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Let's Talk About It: Muslim Journeys
Let's Talk About It: Muslim Journeys NEH and ALA Bridging Cultures: Muslim Bookshelf Collection Date & Time January 14, February 11, March 4, April 8, and May 6, 2014, 6:00pm - 7:30pm Location Pleasant Hill Senior Center 233 Gregory Lane Pleasant Hill, CA 94523 The Center for Islamic Studies is delighted to be a local sponsor for, Let's Talk About It: Muslim Journeys. Pleasant Hill Library was one of 125 libraries and humanities councils nationwide to receive a grant...
CIS | Center for Islamic StudiesUC BerkeleymuslimIslam
Catholic Imagination and Contemporary Culture: What Is It to Think with the Church?
Saturday, February 1st 2014, 1:30pm
2014 Convocation of the College of Fellows Dominican School of Philsophy & Theology, 2301 Vine Street, Berkeley Public presentations by members of the DSPT College of Fellows, followed by reception. RSVP here, space is limited. Presentations will be streamed live. Speakers include: Michael Naugthon: Director of the John A Ryan Institute for Catholic Social Thought at the University of St. Thomas in Minneapolis-St.Paul, MN; Alan W. Moss Endowed Chair in Catholic Social Thought; Full Professor with a...
DSPT | Dominican School of Philosophy & Theology
Catholic Imagination and Contemporary Culture: A Presentation from DSPT College of Fellows
Saturday, January 30th 2016, 1:30pm
At the 7th Annual Convocation of the College of Fellows, DSPT Fellows Patrick Brennan, Bill Cox, and John Denniston will present on Catholic Imagination and Contemporary Culture through the prism of their vocations as legal scholar, healthcare executive, and Social Impact entrepreneur, respectively. Each Fellow will offer a thoughtful analysis of the concerns and opportunities that exist in our culture today from the perspective of their particular secular vocation and consider the ways in which their Catholic imagination guides them toward understanding and taking action...
DSPT | Dominican School of Philosophy & TheologyAnnual Convocation of the College of FellowsPatrick BrennanBill CoxJohn DennistonCatholicCatholic ImaginationContemporary Culture
What Has Athens to Do with Jerusalem? Dialogue between Philosophy and Theology in the 21st Century
Dominican Colloquia in Berkeley: Philosophers & Theologians in Conversation This colloquium, the first in what is planned to be a triennial series on the intersection between philosophy and theology, seeks to continue the venerable Dominican tradition of bringing together philosophers and theologians to explore the theological implications of contemporary work in philosophy, as well as philosophical questions that emerge from theological inquiry. How can recent developments in Analytic, Phenomenological, Thomist, and other schools of thought give new life to the concerns of theology?...
DSPT | Dominican School of Philosophy & TheologyTheologyPhilosophycolloquiumMichael Dodds
Krzysztof Kieślowski's The Decalogue
Friday, September 7th 2012, 7:30pm
Join us to watch one, several, or all of these artistic, probing, and daring investigations into the human condition. The Decalogue was produced in 1989 for Polish television, and consists of ten 1-hour films, each loosely based on one of the Ten Commandments. This series will be hosted by DSPT Fellow, Ron Austin, a Hollywood screenwriter and producer. Conversation to follow each screening. To RSVP go to www.dspt.edu/decalogue or call (888) 450-3778. Space is limited. Dominican School of Philosophy & Theology, 2301 Vine Street, Berkeley All screenings begin at 7:30 pm. Schedule...
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2013 Alemany Awards Celebration
Saturday, April 6th 2013, 6:30pm
Join us in honoring the vital work that our religious sisters do in the world. Saturday, April 6th 5:30 pm Vigil Mass, 6:30 pm Alemany Awards Reception and Dinner in the Cathedral Events CenterCathedral of Saint Mary of the Assumption 1111 Gough Street, San Francisco, CA 94109 Tickets: $185 per person/$1800 per table (10 guests)RSVP (by March 28) and make a donation in honor of the award recipients online. Net proceeds from the Alemany Awards Celebration benefit the education of lay and religious students at the Dominican School of Philosophy &...
Peoples Temple, Jim Jones, and Black America
Wednesday, April 10th 2013, 12:00pm
James L. Taylor, University of San Francisco UC Berkeley Religion, Politics and Globalization Program Spring 2013 Lecture Series 223 Moses, UC Berkeley This talk explores a line of inquiry that seeks to recover the "black dimension" of the Peoples Temple movement in California during the Civil Rights and Black Power era. From a full-length book project, this talk situates Peoples Temple within the context of concurrent trends in Southern and Northern California religious movements and development. Its controversial thesis claims that Peoples Temple, the movement, massacre, and...
The Mysterious Journey of Barbara Green
From the Fall 2016 issue of Currents, view PDF By Doug Davidson Our 2016 Sarlo Award winner discusses theological education, diversity at the GTU, and the joys of writing Dr. Barbara Green, O.P., first heard about the Graduate Theological Union in 1964, when she entered the Dominican Convent in San Rafael, California, to begin her training to become a religious sister. "The priest who taught us would come in and, instead of focusing on Saint Thomas or whatever was scheduled for that day, he'd talk about this exciting new project up in Berkeley where Catholics and Protestants...
The Richard S. Dinner Center for Jewish Studies (CJS)Dominican School of Philosophy and Theology (DSPT)Jesuit School of Theology of Santa Clara University (JST-SCU)
Barbara GreenSarlo Excellence in Teaching AwardJesuit School of TheologyDSPT | Dominican School of Philosophy & TheologyCJS | The Richard S. Dinner Center for Jewish StudiesInterreligiousDavid's Capacity for CompassionGiambattista PittoniGTU library
New Islamophobia Studies Journal
The Islamophobia Studies Journal (ISJ), a bi-annual publication "that focuses on the critical analysis of Islamophobia and its multiple manifestations in our contemporary moment," has published its first issue. According to the editorial statement, "the inaugural edition of the Islamophobia Studies Journal is an attempt to forge the bonds for strengthening our commitment to justice, to be accountable and responsible for the work that we produce, and more importantly, to focus our passions – the basis of the human condition – as we strive to work in our collective and related projects for...
CIS | Center for Islamic StudiesIslamUC Berkeley
Art @ the GTU
Art @ the GTU From the Spring 2019 edition of Skylight See PDF of this article Sacred Sounds and Left Coast Chamber Ensemble in Residence Doug Adams Gallery, Center for the Arts & Religion 2465 LeConte Avenue Through May 24 (T-Th, 10am-3pm) This semester, CARe's Doug Adams Gallery is hosting a musical residency featuring the Left Coast Chamber Ensemble to accompany its "Sacred Sounds" exhibition. Throughout the spring, the Left Coast will present concerts, workshops, open rehearsals, and special events. There's...
News & EventsLibraryCenter for the Arts & Religion (CARe)Dominican School of Philosophy and Theology (DSPT)Pacific School of Religion (PSR)
ArtDSPT | Dominican School of Philosophy & Theology
Aquinas on Beauty
Tuesday, November 1st 2016, 7:30pm
DSPT's Blackfriars Gallery hosts this presentation by Fran O'Rourke, PhD We will begin with a survey of Aquinas' historical sources. Addressing the charge that his definition of beauty is based upon a preconceived grasp of divine perfection and applied by derivation to creatures, it will be argued that his approach is firmly grounded in empirical experience. We will also consider the question whether beauty is for Aquinas a distinct transcendental concept. Finally, we will conclude with brief mention of the importance of Aquinas for the...
Walking through Country Australia
Please join the Dominican School of Philosophy & Theology and the Asia Project of GTU for an exciting lecture series! First Lecture: The Dreaming, Tuesday February 9th, 7:30PM, DSPT Room 1, 2301 Vine St, Berkeley, CA 94708 What is the Dreaming? For an Aboriginal person of Australia their Dreaming is the focus of their entire personal life. Their Dreaming is the place that unites them to the Land, i.e., to their land, to their place in the universe. Their Dreaming relates them to family, to their ancestors. An aboriginal person can say, "Without my Dreaming, I...
DSPT | Dominican School of Philosophy & TheologyAsia ProjectJohn Hilary MartinAboriginal ArtAboriginal DreamingLecture
Memorial Service and Exhibit Honoring Fr. Michael Morris, OP
Friday, September 23rd 2016, 2:00pm
Join the GTU community for a memorial service and the opening of a library art exhibit to honor the late Fr. Michael Morris, OP--Dominican priest, art historian, professor at the Dominican School of Philosophy and Theology (DSPT), and director of the Santa Fe Institute. The memorial service for Fr. Michael will take place from 2:00 - 4:00 pm in the GTU Library. The exhibit will include holy cards, iconography, Trinity objects, items from the Santa Fe Institute, and more, and will remain on display through the fall. All are welcome. Download Flyer
library art exhibitMichael MorrisDSPT | Dominican School of Philosophy & Theology
Black Star, Crescent Moon: Islam and Muslims in the Black Radical Imagination
Sohail Daulatzai, Associate Professor, Film and Media Studies and African American Studies School of Humanities, UC Irvine 277 Cory UC Berkeley Sponsors include: Townsend Center Critical Prison Studies Strategic Working Group, the Center for Race and Gender, Center for Islamic Studies at the GTU, Zaytuna College, Program in Comparative Ethnic Studies, the Islamophobia Research and Documentation Project, and Muslim Identities and Cultures Working Group
IslamCIS | Center for Islamic StudiesUC Berkeley
Encountering Islam: Ministry in the Church and the Dominican Tradition
Encountering Islam: Ministry in the Church and the Dominican Tradition "The Qur'an in Muslim Faith and Practice", lecture by Dr. Mahan Mirza, Zaytuna College Interreligious dialogue is a ministry of the Church. It is an area of service and study that has a long tradition in the Church and in the contemporary times has been renewed with the directives of Vatican II and more recently in the Synod on the New Evangelization, In our current global reality, it is becoming one of the most critical ministries of Catholics, Jews and Muslims throughout the world. Dr. Mahan Mirza is the...
The Center for Islamic Studies (CIS)Dominican School of Philosophy and Theology (DSPT)
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Book Launch - "Unlocking Divine Action: Contemporary Science and Thomas Aquinas" - Fr. Michael Dodds, OP
Tuesday, April 23rd 2013, 7:30pm
Presenters include Robert John Russell, Founder and Director of the Center for Theology and the Natural Sciences; Ted Peters, Professor of Systematic Theology, Pacific Lutheran Theological Seminary; and Fr. Mariusz Tabaczek, OP, GTU doctoral student from the Dominican Province of Poland. Remarks by the author and Q&A to follow. Dominican School of Philosophy & Theology, 2301 Vine Street, Berkeley View/Download flyer
DSPT | Dominican School of Philosophy & TheologyMichael DoddsRobert John RussellTheodore F. Ted PetersTheology and Natural Sciences
Culture and Dignity: Dialogues Between the Middle East and the West
Thursday, December 6th 2012, 7:30pm
by Professor Laura Nader presented by UC Berkeley's International House UC Berkeley International House, Auditorium, 2299 Piedmont Avenue, Berkeley Join us Dec. 6 at 7:30 pm at the I-House Auditorium for a discussion and book signing by renowned cultural anthropologist and UC Berkeley Professor of Anthropology, Laura Nader. In Culture and Dignity, Nader delves deeply into the historical roots of the complex relationship between the East and the West, revealing how our cultural differences too often lead to violence. Through vivid examples taken from history, Nader reveals the myriad...
IslamCultureDialogue and LearningUC Berkeley
International Islamophobia Conference - Paris, France
