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The Kerouac Legacy
1960s, Criticism, Seymour Krim, The Arts, The Literary Life
By Seymour Krim
From Shake it For the World, Smartass
I met Kerouac only twice, both for brief periods of not more than 15 minutes, and communication between us was abrupt and unreal. What I wrote about the man and writer was the result of feeling, experience and legwork, not friendship. The hippies-Yippies have replaced the beats today, but they are the logical and expanded second wave; when their history is written it will all point back unerringly to the homemade anarchistic breakthrough of the Beat Generation—the dropouts, communes, drugs, beards, hair, handcrafts, meditation, etc. I owe my own turn-on as a writer who had been coldshouldered by my quasi-academic peers of the Cerebral Generation to the revivifying power of the beats and I can testify in court if need be to the actuality of the beat messianic excitement. Behind it, in my judgment, was the principal catalytic figure of Kerouac; today Ginsberg and Burroughs get a much bigger and better press and are highly respected by the university intellectuals whereas Kerouac is regarded very fishily as a simpleminded athletic type run amok. It might even be that his final value will have been primarily inspirational: but if this is so, it was extensive beyond current awareness and I am enormously glad that I sweated my way through this overlong and slightly obsessive piece, even incurring Kerouac's oblique anger (via letter) at the less flattering questions I raised about the future of his work.
Both of us were in a touchy situation because my article served as the introduction to Desolation Angels (1965) when his reputation in New York was charred and uncertain after mere vogue-followers had deserted for yet a new substitute penis in the search for thrills. Jan Cremer, post-beat, pre-Provo, cockeyed kid and terrifyingly cool manipulator of his own destiny, stands astride the two very separate possibilities of pop celebrity and uniquely independent writer-painter. He would like to be a fantasy figure, "a world idol" as he puts it looking you right in the eye without a smile, a rough combination of Bobby Kennedy and Yevtushenko and Cassius Clay (as he told me in 1966—see how quickly his images have become ghosts!); his idea of selfdivinity can drive you crazy; and yet I admire both his unusual poise and his courage but have no certainty about which direction he will take. My hunch is that he will be determined by circumstances and therefore become an avantgarde showbusiness symptom of his time rather than the disturbing prophet I truly feel in him. It is almost an arrow pointing the way our times have changed that my own involvements, and those of our shattered American world, have developed in the last decade from Jack Kerouac (who returned to womblike Lowell, Massachusetts, and shucked off every relationship with his own Beat Generation) to Eldridge Cleaver and Abbie Hoffman. Jan Cremer fascinates me because he made a unique individual play out of what would later become hippie materials, cashing in on the style of the young culture outlaws who are now a new world-class, but Cleaver and Hoffman have each in their own way joined the Youth Revolution to socialist-anarchist motors that have taken them into the crumbling center of America. They are leaders—a powerful word on the New Left these days—and young men and women stand behind their words with action. Beats, Provos, Black Panthers, Yippies: what strange names for literature but then what else is literature right now but the eruption of the outraged spirit in language? Dig it while I give and take with these men who project to me more than themselves, who summon up a new quality of experience that grips me and causes me to work out on the most basic level of my own life.
All of us with nerve have played God on occasion, but when was the last time you created a generation? Two weeks ago maybe? Or instead did you just rush to your psychiatrist and plead with him to cool you down because you were scared of thinking such fantastic-sick-delusory-taboo-grandiose thoughts? The latter seems more reasonable if less glamorous; I've chickened out the same way.
But Jack Kerouac singlehandedly created the Beat Generation. Although Allen Ginsberg, Gregory Corso and William Burroughs brought their separate and cumulative "madness" to the yeasty phenomenon of the BG (and you will find them in Desolation Angels under the names of Irwin Garden, Raphael Urso and Bull Hubbard), it was Kerouac who was the Unifying Principle by virtue of a unique combination of elements. A little boy tucked into the frame of a resourceful and independent man, a scholarly Christian-mystic-Buddhist who dug Charlie Parker and Miles Davis and ice-cream, a sentimental, apolitical American smalltowner who nevertheless meditated on the universe itself like Thoreau before him, Jack Kerouac threw a loop over an area of experience that had previously been disunited and gave it meaning and continuity. The significant thing about Kerouac's creation of the Beat Generation, what made it valid and spontaneous enough to leave a lasting wrinkle on history and memorialize his name, was that there was nothing calculated or phony about the triumph of his style. He and his friends in the mid to late 50s, before and while the beat flame was at its hottest, were merely living harder and more extensively than any of their articulate American counterparts. One of the minor characters in Angels, an Asian Studies teacher out on the Coast, says at an outdoor party that the core of Buddhism is simply "knowing as many different people as you can," and certainly this distinguished Kerouac and his boys with a bang.
They zoomed around this and other countries (San Francisco, Mexico City, Tangier, Paris, London, back to New York, out to Denver, yeah!) with a speed, spirit and fierce enthusiasm "to dig everything" that ridiculed the self-protective ploys engaged in by the majority of young American writers at the time. This is not to say that Kerouac, Ginsberg, Corso and Burroughs didn't have individual equals and perhaps even superiors among their homegrown literary brothers; men like Salinger, Robert Lowell, Mailer, Joseph Heller, James Jones, Styron, Baldwin, etc., were beholden to no one in their ambition and thrust of individual points of view, but that is exactly what each remained—individual. The beats, on the other hand, and Jack Kerouac in particular, evolved a community among themselves that included and respected individual rocketry but nevertheless tried to orchestrate it with the needs of a group; the group or the gang, like society in miniature, was at least as important as its most glittering stars—in fact you might say it was a constellation of stars who swung in the same orbit and gave mutual light—and this differentiated the beat invasion of our literature from the work of unrelated individuals conducting solo flights that had little in common.
As an Outsider, then, French Canadian, Catholic, but with the features and build of an all-American prototype growing up in a solid New England manufacturing town, much of Kerouac's early life seems to have gone into fantasy and daydreams which he acted out.
It can be argued that the practice of art is a crucial individual effort reserved for adults and that the beats brought a streetgang cop-fear and incestuousness into their magazines, poetry and prose that barred the door against reality and turned craft into an orgy of self-justification. As time recedes from the high point of the Beat Generation spree, roughly 1957–1961, such a perspectivelike approach seems fairly sane and reasonable; from our present distance much of the beat racket and messianic activity can look like a psychotics' picnic spiked with bombersized dexies. Now that the BG has broken up—and it has become dispersed less than 10 years after its truly spontaneous eruption, with its members for the most part going their separate existential ways—a lot of the dizzy excitement of the earlier period (recorded in Desolation Angels and in most of Kerouac's novels since On the Road) can be seen as exaggerated, hysterical, foolish and held together with a postadolescent red ribbon that will cause some of its early apostles to giggle with embarrassment as the rugged road of age and arthritis overtakes them.
But there was much more to the beats, and to Kerouac himself, than a list of excesses, "worship of primitivism" (a sniffy phrase introduced by the critic Norman Podhoretz), crazy lurches from North Beach to the Village, a go-go-go jazzedup movie that when viewed with moral self-righteousness can seem like a cute little benzedream of anarchy come true. This more or less cliched picture, especially when contrasted with the "Dare I eat a peach?" self-consciousness practiced in both the universities and the influential big-little magazines like the Partisan and Kenyon Reviews, was however a real part of a beat insurrection; they were in revolt against a prevailing cerebral-formalist temper that had shut them out of literary existence, as it had hundreds of other young writers in the America of the late '40s and '50s, and the ton of experience and imagery that had been suppressed by the critical policemen of post-Eliot U.S. letters came to the surface like a toilet explosion. The first joy of the beat writers when they made their assault was to prance on the tits of the forbidden, shout the "antirational"—what a dreary amount of rational Thou Shalt Nots had been forced down their brains like castor oil—exult in the antimetrical, rejoice in the incantatory, act out every bastard shape and form that testified to an Imagination which had been imprisoned by graduate-school wardens who laid down the laws for A Significant Mid-Twentieth-Century American Literature.
One should therefore first regard the insane playfulness, deliberate infantilism, nutty haikus, naked stripteases, free-form chants and literary war dances of the beats as a tremendous lift of conscience, a much-needed release from an authoritarian inhibiting-and-punishing intellectual climate that had succeeded in intimidating honest American writing. But the writer's need to blurt his soul is ultimately the most determined of all and will only tolerate interference to a moderate point; when the critic-teachers presume to become lawgivers they ultimately lose their power by trying to take away the manhood (or womanhood) of others. By reason of personality, a large and open mind, a deceptively obsessive literary background coupled with the romantic American good looks of a movie swinger, Jack Kerouac became the image and catalyst of this Freedom Movement and set in motion a genuinely new style that pierced to the motorcycle seat of his contemporaries' feelings because it expressed mutual experience that had been hushed up or considered improper for literature. The birth of a style is always a fascinating occasion because it represents a radical shift in outlook and values; even if time proves that Kerouac's style is too slight to withstand the successive grandslams of fashion that lie in wait, and if he should go down in the record books as primarily a pep pill rather than an accomplished master of his own experience (and we will examine these alternatives as we dig deeper into his work), it is shortsighted of anyone concerned with our time in America to minimize what Kerouac churned into light and put on flying wheels.
This last image is not inappropriate to his America and ours, inasmuch as he mythicized coast-to-coast restlessness in a zooming car in On the Road (1957) at the same time that he took our customary prose by its tail and whipped it as close to pure action as our jazzmen and painters were doing with their artforms. But Kerouac did even more than this: now in 1965, almost a decade after Road, we can see that he was probably the first important American novelist (along with Salinger) to create a true pop art as well. The roots of any innovator nourish themselves at deep, primary sources, and if we give a concentrated look at Kerouac's, the nature of his formative experience and the scope of his concern might surprise a number of prejudiced minds and awaken them to tardy recognition.
John (Jack) Kerouac, as every reader-participant of his work knows, was born in Lowell, Massachusetts, in 1922, a very much American kid but with a difference: he was of French-Canadian descent and the family (his father was a printer, interestingly enough) embraced the particularly parochial brand of Catholicism which observers have noted about that northern outpost of the Church. As far as WASP America went, Kerouac was almost as much of an Outsider as the radical-Jewish-homosexual Allen Ginsberg, the urchin-reform-school-Italian Gregory Corso and the junkie-homosexual-disgrace-of-a-good-family William Burroughs that he was later to team up with.
From his earliest years, apparently—and laced all through Kerouac's work—one sees an extreme tenderness toward animals, children, growing things, a kind of contemporary St. Francisism which occasionally becomes annoyingly gushy to dryer tastes; the sympathetic reader credits Kerouac with having genuine "saintly" forbearance as a human but also winces because of the religious-calendar prettiness in a work like Visions of Gerard (1963), the sincere and perhaps overly idealized elegy to a frail older brother who died during the writer's childhood. If Kerouac's feeling occasionally floods into a River of Tears it is nevertheless always present, buckets of it, and one is finally astonished by the enormous responsiveness of the man to seemingly everything that has ever happened to him—literally from birth to a minute ago.
I can remember the word being passed around in New York in the late 40s that "another Thomas Wolfe, a roaring boy named Kerouac, ever hear of him?" was loose on the scene.
As an Outsider, then, French Canadian, Catholic ("I am a Canuck, I could not speak English till I was 5 or 6, at 16 I spoke with a halting accent and was a big blue baby in school though varsity basketball later and if not for that no one would have noticed I could cope in any way with the world and would have been put in the madhouse for some kind of inadequacy…"), but with the features and build of an all-American prototype growing up in a solid New England manufacturing town, much of Kerouac's early life seems to have gone into fantasy and daydreams which he acted out. ("At the age of 11 I wrote whole little novels in nickel notebooks, also magazines in imitation of Liberty Magazine and kept extensive horse racing newspapers going.") He invented complicated games for himself, using the Outsider's solitude to create a world—many worlds, actually—modeled on the "real" one but extending it far beyond the dull-normal capacities of the other Lowell boys his own age. Games, daydreams, dreams themselves—his Book of Dreams (1961) is unique in our generation's written expression—fantasies and imaginative speculations are rife throughout all of Kerouac's grownup works; and the references all hearken back to his Lowell boyhood, to the characteristically American small-city details (Lowell had a population of 100,000 or less during Kerouac's childhood), and to what we can unblushingly call the American Idea, which the young Jack cultivated as only a yearning and physically vigorous dreamer can.
That is, as a Stranger, a first-generation American who couldn't speak the tongue until he was in knee pants, the history and raw beauty of the U.S. legend was more crucially important to his imagination than it was to the comparatively well-adjusted runnynoses who took their cokes and movies for granted and fatly basked in the taken-for-granted American customs and consumer goods that young Kerouac made into interior theatricals. It is impossible to forget that behind the 43-year-old Kerouac of today lies a wild total involvement in this country's folkways, history, small talk, visual delights, music and literature—especially the latter; Twain, Emily Dickinson, Melville, Sherwood Anderson, Whitman, Emerson, Hemingway, Saroyan, Thomas Wolfe, they were all gobbled up or at least tasted by him before his teens were over (along with a biography of Jack London that made him want to be an "adventurer"); he identified with his newfound literary fathers and grandfathers and apparently read omnivorously. As you'll see, this kind of immersion in the literature of his kinsmen—plunged into with the grateful passion that only the children of immigrants understand—was a necessity before he broke loose stylistically; he had to have sure knowledge and control of his medium after a long apprenticeship in order to chuck so much extraneous tradition in the basket when he finally found his own voice and risked its total rhythm and sound.
