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The battle of the supermarkets – again…
07/26/2014 by Michelle 1 Comment
This morning Derby City Council was reported as calling for a tax of up to £400 million to be imposed on the larger supermarkets, the money to be spent on regenerating the town centres which have suffered so badly as a result of supermarket expansion. Such a scheme, known as the Tesco tax, already operates in Scotland and the North of Ireland. Not unexpectedly, supermarkets claim that such a scheme would backfire on poorer shoppers as it would force supermarkets to raise prices to cover the cost of the tax – and that the funds raised would just disappear into the gaping maw of local authority coffers and not actually get spent on town centre regeneration. Pass…
Like most of us, I find myself running with the hares and hunting with the hounds over supermarkets. Yes, of course I do use them – they are massively convenient. Even more so since they started delivering to my door rather than me having to slog around them. And certainly with my 'freefrom' hat on, the major supermarkets have been, and remain, very major players in the growth of freefrom in the UK. Moreover supermarket sponsorship has been extremely helpful in allowing us to develop the FreeFrom Food Awards to the point where they can play a significant role in the growth of the sector. But – and it is a big but…
Along with many others I do believe that the supermarkets are too big and too powerful – and that for all of the excellent intentions of many of those who work for them, the companies' underlying motive remains profit, whether or not that profit comes at the expense of their suppliers, the health of their customers, or the health of their local environments.
As Professor Capewell pointed out at the FABResearch conference last week, ten multinational companies manufacture 90% of the ultra processed foods which have caused the current obesity/diabetes epidemic – but where are those ultra processed foods sold? The vast majority of them are sold through the supermarkets. And yes, manufacturers struggle to get supermarket listings, but how many tales have we all heard of manufacturers being screwed down to un-livable-with margins or being dropped like a stone with no warning if sales are down or a competitor offers a better deal.
And what of the lived-in environment? The reason why Derby City Council wants to tax them is because they believe, entirely rightly, that massive out of town supermarket complexes and high street supermarket 'locals' and 'expresses' have driven independent retailers out of business and desert-ified local town centres. And are continuing to do so. Indeed, see the tale of Sainsbury's and South End Green, resolved, at least temporarily, only days ago.
Our local village is South End Green, running from the war memorial to Hampstead Heath station at the southern end of Hampstead Heath. Just up from the war memorial is the Royal Free Hospital and just opposite the war memorial used to be a Classic cinema, one of the oldest in the country although sadly run down.
Around ten years ago the whole of the cinema side of the green was redeveloped into residential property and a sizeable Marks and Spencers 'Simply food' appeared on ground level. Not welcomed by many residents (and still boycotted by this one!) but understandable, given the huge itinerant population of the hospital, and relatively little threat to the existing traders as the majority of what they sell is ready meals.
However, six weeks or so ago the word got out that Sainsbury's were doing a deal with Dorringtons, the freeholders of the parade of shops opposite the station, to replace four of them with a new Sainsbury's 'Local'. The shops concerned were a very popular owner-run local café, a stationers, a florist and a charity shop. The new Sainsbury's would have been located next door to a local Londis that has been trading in South End Green for at least 20 years and whose trade it would have killed stone dead.
Local residents were up in arms. Despite the M&S, South End Green remains very much a village with local shops serving the local community – and that is how they wanted it to stay. So we all signed on line petitions, organised meetings and protests, wrote letters and sent emails to both the freeholders and Sainsbury's and talked at length to any media that would listen. And, I am delighted to say, Sainsbury's has withdrawn their proposal. So what am I complaining about?
I am complaining because Sainsbury's are insisting that local feeling had nothing to do with their decision to withdraw; the scheme collapsed because the freeholders could not find suitable premises to which to relocate the existing shop tenants. And that they 'will continue to look for suitable opportunities to open in the area'.
Sainsbury's have a great history and do a good job. I don't have a problem with their bigger stores when located in a suitable spot (such as the O2 centre in Finchley Road) or even with their 'Locals' when they are located in a suitable spot (such as Camden High Street, or Kingsway or Tottenham Court Road) but leave our villages alone. God knows there are few enough of them left so let us keep the few that we have!
So what good that £400 million tax? Taxation rarely gives birth to civic conscience and that is what we really need them to develop.
Filed Under: Big Business, Environmental Issues, Food, FreeFrom Food Tagged With: Classic cinema south end green, Derby City Council, Dorringtons, FEBResearch conference, Freefrom food, FreeFrom Food Awards, M & S Simply food, Professor Simon Capewell, Royal free hospital, Sainsbury's, Sainsbury's local, Sainsbury's local in South end Green, South end green, South end Green a village, sponsorship for freefrom food awards, Supermarkets destroy the lived in environment, tax on supermarket profits, Tesco tax, ultra processed foods and the obesity epidemic
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text:
Otto Albert von Grone (* 7. Februar 1841 in Westerbrak; † 16. Mai 1907 in Westerbrak) war ein preußischer Generalleutnant, Propst zu Steterburg, Herr auf Westerbrak sowie Ehrenritter des Johanniterordens.

Leben

Herkunft
Otto Albert entstammte dem Adelsgeschlecht von Grone und war der Sohn von Adolf Kurt Eckbert von Grone (1807–1885) und dessen Ehefrau Auguste Luise Amalie, geborene von Bülow (1812–1893).

Militärkarriere
Grone besuchte die Kadettenanstalten Bensberg und Berlin und wurde am 17. Mai 1859 als Sekondeleutnant dem 2. Garde-Regiment zu Fuß der Preußischen Armee überwiesen. Für einen Monat war er ab 7. Juni 1860 zum 2. kombinierten Garde-Infanterie-Regiment kommandiert und wurde anschließend in das 4. Garde-Regiment zu Fuß versetzt. Vom 30. Mai bis 27. Juli 1861 sowie vom 31. Mai bis 26. Juli 1862 folgten Kommandierungen zum Garde-Pionier-Bataillon. Mit seinem Regiment nahm Grone 1864 während des Deutsch-Dänischen Krieges an der Beschießung und dem Gefecht von Fredericia teil.

Im Jahr darauf besuchte Grone die Kriegsakademie; die Ausbildung wurde jedoch durch den Ausbruch des Deutschen Krieges 1866 unterbrochen. Er wurde für die Dauer des mobilen Verhältnisses als Adjutant der kombinierten Garde-Infanterie-Brigade beim II. Reserve-Armee-Korps bei der Mainarmee verwendet. Nach Kriegsende erfolgte am 30. Oktober 1866 seine Beförderung zum Premierleutnant und als solcher beendete er dann bis zum 27. Juli 1868 seine Ausbildung an der Kriegsakademie. Im Anschluss daran wurde Grone zunächst bis zum 30. April 1869 zum Garde-Schützen-Bataillon und dann bis zum 30. April 1870 zum Großen Generalstab kommandiert. Er wurde am 17. Juni 1870 kurzzeitig unter Stellung à la suite seines Regiments als Lehrer an die Kriegsschule Potsdam versetzt.

Aufgrund des Beginns des Krieges gegen Frankreich wurde er jedoch am 17. Juli 1870 von dieser Aufgabe entbunden und zum Adjutanten der mobilen Garde-Landwehr-Infanteriedivision ernannt. Mit ihr zeichnete er sich bei der Belagerung von Straßburg aus. Er kam dann am 22. August 1870 als Kompanieführer in das 4. Garde-Regiment zu Fuß, kämpfte in der Schlacht von Sedan und wurde am 16. September 1870 zum Hauptmann befördert. Im weiteren Verlauf des Krieges gegen Frankreich nahm Grone an der Belagerung von Paris, dem Gefecht von Montmagny sowie der Beschießung von Montmédy teil.

Ausgezeichnet mit dem Eisernen Kreuz II. Klasse kehrte Grone nach Friedensschluss in die Heimat zurück und war bis 20. August 1875 Lehrer an der Kriegsschule Erfurt. Kurzzeitig kommandierte man ihn vom 3. August bis 15. September 1874 zum Füsilier-Regiment Nr. 36. Die Ernennung zum Kompaniechef im Kaiser Franz Garde-Grenadier-Regiment Nr. 2 erfolgte am 21. August 1875. Hier diente er bis zum 13. Januar 1879 und wurde zwischenzeitlich vom 2. bis 16. September 1878 als Beobachter zu den Manövern der italienischen Armee kommandiert. Anschließend trat Grone in das Grenadier-Regiment Nr. 2 und Adjutant beim Generalkommando des II. Armee-Korps über und wurde am 13. März 1879 zum Major befördert. Als solcher wurde er am 12. Februar 1881 Kommandeur des II. Bataillons des Füsilier-Regiments Nr. 34. Diesen Posten gab er am 5. Dezember 1883 ab, wurde Kommandeur des Hannoverschen Jäger-Bataillons Nr. 10 und am 18. November 1886 zum Oberstleutnant befördert. Am 6. September 1887 folgte seine Versetzung nach Schwerin als etatmäßiger Offizier in das Großherzoglich Mecklenburgische Grenadier-Regiment Nr. 89. Dort wurde Grone am 15. Oktober 1888 unter Stellung à la suite des Regiments mit der Führung beauftragt. Am 22. März 1889 wurde er zum Oberst befördert und zum Regimentskommandeur ernannt. Mit seiner Beförderung zum Generalmajor am 27. Januar 1892 wurde Grone Kommandeur der 59. Infanterie-Brigade in Saarburg. Seine Kommandierung zum Vertreter des Kommandeurs der 28. Division in Karlsruhe folgte am 11. August 1895. Sieben Tage später erhielt Grone seine Beförderung zum Generalleutnant und am 27. August 1895 wurde er schließlich zum Divisionskommandeur ernannt.

