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Tag: Sexual Revolution
Marilyn's Secret Career Genius
Marilyn in Manhattan author Elizabeth Winder has written an excellent article for Marie-Claire about Marilyn's escape to New York and triumphant battle with Hollywood. It's well worth reading, and a great preview of the book. (However, as MM: A Day in the Life author April VeVea points out, Marilyn wasn't, as is sometimes claimed, the first woman in Hollywood to start her own production company – the Talmadge Sisters, Rita Hayworth and Ida Lupino all preceded her.)
"Years ahead of her time, and dead at the age of 36 in 1962, Monroe wouldn't live to see the changes she made possible. But her reach went far beyond the machinations of Hollywood and shifted the way women around the world viewed themselves: Bra-less and never in girdles, Monroe didn't apologize for her raw sensuality and frankly admitted to posing nude in the past; she'd been a penniless starlet and whose business was it anyway? At the same time, she wasn't afraid to appear 'unsexy.' She loved being photographed in grimy boas and ripped fishnets, or puffy-eyed and makeup free, hair tangled from hours of fitful sleep. Monroe wanted to express herself, no matter the risk."
Posted on November 4, 2014 June 22, 2019
Did Marilyn Start the Sexual Revolution?
Marilyn by Bert Stern (1962)
A rather provocative article, headlined 'Marilyn Monroe Started Sexual Revolution', has appeared at The Inqisitr. It's an interesting proposal, but unfortunately the content is somewhat ill-informed.
Firstly, none of the quotes attributed to Marilyn can be substantiated. They are all quotes which have only appeared online in recent years. None of them can be traced back to an interview or reputable biography.
Here's a better example, from her last interview in 1962:
"I think that sexuality is only attractive when it's natural and spontaneous. This is where a lot of them miss the boat. And then something I'd just like to spout off on. We are all born sexual creatures, thank God, but it's a pity so many people despise and crush this natural gift. Art, real art, comes from it, everything."
Secondly, Marilyn's much-vaunted 'affair' with John F. Kennedy has been wildly exaggerated. The best evidence suggests that it was at most a weekend fling. And her last phonecall was not to JFK.
In private, Marilyn was perhaps more sexually liberated than most women were generally in her lifetime. But among other Hollywood stars, she wasn't especially promiscuous.
Where she was arguably more radical is in how she expressed her sexuality in public life. The Inquisitr rightly states the revelation of her nude calendar, and Marilyn's refusal to disown it, as a turning point in her career.
She was America's greatest post-war sex symbol, which is all the more remarkable since she came to prominence in an era when women's sexual freedoms were being curtailed.
In her first true star vehicle, Niagara, Marilyn played a 'femme fatale' with fierce, threatening sexuality. However, her bosses at Twentieth Century Fox subsequently placed her in comedic, 'dumb blonde' roles, in an attempt to neutralise her allure.
Despite being forced to play a stereotype, Marilyn managed to poke fun at her image, presenting sex in a way seldom seen before. Unlike the vamps who preceded her, Marilyn's sexuality seemed both natural and joyous.


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George Mortimer Pullman (ur. 3 marca 1831 w Brocton, zm. 19 października 1897 w Chicago) − amerykański przemysłowiec i konstruktor sypialnych wagonów kolejowych nazywanych później jego nazwiskiem.

Życiorys
George Mortimer Pullman urodził się 3 marca 1831 roku w Brocton w stanie Nowy Jork, był trzecim z dziesięciorga dzieci Jamesa i Emily Pullmanów. W 1845 roku rodzina przeniosła się do Albion, gdzie jego ojciec, stolarz, znalazł pracę przy kanale Erie. Za pomocą opracowanego przez siebie i opatentowanego w 1841 roku podnośnika śrubowego usuwał on przeszkody z kanału. Po śmierci ojca w 1853 roku George Pullman przejął po ojcu firmę i prowadził prace przy kanale.

W 1857 roku Pullman otworzył w Chicago firmę o takim samym profilu, jak odziedziczona po ojcu firma w stanie Nowy Jork. Potrzeby rynku w Chicago były w tej mierze duże, jednak Pullman szybko zdał sobie sprawę, że jest to działalność krótkoterminowa i w związku z tym zdecydował się na zmianę branży i rozpoczęcie produkcji i wynajmu wagonów kolejowych. Chociaż ówczesna kolej przynosiła zyski głównie za sprawą przewozów towarowych, Pullman zainteresował się przewozami pasażerskimi. Ponieważ wagony były wówczas niewygodne, w szczególności dopiero pojawiające się na rynku wagony sypialne, Pullman wspólnie z przyjacielem i byłym nowojorskim senatorem stanowym Benjaminem Fieldem podjął próbę opracowania nowego typu wagonu sypialnego, który byłby komfortowy i luksusowy. W ramach pierwszych prac przekonał zarząd Chicago, Alton and St. Louis Railroad do przebudowy dwóch wagonów sypialnych używanych przez tego przewoźnika. Zaprezentowane w sierpniu 1859 roku wagony z miejsca odniosły duży sukces.

Pullman postanowił także wykorzystać gorączkę złota w Kolorado i w 1859 roku przeniósł się do tego stanu, otwierając tam działalność w zakresie wszechstronnego zaopatrywania górników-poszukiwaczy. Otwarty przez niego wraz z grupą wspólników Cold Spring Ranch w Central City umożliwiał przybywającym poszukiwaczom nabycie posiłków, potrzebnego im wyposażenia oraz zapewniał noclegi i wymianę zwierząt na wypoczęte.

W początku lat 60. XIX wieku Pullman powrócił do Chicago i zajął się projektowaniem jeszcze bardziej luksusowych wagonów sypialnych. Pierwszy wagon o nazwie "Pioneer" został opracowany wspólnie z Fieldem do 1865 roku. Popularność jego wagonów wzrosła znacząco po tym, jak Pullman zdołał włączyć kilka z nich do pociągu, który przewiózł ciało prezydenta Abrahama Lincolna do Springfield tego samego roku. Po śmierci Pullmana syn Lincolna, Robert Todd Lincoln, został prezesem Pullman Company i pełnił tę funkcję do 1911 roku.

W 1867 roku Pullman zakończył współpracę z Fieldem i został prezesem nowej firmy, Pullman Palace Car Company, którą rozwijał przez kolejne dwie dekady. W 1879 roku Pullman rozpoczął planowanie budowy osiedla robotniczego, które zyskało nazwę Pullman. Budowa rozpoczęła się rok później na zakupionych na ten cel 1620 hektarach w pobliżu jego fabryki, 23 km na południe od Chicago. Otwarte 1 stycznia 1881 roku miasto miało być nie tylko miejscem zamieszkania, ale i sposobem na rozwiązanie problemu przemęczenia i ubóstwa robotników. W kompleksie powstało 1300 budynków, w tym domy dla robotników, sklepy, kościoły, teatry, parki, biblioteka i hotel. Osiedle miało być jedną z głównych atrakcji wystawy światowej, która w 1893 roku miała odbyć się w Chicago. Miasto zostało zorganizowane na hierarchicznej zasadzie, a Pullman zapewnił sobie prawo do permanentnej kontroli życia społecznego, a nawet prywatnego, mieszkańców, zabraniając m.in. wolnej prasy, decydując o tym, jakiego wyznania kościoły mogą powstawać w mieście i kontrolując czystość mieszkań robotniczych. Również czynsze w mieście były wyższe niż w innych lokalizacjach, co tłumaczono lepszymi warunkami bytowymi.