Around Kerouac's 17th year, we find him attending the somewhat posh Horace Mann School in upper Manhattan—the family had now moved to the Greater New York area with the onset of his father's fatal illness—and racking up a brilliant 92 point average. (His brightness by any standard confounds the careless "anti-intellectual" charges leveled at him by earnest Ethical Culture types.) Then in 1940 he entered Columbia University on a scholarship. Kerouac, so far as l know, never actually played varsity football for Columbia although he was on the squad until he broke his leg, and had been a flashy Gary Grayson-type halfback while at Horace Mann. He also never finished college, for World War II exploded after he had been there approximately two years; but during this period he did meet two important buddies and influences, William Burroughs and Allen Ginsberg, and it is interesting to keep in mind that the titles of both works which brought these men to public attention, Naked Lunch and Howl respectively, were coined by Kerouac, the verbal sorcerer. Burroughs was a spare, elegant, fiercely authentic junkie and occasional dilettante dabbler in crime, such as a holdup of a Turkish bath just for an André Gidean laugh, who earned his role of guru by having lived coolly and defiantly on the margin of society after being born into its social center—St. Louis's prominent Burroughs Adding Machine family and Harvard '36. His intelligence was acute, penetrating, impersonal and sweepingly bizarre. Young Ginsberg was a "visionary" oddball from Paterson, New Jersey—"I never thought he'd live to grow up," said hometowner William Carlos Williams about him—the son of a minor poet and a suffering crazy mother whom he has written beautifully about in Kaddish (1962), a radical, a Blakean, a dreamy smiling Jewish Fauvist, and one can picture the three of them bouncing ideas off each other during apocalyptic Morningside Heights nights just after America got sucked into the war.
…Jack Kerouac's French Canadian-Catholic-Yankee arc was widened to compassionately include non-participating acceptance of the homosexuality of his literary pals, association with interesting criminals and prostitutes, drugs, Manhattan freakishness of every kind, including those crazy forays with Ginsberg, Herbert Huncke (ex-con. drugman and recent writer), Burroughs and Neal Cassady (Dean Moriarty of On the Road) into the hustling life of Times Square. An artist of originality, such as Kerouac, is compounded of many layers, his capacity for experience is always widening, his instinct for friends and lovers is based on what he can learn as well as brute personal need; one feels that Kerouac was expanding in all directions at this time, reading Blake, Rimbaud, Dostoevsky, Joyce, Baudelaire, Céline and the Buddhists now in addition to his groovy American word-slingers, beginning to write poetry (perhaps with Ginsberg's enthusiastic encouragement), painting, becoming in other words the many-sided phenomenon he would have to become in order to escape easy definition and inspire the deep affection of such a variety of heterogeneous people as he eventually did.
When WWII finally did come, Kerouac signed on as a merchant seaman and sailed to arctic Greenland on the ill-fated S.S. Dorchester, now famous for the four chaplains who gave up their lives during a U-boat sinking near Iceland, but he had been called to Navy boot camp just before that fatal 1943 sailing. After a comparatively short duty in the Navy, Kerouac was discharged as "schizoid personality," a primitive mental description not very different from the way a number of his fellow writers were bracketed by a service unable to handle their double and triple vision. Now he was to be on his own (except for his boyishly obsessive devotion to his mother, as his patient readers know only too well) for the rest of the race. After the Navy, the remainder of the war was spent as a merchant seaman sailing the North Atlantic again; then, in rough order, came a year under the G.I. Bill at Manhattan's New School for Social Research, the completion of his first novel, hoboing and hitchhiking across the United States and Mexico, and the growing attachment for San Francisco as the first port of call after he came down from his perch on top of the Washington State mountains as a fire-watcher.
I can remember the word being passed around in New York in the late '40s that "another Thomas Wolfe, a roaring boy named Kerouac, ever hear of him?" was loose on the scene (and I can also remember the shaft of jealousy that shot through me upon hearing this). But the significant thing was that in addition to hard, I-won't-be-stopped writing during these crucial years—and this extra gland was to make Kerouac stand out from all the other first novelists clogging the city—he had an uncanny gift for winging right along toward new experience he was the first vocal member of a postwar breed, the Beat Transcontinental American, for in New York he numbered among his friends (and happily shook up) such writers as Burroughs, Ginsberg, Corso, John Clellon Holmes (who has a coolly memorable portrait of him in Go) as well as jazz musicians, painters, hippies, while on the Coast he had equally strong currents going with Neal Cassady—"the discovery of a style of my own based on spontaneous get-with-it came after reading the marvelous free narrative letters of Neal Cassady"—and the poets Philip Whalen, Gary Snyder, Peter Orlovsky (Simon Darlovsky in this book and Ginsberg's loyal buddy), Philip Lamantia, Robert Duncan, John Montgomery and others.
Absorbing the life for his work by scatting around the country, Kerouac was also feeding scores of people by his presence enthusiastically daring the poets to wail the painters to paint, little magazines to get started (Big Table, 1960–1961, was named by him for its brief but significant career) and in the simplest sense being the human pivot for an improvised sub-society of artists, writers and young poetic-religious idealists alienated from our sapping materialistic culture. It doesn't seem exaggerated to say that Kerouac by his superior capacity for involvement with "his generation" unified surprising numbers of underground Americans who would probably have remained lonely shadows but for his special brand of charisma. And Transcontinental though Kerouac was, the West Coast, and the Frisco area in particular, were to prove culturally more ready for him than the East.
California looks toward the Orient; its young intellectuals and truth-seekers are far more open to untraditional and experimental concepts than their counterparts in the New York and New England cultural fortresses, and it was to be no accident that the beat chariot fueled up in S.F. and then rolled from west to east in the late '50s rather than the other way around. But more specifically for our knowledge of Kerouac, it was on the Coast, especially from Frisco north to the high Washington State mountains, that climate and geography allowed his Dharma Bums (1958) to combine a natural outdoorsy way of life with the Buddhist precepts and speculations that play a very consistent part in all of Kerouac's writing and especially in Desolation Angels. In this propitious environment Kerouac found a number of kindred neo-Buddhist, antimaterialist, gently anarchistic young Americans whom he would never have come upon in New York, Boston or Philadelphia; they discussed and brooded upon philosophy and religion with him (informally, but seriously) and brought—all of them together, with Kerouac the popularizer—a new literary-religious possibility into the content of the American novel that anticipated more technical studies of Zen and presaged a shift in the intellectual world from a closed science-oriented outlook to a more existential approach. This is not to imply that Kerouac is an original thinker in any technical philosophical sense, although every artist who makes an impact uses his brain as well as his feelings; Kerouac's originality lay in his instinct for where the vital action lay and in his enormously nimble, speed-championship ability to report the state of the contemporary beat soul (not unlike Hemingway in The Sun Also Rises some 35 years earlier).
"My work comprises one vast book like Proust's except that my remembrances are written on the run instead of afterwards in a sickbed."
Before Kerouac appropriated San Francisco and the West Coast, the buzz that had been heard in New York publishing circles about this word-high natureboy came to a climax in 1950 with the publication of his first novel, The Town and the City. From the title you can tell that he was still under the influence of Thomas Wolfe—The Web and the Rock, Of Time and the River, etc.—and although his ear for recording the speech of his contemporaries is already intimidating in its fullness of recall and high fidelity of detail and cadence, the book remains a preliminary trial run for the work to come. In it are the nutty humor, the Times Square hallucinated montage scenes, fresh and affectionate sketches of beats-to-be, intimate descriptions of marijuana highs and bedbuggy East Side pads, but at the age of 28 Kerouac was still writing in the bag of the traditional realistic American novel and had not yet sprung the balls that were to move him into the light. Kerouac himself has referred to Town as a "novel novel," something at least in part madeup and synthetic, i.e., fictional. He has also told us that the book took three years to write and rewrite.
But by 1951, a short year after its publication, we know that he was already beginning to swing out with his own method-philosophy of composition. It took another seven years—with the printing of On the Road, and even then readers were shielded from Kerouac's stylistic innovations by the orthodox Viking Press editing job done on the book—for that sound and style to reach the public; but Allen Ginsberg has told us in the introduction to Howl (1956) that Kerouac "spit forth intelligence into 11 books written in half the number of years (1951-1956)"—On the Road (1957), The Subterraneans (1958), The Dharma Bums (1958), Maggie Cassidy (1959), Dr. Sax (1959), Mexico City Blues (1959), Visions of Cody (1960), Book of Dreams (1961), Visions of Gerard (1963), San Francisco Blues (unpublished) and Wake Up (unpublished). The dates in parenthesis refer to the year the books were issued. At the age of 29 Kerouac suddenly made his breakthrough in a phenomenal burst of energy and found the way to tell his particular story with its freeing sentence-spurts that were to make him the one and only "crazy Catholic mystic" hotrodder of American prose.
This style, as in that of any truly significant writer, was hardly a surface mannerism but rather the ultimate expression of a radical conviction that had to incarnate itself in the language he used, the rhythm with which he used it and the unbuttoned punctuation that freed the headlong drive of his superior energy. He had invented what Ginsberg called, a trifle fancily, "a spontaneous bop prosody," which meant that Kerouac had evolved through experience and self-revelation a firm technique which could now be backed up ideologically.
Its essentials were this: Kerouac would "sketch from memory" a "definite image-object" more or less as a painter would work on a still-life; this "sketching" necessitated an "undisturbed flow from the mind of idea-words," comparable to a jazz soloist blowing freely; there would be "no periods separating sentence-structures already arbitrarily riddled by false colons and timid commas;" in place of the conventional period would be "vigorous space dashes separating rhetorical breathing," again just as a jazzman draws breath between phrases; there would be no "selectivity" of expression, but instead the free association of the mind into "limitless seas" of thought; the writer has to "satisfy himself first," after which the "reader can't fail to receive a telepathic shock" by virtue of the same psychological "laws" operating in his own mind; there could be "no pause" in composition, "no revisions" (except for errors of fact) since nothing is ultimately incomprehensible or "muddy" that "run in time" the motto of this kind of prose was to be "speak now or forever hold your peace"—putting the writer on a true existential spot; and finally, the writing was to be done "without consciousness" in a Yeatsian semitrance if possible, allowing the unconscious to "admit" in uninhibited and therefore "necessarily modern language" what overly conscious art would normally censor.
Kerouac had leapt to these insights about Action Writing almost 15 years ago—before he sat down to gun his way through Road, which by his own statement was written in an incredible three weeks. (The Subterraneans, which contains some of his most intense and indeed beautiful word-sperm, was written in three days and nights with the aid of bennies and/or dex.) Whether or not the readers of Desolation Angels—or contemporary American writers in general—embrace the ideas in Kerouac's Instant Literature manual, their relevance for this dungareed Roman candle is unquestionably valid. The kind of experience that sent him, and of which he personally was a torrid part, had a blistering pace-discontinuity-hecticness-promiscuity-lunge-evanescence that begged for a receptacle geared to catch it on the fly. At the time of Kerouac's greatest productivity in the early 50s, the humpedly meditated and intellectually cautious manner of the "great" university English departments and the big literary quarterlies was the dominant, intimidating mode so far as "serious" prose went; l know from my own experience that many young writers without Kerouac's determination to go all the way were castrated by their fear of defying standards then thought to be unimpeachable. So tied up were these standards with status, position in the intellectual community, even "sanity" in its most extensive sense, that writers who thumbed their nose or being at them had to risk everything from the categorization of simple duncehood to being called a lunatic. But Kerouac, "a born virtuoso and lover of language," as Henry Miller accurately pointed out, was literarily confident enough to realize—with the loyalty of a genuine pioneer to his actual inner life—that he would have to turn his back on the Eliot-Trilling-Older Generation dicta and risk contempt in order to keep the faith with reality as he knew it. Obviously this takes artistic dedication, courage, enormous capacity for work, indifference to the criticism which always hurts, an almost fanatical sense of necessity—all the guts that have always made the real art of one generation strikingly different from the preceding one, however "goofy" or unfamiliar it looks and feels to those habituated to the past.
What many of Kerouac's almost paranoically suspicious critics refuse to take into account is the fundamental seriousness, but not grimness, of the man; his studious research into writer-seers as varied as Emily Dickinson, Rimbaud and Joyce, the very heroic cream of the Names who rate humility and shining eyes from the brownnosing university play-it-safeniks; and his attempt to use what he has learned for the communication of fresh American experience that had no precise voice until he gave it one. This is not to say that he has entirely succeeded. It is too early, given Kerouac's ambition, for us to make that judgment; but we can lay out the body of his work, 14 published books, and at least make sense of what he has already achieved and also point out where he has perhaps overreached himself and gestured more with intention than fulfillment. As with any creative prose writer of major proportion—and I believe without doubt that Kerouac belongs on this scale for his and my generation—he is a social historian as well as a technical inventor, and his ultimate value to the future may very well lie in this area. No one in American prose before Kerouac, not even Hemingway, has written so authentically about an entirely new pocket of sensibility and attitude within the broad overcoat of society; especially one obsessed by art, sensations, self-investigation and ideas. Kerouac's characters (and he himself) are frantic young midcenturyites whose tastes and dreams were made out of the very novels, paintings, poems, movies and jazz created by an earlier Hemingway-Picasso-Hart Crane-Orson Welles-Lester Young network of pioneering hipsters. Nor are these warming modern names and what they stand for to Kerouac's gang treated with distant awe or any square worship of that sort; they are simply part of the climate in which the novelist and his characters live.
We ought to remember that the generation which came of age in the late '40s and mid '50s was the product of what had gone immediately before in the dramatization of the American imagination, just like Kerouac himself, and his-and-their occasional romanticization of the stars who lighted the way was not essentially different from what you can find in any graduate school—only emotionally truer and less concerned with appearances. So credit the King of the Beats with having the eyes and ears to do justice to an unacknowledged new American Hall of Fame that was the inevitable result of our country's increasing awareness of the message of modernity, but remained unrepresented in fiction until Kerouac hiply used it for his subject matter. Yet art is more than literal social history, so that if Kerouac is a novelist-historian in the sense of James T. Farrell, F. Scott Fitzgerald or the early Hemingway, he like them must show the soul of his matter in the form; the artist-writer's lovely duty is to materialize what he is writing about in a shape indivisible from its content ("a poem should not mean but be").