Nach dem Manöver gegen die 29. Division reichte Grone 1898 seinen Abschied ein. Dieser wurde ihm am 25. November 1898 unter Verleihung des Kronenordens I. Klasse mit Pension gewährt. In nochmaliger Anerkennung seiner langjährigen Verdienste wurde ihm am 13. September 1899 der Rote Adlerorden I. Klasse mit Eichenlaub verliehen.

Familie
Grone verheiratete sich am 23. Oktober 1873 in Holzhausen mit Anna von Oheimb (1849–1900). Aus der Ehe gingen fünf Kinder hervor:
 Siegfried (* 1874), preußischer Hauptmann der Reserve, Herr auf Westerbrak ⚭ Agnes Freiin von Hammerstein (* 1889)
 Elisabeth (* 1877) ⚭ Philipp von Legat, preußischer Oberstleutnant
 Hans-Heinrich (* 1878), Hofmarschall des Herzogs von Braunschweig ⚭ 1905 Thora Gräfin von Bernstorff (* 1886)
 Karl Otto (1879–1918) ⚭ 1909 Hertha von Klitzing (* 1888)
 Jürgen Alexander (1887–1978), deutscher Major, Ritter des Ordens Pour le Mérite

Literatur
 Kurt von Priesdorff: Soldatisches Führertum. Band 8, Hanseatische Verlagsanstalt Hamburg, o. O. [Hamburg], o. J. [1941], , S. 195–200, Nr. 2561.
 Gothaisches Genealogisches Taschenbuch der Uradeligen Häuser. Der in Deutschland eingeborene Adel (Uradel). 1916. Siebzehnter Jahrgang, Justus Perthes, Gotha 1915, S. 266 f.

Generalleutnant (Königreich Preußen)
Person im Deutsch-Dänischen Krieg (Preußen)
Person im Deutschen Krieg
Person im Deutsch-Französischen Krieg
Träger des Eisernen Kreuzes II. Klasse
Träger des Roten Adlerordens 1. Klasse
Träger des Preußischen Königlichen Kronenordens 1. Klasse
Ehrenritter (Johanniterorden)
Infanterist (Preußen)
Adliger
Deutscher
Geboren 1841
Gestorben 1907
Mann

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text:
Achanta Mandal is one of the 46 mandals in  West Godavari district of the Indian state of Andhra Pradesh. Its headquarters are located in Achanta. The mandal is bordered by Godavari river to the north, Yelamanchili mandal to the east, Poduru mandal to the south, and Penugonda mandal to the west.

Demographics

As of the 2011 Census of India, Achanta Mandal had a population of 60,711, 30,614 males and 30,097 females, resulting in a female to male ratio of 983:1,000. There were 17,477 households, with an average of 3-4 people per household. 5,665 children are in the age group of 0–6 years, of which 2,829 are boys and 2,836 are girls, with a female to male ratio of 1,002:1,000 males. The average literacy rate stands at 77.36% with 22,697 males and 19,884 females. Schedule Caste represents 26.6% of the population (16,159 people), and Schedule Tribe represents 0.6% (374 people).

Employment
, 30,259 people (19,304 male; 10,955 female) were engaged in work activities out of the total population of Achanta Mandal. 23,191 people describe their work as main work (employed for six months or more): 1,997 cultivators (owners), 16,390 agricultural laborers, 685 in household industry, and 4,119 in other work areas. 7,068 people are marginal workers (employed for less than six months).

Administration
Achanta Mandal is administered under the Achanta (Assembly constituency) of Narsapuram (Lok Sabha constituency). It is one of the twelve mandals that falls under the Narasapuram revenue division.

Towns and villages
, the mandal had 10 settlements, all of which are small villages. In terms of population, Achanta is the largest and Kandaravalli is the smallest. The settlements in the mandal are Achanta, Achanta Vemavaram, Bhimalapuram, Kandaravalli, Karugorumilli, Kodamanchili, Koderu, Pedamallam, Penumanchili, and Valluru.

Education
The mandal plays a major role in education for the rural students of nearby villages. Primary and secondary school education is imparted by government, aided and private schools, under the School Education Department of the state. For the academic year 2015–2016, the mandal had more than 6,466 students enrolled in over 80 schools.

See also
 List of mandals in Andhra Pradesh
 Eluru

References

Mandals in West Godavari district


I first started piano and violin lessons aged 7, later giving up the latter instrument in favour of alto saxophone when I discovered jazz through a stack of LPs given to me by a relative. I spent my formative years playing and singing everywhere I could and went to Leeds College of Music in 1995 to study jazz. I was also a fan of metal (especially Iron Maiden and Slayer) but lacking guitar skills I didn't do much about that at that time, mostly producing jazz and electronic music.
After graduating, I worked as a jobbing musician doing piano vocal in restaurants and touring with James O'Hara's blues band The Detonators, before realising that the mercenary existence of playing for a living was removing everything I ever loved about expressing myself through music. I began teaching singing and music so I could play and write on my own terms, also I became heavily involved in the Northern goth, open mic and alternative cabaret scene, developing guitar skills along the way. I toured and made two albums with gothic industrial band Zeitgeist Zero and also developed a sideline as a singing magician and escape artist.
When I moved to Northampton in 2009 I went full time into the classroom, but eventually found that while teaching music and other subjects suited me, being Mr. Jackson the institutional authority figure did not. So now I'm back on the fringes as an independent artist.
Isn't "independent" just the same thing as "unsigned"?
'Unsigned' suggests it is the goal of every musician to find a record company to take charge of them like a maiden longing for a husband, even an abusive one. I hold no grudges about record companies or those who sign to them – I just see it as a business decision rather than a necessity and, for various reasons, not the right path for me.
First of all, signing to a subsidiary of the big 3 majors is important if your objective is to become a star. If that is your ambition and you are willing to dedicate your all to accomplishing it, your chances of cracking the mainstream are still next to nil without the support, investment, promotion and professional advocacy that comes with being signed to a major. I however am not motivated by fame or celebrity, more repelled by it – as far as I can tell it would involve giving up far too much personal and artistic freedom, whatever the financial compensation.
Secondly, I happen to be a very difficult artist to market. My music is too weird and eclectic to fit a reliable marketing strategy and I am drawn to niches and ideas I find interesting rather than ones that are profitable. I like to challenge listeners with my lyrics and when I do find myself in a particular scene (I have passed through a few, most significantly jazz and goth circles) I have a knack for doing whatever is most unpopular and unfashionable within that scene. I don't aim to, I'm just really bad at fitting in and most admire artists who are as willing to take on their immediate peers as the commonly agreed 'enemy'. That I am now over 40 years of age would also have to disqualify me as a rocking teen sensation. In short, if I were an A+R representative at a major label, I would not see me as a good investment.
As an independent artist I am free to make the music I wish, on the topics I choose, to express myself honestly and stand next to the results. The internet has made it possible to accomplish all this in way not possible twenty years ago.
See above. Especially the part about being motivated by expression rather than fame.
Many and varied, you'll likely get a different answer from me on any given day, but people who have particularly influenced me include Duke Ellington, Herbie Hancock and McCoy Tyner for piano, Thomas Dolby, Vince Clarke and Johnny Violent for electronics, Paul Simon, Justin Sullivan and Tom Robinson for songwriting, Bobby McFerrin, Sam Brown, Tina May, Bruce Dickinson and David Coverdale for singing and Frank Zappa and Django Bates for composition. Over the years I've also worked with and learned from many fantastic musicians, some of whom are credited on my 'past projects' pages.
What's with the whole 'genderfluid' thing?
To be genderfluid is to identify and present beyond traditional binary gender definitions.
I've never been comfortable in a conventional masculine persona, have a very pronounced feminine side and find much of what passes for gender definition to be based on arbitrary and often destructive values. My early gender explorations took the form of mild cross dressing, although I would from time to time go all the way into a female identity (particularly as a performer – I've had numerous female/drag identities onstage) I was happiest incorporating skirts, dresses and feminine aspects while just being myself, taking an androgynous, in-between approach. I often stated that had I been born a girl, I would probably have dressed as a boy.
Even in full drag I'm no sissy girly-girl, but then neither are any of the women I admire. This occasionally has caused friction within the trans scene, where someone once tried to insult me by sarcastically calling me a "tomboy transvestite", but I loved that description so much I used it for years. Back then, the term 'genderfluid' did not exist (early versions like 'genderfuck' did but were unsatisfactory – I didn't like the suggestion that this is all about shock), but now the term genderfluid suits me perfectly – not so much a rejection of gender as refusal to be limited by it.
Pronoun-wise (he, she, they, zhe, xhe etc.) I answer to whatever suits how I'm presenting at the time, but don't really get hung up over it. Anyone trying to upset or demean me by deliberately misgendering will need to try a lot harder.
I have explored my gender identity enough to know that my place on the transgender spectrum does not necessitate, nor would be aided by, gender reassignment surgery. I am a passionate advocate for transgender issues and support and respect those who do need to transition fully, but in addition I believe it important to understand that a person's choices about their gender presentation are a lot more complex than to either commit to invasive life changing surgery or shut up and conform to a conventional binary identity they may not be comfortable with.
Are you a Christian artist? / Stop cramming your religion down my throat, you jerk!
I'm really just an artist. Though I try to have an overall positive (if sometimes satirical) message, mostly it's about encouraging people to think openly and find the courage to be themselves rather than pushing a religious agenda, any religious language in my lyrics should be seen simply as a point of view.
As far as it goes, I define myself as a Progressive Christian (thanks to Roger Wolsey for coining that term), but mostly my beliefs are that every religious viewpoint is an attempt to quantify and understand something far greater and intangible than any of us are equipped to process. We can break down bits of it and develop scientific understanding, but to be absolutely certain of anything (and especially to use that certainty to attack others) to me is an act of supreme arrogance that theists and atheists alike can be guilty of.
Do I believe in God? Yes, but probably not the one you're imagining right now. Do I take every word of the Bible literally? Absolutely not, if it was meant to be read that way Jesus wouldn't have spoken in parables and the worst thing that ever happened to the Bible is when it was broken up into a bunch of neat, numbered quotes to be presented out of context as Absolute Truth. Do I believe Jesus Christ rose from the dead? I choose to, on the basis of what that stands for. Do I reject science? Absolutely not, nor do I see science and religion as enemies, just ways of exploring the tangible and intangible, respectively.


