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Rheinfluss (Eigenschreibweise RheinFluss, Untertitel Magazin für am Rhein Lebende: von den Quellen bis zur Einmündung in den Bodensee) war eine Zeitschrift, die in den Regionen des Alpenrheins vertrieben wurde. Das vierfarbige Printmedium erschien von Herbst 2008 bis März 2012 viermal jährlich mit einer Jahresauflage von 120'000 Exemplaren (30'000 pro Ausgabe).

Das Magazin hatte sein Einzugsgebiet in den Schweizer Kantonen Graubünden und St. Gallen sowie im Fürstentum Liechtenstein und im österreichischen Bundesland Vorarlberg.

Die Zeitschrift versuchte mit kulturellen, geschichtlichen und wirtschaftsbezogenen Artikeln, das grenzüberschreitende Denken zu fördern und eine regionale Identität zu stiften.

Herausgeber
Rheinfluss wurde von der RheinFluss Magazin und Verlag AG, Linus Fetz, herausgegeben. Verlag und Redaktion hatten ihren Sitz in Trin.

Inhalt
Rheinfluss wurde in deutscher Sprache aufgelegt mit einer Seite in Englisch. Das Magazin beschäftigte sich neben allgemeinen Themen in jeder Ausgabe mit Neuigkeiten und meist mit einem oder mehreren Themenschwerpunkten wie beispielsweise Energie, Natur, Bildung, Raumplanung, Soziales, Wirtschaft, Bildung oder Recycling, Kirche, Medienlandschaft. Diese Themen wurden mit der Geschichte, den Zusammenhängen und Entwicklung sowie der Identität der Länder Vorarlberg, Fürstentum Liechtenstein, Sankt Gallen und Graubünden vertieft.

Zielgruppe
Zielgruppen des Rheinfluss waren an kulturellen, geschichtlichen und wirtschaftsbezogenen Themen interessierte Personen und Andere, vorwiegend aus den oben genannten Ländern.

Redaktion
Die Redaktion des Rheinfluss Magazins wurde von Linus Fetz und anderen wahrgenommen, vor allem von Monika Degiacomi, Ginia Holdener und Sebastian Kirsch.

Finanzierung
Das Magazin Rheinfluss wurde durch mitfinanzierte Artikel und auch Inserate finanziert.

Aufbau
Rheinfluss war wie folgt gegliedert.
 Themenauftakt
 Kommentar zum Themenschwerpunkt, meist durch ein Regierungsmitglied der Schweiz (Bundesrat), der Kantone Graubünden oder St. Gallen, des Fürstentums Liechtenstein oder des Bundeslandes Vorarlberg.
 Grenzübergreifende News mit nachhaltigen Aspekten.
 Aktuelle Informationen über den Rhein
 Themenschwerpunkte
 Veranstaltungskalender (Events)
 Kulturseiten (Museen, Theater, Galerien)
 Musikseiten (Besprechung CD Neuerscheinungen)
 Ständige Rubriken wie Wirtschaft, Energie, Bildung
 Cartoon zum Themenschwerpunkt
 Rätselbilder

Weblinks
 Die offizielle Webpräsenz der Zeitschrift

Einzelnachweise

Deutschsprachige Vierteljahreszeitschrift
Publikumszeitschrift (Schweiz)
Antiquarische Zeitschrift (Schweiz)
Medien (Kanton Graubünden)
Medien (Kanton St. Gallen)
Zeitschrift (Liechtenstein)
Ersterscheinung 2008
Erscheinen eingestellt 2012
Trin
Alpenrheintal

redpajama_set_name: RedPajamaWikipedia


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ReviewsFeatures
These are the most affordable new EVs you can buy
FeaturesPublished: Jul 27, 2022
Looking for a reasonably priced electric car? These are the seven cheapest models on offer
The electric car market is really hotting up, with more choice than ever for drivers looking to make the switch.
However, at the more affordable end of the spectrum, the choice is quite limited, with no electric cars available for less than £20,000, and just a few below the £30,000 mark. The government has also recently scrapped its grant which used to offer a £1,500 saving on more affordable EVs, driving prices up further.
Let's take a look at the seven most affordable new electric cars.
Smart EQ Fortwo – £22,225
(Smart)
Smart was one of the first manufacturers to switch to an electric-only line-up back in 2019, and the city car-focused brand's EVs are still going strong.
It's the well-loved Fortwo that's the most affordable new EV on the market, with prices starting from £22,225. This dinky electric car is compromised for many, but if you live and drive purely in the city, there's a lot to be said for its incredibly small dimensions. Its tiny electric range of 81 miles is poor, however.
Smart EQ Forfour – £22,295
If you want something that is a bit bigger than a Fortwo, Smart caters with its Forfour. As the name suggests, it gets a pair of rear seats, meaning it's not quite so compromised.
Standard equipment levels are decent too, and it also only costs £70 more than the Fortwo, making it an almost no-brainer of choice. Unfortunately it does also use the same powertrain, meaning the claimed electric range is a measly 78 miles.
Vauxhall Corsa-e – £28,555
(Vauxhall)
It's quite a step up to the next electric car, but with Vauxhall's Corsa-e, you don't have to live with limited interior space or a weak electric range, with this best-selling EV able to travel 222 miles on a single charge.
It's no less practical than a regular Corsa, while is arguably better to drive than petrol and diesel models too. With a smarter design inside and out than its predecessor, combined with generous levels of standard kit, this electric Vauxhall is well worth a look.
Nissan Leaf – £28,995
(Nissan)
The Leaf was the original mass-market EV, and though it might face more competition than ever, it's still able to hold its own – particularly where value for money is concerned.
With prices starting from £28,995, it's not much more expensive than a regular petrol or diesel car of a similar size. This is a large hatchback big enough for family duties, while it comes with plenty of technology as standard. Though the 39kWh battery isn't the largest, it still promises a range of 168 miles.
Fiat 500 electric – £29,435
(Fiat)
Fiat's electric 500 used to be one of the most affordable EVs on the market, but starting prices have shot up quite considerably recently as the firm has discontinued the small 24kWh battery version that used to be available.
It means you'll now need to pay £5,000 more to get behind the wheel of an electric 500, though this model might be worth the extra spend with its 199-mile range and generous levels of kit. With its fun styling and upmarket interior, the 500 is one of the best small EVs on the market.
MG ZS EV – £29,495
(MG)
Electric cars now account for a large chunk of MG's sales, and it's quite easy to see why when models are as good as the ZS EV. This spacious crossover is a great family EV, with loads of interior room and equipment.
This £29,495 price might buy the 'standard' version, but even this is able to travel a claimed 198 miles on a charge. A seven-year warranty is also included with the ZS EV.
Citroen e-C4 – £29,995
(Citroen)
Coming in at just under £30,000 is Citroen's funky e-C4 – a spacious electric hatchback that stands out with its SUV styling cues.
Featuring the same powertrain as the Vauxhall Corsa-e, this Citroen is able to travel up to 219 miles on a charge, while 100kW rapid charging capability allows its battery to be charged to 80 per cent in just half an hour. If comfort is a priority, the e-C4's very supple suspension set-up will also appeal.
Toby Neal | Jan 28, 2023

redpajama_set_name: RedPajamaCommonCrawl


Four Seasons Health Care has launched a formal sales process in after creditors insisted in October that the major care home operator be placed on the market.
Four Seasons is believed to be looking to sell the group as a whole, with a deal expected to complete in the first half of this year. The company says it has sufficient operating capital to complete the sale and undertake an orderly transfer of the business.
The move is supported by the care home operator's major creditor H/2 Capital Partners which earlier in the year provided Four Seasons with £70m to help stabilise its operations.
Independent financial advisers BDO LLP and independent legal advisers Pinsent Masons LLP have been appointed to finalise preparations for the sale.
Four Seasons chairman Martin Healy said the intended sale would be a positive step towards restructuring the group's finances and providing the business with a sound financial structure that met its long term requirements.
"We are pleased that a constructive relationship with the group's major creditor, H/2 Capital, has enabled us to agree a standstill and deferral agreement that provides us with the appropriate time to launch and conduct an orderly sales process," he said.
The operator said its care services will not be impacted by the sale and that it has been in contact with relevant regulatory bodies across the UK on the move.


