless
graviton exchange gives us the  relation below for their effective
coupling constants,
$g$ and $\tilde{g}$:
\begin{equation}
g^2 = \frac{4}{3} \tilde{g}^2 \ .
\end{equation}

We now wish to consider the problem of photons propagating in the gravitational
field of some static matter distribution. In this situation, the propagator describes
graviton exchanges between the photons and the matter that generates the
gravitational field.
In the metric formalism for General Relativity, light follows geodesic
lines. In a
field-theoretical treatment, it is the photon-graviton interaction that replaces
this geometrical fact. Now, in (18), $T'_{k\lambda}$ is the usual energy-momentum tensor
for electromagnetism:
\begin{equation}
T'_{k\lambda} = -F_{k\alpha}F_{\;\; \lambda}^{\alpha} +
\frac{1}{4} \eta_{k\lambda} F_{\mu\nu} F^{\mu\nu} \ .
\end{equation}
So, in principle,  the transition amplitudes for the deflection of light induced
by massless and massive gravitons are respectively given by:
\begin{eqnarray}
&& A_{m=0} = \frac{i}{k^2} 2g^2 T^{00}T^{'00} \nonumber , \\
&& \\
&& A_{m\neq 0} = \frac{i}{(k^2-m^2)} \frac{8}{3} \tilde{g}^2 T^{00}T^{'00}
\nonumber .
\end{eqnarray}
 However, since in $D=3$ pure Einstein gravity
there is
no graviton propagation [5], one does not talk about light-ray
deflection. As a consequence,
in $3D$-gravity, light deflection may be discussed only if the
graviton becomes massive, the mass being introduced by a Proca-like or
a topological Chern-Simons term.

 We conclude this section by studying the
necessary condition to get tree-level unitarity for the Einstein-Proca gravity
in $D=3$.
To do so, we must take the current-current amplitude and analyse the positivity
condition on the imaginary part of the residues at the pole $k^2=m^2$.
Otherwise, if positivity is not attained, there will be ghosts or non-dynamical
gravitons in the model.

The transition amplitude is
\begin{equation}
A = \tau^{\mu\nu\ast}{(\vec{\boldmath k})}
\langle T[h_{\mu\nu}(-(\vec{\boldmath k}) h_{k\lambda}
(\vec{\boldmath k})]\rangle \tau^{k\lambda} ({\boldmath k}) \ ;
\end{equation}

\noindent  where, after some algebraic manipulation, we obtain

\begin{equation}
A = \frac{i}{(k^2-m^2)} \left[2|\tau^{\mu\nu}
(\vec{k})|^2-|\tau^{\mu}_{\mu} (\vec{k})|^2\right] \ .
\end{equation}

Choosing a suitable basis of vectors in momentum  space,
\begin{equation}
k^{\mu} = (k^0;\vec{k}); \ \tilde{k}^{\mu} =
(k^0;-\vec{k}); \ \varepsilon^{\mu}_i = (0;\vec{\varepsilon}_i);  \
i=1, \cdots ,  D-2 \ ,
\end{equation}
where
\begin{eqnarray}
&& \tilde{k}^{\mu}k_{\mu} = (k^0)^2 + (\vec{k})^2 > 0\nonumber \\
&& \varepsilon^{\mu}_i \varepsilon_{j\mu} = -\delta_{ij} \\
&& k^{\mu}\varepsilon^i_{\mu} = \tilde{k}^{\mu}\varepsilon^i_{\mu} = 0 \ ,
\nonumber
\end{eqnarray}
and expanding the tensorial current on this basis, we get :

\begin{equation}
\tau_{\mu\nu} = a_{(k)}k_{\mu}k_{\nu} + b_{(k)} k_{(\mu}\tilde{k}_{\nu )}
+ c_{i(k)}k_{(\mu}\varepsilon^i_{\nu )} +
d_{(k)}\tilde{k}_{\mu}\tilde{k}_{\nu} +
e_{i(k)}\tilde{k}_{(\mu}\varepsilon^i_{\nu )} +
f_{ij}\varepsilon^i_{(\mu}\varepsilon^j_{\nu )} \ .
\end{equation}
The current conservation, $k^{\mu}\tau_{\mu\nu}=0$, at the pole,
dictates the number of degrees of freedom
among the coefficients $a,b,c,d, e_{i}$ and $f_{ij}$.

It is shown that if $ \left(|c_{i(k)}|^2+|e_{i(k)}|^2 \right) <0$, the necessary condition for
tree-level unitarity, $Res \ Im \ A>0$ at the pole, is automatically ensured.

\section{The Einstein-Chern-Simons-Proca (E.C.S.P.) Gravity}

\paragraph*{}
Let us consider topological gravity in $(2+1)$ and discuss some of its features
whenever a Proca-like mass term is present [6]. The generalized (E.C.S.P.) Lagrangian reads
as below:
\begin{equation}
\pounds = - \frac{1}{2 \kappa^2} \sqrt{-g}R + \frac{1}{\mu}\varepsilon^{\lambda\mu\nu}\Gamma^{\rho}_{\;\;\lambda\sigma}
( \partial_{\mu} \Gamma_{\rho \;\;\; \nu}^{\;\;\sigma} +
\frac{2}{3}
\Gamma_{\mu \;\;\; \omega}^{\;\;\sigma} \Gamma_{\nu \;\;\; \rho}^{\;\;\omega} ) -
\frac{1}{2}\  m^2 (h^{\mu\nu}h_{\mu\nu}-\xi
h^{\mu}_{\;\;\mu}h^{\nu}_{\;\;\nu})\ .
\end{equation}

Notice that the massive Einstein-Proca Lagrangian can be recovered by taking
$\mu\rightarrow \infty$. Also, just like before (E.P.), there is no gauge
invariance. In  this sense, again, a gauge-fixing term is not adjoined.
In order to obtain the propagators for this model, we just take the bilinear
terms on the quantum field $h_{\mu\nu}$, in (28); this yields the following
operator to be inverted:
\begin{eqnarray}
{\cal O}_{\mu\nu k\lambda} &=& -\frac{1}{2} (\Box + m^2) P^{(2)} -
\frac{m^2}{2} P^{(1)} +
\left[\Box - \frac{m^2}{2} (1-3\xi )\right]
P^{(0)}_s -
\frac{m^2}{2} (1-\xi )P^{(0)}_w \nonumber \\
&&  + \frac{\sqrt{3}}{2} m^2 \left(P^{(0)}_{sw} + P^{(0)}_{ws}\right) +
\frac{1}{2M} (S_1+S_2)\ ,
\end{eqnarray}
where $S_1$ and $S_2$ are new spin-operators coming from the Chern-Simons term [5]. The $M$ parameter is the
topological Chern-Simons mass and is just a redefinition of $\mu\left(M=
\frac{\mu}{8\kappa^2}\right)$. To get the Einstein-Proca operator (6),
we must simply take $\xi =1$ and $M$ going to infinity in (29).

