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American Horror Story: 7 Seasons of Title Design
When American Horror Story premiered in 2011 with its first season, Murder House, audiences could be forgiven for expecting a middle-of-the-road, horror-tinged series after watching creators' Ryan Murphy and Brad Falchuk's pulpy nighttime soap opera Nip/Tuck and their rambunctiously effusive high school musical series Glee. However, from the opening moments of Murder House, it became clear that American Horror Story would keep its predecessors' must-see TV qualities but warp its lens – and the reality revealed to its audience – to dizzying and terrifying degrees.
Over the course of its seven seasons, American Horror Story has grown into a pillar of prestige television with each season focusing on new themes, stories, and characters and featuring a stable of actors – including Sarah Paulson, Evan Peters, Jessica Lange, Lady Gaga, Cuba Gooding Jr., Angela Bassett and many more – making multiple appearances as multiple characters throughout the series. From its inception, American Horror Story has sought to push the horror genre forward. That desire to create new and contemporary nightmare fuel was cemented when Ryan Murphy and Executive Producer Alexis Martin Woodall approached title designer Kyle Cooper to create a title sequence for the show.
American Horror Story: Murder House (2011) main titles
Known for his work on title sequences for Se7en, Mimic, and The Walking Dead, among countless others, Cooper worked with the AHS team to merge the themes, imagery, and even the occasional plot point from the series to tantalize viewers. Each season of American Horror Story presents a different story arc, time period, and cast of characters, as well as a new title sequence designed to bind the anthology series together while laying the season's thematic groundwork. The series' title sequences have become so popular that they are often among the first pieces of marketing to be released for a new season, allowing fans and critics alike – if they dare to watch – to mull over potential clues or insights into what horrors they have coming to them.
A discussion with American Horror Story Executive Producer ALEXIS MARTIN WOODALL and Title Designer KYLE COOPER of Prologue Films.
Alexis, can you give us a bit of background on yourself and your role on the American Horror Story series?
American Horror Story Executive Producer Alexis Martin Woodall
Alexis: I'm the Executive Producer for Ryan Murphy Television and I produce all the shows we do under this banner including American Horror Story, one of my oldest and favourite children. On the show I'm the Creative Producer on the back-end, so of course I deal in prep, I read the scripts, and talk about it with the writers and Ryan Murphy, but really and truly with the writers. Ryan and the directors go off and do their own thing and I really take ownership after the cut is done. The editor has the editor's cut and the director has the director's cut and after that the shows come to me.
I watch them and I think about what story we're telling and are we doing it the right way, do we need to change the score, do we need to change the structure? So I like to think about orchestrating all of our many moving pieces to elevate the story and make sure we're doing our best to scare and entertain people. That's why I'm so passionate about main title design because I think tone is everything. A great main title sequence sets the tone for everything.
A great main title sequence sets the tone for everything.
—Alexis Martin Woodall
American Horror Story: Asylum (2012) main titles
As a producer, what do you feel the role of a title sequence should be?
Alexis: What's really interesting for me as a producer is that I love main title sequences so much but I do not believe that all shows need a main title sequence, so that immediately begs the question – what does need a main title sequence need to do? I think, especially with a genre like horror, a main title sequence tells you where you are, time and place, and what is the world you're about to enter into in that one minute or 45 seconds or whatever you get to play with. You have your audience member sitting there and maybe they didn't know what they were getting into, but it's your job to say, hey, we're just scratching the surface of where you're going to go. How we're going to make you feel for this next minute is how we're going to try and make you feel for the entire series.
Kyle, how did you and your company Prologue become involved in American Horror Story?
Kyle: In the lead up to season one, Ryan Murphy called me. He had seen the title sequence for Se7en and some other things [I had done] and asked if I wanted to work on American Horror Story 1. That's really how it happened. I went to his office at Paramount, he had a nice, very beautiful loft space, very artistic, outsider art kind of things. We didn't exactly know what we were going to do in the first one. He gave me the scripts and I never really see any of the show before I [work on the title sequences]. It's usually before they start shooting that he calls me.
View 20 images
American Horror Story: Murder House (2011) styleframes
Kyle: So I just had the scripts, and I read all of them, I read all of them before I met him and I pulled a bunch of references. I think we knew [the title sequence] was going to be live action or we wanted it to be live action and I wanted to shoot it for the first one. So the kinds of references I was showing him were things to photograph that had to do with the show.
