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Highlights from TCM fest's opening night
Mr E Man Noir Style Alexis Gershwin, Alicia Arden, An American in Paris, Ann Rutherford, Anne Jeffreys, Ben Mankiewicz, Chris Isaak, Grey Damon, Leonard Maltin, Leslie Caron, Mickey Rooney, Peter O'Toole, Rose McGowan, TCM, TCM Classic Film Festival
A slew of celebrities walked the red carpet Thursday for the screening of "An American in Paris" at Grauman's Chinese Theatre in Hollywood. The movie was the opening event for TCM's Classic Film Festival.
Alicia Arden of "General Hospital" is also in the upcoming film, "The Critic."
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Peter O'Toole was honored with a hand and footprint ceremony at Grauman's later in the festival.
Anne Jeffreys was a '50 TV star and '40s B-movie star.
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Ann Rutherford (left), best known for the "Andy Hardy" movies with Mickey Rooney, joins Anne Jeffreys.
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Alexis Gershwin, niece of George and Ira, keeps their legacy alive.
Leonard Maltin smiles for cameras.
Mickey Rooney yells his name back to crowd.
Actor Grey Damon pauses for photographers.
Leslie Caron, star of 1951's "An American in Paris," attended the screening.
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Rose McGowan co-hosted TCM's "The Essentials" in 2008.
TCM's Ben Mankiewicz hosted several events during the festival.
After Grauman's, Chris Isaak attended the screening of Elvis Presley's "Girl Happy" at the Roosevelt Hotel pool.
"Girl Happy" with Elvis screened pooside at the Roosevelt.
Noir delights abound at TCM Classic Film Festival
Mr E Man Noir Style Ana Alexander, Anya Monzikova, Barbara Rush, Bernard Herrmann, Bigger Than Life, Carol Reed, Cinemax, Citizen Kane, femme fatale, Femme Fatales series, film noir, Foster Hirsch, Frank Sinatra, Gaslight, George Cukor, Henry Hathaway, Jean Peters, Joseph Cotten, Marilyn Monroe, Martin Scorsese, Nancy Sinatra, Niagara, Nicholas Ray, Orson Welles, Otto Preminger, Robert Osborne, Taxi Driver, TCM, TCM Classic Film Festival, The Man with the Golden Arm, The Mummy, The Third Man, The Tingler, Tina Sinatra, Went the Day Well, Whistle Down the Wind
"An American in Paris" opened the festival.
Four days of devouring big-screen classics has left me deliciously sated! At least until my next film fest.
About 25,000 people attended this year's sold-out TCM Classic Film Festival in Hollywood, which featured more than 70 films and special events. Stars who made appearances included Julie Andrews, Alec Baldwin, Drew Barrymore, Warren Beatty, Leslie Caron, Kirk Douglas, Angela Lansbury, Hayley Mills, Peter O'Toole, Jane Powell, Debbie Reynolds and Mickey Rooney.
Before the screening of 1940's "Fantasia," in Grauman's Chinese Theatre on Sunday night, TCM's Bob Osborne announced that there will be a third fest in 2012. He also announced a new event: the TCM Classic Cruise, Dec. 8-12, 2011, a five-day/four-night event aboard Celebrity Millennium. The cruise will sail from Miami to Key West and Cozumel.
Most important for me was getting my noir fix and, happily, dark delights abounded. For example, there was the chance to see Nicholas Ray's "Bigger Than Life" with James Mason as a teacher struggling with an addiction to prescription cortisone. As co-star Barbara Rush told Osborne before the screening, this 1956 psychological drama has been programmed in several film noir festivals "because it's so dark and so scary."
Bob Osborne talks with Barbara Rush.
As you'd expect from Ray, it's very well done and the performances are excellent. Despite telling the audience that she was "very old," Rush is very lively. When Osborne asked her to talk about her leading men, she replied, "I had them all!"
Another noir high point was meeting the charming Marya of Cinema_Fanatic and chatting with renowned author Foster Hirsch at the screening of 1953's "Niagara," directed by Henry Hathaway and starring Marilyn Monroe (as a murderous wife), Joseph Cotten (as her off-kilter husband) and Jean Peters (as a plucky, pretty brunette). Hirsch told the audience that film noir can absolutely be in color, describing "Niagara" both as a "minor masterpiece" and a "pulp-fiction paperback come to life."
He pointed out the contrast in lighting between the bright exteriors and dark interiors, ending with the comment: "If you've come for laughs and joyous uplift, you've come to the wrong place."
Also a treat was seeing "The Man with the Golden Arm" from 1955. Adapted from a Nelson Algren novel, it's a story about drug addiction in a gritty urban setting, by master noir director Otto Preminger. I'd seen it before but, as with "Niagara," the big screen really intensifies the storytelling. It is definitely Frank Sinatra's best performance and one of Kim Novak's finest as well. In attendance were Preminger's daughter Vicki Preminger and Sinatra's daughters Nancy Sinatra and Tina Sinatra. Rounding out the noir programming were "The Third Man" (Carol Reed, 1950), "Gaslight" (George Cukor, 1944) and "Taxi Driver" (Martin Scorsese, 1976).
Other films with noir elements included Orson Welles' masterpiece "Citizen Kane" (1941), "The Tingler" (1959), "The Mummy" (1932), "Went the Day Well (1942) and "Whistle Down the Wind (1961). (I saw all but "Kane," which I've seen several times before.)
Ana Alexander and Anya Monzikova of Cinemax's new series, "Femme Fatales," which starts May 13.
The festival also honored master composer Bernard Herrmann, who scored "Citizen Kane" and "Taxi Driver" as well as "Psycho," "Vertigo," "Cape Fear" and many others.
On the neo-noir front, I'll be excited to see Cinemax's upcoming "Femme Fatales" anthology series "about powerful, sexy and dangerous women" starring Ana Alexander and Anya Monzikova, both of whom walked the fest's red carpet to promote show.
The first of 13 stand-alone episode starts May 13 and I hope to catch up with the actresses sometime soon.
TCM/Warner Home Video set highlights blonde bombshell Jean Harlow's sharp, saucy screen persona
Mr E Man Noir Style Billie Burke, Clarence Brown, Clark Gable, David O. Selznick, Donald Ogden Stewart, femme fatale, Frances Marion, George Cukor, Herman Mankiewicz, Howard Hawks, Jack Conway, James Stewart, Jean Harlow, John Barrymore, Lionel Barrymore, Marie Dressler, Marilyn Monroe, Myrna Loy, Rosalinf Russell, Spencer Tracy, Tay Garnett, TCM, Wallace Beery, Warner Home Video
Jean Harlow may have been the first of the movie blonde bombshells, but her sharp, saucy screen persona was quite a ways removed from that of her sublime successor, Marilyn Monroe.
Marilyn Monroe often seemed like a girl in a woman's body.
Brassier and earthier than Monroe, Harlow was a bouncy sexpot who knew what she wanted and knew how to get it: a streetwise babe who lived in the real world and knew just how to manipulate it to her advantage. Harlow, like Monroe, had a baby-talk mode, but it was more clearly a put-on. Harlow's juvenile antics, her "Daddy's girl" banter with sugar daddies like beefy Wallace Beery let the audience firmly in on the joke.
Marilyn, or at least her screen persona, often seemed more like a little girl in a woman's body, a blonde baby doll who never quite grew up, and often lived in a world all her own. Marilyn on screen, in some ways, is always a fantasy. Harlow on screen is usually real. Very real.
In the new TCM/Warner Home Video "Greatest Classics Legends: Jean Harlow" set, Harlow holds her own with the elite of MGM's acting royalty — with the Barrymores (John and Lionel), and with Spencer Tracy, Clark Gable, William Powell, Myrna Loy, Rosalind Russell, and classy supporting players like Billie Burke, May Robson and C. Aubrey Smith, and even with the young James Stewart.
Holds her own? She's a star, even in a roomful of stars. This Jean Harlow set includes the following four films.
Jean Harlow holds her own among Hollywood royalty.
"Dinner at Eight" (George Cukor, 1933) An MGM all-star special and in some ways, a better movie than the studio's talent-studded "Grand Hotel" — wittier, more knowing, with a deeper, stronger cast, and more beautifully directed, by Cukor. David O. Selznick was the producer, and the source was the hit Broadway play by Edna Ferber and George S. Kaufman, with the screenplay and additional dialogue from Herman Mankiewicz, Donald Ogden Stewart and Frances Marion.
The play is classic. The script is brilliant. The direction and production are impeccable. The stellar cast, one of the all-time great Hollywood ensembles, includes Lionel Barrymore as the beleaguered shipbuilder Oliver Jordan and Billie Burke as his fluttery society wife, who's holding a dinner (at eight) for British aristocrats Lord and Lady Ferncliffe.
On her guest list: Old-time diva actress Carlotta Vance (Marie Dressler); washed-up alcoholic Hollywood actor Larry Renault (John Barrymore, in an astounding piece of self-revelation and a classic of the actor's art), who's romancing their twentyish daughter Paula (Madge Evans); voracious business shark Dan Packard (Wallace Beery) and his feisty platinum-blonde trophy wife Kitty (Harlow, in one of her best roles); smooth society doctor (and Kitty's lover) Wayne Talbot (Edmund Lowe) and his tolerant wife (Karen Morley); and Paula's hapless society beau (Phillips Holmes).
I've often thought that playwright Garson Kanin may have gotten the idea for "Born Yesterday" while watching Beery and Harlow in this film. In fact, she's great with all her co-stars. A classic Harlow-Dressler moment is this exchange:
In the last scene, as they stroll in for dinner, Harlow muses, in a thoughtfully brassy way, "I was reading a book yesterday …"
Dressler: "Reading a book?"
Harlow: "Yes, it's all about civilization or something, a nutty kind of a book. You know, the guy said that machinery is going to take the place of every profession! "
Dressler, as she takes Harlow's arm: "Oh, my dear, that's something you need never worry about!"
It couldn't be bettered. And neither could the movie, which, in some ways, is less another "Grand Hotel," and more in the line of Jean Renoir's great ensemble comedy-drama "The Rules of the Game." Not as good, of course. Nothing is. More
Rouge tins and compacts and powder, oh my!
Mr E Man Out of the Shadows Barbara Stanwyck, collecting makeup, Coty, Double Indemnity, Edna Wallace Hopper, film noir, Joan Renner, John Garfield, Lana Turner, Mary Garden, Tay Garnett, TCM, The Postman Always Rings Twice, vintage cosmetics, vintage cosmetics ephemera, vintage makeup, women in film noir
Tonight is part two of my Q&A with writer, social historian and author of the Vintage Powder Room, Joan Renner.
Writer Joan Renner
FNB: Where do you find your pieces?
JR: When I first began to collect I could find face powder boxes at flea markets and estate sales, but the Internet has changed that considerably. I still find items in those places occasionally, but mostly I rely on Internet sites such as eBay and Etsy (and the generosity of friends).
FNB: How were you able to research the original prices and how/where was the makeup typically sold, upon its release?
JR: I've used multiple sources to research pieces in my collection. My favorites are vintage magazines and newspapers. Via the Los Angeles Public Library I access the Proquest database to view early issues (1880-1980) of the Los Angeles Times online. Ancestory.com also makes it possible to search vintage newspapers from around the country.
For a peek into the early days of the cosmetics/perfume industry I think that the publication AMERICAN PERFUMER AND ESSENTIAL OIL REVIEW can't be beat. I'm fortunate because the Central Branch of the Los Angeles Public Library has a good collection of them.
Then, as now, the pricier brands of makeup would be found at the cosmetics counter of the finer department stores. Women on a tighter budget could find a wide array of makeup choices at their local drugstore or five and dime.
Many of the early cosmetics companies were regional and either went out of business years ago or they were absorbed by bigger companies. A few of the largest brands are still in business; for example Coty is over 100 years old and continues to manufacture Airspun face powder in a box designed by Rene Lalique! The box is festooned with little powder puffs and it is simply gorgeous. You can purchase it at a drugstore or online for just a few dollars. Amazingly inexpensive for a piece of cosmetics and design history!
Coty Airspun face powder (hard to date this box because the design is virtually unchanged from original)
FNB: Are any still made today/ have you ever worn or used any of your collection?
JR: I've used some of the compacts that I've collected, but never any of the cosmetics – that would be way too risky. Over the years cosmetics have contained some toxic, potentially lethal, ingredients. Early cosmetics contained a wide variety of nasty ingredients such as lead or arsenic.
FNB: How has the merchandising and marketing of makeup and beauty products changed over the last 60 or so years?
JR: Cosmetics companies still advertise in fashion magazines and other magazines geared toward women, but now you have TV and radio advertising, both mediums were in their infancy 60 years ago. Surprisingly, even in the early days of makeup, there were celebrity endorsements and the celebrity branding of cosmetics.
During the 1910s and 1920s Mary Garden, a Scottish born opera singer, partnered with Rigaud to offer a line of cosmetics and perfumes using her name and image. Another woman who would leverage her fame into a line of cosmetics was Edna Wallace Hopper. Hopper was an actress/singer who would never reveal her age. She said that her birth records had been destroyed in the 1906 San Francisco earthquake! She was always described as eternally youthful looking, so that was the hook for her brand of cosmetics and skin care.


