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Interview with Arseny Roginsky: "The authorities still do not understand what freedom of association means"
Arseny Roginsky is chair of the board of the International Memorial Society
Rights in Russia: What is the International Memorial Society today?
Arseny Roginsky: Today Memorial is a network of organisations operating in several countries. Most of our organisations are in Russia— 38 of them. There are about ten organizations in Ukraine, one each in Latvia and Kazakhstan and, further abroad, in Italy, Germany and France. Each organisation operates autonomously and independently; and all of them together form a community, which is called International Memorial. The management board of Memorial is more of a coordinating body than a directive body. Once every four years delegates from all the organisations gather at a conference, re-elect the management board and plan the main strategy for our work going forward.
Moreover, in Russia there are some regions and even some towns and cities where there is not just one Memorial organisation but several. For example, in the Komi Republic we have several organisations. In Perm there are two organisations: a few years ago a separate organisation that works exclusively with young people split off from the Perm Memorial Society — Youth Memorial. In St. Petersburg we have three organisations that are involved in different areas of work: social (St. Petersburg Memorial), research and education (St. Petersburg Memorial Information Centre) and human rights (the Memorial Anti-Discrimination Centre), which focuses on issues related to discrimination against Roma. There is a similar picture in Moscow: Moscow Memorial carries out the main brunt of the work on cooperation with the Moscow authorities on issues related to preserving the memory of the Stalinist terror, the holding of public commemorative events, and social support for the victims of repression; the Human Rights Centre, whose main activity centres on working in areas of internal armed conflict within the Russian Federation, and now also defending the human rights of refugees and forced migrants; and the Memorial Research, Information and Educational Centre.
RiR: How did all this come about?
AR: Well it all started in 1987-1988, when action groups sprang up in several cities and launched a widespread publicity campaign; at that time the main aim was to keep alive the memory of the victims of political repression. Then in January 1989 we held our founding conference, at which we created the All-Union Memorial Society, since at that time the Soviet Union was still in existence. In 1990, after lengthy delays, the authorities registered us and we began operating as an officially recognised NGO. Then in 1991 separate organisations split off to work in different areas. That is when the Moscow Research Centre and Human Rights Centre came into being. Then when the Soviet Union collapsed, the 'All-Union' phrase in the title became meaningless and we re-registered as the Memorial International Society. Those organisations that exist today in Italy, Germany and France originated in recent years, originally as support groups for International Memorial.
RiR: And what is the Russian Memorial Society?
AR: Well I guess the simplest way of putting it would be to say it is a collection of Russian organisations which belong to the International Memorial Society. However, unfortunately it's not that simple. Our community includes organisations that are registered with regional branches of the Ministry of Justice, and there are some who are not officially registered. But only registered organisations can belong to International Memorial, such is the requirement for an international organisation under Russian law. That at least is how it was explained to us in the 1990s. But there is no such requirement for a national organisation. So that is why the Russian Memorial Society contains both registered and unregistered Russian organisations. Registered organisations belong to both the Russian and the International Memorial societies, while unregistered organisations belong only to the Russian Memorial Society. You have to understand, this isn't because we like to complicate matters, it's simply because our Russian legislation is so convoluted. We have to try to adapt ourselves to fit in with it.
RiR: How do unregistered organisations differ from those that are registered?
AR: Registered organisations are "legal entities" and consequently can, and by law in fact are obliged to, have their own bank account, stamp and other attributes of a "legal entity." In addition, they can own property, rent premises, etc. Unregistered organisations can do none of these things and as a result cannot pay their employees. So all their work is purely voluntary. And from a legal perspective they are nothing more than an informal group.
Life for non-governmental organisations in Russia is pretty tough, especially legal entities. They have to continuously report to a huge number of inspection and monitoring authorities, who are frequently not very well disposed towards them. And many of our regional organisations have come to question why they would need this kind of headache. We'll just be an informal group instead, they say. We won't have to register. And if they're already registered they simply don't renew their registration. So they cease to be legal entities. But carry on their work. They are no longer members of International Memorial but they still belong to the Russian Memorial Society.
In December 2010 the Russian Memorial Society consisted of 38 registered organisations (legal entities, who also belong to the International Memorial Society) and 27 unregistered ones. This balance is continually changing as the proportion of unregistered organisations increases.
So what does that mean? Even purely voluntary organisations can do a lot. And they do. They are involved in giving advice to people, sometimes in homes, sometimes at places of in other offices. They write letters to local authorities about setting up a monument or publishing a commemorative book. They take part in ceremonies dedicated to the victims of political repression. There is a great deal they can do. But they are not legal entities.
RiR: At the end of 2012 and the beginning of 2013 the Justice Ministry carried out an inspection of the Russian Memorial Society. What was the point of it?
AR: Well, I guess to demonstrate that our affairs were not in order and to force the organisation either to review its activities or to halt them altogether. A distinctive feature of the Russian Memorial Society is that it has no funding. That raised the suspicions of the people conducting the inspection. "Why does the Russian Memorial Society have no funds showing on its accounts? If there are no funds, it means there are no activities! That means it's a fictitious organisation!" We explain that the activities of Russian Memorial are activities of the organisations that belong to it, that the management is only a coordinator, and the coordination is done on a purely voluntary basis (in the same way that almost half of the organisations that belong to the Russian Memorial Society work on a voluntary basis), but our explanations are not accepted. Another complaint is that our structure is supposedly incorrect. In the opinion of the inspectors, the only structures that have the right to be members of the Russian Memorial Society are those that clearly indicate in their official titles that they are subdivisions of our organisation.
But the majority of the regional organisations were set up by themselves, which is why they are called the Voronezh Memorial Society, or the Yekaterinburg Memorial Society, etc. And only once they were set up did they then afterwards join the Russian or the International Memorial Society, becoming a part of their structure. This doesn't go down well with the Justice Ministry. They say that legally, if you've set up your own local department yourself, established the constitution and composition of the board yourself, and if they're independent, then how can they be a part of your structure? Our reply is: look, they all have Memorial in their names, we all share the same goals, all work in the same way and we implement joint programmes. But our opinion doesn't convince the inspectors. For us this is an important matter of principle. We believe that civic organisations are founded from below, by their own initiative, and then afterwards create larger associations or become part of them. But the Justice Ministry says that with national organisations it should be the other way round, that a national organisation should be created from above.
The conclusions of the inspection were that the operations of the Russian Memorial Society, allegedly, do not comply with Russian law and we have been ordered to restructure the organisation. But we believe that we are operating well within the law. And we cannot follow the path we have been prescribed as that would mean officially cutting off a significant proportion of our organisations from the Memorial community. It is important for our regional organisations to consider themselves members of a national structure. Starting the lengthy process of re-registering the regional organisations under different names would be a huge burden on them. And incomprehensible as well. Everyone of us has the same question, if the current structure has been approved by the Justice Ministry for the last 20 years (we have been reporting to them all this time, sending them lists of the organisations that belong to the Russian Memorial Society) then why is this suddenly considered to be incorrect? Everyone knows this has nothing to do with legal subtleties or differing interpretations of the law on NGOs, but about something else entirely: the current political climate.
RiR: So what are you going to do?
AR: We are going to try to resolve these issues in court.
RiR: Why was there this specific kind of inspection and why did it take place at the end of last year?
AR: This inspection of the Russian Memorial Society took place during December 2012 and January 2013. At the time we did not realise that it was a prelude to a long series of inspections, which started just recently in March. Now all the structures of Memorial in Moscow and many regional Memorial organisations have been subjected to inspections. I think that this is all part of a big plan. They didn't want to start with International Memorial, since it's already been inspected several times in the past and it's always turned out to be difficult to make any kind of complaints against us on the financial front. However, charges were made against us anyway, but we challenged them in court and have always won these cases. So now we have this demagogy unconnected with any actual violations of financial discipline but based on pure chicanery, which is almost always impossible to fight against. When the Russian Memorial Society was undergoing inspection we brought them the documents they'd requested, a whole pile of documents. And their reply was: "Your accounts for the Russian Memorial Society don't show any funds. So what money did you use to buy the paper on which these documents are printed?" They suspect the Russian Memorial Society of having some kind of secret money that we are concealing. This is all very silly, but the potential consequences could be very serious.
RiR: What impact will the new law on NGOs acting as foreign agents have on Memorial?
AR: A very serious impact I believe. In our opinion this law has nothing to do with justice. It contains two basic concepts – foreign funding and political activity. We released a special statement about this law.
Firstly, this law is discriminatory: it divides organisations into different groups depending on their sources of financing. There is one way of functioning set out for those whose funding comes from one set of sources and another one for those whose funding comes from a different set of sources. We consider this to be utter nonsense.
Secondly, this law forces us to publicly lie about ourselves.
Whatever President Putin might say, in Russian the phrase 'foreign agent' has no other meaning than 'enemy', 'spy', 'traitor.' The point of this law is to set society against those organisations which the authorities consider to be harmful. Memorial in particular cannot forget how the phrase 'foreign agent' has been used in our country's history, how many hundreds of thousands of people were executed for allegedly being 'foreign agents.'