At what point in any given season of American Horror Story do you begin to work on the title sequence?
Alexis: What happened at the very, very beginning Ryan said to me, I want to do a really cool title sequence for this and I want to do it with the guy who did the titles for Se7en. I said, that sounds awesome, I had always wanted to work with Kyle Cooper. So I cold called Kyle and his producer who works with him Kate Berry and they came to Ryan's office and the four of us sat down and had a meeting. Ryan talked about what the first season was, which was Murder House, that it was a psycho-sexual horror story and he talked about elements from the script and the power of the basement in this house. Kyle said, "okay let me go away and think about it and come back with a series of images" and we went from there.
Title Designer Kyle Cooper directing a shot during the production of the American Horror Story: Asylum title sequence.
Alexis: As the years have gone on, once Ryan conceives of what he wants the season to be about, Ryan, Kyle and I get together often before we've started production so we can talk about the things Ryan is attaching to from the scripts and the things that make sense to me and what we can get going and ruminating in Kyle's head. So I would say we average talking about them three months before we start shooting so it gives Kyle a chance to go away and think about it. Because Ryan and I work so closely together in the creative, we want what's in Kyle's head and his take on it because he has a different perspective. So in a Venn diagram of taste we all align in that place of elegant, gruesome horror. It moves really quickly from there, it takes about a month to nail down what we want, shoot it, get the first cut back, and talk about moments we like, moments we don't like, how we can make it better, but it's a really tight process and the three of us work really closely and really well together.
What is the process of collaboration like on these sequences?
Kyle: I research as much as I can. If I have a script I read the script. I show them references and Ryan talks about the kind of things he wants to see. I talk about the things I would do. It's become a bit more freeform because sometimes I make things up while I'm shooting, but it's always in the same kind of wheelhouse as what Ryan and I have talked about.
I bring my weirdness and Kyle brings his darkness.
American Horror Story: Coven (2013) main titles
Kyle: I'm not sure what kind of direction he gave me on the first one. I said I like the Infantata in the basement and I like all the pictures of the people who had lived in the Murder House, kind of frozen, kind of looking on, their eyes wide open, I thought it was really interesting to have all the people who had lived in the house in pictures, kind of frozen and forced to look on at the proceedings in the house.
I went to the set which was in Hancock Park and it was a craftsman house and it had stained glass windows, the furniture was kind of art deco-y. There was plastic over a lot of the furniture. [Ryan] played me in his car a bunch of songs that he thought would be good for the background and I cut some stuff to the songs he liked or songs the music supervisor intended to use in the first episode. So I took the music he had at that time and walked around the set. And I guess the things I remember from the set were the plastic coverings on the furniture and he did say, in terms of input, because the house was a Craftsman house he had a Frank Lloyd Wright book on his desk and the title of it was set in an Art Nouveau font. It wasn't exactly the font we used and I didn't so much like the Frank Lloyd Wright font, but I liked the Charles Rennie Mackintosh font which was similar. They're both Art Nouveau, Craftsman kind of things, but I changed it to the Mackintosh font and Ryan liked it. And it's interesting because that font kind of became the brand. A lot of the things we did in season one, which is also true of Walking Dead, we established the typography and the logo and the marketing typography in the main titles that they still use. Even Universal Studios had the branding in the Universal Horror Nights they did last year. It's nice to see a typographic idea at the outset kind of grow into the brand of the show.
Image set: American Horror Story: Coven (2013) storyboards
Kyle: In terms of the brand of the show, the editor I was working with at Prologue [Gabriel Diaz] had a friend or a relative [Cesar Davila Irizarry] that was a young guy who manipulated sounds and he had this old one that was like coat hangers banging together and there's a guy from Nine Inch Nails [Charlie Clouser] that I guess this other guy sort of knew. I'm not sure how it all came together on their end, but the guy I knew recorded coat hangers banging together and he would distort those sounds, so the editor had that piece of music and Ryan had never heard that so I put one of the edits against that music and it's cool. There's kind of like a buzzsaw that winds through it, a very disturbing piece of music and Ryan liked that. And yes, we've updated the music for Freak Show and Hotel and even now [in Cult] it's more patriotic but still based in this mood of this thing we found.
