Just bought he complete package and Structure only plays millisecond snippets of sounds.
Trashing prefs restores functionality briefly. Any insight???
Hello, this is fully supported on OSX 10.12 as long as you have version 2.0.7 installed. Please can you let us know more about your system spec?
I'm on an i7, OSX 10.12.1, 32GB Ram - installed on system SSD - samples on dedicated audio drive.
As stated, trashing prefs some times helps...but now for long.
I have the latest version installed - bought and downloaded 2 days ago.
I'm on an i7, OSX 10.12.1, 32GB Ram - installed on system SSD - samples on dedicated audio drive. As stated, trashing prefs some times helps...but now for long. I have the latest version installed - bought and downloaded 2 days ago.
The initial sine patch plays just fine, but when I change patches, that's when the issue arises.
Thanks for posting. Have you tried uninstalling and reinstalling the software? Does this happen with any other AIR or non-AIR plugins?
Hi Rasmus,

Thanks for posting. Have you tried uninstalling and reinstalling the software? Does this happen with any other AIR or non-AIR plugins?
I have tried removing the Structure files from the plug-in folder, preferences folder and Applications folder - and then re-installing but that didn't help.
Could not find a dedicated un-installer?
All other AIR instruments and everything else work just fine.
Any suggestions - seem others have similar problems with the ultra short notes??
Might this be related to using a SSD system drive?
Any suggestions - seem others have similar problems with the ultra short notes?? Might this be related to using a SSD system drive?
Sorry to hear you're still having issues. Please get in touch with your nearest Support Office. Log on to www.airmusictech.com/support to get in touch with Support. You can find their contact information on that page.
It seems to be Sierra related.
I tried clean Sierra/Pro Tools install - same problem. It is not Pro Tools related, as Logic exhibits the same behaviour.
Yes I agree, not just pro tools I am using Cubase Elements 8 and pro tools on sierra and I can not what ever I do get it work??????
Every other plugin works fine!!!!!
Yes I agree, not just pro tools I am using Cubase Elements 8 and pro tools on sierra and I can not what ever I do get it work?????? Please Air Music Tech get this sorted.... Every other plugin works fine!!!!!
I'Ve already contacted support regarding this issue, but haven't received an answer yet. Pretty annoying to say the least.
Hello, sorry you may not have seen out other thread about this we are currently as a matter of priority working on a FIX for Mini Grand and structure and this will be released as soon as possible.
i have the same problem with Structure 2.0.7 on Sierra! Any solution???
None of my air vsts are working in any of my daws sense going up to sierra. After installing the os, the daw(ableton,logic pro x, bitwig studio) all show a fatal error warning when trying to index the plug-ins. Just the instruments are doing this, it seems all the AIR effects are working.
Hi Ben, you need to update to 2.0.7 this will resolve the issue for all but Mini Grand and Structure currently. 2.0.8 will be released for those in the near future.
In the mean time there is a work around posted.
Thank you for the quick reply! How would I go about updating to 2.0.7?
go to airmusictech.com, go there to the page of the plugin you need to update, click the update tab and download.
have you tried 2.0.10 ?
If you are using Structure Free please update via Avid, if you are using Structure Full please update to 2.0.10 at our website.
It got fixed with a new (paid) Pro Tools version as far as I know.


There are many ways to contribute and get involved with AASHP. Click below to get involved today!
Parking is available on Lavaca and 13th streets. Please do not park in the lot at the corner of 13th and Guadalupe. That lot belongs to the Texas Oil and Gas Association and they will tow! Parking is also available in the First United Methodist Church parking lot at 13th and Lavaca. The entrance is on Colorado Street across from the Capitol.
We host monthly meetings and socials to keep connected to the AASHP Community.
Along with our regularly scheduled meetings, there are always many other ways to get involved including volunteer opportunities, collaborations and challenges.


With a global production budget of approximately Euro 8 million, the first series will be developed in colour creating a timeless atmosphere and a unique look, blending early 20th century with present time, allowing for younger generations to identify with the Charlie Chaplin character. In keeping with the spirit of Chaplin, the short episodes will be presented without dialogue, giving enough space for the full scope of the famous character's talents in pantomime. Completing the picture, putting particular emphasis on the choice of music and the sound design, will add to the laughter and emotion of the adventures of the legendary tramp.
The really intriguing element here is the 3D. The press releases promises that "the entire series will be produced in stereoscopic 3D bringing forth a fully immersed visual and emotional experience". 3D television is gloing to be the next big media revolution (at least, that's what the industry is baking on) and there is going to be a need for ready-to-use programming to help fill world schedules. The series will be developed for mobile, television, home video and internet platforms, naturally.
So this may be a smart move by DQE and partners (DQE has already found success with the 3D animated series Iron Man: Armored Adventures), producing a language-free content package which will have appeal across the world, though whether "21st century kids and the[ir] families" will identify with – or even recognise – Charlie Chaplin is something that remains to be seen.


Here's the scenario – you're checking the MLS hot sheet for expired listings…it's a good day. There are more than 30 results showing up. You grab the phone and start dialing for dollars. It's a scene in thousands of real estate offices every day. It's also one of the biggest time wasters in an agent's life. Yes, you read that right, it's one of the biggest time wasters you can do.
We have nothing against expired listings. In fact, expired listings are a perfect target for agents because these are people who've proven that they want to sell and move. Actually, if you approach expired listings the right way, you can make a darn good living on them and them alone.
The problem is timing. Take careful note here, most agents are picking the fruit before it's ripe. Repeat after me, "I will pick no fruit before its time." What happens when you join hundreds of your fellow agents all jumping at and reaching for the same apple? You get trampled. You get frustrated. You get lost in the crowd.
Here is a statistic for you to nibble on; a newly expired listing gets anywhere from 15 to 25 calls from agents a day when it first expires. A bunch of agents jumping, reaching and clawing for one apple that's not ready to be picked or enjoyed…yet. Consider the homeowners whose listing has just expired. First, because their home didn't sell, agents are likely not at the top of their "I love" list. They have that bad sour apple taste in their mouth. They're upset. Most important, they didn't get what they desperately wanted. It is a time when emotions run high. Here is the secret to making a living with expired listings, WAIT! Wait and let the fruit ripen before you start picking. Let homeowners get their bearings back. Let the wound heal.
For additional information and guidance on this topic we have posted an article on our website entitled "Picking the Ripe Apple" for you to review.
Make A Commitment: I will be patient when following up with Expired listings.


Why Is Vornado (VNO) Up 7.6% Since Last Earnings Report?
It has been about a month since the last earnings report for Vornado (VNO). Shares have added about 7.6% in that time frame, outperforming the S&P 500.
Will the recent positive trend continue leading up to its next earnings release, or is Vornado due for a pullback? Before we dive into how investors and analysts have reacted as of late, let's take a quick look at the most recent earnings report in order to get a better handle on the important catalysts.
Vornado reported second-quarter 2018 FFO per share with assumed conversions of $1.10, beating the Zacks Consensus Estimate of 97 cents. Further, the figure surpassed the prior-year quarter tally of $1.35.
Results reflect healthy leasing activity in the New York office portfolio. In addition, the company witnessed robust same-store net operating income (NOI) in theMART and 555 California Street segments.
Total revenues came in at $541.82 million in the reported quarter, handily surpassing the Zacks Consensus Estimate of $536.3 million. However, this compares unfavorably with the year-ago revenue figure of $626.04 million.
In the New York portfolio, 611,000 square feet of office space (545,000 square feet of space at share) and 49,000 square feet of retail space were leased in the June-end quarter. Also, 50,000 square feet of area was leased in theMart.
At the end of the quarter under review, occupancy in the New York portfolio was 96.6%, down 30 basis points (bps) sequentially, while remaining flat year over year. Occupancy in theMART was 99.3%, up 20 bps sequentially and 40 bps year over year. Furthermore, occupancy in 555 California Street was 97.3%, shrinking 50 bps sequentially, while expanding 660 bps year over year.
During the second quarter, same-store NOI at the company's share increased 4.2% year over year for the New York portfolio. The same for theMART and 555 California Street grew 5.2% and 13.5%, respectively, year over year.
As of Jun 30, 2018, Vornado had nearly $1.1 billion of cash and cash equivalents, down from $1.8 billion as of the prior-year end.
At this time, Vornado has a poor Growth Score of F, however its Momentum Score is doing a lot better with an A. However, the stock was allocated a grade of F on the value side, putting it in the lowest quintile for this investment strategy.
Estimates have been trending upward for the stock, and the magnitude of these revisions looks promising. Notably, Vornado has a Zacks Rank #3 (Hold). We expect an in-line return from the stock in the next few months.