But even if this expression is interpreted in its most neutral sense, "an organisation that represents the interests of the particular foreign foundation which is funding it," then that is a lie! We have never subordinated our work to any outside interests; none of our sponsors, either foreign or Russian, have ever set us any conditions of the kind: 'Look we're giving you money, so for that you should do this or you should do that, act like this or act like that.' Quite the opposite: we decide to implement a particular project and then we look for sponsors for it. Some agree to support us, others don't. But the project is ours and ours alone. The authorities' logic is based on the crude principle that he who pays the piper calls the tune. There's something very awkward about that. The tune is always ours, ours alone.
RiR: But isn't it the case that you yourselves are supposed to register as foreign agents?
AR: That's the whole point. If someone, without our involvement, were to declare that because we receive foreign grants we would be entered onto a special register and would therefore have to undergo inspections not once every two years but for example twice a year, that would be tough for us (inspections take a lot of effort) but on the whole it wouldn't make much difference. But under this law we are supposed to write on our letterheads that "Memorial is an organisation acting as a foreign agent." We would have to write that on our websites and on any books we publish. And most importantly we are supposed to, of our own accord, in our own name, send a request to the Justice Ministry: "Please include us in the list of foreign agents." Of course we cannot do this. And we won't.
And finally, thirdly, this law contains a completely ridiculous definition of political activity as "activities designed to shape public opinion with the aim of changing government policy." But that is exactly what any normal non-governmental organisation is involved in: trying to change government policy on a particular issue. With the possible exception of purely social charitable organisations that provide assistance to certain sections of society, for example children or the elderly. But even these organisations generally also try to change parts of government policy, at least the policies of the relevant ministry. And they often try to mobilise public opinion in doing so. So of course in this sense we are continuously involved in 'politics.'
RiR: Can you give an example?
AR: For example we are trying to get the government to change its policy on commemorating the victims of political repression, to be actively involved in preserving the memories of the victims of repression, to stop human rights violations against, for example, refugees. And of course we try to influence public opinion by telling people about the political terror of the Soviet period, for instance.
Here is a specific example: our project about access to historical information stored in state and institutional archives. As you know the situation with regard to access to archives is very difficult right now and it's continuing to deteriorate. And we are trying to mobilise public opinion and interested professional associations to overcome this situation. But from a purely legal standpoint we are coming up against several legal concepts: on the one hand freedom of access to information that is of public interest, and on the other hand the concepts of "state secrets," "official secrets" and "protection of personal data," etc. As part of our project we recently held a very interesting conference attended by many different kinds of people: historians, lawyers and archivists. And you know, as a result we managed to get some very important lawyers from academic institutes to collaborate on our project, we found a common language with archivists, so that even staff from government archives said that in principle they were on our side. And the historians are of course by definition on our side.
Simultaneously, as part of this project we initiated several court cases.
Two young women attended this conference. They were lawyers who had already met before at one of these court cases, where one of them was representing the interests of the claimant, ours in other words, and the other the interests of the defendant, the archive service of the FSB. It's important that they met at the conference, where they could conduct a dialogue not aimed at defending someone's interests but with the aim of better understanding one another, understanding the arguments of their opponent. We cannot give up using legal processes, however bad the situation with the legal system is in our country. The main thing now is to act calmly, with dignity and without hysterics. And even today you can achieve certain things through the courts.
Only recently the Constitutional Court ruled in our favour on a very important matter to do with access to archive information, concerning the time when previously classified documents should be declassified. (You know that in Soviet times a huge number of documents were marked 'Secret'). The gist of the case was that in 1993 a law was passed on the maximum period of validity for the term "state secret." For documents stored in archives this was 30 years and for intelligence documents it was 50 years. As a result, today in 2013 you would think that you should no longer be able to use 'state secrets' as a reason for refusing access to documents from 1983 (or 1963) or earlier. But the FSB has come up with a quite astounding interpretation of this law: in their opinion, since this law is not retroactive, it only applies to documents created in 1993 or later! Please come back in 2023 (or 2043) to read documents written in 1993... The court, thank God, did not uphold this ludicrous interpretation. Now if they want to restrict access to a document they have to come up with other excuses. You can be sure they'll find some. And the arguments will start all over again.
Of course it's much more interesting to talk about what we actually do and the things we really achieve than about the conditions of our existence in this crazy atmosphere created by the efforts of our government and our legislation. But as far as I know the topic of this interview is unfortunately not our positive work, our educational, research and legal activities, but about the conditions in which we are forced to operate...
RiR: Unfortunately that's true. Can we go back to the law on foreign agents? What will happen to Memorial?
AR: Yes, it turns out that we may well fall foul of this law. We receive financial support, including from foreign funds. At the same time our activity could, according to the wording of this new law, be interpreted as 'political.' What will happen to us? Let's suppose we are told that we have to issue a statement saying we are foreign agents. But we cannot and will not comply with this directive because it's not true and we do not want to lie. Of course our refusal could lead to serious consequences, including having the organisation shut down. Yes, we will fight in the courts. So what will happen if we lose all the court cases...You know, the Memorial organisation has been in existence for almost 25 years. Without the support of society we could not have existed for such a length of time. It seems to me it is not only the concrete results of our work that are in demand - from gathering facts about crimes of the past to monitoring human rights violations today - but also the idea on which all our work is founded: the connection and continuity between the past and the present. And because society needs this, it means our work will continue. One way or another.
RiR: But the law on foreign agents has already come into force. Are you doing something about it?
AR: Yes of course. Together with 10 other NGOs (including the Moscow Helsinki Group and Golos) we have submitted a complaint to the European Court of Human Rights about the highly illegal nature of this law. Lawyers from the Memorial Human Rights Centre prepared the complaint. Unfortunately, the effects of this law may be felt far earlier than we receive a reply from the court in Strasbourg.
RiR: Have the current inspections of hundreds of NGOs in Russia in connection with the law on foreign agents affected Memorial?
AR: And how! Representatives of the Public Prosecutor's Office, the Ministry of Justice and the Federal Tax Service called on us demanding a host of different materials from all the Moscow Memorial organisations, from protocols of our executive committee to the most detailed level of bookkeeping accounts. We have submitted a total of over 8,500 pages of copies. And that's just for Moscow. Our organisations in St. Petersburg, Perm, Ryazan, Ivanovo, Vladimir, Syktyvkar and other cities have been subjected to the same inspections. The Memorial Human Rights Centre and the Memorial International Society have appealed against these inspections in court; we consider them to be unlawful on many counts.
RiR: Are there already any results yet from these inspections?
AR: For Memorial so far no, we are waiting from day to day. Out of the many hundreds of Russian organisations inspected so far the Ministry of Justice and the Public Prosecutor's Office has identified only three 'foreign agents.' The reasons are striking: for one organisation (Golos) it was the preparation of a draft electoral law and a public discussion about it; for another (the Kostroma Resource Centre) a public discussion in which an employee of the American Embassy took part; and for a third (Kostroma Soldiers' Mothers) it was the publication of their results of electoral violations. It all looks ridiculous (if not delusional) but the fact is attempts are being made to fine them all for not declaring themselves as foreign agents. Of course all these NGOs will challenge these fines and their classification as foreign agents in courts. On the whole this is very revealing: to date not a single NGO has voluntarily declared themselves to be a foreign agent – to the irritation of the authorities and unleashing all these illegal (in our opinion) inspections. The pointlessness of these recent inspections is exacerbated by the fact that the authorities already knew everything about these organisations anyway. We already (in accordance with existing legislation and countless by-laws) continuously report to the tax authorities and Justice Ministry. To which state authorities don't we report! The Justice Ministry website regularly publishes comprehensive reports of every organisation as well as their funding, including both the overall budget for every NGO and the exact amounts of funding from abroad. So the government already has all this information: the amounts, where each organisation gets its funding from, and what they spend it on. Therefore the authorities are perfectly capable of deciding who should be labelled a 'foreign agent' in their view and who shouldn't without any of these inspections. The inspections are more about general intimidation than about obtaining specific information. The main thing these inspections demonstrate is that the authorities still do not understand or don't want to understand what freedom of association, which is guaranteed by the Constitution and international covenants, means. They are trying to maintain absolute control over NGOs in all areas of their lives. So the overall trend today is not one of establishing civilian control over state institutions, but the exact opposite.
RiR: Your building was recently covered in offensive slogans and banners. Was that an expression of public dissatisfaction with your organisation?
AR: No, I don't think that was done by 'ordinary people.' I saw the banner which was placed on our building. It was very professional looking. And in order to put it up on the roof they probably even used some kind of crane to get up there.
This was well thought through and prepared beforehand and was designed to insult us and set people who are walking along this street against us. Just think: this was done during the very first night after the law came into force. Who in this country knew what date the law was coming into force?
There are certain youth groups that have been established to support the Kremlin. They're like a kind of Red Guard, officially independent from the government, but sharing their ideas and hounding those deemed to be enemies of this government.