Did the team have any specific directions that helped inform the Murder House title sequence?
Kyle: The interesting story about the first season for me, Ryan certainly gave me specific direction. He told me this horrible story about a news story about a doctor who was giving illegal abortions in the Griffith Park area of LA and this woman got one from this doctor. Her husband was kind of a nut and, I think, a fundamentalist guy that had lost it and he kidnapped the doctor's daughter who was very young because he was angry that his child was killed by this doctor in his eyes. So he cut this daughter in half who was wearing a christening dress. It was this real crime and it was this horrible thing that influenced what [Ryan] was writing and working on and I just kept thinking about the Infantata, which is where the christening dress comes from. The Infantata is this creature in the basement of Murder House who wears a kind of christening dress and is demonic and kills people. So I was shooting Final Destination 5 and we found this old Mary Pickford stage with a basement and trap door [that we needed for a set up]. I didn't have a purchase order or agreement, but I had my crew there so I was thinking about the little baby, the Infantata running around in that basement and located a Super 16mm camera, which has a more grainy quality. Up until Hotel I shot everything [for American Horror Story] on a Super 16 because I liked that quality for the show.
I was running around that old theatre basement with that Super 16 and they were trying to follow me with the light. If you remember the first title sequence, it kind of goes into this pit which is one of the things I found in that basement. I started setting up these vignettes and I mentioned the house that I had looked at originally with the plastic all over everything, so I got underneath the plastic on one of the chairs and shot from there and we're running around this place and shooting anything we could set up. We found hedge trimmers, some of the things were specific to the content like the christening dress that's kind of floating in the water, and I told Ryan that because he had this illegal abortion story I was going to try and shoot some babies in formaldehyde. The first time Ryan saw what I had shot, it had that music and he just liked it. It was scary, I thought it was scary. You have to try and scare yourself. Tear down things that you hold sacred, put yourself in a situation where you're actually uncomfortable that you're shooting that.
Sometimes it's even surprising to me what we're able to get away with.
American Horror Story: Freak Show (2014) main titles
American Horror Story: Hotel (2015) main titles
The AHS title sequences are so provocative and subversive, have you ever had push back from the network or internally about the content of them?
Alexis: Sometimes it's even surprising to me what we're able to get away with. FX has always been incredibly supportive and by and large they really give Ryan free rein. They trust us to edit ourselves before it gets to them. With us, usually what happens is Kyle sends me a cut first and we'll talk about it. I say, I know Ryan will love this shot or can we move this shot here? So Kyle and I do one or two passes together and then we show Ryan and go from there. Ryan will say, I love this shot, I never want to see that shot again, what about moving this here? Because we've talked beforehand and we trust each other, we like to see what Kyle presents and then we like to see what sticks with us and it becomes a discussion.
American Horror Story: Freak Show (2014) behind the scenes photo
American Horror Story: Hotel (2015) behind the scenes
Alexis: What was really cool about this season (Cult) is that it's a pretty politicized piece and the title sequence initially was a bit more Trump heavy than it needed to be and we hadn't quite gotten there in terms of the edits of the episodes yet. After watching it, Ryan wanted to lessen the Trump elements and heighten the hive. Kyle went back and shot some extra and he shot bees. We hadn't shot the bees before. Ryan and I, having had time to sit with the episodes for a little while we realized there's an aspect that we were missing of the hive and of the cult, it didn't need to be just Trump or just Hillary, there was a bigger picture. It was Ryan who said, I want a bloody hand on a honeycomb. Kyle said, should I shoot anything else? And I say, I think you should shoot the honeycomb and the bees and anything around that, anything to give it that delicious texture. When we got the new version of it back, it was perfection. It wasn't skewing the audience to think it was only going to be about politics.
Kyle, there are tactile elements like the bees and honeycomb in all the American Horror Story title sequences. Can you talk about how you typically achieve those effects and how the pacing of each sequence impacts what you shoot?
