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What is the Subaru Love Promise?
Subaru and our retailers believe in making the world a better place and the Subaru Love Promise is our vision of respecting all people. This is our commitment to show love and respect to our customers and to work to make a positive impact in the world.
The Subaru Love Promise Community Commitment
We believe in being a positive force in something bigger. And it all starts right here in our community. Not just by our donations, but by our actions.
That's why we stay true to our Love Promise Community Commitment by partnering with a wide variety of community nonprofits and charities.
Every year, we join hands with our owners in the "Share the Love" event, giving back to our community-a community that's given so much to us.
So, every day, we strive to ensure our love is felt not just by our customers, but by all in our community. We do this because we feel it is the right thing to do.
We are proud to participate in the Love Promise Community Commitment. We're grateful, not only to be a part of our community, but to serve and support the causes and passions that are closest to our hearts, right here in our neighborhood.
All of the organizations we support have one thing in common: the unwavering dedication to improve the world and the lives of its people.
Subaru Loves Pets
Subaru Loves the Earth
Subaru Loves Learning
Subaru Loves to Help
Subaru Loves to Care
Whether they live in our homes or in the wild, Subaru is committed to keeping all animals safe and healthy.
A partner since 2008, Subaru has donated close to $14 million to the ASPCA and helped support nearly 1,000 pet adoption events, resulting in more than 11,500 adoptions to date.
Loving the environment means more than loving the great outdoors. It means working to preserve it.
Over a decade ago, Subaru became the first U.S. auto manufacturer to become zero-landfill, and now, in collaboration with the National Park Service and the National Parks Conservation Association, Subaru is leveraging that same environmental expertise to help the National Parks reach zero-landfill too.
It's our goal to make the pursuit of knowledge available to as many minds as possible.
Total donations to teachers: $92,233
Over 200 teachers adopted
More than 15,000 students impacts
In a perfect world, hunger would be history and hope would be commonplace. We believe a perfect world is possible.
Subaru and Meals on Wheels America worked together to make volunteering easier, by launching a tool called the Meals on Wheels Online Volunteer Drive.
We should all have a chance to lead a healthy life. We're aiming to give as many people that chance as we can.
Subaru has donated more than $4.5 million dollars to
Make A Wish, helping to grant 610 wishes in the U.S.
Did The Autobarn Subaru of Countryside go above and beyond, provide exceptional service, or support causes that are important to you? We'd love to hear about it.
Love Promise Stories from The Autobarn Subaru of Countryside
Subaru and The Autobarn Subaru of Countryside believe in making a positive impact on the communities in which we live and work. We uphold that belief through our Love Promise Community Commitment. Every month, we select inspiring stories from customers and partners from around our area who strive to support our collective commitment and feature them here
Make-A-Wish Illinois – Michelle A
Richard and the team at Autobarn of Countryside Subaru have been beyond supportive of our local Make-A-Wish Illinois. We are truly grateful for this partnership and their willingness to make our local chapter their 5th hometown charity. Their willingness to do this allows us to grant life changing wishes for kids like Milo, in the photo attached. Wishes are more than just a nice thing. And they are far more than gifts, or singular events in time. Wishes impact everyone involved - wish kids, volunteers, donors, sponsors, medical professionals and communities. The impact varies. For wish kids, just the act of making their wish come true can give them the courage to comply with their medical treatments. Our corporate partners are an enormous factor in granting these wishes. Thank you, Subaru, for SHARING THE LOVE!
Ideal School Book Donation – Eilidh H
Ideal Elementary School would like to thank The Autobarn Subaru of Countryside for the very generous book donation! We received 150 nonfiction books ranging in subjects and levels. Our students are enjoying spending time together reading and learning with their friends. We are incredibly grateful for our continued partnership with Subaru! Thank you!
Autobarn of Country Side + AMITA Health Cancer Ins – Michelle M
On July 15, 2019, The Leukemia and Lymphoma Society's Greater Illinois Chapter and The Autobarn Subaru of Countryside had the pleasure of delivering 80 blankets to AMITA Health Cancer Institute and Outpatient Center as part of the Subaru Loves to Care program. These comforting gifts were accompanied by personalized messages of hope written by the customers and staff of The Autobarn Subaru of Countryside. This incredible act of generosity was warmly received by AMITA Health Cancer Institute and Outpatient Center staff who were thrilled to distribute these comforting gifts to their patients. Nursing staff described their patients as "the best around" telling stories of a devoted group of people who support and care deeply for each other and the entire staff. Representatives of The Autobarn Subaru of Countryside also had the opportunity to visit with several patients to personally offer comfort, well wishes,and support. One patient noted that she had just been searching for her favorite blanket which had gone missing, so it was perfect timing to receive this cozy blanket from Subaru. LLS is proud to partner with Subaru to spread hope, love and warmth to those fighting cancer across the country and right here in the Hinsdale, Illinois community.
Ideal Elementary School Book Donation - Eilidh H – Eilidh H
Ideal Elementary School would like to thank The Autobarn Subaru of Countryside for the very generous book donation! Ideal was lucky enough to receive 150 nonfiction books that are suitable for all ages. The kids are enjoying reading together and sharing their learning with peers and teachers. As a staff, we are extremely grateful for the new resources and the partnership with Subaru. Thank you!
It Takes a Village – Sue W
I wanted to take a moment to say thank you for the amazing morning at the AMITA Cancer Institute Hinsdale. The blankets and words of encouragement are amazing. I know the team at the Institute is so grateful for community partners like you. It truly takes a village when going through the cancer journey, so the little things like a note or the warmth of a blanket can make someone feel the love. Please let your entire team know we appreciate their dedication to caring.
Making Wishes Come True for Illinois Kids – Alicea S
For the second year in a row, Autobarn Subaru of Countryside has chosen Make-A-Wish Illinois to be its local charity of choice during the annual Share the Love Campaign. This year, their tremendous staff and the customers who supported them helped raise over $22,000 to grant the wishes of kids in Illinois with serious illnesses. Wishes empower critically ill children an opportunity to dream beyond their circumstances, infusing them with hope for the future, strength to carry them through their treatment, and joy to share with their family. We are honored to be chosen once again by Autobarn. Their generosity will help change the lives of so many children in need. To learn more about Make-A-Wish or to refer a child, please visit Illinois.wish.org.
Ideal Elementary School - Book Donation – Barb H
On behalf of the entire Ideal Elementary School community, we would like to thank The Autobarn Subaru of Countryside for their generous book donation. The collection of 150 nonfiction science books has been shared with each classroom and will be used as an addition to the science curriculum. The students have enjoyed perusing the new books and sharing their exciting discoveries! The Ideal staff is committed to opening the minds of our learners and we are grateful for the resources provided through the Subaru Loves Learning initiative.
Make-A-Wish Illinois – Alicea S
Autobarn Subaru of Countryside chose Make-A-Wish Illinois as their Charity of Choice during this year's Share the Love Campaign. That means that customers could decide to give their donation to help kids specifically in Illinois - the children right here in their schools, neighborhoods, and communities. Autobarn went above and beyond to make sure Make-A-Wish was front and center during the campaign, setting up a beautiful Make-A-Wish display with real wish stories from Chicagoland kids. The results were simply incredible. The Autobarn raised over $25,000 for Make-A-Wish Illinois in just over a month. This simply could not have been done without the wonderful compassion and dedication of the staff. Nation-wide, the Share the Love campaign raises over $3 million dollars for Make-A-Wish. These funds to grant incredible wishes to children battling life-threatening illnesses, to provide them with hope, strength and joy.
Share the Love Event Supports BEDS Plus – Tina R
As part of it's on-going support of local communities during their "Share the Love Event", Subaru of Countryside presented a generous donation to BEDS Plus of nearly $5,000 in a ceremony on April 20th. BEDS Plus was selected by Subaru of Countryside as their "Hometown Charity" during this national event. From November 19, 2015 to January 2, 2016, customers who purchased or leased a new Subaru vehicle were able to select from a list of charities to receive a donation. "We chose BEDS Plus as our Hometown Charity because of the tremendous work they do locally to help the many issues facing our homeless neighbors", said Gina Fisher, President of Subaru of Countryside. "Since 1988, BEDS Plus has given the homeless a safe place to sleep, hot homemade meals, professional counseling and the job services they need to become self-sufficient. These are people right in our backyard in Lyons, Stickney, Riverside and Proviso townships." BEDS Plus is extremely grateful to Gina, all of the good people of Subaru of Countryside.