RiR: Ludmila Alekseeva says that the Moscow Helsinki Group will try to seek internal sources of funding, collect donations from Russian citizens, etc. What do you think, is this is possible in principle?
AR: Overall, we do receive funding from inside Russia too. For example, from Russian business, from Russian charitable foundations set up by Russian businessmen. It's not a lot and not all that often, but it does happen. But there are two points here. Firstly, in Moscow it's still possible to get these types of grants sometimes, but in the provinces it's much harder, especially in the poorer regions. And secondly, business knows full well that the government is not very well disposed towards NGOs such as ours. So do you think there are lots of business people willing to risk supporting us financially under these circumstances, given that in this country business is still highly dependent on the government?
Then, and I will say this again, dividing organisations according to their sources of funding is unlawful and discriminatory. What's more, it's not only discriminatory against those NGOs that receive money from foreign foundations, it's also discriminatory against those foundations who really have invested a great deal to set up civil society in Russia, maybe not quite as much as is written about in the semi-official Russian press, but still, we're talking about substantial sums. We should be grateful to these foundations for their help. In my opinion it's not right blatantly refusing their help now. If it gets as far as a legislative ban on receiving funding from abroad, that's another matter, then there would be no other choice. But while there is no such ban in place we should continue working with them normally.
RiR: So what can you say about the overall approach to civil organisations on the part of the authorities, about this war of annihilation the state is waging against civil society? Is this a new 1937?
AR: No of course it isn't. That's a completely inappropriate comparison, even as a metaphor. The year 1937 was above all about the murder of hundreds of thousands people and the sending of further hundreds of thousands to prison camps. It marked the final isolation of the country from the rest of the world, the start of life behind the Iron Curtain. Today the situation is completely different. Today our relatively sluggish authoritarianism is trying to turn into a strict authoritarianism. Today the regime is making more and more extensive use of anti-Western, Great Power rhetoric; this rhetoric is becoming the base for the ruling elite. It's hard to take and it's unpleasant, that's true. But not only is this not 1937, not mass state terror, it's also not life behind the Iron Curtain. There is no curtain and by all appearances you would no longer be able to lower one over Russia. This is not just a question of technical capabilities, the Internet and the like, but about the fact that real isolation would not hold out, it would fall apart. Yes, we live in a reactionary age, but becoming Burma or even the Soviet Union under Brezhnev is not something that can be done any more.
RiR: What has been the reaction in Russia to the Magnitsky Act?
AR: It backs up what I am saying. It's striking that what caused such agitation among our legislators was the fact that a certain corrupt section of the Russian ruling elite is having difficulties travelling to the United States! Their rhetoric may be as nationalistic, Great Power, and isolationist as you like, but they are actually falling over themselves to go to the West, like bees to honey. The reaction of the ordinary, average members of the Russian public to the Magnitsky Act is perfectly calm: 'We cannot deal with our corrupt officials ourselves, so let them have problems travelling to the States.' As for myself, personally I have an ambivalent attitude to the Magnitsky Act. On the one hand, it's a correct step, but on the other hand, why should it only apply to Russia? If it was extended to cover all countries (including China) or even only applied to a specified number of countries it would mark a real breakthrough on the issue of human rights protection. The protection of human rights is, after all, a worldwide issue. So the Act is correct, but it doesn't go far enough, which is why it is so easy for Russian politicians and political analysts to use it to whip up anti-Western, anti-American sentiment in this country.
RiR: OK, but it is perfectly clear that the attitude of the authorities today to independent civil activism has become much more negative than before.
AR: When do you mean, "before?" In Soviet times people were imprisoned for civic activism. For civic activism, political activism, cultural activism, religious activism, etc. The Soviet authorities were firmly against any kind of public independent activism whatsoever. Then when the Soviet regime collapsed, in the 1990s independent civil activism was mainly manifested in the activities of non-governmental organisations. The authorities were pretty indifferent to this activity, they didn't understand it, didn't believe in it and didn't value it in the slightest. The general view was that there was no civil society in Russia and there couldn't be one. This was the firm belief of the ruling elite, the mass media, the population and, odd as it sounds, even some of the civil society activists themselves. It was agreed that in the best case scenario in Russia there were "shoots of civil society," in the form of non-governmental organisations. Then Putin came along, uprooted political opposition, dispersed the regional elites, took a grip of the business community, took control of all the significant media outlets. And then he turned his attention to NGOs.
At first he wanted to come to an amicable agreement with us, turn 'third sector' into a peculiar kind of continuation of the 'power vertical.' A testament to this effort is the Public Chamber, a structure which has not caused any particular harm, but at the same time has not brought any great benefit either. But a significant number of organisations remained outside this Putin-style consensus, preferring to maintain their independence. These organisations, which included Memorial, did not think of themselves as 'political opposition,' virtually all of them were prepared to cooperate with the government and its agencies, but as equal partners. These were the organizations that the authorities considered to be enemies.
The authorities are continuously looking for signs of an Orange Revolution, believing, probably sincerely, that Orange Revolutions are created by NGOs using Western money. It is these signs they are fighting against.
Civil society is not just about a free press and NGOs. Above all it's a question of having a certain mindset, a certain level of self-awareness, at least among the general public. But look at how things have turned out. In the 2000s the authorities managed to get a lot done: control over regional elites, control of TV stations and the press, control over business and the marginalisation of opposition political parties. If anyone protested it was only a handful of people. A few hundred people might turn up at protest rallies in Moscow, in rare cases maybe a few thousand. And in the provinces if a hundred people turned out, that was a lot. Then all of a sudden at the end of 2011 something happened and thousands of people started going out onto the streets to protest, and in Moscow it was tens of thousands. Who led them out onto the streets, the NGO's? Not of course not. It was simply that people appeared in Russia who had their own sense of civic concern about what was happening in the country and were not afraid to publicly voice this concern, they were the mouthpiece for civic responsibility. They were not born yesterday, they've been around for some time, it's just that 18 months ago they finally came of age. So there we have our civil society.
RiR: So what about civil society organisations? What is their role in public life, apart from the very specific work that each of them is engaged in, shall we say?
AR: I don't think they have that much of a role to play in the development of the protest movement. The authorities believe that the protests are being initiated by civil society organisations using Western money; that is why the law on foreign agents was brought in. Our role is actually a much more modest one, albeit a very important one. The protest movement is developing on its own, it is creating its own infrastructure, finding its own language and ways of acting. NGOs did play a significant role in creating the conditions for the emergence of the protest movement. Around 10 years ago, when the government started taking control of everything, our organisations and several newspapers, radio stations, non-governmental expert centres, certain educational institutions, etc. became rather like little islands of independence. One such island was Memorial, another the Moscow Helsinki Group, a third the Sakharov Centre, and a fourth the Moscow School of Political Studies. There is also the Levada Centre and of course Novaya Gazeta and Echo of Moscow radio station. And others. And there has been no small number of these islands over the past few years. We have probably managed to keep certain banners flying, which is important for public awareness.
We are not civil society. But we prepared the ground to enable civil society to emerge, and it has emerged.
RiR: If what you say is correct, then there is a future for civil society on the whole in Russia. Do civil organisations, in particular Memorial, have a future? It would seem that the main goal of Memorial is to persuade society of the perniciousness of totalitarian forms of government, to create a consensus of public opinion about the Soviet past and about state terror in the Soviet era. But this has not been achieved. Stalin's popularity is on the rise, as is nostalgia for the Soviet past. The human rights situation in Russia is also very difficult. That means that you have to give some thought to who is going to carry on your work after you. What is the situation like with young people in Memorial? What role do they play in your organisation?
AR: Regarding Memorial's mission, you are of course right, our work is far from complete. But I don't think that our educational efforts have been totally unsuccessful. Today far more people know about the Stalinist terror than was the case say 15-20 years ago, and Memorial's activities played a key role in this I think. However, knowing something about Stalinism is one thing, but understanding the phenomenon, with all its causes and consequences, understanding the fatal role Stalinism played in our lives, is another matter entirely. But, as one of my colleagues said, we may not have succeeded in changing the situation for the better, but without us it would probably be much worse.
As far as young people are concerned, for us there are two sides to the question. Firstly, young people are the target of our educational activities. And here, in my opinion, practically all the Memorial organisations, and the Memorial Society as a whole, is doing a fantastic job. For instance, for the past 14 years we have been running a historical research competition for senior pupils, 'People in history. Russia in the 20th century,' which receives between 1,500 and 4,000 entries every year. Nearly all the regional organisations regularly work with schools and teachers' associations, a vast pool of schoolteachers has formed around us.
The other side of this issue is getting young people involved in Memorial's activities. In recent years many of our organisations have been very successful in this area. I've already mentioned the Perm Youth Memorial group. We have lots of young people working for us in Ryazan, St. Petersburg, Moscow, Penza and other places. There are of course problems: attracting young people is one thing, holding onto them is much harder. The point is that our work requires professionalism and at the same time total dedication. Young people need to study, and those who are a little older need to make a start in life and earn a living. They simply do not have the time. If it was possible to give Memorial two hours of your time once a month everything would be okay. But Memorial is not just a job, it's a way of life. And the requirements for professional skills, of course, impose certain restrictions: high school students, for example, cannot be given the task of annotating personal recollections that end up in our archives, there is too much they have to be taught before they can do this.