Biznes Pullmana podupadł po nastaniu w 1893 roku kryzysu gospodarczego. Zredukował wówczas etaty, obciął pensje i podniósł wymiar godzinowy pracy, jednak równocześnie nie obniżył dywidend wypłacanych udziałowcom ani czynszów w swoim osiedlu. Wielu zdesperowanych pogarszającymi się warunkami życia robotników dołączyło wówczas do związku American Railway Union, a Pullman w odpowiedzi zwolnił wszystkich działaczy związkowych. 11 maja 1894 roku w zakładach Pullmana wybuchł strajk. Gdy Pullman odmówił rokowań z załogą, przywódca centrali związkowej ARU wezwał do krajowego bojkotu produktów Pullmana. Solidarnościowe strajki wybuchły wkrótce na obszarze od Ohio do Kalifornii, szczególnie brutalny przebieg przybierając w Chicago. Pullmanowi pomocy w postaci przysłania gwardii stanowej odmówił sympatyzujący ze strajkującymi gubernator Illinois John P. Altgeld. 4 lipca prezydent Grover Cleveland za radą urzędników federalnych skierował do 2500 żołnierzy do Chicago. Strajk zakończył się po tygodniu, a wojsko wycofało się 20 lipca.

Zmarł 19 października 1897 roku w Chicago na zawał serca. Z powodu ciągłego konfliktu z robotnikami i obaw o profanację zwłok, został pochowany na Graceland Cemetery w Chicago nocą w zalutowanej trumnie, którą przykryto papą i asfaltem i złożono w stalowo-betonowej krypcie, przykrytej kilkutonową pokrywą z betonu i podkładów kolejowych.

W 1930 roku Pullman Company połączyło się ze Standard Steel Car Company i przyjęło nazwę Pullman-Standard Company. Ostatni wagon firma wyprodukowała dla Amtrak w 1982 roku, a wkrótce potem zaprzestała działalności. Ostatni majątek wyprzedano w 1987 roku.

Życie prywatne
Żonaty z Hattie S. Pullman (1842-1921), para miała troje dzieci. Jego zięciem był polityk Frank Orren Lowden. Członek loży masońskiej Renovation Lodge #97 z Albion.

Przypisy

Amerykańscy przedsiębiorcy
Ludzie związani z kolejnictwem
Urodzeni w 1831
Zmarli w 1897

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Take a tour of Northland Center.
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Wild horses found dead in Apache-Sitgreaves National Forest
By FOX 10 Staff and Associated Press
An investigation is underway after a number of wild horses were found dead in the Apache-Sitgreaves National Forest.
SPRINGERVILLE, Ariz. - Wild horse rights advocates are calling on authorities to prosecute whoever is responsible for the reported killing of more than a dozen wild horses in the Apache-Sitgreaves National Forest.
The Salt River Wild Horse Management Group said Sunday that a total of 15 horse carcasses have been found in the northeastern Arizona forest.
According to the National Forest Service, the dead animals were found near Forest Road 25 on the Alpine and Springerville Ranger Districts.
"The forest is currently coordinating with the appropriate officials in support of the investigation of the deceased horses," forestry officials said in a statement.
Simone Netherlands of the Salt River Wild Horse Management group in Arizona said the horses "are not protected by federal government, not protected by state laws, so it's sickening that someone can just come here and kill them."
Anyone with information is asked to contact the Apache-Sitgreaves National Forest Service.
Meanwhile, a $20,000 reward continues to being offered for information leading to the arrest and conviction of whoever killed five wild horses in eastern Nevada late last year.
The Bureau of Land Management announced last week that the National Mustang Association pledged to double the previous $10,000 reward in the case.
It's unknown if the Nevada and Arizona cases are related.
Authorities said five mortally wounded horses were discovered Nov. 16 in Jakes Valley, about 30 miles (48 kilometers) west of Ely.
They said the horses all were located within 600 yards of each other about 2 miles (3 kilometers) south of U.S. Highway 50, and an aborted fetus was attached to one of the dead animals.
The BLM is investigating and prosecuting the killings as part of the enforcement of the Wild Horses and Burro Act of 1971.
The Associated Press contributed to the report.
More Arizona headlines
Avian Flu: Arizona Game and Fish officials keeping an eye on cases
Phoenix officers fatally shoot man throwing rocks at police and cars; body camera video released
Arizona troopers find 68 pounds of fentanyl inside fuel tank during I-8 traffic stop