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text:
Ernest & Celestine – Stéphane Aubier, Vincent Patar, and Benjamin Renner (2014)
Love is love. It's a simple idea that so many people can't grasp. Love is nothing to be afraid of. Black and white, boy and boy, girl and girl — or indeed, mouse and bear — it's never anything to be afraid of. But it seems to only make sense to one inquisitive mouse, Celestine (Mackenzie Foy), and one hungry Bear, Ernest (Forest Whitaker), who meet quite by accident when Ernest saves Celestine's life only to then try and eat her for a snack.
In the film's world that is inhabited by animals like Art Speigelman's Maus, the other mice are afraid though, and the other bears. Mice live in underground, bears above ground, and the two share very little with each other. When Ernest and Celestine find themselves on the wrong side of the law in both the bear and mice world that notion is challenged in startlingly emotional ways and the unlikely pair find each other to be perfect protectors for each other in different ways.
The animation, done in a sumptuous broken-line storybook-style watercolor, is outstanding. Despite the rumors of its demise, 2D hand-drawn animation isn't dead, in fact it's becoming vital again in Europe, and this is a brilliant example of what it could be again.
Rob Boylan / Film /
Up – Pete Docter, Bob Peterson (2009)
http://www2.orlandoweekly.com/film/review.asp?rid=14348
It must be freeing to know that you have an audience before you even compose your first thought for a project. It's a luxury very few people enjoy in the movie business, but an audience is a fait accompli for anyone working with the Pixar logo at the head of their credits. Pixar has the kind of track record that renders bad reviews all but moot, but they don't take their good standing for granted. They work harder, as individuals and as a company, with each new picture so as not to betray the quality of what came before just to make a cheap buck. It's the mouse that sells the toys.
Pixar has not failed that legacy with Up, Pete Docter's daydream follow-up to his nightmare awakening of Monsters, Inc. It follows the story of Carl Fredricksen, a former balloon salesman turned elderly curmudgeon who is slowly being squeezed out of his home, his comfort and his life by a great villain called time.
On the eve of being evicted and sent to a nursing home, Carl does what any rational person would do: He turns his house into a zeppelin with thousands of helium-filled balloons and steers it towards South America, hoping to land on Paradise Falls, a mythic-yet-real spot in Venezuela. It's the spot that he and his childhood sweetheart, Ellie, had always planned to visit together, but they ran out of time before they could get there. He is joined – accidentally, as it were – by Russell, a young Wilderness Explorer who is looking for the "Assisting the Elderly" badge to fill out his sash.
With WALL-E last year and now Up, Pixar has, oddly enough, grown up a little. It's not because of the elderly characters or the lack of inanimate objects with speaking parts (animals still talk here, though not of their own accord); there's a new layer of depth and emotional resonance. That could have been assumed to be a fluke in WALL-E, but not only weren't these themes a fluke, they're expanded upon in Up. Now we arethe characters, instead of wishing there were some way that the characters could really exist.
The old yarn that Pixar doesn't really make kids' movies has never been more true with Up, yet it's also their most innocent since Toy Story. Though exploring new depths, they've not left the old adventure hat on the rack – the film is all but dedicated to the spirit of adventure. It's the reason behind Carl and Ellie's sweet, youthful romance, Carl's regret in old age and even Russell's childish naivete. Carl and Ellie's childhood heroes were adventurers. Even the out-of-place moments (doggie planes?) and blunt conceits (the too-literal "life's-weight-on-his-shoulders" metaphor) can be forgiven, as they perform dutifully in service to the kind of thrilling movie adventures we regular folks can only dream of, but which the wizards at Pixar perform with ease.
Waltz With Bashir – Ari Folman (2009)
When Israeli writer-director Ari Folman was 19, he enlisted in the Israeli Defense Forces as part of a regiment that invaded southern Lebanon. Like all soldiers, he saw and did unspeakable things – the kind of things that would mark any man for life.
But then he forgot.
That's where Waltz With Bashir opens: the forgetting. On a stormy night in Israel, two old friends, Ari and Boaz, get together for a drink to discuss Boaz's recurring nightmares. Twenty-six dogs chase him through the streets on a nightly basis. It stems from a scarring incident during the war and when they begin to talk about it, Ari realizes he's never dealt with any of his war demons in his films because he simply doesn't remember them.
The lone memory that remains from the incursion into Lebanon is a stark image of Ari and two fellow soldiers bathing in the ocean as illumination flares gracefully drift to the earth, shedding light on bombed-out apartment buildings and all below them.
But it never happened. Not like that, anyway. And so, 24 years later, he sends himself off on a new mission: one to remember. What he discovers are different versions of the same horror story about the massacre in the Palestinian refugee camps at Sabra and Shatila by the Christian Phalangists as revenge for Bashir Gemayel's assassination.
Naturally, it's impossible to disentangle politics and history from a film like this, no matter what conflict is at its heart, but that's where we get lost as noncombatant viewers. To get heated about the real incident and whatever came before or followed is to miss an opportunity to heal the wounds.
It's true that most modern war films are imbued with the lofty goal of showing us the folly of war – that even in the best of circumstances, war is an unbelievably useless endeavor. No film has yet succeeded, nor can they, but that's no reason to give up on them.
Waltz invites you to make your own decision about the military brass, but shows a deep compassion for the rank and file, Palestinian and Israeli alike, proving at last that there is no such thing as a best circumstance in war. At first bloodshed, all sides are wrong.
The real unavoidable argument, for our purposes, regards the animation.
Because of that device, a certain poetic license is allowed. As much as the film is about war, it's also about the mutability and self-distortion of memory, and that makes animation the ideal medium to paint battle as the surreal experience it is. Waltz never pulls punches on the hard stuff, either. The trembling hands and beads of sweat before the kill remain, an effect as beautiful as it is terrifying.
The titular (and literal) waltz itself is breathtaking in a way that someone aiming a camera could not have captured. But it's unlikely that's how it happened in real time. To put a filter of 20 years over a millisecond of a memory is to forge its authenticity. The animated rendering doesn't quite say, "This is a dream," but it nudges the idea that war may be remembered in soaring poetry and dime-novel prose alike.
"The Sweatbox" & Glen Keane: Disney Feature Animation at a Crossroads
http://blogs.orlandoweekly.com/index.php/2012/03/the-sweatbox-glen-keane-disney-feature-animation-at-a-crossroads/
As you might expect, Disney is a bit of a love-hate obsession with this OW writer. Last week, some brave soul risked (financial and legal) life and limb to post The Sweatbox on YouTube. It's since been removed, but that toothpaste isn't going back into the tube.
If you're asking yourself what the hell The Sweatbox is, there is a good reason you've never heard of it.
It's a feature length documentary shot by Trudie Styler, wife of Sting, chronicling the six year process of Walt Disney Feature Animation Studios making what would eventually become The Emperor's New Groove, which began life very differently as Kingdom of the Sun before the WDFA chiefs, Thomas Schumacher and Peter Schneider, made a few crew changes.
For years now, The Sweatbox, has been locked away in a Disney vault, becoming one of those holy grail-type films that people had kind of given up on ever seeing. Disney had honored the bare minimum of its contract for the film, showing it a handful of times at festivals and then stuck it away in the vault. The word was that it was not a very flattering look into the making of the sausage. In fairness, the making of most films is a battle of attrition, and The Sweatbox caught that in all of its bloody awkwardness, casually putting Disney's storytelling and creative process on trial through the consternation of Sting and his furrowed, chess-playing, letter-writing brow.
It's hardly a rare tale at all, especially in the animation industry, especially at Disney. It happened to varying degrees on The Lion King before they found the Hamletesque version of the story as well, and even at Pixar on Toy Story 2, Ratatouille and Wall-E. Live action is no different, especially in Classic Hollywood. The Wizard of Oz, Gone with the Wind, How Green Was My Valley, they all had major changes in casting, director and script. Casablanca and Jaws were being filmed during the day and written at night so they could film more the next day.
The Illusionist – Sylvain Chomet (2010)
(Cleaning out my old unpublished reviews folder.)
Anyone who has seen Sylvain Chomet's last film, the Oscar Nominated animation The Triplets of Belleville, will know that the director is capable of conjuring pure magic out of the simple tools of ink and paint and music. In The Illusionist, an animated rendering of an unproduced Jacques Tati screenplay from the 1950s, Chomet conjures visual magic and creative controversy in equal measure.
The story centers on a traveling illusionist and showman in the 1950s as he goes from town to town, entertaining rapidly diminishing crowds with his tricks and sleight of hand. While performing in a pub in rural Scotland, he comes across a young girl, around 15, who becomes attached to him and his magic. She follows him toEdinburgh, where he becomes attached to her as well, but where work is an even harder grind.
The oncoming rush of Rock N' Roll and television are largely responsible for the small crowds his kind of show can attract, eventually leading the illusionist to take odd jobs when he is not on stage to pay the added expenses of a young girl that he likes to dote on, buying her shoes and dresses, making them magically appear to her, an extension of his magic off of the stage.
The relationship between the girl and the illusionist is a suddenly deep one, built mostly upon a foundation of gestures and glances. It's an automatic, easy trust, but not a cheap one. It starts out as a sleight of hand that they are both willing participants in, but does not stay that way for long as she matures and he comes to grip with the change in the wind.
Chomet and his team of animators have done an astounding job bringing this story to life, even if it is over the objections of Jacques Tati's living relatives. I wish I could list every single animator here, because they all deserve recognition. It was no simple task to bring this to the screen, and the film relies almost entirely on the quality of the animation. Words don't get in the way because they are few and far between. It doesn't need words. It's about the emotional faces and the measured motion, and the whimsical interplay of shadow and light is of particular beauty and note.
It's an understandable thing that Tati's family should have reservations about someone else completing his work. Tati was singular; he made Tati films and only Tati films. Chomet is singular as well, however. There is no mistaking this film for another director, not even Tati. But there is a good balance struck between the two worlds, and if Chomet has perhaps misunderstood some of Tati's motives, it was clearly not out of disrespect. It's a controversy that doesn't need to exist in public. It's something for Tati aficionados to squabble about, but not of material importance to what the film is any more than Krzysztof Kieślowski's intentions were to Tom Tykwer filming Heaven after his death. Heaven was a brilliant film in and of itself, a part of Kieślowski, but a Tykwer film. So is The Illusionist, and that's how it should be taken: by itself, as an exceptionally well made, heartbreaking film.
We Are the Best! – Lukas Moodysson (2014)
Palo Alto – Gia Coppola (2014)
Sex Criminals Volume 1: One Weird Trick – Matt Fraction, Chip Zdarsky
AMC's new computer drama "Halt and Catch Fire" does just that
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text:
No Such Thing (page 1/3)
Title: No Such Thing
Fandom: Heroes
Era: Some undefined future
Genre: Supernatural, drama, AU
Characters: Claire Bennet, Noah Bennet, Nathan Petrelli, Peter Petrelli (, Simone Deveaux, Isaac Mendez, Matt Parkman, Angela Petrelli, Mohinder Suresh, Sylar)
Pairing: Nathan/Peter
Summary: Encountering the wrong kind of creature makes Peter's life harder than he thought possible.
Complete.
Written for: Heroes_Contest's ( heroes_contest) One-shot Challenge 14: Midnight
