Peter Gerard Stuyvesant and his wife Hellen Rutherford Stuyvesant were childless. As Stuyvesant aged, he worried that the distinguished family name would die out. His sister, Judith Stuyvesant Winthrop, had one male great-grandson. His name was Stuyvesant Rutherford.
In the boy, Stuyvesant – who was the great-great grandson of Petrus Stuyvesant, Director-General of the colony of New Netherland – recognized his last chance. When he died in 1847, he left one-third of his imposing estate to the then 4-year old boy; on the condition that his name be changed to Rutherford Stuyvesant.
The Sun later described Rutherford Stuyvesant as "a member of one of New York's old families and a man of considerable fortune." Stuyvesant spent considerable time abroad. Around the time that the Civil War drew to a close at home, he was taken with a startling European concept—the apartment house.
Stuyvesant selected a broad plot on East 18th Street—112 feet wide on the south side of the block between Third Avenue and Irving Place—in 1869. The Sun remarked "it was not far from the centre of one of the best residential sections in the city." The upscale location was intended to attract moneyed tenants—but it also brought problems.
"The house" was completed in 1870—considered the first apartment building in New York. It was designed by Richard Morris Hunt who had produced the 10th Street Studios Building for James Boorman Johnston in 1857. That project provided residential and studio spaces specifically for artists. Rutherford Stuyvesant's new Stuyvesant Apartments would follow that lead, providing four artists' studios along with the 16 spacious apartments.
Hunt designed the five-story brick and stone structure in the Victorian Gothic style. Despite curvaceous French balconies, contrasting brick-and-stone ornamentation, and a steep slate-covered mansard punctured by great, elaborate dormers; the Stuyvesant Apartments presented a brooding presence.
Nevertheless the building was fully rented before the doors opened in 1870. To assure privacy, Stuyvesant and Hunt had built the interior walls especially thick to ensure apartments were sound proof. "But to make it so much of the space that could go into the apartments had to be sacrificed," noted The Sun.
The newspaper said that Stuyvesant, "being a man of wealth…spared no expense in making the house the best that could be turned out at the time." The New York Times later reported "His apartment house had five stories containing suites of four, seven and nine rooms, many being of large size." And according to The Sun "The best apartment in the house could be had for less than $1,800 and the lowest priced suite was $1,200." The highest rent would equate to about $2800 per month in 2015.
Downing Vaux worked in his father's office in 1883. The 26-year old lived nearby in a room at 15th Street and Irving Place; but he ate his meals with his parents in the Stuyvesant Apartments. Downing was looking forward "to his marriage with a young lady to whom he was betrothed, and who is now traveling in Europe," commented The New York Times on May 9, 1883.
A missing person search across the city was initiated. Downing (named for Calvert Vaux's first partner in the United States, Andrew J. Downing, with whom he designed the grounds around the Capitol Building and the Smithsonian Institution) was eventually found. He went on to have a successful career as a landscape architect. Calvert Vaux was still living in the Stuyvesant Apartments in 1889 when his Department of Public Works salary as was $3,000 per year; about $80,000 today.
In the meantime the building filled with other socially-visible residents. Along with Calvert Vaux in 1885 White, Stokes & Allen's Guide included on its "select list of prominent people" Walter Satterlee and Miss M. W. Kemble, also living here. Not only was the Rev. Edward O. Flagg highly esteemed in the Episcopalian church—he served both at fashionable St. Thomas's Church and Grace Church—he was widely known as a lecturer and poet.
In 1889 the four studios were inhabited by E. L. Henry, Mrs. Emily M. Scott, Julia Dillon and Frederick James. All of them exhibited at the National Academy of Design that year. Emily M. Scott would live in the building at least through 1908, and be joined throughout the years by artists like Domingo Mora, F. Louis Mora, Henry Rutgers Marshall, and Myra B. Spafard.
On Sunday night, January 3, 1897 Hal How died at the age of 72 in the Stuyvesant apartment. Doctors blamed his death on "paralysis." Mary How would not survive through the year. On Friday, December 10 she, too, died in the apartment at the age of 72.
Cornelia's maid of honor was her sister, Kathryn Bayard Montgomery. Like most society girls, she involved herself with charitable causes—her favorite being the Stony Wold Sanatorium. Society pages routinely made note of her involvement with events for the facility.
But the country's entry into World War I changed life for all Americans, including the socially prominent. Kathryn turned her focus to war efforts and her brother, George Peabody Montgomery, enlisted in the Army. Not only did Kathryn become part of the ungainly-named American Committee of the British and Allies Comforts and Victims of War Fund; she established its New York office in the apartment.
The war took its toll on romance, as well. On March 6, 1918 The Sun reported that Lt. George Peabody Montgomery of the 305th Field Artillery had become engaged to Katharine A. Crane, of No. 410 Park Avenue. It would necessarily be a short engagement. Two days later the couple was married in Trinity Church.
Following the war, the Stuyvesant Apartments continued to be home to artists, writers and poets. In 1920 artists Thomas Raymond Ball and Thomas Watson Ball were in the building; as was author and playwright George C. Hazelton. Among the plays Hazelton had written were The Yellow Jacket, his most famous; Mistress Nell; and The Raven, based on the lift of Edgar Allen Poe.
Another author and playwright, Rita Weiman, lived here at the same time. She was caused concern in June 1922 when she sailed for Europe and her husband, Edgar S. Leo, entrusted her bulldog puppy to friends on Staten Island. On July 5 the puppy was stolen.
Another literary pair moved in the building in 1923. William Rose Benet, the brother of Stephen Vincent Benet, was a poet who launched the Literary Review of the New York Evening Post with Henry Seidel Canby, Amy Loveman and Christopher Morley in 1920. In 1924 he became poetry critic of the Saturday Review of Literature. Benet's wife, Elinor Wylie, was also a poet.
Tragedy visited the apartment of Metropolitan Opera bass singer William Gustafson on the evening of March 10, 1931. The New York Times described the 42-year old as "an athlete and a 6-footer towering above most of his stage companions." That season he had performed in the Met's productions of Boccaccio, Die Walkuere, Madame Butterfly and as Fafner in Siegfried, among other roles.
Gustafson and his wife had two children. That night the singer received a telephone call just after dinner. According to reports, "it aroused Mrs. Gustafson's jealousy." A quarrel broke out between the pair and according to police "Mrs. Gustafson is said to have upbraided her husband and to have informed him that she would take their two children and leave at once for Boston" where her mother lived.
In her fit of jealousy, she telephoned Grand Central Terminal and reserved two berths. While she was still on the phone, Gustafson removed a .32-calibre pistol from a table drawer. Before his wife could stop him, he fired a bullet into his head.
Mrs. Gustafson ran screaming out of the apartment and the superintendent of the building, Fred Ackley, telephoned for an ambulance. It was, of course, too late. William Gustafson was dead on the floor with the medics arrived.
Almost amazingly, in 1935 Oliver Herford still occupied the apartment with his wife he had taken in the 1880s. It was there that he died on July 5, 1935 at the age of 72. William Dean Howells called him "the Charles Lamb of his day." In a situation reminiscent of Hall J. How and his wife, Mary; Margaret Regan Herford died on December 9 that same year. She, too, was an author and playwright.
Other celebrated names in the Stuyvesant Apartments during the next two decades included Frederick Van Wyck, author and antiquarian. He had lived in his apartment since, at least, 1932. Playwright Clayton Hamilton, writer and editor Mrs. W. C. Roberts, and artist Louise Bourgeois all lived here during the 1940s.
Demolition of Richard Morris Hunt's sound-proof building was a challenge. But by 1960 it had been replaced by a 14-story apartment house, designed by S. J. Kessler & Sons.
Rutherfurd with a "u"! You should know that Tom.
I just went back to my 19th century references--newspaper accounts, etc. The names is spelled "Rutherford" in all of them. I wonder when the change came about.
The picture of the artist's studio and f Replace is that of my great grandfather, Edmund Greacen who founded the Grand Central School of Art in 1922. Thank you for the memory. My grandmother, Nan Greacen, spoke fondly of that apartment.
I lived there as an infant and toddler from 1948 until 1952. We lived in the easternmost artist's studio -- my father Paul Lawler was an artist (known for, among other things, Pam Am travel posters of the '30s). You could see the 3rd Avenue "El" from the studio window.
It doesn't seem widely known that much of the film "Kiss of Death" was filmed there. It was Richard Widmark's breakout film in which he played the pyschopathic hood, Tommy Udo, who pushed a woman in a wheelchair down the first floor stairs.
In its early years the building was derided as "Stuyvesant's Folly." Indoor plumbing and hot water in every apartment!
I was trying to edit, not publish.


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Q: Iterating Through Multiple PHP Variables, Assigning Values To Each For SQL Statement so been searching around and not sure what to look for regarding my question. Basically, I am wanting to do what I have going on in my code already (I have the ingredient variables hardcoded), but instead create a single loop to iterate through and assign all available ingredients to the corresponding variable and update my SQL record accordingly. What's the best way to go about this?
I want to make it more efficient, so I don't end up with empty columns in my SQL DB, instead leave it as null in the database if the ingredient strings are empty in the URL API, which consists of ingredients.php?ingredient[]=apple&ingredient[]=pepper&ingredient[]=.....
$ingredients = $_GET['ingredient'];
    $ingredient1 = $ingredients[0];
    $ingredient2 = $ingredients[1];
    $ingredient3 = $ingredients[2];
    $ingredient4 = $ingredients[3];
    $ingredient5 = $ingredients[4];
    $ingredient6 = $ingredients[5];
    $ingredient7 = $ingredients[6];
    $ingredient8 = $ingredients[7];
    $ingredient9 = $ingredients[8];
    $ingredient10 = $ingredients[9];
    $ingredient11 = $ingredients[10];
    $ingredient12 = $ingredients[11];
    $ingredient13 = $ingredients[12];
    $ingredient14 = $ingredients[13];
    $ingredient15 = $ingredients[14];
$wait_time = $_GET['wait_time'];

$query = "INSERT INTO menu_items (rest_id,item_name,item_genre,item_price,item_descript,ingredient1,ingredient2,ingredient3,ingredient4,ingredient5,ingredient6,ingredient7,ingredient8,ingredient9,ingredient10,ingredient11,ingredient12,ingredient13,ingredient14,ingredient15,wait_time) VALUES (?,?,?,?,?,?,?,?,?,?,?,?,?,?,?,?,?,?,?,?,?)";

