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<TITLE>Review for Contact (1997)</TITLE>
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Contact (1997)

reviewed by
Monika Huebner

Contact

A movie review by Monika Huebner
Copyright 1998 Monika Huebner

Director: Robert Zemeckis
Starring Jodie Foster, Matthew McConaughey, Tom Skerrit, Angela
Basset, John Hurt, James Woods

Even as a child Ellie Arroway (Jodie Foster) shows a strong affinity
for natural sciences fostered by her father until his untimely death.
She has a particular predilection for astronomy and the search for
intelligent life on other planets. After obtaining her doctorate at
MIT she gets a job at the SETI institute in New Mexico. When after
years of unavailing research the money for further projects is denied
to her, the most incredible thing happens: she receives signals
originating on a star named Vega 26 light years away. Having grappled
with the initially alarming nature of the message (a TV coverage of
the 1936 Olympic Games' inauguration at Berlin), they discover coded
information containing the construction manual for a mysterious
machine. The United States decide to build it, turning a blind eye to
opponents who suspect a diabolical instrument for the elimination of
mankind. In fact, the first test run ends in a catastrophe, albeit in
a somewhat different way than most people had feared. The project
seems to be finished, but Ellie is still in for a surprise.

CONTACT presents Jodie Foster in one of her best parts ever, namely an
ambitious scientist called Dr. Ellie Arroway who has to stand her
ground in a field traditionally belonging to the men's world. The only
trouble is that she does it because of a childhood trauma – she never
managed to overcome the loss of her beloved father. Quite obviously,
Hollywood still hasn't grappled with the dilemma of accepting a strong
female character simply behaving in a 'normal' way as it would be
naturally expected of a man. This can also be seen from the fact that
previous to a press conference at which to report her research results
to the public Ellie, who otherwise seems to have rather little
interest in secular things, is preoccupied with only one thought:
where to get a particularly attractive and extravagant dress. In a
film such as CONTACT, which contrasts agreeably with science fiction
films commonly produced in tinsel town, this detail is especially
conspicuous.

Robert Zemeckis' film is a strikingly close adaptation of Carl Sagan's
novel and consequently encompasses the 'faith versus science' issue
repeatedly touched on by Sagan. For example, the construction of the
'machine' attracts a phalanx of religious fanatics preaching the end
of the world. In many individuals the impending turn of the century
evokes the angst of the Judgement Day, equally well known to our
modern society as to medieval Europe 1000 years ago. Another matter of
great human concern is the question about the existence of God, or
whether it is right to send scientists to a remote star although they
don't believe in God. The church is embodied by 'Father' Palmer Joss
(Matthew McConaughey), a former priest who appears as a confirmed
representative of the Catholic faith although for personal reasons he
did not finish the seminary. The love story, which seems to be
compulsory in Hollywood, starts to blossom between him and Ellie; in
this film however, it is a drawback rather than an asset because it is
virtually redundant and does not promote the action.

Having said that, CONTACT is one of the films most worthy to view this
year with its placid yet not boring narrative and a flood of fantastic
pictures especially captivating. The special effects do not simply
function in their own right, but because they are elements required by
the plot. They provide the film with an aesthetic quality rarely to be
found in this genre. Right at the beginning for example the audience
is taken on a ride through the solar system to the centre of the Milky
Way, the significance of which is only revealed in the course of the
film.

Some may think that with a 2½ hours' run CONTACT is unreasonably long,
but that way the story has time enough to develop. The main cast is
perfect and several cameos of American TV celebrities render the
scenario even more realistic. So if an action spectacle featuring many
explosions, shoot-outs, spaceships and chases is something you can
very well do without, you should not miss out on this one.

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text:
Q: Geometric inequality $180^{\circ}\left(1-\frac1n\right)\le \angle{AMB}$
Point $M$ is located inside a regular $n$-gon. Prove that there exist different vertices $A$ and $B$ that
  $$180^{\circ}\left(1-\frac1n\right)\le \angle{AMB}\le 180^{\circ}$$

My work so far:
Let $d(M,A_iA_j) -$ the distance from a point $M$ to $A_iA_j$. Let $A,B$ such that   $d(M,AB)=\min d(M,A_iA_j)$.
I want to prove that $180^{\circ}\left(1-\frac1n\right)\le \angle{AMB}$. I need help here.

A: Consider a regular $n-$gon inscribed in a circle with centre $O$. $A$ and $B$ are two of it's vertices and $M$ is a point located on/in any one of the $n$ equilateral triangles
It can be seen by exterior angle theorem, that for this regular $n-$ gon, $\frac{360}{n} \leq \angle{AMB} \leq 180^{\circ}.$
But we are required to prove that $180 \cdot (1-\frac{1}{n}) \leq \angle{AMB} \leq 180^{\circ}.$
So, by placing the point $M$ inside one of the $n$ equilateral triangles, we just need to to prove that $\frac{360}{n} \leq 180\cdot (1-\frac{1}{n})\Rightarrow n \geq 3$, which is indeed true for all regular polygons.

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Ciderspace News Page : Roadworks Changes For The West Ham And Stockport Games
5 November 2018 : Roadworks Changes For The West Ham And Stockport Games
It wouldn't be possible to stage a Yeovil Town home match, without there being new roadworks to tell you about. In fairness, this is the second phase of an ongoing section of road closures that were known about last month, but now move on to provide resurfacing work and further enhancements in the area as part of Somerset County Council's Western Corridor improvements. The works will affect Tuesday night's home match against West Ham United Under-21s and to an extent will affect Saturday's FA Cup First Round tie against Stockport County. Note that the arrangements are different to past publicised roadworks, so if you've been to previous home games, or travel around the area, expect road access changes to be in place this week.
The first thing to note is that after the West Ham Under-21s match, Bunford Lane will be closed between Westlands Roundabout and Bluebell Roundabout. The closures will take place overnight between 8.00p.m. and 6.00a.m. and so will only affect supporters after the match. However, the crucial bit is that you will not be able to gain access to the A3088 leading out to the Cartgate Roundabout from that side of roadworks. If you really need to reach the Cartgate Roundabout area, you might want to consider leaving the town via the A37. The official diversion route takes you on a huge loop around the town and via Lysander Road. These overnight closures are set to be in place between November 5th and November 23rd. They will not affect Saturday fixtures (unless you leave Huish Park extremely late).
Local fans have told us it is possible to reach the A3088 by heading onto minor roads from Houndstone, and then looping around Montacute before coming back out onto the A3088. However, that will depend on whether you are comfortable with a few village lanes and the 20mph speed limit through Montacute. It's certainly not a route we would recommend for larger cars or coaches - head via the A37 if you fall into that category.
The second thing to note is that there will be a one-way system on Lufton Way reintroduced, and this will apply on a 24x7 basis. Traffic will be able to access Lufton Way from the Preston Road Roundabout but will not be able to exit from Lufton Way to the Roundabout. You'll need to loop clockwise around the ground and reach the Preston Road Roundabout via Western Avenue. The expectation is that this diversion will be in place until December 21st and so will affect all home matches during that period. If you park in the Main Stand car park, or use street parking around Screwfix, you'll need to turn right after the game and loop around the ground.
Edit: Added additional information for those comfortable with using village lanes via Montacute to reach the A3088.
Link: Ticketing For EFL Trophy Yeovil Town vs West Ham United.
Three phases of overnight roadworks south of Yeovil Town's Huish Park affecting evening games.
05/11/2018 : Date Set For FA Youth Cup Second Round Tie
05/11/2018 : Venue Switch For Somerset Premier Cup Tie
05/11/2018 : Roadworks Changes For The West Ham And Stockport Games
05/11/2018 : Darren Way Talks About Morecambe Away Team Selection