Kyle: There needs to be moments that hopefully jar you a little bit and we don't have a lot of time to set up a lot of scares that happen in horror movies. If I can take something that happens, something violent, pause on something long enough that it's disturbing. I really study every single frame in the sense of making a choice, the frame has to be beautiful by itself. I don't like to cut anything that I think is beautiful. Sometimes I have conversations with editors that are about the cadence of certain images and I'm all about that too but I don't want frames in there that I think are ugly. I don't know if there was a beginning or a middle or an end in the first season but there was a thread of a camera move snaking through, and you think about contrast. If that's a snaking move then I should have locked off shots punctuating that. There are seven titles and every shot is locked off, nobody talks about that, but it's a conscious decision so if there's any movement in the frame like a hand brushing against something tactile and it cuts to credit on a black background so you're trying to create these refined editorial moments and you keep winnowing down the stock you have. I feel guilty that things aren't super CG, I just feel very comfortable with the process of shooting things. But maybe that makes me old fashioned. It's always interesting to me when people try to figure out why a certain shot is in there and interpret these things. Maybe Ryan is saying you should show something like that, or there are similar images in the show, or I'm just shooting things that are disturbing. You listen to everything then you spawn.
American Horror Story: Cult (2017) main titles
Kyle: I like tactile things. I like things that exist in the world, like bees. You can study what a bee does to make a bee in 3D, but bees behave in a way that I never would have imagined [when we shot them for the Cult title sequence]. How do I know what fire is going to do? I like to let the fire do what it's going to do.
Tear down things that you hold sacred, put yourself in a situation where you're actually uncomfortable that you're shooting that.
—Kyle Cooper
Image set: American Horror Story: Cult (2017) storyboards
What are some of the differences between developing title sequences for film and for television? How are they different for you?
Kyle: I feel like there's a phenomenon. In my life, I remember being five years old and maybe my parents weren't getting along or something, I yearned to watch Nanny and the Professor and settle into the theme song. It's about this family where the mother dies then this nanny comes along and strange things keep happening but positive things.
The Wild Wild West (1965) main titles, designed by Ken Mundie
Kyle: Wild Wild West. I'd settle down with my brothers and watch that – I could watch the same thing every single week and I'm getting in the zone, I'm getting ready. And now people can just fast forward through the title sequence, but we didn't have that luxury so I would so look forward to that moment of settling in to my favourite TV show. A TV title can do that but it also puts more pressure on a TV title because no matter how good it is, you don't want to watch it over and over again I don't think unless the music does something to you, like the Wild Wild West one did for me. That's the holy grail: to make a title sequence that people don't mind watching. When you're in a theatre watching something, the title doesn't have to sustain itself over and over.
Do you have a favourite American Horror Story title sequence?
Kyle: People like different ones. A lot of people like Asylum, I think I like the first one. There are shots in some of them that I like, and some I'm not sure about. But I wouldn't change anything about the Cult one and I wouldn't change anything about the first one.
American Horror Story: Murder House (2011) process edit featuring "Tonight, You Belong To Me" by Patience and Prudence
Alexis: I always change my favourite but I think Murder House will always be at the top because it's the original. I remember the pause and the black screen and we come back with that loud noise and the skeleton in the attic with Jessica Lange's title card, there's something so magical about that. I think this sequence for Cult might be my second favourite when it's all said and done. There are many things we may do, but we're not going to mess around, we're going to go for it and that's probably the most fun aspect of the process.
Fans dissect these title sequences for clues on the upcoming season. How do you balance giving clues to the audience and giving too much away?
Alexis: In our initial meetings Ryan will say, for example in Cult, he talked about the phobia that were going to be involved and we put our heads together and said maybe this or maybe that, and we stew together for maybe half an hour. They're not super long meetings. We listen to what Ryan says and I bring my weirdness and Kyle brings his darkness. Once we get the bones of what it's going to be, there will be time for Kyle to say, "What if I showed this and this?" And I'll say "No, that's going to give away too much."
How do I know what fire is going to do? I like to let the fire do what it's going to do.
American Horror Story (2011) behind the scenes production photo
Alexis: There's also the idea of the red herring of it all, where fans go down one rabbit hole and they're convinced they know what the show season is about because of one frame in the main title and it has nothing to do with that, so that's kind of fun to watch too. What I like about how the fans devour it is that we're presenting mini-movies or mini-trailers for the season so there are more question marks than answers. Some of the clues or images may not pan out until episode 7.
Why didn't the Roanoke season have a title sequence?