It therefore would have been naive and ridiculous for Kerouac to write about his jittery, neurotic, drug-taking, auto-racing, poetry-chanting, bop-digging, zen-squatting crew in a manner like John Updike or even John O'Hara; he had to duplicate in his prose that curious combination of agitation and rapture that streamed like a pennant from the lives of his boys and girls; and it is my belief that precisely here he stepped out in front by coining a prose inseparable from the existence it records, riffing out a total experience containing fact, color, rhythm, scene, sound—roll 'em!—and all bound up in one organic package that baffles easy imitation. In this sense art has always been more than its reduction to a platform—and it is interesting (in a nonjudgmental sense) that Allen Ginsberg and John Clellon Holmes have always been more articulate beat ideologists than Kerouac who has always squirmed out of any programmatic statements about his "mission" because it was ultimately to be found in the work rather than a Town Hall debate. Except for that machinegun typewriter in his lap—or head!—he was seemingly deaf and dumb or reckless ("I want God to show me His face") and bizarre as a public spokesman; simply because this was not his job and any effort to reduce the totality of experience communicated in his books would have seemed to him, like Faulkner, a falsification and a soapbox stunt rather than a recreation—which is where the true power of Kerouac and narrative art itself comes clean. As Gilbert Sorrentino has pointed out, Kerouac accurately intuited our time's boredom with the "psychological novel" and invented an Indianapolis Speedway narrative style that comes right out of Defoe—Defoe with a supercharged motor, if you will.
If Kerouac's books are then to be the final test, and if the writing itself must support the entire weight of his bid—as I believe it must—has he (1) made his work equal its theory? and (2) will the writing finally merit the high claims its author obviously has for it? To begin with, we should consider the cumulative architecture of all his books since On the Road, because in a published statement made in 1962 Kerouac said: "My work comprises one vast book like Proust's except that my remembrances are written on the run instead of afterwards in a sickbed…. The whole thing forms one enormous comedy, seen through the eyes of poor Ti Jean (me), otherwise known as Jack Duluoz, the world of raging action and folly and also of gentle sweetness seen through the keyhole of his eye."
Let's try to break this down. Kerouac regards his work as highly autobiographical—which it obviously is, with only the most transparent disguises of people's names making it "fictional"—and a decade after the beginning of his windmill production he has found an analogy for it in Remembrance of Things Past. Proust's massive spiderweb, however, gets its form from a fantastically complicated recapturing of the past, whereas Kerouac's novels are all present-tense sprints which are barely hooked together by the presence of the "I" (Kerouac) and the hundreds of acquaintances who appear, disappear and reappear. In plain English, the books have only the loosest structure when taken as a whole, which doesn't at all invalidate what they say individually but makes the reference to Proust only partially true. In addition, the structure that Proust created to contain his experience was a tortuous and exquisitely articulated monolith, with each segment carefully and deviously fitted into the next, while the books of Kerouac's "Duluoz Legend" (his overall title for the series) are not necessarily dependent on those that have gone before except chronologically. Esthetically and philosophically, then, the form of Proust's giant book is much more deeply tricky, with the structure following from his Bergsonian ideas about Time and embodying them; Kerouac, whose innovations are challenging in their own right and need no apology, has clearly not conceived a structure as original as Proust's. As a progressing work, his "Legend" is Proustian only in the omniscience of the "I," and the "I" 's fidelity to what has been experienced, but it does not add to its meaning with each new book—that meaning is clearly evident with each single novel and only grows spatially with additions instead of unfolding, as does Proust's. Finally, the reference to Proust's work seems very much an afterthought with Kerouac rather than a plan that had been strategically worked out from the start.
If structurally the "Duluoz Legend" is much less cohesive and prearranged than the reference to Proust implies, what about the prose itself? I believe that it is in the actual writing that Kerouac has made his most exciting contribution; no one else writing in America at this time has achieved a rhythm as close to jazz, action, the actual speed of the mind and the reality of a nationwide scene that has been lived by thousands of us between the ages of 17 and 45. Kerouac, no matter how "eccentric" some might think him as a writer, is really the Big Daddy of jukebox-universal hip life in our accelerated U.S.A. His sentences or lines—and they are more important in his work than paragraphs, chapters or even separate books, since all the latter are just extensions in time and space of the original catlike immediacy of response—are pure mental reflexes to each moment that dots our daily experience. Because of Kerouac's nonstop interior participation in the present, these mental impulses flash and chirp with a brightly felt directness that allows no moss whatsoever to settle between the perception and the act of communication. Almost 10 years before the "vulgar" immediacy of Pop Art showed us the astounding environment we actually live in—targeted our sight on a close-up of mad Americana that had been excluded from the older generation's comparatively heavy Abstract Expressionism—Kerouac was happily Popping our prose into a flexible flyer of flawless observation, exactness of detail, brand-names, ice-cream colors, the movie-comedy confusion of a Sunday afternoon jam session, the spooky delight of reading Dr. Jekyll and Mr. Hyde in the woods of Big Sur, all sorts of incongruously charming and touching aspects of reality that were too slender and evanescent to have gotten into our heavyweight literature before.
The unadorned strength of the prose lay in the fact that no detail was too odd or tiny or inhuman to escape Kerouac's remarkably quick and unbored eye; and because of his compulsive-spontaneous method of composition he was able to trap actuality as it happened—the literal preciousness of the moment—where other writers would have become weary at the mere thought of how to handle it all. Such strength coupled with humorous delicacy, and made gut-curdlingly real by the "cosmic" sadness especially in evidence in Desolation Angels, cannot be disregarded by anyone seriously concerned with how our writing is going to envelop new experience: "If it has been lived or thought it will one day become literature," said Emile Zola. Kerouac's influence as a writer is already far more widespread than is yet acknowledged or even fully appreciated, so extensive has its reach been; Ginsberg, Frank O'Hara, LeRoi Jones, folksinger-poet Bob Dylan, Hubert Selby, John Rechy, even Mailer, John Clellon Holmes, Lawrence Ferlinghetti and myself are only some of his opposite numbers who have learned how to get closer to their own rendering of experience specifically because of Kerouac's freedom of language, "punctuation" (the etiquette of traditional English as opposed to American) and, in the fullest sense, his literary imagination.
Yet this same prose reveals itself as well to be at time little-boyish, threadbarely naked (so that you want to wrap a blanket around both it and its creator), cute-surrealistic-collegiate, often reading more like breathless short telegraphic takes than "writing" as we are accustomed to the meaning of the word. This is the risk—that the spontaneity is only paper-deep and can be blown away by a stiff new cultural wind. Since there is no "character" or "plot" development in the old-fashioned sense, only an accretion of details—like this—with the voice of the narrator increasingly taking on the tones of speech rather than literature—that it might have been taped instead of written—just as Jack taped four chapters of Visions of Cody—the words have a funny lightness—like feathers or kids' paper airplanes—they trip along like pony hoofs—no deep impression left on the page—with a kind of comic strip implication—everything impatiently kissed on the surface—but is experience only that which we can see right off?
To be realistic, Kerouac's writings can seem like nonwriting compared to our steelier literary products he has dared all on a challengingly frank, committed, unweaseling rhythmic fling that can get dangerously close to verbal onanism rather than our conception of fundamental novel-writing. The books themselves often seem like sustained underwater feats rather than "works" in the customary, thought-out, wrought sense. You get the impression that they landed between covers only by accident and that if you removed the endpapers that hold them together they would fly away like clouds; so light and meringuelike is their texture, so fluid and unincised their words, so casual their conception of art that they seem doomed for extinction the moment after they are set down.
The danger now confronting Kerouac, and it looms large, is one of repetition.
I find it inevitable, even for admirers, to seriously entertain the possibility that Kerouac's work will not outlive the man and his period; already he has told us all his secrets and apparently bored—by the uninhibited exposure of his soul—readers who have no special sympathy for his rucksack fucksack romanticism. And yet this is the risk he has taken; the general reader to whom he has romantically exhibited his genuine being is as merciless as the rolling years, as uncharitable as winter, a restless and fickle as the stomach of a millionaire. One cannot help but think, poor Jack, poor Ti Jean, to have flung his innermost flower into the crass hopper of public taste and the need for cannibalistic kicks! My personal belief is this: whatever is monotonous, indulgent or false in Kerouac's prose will be skinned alive by sharp-eyed cynics who wait with itching blades for prey as helplessly unprotected as this author is apparently condemned (and has chosen) to be. Kerouac has been flayed before and will be again; it is his god-damned fate. But I also believe that the best of his work will endure because it is too honestly made with the thread of actual life to cheapen with age. It would not unsurprising in the least to have his brave and unbelligerently up-yours style become the most authentic prose record of our screwy neo-adolescent era, appreciated more as time makes its seeming eccentricities acceptable rather than now when it is still indigestible to the prejudiced middle-class mind.
In subtle and unexpected ways haunted by the juvenile ghost of his childhood as he might be and therefore unnerving even his fondest intellectual admirers, I think Kerouac is one of the more intelligent men of his time. But if the immediate past has been personally difficult for him—and you will see just how painful it has been, both in Desolation Angels and in Big Sur (1962)—there is little to say that the future will be easier. He is a most vulnerable guy; his literary personality and content invite even more barbs, which wound an already heavily black-and-blued spirit; but the resilient and gently nub of his being—whose motto is Acceptance, Peace, Forgiveness, indeed Luv—is stronger than one would have suspected, given his sensitivity. And for this resource of his wilderness-stubborn Canuck nature all who feel indebted to the man and his work are grateful.
The danger now confronting Kerouac, and it looms large, is one of repetition. He can add another dozen hardcover-bound spurts to his "Duluoz Legend" and they will be as individually valid as their predecessors, but unless he deepens, enlarges or changes his pace they will only add medals to an accomplishment already achieved—they will not advance his talent vertically or scale the new meanings that a man of his capacity should take on. In fact one hopes, with a kind of fierce pride in Kerouac that is shared by all of us who were purged by his esthetic Declaration of Independence, that time itself will use up and exhaust his "Duluoz Legend" and that he will then go on to other literary odysseys which he alone can initiate.
Desolation Angels is concerned with Beat Generation events of 1956 and 1957, just before the publication of On the Road. You will immediately recognize the scene and its place in the Duluoz-Kerouac autobiography. The first half of the book was completed in Mexico City in October of 1956 and "typed up" in 1957; the; second half, entitled Passing Through, wasn't written until 1961 although chronologically it follows on the heels of the first. Throughout both sections the overwhelming leitmotiv is one of "sorrowful peace," of "passing through" the void of this world as gently and kindly as one can, to await a "golden eternity" on the other side of mortality. This humility and tenderness toward a suffering existence has always been in Kerouac, although sometimes defensively shielded, but when the Jack of real life and the hero of his books has been choked by experience beyond the point of endurance, the repressed priest and "Buddha" (as Allen Ginsberg valentined him) in his ancient bones comes to the fore. All through Angels, before and after its scenes of celebration, mayhem, desperation, sheer fizz and bubble, there is the need for retreat and contemplation; and when this occurs, comes the tragic note of resignation—manly, worldly-wise, based on the just knowledge of other historic pilgrimages either intuited by Kerouac or read by him or both—which in recent books has become characteristic of this Old Young Martyred Cocksman.
Like Winston Churchill—admittedly a weird comparison, but even more weirdly pertinent—Kerouac has both made and written the history in which he played the leading role.
Let no one be deceived. "l am the man, I suffered, l was there," wrote Mr. Whitman, and only an educated fool—as Mahalia Jackson says—or a chronic sneerer would withhold the same claim for Kerouac. His mysticism and religious yearning are (whether you or I like it or not) finally ineradicable from his personality. In this book he gives both qualities full sweep, the mood is elegiacal, occasionally flirting with the maudlin and Romantically Damned, but revolving always around the essential isolation and travail that imperfect beings like ourselves must cope with daily. If critics were to give grades for Humanity, Kerouac would snare pure As each time out; his outcries and sobbing chants into the human night are unphony, to me at least unarguable. They personalize his use of the novel-form to an extreme degree in which it becomes the vehicle for his need and takes on the intimacy of a private letter made public; but Kerouac's pain (and joy) become his reader's because it is cleaner in feeling than the comparatively hedged and echoed emotions we bring to it with our what's-the-percentage "adult" philosophy.
Like Winston Churchill—admittedly a weird comparison, but even more weirdly pertinent—Kerouac has both made and written the history in which he played the leading role. The uniqueness of his position in our often synthetic and contrived New York publishing house "literature" of the 60s speaks for itself and is in no immediate danger of duplication. If it goes unhonored or is belittled by literary journalists who are not likely to make a contribution to reality themselves, the pimples of pettiness are not hard to spot; Kerouac, singled out by the genie of contemporary fate to do and be something that was given to absolutely no one else of this time and place, can no longer be toppled by any single individual. The image he geysered into being was higher, brighter quicker, funkier and sweeter than that of any American brother his age who tried barreling down the central highway of experience in this country during the last decade.
But the route has now been covered. Jack has shown us the neon rainbow in the oil slick; made us hear the bop trumpets blowing in West Coast spade heaven; gotten us high on Buddha and Christ; pumped his life into ours and dressed our minds in the multicolored image of his own. He has, in my opinion, conclusively done his work in this phase of his very special career. And I hope for the sake of the love we all hold for him that he will use those spooky powers given to all Lowell, Massachusetts, Rimbaudian halfbacks and transform his expression into yet another aspect of himself. For I think he is fast approaching an unequal balance—giving more than he is taking in. Two-way communication is fading because during the last 10 years he taught us what he knows, put his thought-pictures into our brains, and now we can either anticipate him or read him too transparently. I sincerely believe the time has come for Kerouac to submerge like Sonny Rollins—who quit the music scene, took a trip to Atlantis, came back newer than before—and pull a consummate switch as an artist; since he is a cat with at least nine lives, one of which has become an intimate buddy to literally thousands of people of our mutual generation and which we will carry with us to oblivion or old age, I am almost certain he can turn on a new and greater sound if he hears the need in our ears and sees us parched for a new vision. He is too much a part of all of us not to look and listen to our mid-60s plight; to hear him speak—and it's a voice that has penetrated a larger number of us than any other of this exact time and place, trust my reportorial accuracy regardless of what you may think of my taste—just turn the page and tune in.
[Featured Image: Tom Palumbo Wikimedia Commons]