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Is the basil in your garden reaching its peak, but the tomatoes nowhere near being ripe?
Just when you'd like the basil to cozy up to those tomatoes in a salad bowl, these crops never mature at the same time.
time to use with those tomatoes that will ripen in a few weeks.
juncture above a pair of leaves.
But what to do with the armful of basil you pick now when they're aren't fresh tomatoes for a salad?
I've written posts on pesto before, including pesto with shrimp (click here), and a basic pesto primer (click here) that shows you how to make a real pesto alla Genovese, and how to keep your pesto a bright green color.
home, I combined it with the pesto and served it over fusilli pasta.
Not up for so much elbow grease? No problem. It's a snap to make in a food processor.
You can whir everything together, then start the pasta cooking while you sauté the zucchini.
In the time it takes to boil the pasta, dinner can be on the table.
Sauté the zucchini rounds in the olive oil, adding salt and pepper to season. Cook until softened, but not mushy.
Start the water boiling for the pasta while you prepare the pesto sauce.
falls off in a stream. Use your judgment.
sauce when you're mixing the pesto into the pasta.
sauce. Serve with additional parmesan cheese, if desired.
Here's a tart that's guaranteed to frustrate you. If you stay with it though, you'll be rewarded with a tart that's a visual stunner and tastes wonderful too. But don't say I didn't warn you when your pastry collapses, when you don't have enough strips of veggies, or you run out of ham because you're eating it instead of tucking it into the tart shell. Can you hear the swear words across the screen? Yea, just sayin'…..
The first glitch came with the puff pastry called for in the recipe. It said to line a springform pan and prebake it for 10 minutes. Well, good luck with that, as the buttery dough decides to slide down the sides of the pan.
Oh, I know what I'll do. I'll use a tart pan instead, and drape the dough over the sides, then trim the edges flush with the border.
Nah, the puff pastry did its thing and "puffed" up almost to the top of the pan. And yes, I pricked the hell out of it before it went into the oven — to no avail.
But I wasn't going to let some bully of a puff pastry keep me from making this tart, darn it. So I moved to plan three and scratched the puff pastry idea, making a traditional tart pastry instead – and it worked. Take that, you ornery puff pastry!
OK, so the next cast of characters are these veggies – green and yellow zucchini, orange, yellow and red rainbow carrots.
You could try using a vegetable peeler to make the strips, but I used a mandoline instead.
I didn't want any accidents, so I stopped cutting when the pieces got too close to the blade. Don't waste them though. They're perfectly fine for cooking as a side dish some other time.
You'll need some ham for this too. I used a "French" ham that I find at my supermarket. It's a very delicate flavor and the closest thing to prosciutto cotto I can find in the states. It's also very delicious, which is why I couldn't stop eating it out of hand, and ran out of it before I got to the end of the rolling.
OK, so what you do first is parboil the veggie strips for a couple of minutes, let them cool, then start rolling, beginning with a strip of one of the veggies. Alternate with the ham and continue rolling.
The parboiled strips of veggies will stick to each other, and so will the ham. This part is not hard, but time-consuming. And I didn't cut enough of the veggie strips and had to go back to the mandoline and cut more – and parboil more.
The recipe called for a 6 inch diameter pan, but I thought that was too small to serve a group of people, so I used an 8-inch pan instead. It seemed as though I'd never get the spiral large enough, but I did – finally!
The next hurdle was transferring the spiral to the (pre-baked) tart shell. I used my hands and a large spatula, and while it was a little tricky, with some of the spiral getting dislodged, in the end I managed to put everything back in place and no one was the wiser.
This part is easy – pour the filling over the top and spread in between the cracks. If you roll your spiral a little looser than mine, you'll have more space for the filling. (But warning – it will undoubtedly be harder to transfer the spiral to the tart shell.) Now, you're practically home free – just bake in the oven.
If you do, please write me and let me know how it worked out. If you're still speaking to me.
into strips with a vegetable peeler.
prepare a large bowl of cold water.
in cold water to stop cooking, drain well and dry with paper towels.
zucchini in length. The slices should overlap slightly in length.
You'll get a long strip of zucchini.
the same way and with the carrot.
zucchini, carrot and ham this time.
then you should get the same as the first picture.
pan and let the precooked for 10 minutes at 180°C/350°F (HA! good luck with that).
little. It should look like the second picture.
Bake for thirty minutes at 180°C/350°F.
For the pastry, put everything except the cold water into a food processor. Pulse until it is the consistency of damp sand. Add the cold water and pulse a few more times, until the dough sticks together. Roll into a disk and wrap in plastic wrap. Let it rest in refrigerator a little (if you have time and patience, even a half-hour rest helps), then roll it out on a floured board and fit into a tart pan. Prick the bottom and sides of the pan with a fork. Refrigerate the tart pan for an hour, then bake at 350 degrees for about 20 minutes.
For those of you with gardens, your zucchini is coming in fast and furious right now, I'm sure. If you haven't got a garden, they're plentiful in farmer's markets too. How to use all those zucchini? I've posted lots of recipes on the blog, from stuffed zucchini to raw zucchini salad to chocolate zucchini cake. But grilled veggies are great for summertime, especially if you're having guests. You can make this ahead of time and serve it at room temperature. And sometimes you want something different from the ubiquitous potato salad and oil-and-vinegar-based side dishes. That's where grilled veggies come in. My favorite is zucchini, because they don't soak up as much oil as eggplants. Here I've combined the zucchini with roasted peppers (instructions here), and a sprinkling of feta cheese. Start with slicing the zucchini rather thick – about 1/4 inch. If the slices are too thin, they'll scorch on the grill. Thick slices gives the zucchini time to cook on the inside and develop nice grill marks too.
I don't have a picture for you, but I normally put the slices in a large bowl, season with minced garlic, salt, pepper and fresh herbs – here it's chives and thyme. Pour some olive oil into the bowl, then mix everything together, using your hands. Place the slices on the grill (don't stray far, they'll cook fast) and turn them once, until they're browned on each side.
Serve them alone, or with roasted peppers, more fresh herbs and a scattering of feta cheese.
Onions are great on the grill too, but to avoid having the rings fall through the grates, I use an aluminum foil pan. Run a little olive oil on each side, then season the same way – salt, pepper and fresh herbs. These take a little longer to brown, but it's worth the wait for that caramelized goodness. I use the same technique for grilled tomatoes.
If you have leftovers, so much the better. Grilled veggies are delicious in a sandwich, as a topping for pizza, or added to pasta or rice.
Slice the vegetables on the thick side (about 1/4 inch). Place in a bowl (not the onions or tomatoes – put them on an aluminum pan and season with the oil, garlic and herbs) Pour some olive oil over the vegetables to coat them, season with the garlic, herbs, salt and pepper. Place on a hot grill and turn once, after the first side has developed nice grill marks. Flip and do the same on the other side.
Anyone who's ever eaten or made ratatouille has an opinion on what the dish should taste like and how it should be prepared. Let me just say there is no definitive version. There's only the version you like. The version I like? It spoke to me at a Provencal restaurant along the Mediterranean Sea nearly 25 years ago. "Use more olive oil," it said. "Use more red peppers," it said. So I listened. And I made it. But it wasn't the same. So I made it again. And again. And again. After years of trial and error, I finally figured out why I so loved that particular ratatouille in a little French village near the Italian border on that particular night. Yes, I liked the heavy hand the chef had taken with the olive oil, and yes I liked the abundance of red peppers. But it was technique as much as ingredients that made the dish special. The key to this particular recipe is layering. Don't just throw all the vegetables into the pot and expect it to transport you to St. Tropez. Read the instructions and you'll see what I mean.
This makes a great side dish, particularly with sausages or pork as a main course. But it's wonderful as a main course too, in individual casseroles topped with grated parmesan cheese and placed under the broiler for a few minutes. It's the next best thing to being in Les Baux.
Serves six as a side dish or four as a main course.
I prefer more red peppers (a lot more) and zucchini and fewer eggplants than most ratatouille recipes, but you can substitute anything you like.
Saute the onions in part of the olive oil for about 10 minutes, or until translucent and golden. Remove the sauteed onions to a plate or bowl.
Add more of the olive oil and the zucchini. Saute for five minutes or just until the pieces begin to soften. Remove and place on a separate plate.
Add the peppers and saute for five minutes. Then add the onions and zucchini back into the pot with the peppers. Add the garlic and let it saute a few minutes.
If using fresh tomatoes, peel the skin ahead of time by placing in a pot of boiling water for a few minutes, then cut in half, clean out the seeds and dice the flesh. Add the tomatoes to the pot. If using canned tomatoes, do not use the liquid in the can at first. You can add it later if the mixture looks too dry.
Add the salt, pepper and herbs de provence and simmer at medium heat for 20 minutes with the lid off, to help evaporate some of the liquid.
With this recipe, I didn't start out on the right foot, or shall I say, finger. I bought a mandoline two months ago and the box was still unopened. I'll bet you already know where this is going.
The zucchini plants in the garden were still producing glossy green spheres, so I thought I'd inaugurate the contraption with them. It was time to open the box and get started. Unfortunately, my thumb and a slice of flesh got in the way.
Six Band-Aids, two pints of blood (ok, so I exaggerate a little) and a half hour later, I tried again — this time using the protective thingamajig that comes with the mandoline.
Although it's the beginning of September and the weather should be starting to cool off, we had a nearly 90 degree day here in New Jersey — hot enough so that a cold salad seemed like just the ticket to accompany the grilled steak I was planning for dinner.
I pulled out the mandoline –not essential for this salad, but it does slice the zucchini paper-thin. In the photo, you can see how nearly-transparent the slices are. It's hard, but not impossible, to get them as thin if you are slicing by hand. Just make sure you're slicing by hand, not slicing a hand, like I did.
I used one large round zucchini, but you can make this recipe with the long ones as well. One large zucchini generously serves two people.
This isn't a true carpaccio like beef carpaccio, the thinly sliced raw delicacy, which by the way, was named after Vittore Carpaccio, a Renaissance artist who used lots of brilliant red in his paintings. But when your mandoline demands a pound of flesh from you, I think you can take liberties with the name. Besides, I used my share of brilliant red too. That is, if you're counting hemoglobin.
Slice zucchini and assemble on plate. Grind salt and pepper on zucchini slices. Sprinkle with chives, crumbled goat cheese and pine nuts. Whisk olive oil and vinegar together and drizzle on top.
I know I just posted a zucchini recipe, but the season is almost gone for these fragile, delicate-tasting blossoms, so you've got to move fast if you want to try them this year. When we lived in Italy, we saw them at markets everywhere, but they're not so easy to find in U.S. stores. Farmers' markets are your best bets, unless you've got your own garden. And if you don't have a vegetable plot, once you've tasted these, you'll want to start digging – or make friends with someone who does have a garden.
My favorite way to eat these beauties is to stuff them with mozzarella cheese and a sliver of an anchovy, then dip into a batter and deep fry.
They are wickedly good prepared this way, but I limit myself to this indulgence only once a year, since they're also wickedly caloric too. If you find yourself with an abundance of blossoms and don't want to go the deep-frying route, you can slice them into thin strips and add them to omelets, frittatas, even a risotto.
For each of these recipes, soak the zucchini blossoms in water to get rid of any garden pests that might be lurking in the crevices. On the other hand, if you miss one here or there, a little more protein won't be so bad.
Lift the blossoms from the water carefully, then dry on a paper towel. Carefully spread open the petals and with a flick of a finger, remove the pistol inside.
Slice the mozzarella into sticks and gently insert one piece of cheese and one small sliver of anchovy into the flower (you can omit the anchovy but it does add a nice zing). Dip into batter and deep fry in hot oil.
Mix the cheeses, then very gently, using a demitasse or small teaspoon, insert a portion of the filling into the flower. If you are adept at using a piping bag, use that instead of a spoon, since the flowers tear easily. But even if they do rip a little, don't worry since the batter will coat them sufficiently to hide any rips. Dip into batter and fry in hot oil.
Just mix enough flour (one cup is plenty for a dozen blossoms) and enough sparkling water until you get a mixture that's the consistency of pancake batter. It's best to let it sit at least 15 minutes to help make it smoother. Dip the flowers into the batter, and deep fry in hot oil. I use a cast-iron skillet and fill it about 1/2 full with canola oil. I also use the burner on my outdoor gas grill, which helps to keep the kitchen spatter-free. Drain on paper towels and eat immediately.
happen to zucchini when you turn your back on them for even one day.
One day the vegetables are little baby orbs at the end of a stem. But in the dark of the night when you're not watching, they mainstream steroids, and morph into something nearing the size of a baseball bat.
So for all of you with an abundance of zucchini, here's another way to use those babies. Just check your garden regularly though, and pick your zucchini before they're large enough to hit second base.
In this recipe, I use the round variety, but you can use the long ones equally as well.
Trim the stem off the zucchini, and place in boiling water for about 5 minutes.
Cool, then cut in half and scoop out interior of zucchini.
Salt and pepper the hollowed out zucchini.
Chop the part you scoop out and saute at high heat, along with the onion, in olive oil, until most of the water has evaporated from the zucchini.
In a bowl, place ricotta, eggs, parmesan cheese, salt, pepper and herbs.
Add the sauteed, chopped zucchini and onion to the ricotta mix and stir.
Place some of the filling inside each of the hollowed-out zucchini, sprinkle more parmesan cheese on top, and bake at 425 degrees for about 30-40 minutes.