International Islamophobia Conference : The Epistemic, Racial, Cultural and Structural Exclusionary Measures in France and Europe Location: Paris, France - further details TBA Co-sponsored by the UC Berkeley IRDP (Islamophobia Research and Documentation Project) and CADIS (Centre d'Analyse et d'Intervention Sociologiques), Paris Islamophobia has become one of the most pervasive forms of racism and discrimination in the world today. It is used in the West to police communities of color, to invade countries, to construct the patriarchal racial inferiority of Muslim women...
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Hitler and HistoryHans Keller
Vol. 3 No. 2 · 5 February 1981
Hitler and History
Hans Keller
by Norman Stone.
Hodder, 195 pp., £6.95, August 1980, 0 340 24980 3Show More
Hitler's 'Mein Kampf' in Britain and America: A Publishing History 1930-39
by James Barnes and Patience Barnes.
Cambridge, 158 pp., £8.50, September 1980, 0 521 22691 0Show More
The Berlin Secession: Modernism and Its Enemies in Imperial Germany
by Peter Paret.
Harvard, 262 pp., £10.50, December 1980, 0 674 06773 8Show More
German Romantic Painting
by William Vaughan.
Yale, 260 pp., £19.95, October 1980, 0 300 02387 1Show More
My title is intended to be quadruply functional: the four books raise four interpenetrating problems – and not one problem per book either. That Hitler himself remains an incurable problem is proved by our civilisation's continued, compulsive preoccupation with his personality – which a George Steiner even undertook to reinvent: his The Portage to San Cristobal of A.H. has been reviewed in these pages, nor are Norman Stone, James J. Barnes and Patience P. Barnes always less fanciful. And if Hitler's personality remains an unanswered question, so too, does the history of National Socialism – which a book like Robert Harbison's recent Deliberate Regression: The disastrous history of Romantic individualism in thought and art, from Jean-Jacques Rousseau to 20th-century fascism (1980) interprets as dreamfully as Steiner recreates Hitler. The reason why I quote Harbison's enormous subtitle in full is that it is symptomatic of one of our intellectual age's grand delusions – of the belief that Hitler has a specific history in German Romanticism. It is a delusion which Peter Paret and especially William Vaughan are quite ready to take for reality, while Norman Stone's own dreams about 'the positive qualities of Hitler, his real achievements' (thus Professor J.H. Plumb's Introduction) aid and abet it: if Hitler was some sort of genius, he is part of the history of German, nationalistic genius. The whitewashing of Hitler goes together with the soiling of his past.
Last but first, there is what for me is the most insoluble problem of them all – history itself. I have never understood it as a discipline, simply because I consider the minimal incidence of error too high for intellectual comfort. So far as I am aware, I have only one predecessor (Karl Popper's case against historical destiny is a different proposition: disproved, in my view, by any prognostic philosophy of history that proves itself – above all, Spengler's Decline of the West). But it must be admitted that the reasons for Schopenhauer's hostility to history differed from mine: it was post hoc ergo propter hoc which he considered history's ineluctable fallacy. We see his point – about which, however, there can always be argument. Wrong facts, on the other hand, are demonstrably unavoidable: neither the power of Norman Stone's intellect nor his conscientious research are in question.
For any given purpose, the historian needs more facts than he has at his disposal or is able to ascertain, verify, confirm. There are, of course, levels of factual illusion – nor is a historian of Norman Stone's recognised calibre able to escape the most elementary level: he tells us that 'Sir Neville Chamberlain, the 69-year-old British Prime Minister, flew to meet Hitler at Munich.' The face of the secretary to whom I am dictating this piece remains unmoved while she is taking down this quotation – but then, in 1938, she was minus 15, whereas I was plus 19. What would her face have looked like if I had dictated something about Dame Margaret Thatcher? Her face now clinches my point: we underreact to untruths about the past and over-react against untruths about the present.
The Barneses could never have written their meticulous 'Publishing History' if they hadn't been downright obsessional about factual accuracy. Yet they tell us that Hitler got his German citizenship in February 1932, 'just in time to run for the Presidency of the Weimar Republic'. Again my secretary's face remains unmoved – less forgivably so: 'the Presidency'? It was the Weimar Republic's president, Field-Marshal Hindenburg, who appointed Hitler to the chancellorship, and it was the chancellorship for which Hitler had run. Hindenburg died in 1934, and as Stone reminds us, 'Hitler, without opposition, proclaimed himself president and subsequently also head of the armed forces, which had to swear an oath of personal loyalty to him.' Thus a tiny mistake inevitably creates, or makes possible, prolonged historical confusion.
But while Stone's is, inevitably, the more important book – a competent biography of Hitler is of greater relevance to what life and death are about than a competent biography of Mein Kampf – there are, in fact, one or two places where the Barneses score over him, where their facts beat his desire to be unprecedentedly, unconventionally factual. With a serious historian's weighty flippancy, he observes, for once deceived by Hitler's own lies, that Mein Kampf 'cannot be taken as a blueprint for anything save Hitler's royalties'. This verdict would have made me suspect a lesser scholar of never really having read the Führer's testament of illiteracy and, yes, magnetic stupidity – until the Barneses would have reminded me that there are two ways of looking at Mein Kampf: 'In retrospect it usually made sense; in prospect it deceived as often as it revealed.' An eminently reasonable differential diagnosis. For the sake of his historical aphorism, a leading historian has, paradoxically, refused to look at the past in retrospect.
And although his clear account (as distinct from his evaluation) of Hitler's life is, to my knowledge, absolutely free of factual error, surrounding mistakes are legion – which is not a criticism, because I must insist that they're bound to be. The Gestapo and the SS, for example, are described as 'much the same thing'. You might as well thus describe grass and greenness: all Gestapo was SS, but there was plenty of SS (including a school mate of mine) that wasn't anywhere near the Gestapo. Then there is a careful list of concentration camps in general and women's camps in particular – excluding the one where my grandmother was killed in her nineties.
Again, if the Nazi bureaucrats had 'worked with efficiency', I wouldn't be alive: I was released from pre-extermination prison although a Gestapo warrant for my arrest had been issued while I was inside. Two of those bureaucrats, moreover, subsequently failed to identify me and to have me arrested, while a third placed the contents of my Gestapo file at my (or rather a half-Jewish cousin's, his former girlfriend's) disposal in exchange for an appropriate bribe. 'In the early years of Nazism, anti-semitism contributed to Hitler's popularity.' Contributed? I didn't know a single Nazi, budding or full-grown, who had the slightest interest in anything else. In short, history is for readers who weren't there when it happened.
Unfortunately for three of our historians, I was a victim of the Kristallnacht pogrom (about six weeks before my escape to England), if 'victim' is the word for one of the tiny proportion of eventual survivors. All the Barneses seem to know about the event is that 'Jewish synagogues' (what other synagogues are there?) and Jewish private property were destroyed, while 'some of the Jews could only walk the streets and pass their time in restaurants': this is an eye-witness account of a day when we were beaten, tortured, and articulately prepared for an early demise which, for some, was to prove almost immediate.
So one turns to Stone in the hope of reality, a bit of it. He does at least mention '90 murders' (I don't accept either the figure or the possibility of ascertaining or assessing the correct number, doubtless a multiplex multiple), duly reports the burning down of synagogues and 'several' Jewish houses, and contends that '35,000 Jews were taken to concentration camps for forced emigration.' In Vienna alone, according to the Nazis' own statistical survey, 1,950 Jewish dwellings were destroyed or ransacked, nor is the figure of 35,000 arrests remotely credible: again in Vienna alone, 70,000 Jews were arrested as early as March 1938, when the majority of the city's 200,000 Jews (including myself) escaped arrest, while in November, I hardly knew anybody who hadn't been arrested.
But the climax of Stone's misinformation is our alleged 'forced emigration' – the precisest possible opposite of the truth: emigration was a Jewish dream, usually unattainable; what was forced upon us at that stage was imprisonment and the concentration camp – whence, for the vast majority, there was only one possible eventual emigration, to the gas chambers. And if Mr Stone thinks that 'the British in particular [had] a distinguished record from [1938] on' so far as 'generous' admittance of Jews from Nazi territory was concerned, I am ready to give him a list of personal friends and acquaintances, all gassed, who would be alive today if the British had admitted them, in or after 1938, to this country or Palestine. My own British visa I owed, exclusively, to my English brother-in-law and his financial guarantee: without him, the gas chamber would have been an absolute certainty.
The central Nazi slogan was not 'One People, One Country, One Leader' but, all-importantly, 'One Empire' (ein Reich): there is no chapter without such none too minor mistakes – which, however, do not mar Norman Stone's biographical achievement. In fact, when I say that he goes wrong in the evaluation of Hitler's life, I am concerned with and about the man's public life, for the picture of Hitler's own character, of the uninteresting person that was Hitler, is immaculate: 'He lived for power, and his image of a man of power dictated his way of life. The private Hitler was a boring and banal figure ...'
So was the public Hitler for anybody who had retained his sanity – and it is this crucial fact which we are not yet sane enough to realise. In my long-considered submission, he was a stupid, semi-literate paranoiac, a textbook illustration of both persecution mania and megalomania, and it was the German war generals who, 'appalled', 'thought that Hitler was mad' who have evinced the most realistic insight so far – naturally so, under the pressure of reality. 'In his own way, he was an intellectual.' So is every psychotic idiot who thinks he is. On 7 December 1930, he 'made a brilliant, emotional address' which, as an 11-year-old, I questioned my father and uncle about: was this not a raving half-wit? Had I missed anything? No, they said – for at that stage, receptive insanity was confined to party members, whereas, by now, it even affects critical historians.
As for Hitler's historical role, any such madman would have done, and 'his real achievements' are Stone's fantasy, though by no means his alone. It is deeply depressing to find that the historian's occupational obsession with objectivity drives a man of stature into downright silliness – for his 'major reappraisal of Adolf Hitler' teaches us, in the words of the publisher's publicity sheet, that 'he did not destroy German democracy – on the contrary, in January 1933 Hitler provided the first majority-based government Germany had in three years.' What undiluted nonsense! Fortunately, Stone's own account disproves it: the Nazis never got more than 37.6 per cent of the vote in an election worth its name.