$stmt =  $mysqli->prepare($query);
    if ($stmt) {
        $stmt->bind_param('issdssssssssssssssssi',$rest_id,$item_name,$item_genre,$item_price,$item_descript,$ingredient1,$ingredient2,$ingredient3,$ingredient4,$ingredient5,$ingredient6,$ingredient7,$ingredient8,$ingredient9,$ingredient10,$ingredient11,$ingredient12,$ingredient13,$ingredient14,$ingredient15,$wait_time);
        $stmt->execute();
            echo json_encode(array('itemID' => $mysqli->insert_id, 'error' => $mysqli->error));
        $stmt->close();
    } else {
        echo json_encode(array('itemID' => null, 'error' => $mysqli->error));
    }

A: since you have a separate table with ingredients, you can create a simple junction table. Here is an example of design
id |  menuId | ingredientId
----------------------------
 1 |    1    |     2
 2 |    1    |     3

where menuId is a FK to the menu table and ingredientId is a FK to the ingredients db. The above example means that you have a menu with Id, which also contains ingredient 2 and 3. The id column is optional. Feel free to remove it if you don't need it.
Then, set your select box for ingredients that it has the next HTML result
<option value="2">pepper</option>
<option value="3">beef</option>

You can get this by selecting both id and name from the ingredients table, and use the id as value field.
Now, at your PHP, send only the items values which are filled in. (so do not send 15 if 4 got chosen. Just send 4)
$ingredients = $_GET['ingredient'];
// insert menu item (not sure if it's a part of the ajax ...)
$newMenuQuery = "INSERT INTO menu_items (rest_id,item_name,item_genre,item_price,item_descript,wait_time) VALUES (?,?,?,?,?,?)";
// query insert for junction table
$newIngredients = "INSERT INTO menuHasIngredients VALUES (?, ?)";

// prepare statement menu
$stmtMenu = $db->prepare($newMenuQuery);

// insert menu
$stmtMenu->bind_param('issdsi',$rest_id,$item_name,$item_genre,$item_price,$item_descript,$wait_time);
$stmtMenu->execute();
// get inserted id (insert_id gives last id given back
$newId = $db->insert_id;
// close connection
$stmtMenu->close();

// check if success
if($newId) {
    // prepare statement ingredients
    $stmtIngredients = $db->prepare($newIngredients);
    // use junction table
    $count = count($ingredients);
    for($i = 0; $i < $count; $i++) {
        $stmtIngredients->bind_param('ii', $newId, $ingredients[$i]);
        $stmtIngredients->execute();
    }
    // handle return good or error

    // close connection
    $stmtIngredients->close();
}
else {
   // send error back that menu inserting has failed
}
// close connection

please check the bindparam string notation at both queries. Might have missed or entered incorrect character.
However, if you have used PDO, things would be more easier. But you should be fine with the above.

A: According to the documentation, you can not dynamically use bind_param, maybe why I thought MySQLi was obsolete :D
The only solution is to use call_user_func_array():
call_user_func_array(array($stmt, 'bind_param'), array_unshift('issdssssssssssssssssi', $_GET['ingredient']));

I am not pro bind_param, i don't recommend it instead of checking it by yourself, i don't recommend MySQLi (but this is better than mysql_* functions).
But in fact, you should never affect values from an array to a lot of variables.
Moreover, you should always check user input, you can NOT trust any input variables, even administrators (they make mistakes).

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text:
Games Writing
Magazine Features, Fiction and Other Creative Work
jon solmundson dot com
Ocean Drive Magazine (2015 – 2017)
While the Guardian and Midwest Times are heavily news focused, the quarterly Ocean Drive was a place for long form features to prosper. It was targeted mainly at tourists making the coastal road trip, and gives ideas for things to do along the way. As an extension of my environmental reporting I wrote a feature about Geraldton's hidden wildlife (page 1, page 2, page 3). The feature format also allows for less newsy investigations, like this one with Geraldton's ghost hunters (page 1, page 2).
The Snorri Program (2015)
After living in North America I was given the chance to research the history of my immigrant family through a cultural exchange program to Iceland. As part of this program participants were expected to produce photographic and written content which could be used by the Icelandic-Canadian community, and as a way to engage with the cultural exchange.
The english language part of this process was heavily focused on creative output, with poetry and song being published in the Icelandic-Canadian newspaper Lögberg-Heimskringla. Written pieces were also used as marketing material on the Snorri Program website.
Grok Magazine (2012-13)
A student magazine through and through, Grok gave me a chance to experiment with a bit of everything. While breaking news wasn't the order of the day for a quarterly publication the focus on feature writing gave me an unprecedented amount of page space and an abstract theme to work within. Editorial oversight was low, and outrageous topics were encouraged.
While I did a few reports on events here and there, I also started to work up my interest in science writing with a pair of human biology features. The Mystery of the Male Nipple was exactly the kind of gender-questioning exploration the student readers were looking for, and while I cringe a little at the immature writing it shows how early I wanted to explore cutting edge science in my writing. Faster than the Speed of Life took a dive into "Uberman" sleep cycles, which sounded great for students who needed more hours in their day but turned out to just be kind of dangerous.

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O Scale (1/43rd) Unpainted Model Kit Copies of old enamel signs -Street adver... This item is NOT a TOY - Please Read Full Product Description.
O Scale (1/43rd) Unpainted Model Kit Cinema & Theatre adverts - set 2 large This item is NOT a TOY - Please Read Full Product Description.


The cost of TOR equipment has continued to fall. Although the system initially required specialised equipment, as of 2016 many amateur radio operators operate TOR (also known as RTTY) with special software and inexpensive hardware to connect computer sound cards to short-wave radios.
The Teletypewriter Exchange Service (TWX) was developed by the AT&T Corporation in the United States. It originally transmitted at 45.45 baud or approximately 60 words per minute, using five level Baudot code. AT&T began TWX on November 21, 1931. AT&T later developed a second generation of TWX called "four row" that used the 110 baud, using eight level ASCII code. TWX was offered in both "3-row" Baudot and "4-row" ASCII versions up to the late 1970s.
Belgium was represented by synthpop band Telex, with the song '"Euro-Vision", at the 1980 Eurovision Song Contest, which took place on 19 April in The Hague. Telex were the winners of the Belgian national final for the contest, held on 24 February. Synthpop had never previously been tried in a Eurovision final, and the choice of song and group caused much comment, particularly regarding the implied sarcasm directed towards Eurovision in the song's deliberately banal lyrics.
"High and Dry" is a song by the English alternative rock band Radiohead, released as the first single from their second studio album The Bends (1995). It was released as a double A-side with album opener "Planet Telex". "High and Dry" was released in the UK on 5 March 1995.
Hy-Gain (often written "hy-gain") is a manufacturer of antenna and antenna related products for the amateur radio industry. Its best-known products are a line of Yagi antennas and antenna rotators. Hy-Gain used to be owned by Telex Communications, which sold it to MFJ Enterprises in 1999.
ISO 1745:1975 Information processing – Basic mode control procedures for data communication systems is an early ISO standard defining a Telex-oriented communications protocol that used the non-printable ASCII transmission control characters SOH (Start of Heading), STX (Start of Text), ETX (End of Text), EOT (End of Transmission), ENQ (Enquiry), ACK (Acknowledge), DLE (Data Link Escape), NAK (Negative Acknowledge), SYN (Synchronous Idle), and ETB (End of Transmission Block).
It also defines a serial data format, consisting of a start bit, 7 bit ASCII (least significant bit first), a parity bit (even for asynchronous networks, odd for synchronous networks), and a stop bit.
The text of ISO 1745:1975 is not currently freely available, but the corresponding ECMA version is. The protocol it defines seems to now be little used.
Memorex Corp. began as a computer tape producer and expanded to become both a consumer media supplier a major IBM plug compatible peripheral supplier. It was broken up and ceased to exist after 1996 other than as a consumer electronics brand specializing in disk recordable media for CD and DVD drives, flash memory, computer accessories and other electronics.
"Planet Telex" is a song written by Radiohead and is the opening track of their 1995 album The Bends. It was released as a double A-side single with "High and Dry", although receiving far less airplay. Originally known as "Planet Xerox", the title was changed to Telex because Xerox is a trademarked brand name.
"Planet Telex" was the only song written during The Bends' recording session instead of beforehand. It was recorded one night when the band returned to the studio after consuming a great amount of alcohol. Lead singer Thom Yorke did vocals lying down while intoxicated.It is one of the most frequently remixed songs in Radiohead's catalogue. Retrospective reviews have noted that its more atmospheric keyboard-dominated sound, compared to other tracks on The Bends, served as an indication of the band's future sound on albums such as OK Computer and Kid A.
The song is also used by British hip-hop duo Dan le Sac vs Scroobius Pip in their 2008 single "Letter from God to Man"
The opening part of this track was looped and played as background music for the Canadian Broadcasting Corporation's (CBC) TV/radio show Q when it was hosted by Jian Ghomeshi. The music played while the host gave an opening monologue.
Project Cybersyn was a Chilean project from 1971–1973 during the presidency of Salvador Allende aimed at constructing a distributed decision support system to aid in the management of the national economy. The project consisted of four modules: an economic simulator, custom software to check factory performance, an operations room, and a national network of telex machines that were linked to one mainframe computer.Project Cybersyn was based on viable system model theory and a neural network approach to organizational design, and featured innovative technology for its time: it included a network of telex machines (Cybernet) in state-run enterprises that would transmit and receive information with the government in Santiago. Information from the field would be fed into statistical modeling software (Cyberstride) that would monitor production indicators, such as raw material supplies or high rates of worker absenteeism, in "almost" real time, alerting the workers in the first case and, in abnormal situations, if those parameters fell outside acceptable ranges by a very large degree, also the central government. The information would also be input into economic simulation software (CHECO, for CHilean ECOnomic simulator) that the government could use to forecast the possible outcome of economic decisions. Finally, a sophisticated operations room (Opsroom) would provide a space where managers could see relevant economic data, formulate feasible responses to emergencies, and transmit advice and directives to enterprises and factories in alarm situations by using the telex network.
The principal architect of the system was British operations research scientist Stafford Beer, and the system embodied his notions of organisational cybernetics in industrial management. One of its main objectives was to devolve decision-making power within industrial enterprises to their workforce in order to develop self-regulation of factories.
Rachel Kushner (born 1968) is an American writer, known for her novels Telex from Cuba (2008), The Flamethrowers (2013), and The Mars Room (2018). She lives in Los Angeles.
satellite earth stations - 3 Intelsat (with a total of 5 antennas - 3 for Atlantic Ocean and 2 for Indian Ocean), 1 Inmarsat (Atlantic Ocean region), and NA Eutelsat; 21 submarine cables.
A telecommunications network is a collection of terminal nodes in which links are connected so as to enable telecommunication between the terminals. The transmission links connect the nodes together. The nodes use circuit switching, message switching or packet switching to pass the signal through the correct links and nodes to reach the correct destination terminal.
A teleprinter (teletypewriter, Teletype or TTY) is an electromechanical device that can be used to send and receive typed messages through various communications channels, in both point-to-point and point-to-multipoint configurations. Initially they were used in telegraphy, which developed in the late 1830s and 1840s as the first use of electrical engineering. The machines were adapted to provide a user interface to early mainframe computers and minicomputers, sending typed data to the computer and printing the response. Some models could also be used to create punched tape for data storage (either from typed input or from data received from a remote source) and to read back such tape for local printing or transmission.
Teleprinters could use a variety of different communication media. These included a simple pair of wires; dedicated non-switched telephone circuits (leased lines); switched networks that operated similarly to the public telephone network (telex); and radio and microwave links (telex-on-radio, or TOR). A teleprinter attached to a modem could also communicate through standard switched public telephone lines. This latter configuration was often used to connect teleprinters to remote computers, particularly in time-sharing environments.
Teleprinters have largely been replaced by fully electronic computer terminals which typically have a computer monitor instead of a printer (though the term "TTY" is still occasionally used to refer to them, such as in Unix systems). Teleprinters are still widely used in the aviation industry (see AFTN and airline teletype system), and variations called Telecommunications Devices for the Deaf (TDDs) are used by the hearing impaired for typed communications over ordinary telephone lines.
Telex was a Belgian synthpop group formed in 1978 by Marc Moulin, Dan Lacksman and Michel Moers, with the intention of "making something really European, different from rock, without guitar — and the idea was electronic music".
Telex (Vietnamese: Quốc ngữ điện tín, lit. 'national language telex'), is a convention for encoding Vietnamese text in plain ASCII characters. Originally used for transmitting Vietnamese text over telex systems, it is now a popular input method for computers.
Telex Communications, originally Telex Corporation, was a Burnsville, Minnesota-based manufacturer of hearing aids and audio equipment. Founded in 1936 as a maker of hearing aids, it entered the computer peripherals businesses in the 1960s. Telex Communications was structured as a subsidiary of Telex Corp in the 1970s. Telex Corp was acquired by Memorex in 1988, which renamed itself Memorex Telex NV. The hearing aid portion of Telex Corp. was subsequently spun out as in 1989 as Telex Communications, an independent company. Memorex retained Telex Corp's peripherals businesses.
In February 1998 Telex Communications merged with Electro-Voice.
In August 2006, the company was acquired by Germany's Bosch Group for $420 million, becoming a business unit under the name "Bosch Communications Systems".One of its chairmen, Roger Wheeler was murdered by the Winter Hill Gang in 1981 at Southern Hills Country Club in Tulsa, Oklahoma.