But we are seeking and finding solutions. Maybe schoolchildren can't annotate survivor's tales, but they can, for example, catalogue new additions to our library. It's another matter that this exercise is tedious and boring for young people.
Nevertheless, young people do come to us, both as volunteers and, those who are a little older, for permanent employment. And we are very happy to work with them.


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Negativismus steht für:
 in der Psychiatrie ein Symptom, siehe Negativismus (Psychiatrie)
 Eine Persönlichkeitsstörung, die jedoch nicht in den Diagnosesystemen des ICD-10 oder DSM-IV aufgenommen wurde: negativistische Persönlichkeitsstörung, auch passiv-aggressive Persönlichkeitsstörung genannt.
 Name für das Konzept einer dialektischen Anthropologie von Michael Theunissen.
 im Kritischen Rationalismus der Standpunkt, dass gültige Argumente nur negativ und kritisch sein können, siehe Negativismus (Kritischer Rationalismus)
 die Bezeichnung einer politischen Ausrichtung der Sudetendeutschen in der Tschechoslowakei nach dem Ersten Weltkrieg, siehe Aktivismus und Negativismus (Tschechoslowakei)
 eine Stilrichtung der Neuen Musik.

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Pete Carroll is 'counting on' Jadeveon Clowney playing in Week 13
Jesse Borek
Seattle Seahawks defensive end Jadeveon Clowney was out of the mix for the team's game against the Philadelphia Eagles last week due to both a knee and hip injury. But as the team prepares to take on the Minnesota Vikings on Monday Night Football, head coach Pete Carroll is banking on his star pass-rusher returning to the fold.
"[W]e're counting on him getting back," Carroll said, per Mike Florio of Pro Football Talk. "We are, we're counting on him getting back, but he's still got to make it. That's a little twinge of optimism there again. He feels good about it and he wants to go. He's going to try and make it."
Clowney had arguably his best game of the season the last time that he suited up, which was Week 10 against the San Francisco 49ers. In that contest, he logged a season-high five quarterback hits and five solo tackles, also adding his third forced fumble and second fumble recovery of the year. The ball that he pounced on he returned for a 10-yard score, marking the first time that he marched into the end zone during his six-year career.
Seattle will close out the 2019 regular season with three of their final five games coming against NFC West opponents. At 9-2, the team is not only jockeying with the 49ers for first place in the division but also the No. 1 seed in the NFC, which would secure them home-field advantage throughout the playoffs and make sure that Clowney would be even more of a terror for opposing quarterbacks.
JUST IN: Mitchell Trubisky ties the game connecting with Jesper Horsted for a TD
Related TopicsJadeveon ClowneyPete CarrollSeahawks
Anthony Davis 'still not ready yet,' out for Lakers vs. Rockets
RUMOR: Warriors' D'Angelo Russell could be packaged in a trade offer for Sixers' Ben Simmons
Kevin Stefanski calls the Browns' new uniforms 'straight fire'
Damian Lillard's simple reaction to Russell Westbrook's trash talk
Rockets' Russell Westbrook took over Mike D'Antoni-led meeting after loss to Blazers
Clippers news: Kawhi Leonard responds to Nets' Kevin Durant's comments about him

redpajama_set_name: RedPajamaCommonCrawl


text:
Secrets Of A Great Los Angeles Hotel
Los Angeles Hotels West Hollywood
losangeleshotelsreview / By LosAngelesHotelsBlogger
There are two devoted conference room, and also teams can also reserve other rooms throughout the resort, consisting of the restaurant, Skybar, swimming pool cabanas, and specific resort collections, like the Penthouse. The on-site Exxhibit Shop offers a curated option of high end clothes, earbuds, fashion jewelry, elegance items (like Lux nail gloss), and also different sundries, like Listerine and also glass-bottle Coke.
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A little boho, a bit gangsta, a bit elegant: The Line Resort LA is not a safe choice but questions if it's the appropriate one. "The length of time you individuals remaining in Koreatown?" The Oriental taxi vehicle driver seems entertained or maybe bemused by the concept of us remaining in among the city's grooviest, however still somewhat gritty, promising 'hoods.
Actually, we're a little concerned ourselves. When inside, however, the team member on the front workdesk are charm itself. They dance as they talk or rather shout over the din and suggest we update from a 'Requirement' to a 'Hollywood Sight' space because it may be extra peaceful. While they comfort us the DJ normally winds up around 1am mid-week, the songs can take a trip up on the entrance hall side.
Just when it appears like they can not in fact discover a Hollywood View space, one of the assistants claims, "We're updating you to a collection on the 12th floor". Pleasant! The Line inhabits a 12-storey, very early '60s modernist tower on Wilshire Blvd, completely renovated and also reconditioned by the Sydell Team. (Also non-hotel groupies probably understand concerning Sydell's hip Ace and NoMad resorts in New york city.) At The Line they have actually used the K-town zeitgeist, dealing with LA's rap-star cook, Koreatown king Roy Choi.
His Kogi food vehicles put a brand-new spin on multi-culti with his Korean barbecue-stuffed tacos, as well as his creative style penetrates The Line. Our suite is like an industrial shell raw, harsh concrete walls and exposed conduits, yet with floor-to-ceiling windows (that open) and a bed that's tactically positioned for the view, as well as supremely comfortable into the deal (Los Angeles Hotels West Hollywood).
There's also severe attention-to-detail in the top quality of the bed linen and the fittings: a significant TV, full-size workdesk, reenergize station for all your iThings, a bedside remote to run the lights as well as blinds (including block-outs perfect for late-sleeping rock stars). The collection has a resting room with a sofa that is half-chesterfield, half-drapey clothing dress, another TV and a fully equipped bar.
If you do remain at The Line, definitely take a Hollywood View space, and also if you can manage a suite after that go for it. From the upper degrees of the resort, it's a great LA view, a panorama sweeping throughout to the magic Hollywood Hills. It positively shines during the night (and also it's silent just the mild hum of a big city).
Reality be informed, the indication does seem fairly much away, yet it's oddly mesmerising. Offered Choi's profile, a lot of the hotel's energy comes from the dining establishments, as a lot a drawcard for outsiders as for hotel visitors. The Pot is the star, possibly because it catches the kind of down-to-earth, Korea-meets-USA restaurants you'll likely run into when you head out right into Koreatown itself other than with louder songs.
This is a 388-room, four-star LA hotel, yet its signature dining establishment stimulates a pared-back, brilliantly lit canteen. The sometimes-cryptic menu names (Boot Knocker, Poke Me) are in English, but it really feels authentic, serving up pork-neck hot pots as well as kimchi like there's no tomorrow. Commissary, on the other hand, is a modern LA room, a light-filled greenhouse of a dining establishment with masses of hanging plants, Danish design chairs, dissimilar glasses, fragile china cups and also large flowery paper napkins.
Lunch and supper have a SoCal fresh-produce health and wellness kick. The entrance hall can obtain frantic. Pot CaF (for a quick snack or grab-and-go pastry shop with Asian sticky buns, coffee and also free wi-fi) is discounted, preferred and also hums in the early morning. The tiny entrance hall bar has a quirky mixed drink listing (curry as well as kimchi in mixed drinks actually?), however as soon as the DJ obtains going in the evening it can overflow majorly.
Just do it bro'! 3515 Wilshire Blvd, Koreatown, Los Angeles, U.S.A. The Line is a hip hotel with creative design, Korean food and music in wealth, in the heart of LA's Koreatown (Los Angeles Hotels West Hollywood). If you wish to see an additional side of LA, this is it. Perhaps not suitable if it's your initial time in LA it's 'up and coming' as opposed to 'in fact gotten here'.
Outstanding. The staff were great and also kinda indie, valuable, pleasant and welcoming. Concrete walls as well as subjected channels might be an acquired preference however there was luxury in the bed linens, the drinks bar, the restroom which view! Genuine Korean at The Pot, K-town 'Nation Club' at Commissary, as well as a room service food selection that consists of Spam and also eggs as well as a thermos of instantaneous ramen noodles.
In the last year, a 2 star resort near 90036 can be as economical as $111.32 per evening. (based on HotelPlanner prices)In the last year, the ordinary 3 star hotel near 90036 has been $148.44 per night. (based upon HotelPlanner rates)In the in 2015, the ordinary 4 celebrity resort near 90036 has been $225.21 per night.
Alyssa Powell/Business Insider When you're a Los Angeles-based home entertainment and also way of living journalist like me, you typically locate on your own at the 4 Seasons Hotel Los Angeles at Beverly Hills. That's due to the fact that the resort is well known as one of the best seen-and-be seen locations for a functioning visit and also a power lunch or supper in community.
But it's not all tight service as well as formality – Los Angeles Hotels West Hollywood. As a Four Seasons, the resort is welcoming to family members and vacationers of all kinds seeking the uniformity of a distinguished worldwide high-end chain. Of course with the passing celebrity and bold-faced name, it's likewise fantastic for individuals seeing. I count myself fortunate to call it something of a second residence in community.