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AfricaEconomy and TourismMediterraneanNewsTravel
Egypt | History of Karnak Temple and Road of Rams
Temple of Karnak was most important place of worship in Thebes (now Luxor). It is where the great Lord Amon, Lord of Thebes, was sanctified
Egypt plans to reopen the 2,700-metre-long Avenue of Sphinxes (or Rams Road), a road that connects the Karnak and Luxor temples, eastern Luxor, before the end of the year, Minister of Tourism and Antiquities Khaled El-Anani has revealed.
Likening it to the Pharaoh's Golden Parade held in April, El-Anani said the avenue's reopening will be huge as if it is another parade.
The Tourism Ministry has met with several companies to organise the event, with two proposals already submitted.
Daily News Egypt explores the history of the Temple of Karnak, which the ancient Egyptians called Ipet Sot, meaning "the chosen spot".
The Temple of Karnak was the most important place of worship in Thebes (now Luxor). It is the temple in which the great Lord Amon, Lord of Thebes, was sanctified, so the temple reached a great deal of wealth and its priests became a significant political power.
Thebes was the city to which the kings who unified Egypt belonged after the First Intermediate Period, thus becoming one of the most important cities in Egypt, a position that it will remain in throughout most of ancient Egyptian history. In light of the oldest evidence of the temple starting from the reign of King Intef II (2112-2063 BC), that is, before the beginning of the Middle Kingdom (2055-1650 BC), until the Greco-Roman period (332 BC – 395 AD).
This temple was designed according to the royal patronage of huge construction projects. It was expanded frequently under the reign of each king of the modern state (1550 – 1069 BC).
The temple is located on the eastern mainland of Luxor, and like most ancient Egyptian temples, the axis of the temple was east-west. The ancient Egyptian temples were a model of the universe, so the design of the temple reflects the path of the Lord of the Sun across the sky. The temple is unique in having a north-south axis separate from the rest of the temples.
On the other side, there is another temple called Luxor Temple. It was known in the past as "Amun in Opet I" Amun on the horizon. The two temples were linked by a road decorated by statues of Sphinxes.
This road was used in one of the most important celebrations of the ancient Egyptian calendar, the Opet feast. The Rams Road is the road that connects the Luxor Temple with the KarnakTemple.
The statues were built in the form of a sphinx with a ram's head, and the ram here symbolises the god Amun, perhaps to protect the temple and highlight its axis. The ancient Egyptians called this road "Wat Nathr", meaning the path of God. As for the road of rams in the temples of Karnak, it was known as "Ta-Mitt-Rahat".
The mastery of the ancient Egyptians in the use of stone, which is evident everywhere within the temple, according to the website of the Ministry of Tourism and Antiquities, the Egyptians excelled in engraving the inscriptions that cover its walls and carving the statues that adorn it. Globally. The height of these huge columns is 15 metres, except for the twelve middle columns, which are 21 metres high.
Amenhotep III began building that hall "1390-1352 BC" of the Eighteenth Dynasty, while its decoration dates back to the reign of King Seti I in 1294-1279 BC and Ramses II "1279-1213 BC" of the nineteenth dynasty.
A magnificent 30-metre-high obelisk of Hatshepsut was built near the hall between 1473-148 BC.
At the eastern end of Karnak, we can see what is known as Brother Meno, a temple erected by Thutmose III (1479-1425 BC) and dedicated to the sanctification of various deities in addition to his ancestors of kings, as well as his own sanctification.
Karnak was in fact a complex of temples, which includes within its walls another temple to Lord Khonsu in the southwestern corner, next to the Opet temple, which was built in the Greco-Roman era for Opet the goddess represented in the form of a hippopotamus responsible for giving birth. A beautiful sacred lake still exists in the middle, where the priests used to purify themselves before performing the rituals of the temple. Many other temples and small chapels are spread within the vicinity of Karnak, making it a real open museum.
Daily News Egypt
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redpajama_set_name: RedPajamaCommonCrawl