text:
e - flux Journal
Issue #71 Factories of Resurrection: Interview with Anton Vidokle
Cosmism
Arseny Zhilyaev
Return to Issue #71
Factories of Resurrection: Interview with Anton Vidokle
Arseny Zhilyaev: Your recent films, which deal with the problematic of Russian cosmism, may come across as strange or even exotic. I know that your initial encounter with this topic was rather unusual. How did you start to work with this subject?
Anton Vidokle: About ten years ago Boris Groys told me about a very strange movement in Russia around the time of the Revolution. His description of it sounded so macabre and vampiric that I thought he had invented it. The story was too good to be real: the resurrection of the dead on spaceships, blood transfusions to suspend aging, and so on. It sounded like a science fiction novel. He said he had published a book on this in Germany, but unfortunately I do not speak German, so I did not pursue it. Then a few years ago I was doing an interview with Ilya Kabakov when he started talking about the same thing. I suddenly realized that it was not just Groys's invention, so looked it up.
What I found was Fedorov's book The Common Task, which was so intensely beautiful that it hooked me immediately. Also useful was The Russian Cosmists: The Esoteric Futurism of Nikolai Fedorov and His Followers, a history by George Young, who has been researching this topic since the late Seventies. I slowly discovered that this is actually a very massive layer of Russian and Soviet culture that I knew nothing about, and which seemed to explain certain inexplicable things about the motives and thoughts of the avant-garde, which has always interested me.
Anton Vidokle, Film still from The Communist Revolution Was Caused By the Sun, 2015. HD video, color, sound. 33:36. Courtesy the artist.
AZ: Can you tell me more about the origins of your film The Communist Revolution Was Caused By the Sun? Where did the idea come from? How did you develop the work? You chose to shoot the film in Karaganda, Kazakhstan, a rather unusual location. The landscape, with its Soviet industrial architecture and Muslim cemeteries, looks very weird even to Russians.
AV: At first, my plan was to make one feature-length film about cosmism. But as I started doing research, then filming and editing material, I realized that a single feature film would be impossible: the topic is just too vast, because there are so many different dimensions to this movement, from art to literature, poetry, theater, film, architecture, design, science and technology, medicine, philosophy, politics, social organization, and so forth.
So I decided to make a series of shorter films, about half an hour each. The first film, This Is Cosmos, dealt with the general ethos of cosmism: a collage of ideas from the movement's diverse protagonists. In a sense it's a kind of an introduction, with subsequent films addressing specific manifestations and ideas in depth.
The second film, The Communist Revolution Was Caused By the Sun, is based on the work and ideas of Alexander Chizhevsky, a biophysicist who was exiled to Karaganda, which was a city populated primarily by political prisoners who were released from camps and prisons, but who were not allowed to return to Moscow or other central cities.
Kazakhstan was the site of a very large network of labor camps known as Karlag, similar to the better-known Gulag. It was also the key site of the Soviet space program, with most of the rockets launching from Baikonur and landing in the steppe surrounding Karaganda. Sort of like the American city of Houston, in Texas, the city was both an enormous prison and one of the first spaceports. Architecturally, it is dominated by vast coal mines, most of which are now shut down, as well as enormous cemeteries which evolved a very particular architectural style that I have not seen elsewhere: they look like miniature cities full of manifold mausoleum structures quoting various Islamic traditional styles, albeit all made from cheap, Soviet-era materials. It's a very unusual place.
AZ: Did you ever come across Chizhevsky's ionizer lamps when you were growing up in Moscow? I seem to remember that even in the Nineties, hospitals and schools always had them installed. These days they are not produced in their classical, Soviet version, though there are many other commercial types of ionizers available. However, I heard that they do not seem to have the therapeutic effect that the device designed by Chizhevsky was supposed to have. The device in the film is probably one of the few authentic ones that exist. What will happen to it? Will it be used for treatment?
Arseny Zhilyaev, Cradle of Humankind, 2015. Installation view in the context of the exhibition "Future Histories," Venice Biennale. Photo: Alex Maguire. Courtesy of the V-a-C Foundation and the artist.
AV: I have some vague memories of something like these ionizer lamps. I was sickly as a child and my mother used to try various remedies to improve my health—for example, mumiyo, which is a black, tar-like substance from Altai, which apparently is petrified honey. You drink it with hot milk. Its tastes disgusting, but it's supposed to cure all sorts of ailments. From that time, I also remember something about the benefits of negatively charged ions of oxygen. But it's a very vague memory: I'm not really sure if I ever actually saw these devices.
Ionizer lamps were very popular in the Seventies and later. Many types have been produced: from things that look like Constructivist sculptures to devices disguised as painted porcelain vases or artificial palm trees, to blend better with the décor of your home. Most of these do not work, because they are not made according to Chizhevsky's original designs. Basically, it's a fairly simple device that creates an electric field, which changes the charge of particles in the air from positive to negative. It also cleans the air. This, in turn, helps the circulation of blood, which is supposed to produce rejuvenating effects in humans and animals. In nature, this happens on mountaintops, by the sea, and in forests. This phenomenon is related to the effect of solar particles on the ionosphere of our planet. Chizhevsky basically created a device that would reproduce this process indoors.
Ionizers are rather common these days. Many Japanese air conditioners include an ionization function, but the type Chizhevsky invented is hard to find. So for the film we had to build one ourselves. By incredible luck or coincidence we actually found the only industrial manufacturer who has worked with these devices, in Karaganda. It's a small experimental factory, which developed original designs and modified them to be used as air purification machines for factory chimneys. Apparently, this works to remove nearly all the carbon from polluted air and to release pure oxygen into the atmosphere.
The owner of the company is hoping that these devices will be adopted by all carbon-producing factories on the planet, because they are very economical and consume hardly any energy. According to him, this would drastically reduce the amount of carbon in the atmosphere and return Earth to the climate conditions that existed before the effects of human activity. As a result, he thinks that the climate will improve and plants that have been extinct for many millennia will return, and Earth will become the Garden of Eden again: people will not need clothing anymore and we will all walk around naked, prehistoric plants and trees will grow plentiful fruit and we will not have to work for food, and so forth. So he is lobbying the office of the president of Kazakhstan, Nazarbayev, to include this device in the World Fair that will take place in the capital city, Astana, next year.
He was excited we were making a film about Chizhevsky and built a giant version of this lamp, which we then installed and tested at a local cemetery. After filming we donated it to the local museum of science and technology. They wanted it as a kind of an alternative monument to Chizhevsky: a functional monument. Hopefully it has been reinstalled there by now.
AZ: In the first two films in this trilogy you use elements associated with psychotherapy. You speak of the effect of color on the human body, and use strategies of hypnosis. This emphasis on the utilitarian aspect of art, simultaneously sincere and critical, tests the limits of our belief in the transformative power of art. At the same time I feel as though you genuinely prefer utility over aesthesis or poesis. Most often, utility in art brings to mind certain socially engaged practices, which refer to politics or relational aesthetics in one way or another. It seems to me that you are trying to approach this on an entirely different level: through a direct, material influence—material determinism. The notion of the Communist Revolution—a complex social phenomenon—as an event that could have been produced by the purely material, physical influence of the sun dovetails with this thinking. Tell me about your relationship to utility in art and to materialism in the context of your projects.
AV: Utility in art is something that probably needs to be described carefully right now: it seems to me that there is a tendency these days to put a lot of emphasis on the "usefulness" of some types of artistic projects. It still remains to be seen if these works are really useful or are merely an expression of insecurity about the elusive nature and value of art, or of a reluctance on the part of some public institutions to fund activities that do not appear to have immediate and direct benefits for their constituencies, that are difficult to understand or appreciate. What I have been observing is that over the past few years, cuts in cultural funding are slowly forcing art organizations and some artists to adopt a certain stance that makes it easier to rationalize or justify their activities to government officials, sponsors, patrons, and politicians, and utility or usefulness are very instrumental terms here. While I do not believe that art should or could be completely autonomous from society, I do find this tendency simplistic.
With my films I want to come a little bit closer to the ethos behind cosmism, which is basically the desire to contribute directly and literally to the impossibly difficult project of immortality and resurrection for all, by any means possible, including art. It's interesting that many cosmists saw medicine as a field where the project of immortality, in the sense of the prolongation of life, could be most immediately deployed. Its not an accident that someone like Chizhevsky, who was really a physicist and not a physician, did most of his research in areas that could immediately improve human health, cure ailments, and in this way postpone death. Alexander Bogdanov was also a doctor—a psychiatrist, by education—and one of his most interesting projects was research into blood transfusion, through which he hoped to slow down aging and delay death.
So when I was editing the first film, it occurred to me that I did not want to make a mere documentary about the history of cosmism, and that in order to transmit its ideas more accurately, I needed to somehow express its central desire, which is simply to prolong life. Essentially, film is light, color, and sound, and all of these means can produce a therapeutic effect on the human organism. We all know about light therapy for children and people who live in places lacking in sunlight. Color therapy has been practiced since the time of the ancient Egyptians. Sound also appears to have various medical uses. So basically the structural elements that make up a film can also be used for preventative or other types of treatment.