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Q: NServiceBus - using DBSubscriptionStorageConfig, but SQl server subscription table doesn't show any record After adding section for SQL Database to handle subscriptions, My subscriber config looks like this

      ;initial catalog=NServiceBus;Integrated Security=SSPI"/>

I changed the endpoint class as follows
class EndpointConfig : IConfigureThisEndpoint, AsA_Server , IWantCustomInitialization
{
    public void Init()
    {
        NServiceBus.Configure.With()
            .Log4Net()
            .DefaultBuilder()
            .XmlSerializer()
            .UnicastBus()
            .ImpersonateSender(false)
            .DBSubcriptionStorage();
    }
}

When I fire up the application, where subscribers automatically subscribe, I don't see any entries in the subscription DB. Also I don't see any error reported by the application... Anything I am missing in the config file...
Appreciate any help...

A: When using the builtin roles like As_aServer the role config takes precedence. So in your case the db sub.storage will only be used if you use As_aPublisher + run in the "production" profile.

redpajama_set_name: RedPajamaStackExchange


Managed Services are a philosophical change in the way that a business deals with its technology. Instead of following the old-school tradition of Break-Fix (literally meaning wait until the server, desktops, or other critical networking devices fail, then scramble to fix them), a business operating with a Managed Service focuses on the prevention of these issues before they disrupt employees, management, and/or clients.
If you fall behind in keeping up with things such as backups, patches, and security, then the odds greatly increase that you'll face an IT outage or another problem down the road that will negatively impact your business. For instance, if your e-mail server, customer relationship management system, financial application, or network goes down, you will likely face substantial productivity and revenue losses as a result.
Actually, no! Surprisingly, most Managed Services cost less than traditional Break-Fix services, especially when including the true cost of downtime. Remote monitoring, remote maintenance, and the prevention of major issues allow a Managed Services provider to be more efficient than a similar Break-Fix company who is constantly rolling a truck to visit customer sites. Therefore, the Managed Service company can offer a "better" service without charging more.
Reduced Costs: Businesses are also able to control and reduce their overall operating costs with the flat-fee billing model. Cost-effective access to enterprise-level support is a reality.
24-hour Monitoring: Because the Managed Services provider also manages all of your vendor relationships, issues with internet slowness/outages, printers, phones, cell phones, and websites are dealt directly with the vendor by the Managed Service provider. As a result of this "always-eyes-on" network monitoring 24 hours per day, businesses experience an additional level of comfort and security.
We can clearly understand and relate to that mode of thinking. In this day and age, it feels like every company we deal with is trying to figure out a way to squeeze more money out of us — especially on a monthly basis. IT support services are not immune to this change in business climate.
Would you like to know if you are ready for Managed Services, cloud computing, or virtualization? Alaska Computer Support offers a FREE network evaluation!


English: 2101 Connecticut Avenue, N.W., is a housing cooperative located in the Kalorama neighborhood of Washington, D.C. Built in 1928 by developer Harry M. Bralove and his partners, Edward C. Ernst and John J. McInerney, the modernist style with gothic ornamentation apartment building was designed by architects Joseph H. Abel and George T. Santmyer. 2101 Connecticut Avenue is designated as a contributing property to the Kalorama Triangle Historic District, listed on the National Register of Historic Places in 1987. Former occupants include Alben W. Barkley, William E. Borah, Theodore E. Burton, Benjamin N. Cardozo, Tom C. Clark, Willis Van Devanter, Leslie Groves, John Kluge, and Arthur L. Willard.
The structure is listed in the 1987 application to the National Trust for Historic Preservation for the Kalorama Triangle Historic District.
Media in category "2101 Connecticut Avenue"


Shine Dance or Gym Crop Top by Tappers and Pointers.
These Crop Tops are made from nylon elastane shine fabric and are very comfortable with plenty of stretch making them suitable for dancers or gymnasts.
Matching micro shorts are available separately and these also match with Tappers & Pointers Shine Gymnastics leotards.


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One of the 'Piťovci' gang wants to strike deal with prosecutor
One of the 19 accused individuals that allegedly belong to the Bratislava-based organised crime group known as 'Piťovci' (so called in reference to their boss Juraj "Piťo" Ondrejčák), wants to make a plea bargain with the Prosecutor's Office.
The man, identified by police only as Peter M., announced his decision at the public session of the Specialised Criminal Court in Pezinok on Monday, July 8. If found guilty, all the men face more than 20 years in jail.
"We'll carry out the interrogation and, based on that, determine the next step," said the prosecutor. The decision of Peter M. came as a surprise for both the prosecutor as well as his advocate. When asked whether he plans to make a similar deal with the prosecutor and receive a lighter punishment in exchange for confession, 'Piťo' replied, as quoted by the TASR newswire: "Hell, no."
The 'Piťovci' face 19 charges, including the founding and operating of an organised criminal group, manufacture and distribution of illegal intoxicating substances, assault and battery, blackmail, unauthorised possession of firearms and trading with firearms. Juraj 'Piťo' Ondrejčák was caught in November 2011 during the biggest police crackdown in Slovak history, involving a pre-dawn raid with officers rappelling from a helicopter in a residential neighbourhood.
The Sme daily wrote in its Tuesday issue that the trial was adjourned to August.
(Source: TASR, Sme)
9. Jul 2013 at 10:00