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Bibiana Perez, née le  à Vipiteno, est une ancienne skieuse alpine italienne.

Coupe du monde
 Meilleur résultat au classement général :  en 1994
 1 victoire : 1 combiné

Saison par saison
 Coupe du monde 1992 :
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 Coupe du monde 1993 :
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 1 victoire en combiné : Hafjell
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Arlberg-Kandahar
 Meilleur résultat :  dans le combiné 1993-94 à Sankt Anton

Naissance à Vipiteno
Sportive italienne du XXe siècle
Sportive italienne du XXIe siècle
Skieuse alpine italienne
Naissance en octobre 1970
Skieuse alpine aux Jeux olympiques d'hiver de 1992
Skieuse alpine aux Jeux olympiques d'hiver de 1994
Skieuse alpine aux Jeux olympiques d'hiver de 1998

redpajama_set_name: RedPajamaWikipedia


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Q: Jmeter: Javascript variable not returning any value I am using one Javascript function to generate a random Number.
Used a User Parameter(Preprocessor) under the request
Added a Variable: farmeid
Function: ${__javaScript('bam-'+parseInt((Math.random()*1000000),10))}
When I am using the varialble ${frameid}, it is returning no Value.

A: The problem is that there is a comma in your expression here: ),10 which acts as a delimiter for function parameters. If you can remove this ,10 bit so your expression could look like:
${__javaScript('bam-'+parseInt(Math.random()*1000000),)}

This would be successfully evaluated by __javaScript function.
If this 10 bit is a must you can use BSF PreProcessor with the following code:
vars.put("frameid",'bam-'+parseInt((Math.random()*1000000),10));

And the easiest way is using __Random function like
bam-${__Random(111111,999999,)}

directly where it's required.
Hope this helps.

A: It's better to use Jmeter's Random Variable generator.
http://jmeter.apache.org/usermanual/component_reference.html#Random_Variable
Cheers,

redpajama_set_name: RedPajamaStackExchange


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Wake Forest School of Medicine Student Honored with Scholarship
Hospital, Medical, Press Releases Hospital, Medicine, WakeForestBaptist, Winston-Salem
WINSTON-SALEM, N.C. – July 28, 2017 – Erin Saner, a fourth-year student at Wake Forest School of Medicine, was awarded the 2017 Anarcha, Betsy, and Lucy Memorial Scholarship Award by the National Medical Fellowships (NMF).
The award is given in memory of Anarcha, Betsy and Lucy, three slaves who, as subjects of experimentation, helped shape advances in current clinical and surgical knowledge. The scholarship is given annually to one African-American female medical student who is a known descendant of American slaves. Saner was selected for this award because of her leadership efforts in planning and organizing the 2016 inaugural Boomer (NC) Share the Health Fair.
NMF is a nonprofit organization dedicated to increasing the number of underrepresented minority physicians and other professionals in the health care workforce.
Hospital, Press Releases
Maidstone and Tunbridge Wells NHS Trust selects Allscripts Sunrise
Allscripts to Deliver Anesthesia Solution Across SingHealth Healthcare Institutions
Hospital, Medical, Press Releases
Allscripts Sunrise™ Powers The Dudley Group NHS Foundation Trust to Transform Delivery of Care