I'll never ever neglect the moment I visited with my husband for a staycation when I was nine months pregnant, or much more recently, over the festive holiday when the typical rooms were festooned with floral and also design installments from star flower shop Jeff Leatham. Los Angeles Hotels West Hollywood. As such, it's not a surprise it made our listing of the ideal hotels in Los Angeles for 2020. Rates for entry-level rooms right here start in the $400s, according to on-line search results page at the time of magazine.
On my current Christmas remain, I remained in a mid-tier Deluxe Porch King room, which was comped for review functions, however usually publications for $595. I've constantly seen typical spaces, which are in fact bigger, and with a lower cost factor. Unless you're taking a trip with family or planning to amuse in-room, in my experience, a standard-sized area is the finest worth for first-class lodgings that are spacious, extravagant, and prime for people-watching.
There are 2 committed conference room, and also teams can also reserve other rooms throughout the hotel, including the restaurant, Skybar, pool cabanas, and also specific hotel suites, like the Penthouse. The on-site Exxhibit Shop offers a curated choice of high end clothing, earbuds, jewelry, appeal products (like Lux nail polish), as well as various sundries, like Listerine and glass-bottle Coke.
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A bit boho, a bit gangsta, a bit stylish: The Line Resort LA is not a secure option however asks yourself if it's the right one. "For how long you folks remaining in Koreatown?" The Korean cabby seems amused or probably bemused by the idea of us remaining in among the city's grooviest, however still slightly sandy, promising 'hoods.
In fact, we're a little stressed ourselves. As soon as inside, nevertheless, the personnel on the front workdesk are appeal itself. They dance as they talk or rather shout over the cacophony as well as suggest we upgrade from a 'Requirement' to a 'Hollywood Sight' space because it could be more silent. While they comfort us the DJ usually winds up around 1am mid-week, the songs can take a trip up on the entrance hall side.
Just when it looks like they can't really discover a Hollywood Sight area, among the assistants states, "We're upgrading you to a suite on the 12th flooring". Sweet! The Line occupies a 12-storey, early '60s modernist tower on Wilshire Blvd, entirely renovated and also reconditioned by the Sydell Team. (Even non-hotel groupies probably understand regarding Sydell's hip Ace and Wanderer hotels in New York.) At The Line they've taken advantage of the K-town zeitgeist, functioning with LA's rap-star cook, Koreatown king Roy Choi.
His Kogi food vehicles put a brand-new spin on multi-culti with his Oriental barbecue-stuffed tacos, as well as his creative style permeates The Line. Our suite resembles an industrial covering raw, rough concrete wall surfaces and revealed channels, however with floor-to-ceiling windows (that open) as well as a bed that's strategically positioned for the view, and very comfy into the deal (Los Angeles Hotels West Hollywood).
There's likewise severe attention-to-detail in the quality of the bedding and also the installations: a huge TELEVISION, full-size desk, recharge station for all your iThings, a bedside remote to operate the lights and blinds (consisting of block-outs ideal for late-sleeping rock celebrities). The suite has a resting area with a couch that is half-chesterfield, half-drapey dressing gown, one more TELEVISION and also a well-equipped bar.
If you do remain at The Line, absolutely take a Hollywood Sight room, and also if you can afford a suite then go for it. From the upper degrees of the resort, it's a terrific LA sight, a view sweeping throughout to the magic Hollywood Hills. It positively sparkles at evening (and also it's peaceful simply the mild hum of a large city).
Truth be informed, the indication does seem fairly far, but it's strangely mesmerising. Offered Choi's profile, a lot of the resort's power comes from the dining establishments, as much a drawcard for outsiders as for hotel visitors. The Pot is the star, maybe since it records the sort of down-to-earth, Korea-meets-USA dining establishments you'll likely run into when you head out into Koreatown itself except with louder music.
This is a 388-room, four-star LA resort, yet its trademark dining establishment stimulates a pared-back, vibrantly lit canteen. The sometimes-cryptic menu names (Boot Knocker, Poke Me) remain in English, however it feels genuine, providing pork-neck warm pots and also kimchi like there's no tomorrow. Commissary, on the other hand, is a modern LA space, a light-filled greenhouse of a restaurant with masses of hanging plants, Danish layout chairs, mismatched glasses, delicate china cups and oversized flowery napkins.
Lunch and supper have a SoCal fresh-produce health kick. The lobby can obtain hectic. Pot CaF (for a quick snack or grab-and-go pastry shop with Oriental sticky buns, coffee as well as cost-free wi-fi) is discounted, popular and also hums in the early morning. The small entrance hall bar has an unusual alcoholic drink listing (curry as well as kimchi in alcoholic drinks actually?), once the DJ gets going at evening it can overflow majorly.
Just do it bro'! 3515 Wilshire Boulevard, Koreatown, Los Angeles, U.S.A. The Line is a hip resort with innovative layout, Oriental food and also songs in wealth, in the heart of LA's Koreatown (Los Angeles Hotels West Hollywood). If you wish to see an additional side of LA, this is it. Perhaps not ideal if it's your initial time in LA it's 'up as well as coming' as opposed to 'really arrived'.
Phenomenal. The team were amazing as well as kinda indie, handy, friendly as well as welcoming. Concrete walls and revealed avenues may be an acquired preference but there was luxury in the bedding, the drinks bar, the washroom which view! Authentic Korean at The Pot, K-town 'Country Club' at Commissary, as well as a room solution menu that consists of Spam and eggs and a thermos of instantaneous ramen noodles.
In the in 2014, a 2 star resort near 90036 can be as low-cost as $111.32 per evening. (based upon HotelPlanner rates)In the last year, the ordinary 3 star hotel near 90036 has actually been $148.44 per evening. (based upon HotelPlanner rates)In the last year, the typical 4 star hotel near 90036 has actually been $225.21 per evening.
Alyssa Powell/Business Insider When you're a Los Angeles-based entertainment and also way of life reporter like me, you typically locate on your own at the 4 Seasons Hotel Los Angeles at Beverly Hills. That's since the hotel is well recognized as one of the most effective seen-and-be seen places for a functioning go to not to state a power lunch or dinner in community.
However it's not all stiff service and procedure – Los Angeles Hotels West Hollywood. As a Four Seasons, the resort rates to families as well as tourists of all types looking for the consistency of a renowned worldwide high-end chain. Naturally with the passing celeb as well as bold-faced name, it's also wonderful for individuals enjoying. I count myself lucky to call it something of a 2nd residence in town.
I'll always remember the moment I visited with my spouse for a staycation when I was 9 months expecting, or more lately, over the cheery holiday when the typical rooms were adorned with floral and decor installations from celebrity floral designer Jeff Leatham. Los Angeles Hotels West Hollywood. Thus, it's no shock it made our checklist of the ideal hotels in Los Angeles for 2020. Costs for entry-level spaces right here start in the $400s, according to on-line search engine result at the time of publication.
On my current Xmas remain, I remained in a mid-tier Deluxe Balcony King space, which was comped for review purposes, however commonly publications for $595. I have actually constantly seen basic rooms, which are actually larger, as well as with a lower price factor. Unless you're taking a trip with family members or preparing to captivate in-room, in my experience, a standard-sized area is the very best worth for five-star lodgings that are large, glamorous, and also prime for people-watching.
losangeleshotelsreview
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True, but unfortunately that's not the way it worked out for us. So quit crying about our (dismal) state of affairs, and give the women the credit they deserve. For they have done an extraordinary job once given the opportunity.
So here's kudos to all the girls and women playing the great game of fastpitch softball. And they are playing at an incredibly skilled level. On par with the men for sure. Granted they aren't as physically strong.
But when it comes to mechanics – at the plate, in the circle, fielding the ball – the women are at least equal, and in my judgment, have better mechanics than many of the men. At least at the NCAA Division I level.
The women develop these sound mechanics simply because they start playing at a young age under the guidance of skilled team and personal coaches. Ever wonder what the male side of the sport would be like if we had the same committed coaches teaching the boys?
I've been reporting on girls' and women's fastpitch at the high school through college level for over 10 years. I'm amazed by the advancement in their ability. They keep getting better and better.
And last Sunday (Feb. 26) was a prime example.
I watched the final day of the ninth annual 2012 Cathedral City (Calif.) Softball Classic held at the Big League Dreams ball diamonds. What an incredible collection of softball talent on display. The best in the world, I believe.
Many of the nations top-25 ranked teams by USA Today and NFCA were on hand, including: The nation's No. 1 ranked Florida Gators, Arizona (15), California (5), Georgia (13), Missouri (11), Nebraska (22), Oklahoma (6), Oregon (19)…and many more. Thirty five teams in all.
These young women played fastpitch like it's supposed to be played, hard and fast, while employing all facets of the game as the situation called for – bunting, hit and run, driving the ball in the opposite direction.