Now it might be thought that at least a historical monograph like Peter Paret's could be absolved from history's original sin, the inevitability of wrong facts: if the denotation of the subject is sufficiently narrow, its connotation might be proportionately free of fancy. Maybe, maybe not; I personally have not come across a guiltless specimen. So far as Paret's own fascinating 'detailed history' of the Berlin 'secession' from academicism is concerned, the irony is that it is too narrow a denotation (in the strictly logical sense, meaning the 'aggregate of objects that may be included under' the word 'secession') that produces the gravest factual error, which is one of indefensible omission.
That is to say, while Paret does not forget the secessions of Dresden, Karlsruhe, Stuttgart and Weimar, while two Swiss artists, Arnold Böcklin and Ferdinand Hodler, are naturally included in the 'aggregate of objects', since they were 'regarded as essentially German', the equally German Viennese secession is utterly neglected, though such names as Gustav Klimt, Josef Hoffman and Kolo Moser leave one in no doubt about the historic, rather than merely historical, role it played in the history of German Modernism, not to speak of its enemies. But of violently wrong elementary facts, at least, the study seems entirely free, simply because it isn't the history of anything big, wide, long. German Romantic Painting is in all conscience – with the result that all levels of factual error are, of necessity, represented in this impressive chronicle, not only of the Romantics' art, but also of their aesthetics and their world views.
Johann Joachim Winckelmann (1717-68) remains one of the greatest art historians of all time, if not the greatest – because, and (in my view) inasmuch as, he was decidedly more than a historian; by the 1760s, his history of ancient art had been translated into English. Yet in 1980, a searching English art history is unable to get his name right: on page 26 it's both 'Winckelmann' and 'Wincklemann', and on the preceding page, his two Christian names are Johan (sic) and Jacob; we have to wait until page 260, i.e. the Index, to get his name altogether straight.
But a true art historian goes beyond the history of his own art into that of others – and music, in particular, tends to be drawn in as (dare I, a musician, say it?) the art of arts; nor do I contest the relevance and indeed original thoughtfulness of some of Dr Vaughan's incorporations of my art. The fact remains that there are no such things as his proudly presented 'major fifths and fourths', except in the historian's professional excursions beyond his knowledge, which will even produce metaphors the application of whose descriptive terms demands rigid reductio ad absurdum.
Take the author's analytic description of Carl Blechen's 'View over Roofs and Gardens', 'a matchless example of direct painting before a view from a window', complete with a superb plate (the castigating italics are mine): 'The angle of the foreground roof becomes part of a series of diagonals and horizontals that pivot around a central hut; the sharp edge of light that it brings into the middle of the painting forms the incisive keynote to the sensitive modulations of tones in the landscapes behind it.' A keynote is a tonic – the note on whose triad a key is based, the note which gives a key its name, and which is the first note of its scale: C is the keynote of C major. It follows that no keynote can be more 'incisive' than any other, nor indeed can modulations possess a keynote: modulation means change of key and hence of keynote – the passing from one key(note) to another. Dr Vaughan does not, of course, use the concept of 'modulation' in the musical sense – nor indeed need he, so long as he doesn't attribute a keynote to it! I hasten to add that I am not accusing him of unmusicality: on the contrary, there is evidence of his musical sensitivity – which, through his inadequate musical knowledge, he often makes the worst of. His wideranging historical approach necessitates the employment of his ignorance or, at best, his peripheral vision: let's blame history rather than him, for it is history that has promoted peripheral vision to the status of clairvoyance, and hearsay to that of peripheral vision.
Schopenhauer's central complaint, the confusion of chronology and causality, comes into its own, on top and at the bottom of mine, with the history of Germany as seen by that conscious and deliberate wisdom after the event – the event that was Hitler – which never stops to consider the mere possibility that when sufficiently traumatic, an event stupefies rather than enlightens, producing mythical causes, a mythological aetiology, for what has been experienced as the exact negative of a miracle – a nightmare realised, materialised, a daymare. The tragic truth is that diagnosis acts as therapy – for the diagnostician. From Israel's boycott of Wagner through Peter Paret's meaningful pointer to the sinister claim 'that the secession's dominant values were un-German and sensual, propagated by foreigners and Jews for economic gain,' to William Vaughan's own misrepresentation of Wagner, the myth of a pre-Hitlerian, and especially a Romantic, latent Nazi ideology has come to dominate our historical thought, worldwide.
'The folk-tale became the image of the intuitive life of the people, which had too often been absent from more sophisticated forms of culture. In their own ways both Nietzsche and Wagner later paid tribute to this intuitive tradition in the myth-dominated narratives of their works.' Did they? If Dr Vaughan had not – like Israel – relied on hearsay Wagner, he would have realised how Wagner-dominated the myths of his operas were – and it's a distinct, prophetic anti-Nazi domination to boot. Though the Nibelungen pervade his book to the extent of at least ten references to them, he would call these references to him: does he think there was such a creature as der Nibelungen?
'The most obvious survival' of German Romanticism 'was the faith in a national identity.'
This fostered the emphasis on a German art, in dependent of other cultures. Today we are all too aware of the line that runs between the nationalistic assertions of Fichte, Kleist and Friedrich to those of Nietzsche and Wagner and eventually to those of the National Socialists. When Hitler gave his speech at the opening of the German Art exhibition in 1837 [sic] as part of his campaign against degenerate 'international' art he singled out the Romantics as people who were 'in essence ... the most glorious representatives of those noble Germans in search of the true intrinsic virtues of our people'. Support from this quarter can only alienate ...
– to the point of one's misreading one's Fichte, Kleist, Nietzsche, Wagner and, incidentally, one's Kant and Schelling, and apparently of not reading Schopenhauer at all.
In other words, while Dr Vaughan does add that 'the Nazis based their claims upon the distortion of a tradition,' he himself reinterprets that tradition in the Nazi manner, for otherwise he wouldn't find any line that runs between it and National Socialism, except for the line that Hitler drew, backwards. When, as a six-year-old, I was beaten up by a gang of fervent Roman Catholics because I had murdered Christ, I was fortunately wise enough not to conclude that 'support from this quarter can only alienate,' and retained my disinterested interest in both the Christian religion and the figure of its founder – even though, in due course, a fat line came to run from those Christians to the National Socialists into whom they grew.
It isn't only that any comparable psychotic, fluently stupid enough for his revelations to have 'intuitive' mass appeal, would have done in the socio-psychological circumstances. Many another tradition would have lent itself to comparable 'distortions': in fact, the Christian tradition did – in the Middle Ages. A straight line runs between Jesus, the prophetic burning of the Jews, the Crusades, the Nazis and, at the time of writing, the Ayatollah Khomeini – a line that can be relied upon to keep running. As for the Berlin secession's 'victory in the war over modernism in Germany', which 'was lost' as the Nazis came to power, i.e. 'after the decline and collapse of the empire and the destruction of the Weimar Republic', we must never forget that all art worth its description is secessionist. That doesn't turn all artists of the time, or all official secessionists, into prophetic anti-Nazis, nor were the anti-secessionists prophetic Nazis: anti-Modernism isn't Nazism, and many were the anti-Modern anti-Nazis.
The history of collective evil is the history of mankind, and so long as we search for the specific causes of what is a natural state, or find them without a search, in art of all unlikely places, we haven't begun to understand this state, its naturalness, the nature of collective regression. It is any collective behaviour which, unnaturally, isn't evil that is in need of explanation; and in my empirical opinion, history can't provide any such explanation.
Give me a single history or, for that matter, a single biography to which this review's criticisms (Schopenhauer's included) do not apply in principle, after you have shown it to experts in all relevant fields (even if it's 'only' a music history), and I shall joyfully withdraw a sceptical a priori view that is based on long and painful a posteriori suffering. Meanwhile, I hasten to concede that two mammoth histories and one mammoth biography belong to my favourite books – Egon Friedell's Cultural History of Antiquity and Cultural History of Modern Times, and Cosima Wagner's two-volume Diaries. But then, they're less than history and less than biography respectively, and proportionately substantial, escaping many a mistake by not caring about what, as proper, scholarly studies, they would have had to care about: it's history's comprehensive conscience that condemns it as a discipline, because the demands of such a conscience cannot be met. I stand to be corrected, with both feet firmly on the ground.
Hans Keller was for many years a member of the BBC's Music Department. A book entitled Criticism will be published later this year. The complete run of Music Survey, the journal edited by him and Donald Mitchell over the years 1949 to 1952, was published last September.
National Institutions
Untruthful Sex
More by Hans Keller
Vol. 3 No. 3 · 19 February 1981
SIR: In the last issue of the London Review of Books (LRB, 5 February), Hans Keller, in his lofty way, talks of 'one of our intellectual age's grand delusions – the belief that Hitler has a specific history in German Romanticism.' After rebuking the authors of the three other books under review, he takes William Vaughan to task for his assumption that there is a 'line that runs between the nationalistic assertions of Fichte, Kleist and Friedrich to those of Nietzsche and Wagner and eventually to those of the National Socialists'. Adjoining Mr Keller's article is a review of Cosima Wagner's Diaries. Wagner, it appears, had mixed feelings about the performances of his work – or rather about the fact that they had to be performed at all since he found the audiences so disagreeable. 'Nothing but hooked noses at Tristan,' he remarked. A fire at the Ringtheater in Vienna 'delighted' him and led to a vision of 'burning all the Jews at a performance of Lessing's Nathan der Weise'. Anyone can see that there is a similarity here between Wagner's fantasy and those that Hitler put into practice, and as Wagner's preceded Hitler's, it would seem natural to speak of a 'line' between them. This does not, of course, establish the case that 'Hitler has a specific history in German Romanticism.' Nor would one want to say that German Romanticism grew out of German anti-semitism. But only a delusion of another kind would lead anyone to claim that there was never any connection between the two.
Vol. 3 No. 4 · 5 March 1981
SIR: As distinct from Miss Kate Graham (Letters, 19 February), I only write about Wagner (or anybody else) if and when I know as much as I can about him. Had she read the two fat volumes of Cosima Wagner's Diaries from which she quotes out of context, she would have discovered 1. Wagner's downright prophetic anti-Nazi attitude (which I touched upon), 2. his Jewish friends (including the Parsifal conductor Hermann Levi, a conscious Jew who passionately defended Wagner against Miss Graham's type of accusation), and 3. the source of his pathological and inconsistent anti-semitism – to wit, the far more consistent Cosima herself, who no doubt 'amended' his remark before she recorded it.