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"The Rest Is Noise is a sweeping musical history from pre-war Vienna to the Velvet Underground. In this comprehensive tour, Alex Ross, music critic for the 'New Yorker', explores the people and places that shaped musical development: Adams to Zweig, Brahms to Bjork, pre-First World War Vienna to 'Nixon in China'. Winner of the Guardian First Book Award, this portrait of an exceptional era weaves together art, politics and cultural history to show how twentieth-century classical music was both a symptom and a source of immense social change."
When it comes to works of art, the critical world is frequently split between the separate values of intrinsic and extrinsic reading. Just how vital are the contexts of an artist's personal life and the historical and political scenes in which they grew up to interpretation of their work? Alex Ross' The Rest Is Noise is a firm supporter of extrinsic interpretation, but combines both beautifully to add pace, engagement and a multitude of colours to an already interesting cultural mosaic.
Ross treads the fine line between academics and accessibility largely with skill, although some readers may feel lost by the more detailed discussions relating to key signatures and so on. On the other hand, people whose interest is such that they're reading such an in-depth book on the subject will likely already have a good grasp of the meanings of technical terms (even if 'knowing meanings' and 'listening, identifying and analysing' are two very different skills). The interdisciplinary nature of Ross' work is also appealing, with topics as diverse as Stalin, Disney, and John Donne being discussed. The author handles the jumps between topics and countries well, with the possible exception of dwelling too much on Britten (a whole chapter on one composer seems excessive, especially when a good proportion of it was devoted to a long-winded synopsis of Peter Grimes). However, the tome is mostly inspiring and urges us to listen: even though the chapters appear long, these are happily split into smaller chunks.
As the length of the book suggests, Ross covers an impressive range of music. One could argue that the depth of examples given is so great that The Rest Is Noise would be better as an audiobook: a soundtrack list is provided at the end of the book, but to listen and read simultaneously is not always practical, whereas an audiobook could interject with excerpts or even full works appropriately. Despite the limitations of the book's format, though, Ross does an excellent job of proving the present-day relevance of various twentieth-century works, including several by Kurt Weill (think Pirate Jenny and Mack The Knife), and the significance of a number of little-known artists from this century (such as Marian Anderson). Through this historical approach, Ross shows us the value of interpreting music extrinsically, even if at times he delivers his opinions in a manner that dresses them up as fact (which can add expertise and authority, but also takes a text into risky territory).
Contemporary observations from other musical spheres also increase the relevance of classical music to fans of other forms of music, or to those who know little about the classical genre. Comparing Copland's Fanfare For The Common Man to Queen's We Will Rock You in terms of rhythm and melody is an astute remark, and on further inspection, readers will find such comparisons wherever they look in the world of music: Puccini's Humming Chorus compares closely melodically to Les Misérables' Bring Him Home, for example.
In light of such insightful assertions, then, the occasional sloppiness in terms of formatting is disappointing. Part Three of the book, which encompasses the years 1945-2000, also seems to cover far too great a passage of time compared to the previous parts, which made more sense in their division (effectively World War Two and the years preceding this conflict). The book's glossary also only seems to be available online, which is a shame: an extensive glossary and cycle of fifths in the paper edition would be most helpful. Syntax is clumsy at times, too, and Ross occasionally generalises or makes ill-considered statements (for example, dubbing the BBC the finest purveyor of classical radio programming in the world, without considering other stations such as Italy's Rai Radio Tre, which plays complete works without adverts). However, none of this detracts too significantly from Ross' apparent belief that music cannot achieve complete autonomy from the society around it, and the convincingness with which he backs this up - naturally composers are not only influenced by and are part of their culture, but also influence what comes after them.
This arena of influence is largely described by Ross as being heavily centred around Europe and America, and it seems difficult to believe that there was really nothing musically significant going on in Australia, Asia and so on during the twentieth century. The closest the author comes to this is mentioning traditional music fro the Andes, Bali, India and Japan in relation to Messaien in Chapter 13. Film music also gets a look-in here, although it (and musicals) arguably deserve more airtime. The link between contemporary and classical is cleverly reinforced in Chapter 14, with Ross highlighting the Beatles' admiration for Stockhausen, Stravinsky's influence on Charlie Parker, and Coltrane's love of Bartok. Naturally, though, we all have different notions of importance and it would have been impossible for Ross to include every even remotely influential figure in The Rest Is Noise: although it doesn't stop the reader from feeling that a few have been unjustly left out, such as Ludovico Einaudi and Joe Hisaishi, who have both been hugely popular since the 1980s. Equally, the impact of the Cultural Revolution on China's ability to have real influence could have been given more attention.
So what is the 'noise' and the 'rest' of Ross' title? Several possibilities can be inferred. What some listeners may consider 'noise' is often used to show off composers' and performers' virtuosity as part of quite lyrical works, rather than acting ostensibly and primarily as a source of pleasure. Composers, as 'invisible' men, often had to become visible (i.e., they had to make some noise), as their future depended on it. Even conversation (also 'noise') has lyrical and musical qualities thanks to phonetics, and conversation can take the form of opposition, which too could seem like 'noise', with the controversy of some classical music at the time of its release perhaps being perceived as 'noise' compared to 'approved' music. Classical music can also be deliberately and literally noise, with Ross pointing out not just the most famous example of John Cage's 4'33", but also the lesser-known examples of Imaginary Landscape #4 (also by Cage) and Cinq Etudes de Bruits (by Pierre Schaeffer). Conversely, classical music could be thought of as something pure and to be revered, with 'the rest' being 'noise' (although the positive links Ross makes between classical, folk, film and rock music make this a more tenuous hypothesis). Finally, all that is going on around composers historically and politically is noise, and as Ross is keen to point out, such noise is influential.
Ross also considers the influence of all this 'noise' in the twenty-first century, depicting a mixed future for the art, although perhaps without fully considering the impact of crossover music (through groups such as All Angels) and publications (such as the Classic FM magazine). Nevertheless, the breadth of his work means that virtually everyone will find something they're familiar with, whether it's the Velvet Underground, David Bowie, Missy Elliott, Public Enemy, Philip Glass, or Michael Nyman. This all-encompassing influence of classical music is nicely summed up by Ross, who simultaneously recognises the role of composition today by way of conclusion, neatly demonstrating its continued relevance in our "decentered culture". And with the formation of history and culture as active and vital today as they ever were, it's crucial that composers continue to tell that story for future generations. With luck, Ross will continue to do the same through his writings.
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William Robinson was born on January 19, 1923, in Chester, South Carolina. He enlisted in the U.S. Army Air Forces on June 25, 1942, and was trained as a Glider Pilot until April 1943, when he entered the Aviation Cadet Program of the U.S. Army Air Forces. He was appointed a Flight Officer and awarded his pilot wings at Williams Field, Arizona, on January 7, 1944, and then remained at Williams as a flying instructor from January to July 1944. His next assignment was as a gunnery instructor at Las Vegas, Nevada, from July 1944 to April 1945, and then as a flying instructor at Marana Army Air Field, Arizona, from May 1945 until he left active duty on November 24, 1945, having been commissioned a 2d Lt on May 17, 1945. Lt Robinson served in the South Carolina Air National Guard from November 25, 1945, to June 26, 1946, and then returned to active duty on June 27, 1946, where he took an enlisted position due to the military drawdown after World War II. MSgt Robinson served as an admin specialist and then as an Air Traffic Control Technician from June 1946 to March 1953, and was recommissioned in the Air Force on April 1, 1953. After completing jet fighter training, Capt Robinson served with the 430th Fighter Interceptor Squadron at Clovis and then Cannon AFB, New Mexico, from January 1955 to October 1957, and then with the 478th Fighter-Bomber Squadron (later redesignated the 478th Tactical Fighter Squadron) at Cannon AFB from October 1957 to July 1961. His next assignment was as an F-105 Thunderchief pilot with the 22nd Tactical Fighter Squadron of the 36th Tactical Fighter Wing at Bitburg AB, West Germany, from July 1961 to July 1965, followed by service with the 560th Tactical Fighter Squadron at McConnell AFB, Kansas, from August 1965 to May 1966. Maj Robinson next served as an F-105 pilot with the 388th Tactical Fighter Wing and the 13th Tactical Fighter Squadron at Korat Royal Thai AFB, Thailand, from May to December 1966, and then as an instructor pilot with the 3525th Pilot Training Squadron at Williams AFB, Arizona, from January 1967 to September 1971, during which time he served as commander of the squadron from September 1970 to September 1971. Col Robinson's final assignment was as commander of the 57th Tactical Electronic Warfare Training Squadron at Nellis AFB, Nevada, from October 1971 until his retirement from the Air Force on June 1, 1973. William Robinson died on February 9, 1988.
Major William P. Robinson distinguished himself by extraordinary heroism in connection with military operations against an opposing armed force near Hanoi, North Vietnam, on 5 July 1966. On that date, Major Robinson, piloting a specially equipped F-105 Thunderchief, led a flight against hostile SA-2 surface-to-air missile sites which threatened other strike aircraft tasked to destroy a high priority target. With complete disregard for his personal safety, Major Robinson responded professionally in the face of continuous heavy and intense ground fire of all types and attacked four separate missile complexes. Three of the four sites were completely destroyed, and the remaining site sustained extensive damage. This courageous and aggressive action considerably reduced the missile threat against the other strike force. Through his extraordinary heroism, superb airmanship, and aggressiveness in the face of hostile forces, Major Robinson reflected the highest credit upon himself and the United States Air Force.