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Myanmar faces growing isolation as military tightens grip
Yangon, Myanmar Published: Mar 18, 2021, 06:21 PM(IST)
Anti-military protests in Myanmar Photograph:( AFP )
Nobel peace laureate Suu Kyi was overthrown and detained in a February 1 military coup, triggering mass protests across the country that security forces have struggled to suppress with increasingly violent methods
Myanmar faced growing isolation on Thursday with increasingly limited internet services and its last private newspaper ceasing publication as the military built a case against ousted elected leader Aung San Suu Kyi.
Nobel peace laureate Suu Kyi was overthrown and detained in a February 1 military coup, triggering mass protests across the country that security forces have struggled to suppress with increasingly violent methods.
Also vread| Aung San Suu Kyi faces new charges amid anti-military protests in Myanmar
The documented total of those killed in the unrest stood at 217, but the actual toll was probably much higher, the Assistance Association for Political Prisoners activist group said.
Western countries have condemned the coup and called for an end to the violence and for the release of Suu Kyi and others. Asian neighbours have offered to help find a solution, but the military has a long record of shunning outside pressure.
Large parts of an economy already reeling from the novel coronavirus have been paralysed by the protests and a parallel civil disobedience campaign of strikes against military rule, while many foreign investors are reassessing plans.
The U.N. food agency warned this week that rising prices of food and fuel could undermine the ability of poor families to feed themselves.
"Whatever happens in Myanmar over coming months, the economy will collapse, leaving tens of millions in dire straits and needing urgent protection," historian and author Thant Myint-U said on Twitter.
While the security forces have focused on stamping out dissent in Yangon and other cities, small demonstrations have erupted elsewhere day after day.
Several thousand people marched in the town of Natmauk on Thursday, the Democratic Voice of Burma reported. The central town is the birthplace of Aung San, the leader of Myanmar's drive for independence from colonial power Britain, and Suu Kyi's father.
About 1,000 protesters on motorbikes drove around the central town of Taungoo and hundreds marched in the northern jade-mining town of Hpakant, the Irrawaddy news service reported.
There were no reports of violence.
Protesters also gathered in the central town of Monywa after a 24-year-old campaigner against military rule died, three days after security forces detained and beat him, the Irrawaddy and Myanmar Now news portal reported.
The U.N. human rights office in Geneva said this week "deeply distressing" reports of torture in custody had emerged in Myanmar.
A junta spokesman did not answer telephone calls seeking comment.
Opponents of the coup gathered in some Yangon neighbourhoods. In one district, security forces opened fire and torched protesters' barricades, detaining 20 people, the Irrawaddy reported. There was no word on casualties.
Yangon residents said soldiers also ordered people to dismantle barricades and remove posters on some streets.
Alleged payments
Authorities have restricted the internet services protesters use to organise, with access to Wi-Fi in public areas largely shut off by Thursday. Residents of some towns, including Dawei in the south, reported no internet at all.
The private Tachilek News Agency in the northeast published photographs of workers cutting cables it said were the fibre links with neighbouring Thailand.
Reuters could not verify the report.
Information within Myanmar is becoming increasingly difficult to verify.
Some 37 journalists have been arrested, including 19 who remain in detention, the U.N. human rights office said.
While authorities have ordered some newspapers shut, others have apparently been forced to close for reasons of logistics. The last private newspaper stopped publishing on Wednesday.
State-run media have not been affected.
State television said on Wednesday that Suu Kyi was being investigated for bribery in connection with accepting four payments worth $550,000 from a prominent businessman.
Property developer Maung Weik, in comments broadcast in a state television news bulletin, said he had given Suu Kyi four payments, ranging from $50,000 to $250,000 from 2018 to 2020, when she headed the first civilian-led government in decades.
"The anti-corruption commission is investigating," it added.
A spokesman for the junta said last week authorities were investigating Suu Kyi for receiving illegal payments.
Her lawyer dismissed that accusation as a joke. He was not immediately available for comment on Thursday.
Suu Kyi, 75, is hugely popular for her campaign against military rule since 1988, over which she has spent years in detention.
The army defended its coup, saying its accusations of fraud in a Nov. 8 election swept by Suu Kyi's party were rejected by the electoral commission.
It has promised a new election but not set a date.
Suu Kyi already faces various charges including illegally importing walkie-talkie radios and infringing coronavirus protocols. If convicted, she could be barred from politics.
Taliban to allow Afghan girls to attend school after the Afghan New Year
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Enka Gekiga: Hayashi Seiichi's Pop Music Manga
Ryan Holmberg | June 30, 2014
Hayashi Seiichi, "Flowering Harbour," Garo (May 1969).
I wouldn't call "Flowering Harbour" erotic, but I do find it incredibly seductive. Ultimately I think this stems from a kind of androgyny in the work – an androgyny of a formalistic sort, between the story and the graphics. The closing homage to "Longing for Your Shadow," and the looming presence of Mori in these years over everything enka, is reason enough to think of this androgyny in Mori-esque terms, in which the juxtaposition between story and graphics in "Flowering Harbour" is analogous to the seductive friction between Mori's lyrics and his body.
It's worth knowing, first of all, that Hayashi's work too appealed to adult women. Though his primary venue was Garo – largely a man's world – he received invitations to reprint work and create new experimental pieces for A Women's Self (Josei jishin), a prominent middle-class women's magazine. It's not hard to understand why considering a work like "Red Dragonfly" (which was reprinted in A Women's Self the very same month (May 1969) that "Flowering Harbour" appeared in Garo), the story of which matched up well with popular images of non-working women's emotional troubles. But as Mori's appeal amongst this demographic only had partially to do with his lyrics, so Hayashi's was likewise dependent on a seductive friction between female subjectivity and male articulation. Can we not see "Flowering Harbour" in these terms, as an onna-buri manga in a husky and breathy but unmistakably masculine voice? Or rather, considering what was said above about the slippery gender dimension of Mori's voice, a manga with an onna-buri story and an otoko-buri voice? In which, in the spirit of enka, both sides of the gender equation are equally put on, but nonetheless able to create the effect of authentically felt emotion.
Hayashi Seiichi, "Red Red Rock," Garo (July 1969).
"Flowering Harbour" is subtle in this regard. So it's helpful to see what else Hayashi made in the first half of 1969. The works that come immediately before and after "Flowering Harbour," such a seemingly sincere work, are both thoroughly music-infused and theatrical to the point of camp. Two months after "Flowering Harbour" was "Red Red Rock" ("Makkakka rokku," Garo, July 1969). The lead character is a wandering guitar player with a pompadour in the style of Elvis. "Jailhouse Rock" floats in the background, but atmospherically this is more the Elvis of romantic ballads – a kayō Elvis, one might say, rather than a rockabilly one. The female part is played by the yukata-clad shōjo Hayashi had been begun using frequently in his manga and illustration work.
Yabuki Ken, "Blues of You," 7" single (Union Records, June 1968).
What's more instructive for the present inquiry is a panel that includes the wailing chorus of "Blues of You" ("Anata no burūsu," June 1968). This was the debut single of Mori imitator Yabuki Ken. The song was subsequently covered by Mori himself, but on an album from October 1969, after "Red Red Rock" was published. The "anata" of the title is the kind of "you" that only a woman says to her man. It is also used in gay circles. It is an incredibly over-the-top song, and pushes onna-buri to the threshold of self-parody. The conservative ambiguity that helped Mori sell millions was simply literalized as queerness in Yabuki. Appropriately, Hayashi pairs its lyrics with a variant of Picasso's hysterical Weeping Woman (1937). "Women are suffering machines," claimed Picasso. Through the lens of his mother's emotional breakdowns, Hayashi might have said the same, if with a large bit more sympathy. But clearly here Hayashi is working in an ironical mode. Even the masculine stereotypes are amped up to excess. In light of the musical context of the manga, Hayashi might have rephrased Picasso as follows: onna-buri enka performs women as suffering machines. A similar conceit underwrites "Flowering Harbour." However, as a Mori-esque work rather than say a Yabuki-esque work, the performance comes off as deadly earnest – naively and cloyingly so if one is not clued in to Hayashi's relationship to Pop.
Hayashi Seiichi, "Flower Poem," Garo (February 1969).
Preceding "Flowering Harbour" was Hayashi's "Flower Poem" ("Hana no uta," Garo, February-April 1969), a heavy-handed allegory about the coming-of-age of a young man of twenty-three (Hayashi's age), navigating the dangers of sex, home, work, and consumer society. Unhappy with how the story was developing, Hayashi abandoned the work after three chapters. As noted below, it was in reaction to this failure that Hayashi made "Flowering Harbour." Stylistically very different, the two works nonetheless share an important musical dimension. Not only does "Flower Poem" incorporate known songs. It also plays on questions of domestic-ness versus foreign-ness in Japanese pop music, within the framework of cultural identity but also gender. None of it is very subtle.