redpajama_set_name: RedPajamaCommonCrawl


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text:
Helmut Newton, as Remembered by Three of His Assistants
ART & PHOTOGRAPHYFEATURE
Helmut Newton, American Vogue, Monte Carlo, 1995© Helmut Newton Estate
In celebration of the reissue of the photograph's famed Sumo exhibition, AnOther talks to three of Newton's assistants about working with the legendary photographer
In 1995, German publisher Benedikt Taschen approached the legendary photographer Helmut Newton with the idea of collaborating on a vast art book. Armed with a model of what the gargantuan tome would look like, replete with five pages of Newton's images that showed off the exceptionally high quality of the digital printing techniques he would employ, Taschen convinced Newton to embark on this monumental task. The resulting book, titled Sumo and published in 1999, was limited to 10,000 editions, each signed and presented on a sleek, specially designed metal stand by Philippe Starck. It was received to widespread acclaim, an instantly coveted collector's item. In 2009, 10 years after its publication, and five years after Newton's death, his widow June suggested the book be presented as an exhibition at the Helmut Newton Foundation in Berlin, with all 464 framed pages hung side by side in rows in the order of their appearance in the book. Now, to mark Sumo's 20th anniversary, the exhibition is back – a wonderful opportunity to marvel over Newton's indelible legacy, as well as this iconic publishing feat, all over again.
Sumo includes many of Newton's most beloved works – from a nude Pina Bausch, half consumed by a crocodile, to his inimitable campaign for Yves Saint Laurent's Le Smokingsuit, as well as his various, brilliantly characterful celebrity portraits. It spans Newton's entire career until 1999, taking us from his native Berlin to Paris to Australia to Hollywood – where, from the early 80s onwards, he would capture some of his most celebrated fashion imagery and powerful nude studies. It was in California that Newton encountered the three bright young photography students – Mark Arbeit, George Holz and Just Loomis(dubbed by June, the "three boys from Pasadena") – who would come to assist him with much of his work over the following years, forging close friendships along the way. Here, in celebration of the latest edition of the Sumo exhibition, which runs alongside three smaller exhibits of Arbeit's, Holz's and Loomis' own works, the former assistants share with us their memories of the singular image-maker and the invaluable lessons he instilled in them at the dawning of their own careers.
14Helmut Newton: Sumo, and Three Boys from Pasadena
George Holz
"Mark, Just and I first met Helmut back in 1978. We were students at the Art Center College of Design in Pasadena. Mark knew that Helmut was coming to a store to pick up a cheque from a mutual client, who'd told us that if we waited, we'd see him. We waited in the store's basement all day and finally Helmut showed up and we introduced ourselves. We told him we'd love to assist him some time and he said, 'OK, come by the Beverly Hills Hotel tomorrow'. So we did. We knocked on his door and June stuck her head out and said, 'He's busy boys'. But we sat outside the door and waited like stalkers, and then we knocked again. She looked out again and said, 'Helmut they're still here!' Then Helmut appeared and told us to meet him at the Polo Lounge later. When we met we said, 'We'll be your drivers, your assistants, anything...'
"A few weeks later he called us to do our first job with him in Los Angeles. I remember I had this old beat up American car that he loved riding in – when we pulled up to the Beverly Hills Hotel everyone would have their Maseratis and Rolls Royces and we'd be in my old muscle car. He loved everything camp and American! He seemed very excited about our enthusiasm; I think he liked that youthful energy. And I just learned so many things from him. The biggest lesson was how he dealt with people – whether it was a celebrity or a model, editors, make-up artists. He could talk people into doing anything he wanted, because they had so much respect for him. They trusted him, and that was something he instilled in me: the importance of winning the trust of your subjects and clients."
Helmut Newton, Iman, American Vogue, Hotel Negresco, Nice, 1989© Helmut Newton Estate
Mark Arbeit
"Helmut never put himself on a pedestal. He talked to us like he talked to anyone else, even though we were just the little students and he was the grand master. But when it came to work everything was serious. He was Dr Jekyll and Mr Hyde. He required very deep concentration from you – the lighting had to be perfect, everything had to be right. It was a good lesson for us to learn. I loved Helmut's spirit about the business, especially his approach to fashion. He would always say to me, 'Never forget why you're there. You're there to show the clothes.' And it's so true – you think he's doing these out-there, wild shots but if you look at his pictures, you can see every button.
"I moved to Italy after I finished school and every time Helmut was in Italy, he'd call me to help on jobs – 'I'm going to Rome to shoot for Valentino, want to come?' – or hang out. Then after Italy, I moved to Paris and again, when we were both in the same city we saw each other. One of my favourite memories was assisting him in Paris when he was shooting the cover for his film, Frames from the Edge. I took some great pictures of Helmut and June after the shoot, really intimate ones of them looking over the Polaroids. She was his editor. She'd always say, 'Try this,' or, 'Push it a little more that way...' Of course she was a brilliant photographer in her own right – and they were an amazing couple, personally and professionally."
Helmut Newton, Fashion Yves Saint Laurent, French Vogue, Paris, 1979© Helmut Newton Estate
Just Loomis
"Helmut had a very strong influence on me when I was young. At photography school I learnt how to be a commercial photographer but working with Helmut was so different. It was much more intellectual – thinking out the photograph – and technically it was so freeing because he worked so simply: one camera, one lens, very little lighting, a lot of daylight. I was also so in awe of the choices that he made: the models, the locations, the make-up, the hair, the clothes. I tried so hard to absorb that – he'd mention a movie or a book or a location in Europe, a bridge or something, and I'd go off and try to find it – but of course I could never absorb it all because it was a personal, highly developed, very cultured sense of taste.
"One of my favourite anecdotes was going shopping with him to style latex sex dolls for a shoot I helped on in 2003, the year before he passed away. It was a job for Playboy at a factory in California that manufactured these life-sized dolls. Because they were the 'models', there was no make-up or styling so we went to Target together and he chose all the elements for the shoot himself. I'm walking around with him and he's picking up purple lacy underwear here, a pair of shorts there! He styled the whole thing – it took about 45 minutes and it was wonderful. Everything Helmut did was so hands on; he did things himself – no need for five assistants, a big studio – and that was part of his ability to create such a unique look. He would have a complete vision in his head beforehand, and on set it was about pinning that down, and getting it completely right."
Helmut Newton, Sumo; Arbeit, Holz, Loomis: Three Boys from Pasadena and the Photo Collection of Helmut and June are at The Helmut Newton Foundation until November 10, 2019.
ART & PHOTOGRAPHYFEATUREHELMUT NEWTON
Helmut Newton, as Remembered by Three of His Assis...


text:
New Zealand Media & Technology
US fears only reason to reject Dotcom livestream - lawyer
5:22 pm on 28 August 2016
The only reason Kim Dotcom's extradition case would not be live-streamed is if the United States is afraid their case is not good, his lawyer says.
Kim Dotcom outside court after the district court decision in December. Photo: AFP
Mr Dotcom's appeal was set to be heard over the next six weeks in the High Court at Auckland, starting tomorrow.
The United States government was seeking to have Mr Dotcom, who owns the Megaupload file storage website, extradited to face charges of copyright violation and money laundering.
It was successful at the North Shore District Court, when Judge Dawson ruled Mr Dotcom should be sent to the United States to stand trial on criminal charges along with his three co-accused - Mathias Ortmann, Bram van der Kolk and Finn Batato.
Mr Dotcom's lawyer Ira Rothken said the appeal was about whether a cloud storage provider could be responsible for the acts of its users.
He said it had worldwide relevance.
"People in New Zealand, as they do in the United States, are entitled to walk into the courtroom and sit down," he said.
"This case has great importance across the globe. We don't understand why it can't be that anybody could watch this anywhere in the world.
"It only has to be because the United States is afraid that their case is not good, and it will be scrutinised, and they're trying to avoid it."
Mr Rothken said he was asking High Court Justice Asher to consider the idea.
Dotcom seeks extradition case live-stream
Kim Dotcom wants the public to see his lawyers "smash" the United States' case against him, he says.
US courts refuse to release Dotcom's assets
An American appeals court has rejected Kim Dotcom's bid to recover millions of dollars in assets seized by the US government.
Mega heads to court to protect users' privacy
The cloud storage site Mega says a court order to hand over user information to the Kazakhstan government is an unnecessary breach of privacy.
Dotcom 'breached asset freeze' - film studio
Internet businessman Kim Dotcom has breached a court order freezing his assets, lawyers for film studio 20th Century Fox say.
Banks' $190,000 legal costs claim dismissed
Former ACT Party leader John Banks, who was last year acquitted of filing a false election return, has had his legal costs application dismissed.