And the pitchers. What marvelous mound work. I was impressed with Texas Longhorns' Rachel Fox. UCLA Bruins' Destiny Rodino. Missouri Tigers' Chelsea Thomas…what great mechanics, what great movement on the ball, and pinpoint location.
Another thing I noticed. Most of these women were in great shape. You can tell by their physiques that they've been putting in hours of sweat equity in the weight room. The Nebraska Cornhuskers has an infield that stature-wise rivals many men's teams. Tall, strong and sure-handed.
They came in the hundreds. Parking in and around the stadium was at a premium. About 2,000 crowded around the ball diamond as UCLA and Missouri battled it out. And hundreds more packed each of the four other ball fields as games were played non-stop.
The professionals were on hand as well. The National Pro Fastpitch (NPF) USSSA Pride of Kissimmee, FL played three exhibition games. There roster is star-studded with Jessica Mendoza (Stanford), Cat Osterman (Texas), Danielle Lawrie (Washington), and Natasha Watley (UCLA), among several others. The young girls crowding around them showed this sport has risen to professional popularity.
Mike White, ISC Hall of Fame pitcher, is the head coach of the Oregon Ducks.
Also, I noticed two former men's stars of the sport in the coaching box: ISC Hall of Fame pitcher Mike White in his third year leading the Oregon Ducks. And Ehren Earleywine at the helm of Missouri.
Fastpitch fans may want to plan for next year's event. It's well worth your sport's viewing pleasure. Outside of the College World Series in Oklahoma City, can there be a greater women's fastpitch tournament in the U.S.? I doubt it.
Yes, the women have carried on the fastpitch tradition exceptionally well. And long after the men's game has disappeared (I project it will be gone in the U.S. in another 15 years unless drastic steps are taken to revive it at the boys' and young men's level), the women will still be providing us with athletic entertainment in the great sport of fastpitch softball.
Seeing Whitey [Michael White] in the coaches box. What a competitor, seen him throwing several times in the ISC world tournaments.He had it all and always had a very good team behind him. He threw for several teams in Iowa, Illinois and Wisconsin and always was one of the best, that is why he is an Hall of Famer.
It was with great pride that I read about and saw pictures of Mike White and Ehren Earlywine in your women's fastpitch softball piece. In my many years with the ISC, I saw these two perform at the highest level many times. More importantly, I saw them as outstanding sportsmen and gentlemen.
They both looked like they could step on the ball field and play with the best of them.


Get all the goods on NYC Icarus events and news, maybe you can even lend a helping hand.
Events, workshops and celebrations for our peers and our allies.
Guides, news, essays, publications and more.
Organizations, services, places, and people that can help.
The Who, Why, and What of NYC Icarus.
Join us for our February 2018 event (on Feb 7th), a community gathering and experiential process where we explore the intersections of identity, oppression, madness, and mental healthcare systems. What does it take to exist or even thrive in a society where oppressive systems make this more difficult for some people? What does it take to be seen for who you are? Existing mental health treatments are often not congruent with our cultures, communities of origin, or how we view ourselves; let's explore alternative ways of healing as well as talking about how we experience healing and oppression in institutional spaces like traditional therapy or psychiatry. Acknowledging the effects of racism, sexism, homophobia, classism, and ableism on our physical and mental well-being, this is an event for us to be together, to create, to share, to move, breathe, and exist.
BRING YOUR ARTWORK, POEMS, MUSIC: We will have time to share any creations/expressions around oppression, identity, and madness.
ACCESS ISSUES: The space is accessible for wheelchair users but does not have a bathroom for wheelchair users. We use mics to support people who are hard of hearing.
Bluestockings is wheelchair accessible, with no steps or platforms, and wide aisles between shelves. Our bathroom is not wheelchair accessible. There is a Starbucks two short blocks down the street with an accessible bathroom (at Allen and Delancey). Metered street parking is readily available in the blocks surrounding Bluestockings. Bluestockings is not a scent-free space, but we encourage visitors to please refrain from wearing perfumes, colognes or other scented products (including essential oils) and smoke far away from the entrance to the space.
And then we'll hang out for a little while and be gone until another month. Make sure to sign-up for the mailing list at the event or email nycicarus@gmail.com.
The Icarus Project NYC is a mental health grassroots organization commited to advocacy, community, and the creative arts.


After 12 years in AMSF as a regular member, I am now switching my status to associate member because recently a few people and venues have been offering to pay for performances, and I'll be accepting interesting performances when they are offered. The great majority of my performances are free, and I never initiate payment discussions. But when they do offer, I'll consider accepting. I owe this new development to AMSF, my pathway to growth, and personally a musical lifeline.
When I re-started lessons 13 years ago after 2 decades of not playing, I was too ashamed to play the piano when my husband, kids or anyone else was in the house. When playing, I was addicted to the soft pedal, and only whispers came out of the piano. Carolyn Booth, my teacher for 8 years, gently insisted and coaxed me to take my foot off the soft pedal, and this took months to actually do. When she asked what my goals in music were, I said, "To select pieces I love that with practice can be brought to fruition, learn them well, and share them with others in a spirit of generosity and joy."
After a year and a half in lessons, I began to wonder how I could somehow meet other people who are pianists. By absolute serendipity, one morning in December 2001 I and about 10 others were waiting for the door to open for a master class by Andre Watts over at the University of Maryland. I vowed to talk to someone who was standing around. Summoning some kind of a voice, I asked the person next to me, "Are you a pianist?" She chuckled and said, " Oh no, I'm just taking lessons!" This turned out to be Rosemary McDonald, who was there with Susan Rudy. They graciously had me sit with them, and there I learned they were in this wonderful organization called the Adult Music Student Forum. I joined that day.
Through attending scores of Prelude, Intermezzo, and Cadenza events, very gradually I started playing when people were in the room. Each event brought a horrible case of nerves. After 3 years and many AMSF get-togethers, with Brian Ganz' advice "The more times the better!" I ventured to give a little 35-minute recital at a senior living facility. Those nerves would not go away, and I forced myself, booking myself into dozens of senior facilities, probably 200 times over these past 8 years. Some facilities have asked me to come back time after time. I also pushed myself to try and perform at the Strathmore Mansion Teas and in the atrium of Georgetown University hospital's cancer center.
Every one of these 200 performances has been like a big lesson. I can't think of a single shortcut to manage nerves and feel like a real performer. The professional concert pianist is truly playing a different game, a game that I can't even imagine. David Foster Wallace was a great tennis player as a teenager, with a lot of promise. He was tops in his entire region. But when he first saw real, famous professionals in national tournament action, as he eloquently wrote, he was completely overwhelmed. They were playing a different game entirely, and he knew that he could never, ever get there. If you find his writings about tennis, they are quite moving. Thankfully, music is different from tennis. With music, I have found that my audiences are so happy and grateful to hear real music, well-prepared, in person, that it makes me happy and motivated. I have many audiences; in fact we in AMSF have many audiences. And music is such that the simplest pieces can be the most moving and unforgettable when they are well prepared and beautifully rendered.
Over these years, some of my most important experiences were the AMSF outreach concerts ("Nerves? Just do it! The more times the better!") Audiences love AMSF concerts so much that afterward they have stories and reminiscences to share, which they could never do in a regular concert. And these concerts help in our efforts to manage those nerves.
Eventually it came about that people who had heard me, or who were referred by someone, have asked me to perform at a wedding or reception or a community center or an adult education program or other venue; some of these requests offered payment. I've decided "why not," and when a request comes up that offers payment and is interesting, I'll accept.
This I owe to AMSF, whose members encourage one another, and offer such rich experiences as the outreach concerts, the recitals in people's homes and the master classes, not to mention the camaraderie and the delicious treats! So I'll continue in AMSF as an associate member, and look forward to attending AMSF events that are open to all, and to getting Keynotes.


As Halloween gets closer, we see a ton more costumes out there. There are adorable baby get-ups. And very cute doggie duds. But we decided to find the parents who combine their four-legged family members along with their human kids and wow us with their creativity. So here are our favorite dressed-up dog-and-kid duos.
These superheroes obviously can save the world!
Have you ever seen a more adorable Willy Wonka and Oompa Lumpa?
This Star Wars trio deserve starring roles. That's Princess Leia surrounded by Yoda and an Ewok.
And this one is for the diaper set, from the bloggers at Valley & Co. Lifestyle, who give you step-by-step directions!
And while this little 1-year-old munchkin looks good enough to eat, his 2-year-old chef is keeping a watchful eye. Their mom, Kate Giovinco, snapped the scrumptious shot.
This mom dresses up her rescue dog and child in different types of hats and accessories. Ride 'em cowboys!
Of course, if you don't have a pooch, you can still join the fun!
Why Do We Give Out Candy on Halloween?