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Hallmark changes course after pulling wedding ads showing brides kissing
Hannah Knowles, The Washington Post
The wedding planning company's ads had been airing for more than a week when the Hallmark Channel said there was a problem.
The TV network known for its annual lineup of holiday movies was pulling four of six commercials in which couples wish they'd turned to Zola's services for their big day. The rationale given in a Thursday email to Zola representatives was vague: "We are not allowed to accept creatives that are deemed controversial," the note, which was shared with The Washington Post, explained.
It seemed that Hallmark had rejected only the ads that showed a lesbian couple.
The move was a victory for a conservative group that petitioned against the commercials, which called them a blow to Hallmark's "family friendly" reputation and gathered nearly 30,000 signatures. But the decision astonished LGBTQ advocates, who viewed it as a step backward from an iconic brand amid growing representation of different sexual orientations in media.
Pete Buttigieg, who is the first openly gay candidate for a major party's presidential nomination, said being "family friendly" is about "honoring love" rather than "censoring difference."
"Families are built on love - no matter what they look like," he tweeted.
Zola announced it would stop advertising with the channel.
"All kisses, couples and marriages are equal celebrations of love," Mike Chi, the company's chief marketing officer, said in a statement.
The Hallmark Channel, which did not immediately respond to The Post on Sunday, has said it pulled the ads because the debate they sparked "on all sides was distracting from the purpose of our network, which is to provide entertainment value." A spokesman told The New York Times that the network followed its normal policies in choosing not to air ads with "overt public displays of affection . . . regardless of the participants."
But Zola points out that Hallmark kept showing an ad that features a heterosexual couple kissing at the altar while rejecting a spot with two brides' kiss. Its six commercials are similar in content, and Zola has run Hallmark ads depicting same-sex couples going back to 2017, spokeswoman Emily Forrest said.
On Sunday night , the owner of the Hallmark Channel apologized for the "hurt and disappointment" the decision had caused.
"The Hallmark Channel will be reaching out to Zola to reestablish our partnership and reinstate the commercials," said Mike Perry, president and chief executive of Hallmark Cards, which controls Crown Media Networks, the parent company of Hallmark Channel. "Across our brand, we will continue to look for ways to be more inclusive and celebrate our differences."
Opposition to Zola's latest ads had grown with a campaign by an organization called One Million Moms, which bills itself as an advocate for parents "fed up with the filth many segments of our society, especially the entertainment media, are throwing at our children." Among the group's other initiatives: urging a TV network to drop an "anti-Christian" show and encouraging Chick-fil-A to resume donations to organizations that oppose same-sex marriage.
One Million Moms asked Hallmark to reconsider commercials showing gay couples as other conservative groups rallied against the prospect of more LGBTQ representation on the channel.
A post on LifePetitions, which says it caters to the "pro-life and pro-family communities," shares dismay at a leader for the Hallmark Channel's parent company expressing interest in LGBTQ film pitches. It notes with approval that the channel has never featured a gay main character in the TV Christmas movies it's known for, though a company leader recently told the Hollywood Reporter that Hallmark will consider gay leads.
One Million Moms says on its website that Bill Abbott, the CEO of Hallmark owner Crown Media Family Networks, personally confirmed to the group that Zola's ads with same-sex couples were "aired in error."
"The call to our office gave us the opportunity to also confirm the Hallmark Channel will continue to be a safe and family friendly network," the organization adds. "Praise the Lord!"
Representatives for Crown Media did not immediately respond to The Post's inquiries.
As One Million Moms celebrated Hallmark's decision as a success, others were incensed. Some deployed the hashtag #BoycottHallmarkChannel.
"Isn't it almost 2020?" tweeted Ellen DeGeneres, the lesbian comedian and TV host known for breaking down barriers in the entertainment world. ". . . what are you thinking? Please explain."
LGBTQ advocacy groups also condemned Hallmark. Human Rights Campaign said Sunday that 60,000 people had participated in its letter-writing campaign against the decision to drop the commercials. And GLAAD, a media-focused nonprofit, noted what it deemed a discrepancy between Hallmark's actions and executives' statements embracing more diversity in their programming.
Cutting the Zola ads is "discriminatory and especially hypocritical coming from a network that claims to present family programming and also recently stated they are 'open' to LGBTQ holiday movies," GLAAD tweeted.
Scrutiny of Hallmark comes as more media companies grow comfortable showing LGBTQ characters and families. A recent report from GLAAD says one in 10 series regulars on scripted, prime-time programming for the 2019-20 TV season are part of the LGBTQ community, the highest percentage in GLAAD's 15 years of tracking.
Another family-focused brand, the children's magazine Highlights, made headlines in 2017 when it depicted a same-sex couple for the first time - to significant controversy.
"We did expect and received a backlash when we committed to becoming more fully reflective to all the different kinds of families out there," Christine French Cully, editor in chief of Highlights, told The Post at the time. "We expect this will make some people unhappy."
Zola's ads with a lesbian couple's wedding-day kiss are still airing on more than 100 networks, spokeswoman Forrest said.

redpajama_set_name: RedPajamaCommonCrawl


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André Burri, né le  à Delémont, est un avocat, manager, enseignant et personnalité publique suisse, membre du Parti démocrate-chrétien (Suisse). Au niveau international, il a été membre du bureau, député de l'Assemblée parlementaire de la francophonie et Président de commission à l'Union internationale des transports publics.

Biographie

Après avoir achevé ses études de droit à l'Université de Neuchâtel en 1989 et obtenu son brevet d'avocat du canton de Neuchâtel en 1992, il pratique le métier d'avocat indépendant et enseigne le droit et les branches commerciales puis se lance en politique à côté de ses fonctions de manager en transport public. Élu au législatif de la ville de Delémont, en 1997 et 2001, puis au Parlement de la République et canton du Jura en 2002, 2006 et 2010. Il sera successivement Président de la Commission parlementaire de la Justice, puis Président de la Commission parlementaire de l'Economie et enfin Président du Parlement jurassien en 2011. Actuellement, il siège pour un 3ème mandat au législatif de la ville de Delémont pour la période 2018-2022.

Durant son mandat politique au parlement jurassien, il sera Président de la section Jura de l'Assemblée parlementaire de la francophonie et ainsi membre du bureau de l'organisation internationale. Durant ce dernier mandat il sera co-auteur (avec Madame l'honorable députée Amissetou Affo Djobo Oloude du Bénin) d'un rapport sur la responsabilité sociétale des entreprises (RSE) dans les pays francophones.

Il exercera comme professeur de droit au niveau de l'école de commerce de Delémont de 1998 à 2011.

Spécialisé dans le domaine des transports publics, il aura le privilège de devenir Président de la Commission du trafic régional de l'Union internationale des transports publicss avec siège à Bruxelles. Il sera actif dans cette association de 1996 à 2018 et aura plusieurs occasions de présenter des nouveautés en transport public à des Sommets mondiaux, comme au 59ème Congrès de l'Union internationale des transports publics à Dubai en 2011.

Il est également fondateur de CarPostal France et en sera le Président durant 14 ans. De plus, il a été consulté comme expert pour les réseaux de transport public Transports de l'agglomération orléanaise à Orléans et pour la Société des transports de l'agglomération nazairienne à St-Nazaire.

Depuis 2010, il est Président de la commission de surveillance des droits des patients du canton du Jura  et depuis 2016 Président de la Commission de conciliation du droit du bail pour le district de Delémont .

En , Fedpol ouvre une enquête contre 3 anciens collaborateurs de CarPostal dont André Burri concernant l'affaire des subventions CarPostal. La présomption d'innocence s'applique..

Prix et distinctions

2008 : Oscar du commerce Franco-Suisse, prix pour l'implantation d'une société suisse en France (Chambre du commerce et de l'industrie France Suisse)

2014 : Médaille d'honneur pour la contribution au développement économique (Communauté d'agglomération Hérault Méditerranée

Notes et références

Liens externes
 Site personnel

Personnalité politique du canton du Jura
Personnalité du Parti démocrate-chrétien (Suisse)