The Government shall, on the recommendations of the Council, by notification, constitute with effect from such date as may be specified therein, an Appellate Tribunal known as the Goods and Services Tax Appellate Tribunal for hearing appeals against the orders passed by the Appellate Authority or the Revisional Authority.
The powers of the Appellate Tribunal shall be exercisable by the National Bench and Benches thereof (hereinafter in this Chapter referred to as "Regional Benches"), State Bench and Benches thereof (hereafter in this Chapter referred to as "Area Benches").
The National Bench of the Appellate Tribunal shall be situated at New Delhi which shall be presided over by the President and shall consist of one Technical Member (Centre) and one Technical Member (State).
The Government shall, on the recommendations of the Council, by notification, constitute such number of Regional Benches as may be required and such Regional Benches shall consist of a Judicial Member, one Technical Member (Centre) and one Technical Member (State).
The National Bench or Regional Benches of the Appellate Tribunal shall have jurisdiction to hear appeals against the orders passed by the Appellate Authority or the Revisional Authority in the cases where one of the issues involved relates to the place of supply.
The State Bench or Area Benches shall have jurisdiction to hear appeals against the orders passed by the Appellate Authority or the Revisional Authority in the cases involving matters other than those referred to in sub-section (5).
The President and the State President shall, by general or special order, distribute the business or transfer cases among Regional Benches or, as the case may be, Area Benches in a State.
Each State Bench and Area Benches of the Appellate Tribunal shall consist of a Judicial Member, one Technical Member (Centre) and one Technical Member (State) and the State Government may designate the senior most Judicial Member in a State as the State President.
If the Members of the National Bench, Regional Benches, State Bench or Area Benches differ in opinion on any point or points, it shall be decided according to the opinion of the majority, if there is a majority, but if the Members are equally divided, they shall state the point or points on which they differ, and the case shall be referred by the President or as the case may be, State President for hearing on such point or points to one or more of the other Members of the National Bench, Regional Benches, State Bench or Area Benches and such point or points shall be decided according to the opinion of the majority of Members who have heard the case, including those who first heard it.
any Member Technical (Centre) from one Bench to another Bench, whether National, Regional, State or Area.
The State Government, in consultation with the State President may, for the administrative convenience, transfer a Judicial Member or a Member Technical (State) from one Bench to another Bench within the State.
No act or proceedings of the Appellate Tribunal shall be questioned or shall be invalid merely on the ground of the existence of any vacancy or defect in the constitution of the Appellate Tribunal.