Enka, as mentioned toward the beginning of this essay, gelled as a genre partially in opposition to American and British-inspired rockabilly, surf, and Group Sounds. In Garo, the closest approximation of such "Pops manga" is the work of Maki Sasaki (b. 1946), who was a big fan of the Beatles and incorporated imagery and verbal phrasing (as well as a taste for the silly and nonsensical) directly from their music and films or generally evocative of it. Hayashi was also interested in such Pops, at least from a critical perspective. In his earliest published manga from late 1967 and 1968, he included references to the Summer of Love alongside American comic book superheroes, the Statue of Liberty, and Marilyn Munroe as expressions of postwar cultural colonization. "Flower Poem," which opens with the protagonist yelling helplessly at the American jets and ships stationed in Japan en route to Vietnam, casts its critical net wider to implicate the British Invasion as well, setting its first chapters in an Eden reminiscent of Pepperland in Yellow Submarine (1968). Hayashi, who had been making a living as an animator since 1962, also modeled his characters after that film's stiff, cutout style. The thugs who assail the protagonist and his boss are likewise reminiscent of the Blue Meanie's minions, beefed up with a bit of American superhero muscle.
Twenty-Three (that is Hayashi's name for his avatar) is dragged by rope to the bad men's evil kingdom, represented by the halo-encircled mountain that is Paramount Pictures' logo. There he fears losing his identity within a harem of free love. To escape from this hell, Twenty-Three journeys to a rural furusato home, idealized in the image of Japanese poem-painting shigajiku and woodblock prints. Similar Anglo-American versus Japanese art historical oppositions appear in "Yamanba Lullaby" ("Yamanba komoriuta," Garo, September 1968), which is also translated in the PictureBox collection. There, the male hero of that manga is cast as folk legend Kintarō. While he strikes poses from yakuza movies and kabuki prints, the villains are mostly in the image of American comics and French animation. "Yamanba Lullaby" makes general reference to children's songs, and the entire manga is scripted in a lyrical mode. He was already contemplating about how music might fit into his allegorical, clash-of-civilizations scheme. "Flower Poem" completed that thought, making the analogies between culturally-defined imagery (Edo woodblock prints versus American comics) and culturally-defined music (kayōkyoku versus the Beatles) unmissably explicit. In 1969, in fact, pop music seems to be the master rubric for Hayashi's thinking on various issues.
Unlike many of his contemporaries, Hayashi did not always elevate kayōkyoku as the more authentic of the binary. In "Flower Poem," as in other works from this period, Japanese-ness is performative almost to the point of camp. Take, for example, the kayō song he cites in the furusato section of "Flower Poem": Miyako Harumi's "The Person I Love" ("Suki ni natta hito," September 1968), which despite its pops ballad-sounding title is an over-the-top, folksy rōkyoku tune, electrified with a whining synthesizer designed to complement Miyako's hyper nasaly vibrato. (A period recording of Harumi can be found here). There is nothing in the lyrics to signify a rural setting, but their description of a woman ever-pining and ever-faithful to an errant man holds faithfully to conservative notions of proper Japanese womanhood. Even still, given Miyako's age (eighteen at the song's release) and her excessive, rock-inflected interpretation of traditional vocal modes, her expression of traditional values courts parody. This was typical of many proto-enka singers in the late 50s and early 60s. Hayashi's Ultra-Nippon Pop is in the same vein.
Miyako Harumi, "The Person that I Love," 7" (Columbia Records, September 1968).
Partially in response to Group Sounds' raucous foreign-ness, and partially out of respect to kayōkyoku's early Shōwa roots, the performativity of kayōkyoku was increasingly naturalized during the mid and late 60s. This was the "nostalgic melodies" movement that led to enka. "Flowering Harbour," which we have already seen was aligned with the natsumero boom, was a similar attempt to visualize the latter half of the Pops vs Popular musical divide without the histrionic anxiety over the Anglo-American Pops Other expressed in a work like "Flower Poem." It takes enka's familiar tropes and, rather than ratcheting up their fetishized links to Japanese tradition (though gestures in this direction are there in the calligraphic title and the Hiroshige rains), instead subsumes them within what Hayashi, in an afterword to a collection of his work published in 1976, referred to as an "orthodox" manga style. "The previous work ['Flower Poem'] had been a failure, so I thought I'd try a melodrama, the antithesis of 'Flower Poem.' This was something I thought I couldn't do with the subject matter of 'Flower Poem.' I felt I had broken my sword in the attempt. But with 'Flowering Harbour,' I thought, yes, this is it. . . . In terms of formal technique, I like to take full advantage of the breakdown style of the most classical kind of manga, and then midway all of sudden toss in something more rooted in feeling. That didn't come together in 'Flower Poem,' so for 'Flowering Harbour' I relied on orthodox manga techniques. The second half does get a little abstract, but that's something I realized only after I had finished drawing it."
If one's main image of manga is Tezuka-type rounded figuration and caricatured action, it might be hard to understand what Hayashi means by calling "Flowering Harbour" "orthodox" in formal terms. Note, first of all, that the breakdown is clean and straightforward. There might be more full-page images than the average manga, but there is none of the disjointed narration that appears in Hayashi's work just preceding or following. The exact narrative link between panels can be elliptical at times, but again none of the Pop Art collage and nouvelle vague-style jump-cutting and pastiche montages that he usually employed. "The second half does get a little abstract," Hayashi notes, presumably referring to the drawn-out storm sequence that closes the work. But considering the strong cinematic focus of postwar shōnen manga, this "abstraction" is really only an elaboration upon certain norms in manga – norms, that is, in manga for boys.
Hayashi Seiichi, Flowering Harbour, Garo (May 1969).
Critic Yomota Inuhiko, in his classic introduction to manga form, The Fundamentals of Manga (Manga genron, 1994), chose a page from the snow and wind lacerated finale of "Flowering Harbour" as the very first illustration for his very first chapter, titled "Cinema's Neighbor." After pointing out Hayashi's employment of shot reverse shot, which by this point was so common in manga to hardly be worthy of note, Yomota moves on to the scene's less conventional qualities. "Even though the sound effect of 'flit flit' has been drawn in to indicate the stretching of the farewell streamer, the sound of the blizzard itself has been entirely eliminated. The atmosphere of old silent films pervades the entire scene. The passing romance that is the manga's theme is thus filled with nostalgia. Hayashi has very carefully calculated the effect of visual perspective in the panels of this story. Nikkatsu and Tōei films of the 60s are obviously lurking in the background."
Tatsumi Yoshihiro, Black Blizzard (Hinomaru bunko, 1956).
It could very well be that Hayashi was thinking of such films. There are explicit references to specific Nikkatsu films in his work both immediately preceding and immediately following "Flowering Harbour." But one can also read this sequence against the history of manga form itself. Hayashi read in his youth not only the clean-line comics of mass circulation magazines, but also the expressionistically and sometimes crudely done detective and thriller comics in rental kashihon books. Gekiga is the name typically given to the graphic style of these comics. That style comprises a combination of single-detail oriented breakdowns, punctuated with single sound effects (like the hitting of objects) and long harrowing noises (screams, sirens, machine roars) that stretch across multiple panels. Pages are often covered in fields of dramatically drawn shasen (diagonal lines), representing snow and rainstorms or the visual wakes of fist and gun fights. These shasen darken the overall tone of the manga, and add a cacophony of action that is multisensory in its effect. In some cases, the expressive facture, careening imagery, and explosive sound effects verge on gestural abstraction.
Other influences notwithstanding, "Flowering Harbour" is essentially a chic minimalist rendition of this kashihon gekiga aesthetic. The work is thus "neo-classical" in a sense different than that implied by the Hiroshige, Yumeji, and natsumero touches. By emphasizing the facture of the hand-drawn, "Flowering Harbour" stood in contrast to the streamlining of gekiga style within contemporary action comics for mass-circulation youth magazines. Once the connection with traditional gekiga is apparent, the gender dimensions of Hayashi's formalism become clearer – for gekiga was, with rare exception, from its emergence in the mid 50s to its demise in the 80s, a style used by male artists for male readers, and almost always for stories starring male characters and expressing male anxieties and aggression. By setting aside a nouvelle vague Pop mode and consciously choosing a historically "masculine" comics style to narrate a woman's loneliness – rather than using, say, a feminine "voice" of large and sparkling shōjo eyes, frilly border decoration, and tableaux-type "style images" – was Hayashi not performing something akin to Mori's onna-buri in manga form? He attempts no visual analogue of "Moribration." But perhaps there is something of the female tameiki sigh in the manga's wind and rain. This onna-buri exhalation is gradually amplified to a deafening and heartbreaking storm, thus turning popular stereotypes of female helplessness and depression into a graphic leitmotif stretching across the work's thirty-one pages.
Emotion, and not just narrative and visual coherence, is what "Flower Poem" lacked. And it is emotion, despite its basis in mass culture clichés, that "Flowering Harbour" achieves. It seems that with enka Hayashi found that one could create work that was demonstratively self-conscious about its artifice without sacrificing the ability to be emotionally moving. In the works that immediately followed, he would take that lesson and reinvest it back into fragmented, music-dotted, nouvelle vague-inspired narratives, leading ultimately to Red Colored Elegy (Sekishoku erejii, 1970-71), his masterpiece.
Not all tears: Hayashi Seiichi's illustration for Koga Masao's "New Bride's Mirror" (1940), in Koga Masao: The Heart of Shōwa Japan (Heibonsha, 1978).
Thank you: Ryan Holmberg would like to thank the Sainsbury Institute for the Study of Japanese Arts and Culture for their generous support of the research and writing for this essay and of Hayashi Seiichi's visit to London and Norwich in July 2014.
Written by Ryan Holmberg
Topics What Was Alternative Manga?
Begone
THIS WEEK IN COMICS! (7/2/14 – A Beginner's Guide to Jademan)