text:
An offshore voice, Diana Bridge
Posted on August 27, 1995 by NZ Books
In March this year Diana Bridge gave a talk at a Commonwealth studies conference at the University of Rajasthan at Jaipur in India. The talk was "an attempt to let an interested but undernourished academic audience hear some of our most interesting recent voices."*
*[The original request was for the (non‑existent) "cultural attaché" of the High Commission to deliver a paper. The talk contained substantial chunks of poetry which have been abridged for this article. I would have liked to include in it also the voices of Jenny Bornholdt, Anne French, Bernadette Hall and Andrew Johnston, but somehow the paper, which was put together very quickly, grew in other directions. I would like to acknowledge the help of Lydia Wevers in supplementing my limited sources and resources at short notice.]
Her focus was on poetry of the last decade and a‑half. This is an edited version of that talk.
To some extent what I have to say may be taken as reproachful coda to the clutch of New Zealand voices selected for the 1994 Oxford Companion to Twentieth‑Century Poetry in English. As a selection, it is too small and woefully behind the times. For example, out of, its editor affirms, 35 New Zealand entries (I could spot only 29), only five women poets writing today are included.
Where I can I've used poems from a recent New Zealand anthology, 100 New Zealand Poems (by 100 New Zealand poets), compiled by Bill Manhire. This is a user‑friendly volume and full of surprises. One of them for me was the final poem, which was written by a 7‑year-old girl, Laura Ranger. As I talk, Laura's first book of poems, released this month, is already into its third printing and is hitting the bestseller lists in an even bigger way than her anthologist's did. This poem, called "Omanu Beach", was also written when she was 7.
in the fishing boat
out at sea
we are on the horizon.
They might see me
paddling on the shore
stabbing jellyfish
with a stick
in the heart.
we were plodding
along the sand dunes.
The sun was spying on us
through a telescope,
from behind the trees.
The point I want to make first with "Omanu Beach" is the diversity of our poetic scene. Laura's poem, alongside its sophisticated play with perspectives ‑ notably the radiating image of the sun spying through a telescope from behind the trees ‑ and its formal assurance, which is even more obvious on the page, has something interesting to say about the natural environment in which she places herself, and the writer's relationship to it.
It's a cliché to say that landscape has always been dominant in New Zealand writing. The New Zealander remains as infatuated with the environment as she or he did in the days when the taming of the land meant survival. Our landscape is new and raw, especially when it is compared with that of its nearest neighbouring piece of land, Australia. Those who saw Jane Campion's The Piano will know what I mean.
In Laura's poem the tranquillity of a fishing boat scene ‑ her natural "background", though, of course, she turns this perspective on its head ‑ is quite savagely undermined by the foregrounded action of the protagonist, "me", who is stabbing a jellyfish with a stick in the heart. The action is confidently exposed. The point lies in the "might" of "They might see me"; "They" ‑ the other ‑ seeing an untroubled stretch of horizon, seeing "me" paddling on the shoreline; in other words, seeing what they want or expect to see. Of course, it's not a crime to stab the jellyfish who lie like a hazardous blanket along our beaches. But the fast accumulated, if natural, savagery of the language, the way in which the opening scene is outlined, and expectations of what might follow are outwitted, is unsettling in the way of most exciting poems. "Omanu Beach" is shot through with subversiveness. The sun spies from behind the trees as a child does. As a child poet does. As a poet does.
Next, to show that the tussle with nature, with our peculiarly New Zealand form of nature, is alive and well across the generations of writers, is a poem that appeared last year in the London Review of Books by the poet who is generally acknowledged to be the grand old man of New Zealand poetry today, Allen Curnow:
"Looking West, Late Afternoon, Low Water"
Look west, what looks
back is blood‑orange nightfall, the stooped
sky drowning another sun overboard
where the horizon was: till it snapped
those deep‑sea moorings and will be heard
oncoming, the sound of a scream, tsunami!
tsunanii! splintering deadwood of the boat
I lost half a life ago, swept
away with a judgement on the work
she's amateur built but your friends won't know.
Last seen, one inflatable rescue
craft stood on its tuck, bows to skyward
in fast failing light, a turning tide.
In "Looking West, Late Afternoon, Low Water" struggle with self, envisaged as struggle with the self's physical setting, continues one of the most enduring and inseparable of metaphorical relationships. This poem reminds me strangely of Du Fu, China's greatest poet. I think it is the way it is written out of, inserted into, intertwined in the closest of relationships ‑ as close as to share a sentence ‑ with landscape. It reminds me of Du Fu, too, in its assimilation of classical reference, its breadth of reference generally and the uncompromising way it confronts and sums up age and the nature of a life's work.**
**[Peter Porter has a perceptive entry on Curnow in The Oxford Companion. He writes that Curnow's poetry "has got more, not less, audacious with age".]
The extent, the complexity and the passion of Allen Curnow's relationship to his beach is far from the sort of self-inflicted pastime Vincent O'Sullivan identifies as the 1950s and 1960s New Zealander's relationship with nature in this excerpt from the Introduction to An Anthology of Twentieth Century New Zealand Poetry, Oxford University Press, second edition, 1976.
A man who lives in this country today does not generally have to come to terms with the land. For better or for worse, that land, for the time being, offers those who live with her too comfortable a life to talk of hostility. There is still hard physical work, but there is little feeling of a battle to be won, unless self‑imposed by mountaineering, the vagaries of the sea or the choice of back‑country jobs.
Allen Curnow's struggle with "the vagaries of the sea" is larger than the sort of thing O'Sullivan was talking about. What has changed? The fact that the poem was written two and a half decades later? That in 1993 Allen Curnow himself was 82, alive to "unfinished business" and full of urgency? I would not, of course, like to suggest that the Curnow of the 1950s or 1960s could not have written this way. Though Curnow is acknowledged to have been writing over the last decade and a half with renewed vigour, as well as with an even more commanding fluency and, in poems like "Moro Assassinato", a painful immediate grounding in political and social event ‑ that is one man's direction. Where the O'Sullivan passage is useful in the context of my remarks is, I think, in pointing up a general contrast of atmosphere between poetry of a few decades back and poetry being written now.
Returning to the idea of identifying directions in recent verse, I think the most important of these may be summed up in this way:
‑ the struggle of women writers to reach the centre, from the margins; no one now seriously doubts that women poets (and novelists, short story writers and dramatists) are in there for good, variously voiced, skewing the old balance;
‑ the ongoing efforts of Maori, if not to capture the mainstream, to make sure their voice ‑ whether it is a voice that writes in Maori or in English or in both ‑ is no longer on the fringe;
‑ a sophistication wrested from the language, which can be recognised as a New Zealand sophistication.
You will notice how often I've found myself using words that have to do with struggle, which suggests a contrast with the blandness of the 1950s, 1960s, even 1970s scene, as summed up by O'Sullivan. While I would not want to tie recent writing to a particular political or ideological context, two developments in those areas make someone reading the passage today wince. The first is so obvious I shall only mention it in passing here; the exclusive abrasive use of the term man.
Next, to a 1990s New Zealand ear, which has been blasted by more than a decade's worth of calls to economic reform and then habituated to the howls of pain which the process of economic restructuring has entailed, the idea of comfort has become less familiar. Though ours is still a lucky country in relative terms, our overall comfort has been unsettled, perhaps permanently. And this is obvious in much recent writing. In modern New Zealand the "user pays" and this applies pretty much across the spectrum. But some are paying and being seen to pay more heavily than others. Much contemporary Maori writing, for example, speaks with the voice of an impatient underclass, saying to a white ‑ or to a rich ‑ other as Roma Potiki says, [whatever you've done] "it's not enough for me".
Maori writers have increasingly since the 1970s and 1980s added an interesting formal possibility to New Zealand writing in English: the choice of introducing snatches or passages of Maori. Breaking into Maori can mean all sorts of things ‑ as breaking into Gujarati does in the poems of Sujata Bhatt.
In the first instance it functions as a statement of racial identity by the poet. (It could also, of course, function as a statement of solidarity with Maori language and culture by any New Zealander.) Predictably, the use of Maori in the context of a poem written in English ‑ perhaps I'd better call it an amalgam poem ‑ often operates as a turning of your back (or more graphic part of your anatomy) on the language of the pakeha majority. That language, in line with changing perspectives in other once colonised societies, may be ‑ and, in the 1980s and 1990s usually is ‑ regarded by the colonised portion of society as oppressive or inadequate, or a combination of both.
Sometimes there is a rueful, self‑reflexive play by the writer on his own unfamiliarity with what might have been his mother tongue, as in Apirana Taylor's poem, "Sad Joke on a Marae". The joining of English and Maori language in poems like this and less deliberately self ‑referential pieces has assisted in the breaking open of traditional poetic structures in New Zealand writing. And so may be seen as part of the larger process that has been going on in poetry written in English for more than 80 years now. What, apart from the specific and relatively small‑scale experiment of introducing Maori language and references into poetry, have we added to that process in New Zealand?
We have added some different ideas of euphony and rhythm generally and some expectations and contexts that derive, consciously or unconsciously, from Maori language and culture. I'll let a poem ‑ once again an "amalgam poem" ‑ sum up some of the things I've just been talking about. It's from "Jazz Waiata" by Robert Sullivan, author of two books of poetry, published in 1990 and 1993. Sullivan is under 30 ‑ and a winning combination of Maori and Irish ancestry:
We do what we should, wishing that we shouldn't. So I sit outside
your door, whistling to a bloody cockatoo, wondering when you'll
let me off the hook. I've really had it, this isn't love!
What have I done to deserve it, Kim? leaving me in the eye
of the needle, a thread without a stitch.
He atua, he tangata, haere mai te mauri! I believe in an eighth
day of creation, in both ends and means, but for all that land
I found nowhere to stand. Te whenua, te whenua,
engari kaore he turanga waewae. Some kind of future.
I suggest this piece works immediately as a confrontation of rhythms: from the kind of Eliot‑in‑Four‑Quartets mode of the first line through the street talk of the next, into Maori oratorical and so on, each section running, sharp‑edged, up against the next. The aural patchwork is reinforced by shifts of register: English canonical references send themselves up ‑"leaving me in the eye/ of the needle", "I believe in an eighth day of creation" ‑ or are double‑punctured by their placing ‑ "I believe in an eighth/ day of creation, in both ends and means". The subversive echo of the Apostles' Creed tails off into a banal rhyme that almost extinguishes the dead serious message: "but for all that land/ I found nowhere to stand". The amalgam in semantic and linguistic terms is distinctively New Zealand. And the ending of Sullivan's poem ‑ "Some kind of future" ‑ is as wide open as the position in which our multicultural society finds itself today.
As radical, and in some ways more risky than the interweaving of two languages into a new poetic, are Michele Leggott's continuing experiments with "language poetry" and "concrete poetry". Leggott sometimes teeters on the brink of unintelligibility. Take a step back and the contour of her work overall is like a game of yo‑yo, letting the string out so far that she risks crashing to earth, having lost all but a tiny group of like‑minded practitioners, but then drawing us, her more ordinary readers, back up with her engaging sensuousness and sparkle. In a poem like "Honey Bee", it is these qualities that overwhelm, or make minor, occasional difficulties of vocabulary, complexities of junction, or images that overreach.
Leggott does clever things with joins, or the lack of them. In Dia, her latest collection, her experimentation with language poetry can be seen to have born rich fruit. Leggott dances in the joins of language, making almost every phrase do double duty in art and life (I think of a conjunction like "draped word/ perfect", bringing action and artifice into a sharp embrace), to achieve a climax that was implicit in the very first lines: "let's go out there/ and do the poem".
Where Leggott works with open form and dazzling conjunction to open up new ground, and shift the ground from under the reader's feet, Bill Manhire disrupts expected perspectives in an equally language‑based but different way.
Despite a certain elusiveness, generic and personal, Manhire cannot escape the label of grand middle‑aged man ‑ in contrast to Curnow's "old man" ‑ of New Zealand verse. He is the poet whose work probably does most to support the judgement of a new, peculiarly New Zealand sophistication appearing in poetry. This so‑called sophistication is not an easy thing to define. In Manhire's case it is rooted in an eye, and an ear, for word play, into which is incorporated a distinctively New Zealand dimension. His first book, Malady, published in 1970, consisted of four words: malady, melody, my lady, these words patterned every which way on the page. He has never lost that sense of possibilities and patternings to dislodge the expected, arriving at orderings that puncture the ordinarily elevated ‑ and elevate the ordinary into lyric status.
Manhire's recent work is characterised by the need to come at his topic not only from an unexpected angle, or variety of angles, but from all angles. In "Isabella notes", from Of Pavlova, Poetry and Paradigms: Essays in honour of Harry Orsman, published in 1993, he tackles the identity of Isabella of Castile. His subject is pursued (or rather is seen to pursue herself) lexically. The starting point is appropriate for the recipient of these "notes", and of the volume, is a lexicographer. Manhire's subject is explored in a democratic mixture of styles ‑ verse and prose, children's game and song ‑ and through casting her in a possible and impossible mix of parts. She is conceived of as airport image, as far eastern product and in a number of historically impossible situations ‑ Isabella eating an apple (not a peach), Isabella as subject of the Lowland school of painting; as the Isabel of poets, rather than of painters. The tools of the search are foregrounded throughout the "notes": the alphabet, the dictionary, the word processor with its spellcheck, the encylopaedia and back to the word. Most hauntingly for me, Isabel is explored as a sound:
Isabel, three syllables,
or four, Isabella, a village
between two castles, each
high on its hill, and the light
still there in the evening
when she rides out on her favourite horse.
Isabel and Ferdinand
and God: Castile this side
of the ruined wall, on the other
Alhambra, and the artist painting
the girl's face, a mist
in front of the eye, children at school,
all things bright, and beautiful.
I mentioned Manhire's generic elusiveness. This may be construed as a democratisation of expected form. The title, "notes", explodes any preconceived notion of poetic sequence the reader may bring to bear. Isabella as subject is broken down and examined in the disparate range of structures that comprise the exercise as a whole. Formal eclecticism is paralleled in the "Isabella notes", as elsewhere in Manhire's work, by the author's readiness to consider his subject from any point of view. Manhire has a special knack of including the ordinarily prosaic or banal into his work and making it lyric in its new context. The way in which the jaded hymn line that concludes this poem operates is a case in point.
The method is writ large across another large‑scale poem, which makes the point of a distinctive New Zealand voice more clearly and consistently than any other piece I can think of. "An Amazing Week in New Zealand" may be Manhire's answer to the long or narrative poem that the poet writing in English these days seems to feel under some pressure to provide.
The piece, which comes with the caption, "So for six days he crusaded and on the seventh he flew to Australia", describes the visit to New Zealand in 1959 of American evangelist Billy Graham and it is written from the vantage point of a boy from a small South island town, pre‑adolescent, head full of being a scout, of Kipling, but becoming aware, too, of a world of pop song and lipstick. The boy on the brink of adolescence in the backward little country, its backwardness underlined by the dated scenario and the wickedly outdated slang and song ‑ we know we can write about anything these days, but to go out of your way to choose material as unlikely as this?
That it can be done and done well enough to achieve a blend of high sly comedy and detail observed ‑ always ‑ with an eye on itself and disparate strands orchestrated with Manhire's special sureness of touch into a crescendo poised between affirmation and negation ‑ you'll have to take on trust. But it's probably helpful to know when you read the words, "I am not going forward", that ‑ not to put too fine a point on it ‑ 10 years ago a small country, still finding its feet in the world, stood up to a similar smooth‑talking power from the same part of the world as Billy Graham and said "No" to the entry of its nuclear ships into our ports.
New Zealand has had more than a few milestones to celebrate, or confront, in the last few years: our ‑ not uncontroversial ‑ celebration of the sesquicentenary of nationhood; other landmarks in the ongoing attempt at renegotiating a relationship between pakeha New Zealanders and Maori; the less contentious celebration of a century of female suffrage in 1993. These milestones are often ironically viewed. But there is, too, a sense of achievement.
I finish with a poem by Dinah Hawken, "The Tug of War", an extract from the long sequence that forms her second collection, Small Stories of Devotion. Hawken's is a quiet but persistently upfront feminist voice. Her concerns also extend to the area of foreign affairs. She was, like me, a diplomatic spouse for many years, mostly stationed in North America. Her feminist ‑ or, here, I should perhaps say "womanist" ‑ solution is expressed in the concluding third section of this poem in a sustained play on the words "love" and "let go", "get going" and "live". The first two thirds of the piece are composed in a poetry that is near prose, its prosaic quality foregrounded in a deliberate precision of description, abetted by a conventional syntax. The combinational play of the last six lines, indented on the page to underline their formal difference from the preceding two sections, represents a powerful formal option, that operates also as a woman's view of history, and a womanist option for living.
The poem is conceived as a colonial photograph, which comes to life. As you listen, think of the rope as a syntax that its women protagonists, and its author, will ‑ at the precisely judged height of the tussle ‑ let go:
"The Tug of War"
It is a scene that rises in her mind, a long line of men, say 100,
facing north, holding a long rope. A long line of women, say 110,
facing south, facing the men, holding the same long rope.
They are all dressed in late 19th century clothes, standing ready
on the shoreline of a long New Zealand beach. A long line of surf is breaking. …
… So the tug
of war begins. Equal weight and equal strength on each
side. Centuries of struggle are rising
in the blood of each man and each woman and at the exact
moment that they judge the men to be at the height
of their physical and mental power, the women
let the rope go. ,
They love to let go and they love to get going:
they get themselves going and they let themselves go.
They let love go and they get love going:
they get others going and they let others go.
They let life go and they get life going,
they live to give love and they love to let live.
Diana Bridge works on Chinese classical poetry. Her husband is New Zealand's High Commissioner to India.
Tagged with: Diana Bridge, Issue 19, Spring 1995
Posted in Literature, Poetry
Browse the Literature category
Leading by the nose, Elizabeth Crayford
Opening the fifth dimension, Lydia Wevers
"The frequent flyer friar" John McCrystal
Absolutely fabulous, Thom Conroy
The life and the work, Martin Edmond
"The play's the thing", Sarah Ross
In the hybrid zones, Airini Beautrais
"Unlicked selves", Hugh Roberts
Timeless and timely, Hannah Marshall
Back to the future, Harvey Molloy
Express lane, John Horrocks
It's in the detail, Trevor Agnew
Marking time, Maggie Trapp
Challenging, touching, persuading, Janet Hughes
Here be gods, monsters and mortals, David Eggleton
Keeping it in the family, Tina Shaw
Warning and consolation, Mark Houlahan
Doors and mirrors, Alex Mitcalfe Wilson
Well packaged history, Anna Mackenzie
Blank spaces, Tim Grgec