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The Hustle: Meet the Innovation-Driven Executive Helping Make Beauty More Sustainable
Get to know Luana Bumachar, vice president of owned brands & innovation at Grove Collaborative.
Olivia Hancock
Olivia Hancock is an editor at Byrdie and has over three years of experience writing for digital media platforms.
Byrdie / Luana Bumachar
Welcome to Byrdie's new series, The Hustle, where we profile diverse, interesting women and woman-aligned folks in the beauty and wellness industries who are usually behind-the-scenes. From the cosmetic chemists formulating your holy-grail serum to CFOs driving the biggest beauty companies forward, these women are the definition of career goals, and they're getting real about the journeys that led them to where they are—the highs, the lows, and everything in between.
Luana Bumachar is a beauty veteran who has a firm grasp on where the industry has been and where it's going. Bumachar's tenure in beauty began in 2002 when she joined Unilever as a trade marketing trainee at the company's Brazil office. She spent the next 18 years with Unilever, working in various roles that involved growth marketing, consumer innovation, and eCommerce. Her nearly two-decade-long stint at the multinational consumer goods company allowed her to work and live in Asia, Latin America & North America.
Wanting to embark on a new chapter in her career, Bumachar joined Grove Collaborative as the vice president of owned brands & innovation in May 2020. There, she has been able to help develop and shape sustainable brands like Peach (whose new deodorant and body care products launch today) and Superbloom. Ahead, Bumachar discusses her career journey, why it's okay to make pivots in your professional life, and how living abroad has influenced her perspective on beauty.
Tell us about your background.
I'm Brazilian, and I was raised in a small town in Brazil. I graduated with a degree in journalism and worked in politics and public service before moving into the world of marketing and brand building. I ended up in the multinational consumer packaged goods (CPG) world almost by accident. I was looking for a consulting firm to help us in the Department of Education. I just went on this website and got to know Unilever, which was one of the biggest companies. I think it's the biggest CPG in Brazil. Then, I applied and joined Unilever as a trainee. And that's how my life changed because I moved from journalism to start working at a CPG company. I moved from my small little town to São Paulo, one of the biggest cities in Brazil. Since then, I've lived and worked in Latin America, Southeast Asia, and now I'm in North America for the second time.
I'd love for you to talk about your time at Unilever. What were some of the roles you held there?
I changed quite a bit in Unilever. And that's why I stayed very long—18 years. It makes me feel very old every time I say that [laughs]. The reason I stayed is that I worked in so many categories and so many different roles. I held multiple roles in many countries. I spent four years in Singapore. I've been in the US for almost nine years. As I said, it's my second time here. I've been here before for work.
Throughout my career, I've done a lot of brand building and brand activations. My last six years at Unilever were probably the most exciting time for me. As I mentioned, I'm a trained marketer in brand building and traditional marketing, but I often get bored. So, I got bored and needed to pivot my career, and that's when we were building an innovation and trends lab for beauty and personal care. I raised my hand and told Unilever that I wanted to do that. I helped build the innovation and trends lab for Unilever in New York. The whole principle of that lab is to design consumer-centric brands and products. We made magic happen within three or four days. It was pretty intensive. I think we built about 20 brands across the company—things that we hadn't done before.
Once we did that, we needed to nurture those brands. And we needed to nurture the brands in a very different environment. When I started my career, we focused on traditional marketing. But at that point, which was between 2015 and 2018, we needed to pivot and nurture this brand in a digital lab environment. So we evolved the lab to focus on innovation of physical goods and end-to-end digital marketing and e-commerce. So once we did that, we thought about how to bring that to the main business. And that's when I came back to become the general manager of eCommerce and digital marketing for beauty and personal care, which is the largest category for Unilever in the US and outside the US.
Was there a certain point where you realized you wanted to leave Unilever? What attracted you to Grove Collaborative?
I have a lot of admiration and love for Unilever. I spent 18 years of my life there. And I say my life because my son is American and my daughter was born in Singapore. My life was intertwined with my career at Unilever. So there's a lot of love for that company. I was not looking to leave Unilever, but I learned about Grove Collaborative, and something stuck with me. The mission of Grove Collaborative is that CPGs should be a positive force for good. That is what touched my heart. [Grove Collaborative] can build the leading sustainable CPG companies for the next 100 years. And I wanted to be part of that journey. For me, it was a no-brainer [to join the team]. To be honest, I think what Grove is doing will help the consumer and the planet and help elevate this industry to move in the right direction. I hope that, together with Unilever and other competitors, we can build a better planet for future generations.
As the vice president of owned brands and innovation, what are your day-to-day duties?
I oversee the owned brands' portfolio and growth. We have seven brands in our portfolio. But the most exciting part of my job is defining a better future for us as people and the planet. That's what we are constantly doing. We are a highly consumer and planet-centric company. We don't compromise on sustainability, the consumer experience, or the performance of our product. My role on a daily basis is to ensure we meet those three pillars in everything we do. One of the biggest barriers for people to move to more sustainable products is that they believe the products don't perform as well as conventional products. We are here to demystify all of this and show that we can design products that are healthy for you, your family, and the planet and still deliver the experience you would expect.
Is there a specific project or brand launch that you've worked on that you're really proud of?
Wow, we've done so much. I love this job. We've done so much in so little time. We have a pretty nimble team, and we move really fast too. I'm really proud of Peach. It's a brand that's close to my heart. I've worked in the beauty and personal care industry for the majority of my career. And I think about the amount of plastic we as an industry are putting out in the world right now. For beauty and personal care alone, it is 120 billion units of plastic every year. It's crazy the amount of plastic that we have around us.
The whole idea of Peach is to demystify that you need plastic. We first started in the shower, creating shampoo, conditioners, and body and facial bars. Now, we are launching our first plastic-free deodorant and body care products. When you think about deodorant sticks, you can find plastic-free deodorant sticks, but you compromise on the experience. You have to push it or hold your finger. It's not great. You also have refillable deodorants, but there are a ton of plastic seals. We combine the best of both worlds in a very clean, EWG-verified deodorant that protects against odor for 40 hours. And there's no plastic with the products whatsoever. Another thing about Peach, we think we can make sustainability fun. The issue is serious, but the solution doesn't have to be.
So that's my main project and brand. I can talk about it for hours, but my honorable mention is the launch of our homecare brand Grove Co. in Target this year. We are now an omnichannel company, and that is very exciting.
Byrdie / Peach
Can you share a few pieces of advice for people who want to work on the innovation or marketing side of beauty?
One of the biggest issues marketers have is when we put out the marketer hat, we forget we are consumers. We look at things from a brand perspective instead of a consumer lens. Put yourself in the shoes of yourself as a consumer. Take a step back and say, "Before thinking like a marketer, who am I as a consumer? What do I like? What don't I like?" I think a lot of insights come from that.
The second [piece of advice] is a very personal one. As I said, I get bored. So, the idea that you need to be on the lookout for new things is really important. Do not accept the status quo. Because if we accept the status quo, we can never create the future. To define the future, you need to start today, which means you can't settle for what is currently being done.
The third thing, which is one of my favorites, is to try to develop innovations with the end goal in mind. What usually happens a lot of time is small, incremental innovations. Usually, as marketers, we are trying to incrementally evolve towards the solution and design a product that incrementally better than the current product. For me, what is really cool about this job is we're trying to solve a consumer issue or offer a planet solution. When we look at Peach, for example, we're trying to look at how we can eliminate plastic. Instead of saying, "How can I reduce plastic on my product?" start with the end goal in mind, even if that requires a much more radical change.
You've lived in so many different places throughout your life. How has experiencing so many different cultures influenced your philosophy on beauty?
I think living abroad defines who I am and how I see the world both personally and professionally. I have very deep connections with Southeast Asia. My first daughter was born there. And even beyond that, I am a Latina. I grew up in Brazil, and now I live in the US. So, I think that fully defined who I am. I cannot even tell you what I would be or how I would see the world if I hadn't moved and lived in these places.
For me, the key thing about beauty is that it doesn't matter if you feel good the way you are or if you want to change your body a little bit to feel good about it. I think what is most important is when you feel good, you feel beautiful. Each person is unique, and what beauty means to me may be very different than it means to you. I think it's really important that people just feel comfortable in their own skin and appreciate their imperfections. And if you feel that something is bothering you, change it. Who cares if you're going to change your body or want to put makeup on every day? Do what makes you happy and feel good about yourself. And once you do that, you feel empowered to conquer the world. That's what matters to me.
What are your current favorite beauty products?
I'm going to be biased. Peach is my favorite. My favorite personal care products are their deodorant, lotion, and facial cleanser. To move away from my own brands, Supergoop is my favorite sunscreen. I also dye my hair every four to six weeks. I've dyed my hair every color you can imagine. I swear by Olaplex treatments because I don't think I would have hair at this point without it. A glass of wine is also important in my routine. There's always one in the fridge. I definitely need that at night. It's more important for me than any cream I apply at night.
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REDSTONE ARSENAL, Ala. (WHNT) - The Bureau of Alcohol, Tobacco, and Firearms building on Redstone Arsenal works as an important hub.
ATF National Center for Explosives Training and Research Special Agent in Charge Donald Robinson explains, "This serves as ATF's hub for everything we do with explosive and fire and arson. Training, research and development, and information sharing."
That information sharing role takes on new importance during an attack like we saw in Paris.
After all, you have a lot of different agencies responding.
"On those large scenes," Robinson elaborates, "A lot of times the needs and necessities of the scene are going to overwhelm the local resources, state resources, federal agencies are going to respond, and we're also going to be at times reaching out to the assistance of the military."
All those agencies get explosives training on Redstone Arsenal.
They even have a class called Explosive Recognition for Intelligence Analysts, which focuses on training military and law enforcement together.
That way in the field, "It's that consistency," Robinson says, "It's the procedures and techniques that carry through all those different levels of training from the basic all the way up through advanced training. We're talking in the same terms about these materials and devices and tactics and techniques that are used elsewhere in the country and around the world."
Plus, they get practice for this type of cooperation.
Robinson adds, "We also run a really large exercise annually, an interoperability exercise, that brings together public safety, bomb technicians, and the military EOD operators that train together."
The exercise helps everyone know their role and how they will interact in the event of an attack on U.S. soil.
The ATF also runs BATS, the Bomb Arson Tracking System, which stores information past and present on bombings in the U.S.
If we saw a Paris-type attack in America, our security forces can look at BATS in real-time.
Robinson says, "They're able to query that in the system and see if there are other similar incidents that have recently occurred around the country."
They can also feed back live pictures devices to gatherings of experts at the ATF building, possibly getting lifesaving information back in real-time.
There are a ton of moving parts in a response to an event like we saw in Paris. Questions arise like who secures what, who raids what.
But all the information on explosives comes from one place, the ATF building on Redstone Arsenal with its database and experts.


The rates above do not include the sales tax.
Hillside Cottage is a whole house rental located in Downtown Hermann. The house has 4 bedrooms and 2 full baths. There is a full kitchen with all appliances, living room and a nice deck outside. It is located within walking distance to the shops, restaurants, museums and wineries. Free WiFi, but no TV at Hillside Cottage.
The Master bedroom is on the first floor with a queen bed. There is a second bedroom on the first floor that also has a queen bed. There is a full bath on the first floor.
There are two bedrooms upstairs one with a queen and one with two twins. There is also a full bath on the second floor.
Please note that the house is located on a hill. There is one flight of stairs to get to the main level of the house.