In the first film in the series, I used red screens because of a red light treatment system developed by NASA to speed up the healing of skin wounds. They discovered this accidentally, while looking for a way to heal cuts and abrasions in conditions of zero gravity, where the body heals very slowly. They found that red LED light, of a certain frequency, accelerates healing. At the same time, video projectors these days often use an LED light source, and the usage of HD LED screens is becoming more affordable and common each year. So I hope that in the near future, when this film is screened on an LED screen at some museum, it can be calibrated to also produce prophylactic and therapeutic effect on the viewer. Even if you don't like the film, it can have a positive effect on your body, on your cells and organs.
Similarly, the second film uses elements of clinical hypnosis that are commonly employed to break addictions. I try to use a hypnosis script at the beginning and the end of the film to break the addiction to mortality—the death drive. In the next film I plan to use a sound technique that has been used clinically to alter memory, which appears to be one of the reasons for drug and alcohol addictions and other self-destructive behavior. This is not to say that the main value of my work is medical. That would be charlatanism. But I use these techniques to express the desire implicit in cosmism to rejuvenate, cure, heal, improve health, and delay death for as long as possible and by any means possible.
Detail of Arseny Zhilyaev's Cradle of Humankind (2015). Photo: Anton Kisilev. Courtesy of the V-a-C Foundation and the artist.
AZ: In your films there are many references to works by members of the Moscow conceptual school. In one way or another Ilya Kabakov, Boris Groys, and Andrei Monastyrski with Collective Actions Group are all present in these films. Can you tell me more about your relationship to this tradition? Do you think of yourself as belonging to it artistically?
AV: Well, this project was largely started through a conversation with Kabakov. However, Ilya has a very negative relationship to cosmism; for him it's as "evil" as communism, which he despises. Basically, his take on it is that it reduces humanity to a speck in the vastness of the cosmos, and in this way human existence becomes very marginal. He illustrates this idea very literally in some of his paintings, where tiny human figures form a kind of a thin border around the edges of the canvas, while the center is filled with a giant white void. I love these paintings, although I suspect that he misreads cosmism entirely. It seems to me that Ilya is very much a humanist, and while humanism never totally leaves the project of cosmism, it is a very hybrid version of humanism, which probably makes Ilya uncomfortable.
Andrei Monastyrski is a very different figure. When I started working on this project, I asked one of the researchers who was helping me gather material, a young artist named Anastasia Ryabova, to ask Andrei about Fedorov and cosmism. At the time, he said that it had nothing to do with his work. But just a couple of months ago, I spoke with him again and this time around he told me that he was actually reading Fedorov in the late Seventies, and that some of the ideas did influence him.
I refer to both Ilya's and Andrei's work in the first film, and will actually restage a version of one of Monastyrski's actions from 1979 in the next film in the series, with his consent. I admire these artists, but I really do not think that I belong to the Moscow conceptual tradition in any way. Most of it is rather hermetic and based on post-structuralism, the analysis of language and systems, and so forth. I think I come from something else artistically, although I am not exactly sure what that is.
This view of the Chizhevsky Museum, Kaluga, Russia displays a series of the scientist's ionizing lamps, including a camouflaged palm tree version in the upper-left corner. Photo: Arseny Zhilyaev.
AZ: You may have heard that during the past couple of years there has been quite a public discussion of cosmism in Russia. This started when the entire editorial team of an independent political web journal, Russian Planet, was fired, having been accused rather facetiously of being "weak cosmists." Subsequently, the label "weak cosmist" went viral, and is now usually used as a derogatory term. I have heard numerous sarcastic remarks about cosmism, mainly from the liberal intelligensia, regarding the Soviet space program as well as the philosophy of Nikolai Fedorov and his followers. For them, cosmism is synonymous with obscurantism and charlatanism. On the other hand, there is clearly a renewed interest in the cosmos as evidenced both by statements from the Russian government and by Russian culture at large. For example, the most successful Russian cartoon of the last few years, which has been nominated for an Oscar this year, is called We Can't Live Without Cosmos. I guess this is not only a Russian phenomenon, as the success of movies like Interstellar suggests. I am curious about how your projects on the cosmos and Russian cosmism are perceived in a more international context.
AV: I have not encountered anything particularly dismissive or hostile yet. Just perhaps a bit of disbelief. Like: this story is too strange to be true.
Immortality and resurrection are very ancient topics and have always provoked controversy. It seems that it's very ingrained in almost all cultures that the desire for immortality is a sin, a transgression against nature, god, the essence of humanity, and so forth. So people are often ambivalent about this. And the cosmos is also something that most people view with a bit of fear. Just think of all the popular movies about something horrible coming from outer space to destroy Earth and humanity: all sorts of meteorites, monsters, aliens, and so forth. Furthermore, there is a certain degree of suspicion of things that are Russian. In Europe and America, where I spend most of my time, leftists dislike Russia because they think it ruined the possibility of communism, while people on the Right suspect that all things Russian are still secretly Communist. There isn't really all that much sympathy from either ideological camp, and the current political situation in the world does not help this.
But I do feel that many people respond to the kind of poetry and wild imaginative power that permeates Fedorov's ideas and cosmism in general. So there is quite a bit of curiosity.
AZ: Your films about cosmism make me think of Situationist experiments and the French New Wave. Firstly, this is because of the collage-like structure of the content of your films, and the emphasis you put on research. It's also because of your rejection of mimetic acting, your use of estrangement in the Brechtian sense and the direct address to the audience. And finally, it's because of the way you combine nearly abstract images (for example, landscapes shot from a great height) with a rather complex narrative about theoretical and scientific questions. On the other hand, having watched Russian television in the Eighties and Nineties, as well as Soviet science fiction films, I can't avoid mentioning works by Pavel Klushantsev in the context of your films. Klushantsev was one of the first directors to make films about the exploration of space. Many people think that his film Path to the Stars influenced Stanley Kubrick and George Lucas. Another one of his films, The Stormy Planet, went on to become an international hit under different titles—The Planet of Prehistoric Women and Voyage to the Prehistoric Planet—and without mention of its original author. Apparently, Klushantsev was the first director to use special effects in cinema, and some of the techniques he invented are still used in contemporary cinema, in a more technologically advanced way. Unfortunately, as was often the case in the USSR, his international success backfired and he was banned from making feature films; he was only allowed to make educational documentaries. But he went on to make more than one hundred film essays about the cosmos and various scientific problems, which, despite the ban, still feel more artistic than educational or documentary. I feel there is a similarity between your films and these documentary films by Klushantsev. Can you tell me more about who you feel affinity with in terms of the history of cinema? Who did you learn from?
AV: I think the films I make accidentally fall into the genre that used to be called "scientific-popular films," something unique to the Soviet film industry, which does not quite have a parallel in American or European cinema. These films were a bit different from the sci-fi genre, which was really embraced and highly developed in the USSR. Similar to what you say about Klushantsev, these scientific/educational films for mass audiences were a kind of a refuge for certain filmmakers who could not get permission or support to develop their ideas within the feature film studios, like Mosfilm or Lenfilm, but were able to work at special studios set up for the production of this type of educational material. Perhaps because this was perceived as a lesser genre, it was not subject to the same kind of scrutiny from the censors as feature films. So certain filmmakers, like Sobolev for example, were able to make wildly experimental, expressionistic essay films, which would have never been allowed otherwise.
To be honest, I actually do not really remember seeing them when I was growing up in the Soviet Union, and I only discovered them recently because certain colleagues said that they have similarities with my work. So I looked them up. None of them are really "great" films in the sense of the history of cinema, and they do not compare to Pasolini or Godard or Tarkovsky, but they are remarkably imaginative and really interesting to watch. What is particularly interesting for me is that these films do not fall within the documentary or journalistic genre, while at the same time they are not fiction. They are a little bit of both. A lot of times, these films address a theoretical or philosophical topic that is difficult to reduce to the kind of story one needs for a narrative film, yet they are narrative and communicate very interesting, complex, abstract ideas. Usually, they are not feature length, but short—twenty to thirty minutes. In this sense, the format of these films is actually very suitable for the kind of films that work well within art exhibitions.
AZ: One last question about the future. If I understand correctly, you are planning to shoot the next film in this series in Moscow, and it will be about museums. Is that true?
AV: Yes, the next film will be shot in Moscow, at the Museum of the Revolution, the Museum of Zoology, and the modern collection of the Tretyakov Gallery. The film will be called Immortality and Resurrection For All, and it is based on passages from Fedorov's essay about museums. For Fedorov, the museum is a key institution in society, unique insofar as it's the only place that does not produce progress (which for him implies an erasure of the past), but rather cares for the past. He felt that museums needed to be radicalized such that they would not merely collect and preserve artifacts and images, but also preserve and recover life itself—resurrect the past. In this sense, museums should become factories of resurrection.
Interviews & Conversations, Film
Cosmism, Russia
Arseny Zhilyaev is an artist who lives and works in Moscow. With his recent projects, the artist casts a revisionist lens on the heritage of Soviet museology and the meaning of the museum in Russian cosmism. Zhilyaev is the editor of the book Avant-Garde Museology (e-flux with V-a-c Press and University of Minnesota Press, 2015).
Anton Vidokle is an artist and editor of e-flux journal.
© 2016 e-flux and the author