What Cosima says Wagner said in private, then, is not part of German Romanticism – only of Miss Graham's picture of it. In fact, her letter is welcome evidence in support of my case against history in general and the delusion of Wagner's Nazism in particular – as are Cosima's eye-opening Diaries themselves, when read in toto.
Vol. 3 No. 5 · 19 March 1981
SIR: I like the witty and trenchant ways of British criticism and enjoyed above all Clive James's snobby review of Ian Hunter's very provincial biography of Malcolm Muggeridge (LRB, 5 February) and Hans Keller's piece on 'Hitler and History' (LRB, 5 February). In the latter, however, I found one unfortunate error, which should be corrected. Hans Keller makes fun of the Barneses' ignorance about the German presidency in 1932. 'Hitler got his German citizenship just in time to run for the Presidency of the Weimar Republic,' said the Barneses, but they were simply right! On 25 February, Hitler was made a Regierungsrat (and thus became a citizen of the German Reich) in the Land Braunschweig, where his party was governing in a coalition. He was now eligible for the presidential election which took place on 13 March (first turn) and 10 April (second turn). At the second turn Hitler was beaten by Hindenburg, who got 19.35 million votes against 13.41 million. Already at the first turn the Catholic Zentrum Party and the Social Democrats had appealed to their voters to vote for Hindenburg, who felt quite uncomfortable at this new support from what for him was the 'far left'. But only in that way could Hitler's victory at the presidential elections be avoided.
Iring Fetscher
Johann Wolfgang Goethe-Universität, Frankfurt am Main
Hans Keller writes: If Hitler ran for the Presidency, I did not know: it isn't only historians whose historical knowledge is incomplete. I am grateful for, and fascinated by, the correction. History should be written in order to be corrected.
Vol. 3 No. 6 · 2 April 1981
William Vaughan
Department of History of Art, University College, London
SIR: In Vol. 3, No 4 of the LRB Hans Keller, in a manner even more lofty than that adopted in his original review, dismisses out of hand Kate Graham's criticism of his position. In his reply to her letter he suggests that 'the source' of Wagner's anti-semitism is to be found in the attitude of his wife Cosima. Having thus constructed a neat myth of exculpation, Keller goes on to deal with one of Wagner's anti-semitic remarks by writing that 'Cosima … no doubt "amended" his remark before she recorded it.' If this were indeed the case, it might lend some support to Keller's views. But there is no evidence that it was the case. Faced with such speculations one can only observe that 'no doubt' is a rather misleading way of saying 'perhaps'.
In fact, when it comes to Wagner's anti-semitism we do not have to rely on what Cosima says he said in private. We have Wagner's own words – and a great many of them too. In 1881 he wrote to the King of Bavaria, Ludwig II: 'I regard the Jewish race as the born enemy of pure humanity and everything that is noble in it; it is certain that we Germans will go under before them, and perhaps I am the last German who knows how to stand up as an art-loving man against Judaism that is already getting control of everything.' This remark is in no sense an isolated aberration and its tenor goes some way towards explaining the deep affinity which Hitler felt for Wagner. According to his childhood friend Kubizek, Hitler 'looked for much more than a model and an example in Wagner. He literally appropriated Wagner's personality as if he wanted to make it an integral part of his individuality.' Once again it must be said that this does not establish the case that 'Hitler has a specific history in German Romanticism.' But Kate Graham in her very reasonable letter never endorsed such a vague and inclusive view: her concern was only to counter the delusory notion that there was never any connection between German Romanticism and German anti-semitism.
It is disturbing that in addition to denying such a connection Hans Keller evidently believes it is both reasonable and useful to characterise Hitler as 'a stupid, semi-literate paranoiac', a 'psychotic idiot' and 'a raving half-wit'. Hitler was none of these things. Nor does it make any sense to write about National Socialism as an eruption of 'natural evil' brought about by what Keller calls 'collective regression'. It must be suggested that the only purpose served by such pseudo-medical explanations is to defend a limited and inadequate concept of human nature. Such a limited concept is frequently apparent in discussions of anti-semitism and behind it there often lies an ideologically purged version of history. Only when we cease to be bound by this narrow ideological view can we begin to recognise that, up to the time of the Second World War, anti-semitism, far from being an occasional alien intruder into our culture, had always existed in intimate relation to our most revered orthodoxies – not only to Christianity but also to many areas of our literary and artistic tradition.
To adopt such a view of history is not to engage on the project which Hans Keller describes, in which 'the white-washing of Hitler goes together with the soiling of his past.' It is rather to refuse that dangerous consolatory mythology in which Hitler and National Socialism, having been identified with the forces of 'anti-culture', come to be seen as the repository of all evil: a modern Antichrist onto whom we may indiscriminately project our own violence and indeed the hidden violence of our own social structure. The danger of such a mythology – one whose psychological function is so similar to the mythology of anti-semitism – is that it encourages the discipline of history to commit the most serious of all its possible crimes: that of whitewashing the present. It is against that crime, and not against any of the imaginary sins of history which Hans Keller catalogues, that we need to be eternally vigilant.
Vol. 3 No. 7 · 16 April 1981
SIR: The intensity of your correspondents' excitement (Letters, 2 April) is proportionate to the degree to which they leave my case untouched; hard feelings are no substitute for hard fact. So long as the reader is able to discern my original piece in the dark of the reactions against it, I am content. It may help him, however, to be reminded of what I didn't say. I did not 1. 'confuse Winckelmann's two most famous works', 2. quote William Vaughan out of context, 3. deny Wagner's anti-semitism, and 4. suggest 'that there was never any connection between German romanticism and German anti-semitism.'
1. Anxious to apply lex talionis, William Vaughan is in frantic search of my ignorance: I am said to be 'talking of The History of Ancient Art (1974) when Thoughts on the Imitation of Greek Art (1755) is clearly intended'. Where and how Dr Vaughan found this clear intention is not my problem; for my part, I meant what I said. I may add that I have no first-hand knowledge of English translations of Winckelmann, whom I read in the original. Dr Vaughan seems to imply that Gedanken über die Nachahmung der griechischen Werke was translated into English by the 1760s; if so, I didn't know. I only knew about the early translations, into French and English, of Winckelmann's history of ancient art.
2. Dr Vaughan submits that I did not mention his reference 'to the "line" that runs from the nationalism of the romantics to Hitler' in the context of his concluding remark about the Nazis' 'distortion of a tradition'. I am baffled, for it almost looks as if he had missed a paragraph: 'In other words, while Dr Vaughan does add that "the Nazis based their claims upon the distortion of a tradition," he himself reinterprets that tradition in the Nazi manner, for otherwise he wouldn't find any line that runs between it and National Socialism, except for the line that Hitler drew, backwards.'
3. As for Richard Webster, we don't need Wagner's letters to the King of Bavaria for the purpose of describing his anti-semitism; Wagner's published essay, Das Judentum in der Musik, contains Mr Webster's evidence. But in order to gain a clear picture of Wagner's deeply ambivalent attitude towards the Jews, we have to know what his friend, the Jewish conductor Hermann Levi, the son of a rabbi, had to say about it, and why he forgave Wagner. It's the old story: we shouldn't judge people in public before we know everything there is to be known about them. If Richard Webster had read Cosima's Diaries, he wouldn't talk about the 'myth' of her anti-semitic influence on Wagner; it was, incidentally, Israel's leading composer, Josef Tal, who first drew my attention to this evidence. For the rest, if Mr Webster is cross about my 'exculpating' Wagner (which I don't), what would he say to Hermann Levi (who does)? Are we to assume that Mr Webster knows more about Wagner than Levi did?
4. As my self-quotation under 2. shows, I didn't deny Hitler's identification with Wagner, but Wagner's (and other romantics') prophetic identification with Hitler.
I know it is an easy thing to say, but since it is, in my opinion, fact, it has to be said: I don't think you can understand Hitler and his history without having experienced the growth and explosion of National Socialism; the understanding of collective evil is, to that extent, esoteric. As I pointed out in a recent book, much of what I experienced I wouldn't – couldn't – have believed if my best and most truthful friend had told me about it. Conversely, with the experience behind me, the theories flung at my case give me the feeling of remote unreality. I am still waiting for a single mind that has shared my experience to disagree with me.
Vol. 3 No. 9 · 21 May 1981
SIR: In reply to my letter, Hans Keller successfully refutes a view which I did not advance (Letters, 16 April). At no point in my letter did I deny Cosima's influence on Wagner's anti-semitism. What I described as a myth was Keller's claim that Cosima was the 'source' of her husband's anti-semitism. This claim seemed to me, and still seems, indefensible.
Hans Keller goes on to draw attention to the ambivalence of Wagner's attitude towards Jews ands cites as an example the composer's friendship with the Jewish conductor Hermann Levi, who 'forgave' Wagner. It is certainly true that we cannot understand Wagner's anti-semitism without considering this friendship, but the charitable interpretation made of it by Keller is by no means the only possible one. The opposing view is put by Leon Poliakov when he writes (in The History of Anti-Semitism, Vol. III), that Wagner 'extended the feelings of affection he had for animals, to servile Jews, castrated by him, men like Joseph Rubenstein or Hermann Levi, Wagner's human dogs, animated objects, subject to his complete control … This sort of transference has also been observed in the Nazi killers, great animal lovers, who also lavished affectionate benevolence on the Jewish slaves allocated to their personal service.' It might well be that Hans Keller would disagree with this interpretation of Wagner's behaviour but he should not make the easy assumption that those who dispute his views do so simply out of ignorance.
The case of Wagner would not be so important were it not for the fact that it would be possible to engage in similar arguments over the anti-semitism of Chaucer, Marlowe, Voltaire and Dostoevsky, or, indeed, of Martin Luther and Karl Marx. Because of an excessive love of 'culture' or an indiscriminate respect for Christianity, the anti-semitic attitudes of these and countless other figures tend again and again to be minimised, bowdlerised or suppressed. It is perhaps this form of historical revisionism, rather than that of David Irving and other like-minded historians, that is most dangerous: it is dangerous precisely because it is so frequently practised unconsciously and endorsed unknowingly.