redpajama_set_name: RedPajamaWikipedia


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News and Information about carlos ghosn
List of News and Information about carlos ghosn on 4WheelsNews.com
Read the latest news and information about carlos ghosn published on 4WheelsNews.com! View comments and pictures about carlos ghosn on 4WheelsNews.com!
You also might be interested: renault nissan, ceo, carlos ghosn, nissan, ford, autonomous car, renault, europe, avtovaz, electric car, china, japan, united states
Russia is a bloodbath market for carmakers, says Renault-Nissan CEO
Russia has become a place for a "bloodbath" for carmakers, no thanks to a weakening ruble, according to Renault-Nissan chief executive Carlos Ghosn. He remarked that both Nissan and Renault are not taking orders anymore for some models in Russia, and could even hike the tag for other vehicles if the ruble continues to weaken.
Much worse, a falling ruble is making the Russian auto market shrink further. "It's red ink, people are losing money, all car manufacturers are losing money," Ghosn said. He said that Renault and Nissan are suspending orders on some models until they could see where "this situation is going."
So far this, the Russian ruble has dropped by around 50 percent against the dollar, placing more pressure to carmakers to sell their products at a higher price while facing lower demand. Carmakers like General Motors, Audi and Jaguar Land Rover have suspended sales in Russia due to the dropping ruble.
Read the entire article Russia is a bloodbath market for carmakers, says Renault-Nissan CEO
Nissan CEO earned over $10 million last year, on track to become the best-paid Japan executive
Nissan chief executive Carlos Ghosn received over $10 million in total compensation in the fiscal year ended March 2014. Ghosn disclosed at the carmaker's annual shareholders' meeting that he received JPY995 million ($9.8 million) in salary and bonuses for the fiscal year ended March 31, 2014, representing a 0.7-percent rise.
If dividends are included, Ghosn's total compensation was over JPY1 billion. Ghosn also received EUR2.3 million ($3.13 million at current exchange rates) in compensation in 2013 in his capacity as CEO of Nissan alliance partner Renault.
Ghosn received compensations four times higher than what Toyota President Akio Toyoda earned in the same period despite leading a carmaker which profit just around a fifth. Nissan saw its lowest profit surge among Japanese carmakers in 2013, save for Daihatsu.
Read the entire article Nissan CEO earned over $10 million last year, on track to become the best-paid Japan executive
Ford exec casts doubt on Ghosn's 2020 forecast on self-driving cars
Self-driving cars won't hit the road by the end of the decade, so declared Ford's head of advance r&d in Europe, Pim van der Jagt. He expressed doubt on Carlos Ghosn's prediction that Renault-Nissan, or any carmaker -- will have autonomous vehicles ready by 2020.
"All automotive companies are more less moving at the same pace," Pim van der Jagt told Automotive News Europe, claiming that carmakers are still several years from handing over complete control. "The last 20 percent, when you could be fully asleep, that will be the most difficult."
Until then, van der Jagt says the move toward self-driving will be evolutionary, with each successive generation of cars handing over more or less a tenth of control to the next vehicle. He disclosed that Ford's next step after self-parking will be to introduce traffic-jam assistance -- an advanced version of adaptive cruise control that includes automatic steering.
Read the entire article Ford exec casts doubt on Ghosn's 2020 forecast on self-driving cars
Carlos Ghosn wants next Nissan CEO to be Japanese
Nissan Motor Co. Chief Executive Officer Carlos Ghosn wants a Japanese leader to replace him as the carmaker's top honcho. Ghosn has been leading Nissan for 14 years.
After eliminating the Chief Operating Officer post held by Toshiyuki Shiga and reshuffling the carmaker's top management, he remarked that while Nissan's diverse management is unrivaled by any other manufacturer, it is important to reinstate a Japanese leader at the top when he eventually steps down.
"It's symbolic, and we have plenty of Japanese talent," Ghosn told Automotive News in an interview. He added that he wants Nissan to be continued to be seen as a Japanese company. He noted that around half of Nissan's top 100 managers are non-Japanese representing 17 nationalities.
Read the entire article Carlos Ghosn wants next Nissan CEO to be Japanese
Carlos Ghosn deletes COO post, names 4 deputies for Nissan
Carlos Ghosn, chief executive of Nissan Motor Co. and Renault SA, currently has one right hand at the Japanese carmaker -- chief operating officer Toshiyuki Shiga. But in the near future, Ghosn will have four right hands at Nissan, after announcing last week that he is eliminating the COO post.
The management overhaul will see Ghosn having four executive vice presidents at Nissan, a decision that came as the Japanese carmaker revised downward its profit outlook at a time when the weaker yen is boosting earnings of the country's exporters.
Ghosn remarked that getting rid of the COO post is an indication of the company's maturity, but the move may also mean the Nissan and Renault will increasingly depend on one man.
Yuuki Sakurai, CEO of Fukoku Capital Management Inc., told Automotive News that Ghosn may want to set up a "single straightforward chain of command" at Nissan instead of "having two captains."
Read the entire article Carlos Ghosn deletes COO post, names 4 deputies for Nissan
Renault-Nissan chief Carlos Ghosn says the European car market has recovered
Renault-Nissan chief Carlos Ghosn said that the decline in the European auto market has stopped and that it's now expected to achieve some light growth. Ghosn told reporters at the Frankfurt Motor Show that Renault-Nissan agrees with the forecasts from market analysts that the three growth indicators (a buoyant used car market, an increase in the prices of used cars, and an expanding growing new car market) were in line.
Ghosn said that all of the numerous indicators show that the downtrend trend is at its end. He said that the company is presently at the third stage of recovery where new car sales are expected to increase once more. He also thinks that for the next two years, the car industry will stay at this phase and will post a 1 to 2% growth a year.
In the first half of 2013, the European car market declined by 7% more. However, it's expected to recover to end the year with a 5% drop. Ghosn believes that the "worst is over" and that the figures will increase starting in 2014.
Read the entire article Renault-Nissan chief Carlos Ghosn says the European car market has recovered
Carlos Tavares had asked Carlos Ghosn for wider role at Renault
Renault SA chief executive Carlos Ghosn turned down proposal by Carlos Tavares that the chief operating officer play a broader role at the French carmaker, two people privy with the matter told Bloomberg. Under the proposal, Tavares would have his responsibilities expanded beyond purely operational decision-making, and would include oversight of human resources and legal matters, one of the people told Bloomberg.
Under the proposal, Tavares would still report to Ghosn. The sources disclosed to Bloomberg that instead of agreeing, Ghosn offered to let Tavares remain as COO at Renault.
Tavares has now exited from Renault and decided instead to seek a top post elsewhere. The French carmaker is now mulling whether to drop the position of COO completely, another person told Bloomberg.
Read the entire article Carlos Tavares had asked Carlos Ghosn for wider role at Renault
Renault-Nissan CEO is optimistic in Russia despite slump
Carlos Ghosn, chief executive of both Renault and Nissan, is expecting the car market in Russia to prevail over its current weakness. Car sales in Russia has drop for four months in a row, no thanks to the weakening Russia economy. Moscow-based Association of European Business (AEB) expects the Russian car maker to drop 5 percent in 2013.
The Renault-Nissan CEO, however, remains positive that the market would gain in the longer term, citing low car ownership in Russia. Ghosn told the Vedomosti business daily that he does not doubt that car ownership in Russia should be not less than in Portugal, Spain and Italy.
Less than 300 per 1,000 people own cars in Russia, compared with a European average of 500, Ghosn said, adding that on the whole, he has "no doubt that the trend is upward." Ghosn is aiming for Renault-Nissan, with the Lada-maker AvtoVAZ, to grab 40 percent of the Russian market.
Read the entire article Renault-Nissan CEO is optimistic in Russia despite slump
Carlos Ghosn's payment may earn further ire in France
The announcement that Carlos Ghosn received JPY988 (EUR7.6 million) for his role as Nissan's chief executive in the fiscal year ended March 31, 2013, could further earn the ire of French unions and government officials. The same unions and government officials who were already upset on the EUR2.47 million he received last year as chief executive of Renault.
Industry Minister Arnaud Montebourg and union officials said that Ghosn's pay as Renault CEO was excessive, especially since the French carmaker has implemented a wage freeze in France and is making jobs cuts at its sites in the country. Ghosn agreed to postpone 30-percent of his variable 2012 bonus from Renault until 2016 during discussions with CGT union officials in early 2013.
But CGT representative Ali Kayak told the France Info radio station that Ghosn's gesture was an insult to French workers, who estimate that Ghosn received EUR27,500 a day in combined pay, which is considered a very high in France. In comparison, Toyota president Akio Toyoda only received JPY184 million and Honda chief executive Takanobu Ito got JPY145 million for the fiscal year ended March 31, 2013. [source: automotive news - sub. required]
Read the entire article Carlos Ghosn's payment may earn further ire in France
Carlos Ghosn named as chairman of the AvtoVAZ board
Renault-Nissan chief executive Carlos Ghosn is now the chairman of the AvtoVAZ board, the French carmaker said in a statement. The previous chairman and currently head of Russian Technologies, Sergey Chemezov, is now vice chairman. Ghosn's appointment is part of a deal that entails Renault and Nissan taking a majority stake in a joint venture with Russian Technologies that will control 74.5 percent of AvtoVAZ by mid-2014.
Ghosn is hoping that AvtoVAZ could help increase Renault-Nissan's sales in Russia, where demand for vehicles is expected to further surge in coming years. Demand in Russia is even expected to surpass that in Germany by 2014. The high potential of Russia for further sales growth have reached the attention of a number of carmakers like Renault, Volkswagen Group, Ford Motor Co., prompting them to expand capacity in the country.
Following a meeting of AvtoVAZ general shareholders, Ghosn remarked that the Renault-Nissan alliance is committed to providing the resources and expertise "necessary to transform AvtoVAZ into a world-class" carmaker.
Read the entire article Carlos Ghosn named as chairman of the AvtoVAZ board
Nissan paid CEO Carlos Ghosn $10 million in last fiscal year