text:
I'm a Rebel was het tweede studioalbum van de Duitse metalband Accept.

Dit album deed het veel beter dan het zwakke tot matige debuutalbum, wat vooral te danken was aan een veel hogere productiekwaliteit. Het album bezorgde de groep ook de nationale doorbraak. Het is tevens het eerste album met drummer Stefan Kaufmann.

Nummers
 I'm a Rebel (3:58)
 Save Us (4:35)
 No Time to Lose (4:37)
 Thunder and Lightning (4:03)
 China Lady (3:58)
 I Wanna Be No Hero (4:02)
 The King (4:11)
 Do It (4:11)

Bezetting
 Udo Dirkschneider - zang
 Wolf Hoffmann - gitaar
 Jörg Fischer - gitaar
 Peter Baltes - basgitaar
 Stefan Kaufmann - drums

Muziekalbum van Accept
Muziekalbum uit 1980

redpajama_set_name: RedPajamaWikipedia


text:
Labor plans to create a national strategy on animal welfare. Shutterstock
Can Labor's animal welfare plan improve Australia's lacklustre record?
May 1, 2019 4.17pm EDT • Updated May 1, 2019 9.30pm EDT
Paul McGreevy, University of Sydney, Clive Phillips, The University of Queensland
Paul McGreevy
Paul McGreevy is a Friend of The Conversation.
Professor of Animal Behaviour and Animal Welfare Science, University of Sydney
Clive Phillips
Professor of Animal Welfare, Centre for Animal Welfare and Ethics, The University of Queensland
Paul McGreevy consults on a voluntary basis to the RSPCA Australia and is a lifetime member of the RSPCA NSW. He receives funding from the Australian Research Council and is a board member of Vets Against Live Exports
Clive Phillips consults to the Federal Department of Agriculture and Water Resources on live export through the Heat Stress Risk Assessment Committee, he also chairs the Queensland government's Animal Welfare Advisory Board. He is on the Scientific Panel for Voiceless. He consults to the Department of Agriculture and Food, WA, on live export and has received in kind support from several live export companies. He receives funding from the Open Philanthropy Organisation and has received funding previously from Humane Society International, Humane Slaughter Association, Livecorp, and Meat and Livestock Australia for work on livestock export. He is affiliated with the University of Queensland.
University of Sydney and University of Queensland provide funding as members of The Conversation AU.
Labor has released a six-point plan intended to re-establish national leadership on animal welfare.
This plan would reverse the direction set by the Abbot government, which withdrew funding from the Australian Animal Welfare Strategy (AAWS) and disbanded the entire Animal Welfare Unit within the Department of Agriculture. These moves made animal welfare chiefly the responsibility of the states and territories.
Read more: Can live animal export ever be humane?
Since then, the Coalition government has slightly redeemed itself, largely focusing on heat stress in live export, proposing new regulations around temperature. This renewed attention to livestock welfare could have far-reaching consequences if rolled out to other sectors of animal husbandry, such as land transport.
Labor has argued creating an independent office overseeing livestock welfare and a nationally consistent welfare strategy can improve Australia's poor record on animal well-being.
A brand new office
Labor's plan would create an independent office overseeing livestock welfare and pursue a nationally consistent welfare strategy. The first point of the plan commits Labor to establishing an independent Inspector-General of Animal Welfare (IGAW) and Live Animal Exports. Labor has pledged A$1 million a year to establish the IGAW as a statutory position operating independently within the federal Department of Agriculture.
The IGAW would report directly to the agriculture minister and advise on the protection of animals in all Commonwealth-regulated activities (which notably excludes racing and companion animals) with a focus on live exports and welfare standards and guidelines.
The Inspector-General would also work with the states and territories to establish an independent Office of Animal Welfare to oversee animal protection and welfare nationally.
Labor plans to create an independent office that focuses on live exports. Trevor Collens/AAP
The independence of this office is particularly significant in light of the recent government-funded Futureye report on Australia's shifting mindset on farm animal welfare, the Moss Review and the Productivity Commission report, all of which questioned whether the government has a conflict of interest when both supporting the agricultural industry and promoting good animal welfare standards.
The return of cooperation
Secondly, it has pledged to re-establish state and territory cooperation on animal welfare matters (as was the case under the former Labor government). This system saw the Commonwealth, states and territories cooperating on animal welfare matters to grant them a consistent national approach.
Thirdly, Labor will collaborate with state and territory governments, industry and animal welfare groups to "update and renew" (and hopefully fund) the Australian Animal Welfare Strategy, which has been in mothballs since September 2013.
Read more: Live sheep exporters get longer 'grace' period for sub-standard ships
The strategy facilitates round-table discussions among industry, governments, professional associations, service providers, researchers and welfare organisations, all volunteering their time to assess welfare problems and possible solutions.
Those of us who have contributed to AAWS meetings in the past generally agree that face-to-face collaborations with such a broad range of stakeholders were invaluable. The Animal Welfare League Australia has described the the AAWS as worth "tens of millions [to Australia], given the huge amount of pro bono and in-kind support the working groups provided."
Transparency and change in live exports
Fourthly, Labor has pledged to conduct a review of the Exporter Supply Chain Assurance System (ESCAS). Introduced in May 2011, in response to an ABC Four Corners program that exposed horrific scenes of cruelty in Indonesian abattoirs, the ESCAS is designed to protect animal welfare from the farm gate to slaughter.
Covert footage of animal cruelty in Indonesian abattoirs grabbed headlines in 2011. Animals Australia/AAP
The need for close scrutiny of such assurance schemes was highlighted last month when hundreds of Australian and New Zealand cattle died after being exported to Sri Lanka. This has led RSPCA Australia to repeat previous calls to extend ESCAS protections to breeding and dairy cattle.
On the other hand, it is unclear why there is any need to review ESCAS top to bottom as another point in Labor's plan is to immediately ban the northern summer live sheep trade, and phase out live sheep trade entirely within five years.
Given 58% of Australians surveyed on the ABC's Vote Compass wanted to see an end to live export, Labor may be accused of not going far enough in planning an end to all live exports and failing to support growth in on-shore meat processing, particularly in the north of Australia.
Regular farm reports
Finally, Labour has committed to more transparency and accountability in farm animal welfare matters by ensuring the Minister for Agriculture provides quarterly reports to the Parliament on:
new and emerging markets
the numbers of livestock exported
allegations of breaches of animal welfare standards and investigations undertaken
any actions taken for breaches of Australia's animal welfare standards.
These would feed into the emerging calls for industries that use animals to maintain a social license to do so.
Read more: Why horse-racing in Australia needs a social licence to operate
Catching-up to do
Labor's claim their plan will "confirm Australia as a leader in our region for the care and protection of animals" is a lofty goal – especially given how poorly Australia ranks in World Animal Protection's international listing of animal welfare performance.
World Animal Protection scrutinises government regulation against animal cruelty. Trevor Collens/AAP
Under this scheme, countries are scored on, among other attributes, recognition of animal sentience, the importance of animal protection as a social value within the country and government regulation against cruelty. On a scale from A to G, Australia currently has a C rating, on a par with China.
Currently, the costs of Australia's dropping the ball on animal welfare issues are difficult to pin down. Monitoring animal welfare science and meeting community expectations, as proposed in the Labor plan, may prove critical for the next government, regardless of its leaning.
The cost of picking up the ball as animal welfare matures as a political issue may make Labor's welcome, but modest, pledges look like great value for money.
Read more: Stop the sheep trade in the northern summer, veterinarians say
This article was corrected on May 2, 2019. The Coalition government's proposed regulations on temperature stress have not yet been implemented.
Global synchronization of food production negatively impacts food security. Shutterstock
Synchronizing food production can have disastrous effects
Pasha 16: Small-scale farming and agroecology
Young people view agriculture more positively than often assumed. Shutterstock
What young Zambians have to say about making farming more attractive
In sub-Saharan Africa, upgrading water infrastructure requires substantial investment and a sustainable model. Shutterstock
Mozambique water project: insights into supply and use in a peri-urban area


We all know people who are heroes. They are the average, normal people in our daily lives who do the extraordinary. Perhaps they hold three jobs to feed their family, or perhaps they hold only one, but carry on their interaction with the family during normal waking hours after work, and then spend hours every night when everyone else is asleep studying in order to eventually be able to move beyond where they currently are professionally. Perhaps they are host to a terrifying illness in their bodies and yet they march on, with a smile on their faces. Perhaps they feel the mortgage wolf's fangs every month as they juggle accounts in order to be able to make ends meet, but they do not allow the children to see any of their dread. These people are heroes.
These people are heroes because they do these things and don't complain. They simply walk into each day and continue until it is over no matter what. You can find much more about heroes - and how you may also be a hero - in my article: Recognizing the Hero in Your Life. Campbell wrote that a hero is someone who has given his or her life to something bigger than oneself and that makes us think of Gandhi, Mother Teresa, Mandela, Martin Luther King, and people of that nature. Yes, they are truly heroes. But so are these others. The unsung heroes of our everyday lives. Long may they live!
If you are such a hero, give yourself a hug. And if you know of any such heroes in your life, give them a hug or phone them or send them an encouraging email saying that you know how much they do.
For much more about recognizing your true self, about making choices that move you forward in your chosen direction and having meaning and purpose in your life, that enhances your inner well-being, have a look at my book Rewiring the Soul: Finding the Possible Self , available at Amazon as a paperback or e-book for Kindle and all Kindle applications.


text:
Francisco Tusquets (nacido en Barcelona, 1841) fue un escritor español.