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Your Window Into Hong Kong Cinema
Screaming In High Heels The Rise And Fall Of The Scream Queen Era
As the poster above says "a Jason Paul Collum scream come true", Screaming In High Heels The Rise And Fall Of The Scream Queen Era is clearly a labour of love for Collum, who not only wrote, produced and directed the documentary but also appears as an enthusiastic talking head throughout. For the most part the film is an excellent treatment of it's subject, a subject that has been screaming (sorry!) out to be tackled in just this kind of way.
Setting out to tell the story of the mid to late 80's boom in B movies, filtered through the lives and careers of three of the most recognisable starlets of the period, Linnea Quigley, Brinke Stevens and Michelle Bauer. Collum's film also prominently features two of the most prolific directors of these actresses, Fred Olen Ray and David DeCoteau, in movies such as Slave Girls Beyond Infintity, Sorority Babes In The Slimeball Bowl-a-rama (known to UK audiences under the far less exciting name of The Imp.) and perhaps most famously Hollywood Chainsaw Hookers. Films that combined wild titles that always promised more than the movie could deliver, gratuitous nudity, terrible puns and occasional violence on tiny budgets.
If I have a criticism of Screaming In High Heels, it's that the film tries to cram a little too much into it's hour or so running time and leaves parts of the story lacking in detail. It begins by covering the decline of the US institution of the Drive In cinema and the subsequent rise of home video as its replacement in fulfilling the needs of exploitation film fans in particular. From there we move onto how the three girls got started in the film business, with some interesting soundbites and clips from the early works of the scream queens, including the revelation that Linnea Quigley was painfully shy! Hard to believe, right? And footage of Bauer in a Playboy video called Flashdancers, complete with New Order's Blue Monday on the soundtrack.
As they were
Once the scene setting is complete, we move on to the movies that made them famous, Return Of The Living Dead is mentioned in regard to Quigley but it's mostly the work of Fred Olen Ray and David DeCoteau that are featured. This is the most fun part of the documentary as we get to see the explosion in popularity of the ladies through some great footage of news and chat shows as well as convention appearances. The enthusiasm for this period is infectious as the participants talk of how hard they worked but mainly how much fun it was to be involved.
Unfortunately, as with most things, the good times have to come to an end and for Quigley, Bauer and Stevens a combination of three things ended their success. Firstly, the market being flooded with scream queen wannabes, secondly, huge changes in the video industry, namely the proliferation of the massive chain video store such as Blockbuster and thirdly, the inevitable march of time itself. The girls do little to hide their feelings of bitterness on the wannabes, who they feel destroyed the convention circuit for them by ripping off the genuine fans.
Finally we're brought up to date with what the girls did next and this part is a little vague, with Stevens still being active in the horror scene but in micro budget features. Quigley similarly is still active but has done fewer films, having taken time out to care for her sick mother. Bauer says she has largely given the acting up but a quick look on imdb shows she is also still active but to a lesser extent.
Collum does a great job highlighting the three distinctly different personalities he's working with and each has great moments, such as discussing their families reactions to the films they starred in. He has also dug up some excellent clips including a segment on the controversy surrounding the killer Santa flick Silent Night, Deadly Night (in which a topless Quigley is famously featured), with Gene Siskel denouncing first the TV advert and then the movie itself on TV, alongside footage of a protest outside a cinema showing the film (pictured below).
As a teenager during this period, at the time these movies were appearing I was already obsessed with film, working my way through the horror and splatter classics, alongside a burgeoning interest in the Hong Kong cinema I grew to love so much. At the same time I was taking in what I could find from the likes of Kurosawa, Leone, Lynch etc. My appetite for film was voracious and I wasn't particularly picky, so I was quite happy to mix the class with the trash. When these films appeared on the local video store shelves, many of which were from Colourbox video in the UK, I couldn't resist the titles, the gaudy cover art or the fact many of them featured Quigley who I was already a fan of from her appearance in Return Of The Living Dead. I enjoyed them on their own terms, recognising the limitations and embracing them as fun trash, the repetition of the leading ladies certainly helped and added personality (not to mention copious nudity!) if not exactly brilliant acting ability. Sometimes personality is more important than ability and in these movies, this was definitely the case.
As they are now
What Screaming In High Heels does best is to get across that none of the participants think they made great art with these movies, they see them for what they are. That isn't to say they aren't proud of the work, they quite clearly are and this shines through alongside what a great time they all had.
Whatever your opinion of the movies themselves, if you are of a certain age Screaming In High Heels is guaranteed to take you on a nostalgia trip, back in time to the late 80's, and despite the fact it could have gone deeper on the lives of the girls, that was more than enough for me to love it.
Posted by A hero never dies at 5:41 PM
Labels: Brinke Stevens, Linnea Quigley, Michelle Bauer, Screaming In High Heels
systemshocks said...
Fantastic post, Martin. This sounds like a really interesting and in depth documentary. I recently interviewed Linnea Quigley for Starburst Magazine - she's a nice woman. I think she tried to take some control over her career by going into producing. She has just made a film called Disciples with Brinke Stevens and a host of horror actors, Bill Mosely, Tony Todd, Angus Scrimm.
A hero never dies said...
Thanks Jon, was the interview in person?
The doc is great fun and as a fan, it's required viewing.
robotGEEK said...
I cannot believe I've never heard of this one! What's wrong with me?! Time to fix that ASAP!
Really great review. I was already sold just by the subject matter alone, but your review only makes it sound 1,000 times more interesting. Great job!
Wow! Apparently it's not even available in the U.S. yet because I can't find it anywhere. Guess I'll just have to wait.
It's currently airing on NBC Universal's Chiller TV and will be out UNRATED on DVD August 28th from Breaking Glass Pictures. It can also be pre-ordered on Amazon now.
Thanks for the info Anon, may well pick the dvd up!
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Get The Gringo a.k.a How I Spent My Summer Vacatio...
Saviour Of The Soul
Cool Crap : Godfather's Fury Thai Poster
Gone With The Bullets Teaser Poster
Mail Call : Fernando Di Leo Blu Ray Box
Soi Cheang's Motorway (Again!) UPDATED
Screaming In High Heels The Rise And Fall Of The S...
Chinese Zodiac Poster And Trailer
Cool Crap : Men From The Gutter Thai Poster
Tiger Cage II
Bluetimes Coopa Media Player
Another Motorway Trailer With Subtitles
The Amazing Spider-Man Preview
Hong Kong Film Poster Ebay Fail
HKMS : Project A Part II
Mail Call : Fox Hunter Laserdisc
Motorway New Teaser, Poster And Stills
Shaw Brothers : Men From The Gutter
Ebay Magic Moments : The Park 3D
Thoughts On The Skin I Live In
Mail Call Once Upon A Time In Triad Society Laserd...
Trailer, Posters And Stills For The Thieves Featur...
HKMS : Tiger Cage II
New Trailer For The Dark Knight Rises
I discovered Hong Kong cinema over 20 years ago when Channel 4 showed a series of Hong Kong ghost stories which included screenings of Rouge and Encounters of the spooky kind. I watched them all and wanted more,next up was Jonathan Ross' Incredibly strange film show on Tsui Hark where they showed a clip of Chow Yun Fat hiding guns in plant pots from A better tomorrow and the shootout that follows. My mind was blown there and then but the thing that made me a fan forever more was seeing a trailer on a palace video release for The killer. Ever since I have been watching and spending far too much money on HK related goodies (and the kit to watch them on). The blog is somewhere to put my thoughts on my HK passion, a passion that refuses to die even though HK cinema is struggling at the moment.
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Specialising in forestry and horticulture, the Soilworks Australia™ team has been researching, designing and developing advanced ripping and mounding technology since 2001.
Soilworks is one of the most experienced forestry development teams in Australia. Headed by founder Randal Tomich, the team has over 35 years experience in forestry and agricultural land development, including the establishment of 5,000 hectare forests and the ongoing management of 500 hectares of Blue gum forest in South Australia.
Using a combination of surveying and GPS-guided technology, applications are adaptable to varying terrain and work can include clearing, site preparation, surveying, ripping, mounding and planting. The team is able to manage all aspects of the project, with all work guaranteed to specification.
of forestry solutions to maximise yield potential across new developments or established sites.


I can't believe this is my first post of the new year! The month is already over and it's been quite busy. But that hasn't stopped me from staying on top of the latest tech news and whatever else is happening in the world. So with that said and since it's Friday, here's a shotgun blast of 3 stories I found to be interesting today!
All of us in the tech world have known about the impending changes to the domain name landscape for almost two years now, but the reality is starting to come to light. We are literally just weeks away from being able to register new domains under the following TLDs: .photography, .estate, .ventures, .clothing, .technology and 20 more. And this is just the tip of the iceberg! All in all, there could be as many as 1,400 new domains on the way.
According to ICAAN, this process has been 8 years in the making and only just now starting to see the light of day. GoDaddy and many other registars are already taking pre-orders for the new domains that have already started pre-registration periods for trademark owners and those willing to pay a premium price to jump ahead of the line. Any duplicate pre-registrations will be held at auction for all interested parties to bid on.
Why is this happening? Quite simply…because the .COM namespace is running out of available names. It's getting harder and harder to find a suitable domain name these days without having to get creative. The new TLDs will allow websites and companies to be much more specific to their branding. So instead of opening your business at JohnSmithPhotography.com, you can try to get JohnSmith.photography.
If these rumors prove to be true, Apple may be looking at releasing at least one new iPhone model that has a larger screen. This is much to the delight of those few detractors that have since switched to an Android device that are well known to have larger screens. Apple has been fighting the competition due to the vast selection of Android devices with screen sizes ranging from 4 inches upwards of 6+ inches!
It's unclear exactly how big the new iPhone screen will be, but let's just hope Apple doesn't make them taller without increasing the width!


Every Time. Also, since we are not restricted by traditional airline hubs, you can travel direct from Boeing Field, Lake Tahoe, Monterey or the airport nearest you.
Purchase a single seat or your entire team. Enjoy air travel as it should be. One-way, round trip, or multi-legs.
Set your own schedule and save time with options beyond commercial flight schedules.
Pay only when you fly. Enjoy the benefits of private aviation at by-the-seat pricing.
Your Pets Fly In-Cabin! We love them almost as much as you do. Why should they stay home?
Sit together every flight. Relaxed, stress free, and enjoying your vacation time together.
We can accommodate all sorts of gear. Life is meant to be lived and gear is part of life.
Give us a bit of info and we will include you in our Winter Giveaway and let you know about flights and special deals tailored just for you.


VietNamNet Bridge – The Vietnam Football Federation (VFF) Executive Board Meeting held this morning, December 13, approved the plan for the V-League and the First Division Tournament 2013.
V-League 2013 will have 12 teams, instead of 14.
In addition to the VFF's members, the meeting had the presence of top officials of the Vietnam Professional Football JSC (VPF), including Chairman Vo Quoc Thang, General Director Pham Ngoc Vien, V-League Chief Organizer Tran Duy Ly and First Division Tournament Chief Organizer Nguyen Huu Bang.
The most important decision made at the conference is that the Dong Nai FC, which ranked third at the First Division Tournament 2012, will be up-rated to play in the V-League 2013.
The petition of the Hanoi T&T Young Team to play at the First Division Tournament 2013, though this team won a card to the V-League 2013, was also approved.
The V-League 2013, therefore, will consist of 12 teams while the First Division Tournament will have 8 teams.
However, these are temporary numbers in the time of crisis. The congress agreed that V-League 2014 will have 14 teams and the First Division Tournament 2014 will have 10 teams.
To reach the numbers, in the 2013 season, one team of the V-League will fall to the First Division Tournament while three teams of the First Division Tournament will be up-rated to the V-League and one team will fall.
The First Division Tournament 2013 will have a record low number of teams – 8. They will compete in a round robin, with 56 games and 14 rounds.
Earlier, the VPF proposed to add the U22 national team to the V-League 2013 and no team will down-rate.
Another important decision adopted as the meeting is the approval of the transfer of Khanh Hoa FC to Hai Phong. The team will be renamed into Hai Phong VICEM Cement.