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The Morrin Centre launches a new immersive tour on capital punishment in Quebec City's old jail
On May 15, Quebec City's English-language cultural hub, the Morrin Centre, launched a new guided tour allowing visitors to travel back in time to when its building housed a prison. The Hanging of William Pounden: Capital Punishment at Quebec City's Common Gaol takes visitors through the spaces of this stately edifice―nestled in the heart of the Historic District―used to imprison and hang the condemned. Thanks to captivating audiovisual animations, participants can follow the series of tragic events that led to William Pounden's execution, from his imprisonment in death row to his hanging above the entrance in 1823. By examining this specific case, this historical tour sheds light on the 16 hangings that took place at Quebec City's common gaol open from 1812 to 1867. Offered in English and in French, the tour also allows participants of all ages to understand the steps that led to the most severe punishment of that time. The Hanging of William Pounden is offered every day of the week until Labour Day weekend. A new permanent exhibit titled The Hanged: Two Centuries of Executions in Quebec is also accessible at the end of the tour and allows visitors to learn about the history of capital punishment in the province. Presented by Desjardins Group On the occasion of the Morrin Centre's most recent annual fundraising dinner held last fall, on November 15, the President and CEO of Desjardins Group, Guy Cormier, announced a contribution of $150,000 to develop this immersive tour on capital punishment. Desjardins Group's donation was made through the $100-million development fund which was launched in 2016 to support and promote key projects for its members and communities in Quebec and Ontario. Desjardins' support made this new educational activity possible for tourists and school groups alike. In 2018, the Centre welcomed 57,000 visitors. During this period, 25,000 people immersed themselves in the history of this unique National Historic Site on the occasion of one of the Centre's guided tours. Of that number, 8,700 were students and their teachers. For Barry Holleman, the President of the Literary and Historical Society of Quebec which manages the Morrin Centre, "the launch of this project marks the culmination of several years of planning, coordination, and building partnerships. It is central to our mission to offer educational, artistic, and historical programming that provides the local population and visitors from outside the region with opportunities to gain a better perspective on the city's unique French- and English-speaking heritage." Presented by Desjardins Group, The Hanging of William Pounden and the exhibit The Hanged were also made possible thanks to the support of the Entente de développement culturel and the Quebec City Tourism. About the Morrin Centre As an English-language cultural centre located in Quebec City's historical quarter, the Morrin Centre is a leading cultural institution of national standing, providing the Anglophone and Francophone public with rich, engaging programming in the areas of heritage interpretation, education, and the arts. Building upon our Centre's history and key institutions, our programming aims to provide historical perspective on […]
Sparking Imagination in Children
The Morrin Centre's tenth annual writers' festival brings stories to life in schools From April 2 to 7, 2019, the Morrin Centre will be celebrating its tenth annual Imagination writers' festival. Twenty-six authors will travel from coast to coast to share their stories, ideas, and imagination with audiences of all ages. In addition to the events being held at the Morrin Centre, the festival's programming this year includes 24 activities outside its walls,in elementary and high schools, as well as at Champlain St. Lawrence College. Sheree Fitch, Vikki VanSickle, Lorina Mapa, Waubgeshig Rice, and Lisa Moore are the authors who will be traveling throughout Quebec City, Lévis, and Portneuf to meet students in English-speaking and French-speaking schools. They will give talks and workshops in English, offering teachers and their classes the opportunity to connect with these authors in the context of their mother tongue or in that of their second language. In many cases, these intergenerational encounters allow students to meet published writers in the flesh for a first time, and lead to surprising discussions that reflect their interests. Portneuf Elementary, La petite école Vision Lévis, Quebec High School, and the Collège Saint-Charles-Garnier are some of the schools who have partnered with the Morrin Centre on the occasion of Imagination 2019. For the president of the Literary and Historical Society of Quebec, Barry Holleman, "outreach and engagement with the community are at the heart of the Morrin Centre's vision. We want to continue developing projects with partners in education and offer a variety of cultural experiences to young audiences across our region that reflect our country's diverse cultural fabric." Quebec City's English-language cultural hub works with teachers and school boards to host activities with writers and artists outside its walls all year round. As an example of this, Central Quebec School Board's Performing Arts Festival to be held on March 29 is another event for which the Centre will be bringing writers to Quebec City. On this occasion, the Centre will present workshops with two storytellers on travel writing and song writing. A variety of activities exploring literacy, arts, and sciences are put together by the Centre's Education Coordinator Azanie Roy, to allow youth to access cultural programming around the year. The Centre's children's programming has expanded considerably since September 2018 and now includes coding workshops, a hands-on music series titled It's Instrumental!, as well as a theatre project with high school students. Imagination in schools: a short history Education, heritage, and the arts are the three pillars that guide the Morrin Centre's mission. Building on its rich history and the institutions that shaped it, including the Morrin College (1868-1902), the Centre is committed to allowing students of all ages to connect with authors and develop a love of reading. The Centre's programming aims to provide historical perspective on the region's unique French-English heritage, develop enhanced educational opportunities for youth, and act as a springboard for artistic creativity. Writers have been visiting schools through Imagination every year since the festival's beginnings in 2010. About […]
Ten years of stories, ideas, and Imagination
The Morrin Centre celebrates its tenth annual writers' festival From April 2 to 7, 2019, the Morrin Centre will celebrate its tenth annual Imagination writers' festival. This year's festival once again features acclaimed authors from the current, diverse, Canadian literary scene, but also brings together artists from different fields for surprising and delightful pairings. Quebec City's English-language cultural hub will present new activities and bring back popular events inside and outside its walls. Literary Notes, a new musical event organized in partnership with the Orchestre symphonique de Québec (OSQ) and the Quebec Writers' Federation (QWF) is one of the activities designed to mark the Centre's special anniversary festival. This concert to be held on Wednesday, April 3, will allow participants to tune into the stories being read, thanks to music meant to capture the spirit of these works of fiction and poetry. Foodies will also get a taste of literary arts thanks to the festival's annual Books and Wine pairing event hosted by local sommelier Yann Barrette-Bouchard. This renowned and usually sold-out event will feature the 2018 Giller Prize-finalist Éric Dupont and Canada Reads-winner Lisa Moore. The festival's much anticipated Books and Brunch event will also be back for a fourth consecutive year and will take on a humouristic twist thanks to the participation of Indigenous author and playwright Drew Hayden Taylor. Hayden Taylor is one of two authors from a First Nation community to take part in Imagination 2019. Waubgeshig Rice is also part of the festival's roster and will discuss his latest post-apocalyptic thriller, Moon of the Crusted Snow, on Wednesday, April 3. A total of 26 authors will be traveling from coast to coast to connect with our community. Two-time Giller Prize winner Esi Edugyan will be traveling from British Columbia for a conversation on her epic novel, Washington Black, while award-winning author Sheree Fitch will travel from Nova Scotia to delight children and young adults with her stories. A panel event on borders, migration, and identity will also bring together Newfoundland-based novelist Sharon Bala (The Boat People), as well as Iranian-born author Nilofar Shidmehr (Divided Loyalties) who now lives in Vancouver. As noted by Barry Holleman, the President of the Literary and Historical Society which manages the Morrin Centre, "the festival's aim is to offer meaningful encounters between authors and festival-goers, while allowing audiences of all ages to enjoy literature through multidisciplinary activities which are insightful, surprising, and even sometimes playful. In addition to talks, foodie events, and musical performances, this year's festival will present two hands-on activities. Two writing and illustrating workshops will indeed bookend Imagination 2019. Claire Holden Rothman will host Trouble and Strife: The Lifeblood of Good Fiction on Tuesday, April 2, while Lorina Mapa will explore how to tell stories through comics during her graphic novel workshop on Sunday, April 7. Tenth anniversary festivities will come to an ultimate conclusion with Emma Hooper's musical event on Sunday afternoon. Starting at 3 p.m., the Alberta-born author and musician who now calls Bath, England home, will be joined on stage by […]
Desjardins Group confirms a 150 000 $ donation to the Morrin Centre during its 10th annual Literary Feast
The Morrin Centre will launch an immersive tour on capital punishment in Quebec City's former jail, in May 2019 Quebec City, November 15, 2018 – On November 15, Quebec City's English-language cultural hub, the Morrin Centre, hosted its tenth annual Literary Feast that benefits its programming and mission. The event which started with a cocktail in the Centre's magnificent Victorian library, was followed by a dinner catered by Espace Arte Vino in the ballroom. The evening featured keynote speaker, Ken Dryden, and was presided by the President and CEO of Desjardins Group, Guy Cormier. Over $48,000 were raised during this fundraising dinner thanks to ticket sales, sponsorships, donations, as well as the sale of books and auction items. Keeping the memory of local English-speaking communities alive As part of Mr. Cormier's opening remarks, he announced Desjardins Group's contribution of $150,000 to the Morrin Centre. "With this contribution, the Morrin Centre will be able to move forward with its plans to build an immersive exhibit on the history of capital punishment, opening in May 2019," said Mr. Cormier. "Desjardins is proud to be associated with this new venture – an educational tourist attraction. It's important for all of us to acknowledge the contribution of those who arrived here from England, Scotland, Wales and Ireland, as well as the Loyalists from the U.S. Many of these people were entrepreneurs, and they played a pivotal role in shaping the communities in and around Quebec City." It must be noted that the Morrin Centre's building still houses, to this day, cells from Quebec City's common jail which was closed in 1867 and replaced by the prison on the Plaines of Abraham. Desjardins Group's donation is made through the $100-million development fund which was launched in 2016 to support and promote key projects for its members and communities in Quebec and Ontario. During his keynote speech, celebrated Montreal Canadiens goalie, lawyer, politician, and author, Ken Dryden, discussed his fifth book, Game Change, outlining the state of modern hockey, but also the history and chronology of this sport that ultimately led to Steve Montador's death. He argued that the game is also having a serious impact on several other players in the NHL who suffer repeated concussions which lead to chronic traumatic encephalopathy. Dryden also presented what he sees as the solution to save other players from Montador's demise and identifies Gary Bettman as the only person who can resolve this issue. The Morrin Centre would like to thank all the Major Partners for this event which include Desjardins Group, Québecor, La Maison Simons, McCarthy Tétrault, and the Quebec Chronicle-Telegraph. It is thanks to their support and the people present during the Literary Feast that the Morrin Centre is able to continue offering rich, engaging programming in the areas of heritage interpretation, education, and the arts. About the Morrin Centre As an English-language cultural centre located in Quebec City's historical quarter, the Morrin Centre is a leading cultural institution of national standing, providing the Anglophone and Francophone public with rich, […]
Quebec City celebrates CanLit during the ImagiNation Writers' Festival
From April 3 to 8, 2018, the Morrin Centre will be hosting its ninth annual writers' festival. Building on popular recurring activities, such as the Books and Wine pairing event, and the Books and Brunch activity, the festival will present a smorgasbord of celebrated authors, translators, and artists, during a week-long celebration of Canada's diversity, and rich history and culture. Some of the headlining authors include Indigenous writers David Wolfman (cooking demonstration on April 7), and Lee Maracle (Books and Brunch onApril 8). Other visiting writers include hockey dad, Karl Subban, visual artists Kyo Maclear and Jack Breakfast, literary stars Elizabeth Hay and Barbara Reid, as well as musicians Ron Sexsmith, Gary Barwin and Randall Spear. Festival events will explore themes including Quebec history, the giants of CanLit, contemporary science fiction, post-traumatic stress disorder, translation, seeking out nature in urban settings, and First Nation cultures. Don't miss this opportunity to connect with English-language authors from across the country, in the heart of Old Quebec. For more information on the complete program, and to purchase a festival pass or single event ticket, visit morrin.org/imagination or contact the Morrin Centre at 418-694-9147. The festival is made possible thanks to the support of many partners, including Canadian Heritage, the Canada Council for the Arts, and the Conseil des arts et des lettres du Québec. About the Morrin Centre As an English-language cultural centre located in Quebec City's historical quarter, the Morrin Centre is a leading cultural institution of national standing, providing the Anglophone and Francophone public with rich, engaging programming in the areas of heritage interpretation, education, and the arts. Building upon our Centre's history and key institutions, our programming aims to provide historical perspective on the region's unique French-English heritage, develop enhanced educational opportunities for youth, and act as a springboard for artistic creativity.
The Morrin Centre has received the TripExpert's Experts' Choice Award
We are delighted to announce that the Morrin Centre has received the TripExpert's Experts' Choice Award, with approval from sources such as Fodor's and Travel + Leisure! Less than 2% of all attractions worldwide receive this award, which makes us especially honored to receive this news! Read the press release here.
Book Review: Iron Bars and Bookshelves
Life in Québec reviewed Iron Bars and Bookshelves. You can read the review here.
Christiane Germain and Louise Penny Come Together to Support the Morrin Centre's Annual Literary Feast
Louise Penny, renowned international author, will be keynote speaker for the evening. Penny received many literary honours including a New Blood Dagger for Best First Novel; two Arthur Ellis awards; three Anthony awards; and an unprecedented four consecutive Agatha awards for best novel, in addition to a nomination for a fifth. Her books have made the New York Times Bestseller Lists repeatedly, and her Gamache novels have been published in 23 languages. One of her Inspector Gamache novels, Bury Your Dead, uses the Morrin Centre's Victorian library as backdrop for a terrible murder. She will be talking about her new book, Glass Houses, on this occasion. The evening's Honorary President, Christiane Germain, is co-president of Groupe Germain Hotels, as well as the soul behind the experiential concept at Germain establishments. She is also in charge of operations for all hotels under the Le Germain Hotels banner and the Alt Hotel banner. Dynamic, tenacious and inventive, Christiane has made her mark in the restaurant and hotel industries. She is also a "dragon" on the show Dans l'oeil du dragon on Radio-Canada, the Quebec adaptation of Dragons Den. A silent auction will also take place during the evening, with proceeds enabling the Morrin Centre to continue offering a variety of stimulating and innovative English-language cultural programs at a reasonable cost. A limited number of tickets for this black-tie (optional) event are available for $250 per person. A private VIP Bury Your Dead tour of the Morrin Centre with Louise Penny can also be purchased with your ticket for $100. We strongly advise purchasing your tickets in advance since a limited number are available for the evening and tour. Tickets may be reserved by calling our Administrative Assistant, Rosemarie Fischer, at 418-694-9147, extension 221, or by e-mailing info@morrin.org.
Louise Penny Confirmed as Keynote Speaker for 2017 Literary Feast
Louise Penny confirmed as keynote speaker for 2017 Literary Feast. See Life in Québec article here.