Carlos Ghosn received a total of JPY988 million ($10 million) in salary and bonuses for his role as chief executive of Japanese carmaker Nissan for the fiscal year ended March 31, 2013. Ghosn's pay for the previous fiscal year reflects a 0.1 percent rise, which came on heels of the carmaker's performance during the period when its operating profit margin dropped to 5.4 percent.
Ghosn's compensation places him on track to be among the highest-paid executives in Japan. In comparison, Toyota president Akio Toyoda received JPY184 million ($1.9 million) while Honda president Takanobu Ito got JPY145 million for the fiscal year ended March 2013.
Nissan, however, noted that Ghosn's pay is lower than the industry average. Nissan, citing estimates at consultant Towers Watson & Co., said that comparable global carmakers paid their CEOs an average of $15.3 million in 2012.
Read the entire article Nissan paid CEO Carlos Ghosn $10 million in last fiscal year
Carlos Ghosn expects Nissan to break sales records this year
Carlos Ghosn expects to break records this year when it comes to Nissan's annual retail sales worldwide but then he believes that it will be challenging year for the European market. Ghosn is the chief of Nissan and Renault.
After the release of Nissan's earnings for the fourth quarter, Ghosn said at a news conference at its headquarters in Yokohama that 2013 will be "tough" and that he doesn't predict a growth in Europe before the end of Nissan's mid-term plan, which indicates that it won't be before 2016 and may arrive even later.
Ghosn also said that the European consumer is confused and doesn't have enough confidence. Nissan, which is the No. 2 largest automaker by sales volume, estimates that for the business year that ends in March 2014, it will have global retail sales of 5.3 million vehicles.
Read the entire article Carlos Ghosn expects Nissan to break sales records this year
Nissan CEO: China-Japan political tensions delays growth plan by one year
CEO Carlos Ghosn blames the political tension between China and Japan for the one-year delay for Nissan to achieve a 10% market share in China. Ghosn was at the sidelines of the New York auto show when he made this statement. So instead of targeting 2016, Ghosn said that the Nissan team now has up to 2017.
Nissan is the leading Japanese automaker in China, making up from 6.5% to 7% of the market share in the world's largest auto market. Nissan had a 7.6% market share in China in the quarter that ended in June 2012, which was before the dispute arose between the two countries.
Last Wednesday, Ghosn said that as Nissan lost one year, he is allowing them one additional year to get to this target with the hopes that there will be improvements in the relationship between Japan and China.
Read the entire article Nissan CEO: China-Japan political tensions delays growth plan by one year
Nissan CEO Carlos Ghosn confident that China will save the electric car
Renault-Nissan chief Carlos Ghosn is confident that because of the automaker's plans in China, its industry investments in electric car will soon pay off. The automaker has a large stake on battery-powered motoring. Ghosn, who is the most committed to this technology compared to other mass-market automakers, was quite optimistic upon introducing Renault's Zoe into the market in Europe, where there are very few electric car chargers available and where customer response has been unenthusiastic.
When interviewed, Ghosn said that the company will be able to sustain its investments due to its plans in China to reach a production capacity for two million electric cars and plug-in hybrids by 2020. The automaker has started deliveries of the Zoe in Europe last week.
Ghosn asserts that he isn't merely making speculations and that the China government's decisions are "among the most audacious" that any country has taken. Even when the U.S. and Europe governments have provided substantial subsidies, sales of its electric cars have fallen below expectations three years since the Nissan Leaf was introduced.
Read the entire article Nissan CEO Carlos Ghosn confident that China will save the electric car
Europe auto industry's recovery to take years, says Nissan's Carlos Ghosn
Carlos Ghosn, chief executive of Renault-Nissan, told Bloomberg in an interview that it would take many years for the auto industry in Europe to recover from dwindling demand and overcapacity. Ghosn remarked that Nissan is "preparing for many mediocre years" in Europe. Ghosn said that despite the excess production capacity in Europe, the region "will not see any kind of Armageddon."
New-car sales in the continent has slipped to their lowest levels in 17 years, due to lower vehicle demand brought about by the current European debt crisis, rising unemployment and slowing economic growth. Business consultants AlixPartners made a forecast in August 2012 that the European auto market would not recover to pre-crisis levels until the end of the decade, as the current euro crisis and high unemployment continue to corrode consumer confidence.
According to AlixPartners, the demand for new passenger cars and light commercial vehicles in Western Europe will drop by around 1 million units in 2013 to 13.5 million, which is 3.3 million units less than pre-crisis sales figure. As for Nissan's operations in Europe, Ghosn told Bloomberg that the carmaker will match its production capacity with demand.
Read the entire article Europe auto industry's recovery to take years, says Nissan's Carlos Ghosn
Nissan's Ghosn is the highest-paid exec in Japan with $12.5M received in 2011
Carlos Ghosn received a salary and bonus of $12.5 million or JPY987 million from Nissan Motor Co. for the past fiscal year, the carmaker's chief executive told the company's annual shareholders' meeting in Yokohama today. Although Ghosn's large paycheck represents only a 0.5 percent rise in compensation at Nissan, it effectively makes him Japan's highest-paid executive.
It, however, fell short of making Ghosn as the first chief executive of a Japanese company to receive more than JPY1 billion in compensation, as investors are more concerned with his tenure than the terms of his compensation.
Nissan justified the higher pay for Ghosn as well for other company executives, saying the compensation package for its global chief should not be compared with the lower ones received by Japanese chief executives, but should be rather compared with the pay given to CEOs of other global industrial companies like Ford Motor Co and Volkswagen AG.
Read the entire article Nissan's Ghosn is the highest-paid exec in Japan with $12.5M received in 2011
Carlos Ghosn could retire before the company's next mid-term business plan
Carlos Ghosn, the CEO of Nissan Motor Co., said that he could vacate the position before its next mid-term business plan starts in around five years. Spokesman Koji Okuda said that Ghosn, who is now 58, doesn't intend to get involved in the next mid-term plan. This year, Nissan's investor-relations officials have informed investors and analysts this year that a succession plan has been established.
This would be the last mid-term plan that Ghosn will commit to, implying that he won't be around for the next one. Okuda added that the company would have to prepare for his leaving within a duration of five years. Whoever comes after Ghosn will have a lot to prove since he or she would be following someone who had led the company into one of the most impressive turnarounds in recent history in the automotive industry.
Ghosn, who is No. 2 when it comes to time spent as CEO of a major automaker, entered Nissan when it was on the brink of bankruptcy. Under this leadership, Nissan has become the most profitable automaker. Its current market value has reached of up to 5.73 trillion yen ($72 billion), which was recorded in 2006. Koji Endo, an auto analyst at Advanced Research Japan, said that there's less impact when top executives resign in Japan than those overseas since Japanese automakers are "run collegially."
Read the entire article Carlos Ghosn could retire before the company's next mid-term business plan
Nissan CEO Carlos Ghosn still 'bullish' on projection for electric vehicles
Chief executive officer Carlos Ghosn at Nissan is "still bullish" about electric vehicles, he said to an industry audience last week before the New York Auto Show, where he introduced an Infiniti electric vehicle. He reiterated that the EVs will be 10% of the market in 2020 in every region where they are marketed.
All that reporters seem to want to ask the CEO is if he misjudged the market for the EVs. Despite the scanty sales in the United States and the latest delays at a small number of EV projects, Ghosn is still sticking to his vision of an auto industry where these types of cars will comprise 10% percent of worldwide automobile sales.
With technology problems and slow sales greatly deflating the optimism of industry about the electric cars, the Nissan CEO is almost an industry outlier on the topic.
Read the entire article Nissan CEO Carlos Ghosn still 'bullish' on projection for electric vehicles
Nissan-Renault CEO Ghosn feels pressure from crises in Europe, Japan
CEO Carlos Ghosn has disclosed that Renault will be forced to operate in "crisis mode" in Europe due to the continuing debt crisis in the region while Nissan will be in a similar scenario in Japan due to the strengthening yen. He further stated that vehicle manufacturers in Europe will continue to deteriorate if the governments in the region will not permit them to restructure and reduce workforce.
He explained that in the duration of five to 10 years, the lack of restructuring in the region is "going to be a drag" on the automakers' potential strategy in the future. Ghosn stated that European nations are discouraging the restructuring of the industry. He commented that when not allowed to restructure, one may survive, but is "weakening all the time."
The French government has constantly warned Renault that it should not slash jobs in France. The government is the largest shareholder of Renault with a 15% stake. Ghosn also disclosed that the strength of the yen continues to hamper Nissan. On the other hand, Nissan is still making gains in the United States with a 12.5% rise in sales for March, according to the U.S. data released on Tuesday.
Read the entire article Nissan-Renault CEO Ghosn feels pressure from crises in Europe, Japan
Renault will not return to the United States, CEO Carlos Ghosn says
Renault doesn't plan on returning to the U.S. market as it has decided to concentrate on introducing the French brand in China, according to CEO Carlos Ghosn. Fiat, a European brand that had also left the U.S. sometime ago, had recently gone back to this market with the Fiat 500 mini-car. As part of the Obama administration's restructuring of Chrysler in 2009, Chrysler was acquired by Fiat.
When Ghosn was interviewed at the Automotive News World Congress, which was held in conjunction with the Detroit auto show, Ghosn praised the profitability and the expanding market share of Nissan.
He said that Nissan has 65 models, which are either already profitable or will soon be profitable. Ghosn said that in 1999, Nissan had 43 models but only four generated profits. He said that in the coming decades, there will be a surge in automotive sales worldwide as developing countries become wealthier and as they come to appreciate the personal mobility that's offered by this model.
Read the entire article Renault will not return to the United States, CEO Carlos Ghosn says