redpajama_set_name: RedPajamaCommonCrawl


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Nikolo Kotzev
There was a time in the '70s when rock operas were all the rage. Since then they have been pretty scarce, and many times with good reason. This rock opera is quite possibly the most successful attempt at the genre to have ever come around. The awesome results are probably greatly related to the fact that the CD's creator (Kotzev) is not only a rock composer, but also an accomplished classical composer. The result is a CD that combines prog metal work, progressive rock, and plenty of classical/operatic leanings to achieve a very potent mix. Kotzev also recruited a considerably impressive cast to fill out the roles in his creation. That cast includes such names as Alannah Myles, Sass Jordan, Glenn Hughes, and Joe Lynn Turner. The work is very powerful, emotional, and inspiring.
Overture (instrumental)
Nearly the first two minutes of this track is a purely symphonic classical arrangement full of drama. After that initial period, electric guitar screams in and moves the cut into the rock vein. From that part on it feels a bit like Deep Purple does Emerson, Lake and Palmer.
Pieces of a Dream
This ballad has a pretty and evocative texture with a very strong vocal presence. It gets quite hard edged after a time. The arrangement on this one is very dynamic and driving. This is hard-edged prog at its best.
Desecration
Beginning in strong metallic tones, choir like vocals quickly jump in along with the strings. It begins building with a metallic drone intersperse with neo-classical textures. It eventually shifts to more straightforward metal, but the prog leanings still pervade.
Home Again (instrumental)
A pretty neo classically dominated balladic style creates the crux of this composition.
The Deep Purple leanings rush back in on this hard edged, fast paced progish number. This cut lyrically tells of the early years of Nostradamus.
Somewhat pop oriented, this balladic cut tells of Nostradamus meeting his first true love Henriette D' Encuasse. The arrangement gets quite powerful and lush at times and it eventually turns to a fast mode.
Caught Up In A Rush
Coming in fast and frantic, this is another that feels a bit like Deep Purple. The chorus has a classic rock texture.
Very neo-classical in texture, this one jumps straight into drama. The instrumental/vocal arrangement on this composition is quite interesting.
Rather dramatic, this cut begins building quickly. It is hard edged, mid tempoed prog material. This killer song is full of drama and tension - both musical and lyrical.
Fast paced classical textures accentuated by hard-edged rock makes up the early segments of this track. Then the rock mode takes the dominant role. It does not, however, completely abandon those classical elements
The King Will Die
Fast paced and driven by neo-classical textures, this again feels Deep Purplish. It drops to a classical segment with a narration of Nostradamus' prediction. The cut jumps back up after this to the rocking tones.
I Don't Believe
Frantic metal tones make up the core of this frantic track. A retro '70's rock tone also makes an appearance. It drops to a balladic style for a time, then jumps back in in a bluesy hard rocking fashion, coming back with a vengeance. A proggy break ends the piece.
Try to Live
A very classically oriented segment starts this cut and it begins building in sedate ways from there. It is a pretty, poignant rock ballad in duet form.
War of Religions
A fast paced, hard-edged prog cut, this one really works. A great neo-classical mode dominates.
The Inquisitor's Rage
Coming straight out of the previous cut, this one feels much like an extension of it.
Chosen Man
A dramatically oriented balladic cut, this one is very strong. It builds up in power, becoming anthemic in its balladic mode. It keeps building getting more and more powerful.
Hard edged and very classical in texture, this cut rules in its powerful splendor of the intro. After at time it drops to more straightforward metal, but maintains its intensity. This is an awesome song. It covers so much musical ground and is so powerful that it really stands out.
Starting with an odd neo-classical mode, this one begins building in dart tones. A hard-edged prog style that screams out takes hold after a time. This one leans heavily to symphonic prog metal. It turns almost Yesish at times, though. It also comes across as something similar to the solo work of Rick Wakeman from time to time.
Coming in in a gritty mellow arena rock style, this one has some solid classic rock leanings. It jumps into a more melodic, balladic fashion. This one gets incredibly powerful and the vocal interplay is awesome, as is the instrumental progression.
Neo-classical strings begin this cut. It eventually bursts forth into fast paced prog metalish styles. It drops to a segment that is far more classically oriented with a spoken word element that is very dramatic. Then it comes back in rocking hard, but in a new arrangement. A sad violin ends the piece.
I'll Remember You
Another duet type ballad, this cut is smooth and emotional, but one wonders if the previous number might not have made a stronger closer. It does get quite lush as it carries on and a bit weird at times.