Alexis: Earlier I said I don't believe all shows need a title sequence and I'm adamant about that. The nature of what we were doing with Roanoke, we were paying homage to a terrible kind of reality show, that has its own personality. To break that wall when you go to the title card, My Roanoke Nightmare with the crazy, scribbly text and the angsty, bloody tree and then go into a title sequence? The question becomes, what are we telling the viewer to care about? Are we telling them, don't ever really buy into My Roanoke Nightmare because don't worry, it's just American Horror Story or are we really trying to be subversive?
My Roanoke Nightmare title card
Ryan said, I think we should do one. And I said, I don't think we should. It was a real conversation because we are so known for our title sequences, but we were doing so many other subversive things in terms of the path of the show and season six was like nothing else we had ever done. Why not try doing something else we never done? Why not try it without a title sequence and tell the viewers about this show, My Roanoke Nightmare, that just happens to be part of American Horror Story? I'm proud that we did that, I think if we had done a full-on title sequence it would have been a presentational distraction. We knew that there was going to be backlash, but you can't make choices because of potential backlash, you have to make choices that are right for the story. We needed a break from the sequences we were known for, we needed a fresh start. We needed to step away from the images-title card, images-title card, images-title card, we needed to creatively make a decision about what was best for the season and commit to what we were doing with My Roanoke Nightmare.
Kyle, what are some of the challenges you've faced while working on this series?
Kyle: On Asylum, I said get a pig's head because some horror movies have pig's heads in them. I needed something disturbing to put on this bed we were going to shoot. So we got it and we start late because we couldn't get rental equipment or something. We were shooting on the sets that season so it feels bigger. There was one set up where I was trying to get this actor to rock back and forth on the bed and she just didn't want to do it, so I went in. So in the Asylum title there are three shots, one of a person cowering in the corner, walking back and forth like Rain Man and seated on the bed which were me.
Title Designer Kyle Cooper's appearance in the American Horror Story: Asylum (2012) main titles
Kyle: And the woman, they walked by her with this pig's head to bring it to another set that didn't involve her and she complained to some actor's thing that we made her work with a pig's head. You're working with these things that are disturbing and gross, there's a discomfort about it and yeah it's just a movie or TV show but there's an awkwardness to it.
American Horror Story: Cult (2017) styleframes
Kyle: On Cult, I had a fake dog and I wanted to have this green gas reveal the fake dog. I needed a special fireman or pyro guy to use these canisters that were going to release this green gas. I had the dog framed up and I said, put the green gas in. Instead of placing it to the side of the dog where I wanted it to be, he tossed it in front of the dog so all the green smoke came out and it stained the face of the dog and I'm looking at it thinking, I know this dog prop cost $2800. And I turned to the guy and said, I either need to pay $2900 to replace it or $1600 to clean it. We stayed up all night shooting so we went into the bathroom we were shooting and we through in one of those green canisters then we all had to run out so we locked down two cameras and let it loose. So the next day I had to spend $680 to professionally clean the bathroom.
What are some of your favourite title sequences?
Kyle: I like what they did with Stranger Things. I didn't look at Saul Bass when I wanted to be a title designer, I looked at Altered States, The Dead Zone, Alien, Blue Steel – whatever Richard Greenberg did. They were doing a mysterious graphic thing, dialing up the typography.
That's the holy grail: to make a title sequence that people don't mind watching.
R/Greenberg Associates: A Film Title Retrospective – Read more about Richard Greenberg here.
Kyle: American Gods does a lot of interesting things, mixing in mythology and elements of Americana. What I liked about it was the tearing down of these idols like the astronaut on the cross, like a false god. I found that very meaningful and fun. I like Six Feet Under as well. I like sections of the James Bond, Skyfall – the moment where the skull pops out of the grave I thought was fun. When the face teeth of the skull become gravestones in the z-axis.
Alexis: My favourite is Charade, that's my all-time favourite film, the title sequence by Maurice Binder is wonderful, it has tempo and movement and you have Henry Mancini's theme underneath which makes it live. Feud [also produced by Ryan Murphy and Woodall] is our modern nod to Vertigo, Anatomy of Murder, and all those classics.