Warnings: Violence/pain, death/murder, gore, language, supernatural events, physical transformation. Very mild sexual content and incest (you'll see it if you squint - hard).
Beta: Mythra ( mythras_fire) (Thank you so much for this girl! Such a short time for you to work on it, and still you did beautifully.)
Disclaimer: The show, its characters, its places, and everything else, belong to Tim Kring and the other respective creators and owners of 'Heroes'. I have made no profit by writing this story, and make no claim over the show. Any and all supernatural aspects I have added to the story, and which don't originally belong to the world of 'Heroes', are based on no actual facts.
Feedback: I would love to know your opinion, so send it coming.
About No Such Thing: Started as a random piece of writing I began to work on one weekend. A plan was formed during the next few days to write a daring little story with some extra supernatural spicing. Afterwards finished for Heroes_Contest ( heroes_contest) since the theme fit the challenge.
This story has been plagued by plenty of misfortune: writer's block after starting it, then two broken computers (within two days of each other). If that scares you, read no further ;)
No Such Thing
Written for Heroes_Contest's One-shot Challenge 14 (Midnight).
The pain wouldn't stop. It went on and on, tearing at his insides, making him feel as if his skin was two sizes too small. His vision was blurring, making him stumble, and his nose stung with every inhale, adding to the sensation that reminded him of exploding. The taste of blood was in his mouth, but there was no actual blood yet; he had checked with his fingers earlier, and there had been nothing red stuck on them.
"Come on, Pete," came Nathan's voice, urgent and hushed.
Focus on Nathan, Peter told himself, and he stumbled along with his brother's arm around his chest making the pain just a little bit worse, but then, Peter didn't think he could take one more step without Nathan holding him.
"Just a bit further," Nathan urged.
Peter could barely feel his feet. One of his hands was holding onto Nathan's shoulder, the other fisted against his own stomach, draped over his brother's arm that held him up. Peter wondered briefly why they weren't flying, but he distantly recalled Nathan telling him that if he couldn't hold onto him, they couldn't take off…
"Just a bit further, Pete," Nathan encouraged. It felt as if he had been saying the same thing over and over for what seemed like forever. Peter wanted to believe him, but they had been walking for so long; why weren't they already there? Did Nathan even know where they were going?
They had left the car miles ago where the small road ended in the middle of the woods; the road that was miles away from the highway where Peter's pains had first started – or so he recalled; he was in so much agony now that it was hard to think.
While they struggled on – Peter stumbling and Nathan dragging him along – it was getting darker. It was harder to tell the trees apart from the space around them. The bushes kept jumping at them out of nowhere. Every root and obstacle on the ground seemed to roll towards Peter, making it difficult to keep up with Nathan. Had Peter still been a superstitious child, he may have thought the roots were trying to drag him somewhere.
His panicked mind jumped at the thought, and he tightened his hand over Nathan's forearm.
"Ouch, Pete!" Nathan shouted in pain, and when the older man stumbled, Peter almost landed face first in the dirt. As it was, he only made it to his knees, his other hand holding onto Nathan's shoulder, dragging the other downwards. "Pete," Nathan said again, grabbing at him, pulling him up almost violently. "Up. Get up. We have to move."
"Hurts," Peter managed. His throat burned, and that's why he hadn't talked since they left the car, but he wanted Nathan to know he didn't do this just to make things more difficult; even breathing was hurting by now. The sickening iron scent of blood was the only thing he could smell, making him hesitate with each inhale, but he needed air so he couldn't just stop breathing.
"I know, buddy. Just a bit further," Nathan encouraged, pulling him bodily along. Peter wondered if it was him, or was Nathan shaking? His voice had lost some of the determination that had been there all night.
Peter tried to focus on walking. His knees buckled though, and he couldn't control them. His shoulder hit a tree, making him grunt in pain, but still Nathan dragged him forward. Think, Peter urged himself. Where are we? What time is it? They were in the woods somewhere. He didn't know more than that because Nathan had been driving while Peter whimpered in the backseat in pain… Time. What is the time? he tried, urging himself to focus. He couldn't lose consciousness.
Something was dripping down his chin, wet and slightly warmer than his skin, although he felt as if he was burning up with fever. He could taste the blood in his mouth now, and his… teeth hurt. Like when his wisdom teeth had appeared, making his entire jaw throb.
Time. Think of time. What time is it? It had been close to nightfall when they left the highway. So, maybe it was close to midnight now. Peter wasn't sure, and he didn't think he could ask Nathan who had enough trouble half-carrying him to look at his watch.
"Almost there, Pete. Just hang on," Nathan encouraged him.
Peter wondered if that was how they talked to young soldiers in war when it was certain they were all going to die.
"You're gonna make it, Peter."
Peter knew he hadn't said anything, and Nathan couldn't read his mind, so perhaps Nathan was just trying to find courage himself. Because Peter sure as hell felt as if he was dying.
"Just a little more," Nathan gasped, and suddenly they went downhill. Peter stumbled and fell, rolling down. When he finally stopped, he could feel dry sticks and decaying leaves against his skin. He heard Nathan coming down, his feet falling heavy, and then there was a muffled thump and Nathan collided into him. Peter peered at him, finding that they were both on the ground.
Nathan's hand came to brush Peter's hair off his face, his fingers trembling. Peter just looked at him in the dark, the moon blocked by the trees. Nathan's eyes flashed as he gazed around, and then he got up again, dirt falling off him. "I think we're close, Pete. Just hang on. It will be all right. It's gonna be…" He walked away, and Peter could hear him kicking leaves somewhere behind him. He wanted to turn and see, to help, but his chest was on fire, and he couldn't properly feel his fingers. His skin felt so tight, as if something wanted to get out, and he could hear his own breathing, ragged and strained.
There was a clang of metal, and a muted cry of relief from Nathan. After a moment he came back, feet dragging in the leaves. "Come on, Pete. Just a bit further."
It was funny, because Peter couldn't have lifted himself had his life depended on it. Nathan dragged him forward a few feet, and then suddenly the ground was replaced by stone, and Peter's feet were jostled against steps as Nathan pulled him down. It was even damper and darker in there than it had been outside. Peter already felt like he was suffocating so it didn't make much of a difference. The floor was wet beneath his hands when Nathan lowered him down to it.
"It's gonna be all right," his brother chanted into his ear, words shaking, his hand combing through Peter's hair.
Peter wanted to nod, but his body suddenly convulsed. He cried out despite the pain in his throat. His insides felt as if someone had exploded a frag inside him. He tried to claw at Nathan, but he could no longer feel him beside him. "Nathan?" he whispered painfully, and coughed madly as something liquid was caught in his throat.
There were steps, disappearing into the distance, then a clang of metal and the room got even darker. Peter could no longer feel the draft from the night air outside. "Nathan!" he shouted, trying to get up. He managed to get onto his knees and turn his head. It was pitch black around him. All he could smell was blood, and it was making him sick. "Nathan!" he shouted again, and his voice echoed in the darkness.
Suddenly he realized something: he was alone. Nathan was gone. He had left him here.
Panic seized him, mixing with fear briefly before it was washed away by pain. Peter clawed at the floor, feeling the grains of sand beneath his fingernails. He tried crawling to the stairs and back through the door they must have come in, but the pain just got worse, tearing at his head, his skin… his stomach was on fire, and the next time Peter screamed, he had no words to describe the pain.
27 day ago,
The State of Wisconsin
Nathan turned the map in his hands, frowning. "Are you sure we're in the right place, Pete?" he asked.
Peter, leaning on the wall of a building that looked just as unkempt as the street next to them, was unconcerned. "You're the one with the map," he noted.
"You were the one giving directions."
Peter grinned and pushed away from the wall. The air was kind of cool, yet fresh: vast forests opened up all around them, and while Peter found it quite refreshing, Nathan didn't look as pleased. "You would rather be in New York?" he needlessly guessed.
"You bet. Let's just get this over with," Nathan said tensely, folding the map back to his pocket.
"Hey, you agreed to come with me, so don't start that now."
"I know, Pete. I'm not quite demented yet, so I remember promising you, in exact words –"
"Great," Peter grinned, and set off down the street. They had flown all night, and he could use a cup of coffee before they set out. He headed out towards a diner on the other side of the road. Trucks were parked in front of it, none of them shining like most cars you could see parked outside restaurants in the Big Apple.
"I assumed they would be riding horses…" Nathan muttered. He was cranky, Peter could tell, but he had agreed to come without a fight, which meant it was all about impatience.
They went inside, ordered some coffee and a late breakfast, then sat down. The locals gave them a couple of looks, but Peter knew none of them could have seen them soaring down from the sky, so he guessed it was just curiosity.
"So, where are we going to start?" Nathan asked once they got their food and drinks.
"We'll have to wait until sundown. No one's seen this thing in daylight," Peter explained, taking a hasty big bite of his sandwich. In his life, he had learned that you never got a break when you really needed it, so he'd better eat fast just in case.
"You referring to it as 'this thing' doesn't really make me any less convinced that this is just some drunken story," Nathan muttered.
"I tell you, Nathan, if it's hairy, almost beast-like but standing on two feet, and a lot of people have seen it, it's got to be one of us," Peter said. "I just don't know if it's a he or a she, so…" He shrugged. Of all the powers they had encountered, he had never seen anything animal-like – if one didn't count Suresh's brief episode with scales. He was excited to meet this person, and see what the power was really about.
"Next I suppose we're going to hunt down Bigfoot and ask if he's one of us too," Nathan groused, then busied himself with his food. Peter didn't remember when they had last eaten. Probably before leaving New York, which was yesterday. Flying unnoticed took time and precautions, so they had been forced to make sure they didn't collide with any airplanes, or were seen by people on the ground.
"There's this thing called lycanthropy," Peter went on after he had finished his sandwich without interruptions, and was enjoying his coffee. "It could be something like that; a man turning into a beast, or at least half way."
"Or then it's a werewolf," Nathan suggested. "You said this thing has been spotted around the time of the full moon. Why couldn't we just let Ghostbusters handle this?"
"Because their number was out of service," Peter cracked back at his brother. "And werewolves are lycanthropes, Nathan; they're basically the same thing. Besides, our powers are tied to the eclipse, one way or another. Better not forget that. It could be that certain other powers are triggered by something else."
Nathan nodded, and they finished their drinks, after which Nathan ordered them a refill. "Long time until nightfall," the older Petrelli mused.
"We'll have to get closer to where it's been seen, but you're right: we have time," Peter agreed. He drummed his fingers on his cup restlessly, wondering what they were going to find. As far as he knew, no one had been killed by this thing – if you didn't count some mutilated cattle near by – and it gave him hope. Perhaps it was just one of the special people, afraid of their ability, not knowing where it had come from or what to do with it.
| Page 1 | Page 2 | Page 3 |
Tags: character: claire bennet, character: nathan petrelli, character: noah bennet, character: peter petrelli, fandom: heroes
Sun, 20:16: In Exchange https://t.co/RfuVbfCc9D Sun, 20:18: The Error of Sun�Tzu https://t.co/rYYJPACGIC Sun, 20:18: Dust to Dust…
Wed, 19:01: My blogs have moved to a new platform: fanfic archive directory ( https://t.co/zTyVgbiF8q) & NEWS! (… https://t.co/buc7Uxswi0…
Sun, 17:52: New story added! "Skidding Down Memory Lane" (part of 'Genius, AI & Bots' series, written for Marvel Bang 2019, an……