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White endured pregame curries, half-time fistfights on rise to Arsenal
Less than five years ago, Ben White was so far removed from top-level football that his typical matchday experience involved a pregame curry and a half-time fistfight.
In August 2017, White was sent on a season-long loan to League Two side Newport County by parent club Brighton & Hove Albion, with the aim of toughening up a young defender by introducing him to the rough-and-tumble nature of lower league competition. That's exactly what he got.
"It was one of the best years of my life," said White. "I'd gone from playing in an academy where everything is nice and you have everything you want, and then you go there and everything is completely different. You're having a curry for your prematch meal! Everything was totally different from what I knew in the academy.
"In my first game there was a punch-up at half-time between our own players in our own dressing room. It was a bit scary, to be fair. I didn't want to make any mistakes, that's for sure."
White is speaking at St. George's Park, where he has earned a recall into Gareth Southgate's latest England squad for friendlies against Switzerland and Ivory Coast, and it's just reward for a steady and sustained upturn in form following his £50 million transfer from Brighton to Arsenal last summer.
Southgate spoke glowingly about White when announcing his squad last week, claiming "it is easy to picture how he would slot into the way we would like to play," raising the prospect that the 24-year-old could make his first appearance at a major finals in the World Cup later this year after being an unused squad member at Euro 2020. It would complete a remarkable ascent for a player whose path to success was far from smooth.
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As a young boy, White had issues with his immune system and had his appendix removed at the age of 7. After making strides at youth level, White was released by Premier League side Southampton at age 16.
"I was going for a meeting [with Southampton] and got told I wasn't going to get anything," explained White. "Mum took me, and our chat was a little bit quiet on the way home.
"[I] didn't know if I wanted to carry on. It was obviously tough not being wanted. You don't really know where you go from there, because it is kind of out of your control. You don't know if there's going to be anyone else who wants you because you are at that level. If they don't want you, other teams at the same level [won't]. So it was kind of a feeling of 'where do I go from here?'"
But was it a shock? "No, I wasn't good enough when I was younger," he continued. "I was a late developer. I was probably as tall as I am now, but really skinny, gangly, couldn't really run. And I didn't play at all when I was [at Southampton].
"There were always people playing in front of me. I'd get 10 minutes here and there, and that's not enough to be able to show what you've got."
An uncertain period followed. White was offered a three-day trial at League One side Bristol Rovers — "I only did two days because we were literally just running up hills, didn't get a football out at all … it absolutely killed me, couldn't do it" — before failing to impress again in another trial at Leicester City.
"Then I went to Brighton for a trial against Brentford — that was when I first started playing centre-back — and they said after to my mum, 'We need to know by Tuesday because we want to offer him a scholarship and if you don't know by then, the contract's gone.' So it was kind of 'I need to sign it because I don't know if I'm going to get anything else.'
"I don't think I ever thought about being a professional. It sounds weird obviously, playing for that many years, I kind of just went with the flow. Year after year, you keep playing and I think when it gets to a scholarship, it kind of starts to get serious from when you are a youngster. But yeah, it was tough. There are a lot of things that go through your head, like a normal life.
"But there was only a Plan A for me. There was never … I didn't have a backup. There was nothing else I really wanted to do."
After grinding his way through English football, Ben White is now starring for Arsenal — and soon England. Michael Regan/Getty Images
Former Newport manager Michael Flynn went on to describe White as "the best loan that the club has ever had," and he received equally enthusiastic endorsements during subsequent temporary spells at League One side Peterborough and Leeds United. He played every minute of Leeds' Championship-winning season in 2019-20, before forcing his way into Brighton's first-team setup.
White started 36 of Brighton's 38 Premier League games last season and made Southgate's Euros squad, but there were still eyebrows raised by Arsenal's willingness to spend £50m on a player with one season of top-flight football under his belt. That criticism reached new levels on the opening day of the campaign as a patched-up Arsenal side missing four players due to COVID-19 lost 2-0 at newly promoted Brentford.
Sky Sports pundits Jamie Carragher and Gary Neville were withering in their assessment of White after the match, claiming other sides would target his weaknesses and highlighting the apparent ease with which Brentford striker Ivan Toney had outmuscled him throughout. Carragher added his relief White had not signed for his beloved Liverpool, adding: "My fear was I wouldn't want him to come to Liverpool because he's not tall enough, not good enough in the air."
"I saw it," said White. "I think it was the first time I've actually been singled out. It's never a nice feeling, it is not very good, but it just gives me more incentive to go out there and do well.
"Some of the stuff they said was true that game. It wasn't my best [game] — obviously they've had amazing careers and hopefully one day I could have something like that.
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"You see everything on Twitter and stuff like that, it's all part of it. It's something I didn't really dwell on, it didn't have any impact on me, how I was thinking or how I was playing. I know I wasn't good enough at the start of the season and didn't put a very good performance in. I don't need anyone to tell me that.
"To be honest, I can't remember [now] what they said. I think if I thought about it too much or kept listening to it back all the time it would only affect me so I think I'd rather just leave it and move on and try to do better."
White did just that. A positive COVID-19 test and subsequent international break meant he didn't play again for Arsenal until Sept. 11, a 1-0 home win over Norwich City that proved the catalyst in turning the Gunners' worst start to a season in 67 years into a serious challenge for a top-four finish. Arsenal are now favourites to finish in fourth place after a run of 10 wins from their past 13 Premier League games, a period in which White has begun to exert authority in his defending and confidence in playing out from the back. It's a combination of skills that has obvious appeal for Southgate as much as Mikel Arteta.
Prior to goalkeeper Aaron Ramsdale's withdrawal with a hamstring injury, the Gunners had four players in an England squad — White, Bukayo Saka and Emile Smith Rowe — for the first time in almost eight years.
White has his own song, "Ole ole ole ole, Benny White, White, White" — "it is decent to be fair, it is the first song I have had since I have been playing" — and there is a renewed unity between the club and the fans reminiscent of the reconnection Southgate has engendered with England.
"Yeah, you can tell when you're playing now," White said of Arsenal. "It's very different to what it was like two or three months ago, even when we're away it's electric.
"As soon as I went into Arsenal it felt like home and it was so easy to get to know everyone. I was made to feel so welcome. It is exactly the same here. So easy to just come in. You've got no worries about anything else. Do your best."
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Home » News » Fortune Magazine Sold to Thai Businessman for $150 Million
Fortune Magazine Sold to Thai Businessman for $150 Million
admin November 9, 2018 5 0
ImageThe decision earlier this year by Meredith Corporation to sell Time, Fortune and other iconic titles, though widely expected, further signaled the decline of the magazine industry.CreditCreditJeenah Moon for The New York TimesFortune magazine, a founding brand of the Time Inc. empire that started publishing right after the stock market crash of 1929 and went on to chronicle the rise and fall of America's biggest companies, has been sold to a Thai businessman for $150 million.Chatchaval Jiaravanon, whose family controls Charoen Pokphand, one of Thailand's largest companies, will acquire Fortune as a personal investment, according to a statement from the magazine's current owner, Meredith Corp. He intends to increase investment in Fortune's digital capabilities, geographic expansion and editorial talent, the statement said.Mr. Jiaravanon is the second unexpected buyer for a Time. Inc. title in recent months. In September, Meredith said it would sell Time magazine to Marc Benioff, the billionaire chief executive of the software company Salesforce, for about $190 million."This was a great outcome," Alan Murray, who had been Time Inc.'s chief content officer and will become Fortune's chief executive, said in an interview, adding that Mr. Jiaravanon "has ambitious goals for the magazine."In the statement announcing the deal, Mr. Jiaravanon promised to invest in technology and journalism at Fortune.Like all magazines, Fortune's print business has declined — ad pages for 2018 are down more than 25 percent — which prompted the title to focus on other potential areas of growth, specifically digital advertising and conferences. Those businesses now make up about 62 percent of Fortune's nearly $100 million in annual revenue, and the magazine makes about $10 million in profit when not taking into account interest, taxes, depreciation and amortization.The purchase price and Mr. Jiaravanon's willingness to invest in the magazine were key factors in his winning bid, Mr. Murray said, although the specific amount of additional investment was not discussed. The magazine is likely to add to its staff and will consider putting a paywall on its website.Meredith moved quickly after acquiring Time Inc. last year to sell the magazines that did not fit into its existing stable: glossies centered around home and lifestyle and geared toward female readers. The company announced in March that it was seeking a buyer for Fortune, as well as for Time, Money and Sports Illustrated. Although Meredith's decision to sell those titles was widely expected, it nonetheless signaled a further decline of the magazine industry.Auctioning off the magazines was more complicated than Meredith executives had expected. As a case in point: Mr. Benioff was close to buying Fortune before switching his preference to Time when he saw that it was a bigger business. At that point, Meredith had to seek new bidders for Fortune.Mr. Murray, who helped lead the process along with and Meredith's banking adviser, Citigroup, said in September, "It was a learning process for me, and these things just take a lot longer than you think they would."Mr. Jiaravanon, 56, who will not play any role in managing the magazine, emerged as a suitor only within the past three weeks, Mr. Murray said. Meredith had talked to about a dozen serious buyers for the magazine this year.The deal was reached Friday evening in Hong Kong, where Mr. Jiaravanon celebrated his acquisition at dinner with Mr. Murray.Fortune, the second title to be hatched by Henry Luce, Time Inc.'s founder, has won numerous awards over its 88 years. It became known for its in-depth features, which often recast a company's rise or fall as a lively case study.That a little-known businessman like Mr. Jiaravanon would become Fortune's new owner underscores the wildly shifting prospects for America's best-known magazines. But that was one of the key reasons for Mr. Jiaravanon's interest."He loves the brand," Mr. Murray said. "And he really has an appetite to invest."Fortune has not covered Mr. Jiaravanon or his family conglomerate, known as C.P. Group, extensively. The family business is the largest private company in Thailand, with interests department stores, banks, telecommunications companies and other businesses. The company's senior chairman, Dhanin Chearavanont, often tops the list of Thailand's richest people.Mr. Jiaravanon, a graduate of the University of Southern California, also sits on the board of True Corporation, a Thai media company with over $4 billion in revenue.His ownership of Fortune immediately vaults Mr. Jiaravanon onto the world stage, but he did not buy the magazine "for personal glorification," Mr. Murray said. "The fact that he's not talking to you is evidence of that."
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Markey introduces bipartisan telecom accessibility bill
Posted on June 20, 2008 by joly
Representative Edward Markey (D-MA), chairman of the House Subcommittee on Telecommunications and the Internet today introduced the 21st Century Communications and Video Accessibility Act. Rep Heather A. Wilson (R-NM) joined Rep Markey as an original co-sponsor of the bill.
The bill would amend the Communications Act to ensure that new Internet-enabled telephone and video services and equipment are accessible to and usable by people with disabilities and closes existing gaps in telecommunications laws. Provisions include hearing aid compatibility and Internet closed captioning to real-time text support for emergency services.
The bill includes the following specific measures:
Communications Access
* Requires access to phone-type equipment and services used over the Internet.
* Add improved accountability and enforcement measures for accessibility, including a clearinghouse and reporting obligations by providers and manufacturers.
* Requires telephone products used with the Internet to be hearing aid compatible.
* Allows use of Lifeline and Link-up universal service funds (USF) for broadband services.
* Allocates up to $10 million/year from USF for equipment used by people who are deaf-blind.
* Clarifies the scope of relay services to include calls between and among people with disabilities and require Internet-based service providers to contribute to the Interstate Relay Fund.
Video Programming Access
* Requires decoder circuitry in all video programming devices.
* Extends the closed captioning obligations to television-type video programming distributed over the Internet: covers programming that would otherwise be covered by the FCC's captioning rules, not user-generated content.
* Requires easy access to closed captions via remote control, on-screen menus.
* Requires easy access by blind people to television controls and program selection menus.
* Restores video description rules and requires access to televised emergency programming for people who are blind or have low vision.
Rep Markey said, "New Internet-based technologies have
revolutionized the way Americans interact, learn and
conduct business. However the wizardry of the wires and
the sophistication of software programs do little for
those who cannot affordably access or effectively use
them. This bill is an opportunity to ensure that all
Americans are offered equal access to these exciting and
innovative new technologies."
"This bill will help people with all kinds of
disabilities be able to get emergency information by
using advances in technology we all take for granted,"
Rep Wilson said. The bill would amend the Communications
Act to ensure that new Internet-enabled telephone and
video services and equipment are accessible to and
usable by people with disabilities and closes existing
gaps in telecommunications laws. From extending hearing
aid compatibility and Internet closed captioning to
real-time text support for emergency services, the bill
seeks to provide a smooth migration to the next-
generation of Internet-based and digital communication
Coalition of Organizations for Accessible Technology Press Release
AFB Commentary on May 1 hearing that presaged the bill.
disabilty
← Jonathan Zittrain on The Colbert Report
Semantic Web Panel Discussion at LinkedData Conference 2008 →