text:
-Review- Arcantica - "Withered" EP
Arcantica look to set the Rock scene ablaze with their newest EP.
www.facebook.com/arcantica
From: New Hampshire
Sounds like: Rock
"Vices" sets things off properly. The track is filled with high energy and really showcases the Arcangica signature sound to its fullest to introduce the listener to the EP perfectly. "Two Blocks Down" is awesome. The track is very single worthy and will be a fan favorite in no time. "Mannequin" puts its heart on its sleeve with its Alternative Rock stylings but there's a touch of Grunge and even Post Hardcore within it. There's a lot to like on the track and it really shones bright with its intensity. "Save You" has more modern Linkin Park vibes to it. The track has ballad like tendencies until later on when it explodes with emotion. "Ruin" has an early 2000's/Trustcompany feel to it. The riffs hit hard and the catchy Alternative Rock sound is top notch in its approach. "Paralysis" caps off the EP with a Post Hardcore like vibe. The twists and turns, upbeat aggression and melodies make it a closer to remember.
Posted in Arcantica, Review, Rock


Sorry to hear about that! Can you let me know your Storm8 ID or Support ID for the game on your iPad 1?
I've cleared level 346 for 7~10 times, but every time it crashed just after showing the result stars.
Crashing happened previous levels, but I could pass it by clearing the levels again.
However, it looks like I can't pass level 346 no matter how many times I clear.
I closed all other running apps by double clicking home button. No problem with the internet connection and free space on my iPad. I also turned my iPad on and off.
I know iPad 1 has probably not enough memory to run it.
Is there any way I can keep playing it?
the same happens again. Crash and no effort although I passed the level.
Same here too. Same lvel. Same device. Please help me.
Sorry to hear about this! Unfortunately, our games may not be optimized for these devices. If you keep encountering these issues, please try closing your background applications, reinstall the game, or restart your device. Hope this helps!
This is obviously not our devices or internet if its happening to multiple ppl. I have beat this level about 20 times and as soon as i beat it the cat flips as usual and then the app closes. Ive restarted my ipod touch, uninstalled the app, nothing else is running so whats the problem?


text:
My Moments with Mike Leigh, Bleak and Otherwise
Mike Leigh is talking about his 10 feature films—from Bleak Moments (1971) to Happy-Go-Lucky (2008)—and the relationship among them."As much as anything," he says, "and not altogether consciously on my part, all of my films deal in one way or another with the whole question of parenting: having parents, having children, teaching, learning, the question of whether to have children, unwanted pregnancies, all of that. It goes all the way through my career."
Leigh's summation of his work, given to me during a recent interview at the Toronto International Film Festival, is not just thoroughly authoritative–anything this director says is thoroughly authoritative–but conveniently timed. Throughout October, the Walker is showing all 10 of Leigh's features, starting with Bleak Moments on Friday, and the event will bring the distinguished filmmaker to Minneapolis for the very first time, on October 15, for a Regis Dialogue with LA Weekly film critic Scott Foundas (whose brilliant handling of Milos Forman at the Walker some months back leaves no doubt that he's perfect for this even more daunting task).
Leigh has a reputation—not unearned–for being dark, onscreen and off. And it's that reputation, in part, that the director plays with in Happy-Go-Lucky (October 11 at 7:30 p.m.), which starts with a scene that's almost magical in its joie de vivre, the camera tracking bicycle-peddling grade-school teacher Poppy (Sally Hawkins) through a candy-colored fantasia that just so happens to be London–not art-directed London or computer-generated London, but London. A committed realist, Leigh doesn't fabricate. Which is to say there's something right in the first minutes of the director's typically groundbreaking new film that finds something real worth smiling about—a rare act these days, and one of which optimistic Poppy herself would approve.
Leigh and I talked for a half-hour or so about—among other things—optimism, subversion, the future for kids, and the true meaning of Poppy's clothing.
Sally Hawkins as the character Poppy in Mike Leigh's Happy-Go-Lucky
Rob Nelson: I find Happy-Go-Lucky, like many or all of your 10 features, to be a deeply philosophical work.
Mike Leigh: Good. Because it is [laughs].
Nelson: It's an inquiry into what it takes to be happy and sustain it. But do you think that happiness can sometimes be a disease, too, like depression? Is there a fine line between the two?
Leigh: Well, I think we need to deal with part of the premise of the question, because the film isn't really about happiness. It's about fulfillment. I don't think fulfillment can be a disease. Maybe happiness can be a disease, I don't know–even that sounds perverse. But certainly fulfillment is not a disease. Maybe the question should be, "Is it dangerous, this condition of delirious bliss, this state of being blind to realities?" In that case, the answer is "Yes." But that's got nothing to do with the film, because that's not Poppy's condition. Poppy is grounded, focused, sensible, intelligent, sympathetic, caring, motivated, committed professionally, and someone who cares for other people. She has a sense of humor, an exuberant spirit, and all the rest of it. There's nothing dangerous in her condition at all–it's positive and it's healthy.
Nelson: Good. But you allow for a range of interpretation of the character and the work itself, yes?
Leigh: Look, my films are not prescriptive or, in the crude sense, didactic. Are they philosophical? Yes. I invite you to respond as you will to a look at people who, hopefully, have been rendered in a three-dimensional way, like real people. And your response will be determined to a degree by how you are as an individual, whoever you are. So, yes, there's a variety of interpretations. It is also true, on another level, that, because of the way I constructed the film in the initial stages, you could be forgiven for thinking possibly that this could be a young woman whom you may not want to spend two hours with.
Nelson: Yes.
Leigh: But even that, I have to say, is all too easy. Because the first thing you see of her in the film is her riding through the city on her bike; the only thing that happens in that rather straightforward opening sequence is that you see her waving at people in a friendly manner. Then she goes into a bookstore, where the [employee] there is especially antisocial and catatonic—he's got his head screwed up with his own problems. She deals with that guy with gentleness and humor. She gets her bicycle stolen, and she deals with that philosophically, too. Then you see her behaving in a kind of outrageous way with her girlfriends, just having been out for a night on the tiles, you know? And from there on, you see her being responsible and sensible—but funny as well. So really, she's there to get to know. And that constituency—and there is one–that says, "I wanted to throttle her by the end of the film, I couldn't stand her," well, I just can't get it, really. I don't know where they were when all those things were happening in the film. I don't know where their heads were. Or rather I do know where they were: Their heads were up their asses, basically.
Nelson: We're talking about this character in psychological terms as well as philosophical terms, and I'm struck by her diagnosis in the film of Scott—her driving instructor—as being an only child. I'm very interested in that. How did that line originate?
Leigh: She's a teacher and she knows about kids; she thinks about kids all the time. She would have taught kids from big families and kids who are without siblings. Her instinct, which comes from that long experience, would lead her to that conclusion. You kind of understand from his reaction to what she says that [Scott] probably is an only child. So the line is just a way of opening that up. It comes organically out of her ability to be perceptive.
Nelson: Are there movie characters that you thought of in relation to…
Leigh: Absolutely not [interrupting]. No. Some people have mentioned Holly Golightly [from Breakfast at Tiffany's]. But I don't think about movie characters at all.
Nelson: So she's modeled on real people then?
Leigh: My job is to make things up. It's what fiction-makers do. So Poppy is drawn from all kinds of sources, really—including none at all, you know? She's drawn from my idea of something.
Nelson: While inventing this character, did you imagine how you would react if you literally bumped into her on the street?
Leigh: Yes. I'd love to bump into her on the street. She's someone I'd like to know. Oh, yeah. She's the kind of person I like. I'd get on with her well. We'd get each other. Like Pygmalion and Galatea, really. She's a gas.
Nelson: Poppy seems to gravitate most strongly to the social worker—they have a kindred connection around helping others, kids in particular.
Leigh: They also fancy each other and they fuck each other, yeah. I can't say it any clearer than that, really.
Nelson: Did any part of you want to show it more clearly?
Leigh: Don't know what you mean.
Nelson: You say "fuck," so…
Leigh: You mean did I want to have something in the film that isn't there?
Nelson: Well…
Leigh: Answer is no. Everything is just…
Nelson: Well said.
Leigh: See, we don't make films that other people interfere with. We make films far away from the nonsense of Hollywood. We make films with freedom. So this one is exactly as it should be. You don't need to see any more than you see in the film, but it's important that you see what you see.
Nelson: Bear with me for a second: Could you imagine having seen Happy-Go-Lucky in, say, 1973, just as you were starting to make films?
Leigh: You mean could I have made this film in 1973?
Nelson: No, what I mean to ask is: If, by some crazy miracle, you were allowed to see your work from 35 years into the future…
Leigh: Oh, I see.
Nelson: …how would you react to it?
Leigh: Would I be watching it knowing that I had made it?
Nelson: Right! That's the question—suppose it hinges on that. Perhaps you could answer it either way?
Leigh: Well, first of all, I have to say that this is a ridiculous avenue to traverse. But very well, I'll go along.
Nelson: I could say one other thing.
Leigh: Go on.
Nelson: Well, I think another way to ask the same question is: How do you personally—in the ways that matter to you most—measure the course of your progression as an artist?
Leigh: That's a more tangible question.
Nelson: Sure. But keep in mind the other question, perhaps, as you answer.