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Q: Calculating difference of Buy and SELL Qty in a pandas DataFrame Rows There is a Item wise difference in Buy and Sell required for my data below
My current DF looks like this:
    Items  Type   Qty
0   myitem1   BUY  1546
1   myitem1  SELL  1340
2   myitem2  BUY   149
3   myitem2  SELL   130
4   myitem4   SELL   100
5   newitem   BUY  1000
6   newitem  SELL  1000

I wish the desired output to be the difference of Buy, Sell. i.e.
    Items  Type   Qty
   myitem1   BUY  206
   myitem2  BUY   19
   myitem4   SELL   100

Note:The Rows above may have only one of Buy Or Sell for certain items In this case for it is for Item4
Further the output does not have to contain equal Items, (in this case  newitem is the example)
I have tried various ways to achieve this using DF groupby etc. however I am unable to get the above Output.

A: Let's try:
df_out = (df.assign(Qty = np.where(df.Type == 'SELL', -df.Qty, df.Qty))
            .groupby('Items')['Qty'].sum().reset_index())
df_out['TYPE'] = np.where(np.sign(df_out.Qty)==1,'BUY','SELL')
df_out.assign(Qty=df_out.Qty.abs()).query('Qty > 0')

Output:
     Items  Qty  TYPE
0  myitem1  206   BUY
1  myitem2   19   BUY
2  myitem4  100  SELL

A: You can try of grouping by Items and  getting absolute value of difference
 df.set_index(['Items']).groupby(df.set_index(['Items']).index)['Qty'].diff().abs().dropna()

Out:
Items
myitem1    206.0
myitem2     19.0
newitem      0.0

A: Try the following:
import numpy as np

df.groupby(['Items']).apply(lambda x:
                                      np.select([x['Type'] == 'SELL', x['Type'] == 'BUY'], [x['Qty']*-1, x['Qty']])
                                     ).apply(sum).rename('Qty').to_frame().assign(
        Type = lambda x: np.select([x['Qty'] <0, x['Qty']>0, x['Qty']==0], ['SELL', 'BUY', None]),
        Qty = lambda x: x['Qty'].abs()
    ).dropna()

Output:
         Qty    Type
Items
myitem1  206    BUY
myitem2  19     BUY
myitem4  100    SELL

A: The below code will work
Just add more conditions in if & else acc. to your data
   import pandas as pd
data = [['myitem1',10,'Sell'],['myitem1',12,'Buy'],['myitem2',13,'Buy']]
df = pd.DataFrame(data,columns=['Items','Qty','Type'])
mylist =[]
for (idx,row) in df.iterrows():
    a = df.loc[df['Items'] == row.Items]
    item_name =a.Items
    a = a.sort_values('Type')
    no_types=a['Type'].nunique()
    if no_types ==2:
        Final_Qty = a.loc[[0],'Qty'] - a.loc[[1],'Qty']
        if Final_Qty > 0:
            new_type = "Buy"
        else:
            new_type = "Sell"
    elif no_types ==1:
        ## Code if there is only buy or sell
    mylist.append=([item_name,new_type,Final_Qty])

redpajama_set_name: RedPajamaStackExchange


The rapid-fire auction of a £100 million office block put up for sale to fund a post-Brexit stampede from a £2.7 billion property fund has wiped £11 million off its value in a week, the Evening Standard understands.
Investors fearing slumping commercial property values in the wake of the historic EU vote prompted a rush of withdrawals from major funds, which were forced to freeze trading and sell off assets to fund withdrawals.
Aberdeen Asset Management put two buildings up for sale a week ago, with a £100 million price tag on 10 Hammersmith Grove, home to tenants including a subsidiary of 21st Century Fox.
Axa Investment Management was understood to be close to a swoop early last week before its board got cold feet, but the asset is now said to be under offer to property fund Brockton Capital for just £89 million.
Aberdeen, which declined to comment, lifted a suspension on withdrawals from the fund last Wednesday, although investors pulling out will have to accept a 17% price cut.


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Van Alen Archive
We have staged architectural design competitions since our founding in 1894. Our design archive is a rich window to a century's worth of programs that have nurtured generations of architects and urban thinkers. Click around below to view a selection of past programs, or all of our 2,000+ archived objects. If you need more information, please email us at archive@vanalen.org.
Archive Design — Beautiful Company, Fuchs Borst
Archive Development — Helios Design Labs
Project Management — Chloe Stagaman, Anne Guiney, Clara Gross
Van Alen Institute gratefully acknowledges support for the first iteration of this digital archive, completed in 2009, from the National Endowment for the Arts, the Institute of Museum and Library Services, the New York State Council on the Arts, the New York City Department of Cultural Affairs, and the Stephen A. and Diana L. Goldberg Foundation. DISCLAIMER: Works featured on this website are for educational purposes only. These works are believed to be: in the public domain, works for which Van Alen Institute owns the copyright, or works that the Institute has permission to display or otherwise use. For permission to reproduce or use displayed these works please contact Van Alen Institute.