The method to invert (29) is the same as the one followed in the previous
section, and so we just need to obtain the coefficients presented in the linear
combination of the whole set of spin  operators:
\begin{equation}
{\cal O}_{\mu\nu , k\lambda}^{-1} = X_1 P^{(2)} +
   X_2 P^{(1)} + X_3 P^{(0)}_s +X_4
P^{(0)}_w +
X_5 P^{(0)}_{sw}+ X_6 P^{(0)}_{ws} + X_7 S_1 + X_8S_2 \ .
\end{equation}
It can be found that

\begin{eqnarray}
&&X_1 = \frac{-2M^2(\Box +m^2)}{(\Box^2M^2+2\Box m^2M^2 + m^4M^2+\Box^3)}; \\
&& X_2 = \frac{-2}{(m^2)}; \nonumber \\
&& X_3 = A/B; \nonumber \\
&& X_4 = 2\left[\frac{2m^2\xi + \Box -m^2}{m^2[(\xi -1)\Box -3m^2\xi + m^2}\right]; \nonumber
\\
&& X_5 = \frac{-2\sqrt{3\xi}}{(\Box \xi -3m^2\xi -\Box +m^2)}; \nonumber \\
&& X_6 = \frac{-2\sqrt{3\xi}}{(\Box \xi -3m^2\xi -\Box +m^2)}; \nonumber \\
&& X_7 = \frac{-2M}{(\Box M^2+2\Box m^2M^2 +m^4M^2+\Box^3)}; \nonumber \\
&& X_8 = \frac{-2M}{(\Box M^2+2\Box m^2M^2 +m^4M^2+\Box^3)}. \nonumber
\end{eqnarray}

\vspace{1cm}

\noindent
where $A=\left[(-3+3\xi )\Box^3 + (-4M^2+4\xi M^2) \Box^2 + (4m^2\xi M^2-6m^2M^2)\Box -2m^4M^2
         \right]
      $
and
      $B=\left[(-1+\xi )\Box^4 + (m^2-3m^2\xi -M^2 + \xi M^2) \Box^3 + (-m^2M^2-m^2\xi M^2) \Box^2 +
         \right.
      $
\linebreak
      $ \left. + (m^4M^2 - 5m^4M^2\xi )\Box - 3m^6M^2\xi + m^6 M^2
        \right]
      $.

\vspace{1cm}

Next point, we comment on  the dynamical possibility for the graviton in $(2+1)$ to appear as
the mediator of the
gravitational interaction. As before, one couple the propagators to conserved
external currents $\tau^{\mu\nu}(-\vec{k})$ and $\tau^{k\lambda} (\vec{k})$ and  observe
that only the $X_1$ and $X_3$ coefficients survive the transversallity of these currents.
So, in the same way as analysed in (23), the dynamics at tree-level
for the E.C.S.P. theory can be discussed.  We need first to analyse poles
to  get information on the physicallity of the masses. For simplicity, take
$\xi =1$, where $X_1$ and $X_3$ have the same pole structure:
\begin{equation}
\Box^2M^2 + 2\Box m^2 M^2 + m^4M^2 + \Box^3 = 0
\end{equation}
or, in the momentum space,
\begin{equation}
(k^2)^3-M^2(k^2)^2 + 2m^2M^2(k^2) - m^4M^2 = 0 \ ,
\end{equation}
which is a cubic equation in $k^2$. It is checked  that tachyons and ghosts
are excluded from the spectrum whenever $\left|\frac{M}{m}\right| \rangle \frac{3\sqrt{3}}{2}$.
For example, with $\left|\frac{M}{m}\right| =3$, three massive poles can be obtained:
\begin{eqnarray}
&& k^2_1 = 6,4113m^2\ , \nonumber \\
&& k^2_2 = 0,7737m^2, \\
&& k^2_3 = 1,8154m^2 \nonumber \ .
\end{eqnarray}
Therefore, in principle, there is the possibility of having three massive excitations
mediating the gravitational interaction in $(2+1)$ (E.C.S.P.).
Also, one can verify  that these three massive gravitons satisfies the condition of
positive-definite residue
of their amplitudes [6] that guarantees  tree-level unitarity.
 Finally, we could say that, by power-counting (just by observing the
$X_1$ and $X_3$ coefficients for $D=3$), the propagator is proportional to
$\frac{1}{k^4}$, which for asymptotic values of $k$, leads to a  renormalizable
theory.

\section{Concluding Remarks}

\paragraph*{}

We concentrated our efforts in this paper to understand some features of $3D$
massive gravity. Massive graviton propagators are derived and conditions
for the absence of ghosts and tachyons are found out. The analysis of propators
is also used to conclude that light-ray deflection in $D=3$ is possible only
in the context of massive gravity. In the general case  of Proca and Chern-Simons
mass terms, the spectrum of propagating gravitons is discussed and 3 massive
excitations are identified in a special case of parameters.

\section*{Acknowledgements}

The authors acknowledge Dr. J.A. Hela\"{y}el-Neto for
discussions and a critical reading of the manuscript.
C.P. and G.O.P. are partially supported by the Conselho de
Desenvolvimento Cient\'\i fico e Tecnol\'ogico, CNPq-Brazil.

redpajama_set_name: RedPajamaArXiv


The holiday season is already arranged around rituals, so it makes sense that we come back to the same movies every year. In certain households annual showings of A Christmas Story or Elf or It's a Wonderful Life are as rigorously observed as the lighting of Advent or Hanukkah candles. I'm not necessarily comparing religious belief with the secular comforts of Mr. Magoo's Christmas Carol, but let's just say there are different kinds of gospel.
A scan of the streaming services reveals a collection of acceptable films, but I'd like to point out how thin the tree is. Netflix has a scattering of bona fide holiday classics, for instance, but after that you've got a whole lot of chintzy-sounding movies with "Christmas" in the title. Given the recently announced demise of the classic-film service Filmstruck, it would be nice if someone reminded these providers that movies existed before 1980.
Nevertheless, here are a few titles for the Christmas stocking, and maybe a couple of lumps of coal.