The unique thing about the Care Bears theme is that it consists of the rainbow colors. This basic fact makes it one of the easiest birthday party themes to pull off, since all you have to do is have a multicolored birthday theme and you can safely claim it is a Care Bears theme. So let's have a look at some of the basic supplies you need to produce a Care Bears birthday party.
Care Bears themed invitation cards-any party starts at the invitation phase and having a Care Bears themed card will even guide your guests the type of gifts to bring so as to follow the party's theme.
Multi colored balloons- balloons play a big role in decorating the venue of any party and therefore are a good platform to display the parties theme. If you are finding it very difficult to get custom made Care Bears themed balloons; you can simply tie balloons of different colors (most preferably the rainbow colors) in a group and place them at different spots in the venue.
Have Care Bears themed baskets –these can come in handy for placing stuff such as gifts, candy of food. You can make your own Care Bear themed baskets by tie ribbons of different colors around each basket to make it multi-colored.
Have Care Bears themed stickers on the walls and ceiling- who said that you can't accessorize your walls and ceiling to further enhance the Care Bears themed party feeling in the selected venue.
Have Care Bears labels- these can be used to customize the normal party cups, water bottle and even plates. So if you can't seem to find Care Bear themed utensils for your kid's birthday party getting labels is an easy and cheaper alternative.
Care Bears birthday parties can be a lovely affair especially for your daughter's party; however you will need the right supplies to organize a successful Care Bears party.
This entry was posted in Cartoons on September 30, 2015 by admin.


text:
The Intermediate Court judge handles offences punishable with imprisonment that does not exceed 20 years and can impose whipping and fine. The Intermediate Court does not have the jurisdiction to hear capital punishment cases or death penalty cases.
Section 13 (1):
"…Intermediate Courts in exercise of their criminal jurisdiction shall have (concurrently with the High Court) all the jurisdiction, powers, duties and authorities as are vested, conferred and imposed on the High Court in the exercise of its original criminal jurisdiction.
For the purpose of subsection (1), such written laws shall be construed subject to such modifications as may be necessary to bring them into conformity with this Act.
Intermediate Courts shall not have any jurisdiction:-
In respect of any offence punishable with death or with imprisonment for life; or
To impose a period of imprisonment longer than 20 years in respect of any offence
In any trial before an Intermediate Court in which it appears after the conviction of the accused that a period of imprisonment longer than 20 years should be imposed in respect of the offence, the Intermediate Court may commit him to the High Court for sentence.
On a committal of an accused under subsection (4), the Intermediate Court may remand him in custody pending the sentence of the High Court which shall have the power to sentence him in accordance with the law under which he was found guilty by the Intermediate Court
Where the High Court and Intermediate Courts have concurrent jurisdiction in respect of any prosecution or processing. The Public Prosecutor or any person expressly authorized by him in writing shall direct in which of those Courts they shall be instituted:
Provided that, subject to this Act, section 189 of the Criminal Procedure Code (Chapter 7) shall apply to an Intermediate Court as it applies to the Court of a Magistrate."


text:
The McDowell Memorial Presbyterian Church is a historic church in north Philadelphia, built in the Richardson Romanesque style by architects Henry Augustus Sims and J. William Shaw.

It was listed on the National Register of Historic Places in September, 2013.

References

External links
NRHP nomination form

Churches in Philadelphia
Presbyterian churches in Pennsylvania
Properties of religious function on the National Register of Historic Places in Philadelphia
Churches completed in 1893
North Central, Philadelphia
Churches on the National Register of Historic Places in Pennsylvania


text:
new-Deal ΕΠΙΛΟΓΕΣ
THE STIMULUS TRAGEDY
Five years have passed since President Obama signed the American Recovery and Reinvestment Act — the "stimulus" — into law. With the passage of time, it has become clear that the act did a vast amount of good. It helped end the economy's plunge; it created or saved millions of jobs; it left behind an important legacy of public and private investment.
It was also a political disaster. And the consequences of that political disaster — the perception that stimulus failed — have haunted economic policy ever since.
Let's start with the good the stimulus did.
The case for stimulus was that we were suffering from a huge shortfall in overall spending, and that the hit to the economy from the financial crisis and the bursting of the housing bubble was so severe that the Federal Reserve, which normally fights recessions by cutting short-term interest rates, couldn't overcome this slump on its own. The idea, then, was to provide a temporary boost both by having the government directly spend more and by using tax cuts and public aid to boost family incomes, inducing more private spending.
Opponents of stimulus argued vociferously that deficit spending would send interest rates skyrocketing, "crowding out" private spending. Proponents responded, however, that crowding out — a real issue when the economy is near full employment — wouldn't happen in a deeply depressed economy, awash in excess capacity and excess savings. And stimulus supporters were right: far from soaring, interest rates fell to historic lows.
What about positive evidence for the benefits of stimulus? That's trickier, because it's hard to disentangle the effects of the Recovery Act from all the other things that were going on at the time. Nonetheless, most careful studies have found evidence of strong positive effects on employment and output.
Even more important, I'd argue, is the huge natural experiment Europe has provided on the effects of sharp changes in government spending. You see, some but not all members of the euro area, the group of countries sharing Europe's common currency, were forced into imposing draconian fiscal austerity, that is, negative stimulus. If stimulus opponents had been right about the way the world works, these austerity programs wouldn't have had severe adverse economic effects, because cuts in government spending would have been offset by rising private spending. In fact, austerity led to nasty, in some cases catastrophic, declines in output and employment. And private spending in countries imposing harsh austerity ended up falling instead of rising, amplifying the direct effects of government cutbacks.
All the evidence, then, points to substantial positive short-run effects from the Obama stimulus. And there were surely long-term benefits, too: big investments in everything from green energy to electronic medical records.
So why does everyone — or, to be more accurate, everyone except those who have seriously studied the issue — believe that the stimulus was a failure? Because the U.S. economy continued to perform poorly — not disastrously, but poorly — after the stimulus went into effect.There's no mystery about why: America was coping with the legacy of a giant housing bubble. Even now, housing has only partly recovered, while consumers are still held back by the huge debts they ran up during the bubble years. And the stimulus was both too small and too short-lived to overcome that dire legacy.
This is not, by the way, a case of making excuses after the fact. Regular readers know that I was more or less tearing my hair out in early 2009, warning that the Recovery Act was inadequate — and that by falling short, the act would end up discrediting the very idea of stimulus. And so it proved.
There's a long-running debate over whether the Obama administration could have gotten more. The administration compounded the damage with excessively optimistic forecasts, based on the false premise that the economy would quickly bounce back once confidence in the financial system was restored.
But that's all water under the bridge. The important point is that U.S. fiscal policy went completely in the wrong direction after 2010. With the stimulus perceived as a failure, job creation almost disappeared from inside-the-Beltway discourse, replaced with obsessive concern over budget deficits. Government spending, which had been temporarily boosted both by the Recovery Act and by safety-net programs like food stamps and unemployment benefits, began falling, with public investment hit worst. And this anti-stimulus has destroyed millions of jobs.
In other words, the overall narrative of the stimulus is tragic. A policy initiative that was good but not good enough ended up being seen as a failure, and set the stage for an immensely destructive wrong turn.
Το άρθρο του Νομπελίστα Οικονομολόγου Paul Krougman δημοσιεύεται στην εφημερίδα "THE NEW YORK TIMES"
Επιλογές θεμάτων και άξιων προσοχής άρθρων από την συντακτική ομάδα του new-Deal
Parkingstream: Πάρκινγκ χωρίς κόπο, γρήγορα και με ασφάλεια
Η εξομολόγηση της υπηρέτριας Τσερλίν
Πως η Πορτογαλία έμαθε να σβήνει φωτιές
Η ΨΗΦΙΑΚΗ ΕΠΟΧΗ ΕΡΧΕΤΑΙ, ΤΙ ΚΑΝΟΥΜΕ;