How the future is going to be oriented more toward smaller markets, individuals, and cottage industry. He also stresses that, notwithstanding some reviews, he's not proclaiming the end of hit movies, hit records, or big businesses, just a different kind of market running alongside the old fashioned one. Plus, we talk about non-monetary incentives, how many people will nonetheless manage to make money in niche markets, and how little it takes to be branded a techno-utopian Pollyanna type these days. Also, why blogging is like DJ-ing!


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Richard Simmons fitness expert. health advocate. icon.
Using his unique wit, passion, and enthusiasm, Richard Simmons, the nation's most revered fitness expert, continues his crusade to encourage people to take control of their fitness destiny. [www.richardsimmons.com]
I attack a day. I'm like an animal getting out of a cage. It's like there's a tiger inside my chest and it can't wait to get out and enjoy life and do what I do best and what makes me happy.
What makes me most happy is helping people. My parents were very active in charities, so at an early age I was helping dish out food to the homeless and do fundraisers. My parents instilled in me the ideas that every day you've got to take care of yourself and every day you've got to be kind to others. You'll always feel like you're riding on a rainbow if you help people.
There are a lot of housebound people too heavy or too sick to get around. All day, I talk to people who weigh 300 pounds, 500 pounds, 800 pounds. They never were able to complete the pieces of their health puzzle. For 10, 20, 30 years, I've been calling these people, singing to them, trying to give them hope, make them laugh, and hopefully make their day.
Every day, I ask God, "What more can I say to people? What better example can I be?" I don't give up on people. I say, "You may have given up on you, but I haven't." Sometimes I'm the last person who talks to them before they die. I'm doing what I do because I don't like people dying all alone, in pain, not feeling good about themselves, having no hope and no plan.
I'll be 63 this year in July. I've had my exercise studio for 36 years. I'll teach there tonight. The music will go on and I'll weave a spell around people so they don't even know they're exercising. Before they know it, they'll look down and say, "Oh, wow, I'm all sweaty." For an hour and 15 minutes, I take them away from work, the credit card bill, their marriage, the kids. I say, "You're going to get in here and concentrate on you, do good things for you, and not think about anyone else. You're going to feel better."
You have to nurture your energy, by not wasting it and by working on projects you love. God doesn't want you to be down on this Earth depressed. He wants you to be resilient, to be able to get up and do what you have to do, what you want to do, and enjoy your life.
– Richard Simmons
When do you feel most resilient?
How can you share some of that flow with someone else?
What's a fun way you can take good care of your physical self?
Susan Chapman devout writer. outdoor meditator. lover of life.
As an adopted person, Susan Chapman believes anyone can be her family. She explores and communicates this dynamic philosophy through her personal relationships and her work as a writer and Primordial Sound Meditation instructor. [www.themagicproject.com]
William Gladstone publishing pioneer. novelist. dot aficionado.
William Gladstone is a bestselling novelist, a literary agent for exceptional authors, and a publishing pioneer. He contributed to the creation of the first print-on-demand book publishing company and the first eBook publishing company. [http://12thebook.com]
Alexandra Franzen promotional writer. personal supergirl. secret weapon.
Alexandra Franzen is a promotional writer and pro-active pimp who wrangles communications for pro-bloggers and helps entrepreneurs expand their empires--without the hassle of cloning. [www.alexandrafranzen.com]
Elizabeth Memel infant toddler development specialist. educator. educarer.
Elizabeth Memel is an infant toddler development specialist, adult educator, and author who studied for many years with Magda Gerber, founder of Resources for Infant Educarers. [www.authenticbabies.com]
Tom Hunt eco-chef. culinary cooperator. good-time server.
Tom Hunt is a self acclaimed eco-chef and co-founder of Forgotten Feast, working on projects throughout the UK to revive our cooking heritage and help reduce food waste. [www.tomsfeast.com]
Jeff and Jason Baietto brothers. entrepreneurs. healthy philanthropists.
Brothers Jeff and Jason Baietto founded Complete Balance, an online community of individuals dedicated to improving their own health and the health of the planet. [www.completebalance.com]
Chris Assaad singer. songwriter. masterpiece creator.
Chris Assaad left a promising career in law several years ago to pursue his dream in music. He's been actively using his voice to enCOURAGE others to follow their dreams, express their creativity and live life to the fullest. [www.chrisassaad.com]
Bindu Wiles writer. coach. inspired journeyer.
Bindu Wiles is a writer and a practicing Shambhala Buddhist. Through her creative coaching and online writing workshops, she supports people to heal, write, and create. [www.binduwiles.com]
Marci Shimoff author. consultant. no-reason lover.
Marci Shimoff is the best-selling author of six Chicken Soup for the Soul books. She's one of the nation's leading experts on happiness, success, and the Law of Attraction. [www.happyfornoreason.com]
Gayle Tzemach Lemmon incredible woman. hard work welcomer. long shot pursuer.
Bestselling author Gayle Tzemach Lemmon is a fellow at the Council on Foreign Relations and has published pieces on entrepreneurs in conflict and post-conflict regions. [www.gaylelemmon.com]
Laura Amazzone jewelry artist. yogini. goddess.
Author, teacher, jewelry artist, and Yogini Laura Amazzone teaches goddess classes and workshops and is adjunct faculty at Loyola Marymount University in Los Angeles. [www.lauraamazzone.com]
Alex Theory neurotransmitter. sound innovator. yummy hummer.
Sound visionary and author Alex Theory draws upon extensive training in psychology, integrative medicine, and psychoacoustic music production to innovate new styles of music and media. [www.unifyearth.com]
Dr. Jin Robertson joyous author. inspiring speaker. dream accomplisher.
Dr. Jin Robertson has been a factory laborer, an immigrant housemaid, a battered wife, and a U.S. army major. Jin received her M.A. and Ph.D. from Harvard University. She is an international inspirational speaker and bestselling author. [www.drjinrobertson.com]
Todd Gailun world citizen. conversation seeker. enthusiasm retainer.
Todd Gailun is an entrepreneur building neurotechnologies. He's curator of the seminal TEDx at the Rubin Museum on Spirituality and The Hero's Journey. He also explores the Zen, tango and yoga threads.
John Groberg practical philosopher. clarity catalyst. dad.
John Groberg is a husband, father, serial entrepreneur, writer, and executive coach. His writing and coaching focuses on assisting others to grow in their own clarity. [http://johngroberg.com]
Ayn Carrillo Gailey author. columnist. creative strategist.
Ayn Carrillo Gailey is a published author and creative strategist who uses words to power ideas, companies, and movements. [www.ayngailey.com]
Richard Rosenblatt entrepreneur. visionary. media man.
As a serial entrepreneur and Internet visionary, Richard Rosenblatt co-founded Demand Media and is redefining the next generation of new media companies. [www.demandmedia.com]
Lisa Nielsen education advocate. author. innovator.
Author Lisa Nielsen is an outspoken advocate of learning innovatively. She works to help schools and districts educate in real and innovative ways that prepare students for success. [http://theinnovativeeducator.blogspot.com]
Brad Rassler organizational consultant. internal change agent. conversation starter.
Brad Rassler is the founder and Chief Catalyst of A Sustainable Way, an organizational development consultancy. [www.asustainableway.com]
Shannon Bindler and Sophie Chiche shoeologist. meaning maven. ted x'ers.
Shannon Bindler describes her pal, Soph, as a bridge, connecting countless people. Sophie Chiche describes her pal, Shan-Shan, as the sunshine that enters the room. In December of 2012 they presented their TEDxMalibu talk. [Happy Parents of Children who Live Out Loud]
Amy Jo Martin digital humanitarian. why finder. frequent flyer.
Amy Jo Martin, founder and CEO of Digital Royalty and Digital Royalty University, teaches brands, corporations and individuals to how to measure and monetize their digital universe. [www.digitalroyaltyuniversity.com]
Breck Costin Coach. Leader. Truth Teller.
Pioneering seminar leader and life coach Breck Costin encourages people to realize their personal, career, and spiritual aspirations. His couples-counseling practice, BCC Associates, is based in Los Angeles. [www.bccfreedom.com]
Pamela Caffray milkshaker. pr maven. difference maker.
Pamela Caffray's background is in trending, forecasting, PR, and event planning. She co-founded Milkshake to join her love of discovery and sourcing with her passion for giving back and helping others. [http://getmilkshake.com]
Rahi Chun all ears. conscious counselor. avid traveler.
As a life coach to creative executives, actor Rahi Chun facilitates alignment between core values and authentic self-expression through entertainment properties. [www.beingtruelifecoaching.com]
Russell Bishop speaker. consultant. transformer.
Author Russell Bishop is a recognized expert in personal and organization transformation. He possesses an uncommon ability to inspire clarity and provoke transformational change. [www.russellbishop.com]
Stacey Antine kid energizer. intake educator. action taker.
Stacey Antine, M.S., R.D. is the founder of HealthBarn USA, a leader in hands-on healthy-lifestyle education. She is also the author of Appetite for Life: The Thumbs-Up, No-Yucks Guide to Getting Your Kid to Be a Great Eater. [www.healthbarnusa.com]
Justin Gold nut butter aficionado. ceo. green visionary.
Justin Gold, Founder and CEO of Justin's Nut Butter, says he can't live without his maple almond butter, snow covered mountains, or moments that make his heart race. [www.justinsnutbutter.com]
Ronit Herzfeld psychotherapist. spiritual teacher. social activist.
Ronit Herzfeld is a psychotherapist, social activist, and blogger who uses technology to create innovative tools to shift humanity's consciousness. [www.ronitherzfeld.com]