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York Catholic's team without stars is only York County program still left in PIAA playoffs
A York Catholic girls' team without any superstars is the last York County program left standing in the PIAA state basketball playoffs.
York Catholic's team without stars is only York County program still left in PIAA playoffs A York Catholic girls' team without any superstars is the last York County program left standing in the PIAA state basketball playoffs. Check out this story on yorkdispatch.com: https://www.yorkdispatch.com/story/sports/high-school/girls-basketball/2019/03/14/york-catholic-girls-team-last-york-county-program-piaa-playoffs/3162206002/
RYAN VANDERSLOOT, 717-505-5403/@yaiaascores Published 12:58 p.m. ET March 14, 2019 | Updated 4:11 p.m. ET March 14, 2019
The York Catholic girls' basketball team will play in the PIAA 2-A quarterfinals.
The Irish (20-7) will take on District 6 champion Bellwood Antis (24-3).
Bellwood Antis is the defending state 2-A champ and features a Notre Dame recruit.
York Catholic has just one player averaging in double digits (Katy Rader at 10.6).
Katy Rader, seen here in a file photo, is the only York Catholic girls' basketball player averaging in double figures. She's averaging 10.6 points per game. (Photo: Bill Kalina, The York Dispatch)
In recent memory, there's always seemed to be at least one standout for the powerhouse York Catholic girls' basketball program.
Sometimes, there were even two or three stars for the Irish during their annual state playoff runs.
That includes NCAA Division I players such as Kady Schrann, Kate Bauhof and Amanda Weaver, among many others, leading Kevin Bankos' standout teams.
This year, however, the York Catholic roster does not include any D-I caliber players. In fact, only one player (Katy Rader at 10.6 points per game) averages in double digits.
So, instead of leaning heavily on a superstar or two to win games, the Irish are doing it with role players and a team-first mentality.
The result has been another successful York Catholic season, with the Irish the last York County team left standing in PIAA competition.
That is somewhat surprising, even for a hugely-successful coach such as Bankos.
"Last year I said that I didn't think that we'd get there (to the state Class 2-A quarterfinals)," Bankos said. "And guess what? We're back again."
York Catholic head coach Kevin Bankos is seen here talking to his team during a timeout in the District 3 Class 2-A girls' basketball final vs. Linden Hall at the Giant Center in Hershey on Tuesday, Feb. 26. Bankos has led the Irish to at least the second round of the state playoffs in each of his 13 years. (Photo: Bill Kalina, The York Dispatch)
Intangibles the key: Bankos believes the success of this season's Irish team (20-7) is because of intangible factors, such as team chemistry. Bankos says his players put in the hard work necessary for success, as well as accepting whatever roles that Bankos and his staff have designated for each player.
Bankos loves the fact that everyone on the roster knows their particular jobs and that they don't try to do "too much." He also likes that there hasn't been any disharmony, which can sometimes arise on even the best of teams.
"They're a really close-knit group," Bankos said. "Probably one of the closest ones that we've had. They all like each other and want to be around each other. There's no real drama."
History of success: The York Catholic girls also understand history. They know that the program has made it to the second round of the state playoffs in each of Bankos' 13 seasons at the helm. That includes three state title teams. So maybe it shouldn't be a shocker to see another York Catholic team making a run at the state crown.
That tradition certainly hasn't been lost on Gina Citrone, who has experienced three previous state runs as an underclassman.
York Catholic's Gina Citrone, seen here in a file photo, has helped the Irish reach the PIAA Class 2-A quarterfinals. She said "this is where York Catholic is supposed to be." (Photo: The York Dispatch)
"I'm not too surprised," Citrone said. "Because I know how hard we work."
Favorable draw: It certainly hasn't hurt that the District 3 runner-up Irish have enjoyed a favorable draw through the first two rounds, which includes an 46-27 win vs. District 12 champion Bishop McDevitt (8-15) as well as a 42-25 triumph over District 2 champ Holy Cross (17-9). Neither team was laced with a roster that included one or multiple D-I recruits.
"We had some really good match-ups for us," Bankos said. "Teams that we could match up well with. And we were able to run a lot of our stuff and (Tuesday vs. Holy Cross) our kids really executed our game plan well."
Citrone, who scored 10 points in the victory over Holy Cross, echoed that sentiment.
"That really was (one of our best games)," she said. "We really communicated well and I think that our defense really won that game for us. We just clicked as a team and everyone played as they were supposed to."
For a player such as Citrone, getting into the month of March seems to kick the team into another gear.
"This is where York Catholic is supposed to be," she said. "This is where we're known to be. And I know that I'm just ready when we play in states. It's kind of like a switch (turns on)."
Bellwood Antis up next: Come Friday, when York Catholic takes on District 6 champ Bellwood Antis (24-3), the Irish will need to continue to play solidly to have a shot at making it to the state semifinals.
The defending state 2-A champion Blue Devils are led by Notre Dame recruit Alli Campbell, a 6-foot-1 point guard, who has helped BA win 21 of its past 22 games.
In Tuesday's second-round 47-45 win over District 4 champion Mount Carmel, a team with just a 16-11 record, BA did show some vulnerability.
The York Catholic-Bellwood Antis contest is set for 7 p.m. Friday at Mifflin County High School in Lewistown.
Reach Ryan Vandersloot at sports@yorkdispatch.com.
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York-Adams scoreboard for Monday, Jan. 20