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International table tennis cup comes to Vinh Long
The fourth international Vinh Long Table Tennis Cup will be held on June 28-30 in Vinh Long province.
VNA Thursday, June 06, 2019 11:30
Int'l table-tennis tourney kicks off in Hai Duong
Saturday, April 13, 2019 16:29
Japanese students join friendly table tennis competition in Hai Duong
Thursday, November 15, 2018 16:54
Japan triumphs at int'l table tennis tourney in HCM City
Open Golden Racket Int'l Table Tennis Tournament 2018 kicks off
Nguyen Anh Tu of Hanoi Club (right) competes against Chinese player Chen Xinh Chen in the final of the second edition of the Vinh Long Cup. (Photo: VNA)
Hanoi (VNA) - The fourth international Vinh Long Table Tennis Cup will be held on June 28-30 in Vinh Long province.
The tournament will have about 250 participants from 32 local clubs and foreign teams from Thailand, Indonesia, China and Malaysia.
They will compete in four men's and women's singles and teams for professional athletes and men's doubles and teams for amateurs.
Title favourites will be Doan Ba Tuan Anh and Nguyen Anh Tu, the male winner and runner-up of the national championship, and Nguyen Duc Tuan, national mixed doubles champion.
The draw will be held on June 26. Selected matches including opening match and finals will be aired live on Vinh Long Television. – VNA
Vinh Long Table Tennis Cup Vinh Long Television Nguyen Anh Tu of Hanoi Club Vinh Long Vietnam sports table tennis table tennis players Vietnam Vietnam news agency vietnamplus Related stories Vinh Long
Quartet scroll exhibition underway at National Fine Art Museum
An exhibition of four-scroll woodblock prints called "Colours of Spring" is underway at the Vietnam National Fine Arts Museum at 66 Nguyen Thai Hoc street, Hanoi.
Mr Universe Vietnam 2022 launched
The first Mr Universe Vietnam 2022 competition has been launched in HCM City.


ASIAIR (Active development) is a smart WiFi device that allows you to control all ASI USB 3.0 cameras, ASI Mini series cameras, and an equatorial mount to do plate solving and imaging with your phone or tablet/iPad when connected to ASIAIR via WiFi.
Astroberry Server is a ready to use astronomy desktop system for Raspberry Pi 3 It is a standalone system for controlling astronomy equipment supported by INDI server.
TinyAstro (Inactive) is an ARM Linux system with Kstars and INDI installed. With your mobile phone or tablet, you can control your gears without a computer.
Lin gudier is an astronomical autoguiding program for Linux.
Compilation of Ling guider on for ASI cam.
Open PHD/PHD2 is an astronomical autoguiding program.
Download and install Raspbian first and then follow the guide for installation.
Boot up the Raspberry pi2 and open the terminal to install the programs by following the guide.
Reboot the PI and you would find the Wifi access point "RPi2".
Connecting RPi2 using the password "1234512345123"
Just curious to ask and please forgive my ignorance.
Could Arduino Nano do the same job ? It seems that the Arduino system is being more simple and easy to handle with.
Chanlunlun 寫: Just curious to ask and please forgive my ignorance.
As I know that Arduino has a very limited processing power and I don't think it can manage to deal with the computing job for the guiding and imaging software.
Also, I don't find Linux guiding and imaging programs that could be run on this kind of cpu.
By the way, I am not a IT person and I might be wrong. It would be better for getting advices from some IT persons.


Spring seems an appropriate time to clear out the music shelves, so I started sorting the CD's I received for review over the past 8 months into two piles: Reviewed and Not. I was a little surprised to see that about 400 were Not, and nearly 100 were Reviewed. I should mention that I call myself a reviewer instead of a critic because I will not pan somebody's work in print. It's hard enough to get a career going without bad press, and not everybody shares my opinions, so I just don't review those I don't really like. I will, on occasion, send a critique to a player whose work has real promise even if I don't review it. So in that spirit I would like to offer up some tips that have come to me from decades of reviewing as well as talking to other reviewers and critics about their methods.