text:
Matthew Lippa
T:+1 416 216 3942
Related services and key industries
Matthew Lippa's practice covers all aspects of corporate finance, with an emphasis on multi-jurisdictional and cross-border structured financings. He acts for Canadian and international financial institutions and borrowers in lending transactions, including asset-based lending, syndicated financings, covered bonds and notes, insolvency and restructuring and project finance.
Matthew regularly advises clients on general corporate matters, regulatory matters and commercial contracts. He also has experience acting for issuers and underwriters in connection with prospectus offerings, private placements and commercial debt programs.
Matthew worked with us both as a summer student and as an articling student before joining us as an associate. During his articles, Matthew completed a secondment in the legal department of The Bank of Nova Scotia.
J.D., Osgoode Hall Law School, 2010
B.A.(Hons.), York University, 2007
Ontario 2011
Mr. Lippa has acted for the following clients:
Royal Bank of Canada in its €32 billion global covered bond programme, including initial registration with Canada Mortgage and Housing Corporation under Part I.1 of the National Housing Act (Canada), and various issuances in USD, CAD, EUR, GBP and AUD currencies
Wells Fargo in connection with a $375 million asset-based revolving credit facility in favour of Stelco Inc., concurrently with the acquisition of U.S. Steel Canada Inc. by Bedrock Industries pursuant to a court-supervised restructuring process
Bank of America with a $200 million cross-border asset-based revolving credit facility in favour of Bauer Hockey Ltd, in connection with the sale of substantially of the assets of Performance Sports Group Ltd to an investor group led by Sagard Holdings Inc. and Fairfax Financial Holdings Limited for US$575 million, pursuant to court-supervised bankruptcy proceedings
Parq Holdings Limited Partnership, Paragon Gaming and Dundee Corporation in connection with a US$415 million financing for a new Vancouver casino
J.P. Morgan with establishing $290 million senior secured asset-based revolving credit facilities in favour of Brooks Brothers
Canadian Imperial Bank of Commerce in connection with a senior secured asset-based credit facility in an aggregate amount of $25 million in favour of Grafton-Fraser Inc.
Alamos Gold Inc. in connection with US$400 million senior secured credit facilities provided by The Bank of Nova Scotia
A Belgian agrochemical company with its entry into the Canadian market by way of acquisition of a Canadian company
Royal Bank of Canada with the acquisition of Athena Energy Group, a market-leading natural gas supplier in Quebec
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The Life and Loves of E. Nesbit (2019).
They can't all be easy. One of the major tasks of the critic is to figure out just how much the author knows about their chosen subject. That's the big rule of thumb when it comes to reviewing a biography. Once you enter that territory the job isn't just about trying figure out what a metaphor in a work of fiction means. Now all of sudden, you've got to find out how all those metaphors relate to the life. I don't suppose it's too much of a stretch to believe this basic rule applies not just to the critic, but also to any biographer who hopes to present an accurate and successful picture of the life they've devoted their book to. This goes double in those cases when the biography's subject happens to be an accomplished artist. Perhaps the worst gig in the non-fiction section falls to those historians who are able to discover an unsung talent, and then find themselves saddled with the conviction that their subject deserves to gain a voice at the popular level. Good luck to them is all I can say. It's not an impossible goal. It's just the the task is a lot harder than if you devote a book to a well-known personality (however long that's supposed to last).
I guess that's what makes talking about Edith Nesbit something like a real challenge. She seems to occupy one of those strange, liminal places in the great pantheon of Fantasy fiction. She doesn't appear to be an unknown name. On the other hand, I've never seen or heard of her being mentioned as high up there with the big names as she perhaps deserves. She was a very popular children's author in her day. That's the basic fact of her claim to fame. She seems to have done a more than decent enough job of it, all things considered. Her accomplishment lies in the way she helped set up a lot of the images, themes, settings, and plot points that sort of define the way we think about certain fantasy novels. She's been described as a pioneer more than once, and the label seems to fit. That becomes pretty obvious once you decide to leaf through the pages of even one of her short story collections. Her secondary worlds can sound familiar, until you stop and realize that the reality is you're encountering a lot of familiar faces for the first time. Here is how Eleanor Fitzsimmons opens her study of the author.
"When I was a little girl who borrowed weekly adventures from my local library, my favorite stories were by E. Nesbit. Best of all were her tales of magic, and of these the book I loved most was The Story of the Amulet. I accompanied her fictional children to ancient Egypt, Babylon, and the lost city of Atlantis. I met Emperor Julius Caesar as he stood on the shores of Gaul looking across toward England. I was filled with hope on reading her account of a utopian London where everyone is happy and wise. In "Praise and Punishment," chapter nine of Wings and the Child, her manual for a successful childhood, Nesbit herself explained: 'There is only one way of understanding children; they cannot be understood by imagination, by observation, nor even by love. They can only be understood by memory. Only by remembering how you felt and thought when you yourself were a child can you arrive at any understanding of the thoughts and feelings of children'.
"Confirming that the children in The Story of the Amulet were the "second cousins once removed" of her beloved Bastables from earlier books, she confided: 'The reason why those children are like real children is that I was a child once myself, and by some fortunate magic I remembered exactly how I used to feel and think about things'.
"The key to her brilliance was that she was one of us, and her magical adventures felt as if they could easily happen to you or to me. Her entry in the Oxford Dictionary of National Biography explains this: 'Her characters were neither heroes nor moral dummies, but real young human beings behaving naturally. This gift of character drawing, aided by the ease and humor of her style, place her in the highest rank among writers of books for children'.
"A profile published in September 1905 in The Strand Magazine, where Nesbit's most popular stories were serialized, praised her "astonishing versatility" and her "almost uncanny insight into the psychology of childhood." A review in John O'London's Weekly noted: "Take a book by E. Nesbit into any family of boys and girls and they fall upon it like wolves." Of her own style, she wrote: "I make it a point of honour never to write down to a child." In an interview with the Dundee Evening Telegraph, she insisted: "It's quite natural that a child should believe in fairies."
In Treasure Seekers and Borrowers, Marcus Crouch suggested of E. Nesbit: "No writer for children today is free of debt to this remarkable woman." He believed that she "managed to create the prototypes of many of the basic patterns of modern children's fiction." Nesbit came of age in the Victorian era, but she did not leave us more of the stiff, moralizing tales that characterized the nineteenth century. Instead, as Crouch explained, she "threw away their strong, sober, essentially literary style and replaced it with the miraculously colloquial, flexible and revealing prose which was her unique contribution to the children's novel." She wove her whimsy and magic into the everyday lives of children, and they would not easily let this go (ix-x)".
Before we get to the biography itself, there's just one or two details of the passages above that stick out like thorn branches in an otherwise smooth looking field of green. Maybe it's just the pedant who took up residence in my head sometime after learning to read, however it seems like the two authors might have missed something. To start with, Crouch and Fitzsimmons claim that Nesbit replaced a so-called literate, Victorian style with her own modernized form of prose language. Perhaps I made a mistake? I'd always thought since high-school that it was guys like Charles Dickens who were responsible for creating what a new "sober...colloquial, flexible" prose style with novels like Great Expectations and A Tale of Two Cities. In books like those and others, Dickens was able to take the stylistic flourishes honed during his years as a journalist and then applied it to to his artistic imaginings. What he did was take the local dialects, accents, and ways of speaking, and give them a voice that had never been seen on the page before. In doing so, Dickens was able to create a kind of stylistic space that allowed pretty much all the best authors who came after him (Nesbit included) to find their own voices.
As for the claim of Nesbit's creative work being a "breakaway from all "the stiff, moralizing tales that characterized the nineteenth century", I have just one question. Are you talking about books like Mark Twain's Huckleberry Finn? If so, then the choice is odd, to say the least. I don't think I've run across a nineteenth century text which was more irreverent and disrespectful of all the social idols of its day, a lot of which are still with us. If such a book is the epitome of stiff moralization, then its a wonder that it still remains the most controversial and banned text in existence. It really does seem as if Twain had managed an artistic feat that I don't think he intended. He has managed to create a text which has gone on to become both totem and taboo at the same time. Different things to different people, in other words.
I mention both of these literary lights because of the way Nesbit's own efforts might be seen as both mirrors or continuations of, and divergences from the same type of story. What unites all three writers boils down to just a number of things. All three of their lives encompassed the entire Victorian Era. Each of them was a master of satire. Nesbit's fantasies sometimes contain an element of humorous self-knowing that allows her to poke fun at her own pretensions. This may account for one reviewer calling her the British Mark Twain. Like Nesbit, the real Twain and Dickens were good at delivering barbs at a lot of well chosen targets. I think the most important link between them all however comes down to the way in which each of them managed to discover they had an affinity to the fantastic. The word I use for this is Victorian Romanticism. It's a phrase I've used here and there, and I don't know how it must sound to others. It also doesn't change the fact its the best term I've got for the kind of rubric under which each of the three authors listed fall under, no matter how different their chosen subject matter.