Biografía
Residente en París, redactó allí las novelas La negra (¿1890?), La hembra (historia de un hombre) (1893) y El padre nuestro (historia mundana) (1895), publicadas en España y traducidas prontamente al francés. En El padre nuestro hace una paladina defensa de Pequeñeces del padre Luis Coloma y se identifica con el naturalismo católico de este. Apela a la fuerza espiritual como único factor que puede neutralizar las fuerzas de las pasiones fatales que minan al individuo y coartan su libertad moral. Escribió además teatro en compañía de Ricardo Moly de Baños y una colección de cuentos, La Serafina. (Relatos transcendentales) (1911).

Obras
 La negra (¿1890?),
 El padre nuestro: historia mundana Barcelona: Henrich y Cia, 1895 (Imprenta de Henrich)
 La hembra : (historia de un hombre) Barcelona: Henrich y cie editores, 1893
 Con Ricardo Moly de Baños Ciento por uno: episodio conyugal en un acto y en verso Madrid, 1875 (Barcelona: Imp. de Ramírez y Cª)
 Con Ricardo Moly de Baños, Un rayo de sol: episodio conyugal en un acto Madrid, 1873 (Barcelona: Imprenta de Narciso Ramírez y Compañía)
 La Serafina. (Relatos transcendentales) Madrid: Lib. de F. Beltrán, 1911.

Referencias

Escritores de España del siglo XIX
Escritores de España del siglo XX
Escritores de Cataluña
Escritores en español del siglo XIX
Tusquets Francisco
Nacidos en Barcelona


text:
Captain Newman, M.D.
Posted on July 1, 2016 August 11, 2020 by thane62
CAPTAIN NEWMAN, M.D. did moderately well in 1963, landing 23rd of the years earners with an $11,400,000 gross. Critics were divided, knocking Gregory Peck for being stiff, praising Bobby Darin's work (he drew an Oscar nomination for Best Supporting Actor).
Newman is head of the psychiatric ward at a stateside Army Air Corps base in 1944, treating shell-shocked, traumatized fliers before either sending them back to the fight or committing them to mental hospitals. It's an odd drama-comedy that works in fits and starts, the humor feeble and forced, the drama often affecting. Peck simply doesn't have a light touch, and he's too restrained here in the heavier moments as well. Too many scenes have you wish one of the other actors would grab him and shake some emotion loose.*
Second-billed Tony Curtis, as a wiseass assistant, is too old for this shtick at 38. Angie Dickinson does well enough in an underwritten part, but the films fireworks belong to Darin and Eddie Albert, with a quick pass from Robert Duvall (who'd just had a similar haunted-man supporting role in Peck's To Kill A Mockingbird). Darin's key scene is a startling, agonizing release, going into throes of anguish reliving a fateful combat mission under a shot of sodium pentothol. Albert plays an officer who's split right down the middle into madness, and he just eats it alive–he should have been on the list of nominees with Darin. Those who who associate him chiefly with the goofiness of Green Acres are in for a revelation.**
Pros behind the principals: James Gregory, Bethel Leslie, Jane Withers, Dick Sargent, Larry Storch, Robert F. Simon, Paul Carr, Vito Scotti and Gregory Walcott. All told, it's a watchable but lumpy bridge between John Huston's unnerving (and suppressed) 1946 documentary Let There Be Light and 1970s MASH. Lacking the flair of Huston or Altman, this is rather flatly directed by David Miller, with that kind of fakey, penny-pinching look to the production that Universal managed to impart even when it had big stars on the marquee. Running overlong at 127 minutes and fizzling out at the climax, aside from Darin's nod, it did earn two other Oscar nominations, one for Sound (for some reason) and another for Richard L. Breen's script (shared with Phoebe & Henry Ephron, parents of Nora).
* Who doesn't have a soft spot for Gregory Peck? Nonetheless, this stolid performance in an uneven script marked the departure line between a run of big hits (On The Beach, The Guns Of Navarone, To Kill A Mockingbird and How The West Was Won) and a ten-year slew of thuds (Behold A Pale Horse, Mirage, Arabesque, The Stalking Moon, MacKennas Gold, The Chairman, Marooned, I Walk The Line, Shoot Out and Billy Two Hats) before the Devil at last gave him reprieve through The Omen.
** Eddie Albert had a good handle on stressed military men, not just from his superb job in Attack! and solid cameo in The Longest Day. On November 20, 1943, Lt. Albert rescued 70 Marines from the 1943 lagoon carnage of Tarawa, making twenty trips into the blood tide with his landing craft, earning a Bronze Star for valor. Trapeze performer, blacklist survivor, Oscar nominee (Roman Holiday and The Heartbreak Kid ), social activist, humanitarian, environmentalist, Edward Albert Heimberger was a genuine American hero. He lived to 99.
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At Red Hat, our dedicated Product Security team analyzes threats and vulnerabilities against all our products and provides relevant advice and updates through the Red Hat Customer Portal. Customers can rely on this expertise to help them quickly address the issues that can cause high risks and avoid wasting time or effort on those that don't.
Red Hat delivers certified, signed, supported versions of the open source solutions that enable cost-effective innovation for the enterprise. This is the Red Hat value chain.
This report explores the state of security risk for Red HatⓇ products for calendar year 2016. We look at key metrics, specific vulnerabilities, and the most common ways that security issues affected users of Red Hat products.
Looking only at issues affecting base Red Hat Enterprise LinuxⓇ releases, we released 38 Critical security advisories addressing 50 Critical vulnerabilities. Of those issues, 100% had fixes the same or next day after the issue was public.
During that same timeframe, across the whole Red Hat portfolio, 76% of Critical issues had updates to address them the same or next day after the issue was public with 98% addressed within a week of the issue being public.
A catchy name or a flashy headline for a vulnerability doesn't tell much about its risk. The Red Hat Product Security Team helps customers determine a vulnerability's actual impact. Most 2016 issues that mattered were not branded.
Across all Red Hat products, and for all issue severities, we fixed more than 1,300 vulnerabilities1 by releasing more than 600 security advisories in 2016. Critical2 vulnerabilities pose the most risk to an organization. Most Critical vulnerabilities occur in browser or browser components, so Red Hat Enterprise Linux server installations will generally be affected by far fewer critical vulnerabilities. One way customers can reduce risk when using our modular products is to make sure they install the right variant and review the package set to remove packages they don't need.
Red Hat products are based on open source software. Some Red Hat products contain several thousand individual packages, each of which is based on separate, third-party software from upstream projects.
Red Hat engineers play a part in many upstream components, but handling and managing vulnerabilities across thousands of third-party components is a significant task. Red Hat has a dedicated Product Security team that monitors issues affecting Red Hat products and works closely with upstream projects.
For more than 15 years, Red Hat Product Security has been a recognized leader in fixing security flaws across the Linux stack. In 2016, we investigated more than 2,600 vulnerabilities that potentially affected parts of our products, leading to fixes for 1,346 vulnerabilities. That's a 30% increase over 2015, when the team investigated 2,000.
Vulnerabilities known to Red Hat in advance of being made public are known as "under embargo." Unlike companies shipping proprietary software, Red Hat is not in sole control of the date each flaw is made public. This is a good thing, as it leads to much shorter times between when a flaw is first reported and when it becomes public. Shorter embargo periods make flaws much less valuable to attackers. They know a flaw in open source is likely to get fixed quickly, shortening their window of opportunity to exploit it.
For 2016, across all products, we knew about 394 (29%) of the vulnerabilities we addressed before making them public, down slightly from 32% in 2015. We expect this figure to vary from year to year. Across all products and vulnerabilities of all severities known to us in advance, the median embargo was seven days. This is much lower than 2015, when the median embargo was 13 days.
Figure 2: Red Hat Product Security monitors multiple sources to identify vulnerabilities. The value of your Red Hat subscription at work.


Training conducted in accordance with AS2550.1 & 10, the National Standard: Persons Performing High Risk Work and the WA Act and Regulations as required by Worksafe WA.
This course provides trainees with the theory, knowledge and practical aspects of the licence required for competency in operation of Elevating Work Platforms – Boom type greater than 11 metres.
Knowledge and practical assessment will be conducted to achieve overall Certificate of Competency to be issued by Worksafe Western Australia.
Safety glasses, work boots and appropriate clothing is required for the duration of the course. Safety helmets and safety harnesses can be provided.
It is recommended that participants gain some experience operating prior to assessment. If you believe you have any special needs, (numeracy, literacy, reading, language, mental health & physical disabilities) alternate arrangements can be negotiated with NWTIS to accommodate. Please let us know either in advance or directly to the trainer so we can help assist you.


text:
Шевче́нкове —  село в Україні, в Броварському районі Київської області. Населення становить 174 особи. Село входить в Згурівську селищну громаду.

Розташоване за 12 км від центру громади смт Згурівка та за 110 км від столиці м. Києва. Площа населеного пункту - 1,489 кв. км. Дворів - 120.

Історія

Хутір Шевченківський заснований у 1921 році на землях Василя Петровича Кочубея де знаходились виробничі і жилі приміщення економії та заводу елітних овець. Назву хутір отримав на честь Тараса Григоровича Шевченка,який залишив помітний слід в культурно-мистецькій історії краю. Він гостював у Турівському маєтку Маркевича, зупинявся ненадовго у Згурівці на прохання брата Варфоломія дізнатися про умови роботи управителем Згурівської економії. Тарас Григорович особисто знав Петра Аркадійовича Кочубея і виконував йому художні замовлення. Після заснування хутір належав до Згурівської сільської ради Турівського р-ну Прилуцького округу з 1923 до 1930 року. У 1930 році уже село Шевченкове у якому 79 дворів і 395 жителів. У 1931 р. почав існувати колгосп ім. Шевченка.

З 1986 по 2020 рік село входило в Згурівський район.

З 2020 року входить в Згурівську селищну громаду Броварського району.