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Open-access content 7th May 2020
Chris Lewin
Chris Lewin examines the emergence of compound interest over the course of history
Compound interest, one of the foundation stones of actuarial science, has a long history. One writer has suggested it may have originated from people lending a herd to a neighbour for several years and finding it had become more numerous when returned.
Compounding for loans lasting more than a year was known in ancient Rome; Cicero wrote to a friend in 50BCE, "I had succeeded in arranging that they should pay with interest for six years at the rate of 12%, and added yearly to the capital sum."
In medieval times, much borrowing was for months rather than years, so compounding usually did not arise. Richard of Anstey, for example, was a plaintiff in a legal case starting in 1158, which necessitated him making several journeys round the south of England; he needed 21 loans to cover his expenses. The largest loan was £20, but many amounted to £5 or less. These loans had to be obtained from Jews, because religious restrictions prevented Christians from moneylending.
Richard borrowed from nine different people for periods ranging from two months to three years, with 15 loans running for a year or less. The rates of interest were all expressed as "per pound per week" and were four pence in nine cases, three pence in eight cases, and two pence in three cases (corresponding to about 86%, 65% and 43% per annum). One small emergency loan was charged at the equivalent of 4.5 pence.
The lenders reduced their interest rates once Richard had repaid the first loan and then needed another – one lender charged three pence on the first five occasions and two pence on the last three. This suggests that part of the highest interest rates was regarded as a risk premium.
Mounting debts
When loans extended for several years, they could mount up rapidly, as illustrated by the transactions that occurred at Bury St Edmunds Abbey from 1172 onwards. For example, an abbey official secretly borrowed £27 to repair the monks' room. After some years, the debt had accumulated at compound interest to reach £100, and it was agreed that the debt should be rolled over into a new loan of £200 repayable in four years' time. However, at the end of this period the abbey still could not afford to repay the debt, and it was converted into a loan of £440.
The science of compound interest was studied by mathematicians such as Fibonacci who, by calculating what a sum lent would become after 18 years at 25% per annum, showed in 1202 that compounding could cause loans to become enormous. By looking separately at the sum required to secure each payment, he also worked out how much must be invested to secure an annuity payable for five years and 70 days. In Europe, annuities were often granted by one person to another as part of a property transaction, and towns needing to raise money to finance wars or expansion would grant perpetual or life annuities.
Social concern grew, as long-term borrowers often became desperate. In 1233, a new law in England prohibited moneylenders from compounding interest, and in 1275 the law went further and banned them from charging any interest at all. A way round the ban was found when, in 1276, Henry of Berkeley received a payment of £120 from a moneylender and granted him an annuity of £40 per annum for 10 years, so that he received a return equivalent to about 31% per annum compound interest. Another way of evading the ban was to avoid any mention of interest in a loan contract but specify a repayment sum higher than the sum lent.
"An important step forward was when Jean Trenchant of Lyon published the first compound interest tables to appear in print, in 1558"
The first compound interest tables
Francesco Balducci Pegolotti worked for the great banking house of Florence, known as the Bardi. He served it in various countries, including England from 1317-21, and produced a lengthy manuscript on mercantile practice, of which a copy written in 1472 survives today. This manuscript is important because it contains the earliest known tables of compound interest. Banks often made short-term loans to merchants and others, charging only simple interest. However, officials of these banks would have been well aware that a sum they set aside for a portfolio of short-term loans, with simple interest reinvested, would have increased in value over a period of years at much the same rate as if the sum set aside had benefited from interest compounded at least annually. Tables of compound interest would therefore have been useful.
From about 1500 onwards, the publication of printed books started to give wider audiences access to materials that had only been known in manuscript to a few. There was an increasing focus on loans, because changing attitudes in both Europe and England during the 16th century led to the gradual relaxation of legal and religious restrictions on charging interest. Estienne de la Roche of Lyon devoted nine chapters to compound and simple interest in his arithmetic book of 1520. He used somewhat similar methods to those pioneered by Fibonacci three centuries earlier, but delved into the subject in greater depth. Using a trial and error method, he tackled the difficult question of finding the rate of interest in a compound interest transaction lasting two years and eight months. He also developed a formula for finding the annuity payable for three, four, five or six years which could be bought for a given sum.
Later developments
The mathematical methods required considerable laborious computation, which was very time-consuming and liable to error. An important step forward was when Jean Trenchant, also of Lyon, published the first compound interest tables to appear in print, in 1558. He was followed by Simon Stevin of Bruges, who, in 1582, published more extensive tables, in present-value form rather than Trenchant's accumulation form. Stevin wrote that such tables had previously been in use by some people but had been kept hidden as a great secret, and the method of composing them was known to few people. In England, an excellent book written by London mathematical practitioner Richard Witt appeared in 1613: this contained numerous tables of compound interest, in both accumulation and present-value form, and a wealth of practical examples showing their use in property transactions. Witt clearly understood the mathematical basis of compound interest, and his book is a landmark in the subject.
Various other tables of compound interest were published during the 17th century and were used quite extensively, though they sometimes contained annoying mistakes. An example of such mistakes occurs in an English manuscript table written between 1625 and 1651, now owned by the IFoA (see Figure 1). Based on the 8% interest rate then prescribed by law, that table is in the same format as modern tables, showing the year by year accumulations and present values of a single payment and a series of payments for up to 30 years. The table must have been needed in practice, since someone took the trouble to copy it out.
In 1671, Jan de Wit in the Netherlands combined compound interest calculations with age-dependent survival rates linked to a mortality investigation; Edmond Halley carried out a similar analysis in England in 1693. The compound interest techniques developed over a period of 500 years thus became a basis for the development of actuarial science.
Figure 1: Manuscript compound interest tables written between 1625 and 1651, showing the present value of £1 and of £1 p.a., based on an interest rate of 8% p.a. There is an error in the third table at years 2 and 3, but the error is not carried into the fourth table, where the figures are broadly correct.
For more detail and full references, see: Lewin CG, 'The Emergence of Compound Interest'. British Actuarial Journal (open online access), December 2019.
Chris Lewin is chair of the IFoA's Infrastructure Working Party, and has written numerous articles on actuarial history. His book Pensions and Insurance before 1800: A Social History was published in 2003
Image credit | Ikon
This article appeared in our May 2020 issue of The Actuary.
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Hypertension Medication Found to Offer Protective Effect Against Multiple Sclerosis Symptoms in Mice
by Patricia Silva PhD | March 17, 2015
A new study recently published in the journal Nature Communications led by researchers at The University of Chicago revealed that a drug for hypertension has a protective effect against symptoms characteristic of multiple sclerosis (MS) in mouse models. The study is entitled "Pharmaceutical integrated stress response enhancement protects oligodendrocytes and provides a potential multiple sclerosis therapeutic."
MS corresponds to a progressive, immune-mediated neurodegenerative disorder in which the body's own immune system attacks the central nervous system (brain, spinal cord and optical nerves), causing inflammation and damage to the myelin layer that covers and protects neurons and to oligodendrocytes, which are the cells responsible for the production and maintenance of myelin. The loss of myelin and oligodendrocytes results in an impairment of signal transmission along the nerve fibers, leading to irreversible neurological disability. There is no cure for this disease that is estimated to affect approximately 2.3 million people worldwide.
Oligodendrocytes were previously shown to have an innate mechanism responsive to stress factors such as inflammation, leading to a temporary shut-down of normal protein production in the cell and selectively driving an increase in the production of protective proteins. In MS, this system is overloaded or malfunctioning which leads to oligodendrocyte death and demyelination. Protection of oligodendrocytes is seen as a potential strategy for relieving the disease.
In this study, researchers found that the FDA-approved drug guanabenz (for the treatment of high blood pressure) is capable of preventing myelin loss and easing MS symptoms by enhancing the innate cellular protective response against inflammatory stress.
"Guanabenz appears to enhance the cell's own protective machinery to diminish the loss of myelin, which is the major hallmark of MS," said the study's senior author Dr. Brian Popko in a news release. "While there have been many efforts to stimulate re-myelination, this now represents a unique protective approach. You don't have to repair the myelin if you don't lose it in the first place."
The research team exposed cultured oligodendrocyte cells to interferon gamma (a molecule known to increase inflammation and that has been implicated in MS pathogenesis), which led to a significant induction of myelin loss and cell death. When these cells were treated with guanabenz, myelin loss was prevented and cell survival was restored to normal levels. Similar results were observed in MS mouse models, where mice genetically engineered to have high concentrations of interferon gamma in the brain were protected from myelin and oligodendrocyte loss by guanabenz. Guanabenz also improved relapse by a reduction of almost 50% in severity in a mouse model where MS symptoms relapse and remit (cycling from high severity to low severity to high again).
"Human MS predominantly follows a relapsing-remitting pattern," explained the study's first author Dr. Sharon Way. "Our hope is that this approach would provide protection against future relapses by making them milder and less frequent."
Researchers found that guanabenz acts by temporarily blocking a protein called eukaryotic translation initiation factor 2 (eIF2α) that when deactivated induces a stress response pathway that ultimately leads to protection against damage and cell death. This protective cascade triggered by guanabenz results in a decrease in inflammatory response and preservation of myelin and oligodendrocytes.
Guanabenz is planned to be assessed as a therapeutic candidate in MS clinical trials. "Guanabenz will probably not be a standalone drug, but we hope that it can be developed for use in combination with other medications," said Dr. Popko. "Some current treatments can have severe side effects — for example dangerous infections in the brain. It would be of tremendous benefit for patients to have effective, less-risky therapies."
guanabenz, multiple sclerosis, Myelin, oligodendrocytes
January 19, 2022 News by Marisa Wexler MS
Study Probes Why Some Don't Experience Placebo Effect


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Happy Birthday to you, you live in a zoo... Is that song stuck in your head now?
Several of my friends and customers received one or more of the Safari / Zoo themed stamp sets in their Mystery Goodie Boxes so I wanted to make a Stamp Camp card to show how cute the images can be - and not just for a zoo layout! I modified a card I saw in a very old Idea Book to create this one that just cracks me up. I did check with my 8 year old to make sure that this card was funny and not rude for his age bracket and I got two thumbs up from him.
The last day of the $2, $4, $6 for 8 sale is Wednesday, 11th August and there are still some great Level 1 Kits and Level 2 kits available as well as lots of $2 stickease! One of my little minions will be helping me on the 12th to draw for the PRIZE - one free, brand new accessory from the upcoming Idea Book that is going live on September 1st! I'm drawing one prize for every 10 people who order and have a few more to go for two prizes to be drawn so if you are on the fence - don't wait! Hurry on over to my site at paige.myctmh.com and place an order today to get in on the drawing!