Charade (1963) title sequence, designed by Maurice Binder
Alexis: I'm also sort of a weirdo, in terms of title sequences and mood. I think Star Wars is insane. I think it's so good, it's so simple. It's a combination of music, mood and scroll, and presence coming in from behind the viewer's head, it a really great moment. I also love Woody Allen for those reasons, you know where you are every time. You know that typeface, the white letters on the black card, you hear your Django Reinhardt or any other jazz and it is exactly right for that world. I'm also really obsessed with Stranger Things even though it pisses me off that we're up against them [for an Emmy] with Feud. Every time I watch that show with my husband I say to him, I want to wrap myself up in that sequence and never leave. There's a real elegant simplicity to it, like an 80s horror movie mixed with a Stephen King paperback cover. The one thing I will say, it makes sad that Netflix is offering an option to skip the title sequence. I hate it. Let the art be presented as it is, because it is art.
View the credits for this sequence
AMERICAN HORROR STORY: MURDER HOUSE
Studio: Prologue
Director: Kyle Cooper
Director of Photography: Juan Ruiz Anchia
Live Action Producer: Lee Buckley
Editor: Gabriel Diaz
Executive Producers: Ryan Murphy, Alexis Martin Woodall
Music: "American Horror Story" by Cesar Davila-Irizarry and Charlie Clouser
Producers: Kate Berry, Ty Van Huisen
Director of Photography: Juan Ruiz-Anchia
Editors: Nate Park, Rachel Fowler, Gabriel Diaz
Editor: Rachel Fowler
Designer: Ana Criado
AMERICAN HORROR STORY: FREAK SHOW
Designers: Alina Popescu
Art Director/3D Supervisor: Lee Nelson
Art Director/2D Supervisor: Nadia Tzou
Stop Motion Designer: Austin Taylor
Editor: Andrew Young
Additional Editor: Rachel Fowler
Animators: Gary Mau, Bora Jurisic, Byron Slaybaugh, HaYun Moon, Victor Duncan, Andrew Young
Producer: Kate Berry
Associate Producer: Meghan Cirillo
Editors: Nate Park, Rachel Fowler
AMERICAN HORROR STORY: CULT
Editor: Shawn Fedorchuk
Art Director: Olga Midlenko
Storyboard Artist: Doug Stambaugh
Producer: Brian Askew
CINEMA 4D BY MAXON
2010s, character animation, digital, live action, main title, montage, nostalgic, puppetry, type over scene
Alexandra West


The 'about' page for the original ENDABlog focused on the context of that blog's creation. That, of course, was Barney Frank's betrayal of showing what he really thinks of trans people back in 2007 by relying on a likely non-existent whip count of House members to justify pulling that year's H.R. 2015 – a legitimate (read: trans-inclusive) ENDA – in favor of the type of ENDA that we all know that he really wants: one that has no taint of icky trans-anything.
There was one other key aspect of the 2007 betrayal: George W. Bush still occupied the White House and was being allowed to exercise the powers of the presidency – meaning that no ENDA would have become law even if it had passed both houses of Congress.
But the Barney-HRC betrayal of 2007 only bought Gay, Inc. a slim victory in the House for their sanitized, illegitimate ENDA.
Well, it also bought undying distrust of the Cesspool, St. Barney and their apologists by all trans people – excepting a small group of quislings and tokens who can afford not to have to worry about whether a trans-inclusive ENDA happens because they either have guaranteed employment or, in the immediate aftermath of the 2007 debacle, were magically blessed with appearances-only jobs designed to con trans people into believing that the Cesspool, St. Barney and their apologists actualy give a damn about whether trans people as a group live or die.
The 2007-08 session of Congress gave way to the 2009-10 session – which was not hampered by a Republican (alleged) president, but was nevertheless hampered by gay wants (read: DADT repeal.) After the 2007 debacle, St. Barney claimed that with 15-20 more Democrats in the House, a trans-inclusive ENDA would be do-able – and, interestingly, that's about how many more Dems came in via the 2008 election.
We all know what happened with the 2010 elections.
An ultimate legal landscape of the Title VII administrative ruling and a gay-only ENDA would be much like a gay-only ENDA by itself: trans people would be under the bus – only with a slight variation on the theme.