text:
Saurabh Bandekar (born 16 November 1987), is an Indian cricketer who played for Goa. He played in 64 first-class, 43 List A and 33 Twenty20 matches from 2004 to 2017.

References

External links

1987 births
Living people
Indian cricketers
Goa cricketers
Cricketers from Mumbai


text:
Tag: Mac Dre
A Vibe Called WHAT – Episode 6 – 11/01/2018 06:00PM to 10:00PM
06:00PM Mac Dre "Cutthroat Soup" from "Cutthroat Soup" Local
06:03PM SOBxRBE "Uber wit a Dub (ft. Lul G, DaBoii & Yhung T.O.)" from "Uber wit a Dub (ft. Lul G, DaBoii & Yhung T.O.)" Local
06:06PM Joyryde "Damn ft. Freddie Gibbs" from "Damn ft. Freddie Gibbs"
06:11PM Gorgon City "Real (feat.Yasmin)" from "Real EP" on Black Butter Records
06:16PM Karen Harding "Say Something (Zac Samuel Remix)" from "Pure House & Garage – Mixed by Majestic" on New State Music
06:21PM Rainer + Grimm "Do It Right" from "do it right – Single" on Physical Presents / Fontana North
06:25PM Rufus Du Sol "No Place" from "Solace" on Sony Music Entertainment
06:30PM Mac Miller "What's the Use?" from "Swimming" (2018) on REMember Music/Warner Bros.
06:34PM Anderson Paak "Tints ft. Kendrick Lamar" from "Tints ft. Kendrick Lamar"
06:39PM SG Lewis "Aura (feat. J Warner)" from "Dusk – EP" on PMR Records
06:43PM RL Grime "Light Me Up (feat. Miguel & Julia Michaels)" from "nova" (2018) on WeDidIt Records
06:47PM Fisher "Crowd Control" from "Crowd Control – Single" on etcetc Music
06:51PM Shiba San "Okay" from "Dirtybird BBQ" on dirtybird Local
07:00PM Living Legends "2010 (feat. 3MG)" from "Legendary Music" on Legendary Music, LLC Local
07:04PM Mac Dre x J-Diggs "Bonus Track" from "Me & My Cuddie" Local
07:07PM Keak da Sneak "x2" from "Deified" on KOCH Records Local
07:11PM LUCA LUSH "Travis Scott – Sicko Mode REMIX" from "Travis Scott – Sicko Mode REMIX"
07:14PM SUMR CAMP "Over" from "Over – Single" on SUMR CAMP
07:20PM Pretty Lights "One Day They'll Know (ODESZA Remix)" from "A Color Map of the Sun (Remixes)" (2013) on 8 Minutes 20 Seconds Records
07:25PM Flux Pavilion & NGHTMRE "Feel Your Love (feat. Jamie Lewis)" from "Feel Your Love (feat. Jamie Lewis) – Single" on Circus Records
07:29PM A-Trak & YehMe2 "Prayer Hands" from "Prayer Hands – Single" on Fool's Gold, Inc
07:32PM Buddy "Shameless (feat. Guapdad 4000)" from "Harlan & Alondra" on Cool Lil Company, LLC/RCA Records
07:37PM Ymtk "Get Right (prod. Sho Nuff)" from "Get Right (prod. Sho Nuff)"
07:39PM Alison Wonderland "Dreamy Dragon (feat. Chief Keef)" from "Awake" on EMI
07:44PM The Glitch Mob "Come Closer" from "See Without Eyes (Deluxe)" on Glass Air
07:49PM Chris Lake & Walker & Royce "Dance With Me" from "Dance With Me"
07:56PM Traxamillion "Top Down (feat. Zion I)" from "The Slapp Addict" on Slapp Addict Productions LLC Local
08:01PM Husalah "Wild Nyte (feat. Mac Dre & the Mob Figaz)" from "Wild Nyte (feat. Mac Dre & the Mob Figaz)" Local
08:04PM GorillaPits "Keep Pushin' ft. The Jacka" from "Keep Pushin' ft. The Jacka" Local
08:09PM Daniel Portman "Ain't No Party" from "Parasol – EP" on Kontor Records
08:12PM James Mac "Time and Time Again" from "Time and Time Again – Single" on Vicious Black
08:17PM Phantoms "Just a Feeling (feat. Vérité)" from "Phantoms" on Biz3 Entertainment
08:23PM EARTHGANG "Stuck (feat. Arin Ray)" from "Stuck – Single" on J. Cole/ DreamVille
08:28PM KOTA "Brooklyn Bodega" from "Brooklyn Bodega"
08:31PM Childish Gambino "Feels Like Summer" from "Feels Like Summer – Single" on Wolf+Rothstein/RCA Records
08:35PM GoldLink "Unique (feat. Anderson .Paak) (Louis Futon Remix)" from "And After That, We Didn't Talk (The Remixes)" on Soulection
08:40PM Zhu & AlunaGeorge "Automatic (Mix Version)" from "Dirty Disco Radio – Exclusive Sessions (DJ Mix)" on Dubset Media
08:46PM Snakehips "All My Friends (feat. Tinashe & Chance the Rapper)" from "All My Friends – EP" on Hoffman West/Columbia
08:50PM Jared Jackson "Deep Down (Meditation)" from "Soulection White Label – EP" on Soulection
08:58PM Mac Dre "Retro Dance Record" from "Retro Dance Record" Local
09:02PM Keak da Sneak "Quarterbacking ft. The Jacka" from "Deified" on KOCH Records Local
09:04PM The Jacka & Husalah "Money" from "Explosive Mode 3" Local
09:10PM Nef The Pharaoh "86 (feat. Cuban Doll & ALLBLACK)" from "The Big Chang Theory" on KILFMB / Sick Wid It / EMPIRE
09:13PM Skrillex & Rick Ross "Purple Lamborghini" from "Purple Lamborghini – Single"
09:16PM Tiga "Bugatti (Jauz Remix) [feat. Pusha T]" from "Bugatti (Remixes)" on Mad Decent
09:23PM NGHTMRE "No Coming Down (feat. Alex Wiley & Sky Montique)" from "NGHTMRE, Pt. II – EP" on Mad Decent
09:28PM Disclosure "You and Me (Flume Remix)" from "You and Me (Flume Remix)"
09:32PM Said The Sky & Kwesi "All I Got" from "Wide-Eyed" on Seeking Blue
09:37PM Gorgon City & Duke Dumont "Real Life (feat. Naations)" from "Escape" on Virgin EMI
09:41PM Lane 8 "Clarify (feat. Fractures)" from "Little By Little" (2018) on This Never Happened
09:46PM San Holo "Light" from "Light – Single" (2016) on bitbird
09:52PM Rufus Du Sol "Like an Animal" from "bloom" on Foreign Family Collective
09:56PM WHTKD "Say To Me" from "Say to Me – Single" on All Around The World
November 13, 2018 December 26, 2018 by c4lif0rni4gr0wn Categories: Radio PlaylistsTags: #playlist, 408, 90.5 ksjs fm, A Vibe Called West, a vibe called WHAT, Apple Music, AVCW, Bay Area, California, college radio, EDM, Electronic, Hip-Hop, house music, KSJS, local music, Mac Dre, new music, Now Playing, radio, radio host, radio show, Rap, San Jose, SJSU, SoundCloud, Spotify, Underground, underground radio	Leave a comment
5 Reasons @NNMFestival Tops All Other Nor-Cal Festivals
For some people, a festival is just another festival is just another festival. But in anticipation for Northern Nights, many of my close friends boasted about how "Northern Nights is the best festival" and for some, even their "favorite" festival. I was skeptical – I go to a lot of festivals – how could this one be so great?
Well. Okay – now I see…
The Location – there is a weird geographic anomaly about Piercy, CA. Locals say there are some places where water runs upstream, gravity is "stronger," and supposedly, a compass will flutter heavily at true North due to an overwhelming magnetic force surrounding this area. Not sure if any of this is true, but once you arrive at Cook's Valley Campground at the Mendocino – Humboldt County line, you can certainly feel a sense of belonging. The grounds are beautiful. The trees are so majestic that if you look up at the tallest branches, you can basically travel through time. The overall sense of welcoming was incandescent.
Photo by @kristinabaky
The River – the river was probably my favorite aspect of the entire weekend – partly because it was almost 100 degrees and it kept most of us from dying of heat – but also partly because it was a fun-festival-sea-of-floaties. I saw everything from swans, peacocks, and flamingos to donuts and popsicles. As a matter of fact, an entire group of friends each had a single slice of pizza to form one large pepperoni pizza (squad goals AF). Huge unicorn islands dominated the river, while rafts with built-in canopies and coolers floated by too. A river dragon made its way through smaller floats which made way for the gigantic rubber ducky. An incredible sight for sure. The river stage was strategically placed right along the riverbed so you could hear the music while you lay there chillin'… What other festivals even offer that?
The People – there were soooooo maaaaaaany peopleeeee. Organizers say this was the largest crowd EVER. It was insane the number of festivalers who attended this thing. And to be honest, I recognized a lot of faces (and totems) from previous festivals this summer, but everyone's squad seemed to be bigger than before – including mine. The whole weekend, everyone I met was so extremely kind. Neighbors peaked into our camp to say "hi" and introduce themselves. People passing by stopped to compliment our setup. Some of my crew came all the way from Tahoe and attracted other Tahomies. Someone let me take over our camp's aux so while I was blasting Mac Dre, pretty girls stopped to get a little hyphy. Even people working the festival made a lasting impression. From the guy who guided us to our camping spot (and then was so patient and flexible when we asked to move a few spaces over) to the lovely lady who took her smoke break at our camp in the shade after picking up trash all day in the scorching heat. Yes – the people. You will NOT find these genuine people at any other festival.
The Vibes – needless to say, with the environment and the people on level 100, the vibes were beyond outstanding. Obviously, the music speaks for itself (no need to include how great it was – you saw the lineup!) There was yoga, a forest full of hammocks (perfect for mid-day naps), a cannabis area, a silent disco, art galleries, and tons of things to spend money on: vendors, plenty of food options, and a general store stocked with everything you forgot. I'm not sure what consumes one's soul when going to Northern Nights, but even the shyest people seem to have the courage to come up and tell you how beautiful you are. Sometimes you just need that kind of energy and Northern Nights was just that. The vibes at the Bunker Stage were the strongest. I saw the sun set and rise from various spots at the Bunker. Weird-5am-shenanigans took place there, but during that time in space, it was anything but weird.
A New Family – so many crews linked up for this. I had my crew (who started festival season off at Serenity Gathering and kept screaming "Serenity Day 91" all weekend), my crew had their LIB and Buku crews, those crews had their friends. My friends ended up knowing their friends. My SnowGlobe squad reassembled… Never in my entire festival-going experience had I ever been in one place with so many loving people. Like it was impossible to get lost when everyone knew where to return you. I went with about 25 friends, I left with about 25 more, and I gained about a million new memories.
All music aside – now I see why everyone claims this to be the "best" festival ever. And while some of us are still not unpacked, still a little sunburnt, our voices barely returning – we so anxiously await next summer when we return to do it all over again at the 7th Annual Northern Nights Music Festival in 2019. See you all on the river (or at Bunker). Peace out, festie fam.
All photography by Kristina Baky @kristinabaky.
July 30, 2018 July 30, 2018 by c4lif0rni4gr0wn Categories: FestivalsTags: #avibecalledwest, A Vibe Called West, Bay Area, Bunker Stage, California, Camping, cannabis, EDM, Electronic, festie fam, Festival, Festival Family, festival life, festival review, Hip-Hop, hyphy, Mac Dre, NNMF, Nor Cal, Northern Nights, Northern Nights 2018, photography, Piercy, rave life, recap, River, SJSU, Underground, yoga	Leave a comment