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First – Protesting the flag is not the same as protesting the military. When a flag and national anthem come to stand for military power and military power alone – that to question or protest the flag/anthem is taken as a direct assault on the military – then the line separating patriotism from nationalism has been crossed. The United States stands for far more than its military, so a failure to stand during a National Anthem wouldn't necessitate a protest against the military.
Second – Protesting the flag/anthem isn't even a protest against the United States as a whole. Someone can greatly appreciate and value the US, but also have some major issues with it. It's like loving an alcoholic; you will love that person for reasons other than the alcoholism, but you'll also "protest" certain parts of that person's life that could enable that person's alcoholism, or even do something that would get that person's attention. That's similar to what these protests are attempting to accomplish. We have a problem in our nation with how black people, especially black men, are treated in general and by authorities. That doesn't make the US an evil place, or a horrible place, but it does mean we have a problem and we need to fix that problem. That certain elements of society want to deny and act like this problem isn't there is why the protest is occurring, to cause a conversation on the treatment of minorities in this nation.
Third – There's implicit racism in condemning these protests. The argument goes, "If ya'll want to protest how you think you're treated, then do it peacefully." When there's a riot, we tell minorities to be peaceful. When they protest peacefully en masse through nonviolence, we tell them not to be disruptive (such as blocking highways). When they then perform a silent protest during the National Anthem, we tell them that's disrespectful and they ought to be forced to stand for patriotic displays (we'll get to that). So then how are they to protest? The implicit message is, "You have nothing worth protesting over," or, to be blunt, "You're treated fine, get over it, and get used to it." It delegitimizes the experience of millions of African Americans and other minority groups in the US. We assume that because we – as white people – have had a great experience in this nation that all others have had the same great experience.
Fourth – No one should be forced to make patriotic displays, because that's not patriotism, that's nationalism. A true patriot of the US will value free speech more than they value a song or piece of cloth. To want to take away someone's free speech – even under the argument of "it's a private industry so they can force people to do what they want" (they can't, that's called slavery and is illegal) – is the antithesis of America. What's more insulting to those who died to protect our freedoms than failing to show proper reverence during a song is failing to show proper reverence towards the freedom we were granted by their deaths.
Fifth – Speaking of people who have died to secure our freedoms, those people are more than just the military and those who died in foreign wars. We forget, especially those of us who are white, that many civil rights activists were murdered attempting to secure justice in an unjust world. Their sacrifices, which made national news and swayed public opinion, helped secure your freedoms today as much as any military endeavor in which we've engaged. I add the emphasis because this is a point that is hardly ever made; people died to try and beget equality in this nation. When we ignore their sacrifices and attempt to further an entrench a system they died fighting against, we dishonor their memory. I'm a white male, but oppression is a cancer and it spreads and destroys. If oppression is not fought, if it is not combatted, then it will eventually spread to harm other people as well. Thus, even as a white male, I'm indebted to civil rights activists who fought an oppression that had limited liberty. In my debt, I am in no place to then question their children and their children's children when they speak of the continued oppression they must suffer through; rather, I must pay my debt and continue the fight against that oppression.
Sixth – These are our friends and fellow Americans who are hurting. These are not strangers. Many white people who have black friends still don't hear what their black friends go through, because they [black friends] are sick of being doubted and questioned. But make no mistake, African Americans go through a lot in this world, not just with the police. They're followed in department stores, they're treated differently when they want to purchase something, they have a harder time finding promotions or getting a good job, and the list goes on. There are statistics to back up every single one of these claims, but more than that, there are personal stories from people we know who can back up these claims. When the reality of the US today is only slightly better than the reality of the US 40-60 years ago, maybe that's why protesting the anthem is a good thing.
Those are my thoughts on this issue. There's no reason to get upset over someone kneeling or not participating in singing the national anthem. Ultimately, we'd do better to have a conversation over what our friends are facing rather than condemn them for not conforming in a way we like.
Colin Kaepernick has landed in hot water and not for being a mediocre quarterback. During a pre-season game he chose not to stand during the United States National Anthem. He chose not to stand because, in his words, "I am not going to stand up to show pride in a flag for a country that oppresses black people and people of colour." An almost mundane choice. He's a pro athlete making a political point, and he's not the first one.
Yet, his refusal to stand for a song and a piece of cloth has ignited a firestorm, met mostly with criticism. It's hard to find anyone truly sympathetic to Kaepernick's cause, mostly because people are either enraged by his actions or apathetic towards the man himself. The conservatives hate his lack of patriotism while the liberals are too cynical to believe he's doing this out of sincerity (but doing it because he was bumped to second string).
Removing Kaepernick from the equation, his act of protest and people's subsequent responses betrays two bigger issues in our nation: 1) We're too "patriotic," in reality we are nationalistic and (2) we hold athletes of color to a higher expectation of patriotism than we hold white athletes.
To the first point, there's a danger when we let our national identity intersect and mold our personal identity. To a certain extent it's nearly impossible not to let our national identity influence who we are as individuals. I am, after all, a product of America. My accent, my beliefs, my cultural participation is in many ways tied to my being an American. And I'd argue that I am a patriot. I love the idea of America, I love the idea of freedom for all, I love what this nation (on paper) stands for. But being a patriot does not mean I have to be a nationalist. A nationalist will support his country no matter what, but a patriot is willing to point out its flaws and even admit to being disappointed in his nation.
I'd contend that Kaepernick, if we excuse ourselves from cynicism, is a patriot. He loves his nation, otherwise he wouldn't protest in the hopes of change. True hatred for America wouldn't ask for protest, but an overthrow. True hatred of America would require apathy to its flaws. Yet, nationalism prevents us from recognizing flaws in our nation, unless we first label those flaws as "outside." One can think of how people [erroneously] say Obama is a shame to our nation, that they can't be proud while he's in charge. But a nationalist says this only after first claiming Obama isn't actually from our nation, or at least claiming that his ideas aren't American in origin. Therefore, the shame he feels for his nation isn't for his nation, but for what his nation is becoming. And yet, without any sense of irony, he will berate and attack anyone who would question typical patriotic icons such as the flag, the anthem, and so on. Ultimately, the nationalist isn't so much loyal to his nation as he's loyal to the ideology behind his vision of what the nation should be, thus anyone who violates this ideology is immediately a heretic and worthy of being purged.
Our nationalism in the United States is often best seen as "white nationalism," mostly because anyone who is not white is automatically suspected of being anti-American for any form of protest. Often, non-whites are left having to prove that they're Americans, especially black athletes. We see this with Kaepernick, but it wasn't that long ago that we were criticizing other black athletes for not being American enough. And by not that long ago I mean about two to three weeks ago with Gabby Douglas. She forgot or just chose not to put her hand over her heart when the American flag was displayed. The rage was so hot that other black female Olympians were often chastised on Facebook with people confusing them with Gabby Douglas. When other white Olympians failed to do the same, there was absolutely no outcry.
Notice the verbiage used for both Douglas and Kaepernick; "how dare you not respect the flag of a country that gave you an opportunity, that gave you freedom, that gave you…" It's difficult to not imagine a slave owner saying something similar to a slave, "How dare you not be grateful for me when I've given you food." The fact is, this nation didn't give these black athletes anything. They worked hard, they shaped their bodies and talents and pushed themselves to such a level of competition that they've excelled at what they do (well, relatively speaking; Kaepernick is riding the bench after all). Yet, we require that these black athletes show 100% solidarity and respect to a piece of cloth, but do not place the same standard on white athletes. We can say we do, but we don't. That we have racial inequality in our country, that we're not living up to our ideals as a nation, is a good reason to protest the nation. Sitting during the national anthem is a good way to protest the current reality of racial inequality in our nation.
A true patriot will always love the ideals of his country, but will recognize her flaws. This allows for a duality of respect. One patriot can see a flag and show respect, because that flag represents certain ideals and the patriot wants to respect those ideals. Another patriot can see the flag and view it as representing the current reality, and therefore choose not to respect it. In both instances, each person is right and each person is still patriotic. Both respect and protest are signs of patriotism. Neither is right and neither is wrong. The fact is, as a nation we have some deep and troubling systemic flaws that continue the oppression entire ethnic groups. But we recognize these actions as flaws because we realize that our actions contradict our ideals, or at least we ought to recognize such a thing. Sometimes it takes a drastic protest to shine a light on our flaws. Perhaps we ought to examine the message of Kaepernick before we shoot the messenger. After all, how patriotic is it to hate someone for exercising his right to free speech? Only a nationalist could allow such cognitive dissonance.
We do have a problem with racial inequality. Perhaps there are better ways to draw attention to that, but what are they? We've had this problem since before we were a nation and we've never fixed it. We attempt to sweep it under the rug like it doesn't exist. But it does exist and it is a problem. Rather than complaining about someone protesting or the manner in which he protests, perhaps we'd be better served to listen to the message and to work to make sure our policies align with our ideals. Such an action is far more patriotic than any national anthem or pledge of allegiance.