It's because of this, that I've got to maintain that any critic or reader who gets the crazy idea of trying wrap their head around an artist like E. Nesbit has to understand how both her life and art were shaped by the aesthetics of the culture she was raised in. This in turn can help the critic get at a better understanding of who she was, and what she did. The way Nesbit put all her fantastical landscapes down on paper, the events, ideas, and literature that inspired her, the various ways she discovered new uses for dragons and flying carpets, and how it all led her to become a literary pioneer is a story that's well worth telling. I'm just left wondering if the biographer did a good job in this case.
Thus I Lived with Words: Robert Louis Stevenson and the Writer's Craft.
One of the questions I've been concerned with for a while now is just what is the nature of a lasting artistic reputation. I think it's telling that the question is not one that a great majority would ever think to ask. One of the hard facts of a bookworm's life is that when you sign on for such a gig, you've more or less joined a very small and informal fraternity. There has never been a time, so far as I can tell, when a reading audience was ever able to make up a sizable, or influential majority of the world's population. My own response to this slow growing realization has been complex. On the one hand, there's nothing to wonder about in the strictest sense. History shows a world in which the vast majority of its peoples have never bothered to pick up a book, much less take in a movie. The whole thing is a continuous and recurring pattern that doesn't look to change anytime soon. As far as anyone can tell, that has always been the norm. On the other hand, if that's the norm, then I guess I can't help but find the whole thing disconcerting. It just seems wrong to me that entire world cultures would neglect the various aesthetic artifacts that make up the best and brightest of their respective intellectual histories. It all kind of makes me wonder how come certain authors are able to maintain their popular reputations over such a long span of time. Robert Louis Stevenson is a good case in point.
He's one of those names on the tip of the tongue. He's famous for something, and it's possible to just barely recall what that is. His heyday was during the Victorian Era. If any lingering historical memory of that period exists at all, then it's most likely to found in old, battered copies of Dickens and Jane Austen. They seem to be the ones who have cemented the popular image of that decade the in the minds of audiences. To be fair, part of the reason for that is because they really were just that good at capturing the atmosphere of their times and giving them the proper dramatic spin that would fashion it all into an indelible image. When we hear someone described as a Scrooge, we have this near-instant idea of the kind of personality we are dealing with. If someone encounters a quarreling couple who can't bare to leave each other, then so long as its not that serious, we might remember the main characters from Pride and Prejudice. It's rare for even the most talented artists to leave that kind of a lasting impact. That's what makes the survival of Stevenson so remarkable. His legacy can be found in sentiments regarding the fate of fifteen men on a dead man's chest. If you can complete at least the words that describe the second half of that old sea-chantey, then you may be familiar with Stevenson's works, even if the author himself remains a complete mystery.
That's a shame, because the man in question helped form a vital link in a chain of creative talents. Together they more or less created a minor, yet notable renaissance in both English and American letters during the 19th century. They were never anything like a formal group. Each writer who can be listed as a contributor to this collective effort occupied a place in which their major efforts were done in the privacy of their own, individual studies. Yet they also shared and critiqued their efforts among one another as peers. If it is possible to give an academic label to this group, then perhaps the title that fits it all best is to describe them as the Victorian Romantics. The phrase may have a certain apt ring to it. There's a nicety about it that perhaps makes it easy to remember. However, I'm convinced there's nothing facetious about it. I really am willing to contend that all the best known children's authors of the Victorian Era were and remain the closest thing to a series of literary inheritors of an artistic tradition that in many ways helped to form and set the parameters of their differing, yet interrelated literary endeavors.
It's the goal of this article to show that the work of Robert Louise Stevenson fits in well with this same tradition. In order to do that, a close look at the writer's life and craftsmanship and will be a bit more than necessary. So far as I can tell, there's never really been any other way of finding out what makes a good work of writing tick. In Stevenson's case, the task is not impossible, though it's a lot more laborious than it has to be. The trouble with examining the art of Stevenson isn't that his life plays no part in it. It's just that for the longest time I've had to struggle against a major obstacle when it comes to getting at all the relevant facts. There's shared tendency among all of his biographers to become so fascinated with the life of the author. This has happened time and again in all the major biographies that are still available. The tendency is so widespread, in fact, that it can be traced all the way back to the slew of critical work that emerged in the wake of the death of the author. To be fair, there is at least a certain kind of excuse to be offered here. One of the marvels of Stevenson's life was his determination to live it to its fullest. In his case, this meant embarking on a life that really did seem to match the old epic romances that populated his favorite storybooks as a young boy.
As soon as Stevenson was old enough, he embarked on a series of excursions to lands old and (for him, at least) new. It took him from the charm of Old Europe, the new blank canvas of the American West, and somehow it all ended up on the Samoan Coast. It really was quite a life, and I think the key about it is that so few of us will ever be able to dare even half of what Stevenson accomplished. This leaves the writer as something of a freak of nature. He has found a way to make his own daily existence so remarkable that it's left all the various academics and enthusiasts in a kind of intellectual stupor. There's just no way most people can pull that kind of thing off today. As a result, it seems all too easy for them to get lost in the grandeur of the life at the expense of the art. I can't recall many RLS biographies where the writer ever stopped much to ask how Stevenson's adventures on the high seas might have impacted a work like Treasure Island. It's a real shame the way the buck keeps getting passed on like that. The fault is all the more noticeable when you realize Stevenson is one of those obliging authors who are considerate enough to wear their influences on their sleeve, or else telegraph where and how they get their ideas by simply talking about how his day went. I think it's time critics began to focus on how the life made up the art, rather than just focusing in on what happened to the author for its own sake.
The good news is I was able to find at least something that gets to the core of Stevenson's art. I just had to agree to take my sweet time in getting there. That's where today's book under discussion comes in. It is just possible Annette R. Federico has done Stevenson scholars a kindness. Whether it counts as a favor remains to be seen. She has composed a book on Stevenson that zeroes in on his craft and inspiration as a writer first and proper. This creates an ideal situation for the critic, because it allows something to talk about other than the contents of what the artist had for breakfast. The basic purpose of Federico's book is laid out neat enough on the book's back cover.
"Robert Louis Stevenson (1850–1894) loved more than anything to talk about the craft of writing and the pleasure of reading good books. His dedication to the creative impulse manifests itself in the extraordinary amount of work he produced in virtually every literary genre—fiction, poetry, travel writing, and essays—in a short and peripatetic life. His letters, especially, confess his elation at the richness of words and the companionship of books, often projected against ill health and the shadow of his own mortality.
Stevenson belonged to a newly commercial literary world, an era of mass readership, marketing, and celebrity. He had plenty of practical advice for writers who wanted to enter the profession: study the best authors, aim for simplicity, strike a keynote, work on your style. He also held that a writer should adhere to the truth and utter only what seems sincere to his or her heart and experience of the world. Writers have messages to deliver, whether the work is a tale of Highland adventure, a collection of children's verse, or an essay on umbrellas. Stevenson believed that an author could do no better than to find the appetite for joy, the secret place of delight that is the hidden nucleus of most people's lives. His remarks on how to write, on style and method, and on pleasure and moral purpose contain everything in literature and life that he cared most about—adventuring, persisting, finding out who you are, and learning to embrace "the romance of destiny (web)".
Books like this present something of a challenge. On the one hand, there are folks out there who just eat this stuff up. Then there's the other half of the equation. The simple truth is that most people tend to view works of fiction as mere indulgences, nothing more. This second group often has a hard time understanding why anyone would want to devote their whole life to the scribblings of a guy like Shakespeare. It really is a simple question of finding out just who is the right audience for a text like this. It's a work of literary criticism which studies the words of an old, canonical author. It devotes an entire book to this topic, and all for the sake of trying to attain a better grasp on the nature of creative writing. In that sense, the book has a very definite goal. I'm just wondering how many out there can find any value in it it. For what it's worth, I'm willing to go far enough out on a limb to say that such a topic does have some kind of applicable value to real life. The question is whether or not Federico and Stevenson are able to prove that value, and fulfill that book's stated goal?
Posted by PrisonerNumber6 at 12:00 AM 2 comments:
Thus I Lived with Words: Robert Louis Stevenson an...