Shady Oakes Speedway first opened in 1986, as a 1/3 mile paper clip shaped track, The track did open and close on 3 occasions, the last time under the ownership of Bobby and Rosemary Stacy.
The track was a popular choice with spectators, fronting up to take in the Sprintcars, Modified's and other divisions.
The owners closed the venue in 2017 and onsold the property, The track is currently being maintained in the hope it may be leased out to another promoter.


A list of where to find art and handcrafted items for holiday giving around the Puget Sound region.
ENDS 11/30 An exhibit featuring ceramics and painted textiles by Doe Stahr, cedarbark baskets and vases by Duwamish/Suquamish weaver DeAnn Jacobson and serving pieces designed by Tlingit/Kwakiutl artist Corinne Hunt. 10 a.m.- 6 p.m. Monday through Friday, 10 a.m.-5 p.m. Saturday, 11 a.m.-4 p.m. Sunday, Raven's Nest Gallery, 17508 Vashon Highway S.W., Vashon (206-567-5826 or vashonravensnest.com).
ENDS 12/24 Two-dimensional works by members of the artist guild, Seattle Co-Arts, as well as pottery and glass by regional artists. 10 a.m.-6 p.m. Monday through Friday, 10 a.m.-5 p.m. Saturday, noon-5 p.m., Schack Art Center, 2921 Hoyt Ave., Everett (425-259-5050 or schack.org).
ENDS 1/3 Works by 30 gallery artists. 11 a.m.-4 p.m. weekdays, 10 a.m.-5 p.m. weekends. 10 a.m.-5 p.m. Saturday and Sunday, 11 a.m.-4 p.m. Monday through Friday, Tuesdays by appointment, Rob Schouten Gallery, 765 Wonn Road, #C103, Greenbank (360-222-3070 or robschoutengallery.com).
ENDS 1/3 10 a.m.-4 p.m. Monday through Friday, East Shore Gallery, 12700 S.E. 32nd St., Bellevue (425-747-3780).
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TODAY Nordic Christmas celebration and sale of handcrafted wares, traditional Scandinavian Christmas food and drinks, music and dancing, visit from Santa, raffle, silent auction. 10 a.m.-5 p.m. Sunday. Nordic Heritage Museum, 3014 N.W. 67th St., Seattle, $5, children free (206-789-5707 or nordicmuseum.org).
TODAY Juried show and sale of gourd art. 10 a.m.-4 p.m. Sunday. Country Village, 23718 Bothell-Everett Highway, Bothell, free (wagourdsociety.org).
OPENS NOV. 23, ENDS 12/18 Artists from the Gage community will exhibit and sell small works throughout the holiday season. 9:30 a.m.-4:30 p.m. Monday through Friday, Gage Academy of Art, 1501 10th Ave. E., Seattle (206-323-4243 or gageacademy.org).
OPENS NOV. 27, ENDS 12/18 A show and sale of works by more than 20 local artists. Artists' reception, 1-4 p.m. Sunday, Dec. 6 and 5-8 p.m. Thursday, Dec. 17. 10 a.m.-6 p.m. Tuesday through Saturday, noon to 5 p.m. Sunday, Gallery North, 401 Main St., Edmonds, free (425-774-0946 or gallerynorthedmonds.com).
NOV. 28-29 A sale of handcrafted items from local artists. 11 a.m.-5 p.m. Nov. 28-29. Skagit County Historical Museum, 501 S. Fourth St., La Conner, free (360-466-3365 or skagitcounty.net/museum).
NOV. 29 A sale of prayer beads, jewelry, statues, prayer flags, incense, clothing, art prints, books, CDs and Himalayan art calendars. 11 a.m.-4 p.m. Nov. 29. Sakya Monastery of Tibetan Buddhism, 108 N.W. 83rd St., Seattle, free (206-789-2573 or sakya.org).
DEC. 2-5 A show and sale of holiday art. 10 a.m.-8 p.m. Dec. 2-4, 10 a.m.-5 p.m. Dec. 5. Northwest Art Center, 9825 N.E. 24th St., Bellevue, free (bellevuehilltopholidaycraftshow.com).
DEC. 3 The museum stays open late with tours of exhibits, lectures, children's crafts, refreshments and a visit from Fjällräven. 10 a.m.-8 p.m. Dec. 3. Nordic Heritage Museum, 3014 N.W. 67th St., Seattle, free (206-789-5707 or nordicmuseum.org).
DEC. 3 Purchase tile work, sculpture, and functional ware by clay artists from the Puget Sound region. Proceeds benefit the ceramics program at Bellevue College. 10 a.m.-6 p.m. Dec. 3. Bellevue College Gallery Space, 3000 Landerholm Circle SE, Bellevue, free (425-564-2788 or depts.bellevuecollege.edu/galleryspace).
OPENS DEC. 3, ENDS DEC. 26 11 a.m.-6 p.m. Thursday and Friday, noon-5 p.m. Saturday and Sunday or by appointment, Fountainhead Gallery, 625 W. McGraw St., Seattle (206-285-4467 or fountainheadgallery.com).
DEC. 4-6 Self-guided tour of artists' studious throughout Bainbridge Island. 10 a.m.-6 p.m. Dec. 4-5, 10 a.m.-5 p.m. Dec. 6. Downtown Bainbridge Island, Winslow Way E., Bainbridge Island, free (bistudiotour.com).
DEC. 4-24 A show and sale of works by more than 40 Pacific Northwest clay artists. Opening night reception, 6:30-9:30 p.m. Friday, Dec. 4. Noon-7 p.m. Monday through Friday, 10 a.m.-6 p.m. Saturday and Sunday, Dec. 4-24. Seward Park Clay Studio, 5900 Lake Washington Blvd. S., Seattle, free, admission to opening party is a suggested donation of $10 (206-722-6342 or sewardparkart.org).
DEC. 4-6 A self-guided tour of historic cottages, farms, hand-built homes and nonprofit venues; food and music. 10 a.m.-5 p.m. Dec. 4-5, 11 a.m.-5 p.m. Dec. 6. Downtown Bainbridge Island, Winslow Way E., Bainbridge Island, free (christmasinthecountry.info).
DEC. 4-6 A self-guided tour of seven artists' studios and galleries in North Seattle featuring works by 27 local artists. 5-8 p.m. Dev. 4, 10 a.m.-5 p.m. Dec. 5-6. Tribal Zone Studio, 12807 23rd Ave. N.E., Seattle, free (neatseattle.com).
DEC. 4-6, 12, 19 Self-guided tour of 12 studios throughout Seattle featuring artwork by 48 artists. 4-9 p.m. Dec. 4, 10 a.m.-5 p.m. Dec. 5-6, 12 and 19. Blowing Sands Glass Studio, 5805 14th Ave. NW, Seattle, free (seattlesampling.com).
DEC. 4-6 A craft show and sale with handcrafted goods, clothing, jewelry, gifts, bags, wallets, buttons, accessories, aprons, children's goods, toys, housewares, furniture, paper goods, candles, kits, geekery, art, food and more. Preview night, 5-9 p.m. Friday, Dec. 4. 10 a.m.-6 p.m. Dec. 5, 10 a.m.-5 p.m. Dec. 6. Seattle Center Exhibition Hall, 299 Mercer St., Seattle, free, admission to preview party is $8 (urbancraftuprising.com).
DEC. 5 A sale of baked goods and handmade crafts, all donated by our volunteers and supporters. All proceeds benefit MEOW Cat Rescue. Noon-5 p.m. Dec. 5. Northlake Unitarian Universalist Church, 308 Fourth Ave. S., Kirkland, free (meowcatrescue.org).
DEC. 5 A community celebration of music, art and creativity with live models, live music, open studios and art activities for the whole family. A wide variety of drawing materials will be provided at no cost and each studio will be filled with easels waiting for artists. 9 a.m.-6 p.m. Dec. 5. Gage Academy of Art, 1501 10th Ave. E., Seattle, free (gageacademy.org/drawingjam).
DEC. 5 A show and sale of artwork by local artists and KAC students, drawing jam with live costumed models, artist's demonstrations, live music and more. 10 a.m.-7 p.m. Dec. 5. Kirkland Arts Center, 620 Market St., Kirkland, free (425-822-7161 or kirklandartscenter.org).
DEC. 5-6 Holiday sale with works by local artists, plus handcrafted wreaths. 10 a.m.-7 p.m. Dec. 5, noon-5 p.m. Dec. 6. Soulumination, 5201 11th Ave. N.W., Seattle, free (soulumination.org).
DEC. 5 A sale of handmade wares by potters at the Moshier Community Art Center including mugs, bowls, serving dishes, casseroles, garden art, jewelry, planters and more. 10 a.m.-3 p.m. Dec. 5. Moshier Community Art Center, 430 S. 156th St., Burien, free (burienwa.gov).
DEC. 5 A sale of arts and crafts. 10 a.m.-3 p.m. Dec. 5. Ravenna-Eckstein Community Center, 6535 Ravenna Ave. N.E., Seattle, free (206-915-2648 or facebook.com/events/1484663761841673).
DEC. 5 A sale of multicultural books, jewelry, fashion accessories, glassware and gift ideas. 10 a.m.-3 p.m. Dec. 5. St. Peter's Episcopal Church, 1610 S. King St., Seattle, free (stpeterseattle.org).
DEC. 5-6, 12-13 Self-guided tour of artist studios on Vashon Island. 10 a.m.-4 p.m. Dec. 5-6 and Dec. 12-13. Various locations throughout Vashon Island; free (vashonislandartstudiotour.com).
DEC. 5-6 A show and sale of locally handcrafted jewelry, bead work, metals, fiber arts, cards, fine arts and photography. 10 a.m.-4 p.m. Saturday, Dec. 5, 9 a.m.-1 p.m. Sunday, Dec. 6. Unity of Bellevue Church, 16330 N.E. Fourth St., Bellevue, free (425-747-5950 or unityofbellevue.org).
DEC. 6 A showcase of works by studio artists. 1-6 p.m. Dec. 6. Inscape Arts, 815 Seattle Blvd S., Seattle, free (inscapearts.org).
DEC. 10 Schack hosts an after-hours event for teens to hang out, meet other artists, and learn new techniques while trying different art projects including holiday cards and other projects to give as gifts. 6 p.m. Dec. 10. Schack Art Center, 2921 Hoyt Ave., Everett, free (425-259-5050 or schack.org).
DEC. 11-12 A show and sale of ceramic work by 14 artists with drinks and snacks provided. 5-8:30 p.m. Friday, Dec. 11, 10 a.m.-4 p.m. Saturday, Dec. 12. Jefferson Community Center, 3801 Beacon Ave. S., Seattle, free (206-684-7481).
DEC. 12 Local artists' work, music, art activities, art raffle, beverages and food trucks. VIP opening hour, 1-2 p.m.; 2-8 p.m. Dec. 12. Seattle Design Center, 5701 Sixth Ave. S., Seattle, free. Admission to VIP hour is $20 (southparkarts.org).
DEC. 12 A sale of works by more than 30 local artisans with coffee, food, adult beverages, DIY screen printing, and a storewide sale. 11 a.m.-4:30 p.m. Dec. 12. Second Use Building Materials, 3223 Sixth Ave. S., Seattle, free (seconduse.com).
DEC. 13 A holiday gift pop-up featuring local artists, illustrators, jewelry and clothing designers. Noon-4 p.m. Dec. 13. Bar del Corso, 3057 Beacon Ave. S., Seattle, free (206-395-2069 or bardelcorso.com).
DEC. 13 Local record labels, small press, crafts, screen printing and more. 11 a.m.-4 p.m. Dec. 13. The Vera Project, 305 Harrison Street, Northwest Rooms, Seattle Center, Seattle, free (206-956-8372 or theveraproject.org).
DEC. 19-20 A selection of indie-craft goods, DIY workshops and more. 11 a.m.-6 p.m. Dec. 19-20. Hanger 30 — Magnuson Park, 6310 N.E. 74th St., Seattle, free (renegadecraft.com/seattle/seattle-holiday-fair-details).