text:
Gyanu Reshmi Magar, photographed in Kathmandu
Ten photos that reveal the pain of migrant workers
PETE PATTISSON September 5, 2016
Lila Acharya left Nepal for a job in Lebanon in 2010. Two months later her body was flown home to Kathmandu's airport in a coffin, where her distraught relatives came to collect it.
Padam Shrestha was severely burned in an explosion at a petrol station in Doha where he worked. He said he had received no compensation.
Ganesh BK died in Qatar, just weeks after he left his home in Dang. "I don't know how I am going to pay back the loan we took out to pay for my son's job. It is on my mind the whole time. I know the lender won't spare me," said Ganesh's father, Tilak Bahadur BK. "I don't ever want to hear the name of Qatar again."
Ganesh BK arrived in a coffin. On average, about 3 to 4 coffins carrying the bodies of migrant workers arrive each day.
Dalli Khatri and her husband Lil Man, hold photos of their sons, both of whom died while working as migrants in Malaysia and Qatar. Their younger son (foreground photo) died in Qatar from a heart attack, aged 20.
Gyanu Reshmi Magar, photographed in Kathmandu, was trafficked to Syria to work as a domestic maid. She thought she was going to Dubai, but ended up in Syria after an agent assured her it was just like America. She eventially managed to escape after finding help via Facebook.
Qatar's capital, Doha. Qatar's labor force has increased by nearly 33 percent between 2011 and 2015, almost entirely due to the arrival of migrant workers. There are 1.6 million migrant workers in the country, comprising 94 percent of Qatar's workforce.
The condition of migrant workers' accommodation has attracted much criticism in Qatar. While some new camps have now been built, the majority of workers still live in poor quality accommodation.
Migrants often work a long way from their labor camps, and the travel to and from the camps can add hours to their working day.
Much of the criticism of Qatar's treatment of migrant worker deaths has focused on the number of laborers dying in the emirate.
Pete Pattisson
Pete Pattisson is a journalist specializing in documenting issues of social justice and human rights, in particular labor rights and modern forms of slavery. He contributes to The Guardian newspaper. In 2013 his reports on the treatment of Nepali migrant workers in Qatar, host of the 2022 World Cup, brought international attention to the issue. He has won a number of journalism awards, including the Amnesty Media Award, Anti-Slavery Media Award, and a Webby Award.
Deceived all the way
Local agents, governments, and major multinational corporations are all complicit in the exploitation of migrant workers
Pilgrimage in Darchula
KISHOR MAHARJAN
A journey to Surma Sarovar.
Various districts across the country severely affected as monsoon shows no sign of abating
At least 17 people have been killed and at least a dozen have been injured or reported missing
Why many Nepalis are converting to Christianity
Journalism, Labor, Media, World
Following the trail left in the Colombian jungle by Pradhan from Nepal
DEEPAK ADHIKARI
The journey of a Nepali migrant who crossed 15 borders to reach the US
Nepal Earthquake: A Gallery
KEVIN BUBRUSKI
Ever since I arrived in Nepal in 1975 as a Peace Corps volunteer, I have been taking photographs of the country and its people. In the 1980s, I traveled across Nepal by foot with a tripod-mounted camera. The photographs I took during this period captured village and farm life continuing much as it had for […]
History Series, episode 3 – Gorkhali Aayo
IRINA GIRI
How Prithvi Narayan Shah conquered Kathmandu valley