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Google takes a shot at competing with TikTok, Pinterest videos
(SOCIAL MEDIA) We all love to sit and watch short videos, be they humorous, reactionary, or weird, but here is Googles attempt to get educational with Tangi.
Kim Usey, Staff Writer
It's happened to anyone who's ever been looking online for how-to help… you click on a likely-sounding YouTube video, only to be greeted by an ad you can't skip, a whole lot of introductory chit-chat, and three minutes of build-up before you finally see exactly what you need to do to handle your would-be DIY hack.
But what if you could get your answer in 60 seconds or less? It's the concept behind Tangi, a newly released Google app created in the company's Area 120 incubator by developer Coco Mao.
Variously described as short-form YouTube, video Pinterest, or TikTok for makers, Tangi was inspired by Mao discovering that her "smartphone challenged" parents were using their devices to watch photography and painting tutorials—and developing new hobbies as a result.
She came back to Google and worked with her team to develop Tangi as a place where such how-to inspiration could be more easily found and taken advantage of. "The name is inspired by the words TeAch aNd Give," she explained as she introduced the app at the end of January. "'Tangible'—things you can make."
The philosophy behind Tangi means this is hands-on how-to for the crafty club. The time-lapse heavy videos "could quickly get a point across," Mao said, "something that used to take a long time to learn with just text and images."
Videos fall into categories of art, cooking, DIY, fashion and beauty, and lifestyle, and are often accompanied by links to recipes or the maker's blog or Instagram for more information. Some makers don't quite have the format down pat yet, but most manage to provide a good balance of visual inspiration and a little more information.
And like Pinterest, Tangi can turn into a time-lapsing rabbit hole of its own. I started with a mere 10-second clip on propagating succulents (I've been doing it wrong), which led to a minute on "when succulents stretch" ("etiolation" — new vocabulary word!), which led to a succulent cake which led to a conversation heart cake and before I knew it, 20 minutes had gone by and I was watching an exploding heart science Valentine and had washed up at "Yoda one for me."
While the app has only been out for about a week … and is only available on iOS and the web … it's already well populated with content from makers and lifestyle bloggers who partnered with Mao's team during the development process. And though it's still in closed-beta mode for content creators, users can apply to be on a waitlist to be invited to upload their own work.
There are a few question marks still. No word on when it will be available on Google's own Android platform, for one thing. While a couple of intrepid contributors are reviewing education apps and dispensing startup advice, its philosophy as stated by team lead Mao may not extend much more beyond the maker and creative fields to include technology and workplace input. And Google doesn't always support its apps for long.
But it's fun, simple, and easy on the eyes. As a place to find quick inspiration and direction, Tangi could carve out a niche.
Related Topics:Social MediatangiThe NewsVideo
Facebook beta features fresh friendly facade you can try out
New Reddit policy on impersonation mimics other social media giants
With her invaluable degree in English and clips from her journalism career tucked firmly under one arm, Kim Usey relocated to Austin from New Orleans 13 years ago and has spent her time working with non-profits, rescuing dogs, raising children, and driving visitors out to Snow's on random Saturday mornings for brisket and pork steak breakfast. She has a playlist for each of her two scenic routes if you ever want to tag along.
Former Head of AI at MagicLeap creates Headroom, a new AI tool for video
Social media studies show its use and depression go hand-in-hand
New free tool, Jupittr, makes auto-generated subtitle videos from audio
The advertising overload strategy needs to stop, here's why
Social media is being used for hiring, and no, we're not talking just LinkedIn
Reactions to Twitter Blue from real subscribers, p.s. its not worth it
(SOCIAL MEDIA) Instagram is allowing users to choose how their home feed appears so they can tailor their own experience… and chronological is back!
Jessica Martin, Staff Writer
Break out the bottle of champagne, because they are bringing back the chronological order in Instagram!
About time, right? Well, that's not all. Per Protocol, Instagram has announced that they are rolling out three feed options in the first half of 2022. What?! Yes, you read that right.
3 New Feed View Options
Home: This feed view should feel familiar because it's the algorithm you already use. No changes to this view.
Favorites: This feed view option presents a nice and tidy way to view creators, friends, and family of your choosing.
Following: Last, but not least, is my favorite re-boot, the chronological view of every account that you follow.
Per Protocol, recent legal allegations have been made that Instagram and Facebook have been prioritizing content viewed as harmful in the algorithm and specifically in Instagram. Instagram is widely believed to be harmful to teens. Per the American Psychological Association, "Studies have linked Instagram to depression, body image concerns, self-esteem issues, social anxiety, and other problems". They have been under scrutiny by lawmakers and in response are posing the chronological feed as a solution.
However, this won't fix everything. Even if the algorithm isn't prioritizing harmful posts, those posts will still exist and if that account is followed it can still be seen. The other issue with this solution is the knowledge that unless Instagram lets you choose your default feed view, they could still cause the algorithm view to be the automatic view. Facebook doesn't allow you to make the chronological feed your default view. This means you would need to choose that view every time. This bit of friction means there will be times it is overlooked and some may not even know the functionality exists. Knowing this information about Facebook, prepares us for what's to come with Instagram. After all, Facebook, or Meta, owns both.
While as an entrepreneur, the chronological view excites me, I know the reality of it being used is questionable. I would love to know others can see the products and services I offer instead of hoping that Instagram finds my content worthy to share in the algorithm.
As a human being with a moral conscience, I have to scream, "C'mon Instagram, you CAN do better!" We all deserve better than having a computer pick what's shown to us. Hopefully, lawmakers will recognize this band-aid quick fix for what it truly is and continue with making real changes to benefit us all.
(SOCIAL MEDIA) Do you market your business on Facebook? You need to know that their targeting options for ads are changing and what to do about it.
Meta is transforming Facebook's ad campaigns beginning January 19th. Facebook, which has been infamously battling criticism regarding election ads on their platform, is revising its limited targeting ad campaigns. Per this Facebook blog post, these changes eliminate the ability to target users based on interactions with content related to health (e.g., "Lung cancer awareness", "World Diabetes Day"), race and ethnicity, political affiliation, religious practices (e.g., "Catholic Church" and "Jewish holidays") and sexual orientation (e.g., "same-sex marriage" and "LGBT culture").
These changes go into effect on January 19, 2022. Facebook will no longer allow new ads to use these targeting tools after that date. By March 17, 2022, any existing ads using those targeting tools will no longer be allowed.
The VP of Ads and Business Product Marketing at Facebook, Graham Mudd, expressed the belief that personalized ad experiences are the best, but followed up by stating:
"[W]e want to better match people's evolving expectations of how advertisers may reach them on our platform and address feedback from civil rights experts, policymakers, and other stakeholders on the importance of preventing advertisers from abusing the targeting options we make available."
To help soften the blow, Facebook is offering tips and examples for small businesses, non-profits, and advocacy groups to continue to reach their audiences that go beyond the broad targeting of gender and age.
These tips include creating different types of targeting such as Engagement Custom Audiences, Lookalike Audiences, Website Custom Audiences, Location Targeting, and Customer Lists from a Custom Audience.
Here's the lowdown on how it will happen.
Per the Search Engine Journal, changes can be made to budget amounts or campaign names without impacting the targeting until March 17th. However, if you go to change the ad set level that will then cause changes at the audience level.
If you need to keep that particular ad to reuse, it may be best to edit the detailed targeting settings before March 17th in order to ensure you can make changes to it in the future.
I believe it was Heraclitus that declared change is constant. Knowing this, we can conclude other social platforms may follow suit and possibly adjust their targeting in the future as well.
(SOCIAL MEDIA) Facebook (now Meta) employees estimate its AI tools only clean up 3%-5% of hate speech on the platform. Surprise, Surprise *eye roll*
Jack Lloyd, Staff Writer
As Facebook moves further toward Zuckerberg's Metaverse, concerns about the efficiency with which the company addresses hate speech still remain, with employees recently estimating that only around 2% of offending materials are removed by Facebook's AI screening tools.
According to Wall Street Journal, internal documents from Facebook show an alarming inability to detect hate speech, violent threats, depictions of graphic content, and other "sensitive" issues via their AI screening. This directly contradicts predictions made by the company in the past.
A "senior engineer" also admitted that, in addition to removing only around 2% of inappropriate material, the odds of that number reaching even a numerical majority is extremely unlikely: "Recent estimates suggest that unless there is a major change in strategy, it will be very difficult to improve this beyond 10-20% in the short-medium term."
The reported efficacy of the AI in question would be laughable were the situation less dire. Reports ranging from AI confusing cockfights and car crashes to inaccurately identifying a car wash video as a first-person shooting are referenced in the internal documents, while far more sobering imagery–live-streamed shootings, viscerally graphic car wrecks, and open threats of violence against transgender children–went entirely unflagged.
Even the system in which the AI works is a source of doubt for employees. "When Facebook's algorithms aren't certain enough that content violates the rules to delete it, the platform shows that material to users less often—but the accounts that posted the material go unpunished," reports Wall Street Journal.
AI has repeatedly been shown to struggle with bias as well. Large Language Models (LLMs)–machine-learning algorithms that inform things like search engine results and predictive text–have defaulted to racist or xenophobic rhetoric when subjected to search terms like "Muslim", leading to ethical concerns about whether or not these tools are actually capable of resolving things like hate speech.
As a whole, Facebook employees' doubts about the actual usefulness of AI in removing inappropriate material (and keeping underage users off of the platform) paint a grim portrait of the future of social media, especially as the Metaverse marches steadily forward in mainstream consumption.
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Bloom's Taxonomy provides a framework for developing strong learning objectives. However, when it was created in 1956 when eLearning didn't exist, it was intended for in-class style training. How can you adapt it to create strong learning objectives for eLearning?
Instructional Design candidates are expected to possess most of these traits and abilities by the most active hiring companies today. How do you stack up as a Learning and Development job seeker?
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A review on Schone's engaging interaction models.
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What is more important? Visual or Instructional Design?
Are you looking for a holistic Instructional Design approach that follows a non-linear format? In this article, I'll share 9 tips to apply the Kemp Design Model in your next eLearning course.