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Q: How can i set SQL TAB as reference values for compare with another tab in Node-RED I have two tab in sql , TAB1 and TAB2. I want to use ;

*

*last element TAB2 as reference values.

*avarage of TAB2 as reference values.

*max and min element of TAB2 as ref val.
What i did ----

*

*I can take last element of TAB2,average of TAB 2 and max,min val of TAB2 via function node with JS code.

*I can easily write and read sensor data from sql.
What i need ---
I need compare values  which is belong to TAB2 with TAB1. I cant use switch node for comparing 2 different source. What kind of ways i must follow for achievement this goal ?
Update : For example this is from '' X '' Database , TAB2 Table Last value is 3. ID 5.22322
ID      Value
1      0.23123
2      9.33333
3      5.22322

This is From '' Y '' Database, TAB1
ID      Value
1      1.202123
2      3.3033
3      1.2322

redpajama_set_name: RedPajamaStackExchange


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El Molí de gra és un edifici del municipi d'Arbeca (Garrigues) que forma part de l'Inventari del Patrimoni Arquitectònic de Catalunya.

Descripció
És un conjunt edificat de pedra i arrebossat que està conformat pel molí pròpiament dit i una altra construcció adossada, coberta amb volta de canó i que servia per a deixar-hi l'animal que transportava el gra.

El molí està pràcticament enderrocat, només conserva part dels murs de pedra de mides diverses. Per la seva estructura, sembla que estava cobert a una vessant. La construcció annexa té una coberta plana, exteriorment feta de fang i pedra. A l'interior la coberta és una volta de canó, sostinguda per parets gruixudes. L'accés es fa per un arc rodó fet amb carreus.

Història
El molí formava part d'un complex agrícola anomenat "Fondo la coma" que es nodria de l'aigua del Femosa i funcionava aprofitant-ne un salt. L'aigua era recollida en un embassament, a nivell superior, darrere del molí. Des d'aquest molí, l'aigua seguia el desnivell del terreny fins a trobar un segon molí que actualment també resta destruït.

Referències

Patrimoni monumental d'Arbeca
Edificis d'Arbeca
Molins de les Garrigues


Because nobody who currently runs the world of elite gymnastics can be trusted. Nobody in that world would protect Larry Nassar's victims from his horrific sexual abuse. The days of testimony in a Michigan courtroom, which culminated in the doctor's sentencing Wednesday, have laid bare the utter and cataclysmic failures of officials at USA Gymnastics, at Michigan State, and elsewhere, to keep the children in their care from harm.
Time and again, victims were doubted, their allegations ignored. Winning was everything.
"Your abuse started 30 years ago," said Needham native and gold medalist Aly Raisman, testifying at the sentencing hearing on Friday. "If . . .


The Mt Pleasant Figure Skating Club hosts two USFS Test sessions during the skating year. The tests are routinely held each November and April/May.
Applications will be posted prior to each session and are due no later than 2 weeks before the test date. Payment and signed form are required at the time of applicaton. Due to limited testing times, applications will be processed as they are received. Priority will be given to MPFSC members.


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The quality of hair that Glam Seamless offers is hands down, my favorite! From blue black to bleach blondes, they have it all: Pre-colored ombre, multi-toned, pastels, fashion colors. The hair is soft (and odorless) out of the package and stays soft for multiple applications. I can speak from my own personal experience it doesn't get tangled and matted.
All of their prices are listed on their website, so there are no surprises. Typically, I recommend two packs (40 wefts total) for most (not all) people. If you are trying to add thickness to your existing length you may be able to get away with one pack (20 wefts). A free consultation would determine if you are a good candidate for tape in extensions, which length is realistic for blending into your current hair style, color(s), price for materials and labor, and setting up an expectation for home care and future maintenance/re-taping.
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Pristina, June 30, 2016 – The USAID EMPOWER Credit Support continued organizing one-day workshop for businesses on Access to Finance. The workshops, which are targeted roundtable discussions, were held in Lipjan and Gjilan and covered topics related to Financial Literacy and the role of the KCGF.
The aim of the workshop is to interactively discuss with businesses the options of financing their business, while informing them regarding the Kosovo Credit Guarantee Fund: what is it and how does it function.
In these workshops, enterprises advanced their knowledge on the opportunities for financing their business and were more informed regarding lender requirements and expectations. During the discussion, businesses exchanged experiences identifying challenges in improving their business and getting greater access to finance from lenders. Businesses highly valued the establishment of the credit guarantee fund and see it as an opportunity for growth and sustainability.
EMPOWER Credit Support organized the workshops in cooperation with respective municipalities: (1) Lipjan workshop held on June 10, 2016 and (2) Gjilan workshop held on June 28, 2016.


India is a country where all of us are either huge fans of cricketers or film stars or even both. Some of the big names that have been ruling our hearts definitely include the king of Bollywood Shah Rukh Khan a.k.a. SRK. The veteran actor is well known for making his fans' dream come true in the most adorable ways. This time it was a specially-abled fan whose dream of meeting King Khan came true.
In the ongoing edition of IPL, the die-hard fan was waiting for his favorite star at the stadium as Kolkata Knight Riders played their opening game against Sunrisers Hyderabad. Super excited to see his idol, the admirer kept on repeating, "I love you" and SRK couldn't resist from hugging the happy man. Also, the legendary movie star spared some time to have a word with him before leaving to support his side KKR.
Needless to mention that it wasn't the first time when the golden-hearted celebrity won hearts with such a beautiful gesture. Eden Gardens where KKR clinched the victory off SRH's hands, SRK won hearts just like he always does. What could have been a better day for KKR fans?


The reddish iris on the map marks the position of 5,000-year-old Silbury Hill that rises 130 feet above the land on the north side of the Roman Road. Across the road to the south, the topography rises to another hill nearly as high as Silbury Hill. The 350-foot-diameter "Quetzalcoatl Headdress" is marked by the green circle.
August 18, 2009 Albuquerque, New Mexico - While I was in England July 24 to August 11, 2009, I met Ryan O'Hara, cameraman working with a documentary film crew that had been doing a night watch on top of 5,000-year-old Silbury Hill from 3 AM to dawn in the early morning hours of July 5. As the sunset turned to darkness on July 4th around 10 PM, no one amid all the air traffic over the ancient Avebury and Silbury complex had reported any new formation across the road from the 130-foot-tall Silbury Hill.


Four separate canvases form this polyptych composition spanning ten feet. Chrysanthemum blossoms jostle in the foreground. Adder's tongue ferns sprout from mossy branches. Hardy little juniper trees assert themselves on distant mountain peaks. The mist draping the mountains is cool and heavy. Don't miss the smoldering young embers growing up into flames on the right panel.
Swimming out of deep and restless clouds a whiskered dragon monitors the early fire. The eyebrowed dragon with a neon plumage is curious, enormous, smiling and mischievous. If you reached out to touch the finger painted scales of this dragon, a mosaic of rainbow pebbles would bump under your fingertips.
Many people don't even see the dragon at first; it's surprising how something so big can sneak up on you. In fact, this dragon snuck up on me—twice. After I saw it the first time, I had to train my painting skills for years to catch it again.
The truth of the matter is the first week I was in Taiwan I had a vision or a hallucination. It was 2009, and I'd just found an apartment to live in, gotten the keys (a magical moment), and stepped out onto the roof terrace. Traditional Chinese music was coming from the restaurant downstairs as I looked up to see a perfect dragon in the sky made out of clouds. I saw every detail exactly: wrinkles and whiskers, toenails, nostrils, everything…it was a supernatural moment, an anomaly. And I was all alone—no one to share it with. I just stood there thinking No it can't be happening. In a few moments it became unrecognizable and morph into an unremarkable cloud. But I know what I saw and I'll never forget it. That year was when my whole artistic career was sparked, and that apartment was where I would soon discover finger painting.
I had wanted to paint a dragon in the sky since that special afternoon, but knew I didn't have the skills to pull it off. Last year, I was color prepping some canvases with scribbles of base paint and thinking of the multi-paneled Chinese folding screens I had recently studied at the Met. Suddenly, in the random marks of paint, I saw the mountains, the foreground, the clouds, the dragon. This was the second time he visited me, and this time I caught him.