text:
Old Testament Timeline
3969 B.C.
God creates Adam and Eve. Ussher's chronology of the Old Testament places their creation at 4004, while other research suggests a date of 4024.
Life of Adam (Genesis 5:3 - 5), who will live 930 years.
Life of Seth (Genesis 5:6 - 8).
Life of Enos (Genesis 5:9 - 11).
Life of Cainan (Genesis 5:12 - 14).
Life of Mahalaleel (Genesis 5:15 - 17).
Life of Jared (Genesis 5:18 - 20).
Life of Enoch (Genesis 5:21 - 24).
What is Jesus' greatest miracle?
List of important New Testament people
Timeline of Israel's kings!
Life of Methuselah (Genesis 5:25 - 27).
Life of Lamech (Genesis 5:28 - 31).
Life of Noah (Genesis 9:29).
Life of Shem (Genesis 11:10 - 11).
Rachel, beloved wife of Jacob
Michelangelo, 1545
God causes the Great Flood (Genesis 6 - 8).
Life of Arphaxad (Genesis 11:12 - 13).
Arphaxad was born two years after the Flood when his father, Shem, was one hundred years old (Genesis 11:10).
Life of Salah (Genesis 11:12 - 15).
Life of Eber (Genesis 11:14 - 17).
Life of Peleg (Genesis 11:16 - 19).
Life of Reu (Genesis 11:18 - 21).
Life of Serug (Genesis 11:20 - 23).
Life of Nahor (Genesis 11:22 - 23).
Life of Terah (Genesis 11:22 - 23).
Life of Abram (Abraham, Genesis 25:7).
God calls Abram (later Abraham) at age 75 while he is living in Haran (Genesis 12).
God promises Abram, at age 85, he will have a son and establishes a covenant with him (Genesis 15). According to the apostle Paul (Galatians 3:17), the time span between this covenant and when the Israelites are freed from Egypt is 430 years.
1860 - 1680 B.C.
Life of Isaac (Genesis 35:28).
God tests Abraham, at the age of 115, by commanding he sacrifice his only son Isaac (Genesis 22).
Life of Jacob (renamed Israel - Genesis 32:24 - 28).
Life of Joseph (Genesis 50:22).
Jacob and his family enter the land of Egypt (Genesis 46 - 47:9).
Period when the Egyptian Empire, also called the New Kingdom of Egypt, is at the height of its power and prosperity.
Ahmose I reigns as Egypt's Pharaoh (dates disputed).
Amenhotep I reigns as Egypt's Pharaoh (dates disputed).
Life of Moses (Deuteronomy 34:7).
Thutmose I reigns as Egyptian Pharaoh.
Thutmose II reigns as Egyptian Pharaoh.
Life of Joshua (Joshua 24:29).
Hatshepsut reigns as Pharaoh of Egypt.
Thutmose III reigns as Pharaoh of Egypt. From 1479 to 1458, he is co-regent with stepmother Hatshesut.
Exodus of the children of Israel out of Egyptian bondage.
Children of Israel wander wilderness 40 years (Deut. 8:2). Moses writes first five books listed in Bible.
Joshua leads the Children of Israel into the Promised Land.
The land of Canaan (Promised Land) is divided by lot among the children of Israel (Joshua 14).
Joshua serves as Israel's Judge.
Children of Israel oppressed by Cushan, King of Mesopotamia (Judges 3:8).
Othniel serves as Israel's Judge (Judges 3:9 - 11).
Children of Israel oppressed by Eglon, King of Moab (Judges 3:12 - 14).
Ehud serves as Israel's Judge (Judges 3:15 - 30).
Children of Israel oppressed by Jabin, King of Canaan (Judges 4:1 - 4).
Deborah and Barak serve as Israel's Judges (Judges 4 - 5).
Eli serves as one of Israel's Judges (1Samuel 4:18).
Children of Israel oppressed by Midianites (Judges 6:1).
Gideon serves as Israel's Judge (Judges 6:11 - 40; 7; 8).
Abimelech serves as Israel's Judge in the North (Judges 9:1 - 54).
The Israelites are oppressed by the Philistines in the South and West (Judges 13:1, 1Samuel 7:13).
The children of Israel are oppressed by the Ammonites in the East (Judges 10:7 - 8).
Tola serves as Israel's Judge in the North (Judges 10:1 - 2).
Jephthah serves as Israel's Judge in the East (Judges 11; 12:1 - 7).
Samson serves as Israel's Judge in the South and West (Judges 15:20).
Samuel serves as Israel's Judge (1Samuel 7:6, 15 - 17).
Ibzan serves as Israel's Judge in the East (Judges 12:8 - 10).
Jair serves as Israel's Judge in the North (Judges 10:3 - 5).
Elon serves as Israel's Judge in the East (Judges 12:11 - 12).
Samuel the prophet writes the books of Judges and Joshua.
Abdon serves as Israel's Judge in the East (Judges 12:13 - 14).
The book of Ruth is written.
Samuel's sons serve as Israel's Judge (1Samuel 8:1 - 5).
King Saul, anointed by Samuel, reigns over a united Israel.
King David reigns over Israel. He writes Psalms 1 - 71, 107 - 119, 135 - 150.
Davidic priests write Psalms 73 - 88, 90 - 106.
King Solomon reigns over Israel. He writes Psalm 72, Proverbs 1 - 24, Ecclesiastes, and Song of Solomon.
Solomon begins building Jerusalem's temple (1Kings 6:1).
Solomon completes building Jerusalem's temple (1Kings 6:38).
Israel, in one of the most momentous events of the Old Testament, splits into two distinct kingdoms. The first is the nation of Israel (composed of ten of Israel's tribes) with its capital in Samaria. The second is the kingdom of Judah (composed of Judah, Benjamin, and Levi) with its capital in Jerusalem.
Period of the nineteen Kings of Israel.
930 - 586 B.C.
Period of the twenty rulers (19 Kings and 1 Queen) over Judah.
Period when Assyria is a world empire.
798 to c. 400
The books of the Minor Prophets are written.
Tiglath-pileser III ("Pul") is King of Assyria. King Menahem of Israel pays him tribute (2Kings 15:19 - 20).
Books of Isaiah, 1Kings, 1Samuel and 2Samuel written.
Shalmaneser V reigns as King of Assyria.
Samaria is conquered by Assyrian King Shalmaneser V. Israel is taken captive to Assyria (2Kings 17:1 - 6).
Hezekiah writes Psalms 120 - 134 and has Proverbs 25 - 29 written for him.
Sennacherib reigns as King of Assyria.
God has the Angel of the Lord kill 185,000 of Sennacherib's troops as they prepare to enter Jerusalem (2Kings 18 - 19).
Book of Jeremiah, Psalm 89 and a part of 2Kings written.
Nineveh, capital of the Assyrian Empire, falls to Babylonian King Nabopolassar.
Period when Babylon is a world empire.
Book of Lamentations written.
King Nebuchadnezzar of Babylon makes his first attack of Jerusalem. Taken captive are the prophet Daniel and his companions.
Book of Daniel written.
Jerusalem attacked second time by Babylon. Judah's king is taken prisoner, Zedekiah set up as puppet king (2Kings 24 - 25).
Book of Ezekiel written.
Nebuchadnezzar attacks Jerusalem a third time. He destroys city and burns the temple. Judah goes into captivity (2Kings 24 - 25).
Cyrus the Great reigns as King of the Persian Empire.
Nabonidus reigns as last Babylonian king .
King Nabonidus fights, surrenders to Persian king Cyrus the Great. The first part of Daniel's 70 weeks prophecy (Daniel 9:24 - 26), the duration of which is seven weeks (49 prophetic years, see our article on the number 49), begins with "the going forth of the commandment to restore and to build Jerusalem" (Daniel 9:25). This command, which allowed captive Jews to return to Judea and rebuild Jerusalem (and its temple), was issued by Cyrus in 539 B.C. (Ezra 1:1 - 4).
Period when Persia is a world empire.
Darius I the Great is Persian King.
The rebuilding of Jerusalem's temple is completed.
500s - 400s
Ezra and the Great Assembly complete the canonization of the Old Testament.
Book of Esther written.
Books of Ezra, 1Chronicles and 2Chronicles are written.
Book of Nehemiah written.
Alexander the Great, King of Macedon, builds and rules his world empire.
Persian King Darius III is defeated in battle by Alexander the Great. Persia falls.
Antiochus IV Epiphanes becomes king of Hellenistic Seleucid Empire. He begins to force Greek culture into Judea.
Mattathias, a Jewish priest in Jerusalem, starts a revolt against the Seleucids.
Judas Maccabeus (Judah the Maccabee), son of Mattathias, leads Jewish dissidents to victory over the Seleucids. The Maccabean dynasty rules and influences the history of the land of Israel for the next roughly 130 years.
Judea gains its independence.
Roman troops occupy Judea in the land of Israel. Jerusalem falls.
A coalition between Julius Caesar, Pompey and Crassus governs the Roman Republic.
44 B.C.
Julius Caesar is assassinated.
Herod the Great becomes King of Judea through Rome.
The Roman Republic ends. Augustus Caesar becomes Roman Emperor.
Herod the Great begins work to rebuild Jerusalem's temple.
Jesus is born in Bethlehem.
Herod the Great dies. The land he ruled over in Israel is divided up amond his sons Herod Antipas, Herod Archelaus and Philip the Tetrarch (Herod Philip II).
List of important Old Testament people!
Timeline of the New Testament
How many Israelites left Egypt?
Who are the toughest females in Scripture?