Too Trivial for Worship? A couple of years ago, I sang a Chris Rice song, "Untitled Hymn (Come to Jesus)", during the worship service. One of the choir members, who bemoaned the left turn of church music into the contemporary (and has since left our church over the music program) told me of her surprise that I would sing such a trivial song.
Make us a beacon in darkest times!"
Take your candle and go light your world.
And was reading some other posts which were both funny and encouraging :D Let's all press on for Christ!
Hi, Sandra from Singapore. Welcome!


It started in September. Dr. Brandi Gallagher was challenged with a case of seven dogs, all of which presented acute liver injuries. In the weeks that followed, the local veterinarian, who works as a specialist at the Animal Cancer Care Clinic, realized they all had one thing in common: exposure to water.
Since the outbreak, Dr. Gallagher has been instrumental in the research of the bacteria from the St. Lucie River and its impact on animals. She also continues to help diagnose and treat pets with cancer, and in her free time she can be found taking "Johnny Utah," her family's furry friend, to the beach.
When I was 6 years old, my parents had gotten me a kitten. The first time he got sick, we drove him to a vet in Jacksonville. I was fascinated with the doctor who took care of him, and that's when I decided one day I would become a vet, too.
How did you come to specialize in diagnosing and treating animals with cancer?
I'm not an oncologist. My specialty incorporates all systems of the body, giving me the chance to study complex medical problems and offer treatments. As an internist, I most often diagnose the type and severity of the cancer, and then I consult with staff oncologists on the best course of treatment and, while they are the ones to administer the chemotherapy, radiation, or perform surgery, I'm right there with them on the medical management follow-up, which could include ultrasound, X-rays, and so on. I'm also the physician most likely to handle the animal's aftercare once their cancer is in remission.
Tell us about the dogs affected by the algae bloom from the St. Lucie River.
They all had commonalities in their clinical symptoms. We focused on protecting the liver from infection and keeping the patients stable. It took time for us to prove our toxicity theory, which was the exposure to a microcystin toxin produced by cyanobacteria found in the water. All of the dogs were exposed to the water at some point in late August through September. Six of the seven patients actually lived on the St. Lucie River. Some were exposed to dead fish or had direct contact with the water, too.
Where are you now with investigating the bacterial affects on animals?
We're still working on collecting samples from some of the patients to study how long the bacteria has lasted in their systems. We're also still in discussions with various scientific members of the community, sharing information in order to hopefully substantiate the problem.
How can pet owners keep animals safe?
Pet owners should be aware that this event would very possibly happen again. We also know we can't fix the problem overnight. It's important for me to express the need for being hypervigilant when it comes to pets. If they start to act sick in anyway, such as vomiting or acting lethargic, take them to a vet immediately. Be your pet's advocate and know that there are vets in the community who know how to treat your animals.