text:
Mick Fleetwood Chats About Starting Fleetwood Mac: "It Was to Do With Pain"
The legendary drummer chronicles the first chapter of his band in Love That Burns.
By Rachel Brodsky | September 21, 2017 | 9:58am
Photo: Daniel Sullivan Music Features Fleetwood Mac
Any music fan with a working knowledge of Fleetwood Mac can probably name at least five of the classic-rock titans' hits: "Landslide," "Rhiannon," "The Chain," "Dreams," "You Make Loving Fun"—that is, the omnipresent radio fare that dominated airwaves in the late 1970s and early '80s, bolstered by Lindsey Buckingham's guitar and Stevie Nicks's and Christine McVie's vocals. But that band was really the American sequel to Fleetwood Mac. Their origins trace back to 1967 and London's mid-century blues explosion, with guitarist Peter Green at the helm and guitarist Jeremy Spencer, bassist Bob Brunning and percussionist Mick Fleetwood (the only member to survive every lineup change) at his side.
The newborn Fleetwood Mac played a well-crafted facsimile of Chicago blues, plus some faithful covers of its progenitors, mostly Elmore James and Howlin' Wolf. The group's lineup would famously turn over in the years ahead, with John McVie assuming bass duties and his then-wife, keyboardist Christine McVie, coming on board later. Once Buckingham and Nicks joined up in 1974, the California edition of Fleetwood Mac found overwhelming mainstream success with celebrated records like Rumours (1977), Tusk (1979) and Mirage (1982).
It's too much to fit in one book, so Mick Fleetwood has essentially written Chapter 1 with Love That Burns: A Chronicle of Fleetwood Mac, which came out Wednesday via Genesis Publications. It chronicles the band's blues era via essays and photos, and pays homage to Green, who left the band in 1970 and has struggled off and on with mental illness in the decades since.
Paste caught up with Fleetwood, who turned 70 in June, for a conversation about his role in the formation of Fleetwood Mac, what Green said to convince him to join, and what's kept him invested in the band after half a century.
Paste: What inspired you to discuss the genesis of the band in this way, and why did you choose to do it with the visual aspects of this book?
Mick Fleetwood: More than 20 years ago, I saw one of the lovely presentations of George Harrison's original book. George used to be my brother-in-law, so that's how I blundered into seeing the book. Beautiful, it was like a piece of art. The book itself started the original fantasy of, "One day, I'll do that," type of thing. It went off the radar, but that's how they're connected to this book. I wanted to do "Part 1," or whatever you want to call it. I was totally unaware of the fact that, apart from the original members, in August, it's 50 years [since Fleetwood Mac formed]. Totally not a part of why we were doing this. Now it's hugely relevant.
And you intend to put out a second volume, is that right?
It has to be. That's what's so cool about this. Whether that happens or it [doesn't], Genesis were super, super focused and cool with saying it, and that has real value just in it—If we never did another thing, this existed. Most people would say, "I want the whole thing."
Why do just the band's earliest days?
It's too much information [otherwise]. Fleetwood Mac's had so many incarnations and have delineated lines that are so clear, you go, "it should be done like this." That's what we did, and it's been revealing. The title itself is a song that Peter [Green] used to sing.
And why choose Love That Burns for a title?
None of this would've happened without Peter. At all.
When the band took off commercially in the mid-'70s, did it feel strange that somebody who was your reason for being in Fleetwood Mac was no longer involved?
Someone else framed the question in a way that was very similar, but in truth, I've never been asked that before. You have to understand that when we started the band, very shortly after it, unbelievably quickly, the first album we made was a No. 1 album. The funny blues album we made, all the Elmore James stuff, that was Peter. Then he started writing even more stuff.
Peter's experience was from nothing, although he had a great reputation as a guitar player already with John Mayall. A little earlier on, we were totally unknown. I worked with Peter in a small instrumental band. Then he joined John Mayall, took over from Eric [Clapton], and he became "the dude," the gunslinger. He saw and experienced huge success from that early band, so it's all relative. Not on the level of what you're talking about, I get, but it is all relative. In our world and his world, we went from nothing to the biggest band in our world, which was Europe. The band was huge, and there was some joke—which I still think is a joke, but it actually was true—that there was a period where we were outselling The Beatles—which you go, "Well, who cares?" It wasn't true—well, it sort of actually is true, but probably for about five days or something. Whatever it was, Peter wasn't devoid of his own realization of huge success. The reality is that he didn't want that, and it became his nightmare, so he certainly wouldn't have been comfortable with the journey that we were later to take. With the dynamic of his personality, and what happened emotionally to him, which is truly another book. It's touched on, but Love That Burns, the title, is about that.
You collected the essays in the book from different people in your orbit at that time, as well as from Peter. What was the process like when you reached out to him?
We spoke on the phone over a couple of hours, and we taped it all. It was very hard to listen to it, really. I was not dreading it, but I was going, "Oh my God, he's like my mentor." It's like an ex-lover; it's sort of more major [than other interviews].
The 10 Best Books About Fleetwood Mac
So I get on the phone, and it was powerful. Some of his memories were unbelievably accurate, and at some I was going, "Wow, I never thought that." He was almost forced to form a band, he didn't really want to do it. He probably had agents going, "You gotta do this, you gotta do that!" So he asked me to do it with him, and I don't remember even being asked, it just sort of happened. But in this phone conversation, when I asked him [why he decided to start a band], I thought it would be more of a musical thing. I don't know what I was thinking. I wanted to know, "What was it that you reckoned that we put this band together?" And it had nothing to do with music at all. He said, "You were so sad and unhappy." I had just broken up with my girlfriend, who he knew, Jenny [Boyd], who I'd later marry. I burst into tears after the phone call. That's Peter. He was concerned about that. The irony and the joke would be, if I hadn't have been sad and fucked up and unhappy, Fleetwood Mac would never have happened. [Laughs.] And that struck me as unbelievable. There wouldn't have been a Fleetwood Mac if Jenny hadn't [broken up with me]. So I phoned Jenny up, and I said, "Jenny, good job you left me, or none of this would've happened! Thank you!" It's probably the truth. How about that? I found out all these years later [it] had nothing to do with, "Well you're a pretty good drummer, and you're my mate." It was to do with pain.
The best art often comes out of the worst pain.
It's certainly the inception of what we were doing. It was a bunch of guys led, certainly at that point, majorly by Peter. I was the last in line to be a real blues player. John was so conversant, having played with John Mayall, and his whole life was playing blues. Peter, no wonder, he was wired to be blue. And later on, it really manifested in a way that wasn't great for him, and there's nothing more we can do about it.
So many members rotated in and out of Fleetwood Mac through the years. What was it that kept you there year after year?
Fear of losing a job! [Laughs.] No, it was my nature I think, and also what I had to do. It [would've been] a pretty lonely entity; you can't exactly drum on your own, you know. By nature of the rhythm section, me and John go like, "Shit, we're still here!" After you put the humor into it and say, "Well, you know, we needed someone to play with," there's sort of some truth to that: We don't do what we do without other people. I don't sit in a room and sing and write songs, that's just the way it turned out. But as a team player, I'm "it." I was wired to keep that around me, because I love it, need it, want it. It became a part of my expression.
The 20 Best Fleetwood Mac Songs
When Peter left, we were all frightened. Really, it was a form of fear. But John, Jeremy, Danny and myself made Kiln House, that funny little album. Christine [McVie], who was now married to John, she watched us all and suddenly, after we made the album, we were like, "Would you like to join?" She didn't even play on the album—I think she played one bit of piano, didn't sing—but it was about holding together. My version of that was: When you're a little fearful that the structure is falling apart, it's human nature. You'll even make friends with some of your enemies quickly, if the overview is saying, "You're in trouble, you better start rowing the boat, or we're all going to die."
Did you ever feel like you were keeping at it for someone else, or was it always for you?
No, I think it was just my instinct not to give up. I do think it was a combination of how I was wired anyhow, and being a drummer and part of something Peter predetermined. He gave the name of the band to the rhythm section. All these things came out, and I found out a lot later, in an interview, I never knew, he said, "Well, I always thought that I would leave, but I wanted Mick and John to have the band." This is him. It was almost like he knew what was going to happen.
Fleetwood Mac in 1968: Mick Fleetwood, Peter Green, Jeremy Spencer and John McVie.
Do you think that you'll keep in contact with Peter more going forward?
No, I don't think Peter is interested in that. I know when I go to England—I saw him on the last [Fleetwood Mac] tour, and he was happy enough to come. He came to two shows which, for him, was a lot. You can tell he has no interest. Lindsey [Buckingham], who has total respect for who Peter is, doesn't know Peter, but knows of him through me and through John, had more than a couple at certain shows in London. Lindsey said, "Did you see Peter?" I said, "Yeah, I said hello to him." I [used to] be like, "God, I just want Peter to say that he really enjoyed it, something." We had played a great show, and Lindsey just said, in good humor, "I don't know whether [Peter] liked it or not, he just talked about something that had nothing to do with anything, really." But that's Peter. He's sort of disconnected from ego. That part was only really revisited after that phone call. I was realizing that Peter truly is not coming back from his particular change of life. It's selfish, but I don't have what I used to have, and I was re-reminded of all the withdrawals that we had as a band. The good graces of that was that it led to an ability to keep going.
I think the tragedy of losing [Peter] enabled me and my connection to this band. It's not him we're [following] with that fucking flag; who's picking the flag up again and going, "C'mon, we can do this?" It's like that Monty Python skit where you go, "You ain't got no legs! You've got nothing! C'mon, c'mon, get me!" And in the end you say, "I got no teeth, but I'll gum you!" I think that I suffered from a bit of that. But in the end, who cares really? We are where we are. A lot of those sensibilities come from these days and all the changes.
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HomeContentNewsTony Blair Institute Insists On Making Digital ID Systems Flexible Using Open...
Tony Blair Institute Insists On Making Digital ID Systems Flexible Using Open Source
To fully reap the rewards of recent advancements in digital identity, governments must be allowed to upgrade and re-adapt their historical ID infrastructure, giving them the freedom to select solutions like open source or open standards that best suit their needs.
Yiannis Theodorou, director of digital identity at the Tony Blair Institute for Global Change contends that although proprietary or vendor lock-in solutions are frequently found in the digital ID field due to competition and innovation, recent advancements in the industry are altering its course.
Theodorou states that updates such as "mobile-ID solutions, sophisticated biometrics, cloud computing and other technologies have made it possible to develop integrated national ID ecosystems that are efficient, cost-effective and secure, without necessarily involving centralized databases."
Theodorou believes that employing proprietary vendor systems that lock-in their government customers makes switching to open source technologies not only difficult but also expensive and very likely to fail operationally.
The author lists benefits of utilising open source software based on open standards and claims that it allows for interoperability, whether it is nationally amongst government agencies or internationally across borders.
He uses the Nigerian digital ID programme as an illustration, where interoperability between the national population registry managed by the National Identity Management Commission (NIMC) and the mobile ID system based on a mobile application is made possible by an open standard system built as a result of a partnership with OSIA.
Additional examples of open source-based digital ID systems mentioned in the commentary include OpenCRVS, which was used for proof of concept in Zambia, MOSIP, which was adopted by Estonia, Iceland, and Finland, and which will be operational by the end of this year, as well as GovStack, which was launched in 2021.
Theodorou applauds the robust communities that go along with open source or standards approaches and sees them as being valuable additions. Despite the advantages of open source and open standards solutions, Theodorou makes it clear that they must be tailored to the conditions in each country where they are used before they can be used. Additionally, he exhorts governments employing these tools to exercise caution in two areas.
NIMC
OSIA
Tony Blair Institute
Open Source MI-X Tool Gets Updated For More Secure App Development
According To Research, Hackers Can Use ChatGPT To Create Phishing Emails And Codes