National Geographic selected Prismview – A Samsung Electronics Company to supply a digital video solution for the new Ocean Odyssey Encounter near Times Square in New York City. Three exterior displays, directly above the front entrance, utilize tight-knit 8mm LED pixel spacing providing smooth and dynamic content. At over 11.5' wide and almost 19' tall, the primary display creates a window to the exhibit. Two upper story displays angle out from the building façade and light up the street below. These 6.5' wide x 10' tall displays complement the main display with attention grabbing brightness and superior image quality.
Within the National Geographic Encounter, Prismview supplied two extremely high-resolution video displays. With only 2.5mm between LED pixels, these displays provide crisp, clear images and animations even when viewed at close distance. One of these immersive interior displays is 12.5' wide and 7' tall, and offers vivid, larger than life views of the Encounter. The final display is a jaw dropping video wall, 6,144 pixels wide x 864 pixels tall – larger than forty-eight 40" flat panel TVs.


When connecting to a database, the client application uses a set of connection parameters to define the connection. Connection parameters specify information such as the database server name, the database name, and the user ID.
Generally, the connection string that is built by an application and passed to the interface library does not correspond directly to the way users enter information. Instead, a user may fill in multiple fields in a connection window, or the application may read connection information from an initialization file.
In your application, you must enter a connection string with the parameter settings separated by semicolons.


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Ely Guest
Ecuadorian-American pianist and teacher Ely Guest began her musical studies at the age of 5. Among her teachers have been Dr. Kayla Chon (USA-Korea), Dr. Robert Whalin (USA), Ms. Marine Aroutionian (Armenia), Dr. Washington Garcia (Ecuador-USA), Mr. Alex A. Fabre (Ecuador), Mr. Paul Carrion (Ecuador) and Ms. Bertha Brito (Ecuador-France). Ely's musical linage ties back to Frederich Chopin and Ludwig van Beethoven. Ms. Bertha Brito was a student of famed French professor Monique Dechaussees, who studied with a student of F. Chopin. Dr. Washington Garcia was a student of Dr. Julian Martin who ties back to the line of L.v Beethoven's students. Ely holds a bachelor in Music Performance from Texas State University-San Marcos (2016). She continues to further her pianistic studies with Dr. Chon. Ely studies voice with Dr. Samantha Wood and violin with Dr. Ruben Balboa III.
Ely is a student of the Alexander Technique since 2015 with Ms. Paula Gruber. Ely studied at the National Conservatory of Music in Ecuador, CNM (2003-2011), and completed all the musical levels. She also studied at the Franz Liszt Conservatory (2001-2003) and Mozart Conservatory (1997-1999). Along with her pianistic studies, Ely studied percussion with Ms. Kari Klier and composition with Mr. Richard Hall. Under his tutelage, her second composition cycle was premiered at the Somos Musicos Concert Series held at the Texas State University (2016). Ely studied accompanying with Ms. Faith Debow (USA), chamber music with Angela Rouchanian (Armenia) and Andres Torres (Ecuador-Russia), jazz with Mr. Morris Nelms and piano pedagogy with Dr. Kyung-Ae Lee.
Ely's proudest moments have been: to be part of the faculty at Eastside Music School where she has been teaching piano lessons since the fall of 2017, to represent Texas at The College Music Society in Santa Fe-New Mexico (Fall 2016) with The Texas State Mysterium For New Music Ensemble, to be awarded with the Clara Nelson Music Scholarship (2011-2016), to receive a scholarship to participate in the 2nd Texas State International Piano Festival (2011), to be accepted onto the conducting course with Maestro Alvaro Manzano at the Franz Liszt Conservatory and receive a scholarship for private conducting lessons post-completion of the conducting course (2009-2011), to have performed with the Gamelan Lipi Awan (Indonesian Gamelan Ensemble) and have served as their Vice-President for the cycle of 2016, to be a member of Mu Phi Epsilon Professional Music Fraternity, to be a member of Kappa Kappa Psi Honorary Band Fraternity, to be a member of The National Society of Collegiate Scholars.
To me, being a musician means that music has called you. It's not about yourself anymore. But it's about the music (about the quality of sounds). It's an honor to be selected to serve the music and to share it with everyone! My teaching style is, talk less show more! You have to listen profoundly, demonstrate clearly, inspire constantly, and play loose like an octopus! Whether you are a teacher or student you ought to have high attention to detail. You must know your score very well. This means that you need to know: the harmony, the form, the rhythms, the background story. Also, you need to know your technique (scales, arpeggios, and etudes). You have to raise your own bar high… so that you can have good students! (or be a good student). I hope that my students will take away my love for music. I wish that my work ethic and high attention to detail inspires them. It is my wish for them that they keep the confidence and discipline that I have instilled in them. I hope they continue to work on themselves, that they watch their posture, do stretches, and think before playing. Just about everything they need to know about their instrument is described in the book, On Piano Playing by Gyorgy Sandor. I encourage my students to read this book. We hold in-class discussions about each chapter.
I've always been inspired by masterclasses and concerts. Beauty and ordinary things made in an extraordinary way inspire me as well! I love miniatures, they always make me smile. I enjoy making working miniatures and miniature cooking videos. I feature them on my other Youtube Channel called Love Music Miniatures and Cooking.


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Sienno may refer to the following places:
Sienno, Słupca County in Greater Poland Voivodeship (west-central Poland)
Sienno, Kuyavian-Pomeranian Voivodeship (north-central Poland)
Sienno, Masovian Voivodeship (east-central Poland)
Sienno, Wągrowiec County in Greater Poland Voivodeship (west-central Poland)
Sienno, Lubusz Voivodeship (west Poland)
Sienno, West Pomeranian Voivodeship (north-west Poland)


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Home Sports Kaizer Chiefs must make the most of their good fortune
Kaizer Chiefs must make the most of their good fortune
Former Kaizer Chiefs stalwart Robert Nauseb says the club need to make the most of their 'second chance' to clinch the PSL title.
Kaizer Chiefs will be crowned champions if they win their two remaining games, but that is only the case because Sundowns failed to pick up any points against Baroka FC.
Nauseb feels that Chiefs might have got lucky with the other result but were unfortunate not to score first against Bidvest Wits.
"We've been given another chance now we have to use it," Nauseb told Chiefs official website.
Nauseb also believes that the loss of Daniel Akpeyi to a head injury in the second half played its part in Chiefs defeat over the weekend.
"These kinds of things always affect a team mentally, especially the defenders. It's never easy to see your teammate having to leave the field groggy. You start feeling a bit nervous," he adds.
"That does, of course, not reflect negatively on the qualities of Bruce Bvuma, who replaced the Nigerian international. He is a very promising young keeper. He is quality and seems to have a bright future ahead of him."
Senior players need to stand up
The former Namibia international says that the senior players need to stand up in this situation and believes criticism of the coach is baseless.
"We lost, Sundowns lost… it promises to be an exciting week with two more games to go to decide who will win the league title," the Namibian says.
"The senior players need to take responsibility and talk with the team to make clear what is at stake," Nauseb suggests, "because a coach can only do so much."
Kaizer Chiefs have a gem in Frosler
Nauseb was delighted with the form of wide player Reeve Frosler, he feels the youngster was unlucky not to win a penalty after being brought down in the box against Wits.
"That boy is the most versatile player I have seen in a while, he can play on the left, on the right – he is impressing me," he said.
"That was a clear-cut penalty. However, at the end of the day, the referee's decision is final."
The stadium may be empty when Kaizer Chiefs face Chippa United but Nauseb reminded the players that they are playing for the Amakhosi faithful.
"The Chippa game is a six-pointer," Nauseb concludes. "The pressure at the moment is on Sundowns, although, of course, we have to fight and win our own battles."
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Drake Passes The Torch To Kodak Black & "Super Gremlin" Proves Him Right
Kodak Black stays in controversy, but Drake doesn't care, calling the rapper "the future." Yak's chart-stomping "Super Gremlin" is proof that Drake don't lie.
Kodak Black has found success again with the October 2021 release of "Super Gremlin" ravaging the charts. The song has garnered over 58 million views and just recently rose into the top 10 on the Billboard Hot 100 Chart. It's Kodak's third Top 10 consecutive hit after "ZEZE" and "Tunnel Vision".
And Drake is taking notice, giving Kodak praise for his big wins. The Certified Lover Boy and chart-killer jumped on Kodak's Instagram Live on January 10 to leave a few compliments in the comments.
"You really all that for this generation," Drake praised Kodak in the comments section. And in a passing-the-torch moment, Drake followed with a prediction of future success for Kodak saying, "And the next [generation] if we being honest."
Kodak then pinned the comment so everyone could see the 6 God's comments.
Kodak Black just released his new single "The Nightmare Before Christmas." After a year of highs and lows in drug treatment, it's good to see Kodak in the Christmas spirit with this (semi) lighthearted holiday offering.
Akbar V Pens A Sweet Note To Her Boyfriend For Teaching Her Patience
Fivio Foreign Drops Bars w/Jim Jones


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Squad worries for Albion Rovers boss Paul Martin
PAUL MARTIN believes injuries are wrecking Albion Rovers' play-off bid.
The Cliftonhill boss travelled to Elgin City at the weekend with only 14 players because of injury, illness and suspension.
A sickness bug saw Alan Reid and Phil McGrath join the crocked trio of Todd Lumsden, Chris Boyle and Marc Pollock on the sidelines. A ban ruled out Mick O'Byrne.
Striker Marc McCusker suffered a head injury in the match at Borough Briggs and his forthcoming availability will be decided between the player and physio John McMenemy.
Martin's men host title-chasing Third Division East Stirling this Saturday, with the manager determined to put last weekend's 3-1 defeat to Elgin behind him.
Speaking ahead of last night's scheduled visit of leaders Livingston, Martin said: "We work really well as a unit and that is why we were successful earlier in the season.
"We are lacking in confidence at the moment but once we get everyone back, we will be OK.
"If I had gone up to Elgin with my best team and lost by the same scoreline, then I would be depressed.
"I expected us to produce a better performance on Saturday. I wasn't proud of it and the manner in which we lost the goals was not acceptable. What is important is to get key players back."
Rovers welcomed the Lions to Coatbridge on the back of nine league games without a win.
The team were seven points adrift of the play-off zone and Martin conceded that the long winless streak had affected his players.
He added: "I am concerned that this run has eroded confidence a little bit.
"We need to get some of that belief back.
"But where we have failed is that we haven't been winning games where we have dominated.
"Nine games without a win isn't something to be proud of but I fully believe other teams will have the type of run we are on."
On the transfer front, a deal has been agreed to bring winger Lee Hoolickin to Rovers from Penrith. The manager is now awaiting international clearance.
And utility man Ryan Thomson was set to be involved last night after arriving on-loan from Dunfermline Athletic.
lVISIT www.acadvertiser.co.uk today for reports and reaction from Rovers' match with Livingston last night.