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Leading by Example: California Mom Teaches Daughters the Importance of Giving Back
Daily Point of Light # 5981 Apr 18, 2017 By Jia Gayles
Points of Light and Disney have partnered to honor families who are working together to make a difference in their communities, recognizing them with a Daily Point of Light Award. Meet the Giron Family, read their story and nominate an outstanding volunteer or family as a Daily Point of Light.
Plenty of little girls aspire to be like Disney princesses – beautiful, magical and strong.
Laura Giron's daughters, ages 10 and 11, have been taught since toddlerhood that real magic and beauty comes from giving time and compassion to people in need through volunteer service.
Laura has worked for The Walt Disney Company in Burbank, California, for 19 years, and quickly embraced the company's encouragement of volunteerism during off hours – involving her two daughters from the time they were tots.
"I've been pretty much volunteering since I started at Disney," said Laura. "When my girls came along, it was super important for me to show them that spirit as well."
When Laura's oldest daughter, Abby, was only 6 months old, she brought her to a Habitat for Humanity groundbreaking event – wearing a Disney VoluntEARS onesie. The baby was photographed clasping the ceremonial shovel.
"It was really important for me after that to find volunteer opportunities to include my children," Laura shared. By age 3 or 4, Abby and her younger sister, Abree, were regularly pitching in at beach clean-ups and other projects. The girls proved such hard workers that today they're often given leadership roles, helping to guide other kids during volunteer events.
Laura said she began lobbying Disney to expand family involvement in its established culture of giving back. Disney's VoluntEARS program (spelled that way in homage to Mickey Mouse's famous ears) has offered community service opportunities to Disney cast members and staff since 1983. The program has served more than 40 countries on six continents. In 2016, Disney VoluntEARS contributed 542,823 hours of service globally.
But, Laura also looks beyond Disney for additional ways to keep her daughters and herself active in volunteering.
"I got hooked in with this organization called Big Sunday, which is based in Hollywood," said Laura. "They have events almost every month. It's extremely family-friendly. I started project-leading the events at Big Sunday because I could bring my girls." Laura also became a co-leader of her daughters' Girl Scout troop, which focuses on community service projects to earn badges.
For Laura, who grew up in Burbank, it's vital that her kids know that not all families are as fortunate as they are. She believes life is even more sheltered for today's kids.
"They're sitting there right now and they're playing on their iPads and their phones and they have a room full of toys," she said. "Once a month, I give them a box and I say, 'Fill it up. You have way too much and we're going to donate these to kids who don't have toys.'"
"When we were kids, we were playing baseball and making mud pies and riding bikes. For me, an important part of volunteering is connecting kids to nature," she added. "Volunteering is also getting kids off the couch and away from electronic devices – learning to actually talk to others and to adults. One of my girls is shy, so for her to learn to interact with people is important. Volunteering can be a very safe environment to do that."
The Giron family's enthusiasm is contagious.
Suzanne Rosales, whose daughter, Maya, 10, and son, Julian, 8, are close in age to the Giron girls, said her kids are developing leadership qualities, thanks to joining in Big Sunday and scouting events.
"A lot of kids don't do volunteer work," said Suzanne. "I think there's a lack of it nowadays, and few kids understand how much people can be in need. It's a huge part of their development to give back."
When little Abree Giron showed up with pizza for everybody at one of the events, having paid for it with her own money, Suzanne said she realized the children were becoming "natural givers."
Linda Noel, Laura's supervisor at Disney, says that she is in awe of Laura's ability to meet her demanding work schedule and also find the time to give back. She and Laura work in the Disney's charitable giving department, where they oversee management systems that track and process charitable donations, including globally. Linda says employees like Laura Giron, who care enough to help others on their time off, bring that same dedication to their work.
"Her volunteerism truly does come from her heart," Linda said.
If you know a family making a difference in your community, like the Girons, nominate them for a Daily Point of Light Award.


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Andrea (Drea) loves exploring new cities, cooking with friends and family, spending time with her goddaughters, and is always up for a game night. Andrea is also passionate about mentoring and serving the youth in our community.
Contact Andrea for any financial stability or tax program information.


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Malaysian CAB's Indonesian venture to start
Monday, 6 Nov 2017
by david tan
Java business: Chuah(inset pic) says construction work on the project will start by the first half in Java
GEORGE TOWN: CAB Cakaran Corp Bhd expects its joint-venture integrated poultry farming project in Indonesia with KMP Private Ltd, a business unit of Salim Group, to kick off in the first half of next year. This will mark CAB's first foray into the Indonesian market as well as the layer business.
Group managing director Chris Chuah told StarBiz that the group was now finalising the details and cost of the project.
While the construction of the entire farm will take up to five years, it is hoped that by the second year of construction, the Indonesian operations will have the capacity to produce some four million broilers per month and three million eggs per day.
"The construction work on the project will start by the first half of next year in Java, and should take three to five years to complete," said Chuah.
On Dec 7, 2015, CAB had signed a joint-venture agreement with Salim's special purpose vehicle (SPV) company in Indonesia for the purpose of establishing a fully integrated poultry business in Indonesia.
Under the agreement, the SPV would set up and hold a 90% stake in the new joint-venture company and CAB Cakaran to hold the balance 10%. However, CAB Cakaran will have the option to increase its shareholding up to 30% in the next three years after the initial set-up, depending on its financial condition.
At about the same time, the Salim Group also bought a 9.1% stake or 15.06 million shares in CAB Cakaran through a private placement at RM2.07 apiece. To date, the Salim Group, via its entity Plant Wealth Holdings Ltd, holds a 17.12% stake in CAB Cakaran.
The Chuah family remains as the largest shareholder of CAB Cakaran with a cumulative 47.46% stake in the group.
Chuah said the project was in line with the forecast that Asia would be the driver of increasing global poultry consumption in future.
"According to an Orissa International report, global poultry consumption is predicted to grow by 27% to 28 million tonnes by 2023 – with 40% of that growth in Asia.
"In South-East Asia, the growth of incomes, population, urbanisation has translated into a growth of demand for animal products.
"The surge in demand for animal protein resulted in a significant increase of meat – mainly poultry and pork.
"Poultry is the largest livestock sector in Malaysia, Thailand, and Indonesia," Chuah said.
Malaysia's poultry meat per capita consumption is among the highest in the world, Chuah said.
He added that Malaysians consumed 1.8 million chickens and 2.8 million chicken eggs daily.
"Indonesian poultry production is estimated at €10bil (RM49bil) in 2015 with broiler meat accounting for three-quarters of the total.
"The poultry meat sector is projected to grow 70%-90% by 2020 if GDP increases by 6% per annum.
"The layer industry is also projected to grow at 50%-60% of the broiler sector," he said.
According to Chuah, the group expects export sales to generate 25% of the group's revenue for the 2018 fiscal year ending Sept 30, compared to 20% in 2017.
"The group's processed food are sold to markets in Myanmar, Maldive, Singapore, and Brunei, while the live birds are exported to Singapore," he added.
For its 2017 financial year ended Sept 30, Chuah said the group was confident of achieving a strong double-digit percentage growth over 2016.
"This is because for the nine months of the 2017 financial year, we have already achieved a revenue of RM1.08bil compared to the RM1.1bil achieved for the whole of 2016.
"Our net profit for the nine months of 2017 is already RM31mil compared to RM25.9mil in 2016," he said.
He expects sales for its first quarter ended Dec 31, 2016 to improve by about 10% compared to the previous corresponding period.
On the first quarter for 2018 financial year ending Dec 31, Chuah said the group expected improvement in sales over the previous corresponding period.
"Since last year, due to the uncertainties in the economy, many Malaysians have chosen to stay back home or travel within the country, which has increased the demand for broiler meat," he said.
Tags / Keywords: Corporate News , Cab , Cakaran , Salim


Cut the copper clad to required size and clean the board using dish wash liquids like Pril and scrub using scrubber like scrotchbyte to remove the impurity and oil. Fig 2: The required board size is selected... ENGS 32 Winter, 2003 Prototyping Methods �Dead Bug,� or �Ugly-board� Start with a plain copper-clad board. Glue ICs down with the leads sticking up in the air.
Top of a copper clad Perfboard with solder pads for each hole. Perfboard is a material for prototyping electronic circuits (also called DOT PCB). It is a thin, rigid sheet with holes pre-drilled at standard intervals across a grid, usually a square grid of 0.1 inches (2.54 mm) spacing.