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The content in this page ("While Hollywood celebrates creative achievements, Thailand punishes artistic freedom" by International Federation for Human Rights (FIDH)) is not produced by Prachatai staff. Prachatai merely provides a platform, and the opinions stated here do not necessarily reflect those of Prachatai.
International Federation for Human Rights (FIDH)
While Hollywood celebrates creative achievements, Thailand punishes artistic freedom
Home » While Hollywood celebrates creative achievements, Thailand punishes artistic freedom
Submitted on Wed, 25 Feb 2015 - 05:30 PM
On the morning of Monday, February 23, the live broadcast of the 87th Academy Awards from Los Angeles will be broadcast in Thailand. Almost simultaneously, at 1:00 pm, an entirely different type of show will be staged at the Criminal Court in Bangkok.
Two members of the now-defunct Prakai Fai ('Sparking Fire') theatre group, Pornthip Munkong aka Golf and Patiwat Saraiyaem aka Bank, will be sentenced to jail terms under the draconian Article 112 of Thailand's Criminal Code. Article 112 imposes jail terms for those who defame, insult, or threaten the King, the Queen, the Heir to the throne, or the Regent. Those who are found guilty of violating Article 112 face prison terms of three to 15 years.
What was the crime that Golf and Bank committed? They performed in a political play called Jao Sao Maa Paa ('Wolf's bride'). The play was staged at Bangkok's Thammasat University on 13 October 2013 and was part of the commemoration of the 40th anniversary of the 14 October 1973 student uprising against the military dictatorship of Field Marshal Thanom Kittikachorn. The play, which centered on a fictional monarchy, was deemed to have insulted Thailand's revered King Bhumibol Adulyadej. No further explanation of the details of Golf and Bank's alleged offense can be made. This is because the inflexible application of Article 112 makes a recounting of lèse-majesté allegations a violation of Article 112 as well.
Golf and Bank have already pled guilty to the lèse-majesté charges. This should not to be construed as an acknowledgment of criminal responsibility. Unfortunately, the guilty plea is a strategic decision that, in most cases, earns lèse-majesté violators a significant reduction in their jail sentence.
Golf, a 26-year-old social activist, and Bank, a 23-year-old university student, were arrested in mid-August 2014. Since then, they have been detained at the Women's Central Prison and the Bangkok Remand Prison respectively. As it is customary for lèse-majesté detainees, the court rejected their numerous requests for release on bail pending trial. Their incarceration meant that Golf could not pursue her plans to work overseas and Bank was forced to suspend his studies at Khon Kaen University. Prison authorities have imposed severe restrictions on their cultural activities. Their books have been confiscated and their communications with visitors are closely monitored.
In the meantime, authorities are zealously pursuing more individuals involved in the Jao Sao Maa Paa performance. Some of them have already fled the country for fear of being arrested under Article 112. They joined scores of students, activists, academics, and artists who left Thailand after the 22 May 2014 military coup.
Since the ruling military junta, the National Council for Peace and Order (NCPO), seized power, it has made it one of its top priorities to hunt down and prosecute lèse-majesté suspects. Since the coup, at least 40 people have been arrested under Article 112. Seven of them have already been sentenced to prison terms ranging from three to 15 years.
Most of these cases present elements related to the right to freedom of expression and the right to take part in cultural life. These rights are guaranteed by Article 19 of the International Covenant on Civil and Political Rights (ICCPR) and Article 15 of the International Covenant on Economic Social and Cultural Rights (ICESCR) respectively. Thailand ratified both treaties and, as a result, has an obligation to comply with their provisions. Legislators must ensure that provisions of the ICCPR and the ICESCR are incorporated into Thai laws and judges should invoke clauses of the ICCPR and the ICESCR in their rulings. Even under Article 4 of the interim constitution unilaterally adopted by NCPO, Thailand must abide by international treaties to which it is a state party, such as the ICCPR and the ICESCR.
In violation of its international human rights obligations, the NCPO's ongoing witch hunt for lèse-majesté suspects has completely failed to respect, protect, and fulfill these fundamental rights. The junta blocked websites and banned books that made reference to the Thai royal family. The military harassed member of the B-Floor Theatre Group because their show Bang-la-merd('District of violations') contained references to Article 112. One lèse-majesté detainee, Siraphop Komarut, remains behind bars for writing a poem that alluded to the Thai monarch. In many cases, lèse-majesté charges hit individuals who shared opinions and content related to the monarchy through Facebook.
On Monday, while Hollywood celebrates creative achievements, Thailand will once again distinguish itself for punishing freedom of expression and artistic freedom. If Thailand does not want to hold this unenviable award for too long, it is time for the junta to end the misuse and abuse of Article 112. The UN has repeatedly expressed its concern over Thailand's prosecution and harsh sentencing of individuals on lèse-majesté charges. The NCPO, in its quest for reconciliation, must acknowledge and comply with the international treaties to which Thailand is a state party. In addition, the junta must recognize the talent of Thai youth to creatively address social issues in a manner that is not menacing or threatening. In doing so, the NCPO should accept the UN's recommendations and begin a constructive process of reform of the enforcement of Article 112 in order to bring it in line with its international human rights obligations.
B-Floor
Prakai Fai Karn Lakorn
"I didn't plan any of this," says alleged mastermind of assault on Thai political refugees in Paris
Patrice Victor


Part 1: This might be a guide for some of you who have been recently diagnosed with bipolar disorder; who are now taking up running with this new/longstanding diagnosis; who are looking for guidance to get back into running again whilst also managing bipolar disorder.
You're mad. Are you crazy?
Just a couple of the benign comments I received when folk learnt about my rather long LEJOGLE run of (eventually) 1795 miles. It was no biggie (dealing with the commentary). I could tell that there was no malice behind these words, and my personal medical situation wasn't really at the forefront of their choice of vernacular, they were distracted by an altogether grander and more unknown concept: ultra running aka running further than probably necessary to get a sweat on. I understood where they were coming from because, only twelve months previous, I would have been having similar twitchy eyebrow responses to anyone running more than the stated 26.2 miles that is permanently classed as long-distance running. That distance is hard enough, why on earth would anyone run another mile further?
Apparently it would only take a feeling of not being capable of achieving anything anymore to encourage me to find out for myself.
What is ultra running but a simply longer, slower version of your natural stride pattern; a problem-solving-exercise in rationing of food and water for greater efficiency of movement and energy; more time outdoors (hopefully in smog-free zones) to experience the elements as nature intended (i.e. for longer than 30 minutes per day); an emotional rollercoaster as well as a physical one; and a mental battle between yourself and your other self, that one that says no, that cries wolf, that tells you to give up.
Perhaps, ultra running is life condensed.
All runs start with the first step.
OK, so I'm getting ahead of myself. I didn't take up running because I was diagnosed with bipolar disorder, but my diagnosis did give me the impetus to turn to ultra-running distances as a bit of a 'so-there' to the world. Even so, when I started training I had to start back at square 1 (plus experience, which is never really square 1).
Firstly, there's getting out the door. It's not uncommon to be suffering with high anxiety and depression at the same time, perhaps with sprinkles of paranoia and 'mild' hallucinations—such are some of the traits of bipolar disorder, and a rather complicated mixture to contend with. For each person, these symptoms will manifest in any which way, so don't hold out for a prescribed textbook response to each, there isn't one, but there is advice that you can adapt and bend to your needs, rather than adopt outright as gospel.
For me, it was a gradual immersion back into life outside my front door, plus inspiration from unexpected sources, that helped me to bridge the gap between can't and cannot wait. The dark, empty feeling of despair for your life, your worth, your ability, your reason for existing takes an eternity to pass, but if there's one key element to bipolar disorder it's this: it will always pass.
Secondly, there's timing. I don't mean timing in relation to, let's say, clashing with work schedules, medical appointments or your kids heading home from school. I mean timing where running has been offered as a therapeutic outlet as part of your wellbeing and recovery.
The thoughts about going for a run will come before you actually do it, sure. And with that either lots more anxiety or perhaps lots of frustration that you can't just get out yet because of so many other factors that are invisible to the outside world. So, if the message out there is that you have to run NOW because otherwise if you don't you won't get better, then you may find yourself starting off your run with quite a lot of resentment to the pressure. Perhaps a friend, your family, your doctor have all said that running will be great for your bipolar episodes, but only you will know when the time is right to get going (again).
Thirdly, there's choosing your route. Now, I will be completely and utterly honest with you, I believe running and walking are some of our greatest gifts for survival. Travelling our planet on foot is inherent in our DNA, our ancestors will have travelled when they migrated from wherever to wherever else, using nature's own incredible, sustainable fuel: food.
That said, as humans we appear to be moving away from admitting how the surface we run on impacts our mobile life.
The majority of us have a pavement outside our front door, and we pound the pavements relentlessly: that dark, grey, pretty smooth—though in many places completely botched-up, manhole-sized potholes—surface isn't natural. It isn't natural for our physiology to only experience tarmac.
Just a reminder, I am no physiology expert, I possess no degree in anything scientific because I'm more of an arty, creative, philosophical, languages person. What I do have is experience. Real, lived experience of running on tarmac, hour-after-hour, day-after-day, and on trail, for hour-after-hour, day-after-day, so I can only share my experiences.
How much noise can your heightened alertness tolerate?
How many people around you is OK? What if they brush into you? Or if that dog isn't pulled away from your path in time?
How many road-crossings will there be where you have to wait for the beep or wait for a nice driver to notice you and let you cross?
Or how many loops can you do so you minimise road-crossings?
How important is your environment?
Do you have an answer for any of the above?—if not, keep it simple. You'll figure out what environmental fulfilments you'll need for your recovery with every step and every outing that you manage. You'll adapt to your preferences. Go out and do one run at a time.
Doh, so much to think of. Hopefully this won't come across as an experiment in processing rapid thoughts or managing the classic trait of multi-tasking without making progress, it's simply that the world of running is alive with options, consequences, choices, alternatives. Going forward, let's try and narrow these down a little and start with asking: what are my route choices?
For Part 2 of this Running with Bipolar series, check out my post on route choices (which you probably already know but it could be a timely reminder) on Running with Bipolar: go your own way.
This is a great post, Yvie, with lots of useful info for folk who may even be completely new to running and suffer as you do. In fact, I feel a little ashamed that I have not kept my blog up to date, but having read this, you have motivated me to get back on it and write something; just don't know what yet!