text:
Home Other What Consumers Are Saying In Lagos
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What Consumers Are Saying In Lagos
by February 10, 2020
written by February 10, 2020
Prepaid Meters
By Gbenga Odunsi, Lagos
The electricity regulatory body in 2018 introduced a law directing power distribution companies (DisCos) to furnish consumers with more prepaid meters. While many Nigerians are yet to be allotted meters, despite paying in full, some have complained of exorbitant billings.
"The officials came to my house, promising to fix my light and provide me with prepaid meter. This was on 15 May 2019, but as I speak(October 2020), I have not seen any meter. I went to their office in Ikeja to know why my meter has not been delivered, despite making full payment. But, on getting there, I met other people who had come to lay the same complaint, 35-year-old Joy Edna told Information Nigeria.
In April 2018, a new regulation on meter asset provider service says customers are not supposed to pay for meters.
According to the regulation, "DisCos shall conclude the procurement process for the engagement of the first set of MAPs within 120 days from the 3rd day of April," MAPS regulation states.
"DisCos shall conclude the procurement process for the engagement of the first set of MAPs within 120 days from the 3rd day of April," MAPS regulation stipulates.
Investigation by Information Nigeria uncovers the failure of the DisCos in meeting this deadline, and millions of Nigerians without prepaid meters are afflicted with the exploitation of estimated billing.
Why use prepaid meter
Whether you are a house or flat owner, renting or a landlord there are many benefits to using prepaid electricity over normal billed electricity in your home or office. Prepaid electricity means you don't get bills in the post at the end of the month and many people in Nigeria using prepaid electricity now would never want to go back.
When you are using postpaid electricity (get billed at the end of the month) you are not aware how much you are using a day, a week or an hour. A prepaid electricity meter has a readout which displays your units as well as the level of power consumption. This allows you to better monitor how much electricity you are using and therefore budget better every month.
With a prepaid meter, a consumer can recharge N3000 worth of power and effectively manage it for three months by switching off appliances. This, however, doesn't favour the DisCos as they tend to make little or no profit from this. Estimated billing allows them to charge based on assumed, rather than actual, electricity consumed, hence, they issue estimated bill of N30,000 each month, even if consumption is not more than N3,000.
Read Also: #EndSARS: Nigerians Recount Horrible Experience With Thugs In Police Uniform
Prepaid meter intentionally made scarce
Tonye Akinwande, a 43-year old landlord in Lagos who spoke with Information Nigeria, says the officials of Ikeja Electricity Distribution Company, IKEDC are culpable of prepaid meter scams in Lagos. According to the estate surveyor, the prepaid meter costs N38,000, and payment is made in full, after which another sum of N5000 must be paid to open an account with the electricity department.
Mr Akinwande says as a landlord, there is a need to install the prepaid meter for all his tenants in the three different houses he owns within the city, but all attempts to purchase the devices proved abortive as officials of the electricity distribution company continue to frustrate his efforts.
"A 3-bedroom flat would be given an estimated bill of #20,000-#25,000 a month, only to find out that the flat isn't even using so much appliances.
"The prepaid metre device cost #38,000 for one, and would not be issued to you until you have fully paid for it – that's if you are even issued one.
"This means as a landlord in Lagos, I have to install the meters for my tenants, one per flat, Where would I get that kind of money?
"I was made to understand one prepaid meter costs #38,000, I paid for 8, then I was made to pay another #5,000 to open an account with the electricity department for each of the meters.
"People are yet to realize that this is a ploy by IKEDC to frustrate and further discourage people from purchasing the device because they make a huge amount of profit from estimating electricity bills.
"The prepaid metre is intentionally made scarce so that individuals would not get hold of it and put an end to the menace of estimated billings.
"The officials know that if you are able to purchase the metre and recharge #2,000 worth of power, if managed well, it would last you for more than two months, hence, their foot-dragging to issue out these meters."
Prepaid meter
Computer drops long names
Chidinma Umunna could not believe her ears when officials of IKEDC told her husband that the computer dropped his name because it was 'too long'.
She gawked in disbelief at the total amount they had been charged for estimated electricity consumption. The tall, plumpy, dark-skinned lady laments over the shoddy activities of IKEDC officials in the issuing of prepaid meters to electricity consumers.
According to the banker, her husband had paid for the device in 2018, but he is yet to be issued a meter.
"The officials appear to me as scammers, she says.
"In a country where there are rules and regulations, you find government officials bury themselves in financial shenanigans, thinking they are above the law.
"What would it cost IKEDC to produce prepaid meter that has been paid for since 2018?
"We keep hearing the meters are not available but they will never tell you not to pay for it.
"Among the numerous excuses that were given to us was that my husband's names are too long that the computer had to drop it."
"The officials sit in their offices and draft figures according to whatever wave swept through their heads.
"We keep getting estimated billings of over N25,000 in a modest two-bedroom flat.
Friends that I explained my situation to ask could not believe their ears, they kept asking if we were running an industry inside the house."
Overcharging and overbilling prepaid meter users
In what appears to be a grand scam and illegal extortion by IKEDC officials — intentionally or through high powered negligence — metered a residential apartment with a device meant for commercial use. The effect of this is that the residential apartment is overbilled after each recharge.
Customarily, prepaid meter consumers are billed according to energy used. Consumers control what they use, and when they run out of unit, they can understand why it is so.
But, a prepaid meter consumer, Mr Babatunde Ayodeji, says whenever he recharges N5000, it doesn't last more than two weeks – and it's not as if power is constant.
According to him, IKEDC officials classified him on A1, instead of R2TP, which is the normal bill for a residential apartment with 3 phase.
After months of overbilling, Mr Ayodeji filed a formal complaint to IKEDC support centre via email.
After exchanging several emails since July, nothing has been done to effect or reclassify this consumer who lives around Ojodu Berger area of Lagos State. Having been overcharged for more than eight months, the power distribution company have done next to nothing in either rectifying their gross negligence or undoing their grand scam, after been found out.
"Aside email, I have also been to their office and spoke with a customer service agent who also confirmed the "fraud" and promised to push it to the appropriate department.
"Many residents are oblivious of this smart overcharge system but many just noticed their recharge doesn't last despite the epileptic power supply they enjoy.
"We will recall that during the recently announced tariff change which elicited widespread condemnation from the public and labour unions, which was later halted by the government through the intervention of the national assembly, it required only a forty(40) digit token to move everyone up the higher tariff ladder.
"It is still a wonder why this same process cannot apply to effect a commercial tariff plan to a residential tariff, after all, it is all about the change in figure," Ayodeji added.
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The Nigerian Electricity Regulatory Commission (NERC) Consumers rights and Obligation, empowered by the Electric Power Sector Reform (EPSR) Act, 2005 clearly states that: all customers have a right to refund when over billed; all customers have a right to file complaints and to the prompt investigation of complaints; all customers have a right to transparent electricity billing; it is the customer's right to contest any electricity bill, among others.
Further, Section 96 of the Electric Power Sector Reform (EPSR) Act specifies that when a distribution company is informed during working hours that a customer's prepaid meter is not operating properly, an authorized official from the company shall visit the customer premises within 24 hours to inspect and fix or replace it.
Five months after, Mr Ilori is yet to be reclassified on R2PT; yet to be refunded; while officials of IKEDC have continued to overbill him for electricity consumed, an egregious breach of the EPSR Act.
IKEDC, a failed agency — NERC is complicit too
The IKEDC has failed in its responsibilities to electricity consumers in Lagos and neighbouring cities. It remains to be seen if the officials will turn a new leaf from their corrupt ways.
Many Lagos residents are rocking the same boat with the above-interviewed persons, and they are dying in silence because they have no means to prosecute these dare-devil officials.
Again, Kabir Olatunde, an IT specialist residing at Airport road paid cash for the prepaid meter in February at IKEDC's office in Ikeja. Nine months after, the device is yet to be delivered to him. He has lost every hope of ever getting the prepaid meter, after several failed assurances from IKEDC's officials.