text:
October 29, 2022 9:55 PM - Subscribe
Two lifelong friends (Brendan Gleeson, Colin Farrell) find themselves at an impasse when one abruptly ends their relationship, with alarming consequences for both of them.
This film reunites director Martin McDonagh, Gleeson, and Farrell, years after their flawed classic, In Bruges. It's a cold bucket of water in the face, sure to give you nightmares if you have even the slightest social anxiety. Gleeson and Farrell turn in fine performances, but the film itself feels a little underbaked, and some of the less realistic aspects, which made sense in In Bruges's conscious slide into a Boschian world, do seem more puzzling here.
CN: a cute animal (not a dog) dies.
posted by praemunire (23 comments total) 5 users marked this as a favorite
Also (from what I've heard) ... fingers?
posted by trig at 7:29 AM on October 30, 2022
Yes. Take the threat in the trailer seriously. But I am a bad person and don't mind the fingers, only the poor animal.
posted by praemunire at 9:39 AM on October 30, 2022 [2 favorites]
flawed classic, In Bruges
Flawed??????
Sirens is maybe not as good, but it is pretty funny throughout, but also considerably bleaker, and if anything the humour does too much to leaven that bleakness.
posted by biffa at 1:20 AM on October 31, 2022 [1 favorite]
There is one line after which I would not blame audiences for walking out. It's required Christmas viewing around here, but I'm never comfortable recommending it without qualification.
posted by praemunire at 7:32 AM on October 31, 2022
A dealbreaker in this house. Thanks for the warning.
posted by Ber at 10:32 AM on October 31, 2022
Just saw it. I thought it was wonderful but my god is it bleak.
posted by knapah at 1:05 PM on November 5, 2022 [2 favorites]
Here's a long comment is full of spoilers. I've been thinking a lot about this film.
Bleak. Bleak. Bleak. Bleeeeeeeeeeeaaaaaak. This is about the bleakest movie I've ever seen. I think I like, and I think it's brilliant, but I didn't expect how dark this would go. Pádraic loses everything by the end of the movie: his sister, his best friend, his donkey, his "dim" younger friend, his own sense of himself as "one of the island's good guys" and his idea that goodness and niceness are the right things to be. Trying to be a good friend gets fingers thrown his way. The meaner he is, the more Colm likes him. All he previous goodness got him nowhere.
Obviously, it's an intentional move to set this against the backdrop of the Irish Civil War, and I suppose the rift between Colm and Pádraic is intended to mirror the war to some extent, but I don't know how far to take that metaphor. Is Colm's self-mutilation symbolic of the way (some) Irish hurt themselves/their own communities when fighting against their former friends? It seems like it must be. Inisherin is isolated from the fighting on the mainland, but the isolation of island life also intensifies the interpersonal conflicts.
Colm buddies up the the abusive cop after ending his friendship with Pádraic, ditching a connection to the island's nicest guy to form a new one with the cruelest. Something within him is drawn to cruelty now.
There is zero romance on Inisherin. I don't think we ever see any husband/wife pairings. Pádraic's parents are dead. Mrs. McCormack doesn't seem to have a husband. Do we ever see the policeman's wife? Women are nearly completely absent. There are a couple of young women in the bar and there's the town gossip, but that's it. Siobhan, if anything, is even lonelier than Pádraic, lacking his connections to Colm and Dominic (and Jenny!) and having no possibility of female friends. All she has is her books (and a crush from the town simpleton.) We can't fault her for leaving the island (even though she's going to a war zone.)
Why doesn't Pádraic go with his sister? He has nothing left. Inisherin is his home, but it's hard to see any future for him there.
I've heard from people who laughed throughout the movie. I laughed some in the first half, but once the first finger comes off, it was too dark for me to laugh again, even though some of the lines were clearly meant to be humorous.
At age 50, I sympathize with Colm's desire to leave a legacy. It's common to think "what am I going to leave behind?" But this movie raises questions about that. Which is the better life: one where you are remembered for your accomplishments or one where you were a good friend? Sure, we all know who Mozart is (except Pádraic!) but what difference does that make to Mozart now? What's the point of being remembered when you aren't here to appreciate it? Maybe in a hundred years Colm's songs will be sung, but is that worth what he does to Pádraic?
I don't think I've ever felt such foreboding as when Pádraic goes back to Colm's house after the first finger-ectomy. He's so happy--so sure that there's a way back to friendship with Colm--but we know exactly where this is going. It's his good-hearted unwillingness to believe that the friendship is really over that keeps driving the tragedy.
So, Mrs. McCormack--she's a banshee, right? Symbolically, at least. Colm said banshees are still around, but they don't wail anymore, just observe. She portends the deaths, and she's always around, watching. I think the movie might have been better without that character--she isn't really needed, but I didn't find her presence overly distracting.
Even though I'm still working through how I feel about the story, this movie is artistically brilliant. Throw awards at Gleeson, Farrell, Keoghan, and Condon--and also Carter Burwell for his amazing score and Ben Davis for the cinematography. I've never been more impressed with Farrell, in particular. Just a perfectly tuned performance. He never goes too big in scenes when other actors would be tempted to yell. Even when he burns Colm's house, it's clearly motivated by deep sadness more than anger.
"How's the despair?" "It's come back a bit, I'm afraid." All that finger-chopping and composing, and still the despair is there, and now despair has take over Pádraic and caused Dominic to take his life. The island is just overflowing with despair, except from Mrs. McCormack, who revels in the misery. It's a good thing Siobhan seized her chance to leave.
posted by Pater Aletheias at 8:31 AM on November 8, 2022 [18 favorites]
Just saw this last night. Soooo good, soooo heart-breaking. As said above, the performances are perfect. The humor throughout -- even after Colm's self-mutilations -- just adds to the gut-punch of the film's ending. Loss upon irrevocable loss.
posted by Saxon Kane at 11:38 AM on November 8, 2022
I loved this, but if I'd been told the plot in advance, I'd have refused to watch it. "Your best friend suddenly cuts you off because you're a dull waste of time and then your dumb beloved pet does eating something she shouldn't" is a horror movie. Martin McDonagh is a hell of a filmmaker.
posted by the primroses were over at 8:37 PM on November 12, 2022 [2 favorites]
I suppose the rift between Colm and Pádraic is intended to mirror the war to some extent, but I don't know how far to take that metaphor.
I think that's kind of the heart of it, though I'm not well versed enough in Irish history to be able to parse it all out. Like, I read in an article somewhere that the name "Inisherin" would translate to "Island of Ireland," suggesting a sort of allegory/microcosm.
There seems to be a generational element between the two men. Colm is older, he seems to represent culture and tradition - not just his music, but notice his home is full of artistic artifacts, whereas Pádraic's is rather plain and unadorned. Which just makes the finger-cutting more painful - the one thing he says he wants from the rest of his life, he destroys just to be stubborn? Meanwhile, the slow transformation of Pádraic, from the amiable, dull but charming and goofy friend, to an embittered loner just as capable of senseless violence. I mean, that last scene on the beach... "Well, you survived, so it's not over then, is it?" - which he says with a voice full of spite and a chest full of anger, he who was so pleasant and warm just a few days ago. So damn heartbreaking.
posted by dnash at 3:51 PM on December 18, 2022 [1 favorite]
That's how I took it. But I'm not comfortable enough in my understanding of the war during that time period to chart it out with any level of detail.
It's a pretty fantastic movie, though.
Colin Farrell really just needed to age out of being so distractingly beautiful so that he could find his true calling as a terrific character actor.