In the second article looking back at Power to the Pixel's London Forum, Michael Gubbins asks about the next steps for those wishing to embrace cross-media change.
A survey commissioned for next week's Screenwriters Festival in Cheltenham revealed that more than 70% of writers questioned worked more than 10 hours per week on their feature film idea and nearly 40% more than 20 hours.
And the fruits of this extraordinary labour for nearly 70% of those correspondents? Nothing, not a penny. Just over 4% were making what might be called a decent wage.
It begs the question 'why?' – a question that could be asked of many of those working in the current system of finance, production and distribution.
The answer, of course, is that many have bought into the whole notion of the dream factory, inspired perhaps by riches, red carpets, statuettes or of being, figuratively speaking, up there on the '68 barricades with Godard.
The cross-media approach to content creation is essentially about doing rather than dreaming. Cut through an alarming number of acronyms and jargon (a habit that surely needs shaking), and the film-makers, games developers, storytellers etc at Power to the Pixel are essentially engaged in circumventing creaking industry systems and media limitations to find their way directly to interact with the audience.
What they are doing is the antithesis of the hit-and-hope culture of film.
For multi award-winning US producer Ted Hope, this makes cross-media work exciting – allowing the reinvention rather than replacement of cinema.
Film-makers need to reach out and take responsibility for a much greater part of the process. The question is how.
What Hope and all the delegates at the forum were offering film-makers and other content creators is an invitation to grasp opportunities. The message was that the future is not something that happens to you but something that you can help shape.
Whether cross-media change is characterised as evolutionary or revolutionary – an extension of existing business or the development of new creative forms – it is about action; indeed Power to the Pixel did not spend a second talking about when the existing industry might "recover", which has been the obsession of many media conferences this year.
But taking control instead of waiting is not always comfortable. Even those who have embraced the potential of cross-media film-making recognise that the task can appear daunting at the outset.
Cross-media work certainly seems to demand a change of perspective and to learn new skills outside the industrial disciplines of any single media.
The key to acquiring these skills according the speakers – and it was a strong commitment at the Think Tank – is in sharing knowledge and ideas. The roots of many of the cross-media pioneers are in open-source software and web networks, where collaboration is simply the dominant culture.
A generous sharing of ideas and tools and a commitment to democratising processes is characteristic of cross-media work. That is partly because those on the stage are real pioneers in areas of work where no rules have been written. There is also a basic instinct to freely publish and share.
There is a bigger picture though. In the current film industry with its limited potential for distribution, film-makers are in competition. For all the talk of culture, film is often a fight for elbow room on a crowded, heavily-policed route to the customer.
Cross-media with its much broader distribution is a fight, not with each other, but for a share of audience time. In such a world, mutual interest outweighs competition and so film-makers will find easy access to knowledge.
The truth is that reskilling is not the hard bit. It is the collaborative means of working that represents the real culture shock.
Power to the Pixel posits a world in which business models are based on interaction. There is no comfortable hiding place – this is a world that begins with that missing link of the traditional film industry – transparency.
In the final part of the review, we will look at what the Pixel Pitch of new projects tells us about the future, the questions raised at the Think Tank and a conclusion about the direction of the cross-media movement.


On Wednesday, December 2, 2015, the Jewish Journal, a weekly Jewish newspaper based on the West Coast, published an offensive and transphobic article by Dennis Prager. The author, who used transphobia - and not Judaism - as the driving force of his thesis, turns our Torah and Jewish tradition into a weapon to demean and defame transgender people and those who love them. This is unacceptable and shameful.
We love that Judaism has a robust tradition of debate and discussion. We love that Judaism accepts many different viewpoints as legitimate. What we cannot accept, however, is ignorance of the actual texts - and Jewish theology.
Prager continues on to repeat a traditional assertion that the first human beings in the Torah were a man and a woman. In actuality, it's highly likely that the first human being in the Torah was what the Rabbis referred to as "androgynos" and what modern science refers to as "intersex."
Rounding out his arguments, Prager insists that Judaism requires only male/female gender distinctions. Sorry, Mr. Prager, but the Mishna, Talmud, and even the Midrash prove that point wrong. Judaism actually recognizes six genders: Male, Female, Androgynos, TumTum, Ay'lonit, and Saris, and each of these categories have different halachic (legal) regulations and implications.
Orthodox Judaism is no stranger to dealing compassionately with transgender people. One of the last century's greatest Jewish medical ethicists, the Tzitz Eliezer, wrote about the halachic (legal) implications of genital reconstruction surgery and the impact transitioning genders has on marriage and daily prayers. In his writings, he references legal cases from the middle ages and from post-Temple times, as early as 200 CE.
Departing from incorrectly interpreted Judaic thought, Prager regurgitates thoroughly-debunked "bathroom predator" myths as justification for his attempted dehumanization of transgender people.
After an odd diversion into a discussion of racism and affirmative action (gotta throw your base some meat?), Prager returns to his thesis: His interpretation of Torah is more important than compassion and safety.
Prager warns that "future generations will pay a big price for this unprecedented experiment." What Prager misses is that it's the past generations who have already paid the price. 41% of all transgender people attempt suicide due to a lack of societal acceptance. Transgender people have been rejected by their families, by their communities, and by their religions, and it's literally killing them. When Prager mocks compassion as a motivator for trans acceptance, this is what he's mocking, and these are the sins he's encouraging.
The Torah is very clear that compassion is required above all else. Leviticus 19:18 commands us to love our neighbor as ourself. In Pirkei Avot 2:10, Rabbi Elazar instructs us to make our neighbor's dignity as precious to us as our own.
Prager's column is more than just transphobia. It is a personal attack on a dear friend of SOJOURN's and we refuse to allow it to go unchecked. We join our colleagues at Keshet in fully denouncing it and redoubling our efforts to create inclusive and accepting Jewish communities for all people. We refuse to allow Prager's dangerous rhetoric to do anything but inspire more education, compassion, learning, discussion, love, and acceptance.


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Nestled in picturesque Monte Rio, Russian River Hall is home to Curtain Call Theatre, a volunteer organization bringing performances to the Northern Sonoma County community. Their inspiration this season is Dancing at Lughnasa, a recent award winning play set in rural Ireland. Director Michael Tabib creates a traditional, formal staging.
Rustic, idealized set design by Jake Hamlin, Michael Tabib, and Dax Berg is a charming foundation for a gentle glimpse into Michael Mundy's memories.
Alexa Chipman
Imagination Lane Reviews
What a great venue for a party. We booked The Hall for my daughter's 40th birthday. Michael and Dennis were great about letting us in to get the decorating done. The Hall was perfect. We had a live band, great food, and lots of room for dancing! A GREAT time was had by all.
Kathryn Marceau
Russian River Realty
Hot Curtain Revue, Sonoma County's longest performing Improvisational troupe consisting of Scott and Darlene Kersnar, Susan Packer, Frank Ferris, Michelle Jensen, Steven Page and pianist Steve Pryputniwicz have performed several times at The Hall in Monte Rio. "We love the facility, and the ease with which we can move in and set up for our performances". Hopefully there will be many more shows at The Hall.
Theatre Flamenco of San Francisco, founded in 1966, is the oldest Flamenco company in the United States. Throughout the last 25 years, they have developed dramatic and modern interpretations for the Flamenco dance. "It was a great experience to perform at The HALL. The facility is warm and the accoustics have a soft rounded sound effect. The lighting designer was accommodating and great to work with". We look forward to our next performance there.