"I paid for the prepaid meter in February, before the coronavirus lockdown began, and I was assured the meter would be installed after five business days.
"It is close to nine months now and no meter in sight.
"I have tried all I can to ensure the device is installed but I keep getting empty promises from the officials, Olatunde told Information Nigeria.
Efforts to get reactions from Ikeja Electricity and Nerc proved abortive as emails sent to both agencies were not replied as at press time.
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Generation Rent Film
Housing Stress
Renting for Life
Renting for Life. This is a very real future for the current generation of young Australians facing an unforgiving housing market.
Skyrocketing housing costs, stagnant wages, lack of tenant protections, and relentless stress in the rental market are only the tip of the iceberg. This was just a short phase of their life for previous generations, a stepping stone to adulthood. But now Young Renters could be trapped in rentals for over a decade, some their entire lives.
Generation Rent is forming. The first generation of Australians where homeownership is no longer possible, where renting is the only affordable way to live in Australian cities, with the real threat of homelessness looming over them every day.
We need to dispel the myth that renting is a healthy, normal, rite of passage for young people, that is it okay for young people to live in poor quality, overcrowded housing with none of the support that is offered to older generations to obtain secure, affordable housing.
Learn more about this Social Issue
Generation Rent
Generation Rent is a media tag used to describe the current generation of young Australians facing a future shut-out of homeownership. It typically refers to young people between the ages of 25-34, however, it can also refer to old Australians who are still trapped in private renting, and to all subsequent future generations of young people.
Homeownership rates for all age groups have been falling since the 1970's. 68% of 30-year-olds in 1970's owned a home, compared to only 50% in 2020, a 27% drop.
As parental wealth becomes a key determinant of future homeownership, families without wealth from home ownership cannot offer the same advantage to their children, entrenching disadvantage resulting in multiple generations being trapped in renting for life.
Generation Rent may be the first generation where the majority are locked out of homeownership, but without drastic changes, it won't be the last.
we shared the stories of Young Renters to show how the rental system is failing young people?
feature - 1
The Generation Rent Film will be a compendium of shared stories told by Young Renters. It's aim is to dispel the misconceptions around renting for young people, that it is a lifestyle choice, that they want to rent for life, that it offers freedom and flexibility.
This may be true for some high-income renters, low-income young renters face the highest rates of housing stress in NSW, regularly paying over 50% of their income towards rent.
They often face discrimination in the rental market, are considered undesirable tenants, risky, and a tenant of last resort. They may only be able to secure the poorest quality housing at a premium rent that is only affordable when shared between a larger group of housemates.
We want to share these stories to educate the older generations that renting is no longer a choice, sharing is not a choice, that living under constant stress is not a choice.
Hear from Experts
For years housing advocates have been trying to change the housing system for the better, for renters and homeowners alike. This is mostly directed to policymakers and political leaders. Their voice is incredibly important to show the history of how we got to this point, and what can be done to move forward to a better future.
This film will be created in collaboration with the peak advocacy groups for renters, Tenant's Union of NSW, young adults, Youth Action, and youth homelessness, yFoundations.
We will hear from experts and policy advocates on the history of the issue from different perspectives, the forces and factors that have led to this point, and the tangible solutions that can be implemented to improve the situation.
Let's Go Viral
The Generation Rent Film will be a dual-format production.
The first format will be a traditional documentary feature film. It will be designed to be watched at a screening or home as a group, to spur conversation and debate. In particular, we want to generate health discussion of housing issues between young adults and their parents, the Baby Boomer Generation. They are often the greatest opposers to housing assistance and systemic reform, yet have children in the generation most in need of reform. We want to bridge this divide and try to find common ground and empathy.
The second format will be short video clips. These will be reformatted snippets from the interviews with Young Renters during the production process, distributed through social media channels with the hashtag #GenerationRent, and spurring viewers to share their own stories of renting. Through this format, we want to drive more media attention towards this issue as well as to the documentary film.
Changing Public Opinion
To be able to drive action, we must first change the current discourse around young people and renting. As long as the public still believes that it is okay for young people to rent in poor conditions, with unaffordable costs, and no support, that this is a reasonable rite of passage for all, leaders will not take action. The key lies in the divide of understanding between young and older Australians. The Generation Rent Film will attempt to bridge this divide by:
Sharing real stories from Young Renters who will dispel these misconceptions with their own voices
Sharing advice from experts with decades of experience on the history and causes that have led us to this crisis, and the action we can take to change the system.
Distributing in a dual-format that each targets the two ends of the media consumption spectrum, a feature film for older audiences, and short videos for young audiences, in order to capture the widest audience.
The next steps in developing this Design are:
Sourcing funding for a production team to produce and edit the film.
Conducting interviews with Young Renters who are willing to share their stories of renting.
If you are able to assist us in developing this Design, we would really appreciate you reaching out for a chat.
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Opting to join the photographic world is actually a noble and exciting pursuit. In the following article you will notice how big the world is and the way a variety of skills you can find to learn. The reality that photography may be an extremely personal thing causes it to become seem somewhat impossible to discover what is useful for you. The following tips will provide you with a lot of helpful suggestions.
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Discover Panhala
Panhala Fort
Panhala is one of the foremost historically important places in Maharashtra. It once acted because of the capital of the Karveer Sansthan (Kolhapur). It holds the notable Panhalgad fort, which is one of the main tourist attractions in Kolhapur. Panhala is settled 20-kilometer now from Kolhapur in Maharashtra. it absolutely was the same to have been built in the twelfth century
Maharaja's Palace, conjointly called the New Palace, was in-built 1884 on the styles of Major Mant. The palace is known for its Hindu and Jain study works, galvanized by Rajasthani and Gujarati designs. Moreover, Maharaja's Palace conjointly showcases the Rajwada type of architecture.The present maharaja of Kolhapur resides on the first floor of Maharaja's Palace.
Sajja Kothi is one among the structures of a well-known fort (Panhala) of Maharashtra, however, it's a freelance historical identity of its own. Sajja means that balcony; this one-storied construction has several balconies high the immense view across the Sahyadri ranges and thus the name Sajja Kothi. Although the Fort Panhala was designed by Raja Bhoj
Kolhapur is an ancient town in Maharashtra on the banks of the Panchganga River. it's mentioned in several scriptures like Hindu deity Bhagavad-Gita of Hindu deity Bhagwat Puran and alternative Shakta texts. it's conjointly referred to as Karvirpur Kshetra and Mahalakshmi is additionally referred to as Karveerpur Vasini – the one who lives in Karvirpur.
Teen Darwaja virtually translates to 3 Doors. Found in Panhala, the three consecutive gates represent a grand entrance to the Panhala Fort and is that the very place from wherever a people invaded Panhala.The well situated near the teen Darwaza was really used as a good medium to convey messages to the enemy a superb and eloquent suggests that
Jyotiba temple is devoted to Jyotiba, who is believed to be the reincarnation of the trinity of Hindu gods - Brahma, Vishnu, and Mahesh. to succeed in the sanctum of the temple, tourists can have crossed 100 plus stairs. though the temple remains crowded with travelers throughout the year, it's throughout the Chaitra Poornima fair that the temple gets decked out in its best.
The Ambarkhana located within the center of the fort. Were three granaries inbuilt the Bijapuri style of architecture. They enabled Shivaji to resist a 5-month besieging by Siddhi Johar. It consists of 3 buildings known as the Ganga, Yamuna and Saraswati Kothis. The Ganga Kothi, that was the most important, had the capability of 25,000 Khandis (with one Khandi being
Rutu's Holidays Resort, M.NO.511/B/1,Budhwar Peth Tal. Panhala Kolhapur , Maharashtra 416201