A little boy was in a store shopping with his mom and he had a toy that kept singing the theme song from Frozen. He was probably two or three years old. He didn't know all of the words to the song, he just kept singing "let it go, let it go" at the top of his lungs. It was so cute and funny to hear his voice bellowing through the aisles. He had the deepest voice I have ever heard for a little boy that young!
When things are happening in our lives and we don't know all the words (or how it's going to turn out), we should sing "let it go, let it go", giving the situation, heartache or worry to Jesus. He told us to cast our cares on Him because he cares for us (1 Peter 5:7). Sometimes He doesn't give us all of the words to the song because we don't understand what He's composing, but wants us to trust Him to handle it. Sometimes all we need to know is to let it go.
Be still and know I'm God. Through the pain of the trial and the triumph of the breakthrough, I'm with you. In the midst of your heartbreak, I'll fill you with my unchanging love, giving you the perfect model of love. Through your darkest night and rocky seas, I'll be the beacon of light to fix your eyes on, while I guide you safely through the storm. I can be everything you need, if you would be still and know that I am God.
Sun warm on my skin, the Son radiating deep within. Your love and mercy beyond all I can imagine.
The ways you've made out of what seemed to be dead ends is evidence of your greatness.
By your grace, I live and breathe. This second chance, is not lost on me. Every day, the world through your eyes let me see.


Is locking allowed? What margin applies when locking positions?
Yes, locking is allowed. When the volume of locked positions for one instrument is equal — no margin applies.
What is the difference between Instant Execution and Market Execution? What is the difference between the order processing types DD, NDD, STP? Do you provide any trading tips? How do I create an order? What is the purpose of a demo account? How do I open a demo account? Is Trading on live or demo accounts allowed at weekends? I cannot login to my demo account. Why? Does your company allow scalping? How do I switch from a demo account to a real one? What is an order? What types of order can be set in the terminal? What is Stop Loss needed for? What is Take Profit? What is Trailing Stop and how do I set it up? What is a Margin Call? What is a Stop Out? What are Limit & Stop levels? Can I partly close an order? All of my orders were closed. Why?


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Museums Journal: blog
Further funding cuts are counterintuitive says report
Nicola Sullivan, 20.10.2015
NMDC report highlights value of museums ahead of the comprehensive spending review
Further cuts to the funding of museums will destroy their ability to help the government fulfil its objectives in areas, such as health and education argues a report from the National Museum Directors' Council (NMDC).
The Museums Matter report said that more cuts to museums, which are only allocated a small amount of government spending, would have a minimal impact on the deficit reduction and represent a much greater loss in terms of public value.
"If museums reduce the extent to which they curate, acquire, conserve and engage with the public, the collections and cumulative knowledge and the many positive impacts museums have will disappear," the report states.
It also outlines how museums work in partnership with charities, care providers and community groups to help people with dementia and mental health problems. And it highlights the educational impact of museums.
Museums have a greater direct economic impact than they had 20 years ago with major UK museums attracting over 71 million visitors last year, stated the report.
For example, the economic value delivered by the British Library is £5 for every £1 invested, while Tyne & Wear Archives & Museums has a net economic impact on the region of £8.5m per year.
Sharon Heal, the director of the Museums Association (MA), said: "It's crucial that we make the case for museums of all types before the spending review.
"Many museums are at the centre of their communities, they can enhance health and wellbeing and create better places to live and work. The MA is working hard to convince politicians and funders that museums matter and we are supporting our members to make that case at a local level.
"We need to use the facts in this report to make the case and we also need to connect with our communities to get them to speak out on our behalf. Museums can create and hold collective memory and are essential, not an add on that can be dismissed in difficult financial times."
The NMDC has also provided a number of single page briefings covering topics such as health and wellbeing, communities and tourism for its members to use to strengthen their own advocacy work and lobbying activities.
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Governance, Finance and administration, Cuts, Advocacy
Lancashire council proposes savage cuts to museum service
Attempts to reopen two historic mills in Lancashire have failed
Many UK museums face an uncertain future, finds MA report Continued cuts forcing museums to close, finds MA Cuts Survey
Pressure on council to spare Reading Museum from cuts Sector urged to pull together in face of continuing funding cuts


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Improving lives through knowledge, evidence and innovation
Governance and board
Post-event summaries
Iriss.fm
ESSS Outlines
Iriss on…
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Creative Quarter
A series of case studies exploring the role and effectiveness of the creative arts in supporting positive outcomes for people being supported by social services.
This series also includes Creative Bites (Bite-sized chunks of creativity). We invited 40 people to share their thoughts and ideas to inspire creativity and imagination in the social services.
Hot Chocolate – young people as designers of change
This session was delivered by Hot Chocolate Trust, a youth work organisation that specialises in supporting young people to develop their own opportunities so that skills and confidence are developed. This session highlighted recent research with young people into the role of creativity and design in their lives.
The Impact of Creative Caring in Older People's Care Homes
Creative Carers is a training programme that instils a broad sense of creativity into older people's care homes, developed by Suffolk Artlink in partnership with artists Caroline Wright and Helen Rousseau.
Plantation Productions
Although film and video production has always been at the heart of Plantation Productions work, it has evolved to include participatory arts, such as drama and performance. Acting as a community anchor, the organisation offers an arts and wellbeing programme of activities that promotes social inclusion and improves the confidence and creativity of people in the local community in Govan.
How the arts are being used in social services in Scotland
We know that creativity can change lives for the better and our aim in conducting the survey was to understand how the creative arts are being used, and the impact this type of work can have for people supported by services and for staff. As such, the purpose of the work was to capture some of the experiential knowledge held by professionals working in this area, to share this knowledge more widely across the sector and to provide inspiration to others.
The Arts in Social Care, overview of the evidence base
In early 2013 Consilium research (commissioned by Skills for Care and the Baring Foundation) conducted a literature review of available evidence to explore the role of the arts in delivering social care outcomes. Jim Thomas gives us an overview of the research findings.
The role of arts in social care
The arts continue to gain recognition as a vital part of society. In particular, there is increasing acknowledgment that the arts can offer practical and innovative ways to impact on the positive factors that nurture health and wellbeing (Seligman, 2011).
Everyone deserves music
Everyone deserves music is the title of a conference I'll be chairing end of April (Community music conference, Gateshead, 29 April). It's also a good slogan. Music is the way we express our identity and how we relate to the world, especially where the written or spoken word is inadequate or unavailable. As human beings we need music just as we need food, shelter and warmth.
Creative Sparks – The Village Storytelling Centre
The Village Storytelling Centre was founded in 2000 has a strong history of supporting disadvantaged groups of people to access and benefit from involvement in the arts, in particular storytelling. One such group is young carers. These young people are seen as doubly disadvantaged from accessing arts (and other) activities as they not only have their caring responsibilities, but also often come from a fixed income family.
Recovery play
North Ayrshire Council Addiction Services (NACAS) Creative Arts Project has been running for a number of years. Art therapy is a method of addiction treatment that uses the creative process to improve and enhance the physical, mental, and emotional well-being of recovering individuals.
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