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WATCH: Kellyanne Conway Destroys Chris Cuomo on Immigratoin: 'Where Were You in 2014?'
Mike Vance June 19, 2018
Kellyanne Conway had an interview with with CNN's Chris Cuomo. During the interview Cuomo played audio of illegal immigrant children crying at the border.
Per Daily Caller:
Cuomo kicked off the interview Monday night with the distressing audio from ProPublica, and Conway launched into a long explanation about the reasons children are separated from their parents when they cross into the U.S.
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"Thanks for giving the White House the platform tonight, from yesterday, since people will have amnesia," Conway started "I'm a mother, I'm a Catholic, I'm a person with a conscience. I agree with everyone including the president, the first lady, and everyone who has said that they don't want children to be separated from their parents unduly."
Conway explained that there are three scenarios in which children would be separated from their parents by DHS: one is if the familial relationship cannot be proven, two is if there is fear of the child being harmed, and third is if the adult enters the U.S. illegally rather than presenting at a port of asylum.
The White House aide then turned Cuomo's audio tape around on him, asking if he would ever play audio of the young children who come into the country with adults and are used in drug and sex trafficking rings.
"I only wish you would play the audiotape, the videotape, that CNN would do a surround-sound program of the hundreds of thousands of Central American minors who have come over the border into this nation over the last several years," Conway asserted. "We don't know where they all are, do you? Does CNN know that those girls haven't been drug trafficked, sex trafficked? Do you know that they're with adult family members, people who love them? Do you know that they're alive? So you can play all the audiotape and videotape that you want. You show me what happened to each and every one of those girls."
"You choose what you want to emote about," Conway declared. "Where were you in 2014?"
CNN continues to use the audio of crying children to push their agenda. Meanwhile it was the left who put these laws in place that are causing the issues. The Trump administration is simply enforcing the laws that are in place.
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Austenprose – A Jane Austen Blog
Join the celebration of Jane Austen novels, movies, sequels and the pop culture she has inspired
Jane Austen's Works in Detail
Jane Austen's Lady Susan in Detail
Jane Austen's Mansfield Park in Detail
Jane Austen's Northanger Abbey in Detail
Jane Austen's Pride and Prejudice in Detail
Jane Austen's Sanditon in Detail
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What is a Jane Austen Sequel?
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Publication Dates of Jane Austen's Novels and Minor Works
Posted in Jane Austen's Emma, Jane Austen's Lady Susan, Jane Austen's Mansfield Park, Jane Austen's Minor Works, Jane Austen's Northanger Abbey, Jane Austen's Persuasion, Jane Austen's Pride & Prejudice, Jane Austen's Sanditon, Jane Austen's Sense and Sensibility, Jane Austen's The Watsons, Jane Austen's Works	by Laurel Ann
Inquiring reader Lily recently wrote to me and expressed her frustration at not being able to locate the publication dates of Jane Austen's minor works online. Ever the accommodating Janeite, here is a partial list of her published works.
Novels: (c. 1794-1817)
Sense and Sensibility: (30 October 1811) Thomas Egerton, Military Library (Whitehall, London)
Pride and Prejudice: (28 January 1813) Thomas Egerton, Military Library (Whitehall, London)
Mansfield Park: (9 May 1814) Thomas Egerton, Military Library (Whitehall, London)
Emma: (December 1815) John Murray (London)
Northanger Abbey: (December 1817) John Murray (London)
Persuasion: (December 1817) John Murray (London)
Juvenilia: (c. 1787-98) Three manuscript notebooks containing 27 items.
Volume the First (c. 1787-90) was first edited by R. W. Chapman and published by Clarendon Press, Oxford in 1933. It is now owned by the Bodleian Library, Oxford.
Frederic & Elfredia
Jack & Alice
Edgar & Emma
Henry & Eliza
The adventures of Mr. Harley
Sir William Mountague
Memoirs of Mr. Clifford
The Beautiful Cassandra
Amelia Webster
The Three Sisters
A beautiful description
The generous Curate
Ode to Pity
Volume the Second (c. 1790-93) was first published by Chatto & Windus in 1922. It is now owned by The British Museum.
Love and Freindship (Austen's original spelling of friendship)
Lesley Castle
The History of England
A Collections of Letters
The female philosopher
The first Act of a Comedy
A Letter from a Young Lady
A Tour through Wales
A Tale
Volume the Third (c. 1792) was first edited by R. W. Chapman and published by Clarendon Press, Oxford in 1951. It is now owned by The British Museum.
Catharine, or the Bower
Novella:
Lady Susan: (c. 1793-4) was first published in part in A Memoir of Jane Austen, by James Edward Austen-Leigh in the second edition of 1871, and later, a full record of the manuscript alterations was edited by R. W. Chapman and included in the Oxford Press edition of 1923. The manuscript is now owned by The Pierpont Morgan Library, New York.
Fragments of Novels:
The Watson's: (c. 1804-5) was first was first published in part in A Memoir of Jane Austen, by James Edward Austen-Leigh in the second edition of 1871. The first six leaves of the manuscript were sold and later acquired by The Pierpont Morgan Library, New York. The remained of the manuscript (minus recently missing pages) was sold last year to The Bodleian Library, Oxford.
Sanditon: (1817) an extract was first published (about one-sixth) in A Memoir of Jane Austen, by James Edward Austen-Leigh in the second edition of 1871. The manuscript is now owned by the King's College Library, Cambridge.
You can visit digital images of many of the existing original Jane Austen manuscripts in her handwriting online at the awe inspiring website Jane Austen Fiction Manuscripts. Enjoy!
Laurel Ann
© 2007 – 2012 Laurel Ann Nattress, Austenprose
Books, Fiction, Jane Austen, Jane Austen Minor Works, Jane Austen Novels	13 Comments
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13 thoughts on "Publication Dates of Jane Austen's Novels and Minor Works"
Jillian ♣
Thank you for posting this! :)
Adriana Zardini
Thanks for this post Laurel Ann!
George Matusek
Jane's writing of "The Watsons" was interrupted by the death of her father. Wikipedia lists a half dozen completions of "The Watsons," including one by a niece of Jane. Has anyone read any of them? Is there one that you can recommend?
Laurel Ann (Austenprose)
Hi George, I have read The Watsons and Emma Watson, a continuation that includes all of the original uncompleted novel by Austen with a continuation by Joan Aiken. It has been some years since I read it, but I remember it favorably.
Another novel of keen interest is Lauren Willig's The Mischief of the Mistletoe: A Pink Carnation Christmas whose heroine Arabella mirrors many characteristics of Austen's Emma and features Jane Austen herself as her friend. Here is my review: https://austenprose.com/2010/11/15/the-mischief-of-the-mistletoe-a-pink-carnation-christmas-by-lauren-willig-%E2%80%93-a-review/
If my memory serves, The Watsons does not have many continuations or spinoffs. Can anyone correct me?
Oh, I feel honoured… :) thank you for this post, Laurel Ann. it's wonderful to have access to a full & trustworthy! list in one place *and* with notes about texts' 'whereabouts'. Link concerning manuscripts is greatly appreciated as well.
THANK YOU! :))
Very helpful, thanks very much!
And yet… Now I'm wondering *why* some sources (wikipedia for example) give 1817 as the year of Sanditon publication… :/
1 April 2012 at 11:51 am
Wikipedia lists 1817 as the year it was written.
No, in the little info box on the right it clearly states 1817 as a year of publication…(http://en.wikipedia.org/wiki/Sanditon) and I think I saw other sources giving 1817, like goodreads.com, for example (http://www.goodreads.com/book/show/6305051-northanger-abbey-lady-susan-the-watsons-and-sanditon)… :/
You see, I did make a "research", that's why I grew confused and rather "frustrated"…
4 April 2012 at 10:37 pm
Obviously an error. How frustrating, since many take Wikipedia as the gospel truth.
My sources are A Bibliography of Jane Austen, by David Gilson (1997), The Oxford Illustrated Jane Austen: Minor Works, collected and edited by R. W. Chapman (1988)and Oxford World's Classics: Catharine and Other Writings, by Jane Austen, edited by Margaret Anne Doody and Douglas Murray (2009). I am pretty confident that all of these venerable sources in Austendom got it right.
Ok, thank you, that's a bit of a comfort :)
As for wikipedia, well, that particular article's date has no source stated, so cannot be considered reliable…(that's why I was looking for confirmations in favour of 1817 or 1871…) I don't intend to blame them, but there must exist some mutual "delusion" in sources that give the wrong date… and as a true Janeite one might want to rectify that… :}
great list. thanks
I love the link for the handwritten manuscripts! Thank you very much!!
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Nicholas David Thornicroft (born 23 January 1985) is an English first-class cricketer. He is a left-handed batsman and a right-arm medium-fast bowler, who played first-class cricket for Yorkshire County Cricket Club from 2002 until 2007.

Career
Thornicroft made his debut for the Yorkshire Cricket Board in 2001, in the Cheltenham & Gloucester Trophy. He played in his debut first-class match for Yorkshire County Cricket Club in the 2002 County Championship, although Yorkshire finished that season in bottom place in the First Division, being relegated to Division Two for the 2003 season. Thornicroft held the lowest first-class bowling average of the Yorkshire team in 2002. He was the youngest ever Roses Match debutant, that year, when he played for Yorkshire against Lancashire at the age of 17.

Thornicroft appeared in only one first-class match during the following season, although he played in five Youth One Day Internationals and three Youth Tests during the calendar year of 2003, both during an English tour of Australia, before coming back home and playing two Youth Tests against South Africa. Thornicroft spent 2004 and 2005 playing little first-class cricket, although he continued in a consistent vein of form when sent out on loan to Essex's Second XI.

During the 2006 season, Thornicroft played no first-class matches. He was subsequently released by Yorkshire in 2007.

Personal life
Thornicroft is a supporter of his hometown football club, York City F.C.