posted by DirtyOldTown at 9:52 AM on December 19, 2022 [7 favorites]
I really liked it. The bleakness fits my sense of humor. Especially like the look from Kerry Conden when the village gom says "touché" and Pádraic doesn't get it. Dimmest man in the village ranking in flux! I also like Pádraic's apparent need to light a bunch of lanterns just so they can be carried five feet and smashed angrily.
Acc to the credits Brendan Gleeson composed the song his character composes in the movie which is fun to know.
Colin Farrell is maybe the best actor I don't like. I will see anything he's in, even in that awful movie with artisanal teas and the clone servant. Immense respect. Best actor of his age maybe? But I don't like him. Perfect casting in this movie.
posted by fleacircus at 11:01 AM on December 20, 2022 [1 favorite]
I appreciated the shopkeeper as a type in Irish towns, like the middle-aged lady busybody in Brooklyn who (spoiler): finds out the main characters secret and tries to threaten her with it because knowing everybody's business is just what that person in the town does.
I felt like Colm's rant about the time he's "wasted" listening to Pádraic was a bit of commentary from the filmmaker about social media and how much time we waste on it not engaged with the world.
As a meditation on what it means to live a meaningful life I thought it was really well done.
Also the scenery was something else. I spent a day on the Aran Islands about 20 years ago, and aside from standing on the cliffs where Pádraic waves goodbye to Siobhan, the wandering I did really didn't do the place justice. Colm had gotten too depressed and stubborn to see that living out his days sitting in his rocking chair overlooking the bay and playing his violin is a dotage many of us would trade for in a heartbeat.
posted by dry white toast at 10:47 PM on December 21, 2022 [2 favorites]
I just watched this on HBO Max and really liked it. I thought Colin Farrell was perfect in it. It maybe goes beyond bleak and yet I laughed a lot too. The scenery was beautiful as were the sets and costumes. IMDb says one elderly man made all the sweaters. Siobhan wore colorful yellows and reds and patterns, and Colm at one point had a dull gold sweater that matched the walls in his house.
posted by Sukey Says at 2:28 AM on December 22, 2022
Ooof. So many feelings about this one. Colin Farrell was outstanding (and gets a special award for Best Use of Eyebrows) as was Brendan Gleeson (Best Face for World-Weariness). Absolutely gorgeous movie, too: sets, props, landscape, music, costume were all just right and felt organic. But the bleakness--my God. Not just the civil war between men, but within them as well.
Today, I am thinking about: seeing awful things and the decision to act on that knowledge or not; the currency of gossip; the failure/ inaction of institutions; the inability to express despair (or, maybe worse, to increasingly act it out to the indifference of onlookers); the weight of loneliness; the doubling down on self-violence; and how the death of a loved creature can reveal the tenuous bonds holding us together. (Fleabag: People are shit. Belinda: People are all we have. I kept thinking about that scene, and about the masculinities of Banshees, and Siobhan yelling about another silent man, and please, someone direct me to a good and thoughtful piece about male friendship, loneliness, and silence. "No man is an island, entire of itself; every man is a piece of the continent, a part of the main.") By God, I'll make you choose being alive if I have to kill you myself is dark, dark stuff.
Jenny's death made me cry, and I couldn't stop from that moment until the movie ended. Some animals get the good quilt.
posted by MonkeyToes at 3:28 PM on December 22, 2022 [5 favorites]
I hadn't seen any previews for this and was somehow under the impression that was a maybe slightly dark slice-of-life comedy with a few bits of drama thrown in. It appeared to be proceeding more or less as expected until he cut off his finger. At which point I stopped, skimmed this thread, and told my spouse, "I think this is not the movie for me tonight".
posted by skycrashesdown at 6:40 AM on January 5
Remembering Gleeson punching the air with his mangled hand to emphasize the notes as the music students learn his piece from him. He wants it to be more, to get more out of these notes, but there is no more.
posted by fleacircus at 11:13 PM on January 5
That's right Siobhan, get the fuck outta there.
posted by mcstayinskool at 11:23 AM on January 15 [2 favorites]
Remembering Gleeson punching the air with his mangled hand to emphasize the notes as the music students learn his piece from him.
This was a moment that broke immersion for me, because....he's splattering blood on the table and no one reacts??? There is this extremist violent element in McDonagh's work that I do think is more tolerable in more abstract and stylized plays than in movies that he largely directs in a naturalist style. There's a reason why people aren't rushing to film Titus Andronicus, yet it still gets staged, you know?
posted by praemunire at 12:14 PM on January 15 [1 favorite]
It was a little jarring, though I thought the movie already had a foot in storyland, so it didn't break the spell for me. I hadn't bought into the naturalism. And the strangeness of that moment called me back to appreciate it. "Make sense of this!!!" I like when things are fingerposted har.
I think the bread truck joke was a little more jarring to me, like no no, don't go too far into Toon Town.
posted by fleacircus at 8:06 PM on January 15 [1 favorite]
I loved this, but if I'd been told the plot in advance, I'd have refused to watch it.
Me too! I knew nothing whatsoever about the movie going in.
It's so spare. You can project so many of your own thoughts and feelings into it.
I'd like to second everything Pater Alethias and MonkeyToes said, and also mention a few things that came to mind: the very public confessional; Colm's heartbreakingly short-lived kindness to Pádraic when the abusive cop punches him outside the shop; how eerie it was that Colm's house was full of artifacts from elsewhere. Also the dissatisfied loners I know who've pushed people away; the frustrated artists afraid of their own mediocrity; the seeds of those traits in myself. So many destructive justifications emerging from tangled, multi-layered, contradictory desires to create and connect.
posted by tangerine at 12:35 PM on January 19 [2 favorites]
I am still shocked at how the look of the film - colors, costumes, landscape, animals, actors - contrasts with the story and message. The film, first shot of which is Pádraig with a *rainbow over his shoulder*, shows just how grating it must have felt to live on a beautiful island with such a little group of people. The fact that Siobhan made it out (even into the civil war!) felt like the kindest thing about it. The aesthetic made me think of sentimental Irish films (my beloved Secret of Roan Inish) and then I got slapped by the Beckett of it all. I sobbed over Jenny and the senselessness. But I am still thinking about it. So well done, McDonagh.
posted by Lookinguppy at 2:47 PM on January 23 [1 favorite]
I really enjoyed this, as bleakly beautiful landscapes and dark humour are right in my wheelhouse, but in quite a few ways it reminded me of basically an incredibly grim episode of Father Ted.
posted by Jon Mitchell at 12:12 AM on January 26
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Matt Armstrong Squad Index
Newton Stewart
5' 8 1/2
10st 12lbs
An Aberdeen legend of the 30's, Armstrong developed a great understanding, bordering on the telepathic, with Willie Mills to form one of the most prolific front partnerships in British football. Scored the Dons goal in the 1937 Cup Final against Celtic, he joined the Dons from Port Glasgow in 1931. Top scorer at Pittodrie for four consecutive seasons before the outbreak of war virtually finished his top-flight career, although he did play a number of matches for Aberdeen during the war years. Capped for Scotland and was club record scorer before Joe Harper, although his goals per game ratio was better.
In August 1946, Matt was appointed as the first ever coach of Crystal Palace, not that long after his transfer from the Dons to Queen of the South.
Falkirk 3-0 Aberdeen
Div 1 (Old) 5,000 20 Start
Total Appearances/Goals: 232 164
Scottish International Caps
1936-37 14/10/36
SCOTLAND v Germany
SCOTLAND v Northern Ireland
British Int'l Championship
Wales v SCOTLAND
Total Appearances: 3