This month, the Tacoma comedy showcase at Alma Mater, Laughing Mater, will host headlining comic Mohanad Elshieky, originally from Benghazi, Libya. Mohanad is a stand up comedian based in Portland, Oregon. He has been featured on the Lovett or Leave it Podcast, NPR, Buzzfeed, Put Your Hands Together Podcast, and Livewire Radio. He has recently been named one of the Top Three Funniest people in Portland and been called an Undisputed Genius of Comedy by the Portland Mercury. Mohanad has opened for National touring acts such as Collin Quinn, Emily Heller, Andy Kindler and Sarah Schaefer. He is also a co-host of Portland's most powerful comedy show Earthquake Hurricane. Come support diverse comedy in Tacoma! In addition to Elsheiky, the show will feature 2018 Missoula Montana HomeGrown Comedy Competition winner Rochelle Cote, one of Portland-based Helium Comedy Club's "New Faces," and winner of Helium's "Dirty Dozen Roast Battle" Brian Bixby and Northwest Black Comedy Festival veteran Summer Azim.
Tickets are available at the door for $5 and online here.


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La historia de la Iglesia católica en el Japón se ha dividido en tres grandes períodos: el siglo cristiano del Japón (1549-1640), la Iglesia de las catacumbas o los kakure kirishitans (1640-1865), y el catolicismo japonés en la actualidad.

El catolicismo prosperó en la Isla de Kyūshū, en el sur del Japón, con el pueblo de Nagasaki como centro de la Iglesia.

Algunos eruditos sostienen, sin embargo, que el cristianismo llegó al Japón primeramente durante el gobierno del Emperador Shōmu en el  a través de cristianos nestorianos, pero si esto es cierto, no han dejado ningún rastro.

Los inicios

En 1543 llegaron los primeros barcos portugueses y la actividad misionera de los primeros sacerdotes católicos en Japón se inició a comienzos de 1549, principalmente por jesuitas patrocinados por el Reino de Portugal. Muy poco tiempo después comenzaron a llegar sacerdotes pertenecientes a las órdenes mendicantes como la de los dominicos y los franciscanos, patrocinados por España.

El jesuita San Francisco Javier llega al Japón el 15 de agosto de 1549, junto a sus compañeros Cosme de Torres y Juan Fernández y el traductor Anjirō dando inicio a lo que se da en llamar el Siglo Cristiano del Japón (1549-1640). Desembarcan en Kagoshima, entonces capital del reino Sur del Japón. Permanecieron en esta ciudad durante un año y por tierras japonesas durante dos años y tres meses. En colaboración con su compañero Pablo de Santa Fe evangelizó por tierras niponas e hizo traducir la obra Declaración de los artículos de la Fe, que se aprendió de memoria y solía recitar en las esquinas. Para responder a las preguntas que los transeúntes realizaban se valía de un intérprete. Ante el fracaso de la misión, pensó en citarse con el rey de la zona con la esperanza de que si este se convertía al catolicismo, el pueblo también lo haría. En 1550 se dirige al norte con esta intención. Funda una pequeña colectividad cristiana en Hirado. Llega a Yamaguchi, luego a Sakai y, finalmente a Meaco, donde intenta, sin conseguirlo, ser recibido por el emperador.

Se traslada a Yamaguchi de nuevo y obtiene del príncipe la garantía de respeto a los conversos al cristianismo. Ante esa perspectiva realiza, junto con sus dos compañeros, una intensa labor de predicación que da su fruto en la creación de una pequeña comunidad católica. Muchos de los convertidos son samuráis. La oposición del clero local, los bonzos, fue siempre fuerte.

En septiembre de 1551 le llama el príncipe de Bungo, quien le permite predicar en esas islas.

Posteriormente, en 1552; Francisco Javier abandona Japón y deja la tarea de evangelización a cargo de sus compañeros de Torres y Fernández. Los dos jesuitas se enfocaron en tratar de convertir a las clases altas y en 1563 de Torres bautiza al Barón Ōmura Sumitada, el primer daimyo cristiano, quien toma el nombre de Bartolomé y desde ese momento es conocido por los portugueses como Dom Bartolomeu. En 1578 el barón Ōtomo Sōrin es bautizado y toma el nombre de Francisco. En 1580 el barón Arima Harunobu se bautiza con el nombre de Protasio.

El jesuita Alessandro Valignano  llega por primera vez al Japón en 1579. En ese año funda un seminario en Arima que contó con 22 seminaristas japoneses. Tres años después funda otro seminario en Azuchi, donde estudiaban 33 seminaristas japoneses. Valignano hizo hincapié en que la educación en los seminarios debía ser tanto en latín como en japonés y que los jesuitas debían adoptar las costumbres japonesas.

En 1582 Valignano organiza el viaje de cuatro jóvenes japoneses a Roma para ser formados como sacerdotes. Este grupo fue conocido como la Misión Tenshō que visitó al papa Gregorio XIII.

En 1587 Hosokawa Tama, esposa de Hosokawa Tadaoki es bautizada y toma el nombre cristiano de Gracia.

Los jesuitas, apoyados por los portugueses, estimaban que hacia fines del , había en Japón 300.000 católicos.

Las persecuciones

En 1587 se dicta el primer edicto de persecución contra los cristianos a instancia del bonzo Nichijoshonin.

En 1597 el Taikō Toyotomi Hideyoshi condenó a muerte a veintiséis cristianos que fueron ejecutados el 5 de febrero de ese año. Los cristianos fueron atados sobre cruces, fueron elevados en lo alto de una colina de Nagasaki y fueron lanceados. Los cristianos ejecutados fueron conocidos como los 26 mártires de Japón:

Luego de 1597 y hasta 1614, los casos de martirio registrados fueron 70 en total. En ese año el shōgun Tokugawa Ieyasu a instancias de William Adams, contrabandista protestante inglés al servicio de la Compañía Holandesa de las Indias Orientales, y que ayuda al shogun a construir los primeros barcos de tipo occidental en Japón, persuade al shogun sobre los jesuitas y este decide expulsar a los misioneros extranjeros y prohibir completamente el cristianismo en el país.

Se calcula que durante el inicio del  al menos 5500 cristianos fueron asesinados.

En 1614, el gobernador español de Filipinas le ofreció al daimyō cristiano Takayama Ukon asistencia militar para derrocar al gobierno japonés, pero Ukon se negó.

En 1622 se produjo otro martirio de cristianos conocido como el Gran Martirio de Nagasaki.

La rebelión estalló en 1637 y uno de los líderes fue el adolescente cristiano Amakusa Shirō. Cerca de 37.000 rebeldes fueron asesinados durante los combates, la mayoría de ellos cristianos.

Kakure Kirishitan

 es un término para referirse a un miembro japonés de la Iglesia católica que pasó a la clandestinidad luego de la Rebelión de Shimabara en la década de 1630.

La historia cuenta que dos campesinos, Hichiemon y Magoemon eran dos amigos que se criaron como cristianos. Un día Magoemon le propuso a Hichiemon a ir a pescar al Río Urakami. Ninguno de los dos sabía si el otro había abandonado la fe. Entonces Magoemon le propuso a Hichiemon crear una organización clandestina para preservar el cristianismo en Japón. Los dos amigos se dirigieron al pueblo para preguntar a cada uno de los aldeanos si aún eran cristianos y entonces formaron una organización con un mizukata que se dedicaba a bautizar a los niños, un chokata que se dedicaba a mantener el calendario litúrgico y una persona que era el jefe de la comunidad cristiana, un puesto que heredaba el hijo mayor de la familia; todos eran laicos ya que ya no existían sacerdotes en Japón.