References

1985 births
Living people
Cricketers from York
English cricketers
Yorkshire cricketers
Essex cricketers
Yorkshire Cricket Board cricketers
English cricketers of the 21st century

redpajama_set_name: RedPajamaWikipedia


text:
CESN Main Page
Coastal & Estuarine Science News (CESN) is an electronic publication providing brief summaries of select articles from the journal Estuaries & Coasts that emphasize management applications of scientific findings. It is a free electronic newsletter delivered to subscribers on a bimonthly basis.
By-catch Reduction Device Protects Terps
Sediment Slurry Application Helps Delta Marsh Rise to the Challenge
Poor Water and Sediment Quality: Accessories to the Long Island Lobster Crash?
Of Wakes and Dredging in the Intracoastal Waterway: Compensatory Effects?
The public was first introduced to the issue of by-catch in offshore fisheries by dramatic video of dolphins caught in tuna nets and seabirds drowned on long lines, but by-catch is a serious problem close to shore as well. For example, one of the leading causes of decline in some east coast diamondback terrapin populations is by-catch in crab pots. Researchers recently speculated that in some parts of Chesapeake Bay, eel pots might pose a similar danger to the terrapins when they are fished in abundance in terrapin habitat. In addition to quantifying the problem, the researchers tested the effectiveness of a low-tech, low-cost by-catch reduction device (BRD). They found that terrapin by-catch can be high in the tidal creeks they studied: up to 0.458 terrapins were caught per pot per day, or nearly a terrapin every other day. Multiplied by the large number of eel pots deployed, this by-catch could spell serious trouble for the terrapins.
The BRD they designed and tested, consisting of a PVC ring attached to the opening of the cloth funnel at the trap's entrance, allows the eels to enter but not the terrapins. This simple device completely eliminated terrapin by-catch but did not reduce catch of eels, good news for eel fishermen. Because the device is inexpensive (less than a nickel apiece), easy to install and has no effect on eel catch, it seems to be a practical solution to a sticky problem. Installation of the BRDs would be simple during trap construction, requiring no extra hardware. "Retrofitting" existing traps would require removal and reattachment of the funnel rigging, but could be made easy by incorporating a small opening the BRD.
Source: Radzio, T. A. and W. M. Roosenburg. 2005. Diamondback terrapin mortality in the estuarine eel pot fishery and evaluation of a by-catch reduction device. Estuaries 28(4): 620-626. (View Abstract)
As sea level continues to rise, coastal wetlands, among the most productive and "endangered" ecosystems on earth, are being lost in low-lying areas through inundation by the rising sea. Nowhere is the problem more severe than in the mother of all U.S. coastal wetlands, the Mississippi Delta, where not only is the ocean rising, the land is also sinking. As a result, the rate of marsh loss in the Delta is 77 km2 per year (between 1978 and 2000). To combat the inundation and subsidence, restoration projects often add sediment to the eroding areas to keep ahead of the problem. One method of sediment addition was recently evaluated in the Delta: piping a slurry of 85% water and 15% sediment onto the marsh surface, which can be applied as a thin layer of sediment over a very large area (up to 1000 m from the end of the discharge pipe). The effect of varying amounts of added sediment on vegetation and soil condition was examined at one site over seven years. Overall, the most beneficial and longest-lasting effects were observed when moderate amounts of sediment (with a resultant increase in elevation of 2 to 12 cm) were added to the marsh. At this level, there was a greater percent cover of Spartina alterniflora (60-70% cover) and better soil condition (bulk densities of 0.4 - 1.0 g cm-3 and undetectable concentrations of the phytotoxin hydrogen sulfide) than in areas not receiving any additional sediment (which had ~30% vegetative cover, ~0.2 g cm-3 bulk densities, >1.0 mM H2S). These positive effects were observed even seven years after the slurry application. Areas receiving a higher "dose" of new sediment (12-20 cm) exhibited a short-lived growth pulse but this effect, likely due to the high nutrient content of the added sediment, faded after about three years.
The moderate sediment addition seems to have been most successful because it countered the effect of sea level rise without increasing the marsh elevation above that to which Spartina is best adapted. The sediment-slurry method has a lot of promise, but the authors suggest that additional long-term, appropriately-scaled studies are needed to test the method further.
Source: Slocum, M. G., I. A. Mendelssohn, and N. L. Kuhn. 2005. Effects of sediment slurry enrichment on salt marsh rehabilitation: Plant and soil responses over seven years. Estuaries 28(4): 519-528. (View Abstract)
In the late 1990s, the Long Island lobster fishery seemed to defy gravity. Despite increasing fishing pressure, landings were on the rise and setting records. The boom came to an abrupt halt in the summer and fall of 1999, when a catastrophic die-off of lobsters in western Long Island Sound devastated the fishery. The culprit was identified as a previously unknown protozoan parasite. But western Long Island Sound is notorious for seasonal hypoxia and its associated impacts on sediment and water quality. Local researchers wondered, did water and sediment quality contribute to the lobsters' vulnerability to the parasite?
When the lobster mortality reports first started rolling in, the researchers mobilized a sediment survey in the Sound using an "inverted periscope" camera system, called a sediment-profile imaging camera (SPI). The SPI takes photos of the upper 15 to 20 cm of sediment in order to characterize the sediment quality based on its color (which indicates whether there is aerobic activity taking place) and classification of the benthic organisms observed. In 2000 they coupled SPI surveys with water quality measurements (dissolved oxygen, sulfide, and ammonium) in near-bottom waters. The 1999 and 2000 SPI surveys revealed poor sediment quality at most of the western sites sampled: sediments at the sediment/water interface were black, indicative of hypoxic/sulfidic conditions, and benthic fauna was limited to opportunistic polychaete worms. In 2000 they found that the sulfidic sites were accompanied by bottom water DO levels of <2mg/L and significant levels of sulfide and ammonium. DO concentrations generally increased from August through November. The release of sulfide and ammonium into bottom waters from anaerobic sediments, combined with low DO and abnormally high water temperatures that summer, may have battered the lobsters' immune systems and increased their susceptibility to the deadly pathogens. The timing of these observations, with the worst conditions present in the late summer/early fall, coinciding with the lobster die-offs, also supports the environmental effects hypothesis.
Source: Valente, R. M. and C. Cuomo. 2005. Did multiple sediment-associated stressors contribute to the 1999 lobster mass mortality event in western Long Island Sound, USA? Estuaries 28(4): 529-540. (View Abstract)
It is rare, probably even impossible, for an estuarine system to be influenced by a single stressor alone. Instead, multiple disturbances have interactive effects that differ from each effect by itself. A reminder of these complexities came with a recent study of the interaction of two factors that have each been studied extensively individually: disposed dredged material and boat wakes.
While wakes can coarsen grain size by preferentially eroding fine-grained sediment, dredged material disposal tends to deposit fine-grained material, thus having the opposite effect. Changes in sediment grain size lead to changes in the assemblages of organisms that live there (infauna), but the compensatory effects of dredge disposal and wake could hypothetically result in similar infaunal communities in areas subject to both effects and areas affected by neither. On the other hand, organisms living on blades of seagrasses (epifauna) might be affected by boat wakes but not by grain sizes. To tease these relationships apart, the author studied infaunal and epifaunal assemblages in the Atlantic Intracoastal Waterway in Bogue Sound, North Carolina, which has dredged material disposal islands affected by and not affected by boat wakes, and a non-dredge disposal area with no boat wake impacts. As hypothesized, infauna differed between sites with and without dredge disposal, but not between dredge deposition sites that differed in boat wake activity. Epifaunal assemblages differed between sites having and lacking wake impacts (mostly due to lower abundance of a gastropod and the slipper limpet at wake-exposed sites).
The message for coastal managers: remember to keep your eyes open to all of the potentially interacting influences on a given site - compensatory effects can mask individual impacts.
Source: Bishop, M. J. 2005. Compensatory effects of boat wake and dredge spoil disposal on assemblages of macro-invertebrates. Estuaries 28(4): 510-518. (View Abstract)


The humble pork chop receives a double upgrade of flavor and texture with this crunchy spiced pecan crust.
Pork chops are an economical and often overlooked cut. They seem to harbor an unfair reputation of being dry, but when cooked correctly they are moist and flavorful. The trick to cooking pork is to use a calibrated meat thermometer, so you can ensure you're at a safe temperature of 145f internal, without taking it beyond this magic number and drying out the meat. I use and recommend a Thermapen thermometer.
The only trick to this recipe is keeping a keen eye on your skillet. The pecan crust demands your full attention, if only for a minute or two, to ensure the nuts do not start to burn.
Preheat oven to 350f and prepare a sheet pan lined with parchment paper.
Prepare two shallow bowls or containers for breading the pork chops. Combine the pecans and breadcrumbs in one, then whisk together the milk and eggs in another.
Working one chop at a time, season on both sides with salt, then spread 1 tablespoon of mustard along one side. Dip the chop into the egg mixture, allowing excess to drip off, then transfer to pecan mixture. Press the pecans in firmly to form a crust. Repeat until all chops are crusted.
Place the oil into a skillet and heat over medium flame.
Fry the pork chops for a minute or two per side to develop color, being careful that the pecans do not burn. Place browned chops on sheet pan and put the pan into the oven to finish cooking the chops. You may have to complete this step in two batches depending on the size of your skillet.
The chops are done when they reach an internal temperature of 145f, which will take about 15 minutes depending on thickness.