Gallery Hours: Tuesday through Thursday 10am to 4:30pm; Friday 10am to 5:30pm; Saturday 10am to 3pm; closed Sunday and Monday.
Cover: $25 Advance tickets; $32 at the door.
Cost: All exhibits are free & open to the public.


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Check out some of our field service business tips and tricks!


text:
Q: accessing variable outside the with keyword in python given this code example
 with lib.localcontext(example_context):
     x = 10
 if x > 0:

it looks like we're able to grab the variable x outside "with" keyword even though x is only declared and assigned within "with"?
How is this possible?

A: Python doesn't scope variables to blocks, only to functions.  This is partly because there are no declarations, only assignments.

redpajama_set_name: RedPajamaStackExchange


I have been making historic props and replicas since the early 90's. Among my favourite replicas are those from the Indiana Jones series of films and books. Below is a list of replicas that I have made for myself. Please browse through the site and feel free to e-mail me with any questions or comments. Please do NOT ask me to sell any of my Indy props. These are for my personal collection only.
This page will show various projects as they progress.
Click on the "Coming Soon" logo for pictures and information.
Visit Magnoli Clothiers for the best in custom tailored vintage-style clothing, adventure wear and gear.
CLICK ON THE PICTURES BELOW FOR DETAILED PAGES OF EACH ITEM.
Using the same techniques from my Grail Diary replica, this journal contains Indiana Jones' life story from 1908-1951 and has tons of drawing and inserts. Bound in leather with a professionally embossed cover, this replica is the ultimate Indiana Jones piece!
This accurate reproduction of a 1930s era US passport follows Indy's travels from 1934 through 1938 including authentically replicated visa stamps.
Tracing Indy's adventures from his spring break in Mexico through his enlistment into the Belgian Army, this 1916 passport replica was based directly on actual pre-War passports.
Found by Indy & Remy just before the end of the war, this map points the way to Alexander the Great's huge diamond, the Eye of the Peacock. It would take Indy sixteen years to find the diamond again... only to lose it in Lao Che's Club Obi-Wan.
These photographs show the various friends, family and influences in Indy's life.
Thirty-nine different inserts are in my Indiana Jones Diary, including seven replica photographs and many pieces replicated from actual film props or historic documents.
One of the most recognizable artifacts from the Indiana Jones trilogy, the Golden Idol is reproduced as a highly detailed casting finished in three forms: genuine 24kt gold, real gold leaf, and a spray-painted stunt version.
This is a 1:4 scale model of the Ark of the Covenant, cast in resin and plated in real 24kt gold. Polished brass rings hold the wooden poles in place, which are covered in a custom-printed cloth.
Cast in solid bronze, decorated with genuine Austrian crystals and mounted on a custom brass fitting, this reproduction of the Ra Headpiece looks like it belongs in a museum!
After Toht burned his hand on the original headpiece, the Nazis were able to cast a rough copy of the artifact to locate the Ark. Cast in zinc alloy and fitted with the same Austrian crystals as above, this unique prop replica can be mounted to a staff using custom machined steel fittings.
One of the contents of Indy's satchel, this top quality pocket knife is made in Solingen, Germany of stainless steel, nickel-silver and genuine stag horn.
This map is seen briefly in the beginning of Raiders. It leads Indy directly to the Chachapoyan temple that houses the Golden Idol of Fertility.
When Indy returns to Marshall College, he hands Marcus these two fragments, worth at least the price of a ticket to Marrakesh.
This sandbag was Indy's only hope of getting the Fertility Idol out of the Chachapoyan temple without setting off any booby traps.
When Belloq joined the Nazis to further his archaeological agenda, they gave him this German passport. This replica is carefully reproduced from genuine WWII Nazi passports using vintage-style fonts and several custom-made stamps.
When government agents ask what the Ark of the Covenant looks like, Indy shows them this page from an old Dutch Bible.
One of the items found in Indy's satchel in Raiders is this field journal. I have made this replica as a blank journal, which I use as a field diary.
This article, from a fictional archaeology journal, describes Indy's exploits during Raiders of the Lost Ark, his successes and his failures.
Without these torches, Indy and Sallah would have been in the dark in the Wells of the Souls. Made out of wood and twine, these torches are fully functional replicas.
No Nazi agent would be caught dead without this collapsable travel hanger. This hand-made replica is a fully functional hanger, made of metal and hard rubber.
This ticket is an exact reproduction of a 1930's Pan Am ticket for the famous "flying boat" that Indy flew in from San Francisco.
Toht passes his time on the long Clipper flight by reading this edition of LIFE Magazine. Replicated here as a one-sheet cover and a full blank magazine.
When the U.S. Department of Intellegence intercepted a German Communique that mentioned Abner Ravenwood and the Staff of Ra, this memo was sent to two officials, who eventually sought the help of one Prof. Indiana Jones.
After getting Toht's copy of the headpiece, Belloq incorrectly located the Well of the Souls with the help of his drawings of the Tanis map room.
A large fight broke out in Club Obi-Wan over a bag of coins, a jade urn, a bottle of antidote and this large diamond, possibly Alexander the Great's "Eye of the Peacock".
Cast from one of the original prop coins, these replicas are held in a grey leather pouch made to the specifications of the screen-used bag.
Jones' object of quest for the second film were these three Sankara Stones, the Sivalinga of Hindu religion. These prop replicas are cast in plaster, painted and carefully finished to match the original props.
This is a set of three manuscripts showing the Hindu priest's ascent to meet Shiva and obtain the five Sivalinga stones. The centre piece was featured in the Temple of Doom, while the other two were designed by me.
The best way the Thugee could think of hurting the hero of the story was by using black magic and this voodoo doll. The body is hand-sewn and stuffed, the head and hat are carved wood, and the jacket is real leather. The entire piece is aged and even has a plaited, cloth whip.
This article, from a fictional archaeology journal, describes Indy's exploits during Temple of Doom and an exhibition of Hindu artifacts.
This version of one of the most unique props in film history has been reproduced as a fictional account of Henry Jones' search for the Holy Grail. Although it incorprates all the pages from the original prop, it reads as a complete story, from Henry's inspiration to begin his quest to the fulfillment of his life-long goal.
This version of the Grail Diary is an exact reproduction of the hero prop, including repeating pages, taped-in pages, all the inserts and even a cue card page for Harrison Ford.
This reproduction is cast in a pewter alloy, brass plated, decorated with custom-cut inlays, genuine freshwater pearls and blue lace agate cabocons, carefully hand-painted and antiqued using several different methods. It belongs in a museum!
The object of Henry's life-long quest was the cup of Christ, the Holy Grail. Just like the original prop, this replica is hand-thrown on a potter's wheel, painted and covered in gold leaf, and aged to look like a two-thousand year old chalice.
Unearthed in Ankara, Turkey, this 12th Century tablet gives cryptic clues to the final resting place of the Holy Grail. I've also recreated the missing top portion, which pinpoints the city of Alexandretta.
Hung on Henry's wall is this medieval painting showing the third trial on the path to the Holy Grail, the leap from the lion's head. This replica is completely hand painted with gold leaf highlights and mounted on an aged board, scarred in all the right places.
Another work of art that adorns Herny's cluttered house, this medieval painting is accurately replicated by using a print as the centre piece, mounted on a central board, detailed in red and gold, and bordered with a hand-cut, stained and aged frame.
Sitting amongst Indy's scattered papers, books and artifacts upon his desk is this old fashioned brass magnifying glass. This reproduction is both screen accurate and very practical with a quality 4" lens.
Issued in 1934, this passport replica contains Henry's travels from the States to Venice and Germany in search of the Holy Grail.
Based on the original seen in the film, this German travel document allowed Henry to carry on research in Germany without seeking employement.
Based on the travel document above, this flyer details Henry Jones' Sr.'s terrible crimes against Nazi Germany.
This is a vintage-looking i.d. card of "Atilla the Professor", the one the kids hope they don't get!
Modeled after the original Henry flyer prop, this wanted sheet has a photo of Indy with all his crimes against Nazi Germany detailed in German.
This identification card, issued by Barnett College where Indy teaches, contains all the accurate information given in The Last Crusade. Indy's 1938 driver's license is based on actual vintage documents of the period.
For Indy and Henry the quickest way out of Germany was by Zeppelin. This replica ticket, based on actual zeppelin tickets, is a full sheet, folded in half, just like the original props. It is entirely filled out and makes a great diary insert.
A Nazi soldier hands Donovan this telegram from Hitler informing him to "eliminate the American conspirators".
This article, from a fictional archaeology journal, describes the exploits of father and son during The Last Crusade as well as several Christian artifacts, including the Cross of Coronado and the Chalice of Antioch.
This page shows all the various inserts I made for my diary.
This rubbing is made with wax on thin paper. It can be easily folded (just like the original prop) and tucked away in the Grail Diary.
When the first emperor of China was buried in his large mausoleum, surrounding him were vast trenches filled with terra-cotta soldiers, horses and war carts. Here are four examples of the famous archaeological discovery.
This ancient medallion contains the lifeforce of one of the elders of Atlantis, Nur-Ab-Sal. It is here replicated in resin, painted in several layers of enamel and acrylic paint, giving it the appearance of a tarnished copper relic.
Featuring an article on one of Indy's digs in Iceland, this vintage-style periodical is realistically aged using several techniques.