Esta "Iglesia de las catacumbas" adoraba en cuartos secretos y en sus hogares. Al pasar el tiempo las figuras de los santos y de la Virgen María fueron transformados en figurines que se asemejaban a las tradicionales estatuas de Buda y de los  bodhisattvas. Las plegarias fueron adaptadas a los cantos parecidos a los budistas, manteniendo muchas palabras sin traducir del Latín, Español y Portugués. La Biblia se pasaba oralmente, debido a que las versiones impresas eran confiscadas por las autoridades. Debido a la expulsión de los sacerdotes, la dirección de los cristianos quedó en manos de laicos que bautizaban a los nuevos cristianos.

La Virgen María era conocida como nandogami o la madre en la alacena ya que la imagen la colocaban en las alacenas del hogar.

Cada Año nuevo japonés los cristianos eran obligados a pisar imágenes de la Virgen María y otros santos para probar que no eran cristianos. Estas imágenes eran conocidas como fumie y en ella se dibujaban imágenes de Cristo y María a las que debían pisar. En caso contrario se los ejecutaban. Muchos eran asesinados arrojándolos en el volcán del Monte Unzen.
En 1865 a la Iglesia católica le fue permitida abrir una iglesia en Nagasaki. Al poco tiempo, un grupo de japoneses curiosos se acercaron al templo dándose a conocer como cristianos. Los misioneros supieron que había cerca de 30.000 cristianos en la región. Los misioneros instaron a los kakure a que abandonaran las prácticas paganas, pero solo la mitad de los kakure decidieron abandonar las antiguas tradiciones y adoptar la ortodoxia católica. Los kakure que mantuvieron las prácticas sincréticas fueron conocidos como "hanare kirishitan" (離れキリシタン,) o "cristianos separados".

Muchos cristianos escaparon a islas aisladas para no apostatar de su fe, otros se refugiaron en el Valle de Urakami. Los cristianos se quedaron sin sacerdotes y los laicos se organizaron como pudieron. Designaron a un hombre para bautizar, a otro para mantener el conteo del calendario litúrgico y a un jefe de la iglesia o chokata.

El jesuita Diego Yuuki define a la fe de los kakure como "una mezcla de Budismo, Shintoísmo, Animismo y lo que los kakure piensan que es Catolicismo. Ellos no tienen Biblia. El significado de la Trinidad para ellos se ha perdido."

Los kakure tenían un texto llamado el Tenchi Hajimari no Koto o el "Origen de los Cielos y la Tierra". En el Tenchi Maruya (la Virgen María) nace en Rusun (Roson o Luzón). El rey de Rusun corteja a Maruya pero ella decide mantenerse virgen y entonces asciende a los Cielos para escapar del acoso del rey que muere de pena. Deusa o Dios le pide a Maruya que vuelva a la tierra para que da a luz a un niño. Maruya acepta y Deusa desciende en forma de mariposa que entra por la boca de Maruya y esta concibe y tiempo después da a luz  a un niño en el pueblo de Beren o Belén.

En 1995 el antropólogo Christal Whelan descubrió la existencia de auténticos hanare kirishitan en las Islas Gotō y sus investigaciones las plasmó en un documental de media hora llamado "Otaiya: Japan's Hidden Christians".

El musicólogo Tatsuo Minagawa, realizó una investigación en los archivos europeos y encontró una gran cantidad de obras religiosas europeas que aún cantan los kakure.

Fin de las persecuciones

En 1865 el sacerdote francés Bernard Petitjean edificó una parroquia en Urakami, en las afueras de Nagasaki, para el uso exclusivo de los europeos.

Los sacerdotes europeos le habían dejado dicho a los japoneses 200 años antes, algo que sería utilizado como una señal y que ellos preservaron oralmente:

El 17 de marzo de 1865 Petitjean encontró a 15 japoneses en la puerta de la parroquia. El grupo de visitantes se veían asustados. Uno de ellos, de nombre Pedro, se presentó como catequista y preguntó si Petitjean era obediente del "gran jefe del Reino de Roma" y si "no tenía hijos". Luego de que Petitjean respondiera afirmativamente, Pedro dijo feliz que "en casa (Urakami) todos son como nosotros. Todos tienen nuestro mismo corazón". Petitjean visitó de incógnito la villa; el cristianismo para los japoneses era aún una práctica ilegal. Allí se enteró que sus visitantes se habían allegado a la iglesia al saber que había una estatua de la Virgen María. Petitjean alentó a los kakure a practicar su fe libremente, un consejo muy imprudente que le costaría la vida a muchos de ellos. Enterado de esto, las autoridades japonesas arrestan a cien kirishitan y con el correr de los años, hasta 1873, más de 3404 kirishitan fueron deportados a distintas partes del Japón o sufrieron prisión y trece de ellos fueron ejecutados. 660 murieron en el exilio y solo 1580 retornaron a Urakami.

Las potencias occidentales protestaron y la persecución contra los cristianos iniciada en 1587 culminó ese año de 1873. La libertad de religión se estableció en el Japón en 1889.

A manera de enmienda de sus pecados, los pobladores de la villa de Urakami deciden construir una iglesia en la misma propiedad perteneciente al jefe de la villa y en donde por más de 200 años los cristianos debían apostatar de su fe pisoteando el fumie. En 1895 se inicia la construcción de la Catedral de Urakami que culmina en 1917. El 9 de agosto de 1945 la bomba atómica cayó a solo 500 metros de la catedral destruyéndola casi en su totalidad. En 1959 se inicia la reconstrucción de la nueva catedral.

Luego de esta última persecución los católicos japoneses han vivido en paz; en 1918 el político católico Hara Takashi fue designado Primer Ministro de Japón, siendo el primer católico que ocupa tan alta posición y que se repitió en 2008 cuando fue elegido como Primer Ministro al católico Taro Aso.

En 1929 se reportó que en Japón había 94.096 japoneses católicos, 63.698 de los cuales vivían en Nagasaki y zonas aledañas. En 1945 había cerca de 12.000 católicos en la comunidad de Urakami. 8500 de ellos murieron el 9 de agosto de 1945 con los Bombardeos atómicos sobre Hiroshima y Nagasaki.

En la década de 1920 el padre Maximilian Kolbe, de origen polaco, realiza un gran trabajo evangelizador en Japón y funda el periódico The Knight con una tirada de 30.000 ejemplares en 1933.

En el año 1973 la hermana Inés Katsuko Sasagawa divulgó que la Virgen María se le apareció en diversas oportunidades, dando origen a la devoción mariana de Nuestra Señora de Akita.

Entre el 23 al 26 de febrero de 1981, el papa Juan Pablo II visita Japón y años después en 2019 el Papa Francisco visita el país entre el 23 y 25 de noviembre.

La Iglesia católica en la actualidad

El 24 de noviembre de 2008 fueron canonizados 188 mártires —asesinados entre 1606 a 1639— en la ciudad de Nagasaki. 30.000 personas asistieron al evento presidido por el cardenal José Saraiva Martins.

Con medio millón de japoneses nativos perteneciendo a la Iglesia, el número de católicos asciende a poco más de un millón si se cuentan los inmigrantes de países católicos como Filipinas.

A principios del , mientras los hanare kirishitan desaparecen en las islas aisladas, los católicos japoneses pierden su fe dentro del proceso de secularización del mundo occidental. Los católicos gozan de la más amplia libertad y protección por parte del Gobierno del Japón.

Televisión
La historia de la Iglesia Católica en Japón fue registrada en el documental "Dejenme ir por este camino" (Let Me Walk This Path), realizado en 2010. Y "Una Colina de Redención", realizado en 1990.