Примітки

Села Київської області
Населені пункти, названі на честь Тараса Шевченка


However, elevated blood levels of HCG may also be a symptom of several types of cancerincluding placental, ovarian and testicular cancer 5. Many of the people who bill themselves as experts also deal in selling the HCG itself. During the weight loss phase, you're only allowed to eat two meals per day — usually lunch and dinner. Still, I was positively hooked on all the stories and photographs of women experiencing this transformative weight loss in such a short time, who reported feeling like a million bucks.
Does hcg really work ? Is it a scam ? How much weight can you lose ? Lose weight fast ?
After all, Safe diet pills that work top had a form-fitting costume to wear for my next show! Our discussions would promptly get erased. I became distinctly aware of when I was ovulating, because the cramping was worse than during my period. What is the hCG diet?
I decided that I was out for good. I watched as people would check in daily, with their fantastic weigh-in results. These studies compared the effects of HCG and placebo injections given to individuals on a calorie-restricted diet.
HCG, or human chorionic gonadotropin, is a hormone present at high levels in early pregnancy.
The HCG hormone administered via injections. The oral drops, though, I was comfortable with. I took how fast will i lose weight on hcg plunge A friend told me of a local woman who lost 50 pounds using HCG drops, who just happened to be a distributor as well.
HCG, or human chorionic gonadotropin, is a hormone present at high levels in early pregnancy. Even if the hCG hormone or the hCG diet did work to suppress appetite, true hCG requires a doctor and a prescription to dispense. It's now been two years since my last round.
He injected patients with HCG daily for days, and how is lose weight fast them on an extremely regimented, ultra low calorie diet. Mineral water, coffee and tea are allowed as well. Not so, according how fast will i lose weight on hcg Dr. However, no evidence supports these claims. Turns out, not much. This kind of duplicity, along with photo retouching, misleading labeling, and other trickery is rampant in the diet supplement industry and has been for a long time.
I felt weight loss caldwell idaho little less hungry using injectables, but still not as good as all the devotees of the plan had promised. Simeons and his original protocol. Your body may also think it's starving and reduce the number of calories it burns in order to conserve energy It is generally divided into three phases: Summary Some people claim that the HCG diet helps prevent muscle loss and metabolic slowdown while severely restricting calories.
By one week in, my hair started falling out in clumps. Did it sound too good to be true? I was a year-in at this point, and had grown the boldness of a person who was starting to realize that something was amiss.
Start taking HCG and eat plenty of high-fat, high-calorie foods for two days. Some devotees convinced me the problem had been slight deviations I had made flavored coffee! You are ominously warned that if you cheat or deviate in any way at all, you must start over again, as your weight will not "reset.
Summary HCG is a hormone produced in early pregnancy. Gradually increase food intake but avoid sugar and starch for three weeks. I haven't thrown out the old size 8s just yet, but I know now that the price of rushing to fit into them can be way too high. I was told I must not be holding the drops in my mouth long enough, that the brand of coffee I was drinking had hidden additives that were interfering with the HCG, that I must be cheating or not measuring my food how fast will i lose weight on hcg.
I felt like a drug addict. The hCG diet will how fast will i lose weight on hcg help you lose weight, but there's a catch. The hCG diet only adds to the weight-loss confusion out there. Simeon believed that we have conditioned our body to have a "set" weight, and that HCG, with proper diet, would retrain your body to achieve a new set weight. Likewise, fastin diet pills plenty of high-protein foods and taking an occasional break from your diet can boost metabolism 1415 Summary HCG is a hormone produced in large amounts in the first three months of pregnancy.
I noticed other weird body changes I realized a couple rounds into the HCG diet that my periods had gotten much heavier and longer. There are no clinical trials or rigorous studies that support the hCG diet plan. Summary The HCG diet is usually divided into three phases.
Coffee and tea are okay. What's more, these hCG diet injections, supplements, pills, and drops are not how fast will how fast will i lose weight on hcg lose weight on hcg "homeopathic. But marriage, a pregnancy, and a move from NYC to the car-dependent suburbs saw the weight creep back on, and I was dismayed a few years how fast will i lose weight on hcg to find that my size 14s were getting harder to zip.
I watched as many of the devotees posted happy pictures of their loading meals, stuffing their faces at the Cheesecake Factory or McDonalds, while others championed a "clean load" with fatty meats and avocado.
BTW, that's called the anti-diet, and it's the healthiest diet you could ever be on. I studied the "original protocol" Dr. The most astonishing "fact" to me was the claim that safe diet pills that work top a low calorie diet wouldn't cause feelings of starvation.
His diet consisted of two main components: While people seeking minimal weight loss may spend three weeks on the middle phase, those seeking significant weight loss may be advised to follow the diet for six weeks — and even repeat all fast weight loss in legs of the cycle several times.
I have learned that when my daughter tells me that my tummy is the best pillow, I should savor the moments that she wants to lie there.
In fact, this hormone is used as m&s weight loss marker in home pregnancy tests 3. I was advised to drink laxative tea.
Never how fast will i lose weight on hcg, I hovered somewhere in the realm of cute and chubby. It made me terrified to quit, though I wasn't getting the results I had initially expected, and I often felt like crap.
However, there is no scientific evidence to support these claims 9 I went to her house to purchase my first batch. I combed these groups for months. The HCG diet is a very low-fatvery low-calorie diet. There just isn't any science-backed evidence that says the hCG diet works, nor that hCG should be used as a weight-loss tool.
There are also a number of side effects associated with the HCG diet, such as: My muscles were incredibly weakand I had no energy to do the workouts I used to love, how can i quickly lose weight in a week in between rounds.
I was also shocked to learn that how do i lose weight in my stomach and thighs fast women were not taking the HCG orally, but injecting themselves with it, which seemed insane to me. Only injections can raise blood levels of HCG, not homeopathic products sold online.
Proponents of the HCG diet claim that it boosts metabolism and helps you lose large amounts of fat — all without feeling hungry.
HCG is a protein-based hormone produced during pregnancy that tells a woman's body that it's pregnant. It's not as exciting, but your body will thank you—and if you do lose weight the traditional way, you're much more likely to keep the weight off for good.
He would have been mortified to see what I was doing, especially since he always insists I look great just the way I am. The group had thousands of members, with numerous success stories with before and after photos that showed stunning very easy diet plans in short periods of time.
The devotees admit it takes a lot of life planning to make sure no weddings, parties, or vacations fall in the span of your round, as there is zero room for cheats. The joy didn't last long, however. However, elevated blood levels of HCG may also be a symptom of several types of cancerincluding placental, ovarian and testicular cancer 5.
I was depressed, as I was not only eating healthy, but keeping my calories pretty low. You may also get how fast will i lose weight on hcg list of approved foods to select from in specific amounts.
The devotees would dismiss these "haters" as people who had failed at following the diet, and remind everyone that you needed to how fast will i lose weight on hcg blind trust in Dr. The calories a day will make anyone lose weight — including some muscle… the loss of muscle is bad news — muscle is what keeps metabolisms high.
Add the pressure of being a theatre performer, constantly stressing about how I look on stage, and worried that the costume designers would tell me that the dress they'd planned for me wasn't going to fit. After the first three months of pregnancy, blood levels of HCG decrease. My first "round" was going to be using sublingual "Omni" drops and following the original protocol — the calorie diet for 21 days, followed by 3 weeks of no carbs.
I didn't feel healthy, and had no libido.
Simeonswho ran an elite how is lose weight fast spa in Europe. Common sense had been replaced in the how fast will i lose weight on hcg to fit into my old size 8s. They would advise that if you quit before resetting your weight, you were destined to gain even more, as you will have negatively confused your body's metabolism.
I have realized that if by how fast will i lose weight on hcg healthy and exercising, I still remain a size 14, that's okay. Nicknamed the hCG calorie diet for a reason, following the rules set forth in Pounds and Inches: I then began the calorie HCG diet.
Accepting what the science says I reached out to a doctor of nutrition, to get an idea about what stomach fat loss medicine I had been doing to my body all those months.
The realization that I would have been in far better shape had I just eaten clean and hit the gym hard in those 18 months made me feel like a sucker. In fact, the hCG hormone is more often how fast will i lose weight on hcg used to treat fertility issues, as the hormone is produced by the placenta during pregnancy.
I managed to get off the eight pounds I had regained, plus another five, bringing me to 22 pounds down. HCG has also been used to treat fertility issues in both men and women 4. This is especially common in diets that severely restrict calorie intake, such as the HCG diet.
While it has been used for different purposes in the medical community for decades, it has recently become the centerpiece of the hCG fad diet how fast will i lose weight on hcg uses hCG drops, injections, or pills to suppress appetite and cause weight loss.


A study is made of the natural convection in an annular porous layer having an isothermal inner boundary and its outer boundary subjected to a thermal stratification arbitrarily oriented with respect to gravity. For such conditions, no symmetry can be expected for the flow and temperature fields with respect to the vertical diameter and the whole circular region must be considered. Two-dimensional steady-state solutions are sought by perturbation and numerical approaches. Results obtained indicate that the circulating flow around the annulus attains its maximum strength when the stratification is horizontal (heating from the side). This circulating flow is responsible for an important heat exchange between the porous layer and its external surroundings. The flow field is also characterized by the presence of two convective cells near the inner boundary, giving rise to flow reversal on this surface. When the maximum temperature on the outer boundary is at the bottom of the cavity, the convective motion becomes potentially unstable; for a Rayleigh number below 80, there exists a steady-state solution symmetrical with respect to both vertical and horizontal axes; for a Rayleigh number above 80, an unsteady periodic situation develops with the circulating flow alternating its direction around the annulus.
Robillard LL, Nguyen TH, Vasseur PP. Free Convection in a Two-Dimensional Porous Loop. ASME. J. Heat Transfer. 1986;108(2):277-283. doi:10.1115/1.3246916.