Branden Owens, a Baltimore resident who was beaten by police officers at the outset of the unrest following Freddie Gray's funeral, including by one who identified himself as "Officer 666," and then imprisoned for two days despite never being charged with a crime, filed suit today in the Circuit Court for Baltimore City. The suit charges Officer 666, Baltimore Police Officer Philip Meadows, the Baltimore Police Department, the Mayor and City Council of Baltimore, and the State of Maryland with wrongful arrest, excessive force, false imprisonment, and battery.
Andy Freeman represents Branden Owens.


attributed to a decline in reporting rates.
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Pakwach, Kibale, Ssembabule, Buvuma, Butebo, Amolatar and Dokolo District which had no stock out.


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 Election Result

Ward -- W1001

Votes For -- ABP,200
 -- A,100

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Additional Notes --

Election -- Presidential2019

Date of Election -- Sun Dec 23 11:35:14 WAT 2018

Booth -- B001

Constituency -- C001

State -- Abia

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A San Francisco based started called InAir combines web content with television programming to create the World's first augmented TV.
An example of how this works is by the viewer watching a TV show on NASA's Voyager spacecraft, whilst simultaneously accessing information from the NASA website. It removes the link needed to access this information off multiple devices at the same time.
Using InAir with a 3D television allows the extra online information to float out of the screen towards the viewer while the screen on the set shows the normal show content. The content can be layered and manipulated with hand gestures using the Kinect, Leap Motion or a free app available for iOS and Android devices.
InAir will also come with a software development kit that allows users to develop and expand the product's capabilities. The InAir experience can be set up through a standard HDMI cable to a TV and Smart TV's will be able to use their built-in wireless capabilities to access the internet, however it can also be connected separately using an existing Wi-Fi network when operating with a standard TV.
The company is currently seeking backing through Kickstarter where it details further information about the product.


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Proximal femur module of AOSR-PT goes live during AO Foundation Davos Courses 2017
The third anatomical regional module of the world's first comprehensive online pediatric surgery reference goes live during the AO Foundation Davos Courses 2017, December 3–14. This new proximal femur module is part of the AO Surgery Reference-Pediatric Trauma (AOSR-PT), a dynamic educational resource made possible by a 2014 grant from the AO AO Strategy Fund.
More than a year in the making, the proximal femur module significantly expands the AOSR-PT, which also includes the distal forearm, distal humerus and Essential Concepts modules. The proximal femur content encompasses 40 surgical procedures and seven surgical approaches for 13 pediatric fracture types, as well as 600 illustrations.
"The proximal femur module is an important one because there is quite a variety of injury complexes, and special considerations such as the blood supply of the hip region and growth areas of the upper femur," said Prof Chris Colton, AOSR-PT General Editor. He explained that improper treatment of proximal femur fractures in children can result in lifelong disability to the patient, so surgeons need the detailed information provided by the new module.
"We are not just providing a valuable resource for surgeons in the developing world, but also for surgeons in small- and medium-sized countries who may not have access to specialized pediatric fracture centers," Colton said.
The new proximal femur content is presented in the same easy-to-use format that has proven popular with, and is familiar to, existing users of the AOSR-PT.
"You simply go into the diagnosis section and identify that fracture that is the object of your interest from the classification page. The AOSR-PT will then give you your options, from preparation to reduction and fixation, including all illustrations, approaches and after care," said Colton.
Colton and AO Technical Commission Pediatric Expert Group (Trauma) Chairman James Hunter began work on the AOSR-PT in 2013, with a small grant from the AO Trauma Education Commission. In 2014 Colton and Lars Veum secured a three-year AO Strategy Fund grant to finance development of the first three regional modules. Contributing, along with Colton, to development of the proximal femur module were Executive Editor Fergal Monsell, authors Andrew Howard, James Hunter and Theddy Slongo, Project Manager Carolina Salenius, and medical illustrators Marcel Erismann, Ruth Angliker and Anja Giger. Colton retires from his position as AOSR-PT General Editor at the end of 2017 and will be succeeded by Monsell, with Hunter becoming Executive Editor.
With completion of the proximal femur module, the AO Strategy Fund grant expires.
"We do have one year of funding to support development of a forearm shaft module in 2018, but there is no guaranteed budget for the long-term pursuit of the AOSR-PT project beyond 2018," Colton said. "Talks are in progress to secure funding for continued evolution of this valuable, living educational resource beyond 2018."
Furthermore, the AOSR-PT has received funding from AO United Kingdom and Ireland to conduct a professional, global survey of AOSR-PT users in 2018. Colton expects that the survey results will be available in six to eight months, and could inform future development of the resource.
Colton added that the AOSR-PT perfectly supports the AO Foundation mission of achieving more effective patient care worldwide.
"I believe the AOSR-PT is superb educational content. There is a demonstrable worldwide need for a pediatric fracture-care resource and, outside the AOSR-PT, there is no other resource of this type in the public domain with this sort of structure and so finely attuned to what we believe trauma professionals worldwide want. It meets an educational need that previously was unmet," he said. "Anecdotally and in terms of statistics, the content has been very well received and certainly is worthy of further support for its development and extension."
Please contact the AO Strategy Fund team at strategyfund@aofoundation.org


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'The Handmaid's Tale' cast has a powerful message for women
"Stay alert, stay awake," advised Emmy winner Ann Dowd, who stars as Aunt Lydia in the hit Hulu series "The Handmaid's Tale." Dowd and her co-stars shared their words of advice for real women in today's world. Samira Wiley (Moira) says, "The woman next to you is your sister." Madeline Brewer (Janine) and Amanda Brugel (Rita), who visited the UN this week, also offer their words of hope and support. "The Handmaid's Tale" Season 3 is now streaming on Hulu.
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