Leigh: Well, the truth is, if I saw, in 1973, at the age of 30, Happy-Go-Lucky, and, having made only one movie before, I didn't know it was a film by me, it would simply be a film that would blow me away. I would actually be very excited by it. I would be very influenced by it. I would be very taken with it. Now, on the other hand, if I was gazing into a crystal ball…but you don't mean that, do you?
Nelson: I'm interested in either answer.
Leigh: I don't know. Your question really is about progression, yes?
Nelson: Yes. You took so many steps in between to arrive at Happy-Go-Lucky. And the retrospective marks each of those spots.
Leigh: Yes.
Nelson: What if you had skipped those steps?
Leigh: Okay. Are you familiar with Bleak Moments?
Leigh: Okay, I'll tell you the truth. What interests me is not so much the differences between the films, but the sibling relationship between them–the homogeneity, the similarities, if you will. Because actually, if you look at Bleak Moments and you look at Happy-Go-Lucky, you would find quite a lot that resonates between them.
Nelson: And Naked, too. Maybe that's what I was getting at in that question about whether happiness can in some cases be a disease, can be dangerous. These films that appear opposite–and these states of mind or mood that appear opposite–are maybe not as different as they appear.
Leigh: Okay, sure. Yes. You could bring any of the films in. And in a way, that's part of the answer to the question. On the other hand, part of the answer is about something else completely. Which is that I was 28 when I made Bleak Moments, and I was 64 last year when I made Happy-Go-Lucky. All of my progress as a filmmaker, my trajectory, can be identified in terms of a simple before-and-after: There are those films I made before I was a parent, and those films I made since becoming a parent.
Nelson: When did you become a parent?
Leigh: I became a parent in 1978. Now, I do hope that at 65, my worldview and my experience of life inform what I do. So it's not a question of Happy-Go-Lucky showing that, hooray, at last, he's happy, he's a happy old man, he's made a cheerful movie. That's rubbish. Because in fact, we haven't seen what the next film is going to be.
Nelson: Indeed.
Leigh: But I think there's a more rounded view of people and things in Happy-Go-Lucky than there was in the films of 30 years ago. As an artist develops, his skills develop. And also, there's another thing, too, which is rather mundane, I suppose, but it's very important, and it's this: Every time you make another piece of work, that piece of work claims territory that you've not been to before. So the territory left to explore diminishes. And that makes you more imaginative about where to go next.
Nelson: We've been talking about your personal life in relation to the art–at least in this idea of the films being distinct for having been made before or after you were a parent. So the other question is: To what extent did your decision to make this film at this time reflect the current sociopolitical climate–which many would characterize emphatically as not happy-go-lucky?
Leigh: Totally. We're living in really bad times, tough times. We have a great deal to be gloomy about. And we can sit around here being gloomy, yes. But while we're doing that, people–not least among them teachers–are out there getting on with it. The act of teaching kids has to be, by definition, an act of optimism. Because it's about cherishing the future, nurturing the future. What future? Now that's another question. God knows what future. How old is your kid?
Nelson: He's six.
Leigh: Six! What sort of a world… I mean, how old are you?
Nelson: Forty.
Leigh: Forty. What kind of world will your six-year-old be living in when he's 40?
Nelson: I don't know what he'll inherit.
Leigh: Yeah! Exactly. But we have to be positive. We have to get on with it. So that's the answer to that one.
Nelson: Let's switch gears a bit. How were Poppy's costumes chosen? These are fantastic creations.
Leigh: Everything she wears you could buy off the rack at prices that Poppy could afford last year in London—that's the first thing. So there's nothing phantasmagorical about them. Edith Head did not earn credit for Special Gowns Worn by Ms. Hawkins, you know? We're very strict. Nobody wears anything that his or her character wouldn't wear or couldn't afford. And they're also a function of Poppy's taste–her sense of humor and sense of life. And, of course, it's a movie! We're being a little bit pious about it in this conversation, because the fact is: It's a film! It's an entertainment! I'm here to amuse and entertain you, to give you a good time, make you feel jolly! It's my first widescreen film. Just before we started shooting, [cinematographer] Dick Pope went to a trade fair in London where Fuji announced this new [35mm] stock called Vivid, which accentuates bright primary colors. So we used that. And so it all comes together, it all coheres.
Nelson: I guess that's the sense in which I'm encouraged to think and ask about other films, other film characters. The images in Happy-Go-Lucky really pop in a pure, kinetic kind of way, in terms of how the colors excite one's eye. It makes me think about, say, Jacques Demy's The Umbrellas of Cherbourg, for instance.
Leigh: Well, I hope that Happy-Go-Lucky is a more interesting film than that [laughs].
Nelson: I'd say it is, yeah—because of its complicated relationship to genre. I mean, if you want to see Happy-Go-Lucky as a movie, and to some extent you do…
Leigh: It's a movie, yeah.
Nelson: …then I think it's a movie that investigates the inner workings of other movies, other genres—like the one that includes The Umbrellas of Cherbourg.
Leigh: What I would say is that the film subverts that genre. What I do very often, in fact, is subvert genre.
Leigh: For example, Naked subverts film noir. In fact, nothing that happens in Naked has anything to do with film noir, but the general feel of it does. Topsy-Turvy absolutely subverts the costume film, the period film.
Nelson: And the musical, too, I would say.
Leigh: Yeah. And Happy-Go-Lucky subverts. It's interesting what you're saying. You do have to talk about the movie as a movie. Because it is a movie. At least I think it's a movie, anyway.
Nelson: I won't disagree with you.
Nelson: It's a screwball comedy.
Leigh: Yes it is, on a certain level. Except that if you said to people that Happy-Go-Lucky is a screwball comedy, you would be…
Nelson: Subversive?
Leigh: Well, you would be not telling the truth. The film has screwball comedic elements in it, yes. But the truth of the matter is that the story of the film is a perfectly real series of events. And unlike a screwball comedy, the narrative is cumulative, not causal. It's not all about the farcical messes that people get into. It's just about what happens to people.
Nelson: To the extent that Happy-Go-Lucky, as you say, is designed to surprise and subvert, and that this is something you've done throughout your career, has that effort needed to change over time by dint of the fact that the world has come increasingly to know the films of Mike Leigh—enough to know that they should expect subversion?
Leigh: Yeah, but I don't think about that. I really don't. I just think about what the film is about. One thing I could say, I suppose: Life is Sweet is followed by Naked, which is followed by Secrets and Lies and Career Girls, then Topsy-Turvy and All or Nothing, and then Vera Drake comes in. So there is a thing of doing something completely different than you did last time–deliberately doing what I think you're not expecting. Happy-Go-Lucky has a pretty obvious element of distinction from what came before, from Vera Drake. So in that sense I think about these things, yes. Maybe that's what you're talking about. But ultimately, I just get into thinking about the movie is about. Within my genre, if you want to call it that, if you want to be pretentious about it, I do what I do, which is fairly limited, but within that I also vary the style of the films. But fundamentally, the films are all the same–they're torn from the same cloth.
Nelson: Maybe there's a sense in which the ideal viewer of Happy-Go-Lucky is one who has never seen a Mike Leigh movie–or at least doesn't know that he or she has.
Leigh: I don't think that's true. As a matter of fact, I think that would be ridiculous. I certainly think that people who have never seen a Mike Leigh film are more than welcome to see Happy-Go-Lucky. But the film certainly hasn't been made for people who've seen my work or for people who haven't seen my work. It has been made for people.


I need to determine whether a cookie name is available or not in the cookie string. I have achieved this. We can use cookie-parser package but I don't want to use that package so I have written the below code. Can I reduce the code in a better way that is more optimised?
Can I reduce the code in a better way more optimised?
There is an opportunity for a different design that allows for more generic use cases: you can first parse the cookie string into a plain object and then check for the existence of the cookie in question.
Granted, this a solution may be a bit "slower" than the original implementation. This shouldn't be an actual issue unless you intend to parse millions of cookie strings and time is a constraint.
What you gain in return though is a lean, readable, reusable function that lets you check for the existence of a cookie and in addition can also return the cookie's value.
I understand that you wanted to write your own function as opposed to introducing cookie-parser, which does a lot more than what you actually need - especially signing & signature verification - and is thus larger in size than what you aim for.
Other options would be cookie or lightcookie, which are smaller in size and might be a good choice over writing your own function.
There are multiple ways one could optimize the code. Other approaches are certainly possible. For example, you could merely use less functional approaches and instead use a more imperative approach. By replacing the .some() loop with a for ... of loop, there will no longer be a function called for each element in the array, which will require less computational resources.
Another option is instead of splitting the string on semi-colons and then calling .some(), one could use the regular expression method .test(). The code below can be compared in this jsPerf test, which uses the same two tests as in your example, plus a third for testing the check for a cookie name at the beginning of a string. The test does not compare checking for a cookie name using an empty string - that might yield different results.
Notice in both examples that const was used for any variable that wasn't re-declared. This avoids accidental re-assignment.
Also, in your original code, the variable name cookie gets re-used in the arrow function. While this doesn't overwrite the original value because it has different scope, it is best to use a different name to allow use of the original value inside the arrow function and avoid confusion - not only for future yourself but anybody else reading your code.