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Interview: Braydon Bringhurst on His Tribute to 'RAD' - BMX Racing, Pole Vaulting & More
by Sarah Moore
Braydon Bringhurst just came out with a tribute to the 1986 RAD film that stars Bill Allen as Cru Jones, a young BMX racer. We caught up with Bringhurst to find out where the idea came from, learn more about his BMX racing past, and find out more about how he progressed so quickly as a mountain biker.
Do you remember the first time you watched Rad?
The first time?! Haha I was around 7-8 years old. Right around the time I started getting into BMX racing.
How many times do you think you've watched it?
If I had to guess I would watch the movie weekly or every other week when growing up. Me and my friends would rent it and watch it over and over. Now, I would say I watch it a couple times a year. The epic montages with the tricks, the music, the trials and triumph are inspiring every time.
Where did the idea to do a Rad tribute come from?
I had been thinking about it for years. I didn't necessarily have to do the riding in it but I wanted to do something eventually. I saw the BMX bandits tribute Redbull put out a couple of years ago and just had it in my mind that I wanted to do one for Rad one day. After my first couple videos for Canyon I proved to them that I could make content that people enjoyed and so I pitched the idea and they were on board.
What was the hardest part about filming this tribute video?
I sometimes get caught up in things needing to be exactly how I trained and imagined them but this film caused me to switch things up. It rained hard for 3 ½ days of our 5 day shoot in Bentonville. I had a big 8 footish step up planned, a cool flip to power wheelie, and some really technical climbs that were all pushed because of the weather and conditions of the dirt. Most of this was filmed on grass, asphalt, or concrete because of the slimy trails. Pretty wild they have paved flow trails in Bentonville. The one extended climbing shot was the most slippery rocks I have ever tried to climb. No traction makes climbing hard.
Did you learn anything new for the video?
I did actually. I watched the movie over and over again taking notes on specific tricks they did. I learned the old school one-footer turn-bar, most of the flatland tricks, and then the off axis 360 for the intro. I also learned a back flip to power wheelie but I was unable with the circumstances. I'll probably never do those tricks again but it was fun to learn that stuff for this edit.
Tell me about the replica bike that Canyon made you. Where did the idea come for that?
I couldn't believe the bike they made for me. I just said I would like to make a tribute and was stoked on the red alloy spectral they had on their website. They said something like, "If we're going to do this, let's go full in and make this a custom bike." Devin Riley at Canyon linked me up with Christian Hellman over in Germany and he made the thing come to reality. I thought it was pretty insane that a company would go that far to support some crazy idea just for one of their local US ambassadors. Definitely undeserving, but I think it really set the bar that they believed in me to make something special.
How long did it take to create this video? Who is the team behind it?
I proposed this video in January of 2020. I went out and scouted Bentonville in March. I trained so that I could do all the jibs and tricks. We shot it in October. Spent till mid December editing and finalizing.
As far as the production team shooting the video it was my wife Nicole. She is amazing and is able to do both photo and video.
Scott Hart, who is a legend and also the brand manager at Canyon, told me that the movie Rad is something he is an avid fan of and historian on. When I proposed the project in January he had just started working there. I asked him if he would be interested in helping and he said it would be a honor and a highlight in his career to be involved. I knew he was legit coming from Decline magazine and Red Bull so I asked him if he would want to co-direct it with me, he was game and I was stoked! He went to work getting Bill Allen there and put a lot of the extra details together to make it next level. I focused on the riding, sequence of shots, editing, and Scott helped guide and direct the details that made the video extra special. Taylor Sage also helped a lot. He came up with the shirt idea for Bill Allen to wear and was always a resource for me, which was huge.
Do you look back on your BMX racing days fondly?
I raced BMX from when I was around 8 years old to when I was 18. I definitely look back with appreciation for the sport and all I learned. The bike handling skills was an obvious part but the self belief and confidence I gained doing it as a kid was even bigger.
What do you think your 18 year old BMX racing self would think of this tribute video?
I probably would watch it and think…. "Holy smokes. That was cool, I don't really care about the rider but I wish I could get Cru's autograph!" hahah
How rad is Bill Allen aka Cru Jones? What is he up to?
Bill was extremely cool. He was so stoked on the efforts made to tribute this film. Before we shot the footage we went to breakfast and chatted for a couple hours. He said how after the Rad film he really went through a lot. He lost one of his best friends in an accident and went through some serious lows. He is so happy when people show excitement and appreciation for him. Knowing the impact that the spirit of Cru has had on many people really gives him fire and drive to keep going. It was so awesome to launch up there and get his autograph. We had to catch it on the first attempt because that is when it would be most sincere and authentic. I enjoy watching that part when I land and pull out the sharpie for him to sign my jersey. It was real and it was sincere when he was smiling and signing that jersey. Very cool experience and I am glad it was captured. I know how much this project means to me but I think it really means a lot to him.
He is at a point in life where he just wants to be involved with people who are passionate. He said he's done with corporate hollywood and wants to go after his passions. He wrote a book called "My Rad Career" and then engages with a loyal fanbase on facebook called "Rad Army." Check it out!
Do you still ride BMX these days?
I don't unfortunately. I broke my wrist back in 2017 and the bolt holding it together makes the rigid fork not even possible. I'll sometimes go to the bmx track on my trail bike and look like a complete doofus but it's still fun.
What do you think the most important things are that BMX taught you that you bring over to mountain biking?
Probably the bike handling skills. Manualing. Precision. Jumping. I broke 5 aluminum BMX frames in one year when I was learning all this stuff. Lol
Casting a wider net, what do you think mountain biking can learn from BMX?
BMX is about having fun and making more happen with less. Mountain biking doesn't need to have the gnarliest jumps or features…. finding ways to have fun right in your driveway or local, more mundane trails is something I think mountain bikers can learn. Flat corners, nothing buffed out, rocks, loose gravel, and ruts are all an awesome part of trail riding.
Can you tell us why so many BMX riders still don't wear helmets?
Um…. no. I don't get it. Maybe to look cool!? I do not understand.
You've only been riding mountain bikes for four years, how do you think you progressed so quickly?
I think doing track and field in college I learned how to break down different aspects of my event. I spent 5 years developing myself to be the best athlete and pole vaulter that I could be. I competed against myself and even worked with a mental strength coach. First, I learned that in order to do your best work you have to love what you do. Second, you have to learn from your strengths and what you can do better. What you focus on grows. I committed to a "Can do" mindset with no tolerance for negativity.
I didn't have a love for pole vaulting but I loved what I was learning about high performance. Once I got my first full suspension bike after graduation I developed a real love for riding again. I broke down different aspects of the trail ride. Cornering, climbing, jumping, pumping, line choice… the list goes on. Basically what I do is pick out areas I want to improve and then work on them when I am out riding each week. I just really enjoy the whole process.
You have a degree in filmmaking, what skills did you learn in college that you bring to your videos?
Yeah! A couple of the best things I learned was that it's more important to develop the story and content before worrying purely about capturing cinematic shots. Some of the most beautiful content I have seen was shot on an old camcorder. And also, I always remind myself that cliches kill. I try to keep the vibe and energy new and show stuff that hasn't been done before… even if it's simple.
You say that the spirit of Cru Jones has inspired you most of your life, what do you mean by that?
Cru was an underdog and outsider and ends up transcending his circumstances to be successful. Most of my life I have considered myself an underdog or outsider and I have used that as motivation throughout my life.
Cru rode his bike and pursued his dream because he felt like it was one of the best talents he had. I sometimes feel like riding my bike is one of the best talents I have.
The spirit of Cru Jones is about getting out and living your best life. Overcoming hardship and setbacks and doing the best you can… and then pulling a 360 across the finish line. Haha It's so sick.
Thank you so much for the interview Pinkbike!
Interviews Canyon Braydon Bringhurst
TheBrickOriginal (Jan 13, 2021 at 4:28)
Loved the film and I think he is correct that mtb could do with learning a bit from BMX. More about having fun with what you've got than obsession over the bikes.
z-man (Jan 14, 2021 at 14:38)
That's what makes MTB so good though. You make it what you want it to be. If you like the timings and adjusting aspect more, all the power to you. I love MTB because it's not like BMX and is a much more versatile sport. I'd hate to see it become anything less than it already is.
PritzelTimo (Jan 13, 2021 at 2:57)
rad ! loved that movie. roots.
BiNARYBiKE (Jan 13, 2021 at 2:59)
Every time we went to the video rental store I would run straight for the well-worn copy of Rad, begging my parents to let me get it while my sisters complained that we always watch it. Seems Rad captured the stoke of riding bikes for a whole generation of us, and if you're reading this right now, that stoke never went away! Cool project and fun edit. Seems like a "Rad" group of people involved. Nice work guys.
cru-jones (Jan 13, 2021 at 6:14)
Cru Jones approves.
thustlewhumber (Jan 13, 2021 at 8:57)
The movie was remastered in 4k last year, and is on Amazon right now. Funny I thought all the tricks were crazy back then, and now that I ride I REALLY know how crazy they are. Thanks for making such a great tribute to it.
rcsooter (Jan 13, 2021 at 14:29)
My friend found out my daughter pole vaults and sent him a video of her to get some pointers....Braydon responded within minutes and was super positive and supportive....This was before I new he was such a rad rider...he's even cooler now. Great edit!
sb666 (Jan 13, 2021 at 7:02)
RAD rider. RAD ambassador for our sport!
Mr-Gilsch (Jan 14, 2021 at 7:23)
ZweiRAD.
matmattmatthew (Jan 13, 2021 at 8:06)
Knowing that he was a Pole Vaulter makes so much sense now. As a former Collegiate Decathlete, being able to make your body contort to clear a bar 17' in the air makes foot plants and 360's seem easy.
watchtower (Jan 13, 2021 at 13:21)
He used to be a pole vaulter until the Pole broke, machined to thin I believe.
A-BOMB-67 (Jan 13, 2021 at 8:09)
holy nostalgia here. every move is like lightning. such a sick and inspiring edit to bring cru's energy and mentality to our own backyards. my only question now is which spectral to get. in 2021 i will be rad.
Skiskateshane (Jan 13, 2021 at 9:35)
Always enjoy what Braydon puts out. So good.
hamncheez (Jan 13, 2021 at 6:37)
hey I pole vaulted 15 feet in high school! Does that mean I can be a good rider too?
cpobanz (Jan 13, 2021 at 9:11)
My favorite movie, and currently one of my favorite riders.
Wasatchattack-Wren (Jan 13, 2021 at 11:58)
Braydon is the man! Nice work, and congratulations on pulling off such Rad edit!
the-burd (Jan 13, 2021 at 14:01)
I have hung out with a Braydon a few times and I have to say he truly is rad!
oldmanhucking (Jan 13, 2021 at 9:41)
Great edit and great dude. Way to go Braydon!
joedave (Jan 13, 2021 at 12:08)
Braydon's got it! Such a Rad dude. Haha
Varmintpro (Jan 13, 2021 at 20:19)
A true class act! Couldn't ask for a better ambassador for the Sport!!
trkymoore (Jan 14, 2021 at 3:33)
Rear tyre grab! Not seen that before - very cool.
watchtower (Jan 13, 2021 at 3:01)
jacobxpaul (Jan 14, 2021 at 0:58)
So rad! Lol! Anyways we are lucky to have Braydon is Boise! Good human!