Inspired by the horned idols seen in the computer game and comic book series, Indiana Jones and the Fate of Atlantis, I plan to make this replica in several finishes including aged wood and tarnished copper. A unique addition to my Indiana Jones prop replica collection.
Also called the Holy Lance (Die Heilige Lanze), this all metal spear is an accurate reproduction of the weapon used by the Roman centurion Longinus to pierce the heart of Christ at the Crucifixion.
This is the only replica of this great Christian artefact available to the public. Believed by many to be the authentic Holy Grail, this museum-quality reproduction comes in several precious metals including pewter, 24K gold plated bronze, to pure silver.
The cloth in which Our Lord was buried is reproduced here as a cropped portrait on canvas or linen. Based closely on images of the original shroud, this hand-painted replica is pefect for framing.
This three-thonged whip, called a flagrum in Latin, was used to scourge Christ before He began the long walk to Calvary to be crucified.
Mocking Christ, a Roman soldier platted a crown of thorns and placed it on his head. This full sized reproduction is based on the evidence seen on the Shroud of Turin that the crown was more of a cap than a wreath. Also available is the traditional wreath design as seen in Mel Gibson's The Passion of the Christ.
After being led up to Mt. Calvary, Christ was laid upon a large wooden cross and nails were hammered into His hands and feet. Replicated here as full-sized reproductions, these nails are treated with a special patina to give them the appearance of ancient iron relics.
The price paid for the betrayal of Judas were these thirty silver shekels. Cast in metal, plated and antiqued these reproductions look and feel like genuine ancient coins.
This scrap represents a small sample of the many scrolls found in the Dead Sea region of the Holy Land.
Pontius Pilate put up this sign above the Cross stating the crime for which Christ was crucified: Jesus of Nazareth, King of the Jews.
This is a detailed copy of the map from The Hobbit, hand-drawn on canvas, completely transliterating into Tolkien's Runes. When held up to the light, the mystic moon runes appear, hand painted on the canvas.
Cast from three original prop coins used in The Desolation of Smaug, these highly detailed coin replicas are cast in a weighty zinc alloy, then gold plated for a brilliant shine.
This legendary volume contains the entire story of The Hobbit and The Lord of the Rings, in the words and hands of Bilbo and Frodo Baggins. Bound in red leather with silver foiled accents, this reproduction contains dozens of high quality drawings, several maps and is entirely aged to give the appearance of an ancient journal.
This blank journal is based on Bilbo's Red Book in which he wrote The Hobbit and then passed on to Frodo to complete The Lord of the Rings. It has a genuine red leather cover embossed with elvish designs, silver foiled with a star and Bilbo's initials, and contains three hundred blank pages.
This map is an exact replica of the prop seen in Bilbo's study in the Fellowship of the Rings. It is printed on specially aged parchment and mounted on an aged Rimu frame.
These maps, drawn by Bilbo as a record of his various travels and favourite walks, are inked in brown and red and carefully aged using several techniques.
This scroll, written in Isildur's own hand, is a description of the Ring he took from the finger of Sauron. On the bottom of the sheet is a copy of the inscription upon the Ring.
Another highly detailed map from Tolkien's Middle Earth, this replica was drawn and illustrated by hand using traditional dip-pens, realistically aged and looks great framed.
This antique-looking shield is entirely hand-carved and aged to perfection. Around the lower ring is Tolkien's ring inscription, ending at the top of the crest where is carved a representation of the ring itself. In the centre of the lower ring is a carved eye, with a hand-cut faux-crystal in the centre.
The only brand that the Cigarette-Smoking Man touches is Morley. Replicated from images of the original props, this cigarette box is one of the most unique pieces of X-Files memorabilia.
Another fictional brand created for the show, SPITZ sunflower seeds are Mulder's favourites. Carefully replicated from an original prop, this is certainly a "for-serious-fans-only" reproduction.
After a group of Caribbean-based pirates plunder a cursed horde of Aztec coins, they are forced to wander the seas in search of every last one to remove the curse.
One of Captain Jack's trademarks is this unique red bandana. Direct from the manufacturer of the original costume piece, this bandana is 100% accurate in every way. Available in two color combinations, both used in the films. Also shown here is one of Jack's unique rings.
This old, stained cloth shows a drawing of the key that opens Davy Jones' "Dead Man's Chest". Also replicated here in great detail is the Royal pardon offered by Lord Becket.
One of the most classic treasure maps in film history, The Goonies Map is instantly recognizable by movie fans. Reproduced here in great detail, using several aging methods, this version has all the details of the hero prop, often neglected by other replicators.
Cast in metal and carefully antiqued, this coin is an exact reproduction of the prop which leads The Goonies to the discovery of the secret passage and eventually to One-Eyed Willy's treasure. Also shown here are some of One-Eyed Willy's treasure coins, cast from an original prop.
This "key" to One-Eyed Willy's treasure was found by Chester Copperpot, but the quest was completed by a group of intrepid youngsters knows as The Goonies. Along with the "Copper Bones", Mikey found Copperpot's wallet, replicated here with a few vintage items.
Before Marty returns Back to the Future, he writes Doc a letter, warning him of events in the future. Replicated here are both the 1955 "clean" version and the 1985 "aged" version.
From the cult classic film Time Bandits, this large canvas map shows the locations of various portals through which one can travel through time and space.
The most famous document in American History is replicated here in full size, carefully aged by hand. This National Treasure even has a few surprises hidden on the back of its old parchment.
Various imagery on this ancient medallion represent the intertwined history of the Freemasons, Knights Templar and Founding Fathers of the United States.
This high-quality leather document tube is the perfect companion for a Declaration of Independence replica, but is also a fully functional and practical carrying tube.
I've created a replica of Richard Blaine's passport as well as several prop replicas from the film, including Ilsa's water-stained good-bye letter.
Based on an original prop, this 1972 era Illinois drivers license shows one of the Blues Brothers, Elwood Blues.
These hand-made passports are the perfect companion to any film or historic memorabilia. Passports can be made from several eras and countries, with a choice of visa stamps from over thirty locations. Great for re-enactors or to compliment any historic costume.
Both James Bond and John Lennon would have carried a passport like this one during their travels. Carefully recreated from vintage passports, this reproduction is complete with 32 pages, custom-printed paper and authenticating stamps.
Robert Ludlum's Bourne Identity follows the quest of Jason Bourne to restore his lost memory after a traumatic injury. Copied from several modern passports, these replicas show Matt Damon as Bourne following his travels across Asia and Europe before he is washed up in the Mediterranean.
Based on the US passport from the 1980s, this prop replica follows MacGyver's travels from the beginning of the first season (1985) all the way to the last movie made in 1994.
This passport is based loosely on the modern U.S. Passport, but modified into a generic international passport suitable for customizing. This prop is perfect for film, television or stage use when permission to use genuine passports or likenesses is not easily or quickly available.
Give your micronation a sense of true sovereignty with an official looking passport. Completely customizable and enclosed in a genuine gold or silver foil cardstock cover.
This passport is based on the now-defunt modern Mexican passport. Made for a film documentary, this passport has a linen-textured cover with gold foil accents, micro-printed background paper and custom-made stamps and visas.
In the 1940s, Basil Rathbone starred in several Sherlock Holmes movies, leaving an indelible mark on the minds of movie-goers. This passport is based on these modernized versions of Doyle's famous detective. Based on vintage British passports of World War II, this replica is full of visas from around the world.
In Sir Arthur Conan Doyle's novel, Sherlock Holmes is given this eighteenth century document to read telling the legend of the Hound of the Baskervilles that terrorises the English countryside and which leads him on one of this most famous cases.
Known for his whit and use of Chinese proverbs, Detective Charlie Chan spent much of his time away from his official job in Honolulu. This passport replica features Warner Oland as the famous detective and chronicles his adventures around the world.
This authentic Japanese passport replica chronicles the international exploits of agent Mr. Moto as he travels the global solving mysteries.
One of the best baseball movies of all times, The Natural tells the story of Roy Hobbs, a mysterious athlete with amazing skills. I have reproduced a few props from this film including a Hobbs baseball card and the New York Knights lucky charm, a WWI lightning bolt patch.
This wanted flyer was scanned and remastered from an original prop from the film The Fugitive starring Harrison Ford. Several of these wanted posters can be seen in the film.
A major character in the film Cast Away, this volleyball was transformed by Tom Hank's character from an ordinary piece of sports equipment to a lovable friend and confidant.
For those of you who are making your own diaries or want one modified, I can entirely recover your journal in a variety of leathers, to more closely match the original prop.
This memorable newspaper tells the first-hand history of the famous shoot out at the O.K. Corral in 1881. Also shown here is a replica letter from Virgil Earp, requesting a downsizing to his police force just before the shoot out.
Add authenticity to any of your prop replicas with this genuine looking museum tag, featuring fictional information about your piece.
The perfect addition to any prop replica is a custom made display stand.
This site is not associated with Lucasfilm. Indiana Jones is a trademark of Lucasfilm, Ltd. These replicas are works of fan art from the collection of Indy Magnoli.