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La gmina de Babimost est une gmina urbaine-rurale (gmina miejsko-wiejska) ou mixte de la powiat de Zielona Góra, dans la Voïvodie de Lubusz, dans l'ouest de la Pologne.

Son siège administratif (chef-lieu) est la ville de Babimost qui se situe à environ  au nord-est de Zielona Góra (siège de la diétine régionale).

La gmina couvre une superficie de  pour une population de  en 2006 avec une population pour la ville de Babimost de  et pour la partie rurale de .

Histoire
De 1975 à 1998, la gmina est attachée administrativement à la voïvodie de Zielona Góra.
Depuis 1999, elle fait partie de la voïvodie de Lubusz.

Géographie
Outre la ville de Babimost, la gmina inclut les villages et localités de :

Gminy voisines
La gmina de Babimost est voisine des gminy suivantes :
 Kargowa
 Siedlec
 Sulechów
 Szczaniec
 Zbąszyń
 Zbąszynek

Structure du terrain
D'après les données de 2002, la superficie de la commune de Babimost est de  carrés, répartis comme telle :
 terres agricoles : 48%
 forêts : 35%
La commune représente 5,91% de la superficie du powiat.

Démographie
Données du :

Annexes

Liens internes
 Liste des gminy de Lubusz

Références

 Chiffres de population officiels polonais 2006

Liens externes
  Site officiel de la gmina

Gmina dans la voïvodie de Lubusz
Powiat de Zielona Góra


A new Huddersfield band has been picked as a BBC record of the week.
From next Monday to Sunday millions of people could hear the first single from alternative pop trio Flawes which will be played repeatedly on Radio 1.
Brighouse singer and bass guitarist Josh Carruthers and drummer Josh Hussey from Fixby – both past pupils of Rastrick High School – along with London guitarist Freddie Edwards are behind the song Don't Wait For Me, which was picked by BBC Introducing as its record of the week.
This means that it will be played on popular regular shows such as Scott Mills, Greg James, Clara Amfro, Alice Levine and Dev from morning until night.
A dark sounding electronic and dub step beat infused track with guitars and vocals, it was only released by the three in September when they officially launched as a band.
Josh, 25, explained the band's delight at being picked.
"It's really exciting because it's most bands' dream to get played on Radio 1," he said.
"I only began working on creating the band late last year and we've not been together long so to get our first single on national radio is something we weren't anticipating but we're ready for it.
"We just submitted the track via the BBC Introducing website and they rang us up last week to tell us the good news. I think that other bands should try it because it has worked for us.
It is the latest success for Josh who has been following his music dream since he left school at 18.
"I was in a band called Ten Floors and we played all over the UK," he said.
"But it didn't work out so I moved to London in 2011 and got work as a session musician playing keyboards.
"And for the last two years I've been touring with another musician called Ella Eyre around Europe, which has been great.
"Seeing the hard work she puts in made me want to do something of my own so I asked Josh and Freddie and it's going really well.
"We're going to use the publicity from our radio plays to really push ourselves over the next year.
"We've got plans for another EP and more live dates and our dream is to play at Leeds Festival.


Announcements: Three major announcements came out of this event: (1) HP's T400 Inkjet Web press (for more on this, see the InfoTrends white paper), (2) Pitney Bowes simultaneous announcement of the IntelliJet 20, and (3) HP's partnership with Compart for an AFP solution for the Inkjet Web Press.
More than seven million impressions in a day: O'Neil said that they had one day (3-shifts, 24 hours) in which they printed 7,619,883 impressions on their Inkjet Web Presses. This was on multiple 20-inch webs and they calculated that this was at 80% uptime). Note: 7,619,883 impressions over 24 hours equates to 5,292 impressions per minute.


The Hindi film star spoke with the 7 Welcome To London actor recently.
Shah Rukh Khan has given advice to 7 Welcome To London star Asad Shan on a career in film.
Khan - who is currently shooting with Katrina Kaif in the UK - met with the debut actor on Sunday (March 18) to record a special episode of Brits Bollywood.
"As soon as I was introduced, he said 'Hi Beta' and I was floored with his caring personality and charm. Shah Rukh gave fantastic advice for newcomers and first-time directors," Shan told Digital Spy.
"I shared my film 7 Welcome to London with him and he blessed me with a dua and wished me the best. I must say this was an amazing experience and I got to learn so much."
Khan, who recently broke the 2 million followers mark on Twitter, also spoke about his presence on social media platforms.
The former Mr Asia UK went on to add: "I have to say it was a great moment for me personally, sharing screen space with my hero and idol."
Khan's interaction with the VJ mirrors a scene in Luck By Chance, where the actor guides Farhan Akhtar's character on dealing with fame after his first film release.
The Brits Bollywood Shah Rukh Khan episode airs on Sunday, April 1 at 11.30am.
Shah Rukh Khan back with Yash Raj film?


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Posted 12:05AM on Wednesday 5th September 2018 ( 10 months ago )
This photo provided by Bruce Inglangasak shows a polar bear, Sunday, Sept. 2, 2018, in the northern Alaska village of Kaktovik on the Beaufort Sea. The village has experienced a boom in tourism in recent years as polar bears spend more time on land than on diminishing Arctic sea ice. (Bruce Inglangasak via AP)
Garland's stolen ruby slippers from 'Wizard of Oz' are foundKavanaugh pledges to be 'team player' on Supreme CourtMarkets Right Now: Tech stocks pull US indexes lowerThe Latest: Kavanaugh's confirmation hearing underway
JUNEAU, Alaska (AP) — A tiny Alaska Native village has experienced a boom in tourism in recent years as polar bears spend more time on land than on diminishing Arctic sea ice.
More than 2,000 people visited the northern Alaska village of Kaktovik on the Beaufort Sea last year to see polar bears in the wild, Alaska's Energy Desk reported Monday.
The far north community is located on north shore of Barter Island on the Beaufort Sea coast in an area where rapid global warming has sped up the movement of sea ice, the primary habitat of polar bears. As ice has receded to deep water beyond the continental shelf, more bears are remaining on land to look for food.
The village had less than 50 visitors annually before 2011, said Jennifer Reed, of the Arctic National Wildlife Refuge.
"Today we're talking about hundreds and hundreds of visitors, many from around the world each year," Reed said.
Polar bears have always been a common sight on sea ice near Kaktovik, but residents started noticing a change in the mid-1990s. More bears seemed to stay on land, and researchers began taking note of more female bears making dens in the snow on land instead of on the ice.
U.S. Fish and Wildlife Service biologists began hearing reports of increasing numbers of polar bears in the area in the early 2000s, Reed said. As more attention was given to the plight of polar bears about a decade ago, more tourists stated heading to Kaktovik.
Most tourists visit in the fall, when bears are forced toward land because sea ice is the farthest away from the shore. Some bears become stranded near Kaktovik until the sea freezes again in October or November.
The fall is also when residents of Kaktovik kill three bowhead whales. Bruce Inglangasak, an Inupiaq subsistence hunter who offers wildlife viewing tours, said residents were unsure how tourists would react to whaling.
"The community was scared about, you know, activists that was going to try to get us to shut down the whaling — subsistence whaling," Inglangasak said. "But that's not true."
Inglangasak said he's been offering polar bear tours since 2003 or 2004.
Most of his clients are from China and Europe, as well as from the Lower 48 U.S. states and arrive in Katovik on charter planes from Anchorage and Fairbanks.
Many tourists stay several days in the village, which has two small hotels, Inglangasak said.
Information from: KTOO-FM, http://www.ktoo.org
Associated Categories: U.S. News, Associated Press (AP), AP National News, Top U.S. News short headlines, AP Business, AP Business - Industries, AP Business - Agriculture
Garland's stolen ruby slippers from 'Wizard of Oz' are found
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Коло среће се може односити на:
 Коло среће (ТВ емисија), српска ТВ емисија
 Коло среће (ТВ серија), српска ТВ серија


Declining inventories for cattle and an ongoing deficit in world grain production point the way to higher beef prices.
"There is no indication of herd expansion in the U.S., Canada, or Mexico," says the senior vice president of R.J. O'Brien & Associates and owner of HedgersEdge.com.
Even though animal numbers have been declining, Gottschalk says, total U.S. beef production has remained basically flat due to increases in carcass weights.
High grain prices will also play a role in pushing prices up, he says.
Increases in pork production by China, which has more than half-a-billion pigs, and poultry in Russia will further increase demand for grains.
U.S. beef exports were up 23 percent last year, Gottschalk says, while pork saw a 3 percent increase. For 2011, the USDA is forecasting beef exports unchanged, but he says he "would not be surprised to see another 5 percent to 10 percent increase in beef exports." Pork exports are projected by the USDA to increase 9.8 percent and poultry 4 percent.
And at retail, "We're seeing he highest cash prices ever for beef, pork, and poultry. I think the greatest growth will be in broilers, since it's an easy entry business and has a quick turnaround.