text:
Books January 4, 2022
Hymns & Qualms: An Interview with Peter Cole
Dan Friedman, contributing editor of Sources. Originally published in "Sources: A Journal of Jewish Idea" Fall 2021. Reposted by permission. Image: Kelly Writers House.
Peter Cole is one of the foremost Jewish poets and translators in the English-speaking world. Born in 1957 in Paterson, New Jersey, for much of the past four decades he has lived in Jerusalem.
He is the author of five books of poems and many volumes of translation from Hebrew and Arabic. Cole's most recent collection, Hymns & Qualms: New and Selected Poems and Translations, was published by Farrar, Straus and Giroux in 2017. He had a chapbook out last year, On Being Drawn, a collaboration with artist Terry Winters, and a new poetry collection, Draw Me After, is forthcoming next year (also with FSG). Though Covid has kept him in New Haven—he teaches at Yale each spring—he has had a highly productive pandemic. Since before Covid struck, he has been co-writing an oratorio with Pulitzer Prize winning composer Aaron Jay Kernis. Even while locked down, he continued teaching at Yale and co-editing Princeton University Press's Lockert Library of Poetry in Translation.
As a translator, Cole has brought otherwise neglected poetry to our attention. He won the National Jewish Book Award and the American Publishers Association's Book of the Year for his dazzling 2007 anthology, The Dream of the Poem: Hebrew Poetry from Muslim and Christian Spain, 950–1492 (Princeton). He edited and translated The Poetry of Kabbalah: Mystical Verse from the Jewish Tradition (Yale, 2012), which Harold Bloom called "the crown of [his] sublime achievement as a poet-translator."
Cole has also translated contemporary Israeli and Palestinian writers, including Aharon Shabtai (for which he won the PEN Award for Poetry in Translation), Yoel Hoffmann, and Taha Muhammad Ali.
A recipient of the MacArthur Foundation "genius grant" and a Guggenheim Foundation fellowship, Cole has won awards for his poetry and his translations as well as the American Library Association's Sophie Brody Award for Outstanding Achievement in Jewish Literature for Sacred Trash: The Lost and Found World of the Cairo Geniza (Schocken, 2011), which he wrote with his wife, Adina Hoffman.
During an extensive Zoom conversation, edited here for length and clarity, he spoke with Sources about Jewishness, geography, poetry, teaching, and translation, as well as the nature, in each of these spheres, of "being in relation."
In your recent books, the bio notes make a point of saying that you "divide your time between Jerusalem and New Haven." How far does that encapsulate your identity these days, being between America and Israel? Is there something appropriately embodied for a Jewish poet in being in those parallel places—a sense of the geography of translation?
COLE: Well, for one it's true. I've lived and worked and walked and written, gotten depressed, and taken serious kinds of pleasure and responsibility in both those places. But I like that notion: an embodiment of betweenness, which is where so much of what matters to me as a writer and person starts, with a palpable sense of being between, of the richness of that—and also the risk. The receptivity, the vulnerability. Being a Jewish poet has, almost from the start for me, meant charting precisely that "geography of translation," even if I'm not quite sure what that means. I feel like I feel what it means!
Which is that going elsewhere might just show you who you are and what you might become. That physically, psychologically, imaginatively, you have to work your way into each of the "languages" involved in any broadly translational situation. And then you have to be able to step away from that forcefield of en-counter with the foreign and bring the experience of it across into another field, with other forces—so as to account for the differences and let those differences make a difference.
Is there a Jewish element to that dynamic?
There is for me. The whole question or structural tension of diaspora and so-called homeland has made itself felt in my writing in a subterranean way from the start, not as a process in which diasporas point to their own negation as part of a messianic arrival, but in Bialik's sense that Judaism has always had certain key polar relationships at its core—Halacha and Aggada, revealment and concealment, maybe also text and commentary, and even agency and marginalization. The history of Jewish civilization has, in some basic way, involved a power and sometimes illumination generated by an alternating current between these poles. Getting rid of one, says Bialik, would prove fatal.
Of course it's also this oscillation that drives people crazy about the Jews—still! "What exactly are you? You're not completely this, and not com-pletely that. Do you belong? What do you believe? Can you be trusted?"
The Jewish God might be One, but Jewish learning has two at its heart, as does the art I'm interested in making. It's worth noting that the words for two and learning and change share a root in Hebrew.
I've never realized those words all had roots in common! What does this duality mean for you, in practical terms?
It's in the weave of every line I write in English and in the translations I make, since the models and even materials of both come from a wide variety of cultures, diasporic cultures and those that emerge, let's say, from the rocky soil of Israel/Palestine. But it registers on the social surface as well. Years ago, my wife and I were at a conference at an American university with Taha Muhammad Ali, the marvelous Palestinian poet from the Galilee village of Saffuriyya and then Nazareth, whose work I'd translated and about whom Adina wrote a biography. The conference was on something along the lines of "Literature and Mass Violence." There were people from Rwanda, Northern Ireland, and South Africa. And a contingent of Holocaust Studies specialists, many of whom were Israeli. We'd become very close to Taha over the years, practically like family.
At one point, late in the proceedings, I was up in our hotel room and Adina went down to the lobby to get something, and on the way back she ended up in the elevator with a young Israeli scholar. When the doors shut, the scholar said, "Excuse me, can I ask: Are you and Peter Jewish?" Adina said, in Hebrew, "I don't mind your asking. Yes, I'm Jewish. My name is Adina. But can I ask you—Why do you want to know?" And the scholar said, "Well, because the way you and Peter seem to be so close to this Arab, I just wondered which side you were on."
Even there, at a gathering like that, all that richness was being reduced to one thing, or psychologically packaged into mutually exclusive identities.
One of your early, and enduring, interests is the poetry at the intersection of different traditions in medieval Spain: Arabic, Hebrew, Muslim, Jewish, maybe even Christian. How does that fit in?
All these things link up at some level, which is itself an Andalusian notion. Without oversimplifying the politics and histories involved, I was drawn to the Hebrew poetry of Muslim Spain for an evolving variety of literary, personal, and cultural reasons. Initially my interest in Hebrew and its poetry rose up out of a desire to understand what comes before the hyphen when we say that English poetry has historically been a "Judeo-Christian" literature. Two days after I arrived in Jerusalem to begin studying at the Hebrew University ulpan in the summer of 1981, my younger brother was killed in a car accident in Massachusetts. That fueled my study in a way that's hard to describe—as though I was learning for him, as though I'd acquired a second soul. No more American apologies for my seriousness. On the contrary—that second soul brought with it a kind of doubling down on doubling. An embrace of bothness. An Israeli friend in Jerusalem soon told me about Shmuel HaNagid's elegies for his brother, Yitzhak, and that became my goal—to be able to read those poems. It was an odd route to the work and what would become my own poetics. And it was certainly a strange way of mourning, through the medieval mask. But that's how it was, and it changed me.
Jews are a diasporic people. Through the millennia we've lived in countless cultures and in countless languages. So, theoretically, we have access to our contributions to that legacy. By that logic, it's not ridiculous for you to go from your brother's tragic death and think you're going to read poems of grief by an 11th-century Iberian Hebrew poet, because those are our poems—our heritage. I'd be interested to hear how you think of yourself in the diasporic tradition of Jewish eclecticism. Do you think of yourself as bringing those things back, renewing those things in an accessible way?
I do think of myself as something of a "renewer" or maybe "re-knower" in that tradition—as translator and as poet—and the Andalusian nexus leads right to it, or up through it. The Hebrew poetry of Muslim Spain is a profoundly expressive body of work and at the same time one that's intensely involved with its own materiality and sense of occasion, or convention, as well as its hybrid origins. It emerges from a peculiar grafting of Arabic poetics onto the base of a biblical vocabulary, and it blends the mythopoetic universes of biblical and rabbinic Judaism on the one hand, and that of Arabic literary tradition on the other.
Early on I found myself fascinated with these phenomena of derivation, with how it is that this double-derivativeness could result in such a vital body of verse, let alone a medieval one that I felt was somehow speaking for me now. For my deepest grief, for my senses of irony, wit, and the erotic, for my most contemplative self, and for my devotional instinct. All of that came through the musical weave and texture of the poetry, through its rhetorical figures and deep-reaching ornamentation. And it was wholly suspect on the American poetry landscape of the 1970s and early '80s that I was working my way into—or away from! But I loved what the Iberian Hebrew poetry was showing me, and felt it leading me toward a new and richer way of being in the world, one that radically expanded my sense of what words, arranged in a certain order and with a particular pulse, might do.
There are other influences that came along at key times for me on the diasporic side—the American objectivist poets, and Paul Celan and Edmond Jabès in Paris. And even on the Israeli and Palestinian front, the poets and writers I've translated—Aharon Shabtai, Harold Schimmel, Taha Muhammad Ali, and Yoel Hoffmann—were each working out striking displacements and graftings of the foreign and the familiar.
How does your work cross, and re-cross, that line between what is "your poetry"—work that, in a simplistic sense, might carry only your byline—and creatively using the power of existing writing. What you call "derivative"?
All my work feels as though it's coming out of a translational impulse. Sometimes that's meant direct translation, but, when it comes down to it, my whole writing life I've been playing the diapason or scales of different kinds of transla-tion, whether it's from inchoate experience to expression as my own poems in my mother tongue, or transformation from another language and period into the English of my own time. Most lately I've been interested in collaboration with visual artists and composers, and translation from or into different media, visual or musical. I see them as being all of a piece. They're analogues of the way we're always translating experience from one context to another, bringing it to bear on different areas of our lives and the lives of everyone we talk to and work with and meet.
How is that part of being a Jewish writer—if indeed it is?
Ah! That's where things get slippery, because there are so many different kinds of Jewishness and Jewish writing, and you don't want to start saying this is a Jewish experience and thatisn't. That's a little like trying to pick up spilled mercury with tweezers. But the line of writing that I've followed out has a heightened awareness of language at its heart. I don't consider that an abdication of the poet's responsibility to account for "personal experience." On the contrary, language is one of the central things that defines us as human beings. And one of the most powerful aspects of traditional Jewish thinking is its obsession with the operations and permutations of the language that passes through us and in many ways becomes us—as it orders and even creates, and certainly recalibrates, the worlds we know. Continuously.
That counts as personal and emotional in my book. In fact, I'm not sure an-ything is more personal or cuts more deeply than that for me. And I've wanted to bear witness to that in my work, in whatever ways I could. From early on I've made a commitment to following out lines of affinity and mystery in poetry, and that was one of them—the marvelous materiality of language, and where adequacy meets inadequacy in it. Sometimes when, as the rabbis say, the blessing is beyond the eye, it turns out to be in the ear (Bava Metzia 42a).
So, language. And what else?
A lot else. For one, there's the whole question of coming "after." There's Gene-sis, which isn't in the beginning at all—both because it's Greek to most of us and because, in Hebrew, it's in medias res (Bereisheet). And there's the Deutero-derivative or belated dimension of so much that became, and continues to become, Judaism, rising up through rabbinic thinking and practice, and of course Kabbalah and its strange deep-readings of surface.
Putting aside the ostensible opposition between what's "derivative" and what's "original," it seems to me that all this this fascination with the dynamics of derivation might lead to another sort of critical human experience: alertness to being "in relation." Which is itself a kind of discovery, and a basic, difficult, beautiful, at once sensuous and abstract, and always evolving thing.
Speaking of this experience of coming after, of being "derivative," or "belated": you knew Harold Bloom very well later in his life. And you wrote strongly about what his still-forming legacy should be in reviewing his posthumous book "Take Arms Against a Sea of Troubles: The Power of the Reader's Mind over a Universe of Death." Tell me about your relationship with Bloom. Your writing, like his, is steeped in ideas of derivation or influence. Yet despite your closeness to his thoughts in various ways, you don't seem particularly influenced by him.
In part that's because we met only toward the end of his life and pretty late along my trajectory, when I was 50, not long after I'd finished The Dream of the Poem and around the time I published a collection of poetry called Things on Which I've Stumbled. But I'd been reading him since the late 1970s, and was always interested in his writings on things Jewish and, especially, Kabbalistic. And that did have a major influence on me—as provocation, or catalyst.
A catalyst, how?
That takes us back to the late 70s. Bloom and two of his closest friends and colleagues at Yale—John Hollander and Geoffrey Hartman (whom Bloom always called the Ayatollah, in part because of his long white beard)—were writing about Jewish-American poetry and what Bloom referred to as "the burden of the past." Cynthia Ozick was also involved in this at one highly charged polemical moment. Bloom believed that there couldn't be a Jewish-American poet of real power—as he understood literary power, which is different from how I understand it—because the history of English and American poetry had from the beginning been, as I said earlier, essentially the history of a Christian poetry. Jewish poets, even assimilated Jewish poets, Bloom argued, had an overly ambivalent relationship to these Christian or post-Christian forbears and so were una-ble to identify sufficiently with their precursors in order to rebel against them and, unconsciously, discover their own difference and power. That left the Jewish poet, he believed, in some kind of indeterminate and underdeveloped aesthetic state.
It doesn't really matter whether I thought that was true or not. I loved and still love the Christian aspect of the older poetry—medieval English is one of my favorite bodies of poetry in the world. But I had a very strong intuition that my own poetry was going to come from another—and Jewish—direction, though not a sentimentally or predictably ethnic one. And it did. And does still.
Thirty and forty years later, after Bloom and I had met, we had long talks about all of this—some of which fed directly and indirectly into a poem of mine called "The Invention of Influence," about Viktor Tausk, a maverick disciple of Freud. The poem embodies a distinctly non-Bloomian and in some ways rabbinic rather than Romantic understanding of influence, but it's no less fraught.
Bloom also had an incredible breadth and depth of reading. I was in a class of his in the early '90s when he was still hale and hearty. Once he told us that Shakespeare's play Richard II showed a shift in literature toward a certain type of self-consciousness. And he said, "This is the first time in Western literature…" And then he paused and sighed and looked at the ceiling for about twenty seconds and said "…or Eastern literature." It was as if in that time he had scanned the whole of Eastern literature. For anyone else that would be kind of a laughable performance. With him, you might almost believe he had read all of the literature.
Of course he hadn't. Though what he had read, and what he retained to the very end, was staggering. His knowledge of the medieval Hebrew poetry and its Arabic precursors was limited, and he didn't have a granular feeling for how that poetry works. Very few people do—let alone people outside of Hebrew. Ditto with East or Southeast Asian poetics. That wasn't his wheelhouse, let's put it that way. But I didn't care about that. I'm like you in that I wasn't getting upset about the things he said that didn't pertain to what I was really interested in. Or, I wasn't primarily upset about it. Even the whole canonizing business, which always seemed to me more annoying than important. The issue was the light he shed on almost everything he wrote about, or spoke about. He had an extremely rare sort of leverage on the page and in conversation. Love him or hate him, his genius for being alive inlanguage and to it was unmistakable.
In the piece I wrote about Bloom's book Take Arms, I wanted to get on record some of the ways in which that genius was so much larger than the quarrels over canons and camps and cancelling. That's the way of narrowness, and the cultural equivalent of a corrosive sort of political intolerance. Yes, he's responsible for some of that, as I say in the essay. But he loved literature with a kind of informed intensity that I've never encountered anywhere else—so I'm willing to put up with, or even welcome, the disagreements. And we had our share of them. It's important to learn to live with these kinds of contradictions—to let them into the texture of one's thinking and feeling. This too is an Andalusian lesson, the value of living within these tensions, or letting them live productively in us.
One last question, which seems to float up out of all we've been talking about: When I've spoken to you over the past few years, it seems that teaching has become increasingly important to you. I wonder whether that's right, and how and if teaching has an influence on your writing.
It is right. Teaching's had an important place in the ecosystem of creation that matters to me most: I'm aware that for some writers it takes up too much of the energy and charge that could go into one's own art. But that sacrifice, as it were, is also part of the ecosystem. At any rate, I love to teach. I love the way it takes you beyond yourself and to others. Teaching is a kind of lab for that same "being in relation" and paying attention that I keep coming back to. You try to be as attentive and responsive as possible—to individuals and to the group. You're responsible for their progress. You're also responsible to your subject and its tradition, to your own needs and values as a reader and writer, as an extender or adjuster or dissenter within that tradition. That entails a great deal of effort, and a lot of love—sometimes tough love.
All of which is to say that it both exhausts me and replenishes me. But there's a kind of slow magic involved. You work hard to introduce new and sometimes surprising things into the collective mix—not to force information down people's throats and have them spit it back up—but to help them learn how to absorb it responsibly and then respond on their own terms. You can't control it. You can work hard to set it up and make it possible for something to happen. But you never know what that something will be. And the minute you do know, the minute you think you know what's going to happen or what should happen in teaching, you stop listening, and you've stopped teaching. In that way it's just like reading and writing and translation. Except that you're working with invisible ink.
Piero Dello Strologo (1936-2022)
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Israeli Radio on Italian Jewish Music
A fascinating Israeli radio program dedicate to Mario Castelnuovo Tedesco and the musical traditions o the Jews of Italy.