Instead of the bus rolling over us and leaving tire tracks, we actually would be left standing – but underneath a Bus of Damocles, waiting for the rope to be cut in the form of any future majority of EEOC commissioners and/or Supreme Court justices who decide to undo what the current EEOC did.
and that's in addition to the separate-and-unequal state of affairs that would result in 'know your rights' posters blaring to all prospective employers that its illegal to refuse to employ LGBs but saying nothing about that Title VII ruling.
…because we all know how easy it is to prevail in a failure-to-hire suit, eh?
A trans-centered 'Title VII ruling is all that trans people need' mentality emanates from the same ski chalet of insanity that has generated trans support for public accommodations-free trans rights bills – whose legal regime, in practice, will be no different than no rights law at all.
The only real rule here?
I'm wondering whether it's possible to sue you for any incremental brain damage I suffer if I actually read the articles you link?
Like, isn't that something like contributory, oh hell, something or other?
… but I suppose that would be an imposture on my part, considering the rather sad State of The Noggin here after the umpteen 99 & 44/100% INSANE posts I've read on "Those Other Blogs".
— … "you know who you are" … but not really.
Whatever: I'm very happy to see your blog reincarnated as ENDABlog 2.0… even though I'm going to miss feeding the trolls.
But hey, I'm pretty sure Vicky can find "Some Other Blogs" that fancy his droll style of commentary?
But maybe they only need one. ?
Could it be that the fabled Substance-D has hit the streets, at last?
PS: Even though I'm still basically a libertarian, and distrust the statist trend inherent in such anti-discrimination legislation, I tend to agree that legislative action on inclusive ENDA is required… without that, the existing statutes have the invidious effect of creating "protected classes"… and all without its boundaries are correspondingly marked "outcaste", and fair game.
I'm reminded of President Truman drawing the line around the "Protected Zone of Liberty"… and leaving out South Korea.
Class act! Then complains about decorum.
She's reincarnated as Ruth H. Soria at transadvocate. Funny – this need to identify with something other than the boring, entitled, corporatist wasp she is. She's really a secret punk, an Italian dude and now a Latina.
I blame society for leading her to this sorry end.


text:
Plain Or Pan
Outdated Music For Outdated People since 2007
About Craig McAllister
Tag: syd barrett
Cover Versions, Gone but not forgotten, Hard-to-find
Turtle-y Magic
November 10, 2012 Craig McAllister
Field Music are a real enigma. Nominees for this year's Mercury Music Prize, like most who appear on the list they occupy a strange place somewhere between cult band and the mainstream. A hotchpotch of clanging riffs with prog leanings, their music isn't all that original. Their music isn't all that groundbreaking either. Plenty of other artists have used similar instruments to similar effect. And their music, like plenty of artists before them, is not that well-known outwith those in the know (think this generation's XTC). But their music is colossal. And tuneful. And therefore radio-friendly. And by rights they should be a whole lot more successful (whatever that is these days) than the latest hastily assembled 'gang' of skinny-jeaned, stupid-haired, stage school stooges armed with various combinations of the same tune and not much else. Despite the best efforts of those in positions of influence, such as 6 Music's Marc Riley, who plays them and enthuses about them ALL THE TIME, Field Music aren't so much under most folks' radar as completely off it.
A few weeks ago they released a very limited (and now sold out) covers LP. Featuring their versions of Robert Wyatt, Pet Shop Boys, Roxy Music etc etc songs, it has the uncanny knack for a covers album of sounding like the band who made it, not the band who wrote it. Not for Field Music a faithful run through of Ringo's plodding country 'n western heartache 'Don't Pass Me By'. Instead, they turn what is undeniably a Beatles clunker into something that could sit happily on 2010's Measure LP. Warm, metallic and with added Beatles riffs/references for those in the know.
Best track to these ears is their version of Syd Barrett's Terrapin. Barely recognisable from Syd's whimsical off-kilter psychedelic sketch, Field Music add riff upon riff to doubletracked vocal upon doubletracked vocal. The outrageous falsetto breakdown in the middle reminds me of an old Beatles bootleg I have where you get to hear John and Paul working out the harmonies to Taxman. It really does sound terrific – incredibly well-produced, tight, taut and with perfectly-executed sudden stop silent bits – and normally I wouldn't post something as box-fresh as this. However, given that the LP is already sold out and never to return, well…..