text:
from __future__ import unicode_literals

from random import randint

from core.utils import error_page, is_mobile
from django.conf import settings
from django.contrib.auth.decorators import user_passes_test
from django.core.exceptions import ObjectDoesNotExist
from django.db.models import Q
from django.http import JsonResponse
from django.shortcuts import get_object_or_404, render_to_response
from django.shortcuts import redirect, render
from django.template import RequestContext

from .forms import CategoryEditForm, RecipeEditForm
from .models import Category, Recipe

def instruction(request):
    """Show instruction"""
    return render(
        request,
        "recipes/instruction.html",
    )

def show_recipes(request, category=''):
    """Show recipes"""
    categories = Category.objects.order_by('order')
    if categories.count() == 0:
        return redirect('recipes:instruction')

    if category:
        q = Q(category__id__iexact=category)
    else:
        q = Q()

    recipes = Recipe.objects.filter(q).order_by('category__order', 'order')
    mobile = is_mobile(request)
    if category:
        category = int(category)

    return render(
        request,
        "recipes/show_recipes.html",
        {
            'categories': categories,
            'recipes': recipes,
            'category': category,
            'mobile': mobile,
        }
    )

def what_today(request):
    """What today?"""
    if request.method == "POST":
        category = request.POST['category']
        if category:
            q = Q(category__id__iexact=category)
        else:
            q = Q()

        count = Recipe.objects.filter(q).count()
        if count:
            recipes = Recipe.objects.filter(q)
            random = randint(0, count - 1)
            recipe = recipes[random]
            return JsonResponse([recipe.id], safe=False, status=201)
        else:
            return JsonResponse({'status': 'false'}, status=400)

    return error_page(request)

@user_passes_test(lambda u: u.is_superuser)
def new_recipe(request):
    """New recipe"""
    categories = ''

    if request.method == "POST":
        editform = RecipeEditForm(request.POST, request.FILES)
        if editform.is_valid():
            recipe = editform.save(commit=False)
            try:
                latest = Recipe.objects.latest('id')
                recipe.order = latest.id + 1
            except ObjectDoesNotExist:
                recipe.order = 1

            recipe.save()
            return redirect(recipe.get_absolute_url())
    elif request.method == "GET":
        editform = RecipeEditForm()
        categories = Category.objects.order_by('order')

    return render(
        request,
        "recipes/edit_recipe.html",
        {
            'form': editform,
            'edit_type': 'new',
            'categories': categories,
        }
    )

@user_passes_test(lambda u: u.is_superuser)
def edit_recipe(request, id):
    """Edit recipe"""
    categories = ''
    recipe = get_object_or_404(Recipe, pk=id)

    if request.method == "POST":
        editform = RecipeEditForm(request.POST, request.FILES, instance=recipe)
        if editform.is_valid():
            editform.save()
            return redirect(recipe.get_absolute_url())
    elif request.method == "GET":
        editform = RecipeEditForm(instance=recipe)
        categories = Category.objects.order_by('order')

    return render(
        request,
        "recipes/edit_recipe.html",
        {
            'form': editform,
            'edit_type': 'edit',
            'recipe': recipe,
            'categories': categories,
            'context': request.context,
        }
    )

@user_passes_test(lambda u: u.is_superuser)
def delete_recipe(request, id):
    """Delete recipe"""
    recipe = get_object_or_404(Recipe, pk=id)
    recipe.delete()
    return redirect(recipe.get_absolute_url())

@user_passes_test(lambda u: u.is_superuser)
def save_order(request):
    """Save order"""
    if request.method == "POST":
        orders = dict(request.POST.iterlists())['order[]']
        for index, order in enumerate(orders):
            recipe = get_object_or_404(Recipe, pk=order)
            recipe.order = index + 1
            recipe.save()

        return JsonResponse({'status': 'true'}, status=201)

    return error_page(request)

@user_passes_test(lambda u: u.is_superuser)
def edit_category(request):
    """Edit cateogry"""
    categories = Category.objects.order_by('order')
    return render(
        request,
        "recipes/edit_category.html",
        {
            'categories': categories,
        },
    )

@user_passes_test(lambda u: u.is_superuser)
def new_category(request):
    """API new_cateogry"""
    if request.method == "POST":
        editform = CategoryEditForm(request.POST)
        if editform.is_valid():
            category = editform.save(commit=False)
            try:
                latest = Category.objects.latest('id')
                category.order = latest.id + 1
            except ObjectDoesNotExist:
                category.order = 1

            category.save()
            categories = Category.objects.order_by('order')

            return render_to_response(
                "recipes/show_category.html",
                {
                    'categories': categories,
                    'category_length': settings.RECIPE_CATEGORY_MAX,
                },
            )

    return error_page(request)

@user_passes_test(lambda u: u.is_superuser)
def delete_category(request):
    """API delete_category"""
    id = request.POST['id']
    category = get_object_or_404(Category, pk=id)
    category.delete()

    categories = Category.objects.order_by('order')

    return render_to_response(
        "recipes/show_category.html",
        {
            'categories': categories,
            'category_length': settings.RECIPE_CATEGORY_MAX,
        },
    )

@user_passes_test(lambda u: u.is_superuser)
def save_category(request):
    """API save_category"""
    if request.method == "POST":
        orders = dict(request.POST.iterlists())['order[]']
        for index, order in enumerate(orders):
            id, name = order.split(':')
            category = get_object_or_404(Category, pk=id)
            if category.name != name:
                category.name = name
            category.order = index + 1
            category.save()

    categories = Category.objects.order_by('order')

    return render_to_response(
        "recipes/show_category.html",
        {
            'categories': categories,
            'category_length': settings.RECIPE_CATEGORY_MAX,
        },
    )

redpajama_set_name: RedPajamaGithub


text:
December 21, 2013 Jo Tracey Capricorn, Featured Stars
Ruler: Saturn
Exalted: Mars
Detriment: Moon
Fall: Jupiter
Polarity: Feminine/ Negative
Modality: Cardinal
Body Parts: skin, joints, structure & form, skeletal system, hair, nails, teeth
Nature: cold, dry, with little internal heat
Capricorn represents structure, achievement and the efficient use of resources.
As kids, we'd play Monopoly on Christmas Day or rainy days on holidays.
My Cap Moon Dad would insist on being banker and, somehow, always seemed to have a ready supply of cash.
I'd buy whatever property I landed on, generally lose focus and go bankrupt quite quickly. My Capricorn Sun, Aries Rising sister, Bec, would play the game strategically, aiming for the quality properties and utilities, quietly erecting hotels on each and then waiting for the sting. She'd wait until I'd gone bankrupt so she could buy up my defaulted properties and immediately improve them as well.
Bec and my Aries brother would generally battle it out to the death … or tears- usually when Mr Aries would pick up the board and throw it. Monopoly is now banned at my parents' home).
Monopoly is the ultimate Capricorn board game.
Every astrologer has a sign (or two, or three) that they find difficult to identify with and difficult to write about. This doesn't mean that we don't like that particular sign, (or the people who have placements in that sign) but rather that we find it difficult to understand- usually because of differences within our own chart and with our own motivations.
As much as I love my sister, Capricorn is one of those signs for me. I think it's because I have a difficult relationship with Saturn (the ruler of Capricorn). I think it's also because I find it difficult to laugh at Capricorn- and I like to find something to laugh at or with in all signs.
Most signs have something in their key descriptive words that is sort of interesting or even slightly glamorous sounding. Cancer is caring and empathetic, Libra social and decorative, and Taurus tactile and musical. Capricorn, though, is ambitious, goal orientated and hardworking- motivated by the attainment of security, stability and societal respect. Positive traits indeed, but difficult to live up to- especially when young…
However, mention these motivations to Capricorn and the response is likely to be 'I am nothing like that, which just goes to show that astrology is a crock of s%^t,' or, 'You make me out to be motivated by nothing but work and I am nothing like that, which just goes to show that astrology is a crock of s%^t ,' or 'you make me sound so boring and I am nothing like that, which just goes to show that astrology is a crock of s%^t.'
I also find that most signs have a shadow side that they are secretly willing to admit and even more secretly are proud of. Aquarians like their detached and quirky side, Gemini jokes about duplicity and Scorpio revels in her paranoia and revenge fantasies. Sadge brags of his excesses and Pisces her addictions, but Capricorn has difficulty admitting to her shadow side. Materialistic? Elitist? Social climbing? 'Not I,' they will say, 'I am nothing like that, which just goes to show that astrology is a crock of s%^t.'
Each sign is a function of their ruling sign, and Capricorn's is Saturn. Saturn represents maturity, mastery, containment, boundaries and restriction.
Saturn structures get stronger as they mature- as experience and wisdom is absorbed and storms weathered and survived.
So too with Capricorn. Capricorn is one sign which really grows into itself- quite possibly one of the reasons that people with Capricorn Ascendants and Suns (or with Saturn in the 1st house) age so well- they literally grow into their own skin. Capricorn careers also tend to peak later, as achievement is based on practicality, prudence and perseverance rather than charisma and light-bulb moments.
As Indiana Jones once said, 'It's not the years, but the mileage.'
Although sometimes feeling older than their years and their peers when young, and with a tendency towards gloom, prudence, economy, melancholy and worry, Capricorn tends to "lighten up" with age.
Symbolically, Capricorn is represented by the image of the Sea-Goat, a mythical creature with the body of a mountain goat and the tail of a fish. Where the mountain for Sagittarius is part of the adventure, existing as a challenge to get past, jump off and see what is on the other side; for Capricorn, it isn't about what is waiting on the other side- it really is all about the Climb.
Capricorn achievement is not of the "look at me" fame and glory nature. It is quieter and more intrinsic. It is about mastery. It is about understanding the gravity and reality of life and confronting issues honestly and with wisdom and integrity. It is about maturity and becoming an adult.
Capricorn needs to feel that their experience, wisdom and knowledge is appreciated- with or without the supporting feedback. As such, Capricorn does tends to internalise when down and can be prone to depression if she feels that she hasn't achieved what she thinks she should have achieved.
The danger for Capricorn is when she becomes hooked on social approval or compares herself and her position, salary and achievements to others, and finds herself envious of the apparent ease with which others have accumulated. It is at this point that the shadow of Capricorn come into play.
The lesson for Capricorn is that of the hermit in the Symbalon card- inner knowledge, inner strength and inner certainty is what is important. Learn to be alone, learn to be "enough"- what other people think matters less than you would imagine.
It's The Climb: Sun in Capricorn
It's The Climb…
Happy Birthday Capricorn
Something about mountain climbing…
Blue Sky Mining… Mercury in Capricorn
astrologyCapricornJo TraceySun in Capricorn
Previous Post:Something about mountain climbing…
Next Post:How NOT to survive Venus Retrograde…