Cine
Silencio es una película estadounidense de drama histórico, dirigida por Martin Scorsese y escrita por Jay Cocks. Está basada en la novela homónima escrita por Shūsaku Endō. Es una ficción que cuenta el arribo de jesuitas portugueses a Japón en 1640. Fue también adaptada al cine por Masahiro Shinoda en 1971.

Bibliografía
 The beginning of heaven and earth: the sacred book of Japan's hidden Christians, de Christal Whelan
 Stephen Turnbull: The Kakure Kirishitan of Japan, 1998. ISBN 1873410700
 Kakure Kirishitan, de Miyazaki Kentarō

Véase también

 Kirishitan
 Museo y Monumento de los 26 Mártires
 Sakoku
 Incidente del San Felipe
 Comercio Nanban
 Francisco Javier
 Alessandro Valignano
 Cosme de Torres
 Hasekura Tsunenaga
Inmigración peruana en Japón

Referencias

Enlaces externos
 Hidden Christians - Japan en Youtube.

 Mártires de Japón (1597-1637)

de:Christentum in Japan#Römisch-Katholische Kirche in Japan
it:Chiesa cattolica in Giappone#Storia


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What Does the 2021 Metro Phoenix Concert Calendar Look Like?
Billy Joel - US Airways Center - 6/1/2014
Jason Keil
| Concerts |
Jason Keil | June 2, 2014 | 9:35am
Billy Joel turned 65 years old on May 9. When you're as old as he is, you retire, have a party, collect your pension, and enjoy the fruits of your labor. But when you're the sixth best-selling recording artist of all time, you just keep on working. The audience at the sold out US Airways Center knew when the first note was played on Joel's Steinway, the singer-songwriter really likes working. His dexterity on the ivories was apparent when he opened with "Miami 2017 (I've Seen The Lights Go Out On Broadway)," but when his band went into the keyboard heavy "Pressure," Joel remained seated while keyboardist Dave Rosenthal tickled the Kurzweil.
The Piano Man made it clear when the song ended that he wasn't the performer he was over 20 years ago when River of Dreams, his last album of original pop music, was released.
See also: On Billy Joel and the Days When You Had to Earn Music
"I'm Billy Joel's dad. Billy couldn't make it tonight," he joked.
He talked like the eccentric grandfather at the family Christmas party. He cussed, regaled the audience with stories of touring with his friend Elton John (He sang "Your Song" until the line "I don't have much money" and exclaimed, "Bullshit! He's rich!"), and told dirty jokes as he sprayed his throat to moisten his vocal chords. When he sang on the deep cut "Vienna" that "you can get what you want or you can just get old," Joel might have done both.
He talked about some of his songs with tinges of regret and sarcasm. He introduced "The Ballad Of Billy The Kid" as his attempt to fulfill his desire to write a movie soundtrack, only to point out afterwards the lyrics are historically inaccurate and "complete bullshit." He ended a lovely rendition of the soft rock staple "She's Always A Woman" by shouting "and then we got divorced!" He often would start covering another song like Derek and the Dominos' "Layla" or "Take It Easy" by The Eagles, or just start playing "A Hard Day's Night" in the middle of "River of Dreams."
The performer didn't keep the limelight to himself. Horn player Carl Fisher played an impressive trumpet solo during "Zanzibar" from 52nd Street. Saxophone player Mark Rivera, who has played with Joel for 32 years, shined during the signature number "New York State of Mind." The real surprise came an hour into the set. Joel strapped on a guitar and let his roadie, an Arizona native known as Chainsaw, sing AC/DC's "Highway to Hell." Though it was hard to make out, bassist Andy Cichon mouthed his approval of Chainsaw's performance to Joel as a muscle-shirt clad stagehand grabbed a cup of water and threw it into the audience.
The pianist wiped the sweat from his bald head as he told the story of Brenda and Eddie in "Scenes From An Italian Restaurant." It was clear Joel was getting weary, but remained the consummate performer despite the pained look on his face. He gyrated his hips like Elvis and tossing the mic stand during "It's Still Rock and Roll To Me." He sang "Big Shot" with a towel over his head, but not once did he loosen his tie, unbutton his shirt, or take off his suit jacket. Everyone in the audience knew "Piano Man" was next as soon as Joel strapped on his harmonica, but first had to wait for him to catch his breath.
He was rejuvenated when he came out for his encore, jokingly putting his hands over his eyes like a Chilean miner who hadn't seen daylight in weeks. Opener Gavin DeGraw joined the band for "You May Be Right" as Joel rocked back and forth on his piano, slapping his ass as he sang that he "may be crazy." He closed with "Only The Good Die Young." Nowadays, a 65-year-old is considered young, especially one who still knows how to put on a good show.
Last Night: Billy Joel with Gavin DeGraw at US Airways Center
Personal Bias: I believe my feelings on Joel are well documented.
The crowd: People of all ages, races, and nations speak Billy Joel. Overheard in the Crowd: "Are you Billy Joel's cousin?"-asked to me by a nice couple before the show. This was his seventh time seeing Joel and her first. This was my second.
Find any show in Metro Phoenix via our extensive online concert calendar.
9 Tips for Using A Fake ID To Get Into A Show Here's How Not to Approach a Journalist on Facebook The 10 Coolest, Scariest, Freakiest Songs About Heroin The 30 Most Disturbing Songs of All Time
Jason Keil was the Phoenix New Times culture editor from August 2019 to May 2020.
Facebook: Jason Keil
Twitter: @jasonekeil
Legendary Phoenix Music Venue Mr. Lucky's Is Up for Sale Again


Congratulations to all winners and thank you for all that you share!
Congratulations everyone! As per/usual you have a fantastic new line of products and the hop was absolutely amazing! TFS!
Oh my stars I won , I'm beyond excited 😆!!! Thank you so much ☺!