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The richest-ever Hearthstone tournament is considering some big changes following serious backlash from fans and players alike.
The World Cyber Arena Hearthstone event, to be held in China in October, is set to be by far the biggest yet in the game's young history, offering a total prize pool of nearly $200,000.
But last week's announcement of the opening group draw created a whirlwind of controversy.
The draw would be unseeded, which meant that the world's best players were equally likely to be draw together in the same group as they were to be spread out among the field. And that's exactly what happened.
Group G was given the "group of death" title, and with good reason. It alone features arguably the world's three best players, including Andrew "Tides of Time" Biessener, Dima "Rdu" Radu, and Jason "Amaz" Chan. The group is rounded out by other potential contenders as well: Marcin "Gnimsh" Filipowicz and Cong "StrifeCro" Shu.
The fact that only two of these players would potentially be able to reach the playoff stage did not sit well with fans, especially given that some other groups were made up entirely or almost entirely by players without such track records of success. Some fans even wondered if nationalism played a role in the draw, as two groups were structured such that local Chinese players would be guaranteed to advance.
Concerns have also been raised about the unusual tournament format. Group stage matches were set to be played as best-of-two, making for an unprecedented structure sure to produce a number of draws. The playoff stage would feature more traditional extended matches, but players would have opportunities mid-series to make changes to their decks.
But the negative feedback WCA officials have received has already caused a change in their thinking.
A report from GosuGamers indicates that the organization has changed the group stage format to a traditional best-of-three model and is still considering other changes, up to and including a redraw of the groups using a new seeding model to make for a fairer spread of players.
Whatever tournament officials decide to do, they'll need to move quickly. The event is set to take place on Oct. 2.


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A derelict Marrickville locksmith shop in need of plenty of work is set for a new life after the site was put up for sale.
Derelict Marrickville property with DA approved plans is for sale
No. 72 and 74 Fitzroy St, Marrickville, is now on the market after sitting empty for close to 10 years.
A derelict locksmith shop and house in Marrickville is set for a new lease on life after it was put up for sale.
With boarded up windows and graffiti all over the facade of the building, 72 and 74 Fitzroy St is well known with locals.
Records show that the site has been left empty for nearly 10 years.
Summer Hill ice cream site to make way for units
Big payday for owners of converted boatshed
The 338sqm property is set to go to auction next month on July 3 through Raine and Horne Commercial — Inner West/South Sydney director Luke Smith.
Inside has been cleared out.
Mr Smith said early interest in the property has been around $1.1 million and the vendors were motivated to sell.
According to CoreLogic, the property last traded hands in 2013 for $850,000, when it was snapped up by local company Dewkelp Pty Ltd.
Under their ownership it has been stripped back to a blank canvas with the interiors now tidy compared to the junk that was inside before, while the overgrown garden and lawn have also been cleared.
The two Torrens titled semi-detached properties come with an existing DA approved by Inner West Council in July 2016.
The backyard once had an overgrown garden and lawn.
The property is now a blank canvas.
It allows for the construction of a two-storey building with five commercial tenancies consisting of an interior design office, engineers office, media office, architects office and an artist's studio.
The Fitzroy St property also falls under the IN2 Light Industrial zoning which allows for light industrial use or for residential dwellings.
Marrickville Metro Shopping Centre is located just behind the property, and it also borders the residential and commercial districts of the suburb.
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