text:
Singapore Airlines' first New York-bound Airbus A350-900ULR arrives
24 Sep 2018 by Craig Bright
Singapore Airlines has taken delivery of its first of seven new Airbus A350-900ULR (ultra-long range) aircraft over the weekend, ahead of its debut flight on the airline's relaunched non-stop flights between Singapore and New York.
The Singaporean carrier is the launch customer for the new aircraft, which is an extended-range variant of Airbus's current A350-900 model. The ultra-long-range aircraft is capable of flying up to 9,700 nautical miles for a duration of more than 20 hours.
This will enable Singapore Airlines to reclaim the mantle of the world's longest non-stop commercial flight when it resumes its non-stop service to New York (Newark) on October 11.
Business Traveller will be on the inaugural flight, and will be publishing a review of the aircraft shortly thereafter.
The aircraft is then set to take on Singapore Airlines' non-stop flights to Los Angeles starting in November.
Aside from its range, however, the new aircraft is particularly notable for its interior cabin set up, which has – perhaps mercifully – done away with the economy class cabin altogether. Instead, the A350-900ULR will have just 161 seats in total with 67 in business class and 94 in premium economy.
Fans of Singapore Airlines' current A350-900 seat products will be pleased to know that the A350-900ULR will feature the exact same seats as its predecessor in both the business and premium economy cabins.
Aside from its new ultra-long-haul A350, Singapore Airlines also will be taking delivery of a number of new medium-haul A350-900s, featuring its new fully flat regional business class seat product, which it debuted earlier this year on its Boeing 787-10 Dreamliner aircraft. Singapore Airlines has already earmarked Adelaide (December 17) and Brisbane (2019) as initial destinations for the new aircraft.
Singapore Airlines is among the largest operators of the A350, with 21 A350-900s already in its fleet. To date, the carrier has ordered a total of 67 A350-900s, including the seven ultra-long-range variants.
Alex McWhirter writes…
"Normally delivery flights would take the shortest route possible. But in this case Airbus and SIA decided to "prove" the A350 ULH by taking it on the longer route between Toulouse and Singapore.
The quickest route would have been via Southern Europe, the Black Sea and India. However this particular flight routed to Singapore via the Arctic Circle and Russia which is roughly one-third longer.
It meant that, on this occasion, the normal 12 hours flight time (for Toulouse-Singapore) was extended to 16 hrs 30 mins."
singaporeair.com
Tags: A350-900ULR, Singapore Airlines
AccorHotels to open dual brand Novotel and Ibis Styles in Downtown Bangkok
Delta to launch "biometric terminal" at Atlanta
Adelaide and Brisbane getting Singapore Airlines' new regional business seats
Singapore Airlines' first A350-900ULR emerges from paint shop
Singapore Airlines to reclaim crown for world's longest flight
Singapore Airlines confirms details of non-stop Los Angeles flights


text:
Ultimate fan
The Card
Gruppo Pritelli and the road to racing
With 2020 approaching, we take a look into the evolution of one of the industry leaders in racing apparel.
With significant presence at MotoGP™ circuits around the world, Gruppo Pritelli is an Italian brand that has been constantly evolving since 1976, covering areas from fashion to food, and hospitality to motorsport.
Gruppo Pritelli immediately won over riders, teams and the public with its first Racing Apparel collections and seemed destined to champion two wheels. It is now considered an industry leader in racing apparel, selling its collections at 10 MotoGP track stores, plus additional racing series like World Superbike.
From 8-time world champion Marc Marquez to the late Kentucky Kid, Nicky Hayden, Gruppo Pritelli has been chosen to produce the official clothing of various racing legends over the years. It is also the production partner of racing teams Ducati, Kawasaki Racing, Repsol Honda and HRC.
The business prides itself on its relationship with partners, through each manufacturing stage, along with the team's ability to create unique designs, interpret style and carefully select materials. But Gruppo Pritelli equally puts its success down to adrenaline and passion – from the green light to the chequered flag.
Perhaps one of the most admirable aspects of the company though, is its tribute to Marco Simoncelli. In collaboration with the Marco Simoncelli non-profit Foundation, Gruppo Pritelli ensures 'La Storia del Sic' is continued through the fans of the sport.
Simoncelli's legacy lives on through the museum in Coriano, a project strongly hoped for by the young champion's family and a sign of gratitude to both his fans and his hometown. As well as this, Gruppo Pritelli own the website, the official Facebook page and the clothing line, donating part of the proceeds to the Foundation.
Their passion for MotoGP made them an obvious Fandom Pay partner. Our partnership means we can offer Fandom Pay cardholders rewards on official racing clothing and accessories, such as 10% discount on the online store and free-to-enter competitions. Check out the app to redeem.
Not ready to sign up yet? Enter your email below and we'll keep you posted with our latest news, competitions and offers in case you change your mind.
support@fandompay.com
About Fandom Pay
The Fandom Pay MotoGP(TM) Mastercard® Prepaid Card is issued by Wirecard Card Solutions Ltd (WDCS) pursuant to license by Mastercard International Incorporated. WDCS is authorised by the Financial Conduct Authority to conduct money service activities under the Electronic Money Regulations 2011 (Ref: 900051). Mastercard is a registered trademark, and the circles design is a trademark of Mastercard International Incorporated.
© 2016 Dorna Sports SL. All trademarks are the property of their respective owners.
© 2020 Fandom Pay


D as BetterC (a.k.a. DasBetterC) is a way to upgrade existing C projects to D in an incremental manner. This article shows a step-by-step process of converting a non-trivial C project to D and deals with common issues that crop up.
Do you ever get tired of bugs that are easy to make, hard to check for, often don't show up in testing, and blast your kingdom once they are widely deployed? They cost you time and money again and again. If you were only a better programmer, these things wouldn't happen, right?


text:
Q: Oracle RESTRICTED SESSION error I tried to install Oracle database 12c on my machine following the documentation:
http://www.oracle.com/webfolder/technetwork/tutorials/obe/db/12c/r1/Windows_DB_Install_OBE/Installing_Oracle_Db12c_Windows.html
I have successfully installed the database itself and can login to the database pdborcl using:
sqlplus sys/Oracle_1@pdborcl as sysdba

I unlocked the hr user following the instruction using:
alter user hr identified by hr account unlock;

However, when I tried to connect to the database using the newly unlocked user: hr, it gives an error message:
SQL> connect hr/hr@pdborcl
ERROR:
ORA-01035: ORACLE only available to users with RESTRICTED SESSION privilege.

Warning: You are no longer connected to ORACLE.

Can someone let me know how to solve this problem? Is this something with licensing?
UPDATE:
I actually tried:
alter system disable restricted session;

What I get is:
ERROR at line 1:
ORA-65144: ALTER SYSTEM DISABLE RESTRICTED SESSION is not permitted.

The query: select logins from v$instance returns:
LOGINS
---------
ALLOWED

A: If alter system disable restricted session doesn't work it means that there are patch violations
Check the status with below command:
select * from PDB_PLUG_IN_VIOLATIONS;

If post steps did not complete properly then it will keep PBD's in restricted mode. Run the below steps:
sqlplus / as sysdba

shutdown immediate
startup upgrade
alter pluggable database all open upgrade;
quit
cd $ORACLE_HOME/OPatch
./datapatch -verbose

check the log, should be no errors
sql> shutdown immediate
sql>startup
sql> alter pluggable database all open;

A: Try below Steps. Hope its useful for you
Few days back it worked in this way for me
SQL> select logins from v$instance;

    LOGINS
    ----------
    RESTRICTED

SQL> alter system disable restricted session;

    System altered.

SQL> select logins from v$instance;

    LOGINS
    ----------
    ALLOWED

If won't work try this Post restart of the Database Server

A: Check if your PDB is in restricted mode by entering show pdbs. If under Restricted it says YES, then you have to just shut down the instance and start it up again. Here's how:
SQL> shutdown immediate

Pluggable Database closed.

SQL> startup

Pluggable Database opened.

SQL> show pdbs

CON_ID CON_NAME                       OPEN MODE  RESTRICTED
------ ------------------------------ ---------- ----------
     3 PDBORCL                        READ WRITE NO

A: Your database was opened with restricted session.
As sysdba run the following command to dissable restrcited session option:
alter system disable restricted session;

A: grant connect to user;

grant all privileges to user;

redpajama_set_name: RedPajamaStackExchange


Shivling, West Ridge and Northeast Face. Boštjan Kekec, Rupar Uroš, Damjan Vidmar, Aco Pepelnik and I got to Base Camp at Tapovan on September 3, but on the 7th I left for New Delhi. I returned with food on September 13. Meanwhile Uroš and Kekec had climbed the west ridge of Shivling. Pepelnik, Vidmar and I started up the northeast face of Shivling on September 17. It took us three days to climb the lower part of the face, first rock and then mixed climbing. On the fourth day it was mostly snow and ice. We got to the Scott ridge on the fifth day. The sixth bivouac was in the séracs just below the summit. We reached the summit on the morning of September 23 and were back in Base Camp that night. The greatest difficulties were in the lower half of the lower wall and near the top of Shivling.


Canoe-Kayak-Hike-Ski. We do it all.
The Cataraqui Canoe Club is a non-profit club administered by its members. Our goal is to support canoeing and kayaking in and around Kingston, a city of 123,000 at the eastern end of Lake Ontario.