I've asked time for just a moment, originally uploaded by downtownlynn.
A fleeting image and a beautiful poem for all today.
Blog Guelph: Love Is A Bridge..
Love, Love, Love..., a photo by fishwithme55 on Flickr.
I Love Art, a photo by Drew_Skis on Flickr.
Love Your Mom, a photo by Drew_Skis on Flickr.
Morning Trail, a photo by Alan Norsworthy on Flickr.
Guelph Civic Musuem, a photo by kim/ber on Flickr.
We're just three days away from the opening of Guelph's first mobile photography exhibit.
The opening reception for "guelPhonography" is Friday, September 28 from 7-9 p.m. at Guelph Civic Museum, and I hope you'll be able to join us! Experience beautiful, interesting and uniquely Guelph photos shot on phones by the people of Guelph.
The exhibit, which runs until November 19, features the top 30 photos selected by Guelphonography organizers. The top 3 will be announced at the reception.
First in line, a photo by kim/ber on Flickr.
Dairy Bush, a photo by kim/ber on Flickr.
End Of Summer, a photo by Krista Kruger on Flickr.
Roasted Butternut Squash Soup, a photo by Karen Brodie on Flickr.
P9214596, a photo by rubberschmuckie on Flickr.
Moth 02, originally uploaded by John Q6.
Evidently I'm a day late and a dollar short on International Pirates Day. Truth be told, they were never truly my heroes anyway.
Well this perspective, this BIG picture is what I'm a fan of.
Behold your Gem of the Day.
Satisfied Fans, a photo by peterkelly on Flickr.
Many of you may have seen the articles in the Guelph Tribune and the Guelph Mercury about the nuisance bylaw City staff are proposing. You can actually read the draft yourself here (it's buried at the bottom of many reports).
I read through it and wanted to share the pieces I feel are the most important and should be actionable by the public. First, I was struck by their proposed definition of a Nuisance Party which includes "disorderly conduct"and "loud music."
This is where we get into some tricky territory. So no person shall sponsors, conduct, continue, host, create, attend, cause or permit "loud music" or "disorderly conduct"?
Disorderly conduct. I can name many instances when protests changed this world. How about the anti-apartheid movement in South Africa? The Velvet Revolution in Czechoslovakia which lead to the Communist party relinquishing control of the country? The March on Washington when the fight for African-American civil rights saw 300,000 stand up and share their voice before Martin Luther King Jr. delivered his speech? How about the Stonewall Riots, one of the most significant movements for gay rights, which saw the openly gay patrons of the Stonewall Inn fight back against the anti-homosexual police raids that took place in New York City?
And talking about protest and loud music, what about Woodstock?
I understand the need to protect our community but it should never be at the expense of democratic rights and public voice. The lines of interpretation here are too broad.
As we prepare for Culture Days next week, I'm thinking about the amazing projects set to take place in Guelph. I'm thinking about my own project, the LOVE-IN, which is a peaceful advocacy of arts and culture. In the 60s Love-Ins and Sit-Ins were protest movements. And in a way, I am protesting - advocating the fact that Canada's culture should reflect its Charter. Our Rights and Freedoms are clearly written. We have the right to peaceful assembly. We have the right to freedom of speech. We have the right to express our ideas – through music, art, through gathering together and through sharing broadly.
Sometimes the order that exists needs to be disordered, questioned. Humanity's quest for love and freedom demands this.
And yes, there is a safety issue here. And it's not about protecting the City, it's about protecting the community from those who would introduce the possibility of censorship as legislation.
Democracy is not a nuisance.
Iju Vudu, a photo by peterkelly on Flickr.
Hillside Draws To A Close, a photo by peterkelly on Flickr.
Kick/Splash, a photo by peterkelly on Flickr.
Lost, a photo by ICT_photo on Flickr.
Its midweek, perhaps you feel stuck in the middle of a stressful work week. Allow yourself some giggle time while you gaze at these rather jocular images by Ian Thomas. He has a great sense of humor and creativity. Haven't we all thought at some point, 'I have this great concept for a joke, but...'. Well, lucky for us, Ian follows through and goes to some great lengths to get his desired result.
If these have made you giggle or even better, laugh out loud, then remember that somebody wisely said "laughter is the best medicine". There are 33 clever images produced by Ian, check them out.
Where Spam Really Comes From, a photo by ICT_photo on Flickr.
When Eggs Have Nightmares, a photo by ICT_photo on Flickr.
Jail Break, a photo by ICT_photo on Flickr.
Cherry Pie Search and Rescue, a photo by ICT_photo on Flickr.
Ninja Sushi, a photo by ICT_photo on Flickr.
Caramilk Goons, a photo by ICT_photo on Flickr.
Mobile photography is my thing, but sometimes i wish i had a huge honking zoom so i could get decent shots of cool and creepy birds.
I'm particularly fascinated by great blue herons and hooded mergansers because i rarely see them... and when i do, i'm either on a bus, in a car, or on the wrong side of the river. The one and only time i got close to a heron, i tripped on some wire hidden in long grass and missed my chance at what might have been a semi-decent shot.
Turkey vultures - which both intrigue and repulse me - are always out of range.
I have yet to see an owl.
So hats off to guelph's bird photographers... glad they share their great photos!
Hooded Merganser 1, a photo by Natures Caretaker on Flickr.
takeoff2, a photo by Kent Ferguson Photography on Flickr.
Barred Owl Guelph,On, a photo by C Law. on Flickr.
Weary Droop, a photo by BunnySafari on Flickr.
Sad leaves, a photo by crisscrossgirl on Flickr.
Tiger Boys Airshow .. What the F....., a photo by Alan Norsworthy on Flickr.
Window Flowers, a photo by peterkelly on Flickr.
Masonic Centre, originally uploaded by Bruce Shapka.
Sunset Saturday night, originally uploaded by kim/ber.
Dance of the Water Boatmen, originally uploaded by Alan Norsworthy.
Blog Guelph: Guelph - Home, Bank, Or Bedroom?
(Day 55) Looking at the skyline, behind the fence., a photo by Aidan M.D. Ware on Flickr.
I'll go first. Guelph is my home.
That means a few things. It's the place where I work and live. Where I know my neighbours, watch out for my friends, enjoy the city. It means that I care about this community and have a responsibility to look out for it. As do all who call it home.
But there are those who don't see it that way. For some people Guelph is their bank. And by this I mean they are using this community to earn money and that's all they care about. These people often don't even live here but have jobs in Guelph. Others live here but plan to retire somewhere else so they don't care what happens to the city in the meantime. They'll be out of here in a few years anyway.
And then there are those for whom Guelph is neither home nor bank, but for whom it is the bedroom. They sleep here but work elsewhere for various reasons. There is an increasing trend around this type of citizen as you may have noticed – "minutes from the Go Train" is a popular statement being thrown around by developers.
As you know, I was a vocal dissenter when it came to the high rise question, and I remain very concerned by the direction Guelph is being lead in. The marketing of this city is being driven by those last two types of people – the Bank and Bedroom people. What about the people who call it Home; the people who do not stand to gain by high rises and an influx of an additional 40,000 people in less than a decade? In fact we, the people who call it Home, lose don't we?
Less jobs, less skyline, less space, less uniqueness. In fact the only things that there will be more of are crowds and taxes. That is our reality.
The Places to Grow Strategy is really about homogenization. In the end, it's an overt demonstration of capitalism in the throws of failure. It's a short-term answer to a very long-term problem. But it will fail. Why is this? Because capitalism relies on innovation and creativity. You can not make everything the same or you will ultimately lose your retention, your integrity, and your survival. It's physics really. It comes down to the science of nature – diversity ensures survival and prosperity.
Overnight Guelph is being marketed as yet another bedroom community for Toronto. The 18-storey Tricar condominium is supposed to herald in the golden age for retailers and restore our downtown to glory as all the middle class Toronto-employed condo dwellers are going to be herded into the streets for eating and shopping.
But did anyone walk down Macdonell last Saturday morning? I'd never seen it so filthy and it was 9:30am in the morning on Market day. Is this the experience they're expected to pay upwards of half a million dollars for?
What is wrong with this picture? What's wrong with it is that there is no creative plan for Guelph's long-term survival.
I asked a city representative why we did not ask for creative compromise before adopting the Places to Grow Plan. I also asked them why we had to go along with it in the first place. Their answer was that they did not know.
There is a presumption somewhere that we would be penalized financially. But I'm not sure anyone bothered to check.
And don't you think if we went to the government with our own plan, with a creative vision for ourselves they would have to listen? Would they not then recognize that we have a special community – one that appreciates its history, respects the feelings of its citizens, acts like a family, and one that values ingenuity and diversification?
It was an opportunity to blaze a new trail, to set an example for innovative leadership. But it did not happen.
(Day 22) Houses and homes. Waterloo Ave., a photo by Aidan M.D. Ware on Flickr.
Bank, a photo by Bruce Shapka on Flickr.
Pillow Party, a photo by peterkelly on Flickr.
Autumn_2, a photo by ICT_photo on Flickr.
I am one who tends to hang onto summer til the bitter end. I feel energized and inspired when walking in a green, lush forest. Spotting brightly coloured leaves falling from the canopy reminds me to prepare for the inevitable. I am learning to embrace the metamorphosis of the summer season.
Notice the beauty at ground level. You may be pleasantly surprised.
After the Rain, a photo by John Q6 on Flickr.
Yellow, a photo by Sadie Currie on Flickr.


Try your hand at panning for gold at Gold Reef City in Johannesburg. Search for the elusive specs of gold that hold the promise of wealth the way it used to be done. Pan the mud in freezing cold water by hand and experience the euphoria of finding a shiny spec among the dirt.