text:
Q: .NET Validators doesn't work I have simple page Page.aspx like this:
<asp:Content ID="Content2" runat="server">
  <asp:PlaceHolder ID="phNewAddress" runat="server" />
</asp:Content>

In code behind is:
protected override void Page_Load(object sender, EventArgs e)
{
  AddressDetail xControl = (AddressDetail)Page.LoadControl("AddressDetail.ascx");
  phNewAddress.Controls.Add(xControl);
}

AddressDetail.ascx is:
  <asp:TextBox ID="address_name" runat="server" />
  <asp:RequiredFieldValidator ID="rfv" runat="server"
    ControlToValidate="address_name" ErorMessage="Required" ValidationGroup="save">*
  </asp:RequiredFieldValidator>

  <asp:DropDownList ID="address_state" runat="server" AutoPostBack="true" />

  <asp:Button ID="btnSave" runat="server" Text="Save" ValidationGroup="save" OnClick="btnSave_Click" />

DropDownList address_state is binding from datasource.
Now. After page is loaded and I press Save button, validator doesn't work.
But if I change DropDownList, so fire postback, and then press Save button, validator works fine.
Can anyone help me?

A: I am guessing validation controls work with viewstate, Move the  below code from Page_load event to Page_Init event  and see if it works.
protected override void Page_Init(object sender, EventArgs e)
{
  AddressDetail xControl = (AddressDetail)Page.LoadControl("AddressDetail.ascx");
  phNewAddress.Controls.Add(xControl);
}


We have just begun our study of contemporary issues and their link to biblical text. Each Friday, the facilitator will email the news topic for Sunday discussion to you. Please contact debyagmin@yahoo.com so she can add you to our email list. We meet in the Gathering Place downstairs at 9am. Coffee will be available in Fellowship Hall, so grab a cup before you join us!


My story is the classic scenario of preparation meeting opportunity. I was prepared and inspired by others and I walked into opportunity.
I started LEAP Forward, Inc.
to facilitate the preparation of our youth – they need the tools to succeed.
to increase awareness of opportunities and open doors- they need to be exposed to more.
One day while walking down a hall in my high school, my counselor stopped me and asked if I was prepared for life after graduation. I replied "yes" and gleefully expressed my plans to attend college in Virginia and major in English with a concentration in Journalism. He asked what would I do with that degree and I replied, "teach English while I work on my journalism career". He stated, "You know teachers don't make much money." That was in 1975 and yet sadly it still rings true today.
My counselor, Mr. Wallace Leeper continued and noted that I had completed numerous math and science classes. With my background he felt that perhaps I should consider an engineering career. He told me that there was an engineering affirmative action program that allowed minorities to attend college with financial assistance and maintain employment during the summer at a Navy facility. What really caught my attention was the fact that some of my friends were going to apply also. I trusted his judgment and we began the process.
It is ironic that I didn't even know what an engineer was or what they really did. You see I had no role models and no one visited my high school to introduce me to this exciting career option. However my counselor was determined that I get into this cooperative education program. He marched me to his office and helped me to complete the application. He wrote the responses as I answered his questions. Mr. Leeper submitted the application and we waited. I was selected to be interviewed and in spite of a "D" in geometry, I was accepted into the program. My story is proof positive that a little direction and encouragement can go a long way. Just as I was helped - I want to help others.
I became the first African American woman to graduate from the PAX-TENN cooperative program and my career accomplishments have allowed me to progress from a Government service level 2 to 15. I have worked on major defense and aviation programs and have traveled to approximately 42 of the 50 states and internationally.
My dedication to education afforded me degrees from TSU, USC, and PENN. All financially supported by the Navy! What a blessing!
In spite of the fact that I was never introduced to an engineer while in high school, never attended an engineering workshop, or participated in a industry or college tour, I made it.
In spite of my upbringing in a rural tobacco growing community and an economically disadvantaged background - I succeeded. My mother (Grace) and grandmother (Violet) supported me tremendously.
I thank God for His hand on my life and always providing someone to lend a hand, open a door, or provide an opportunity.
I have a story to tell that will inspire youth. My dream is to see multitudes tap nontraditional math and science career options and enjoy life's successes and prosper.
"I Dare to Dream. I am the product of Dr. King's Dream and I also have a Dream."
Launching Educational Assistance Programs Forward, Inc. aka LEAP Forward, Inc.
Copyright 2006 :: Click here to e-mail LEAP Forward Inc.


With Grace Episcopal Church set to hold its annual parish meeting Sunday the 27th, here's a potentially useful inflection point. Specifically, in January 2016, through my attorney, I offered to settle the matter in exchange for nothing more than Bob Malm's written agreement to act like a priest. That's right — simply stop disparaging me and stop intefering in my participation in the church. Additionally, we asked that the matter be treated as confidential.
Now that people understand what really makes Bob and the church tick and are backing away Bob, being the manipulative little weasel he is, is playing his usual games, taking words out of context, claiming he's been threatened, and asking the Alexandria police if there is any way they can take away my First Amendment rights. Having been repeatedly told that there isn't, Bob's fallback has been to argue "abuse of First Amendment rights," in his emails to the diocese. And, of course, his old fallback, which is to conduct smear campaigns behind the scenes.
In all of this, of course, Bob conveniently overlooks the fact that that is the very reason for the First Amendment—to engender accountability, including for dirtbags like Bob Malm.
I mean.... ask yourself, how confidential could it really be if it's posted on Fairfax Underground for anyone to see?
What kind of simpletons do you take us for, Eric?
Just think how much more time Big Bobby would have had to play golf if he'd opted to go this route.
Sugarland's very own Malmold Palmer!
He didn't agree to pay us anything, simpleton! I mean, being a terrorist he should have reimbursed us, ohIdunno....maybe $600,000. I mean, how else am I going to get my damned air conditioning?


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