Syd, of course, is very much a musicians' musician. The great and the good all dig Syd and for many The Pink Floyd of the mid 60s are far more credible than the stadium-hogging Floyd (Man) of the mid 70s. The Trashcan Sinatras created a luscious and bluesy 6 and a half minute paen to Syd, choc-full of nudge, nudge, wink, wink references to Syd and his music. Emily. The UFO Club. Painting. Hand in hand with The Eskimo. Even the title, Oranges & Apples is Syd-like and a play on The Pink Floyd's Apples & Oranges. But you knew that already. Give it a listen. It's one of the best things the Trashcans ever did. Quite something when you consider the embarrassment of riches in their back catalogue.
*Bonus Track!
Field Music's Them That Do Nothing from their Measure LP. The perfect introduction to the sound of Field Music, it's XTC-esque in its pastoralism, sonically-rich with its chiming guitars and tight-knit harmonies and unexpected left-turn wonky bits. Jeez. That's a sentence I doubt I'll ever write again.
Tell yer pals:
Tagged Beatles, field music, syd barrett, trashcan sinatras
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Home > Schools & Departments > Ateneo Professional Schools > ASMPH > Faculty Publications > 54
Ateneo School of Medicine and Public Health Publications
Applied Stakeholder Analysis in Mapping Political Actors Involved in the Implementation of Universal Health Care in 25 Provinces in the Philippines
Geminn Louis C. Apostol, Ateneo School of Medicine and Public Health, Ateneo de Manila UniversityFollow
Helena Marie Alvior, Thinkwell LLC
Mary Camille Samson, Thinkwell LLC
Stakeholder perceptions on health policy reforms are key inputs for evidence-based policy development and implementation (Lavis, 2009; WHO, 1993). To this end, stakeholder analysis (SHA) is a useful tool for gathering insights on stakeholders' interests in, positions on, and power to influence health policy issues that aim to achieve universal health coverage (UHC). There is little evidence on the use of SHA in health policy development and even less in informing the politics of implementing health system reforms towards UHC. This study demonstrates the utility of SHA as a tool for evidence-based policy development for UHC, drawn from the experience of doing SHA with political actors in 25 provinces involved in the pilot implementation of the recently enacted UHC Law in the Philippines.
We used a participatory process to systematically identify political actors with 'significant influence on decisions, policies, and outcomes' in relation to the pilot implementation of the UHC Law (Wolsfield, 2015). We used group brainstorming and cognitive interviewing techniques to assess stakeholder perception on five domains: [1] stakeholder interests, [2] position, [3] level of knowledge, [4] degree of power/influence, and [5] capability to mobilize resources to implement the UHC Law. We also tracked changes in stakeholders' responses to various reform scenarios. We studied qualitative data through thematic analysis. We determined frequencies for categorical responses in each domain and mapped in three-dimensional stakeholder matrices.
An average of 26 stakeholders for each province were identified (n=642), categorized as: elected local officials (27%, n=173), local health authorities (23%, n=148), local administrators (18%, n=115), healthcare providers (16%, n=103), civil society (12%, n=77), and non-profit organizations (4%, n=26). The majority of political actors agreed on the overall goals and provisions of the UHC Law, especially those in low-income municipalities for whom the law presents opportunities to address financing gaps. Political actors in high-income localities feel that they have less to gain from UHC implementation and more to lose as authority is recentralized, and so are generally less supportive.
Differences in socioeconomic context and provincial development roadmaps also generate differences in interests and positions of stakeholders regarding pooling of local funds, delineation of financing roles among agencies and levels of governments, and transfer of administrative power over health human resources. Limited policy knowledge and lack of implementation clarity represent significant barriers to ownership and engagement of local stakeholders and private sector actors. Perceptions of additional financing and administrative burden negatively affect stakeholders' position on UHC implementation.
Differences in context and localization of UHC policy reforms exert strong influence in the interests of stakeholders and their position on the reforms. While cross-contextual policy comparisons around these specific issues will be difficult, learning is still possible around the approach to analysis, the factors influencing judgements, and implications for and possible approaches to stakeholder and political management. Given the dynamic nature of policy change and the complex nature of UHC reforms, doing SHAs in iteration can offer clearer insights to support policy change towards ensuring the political viability of UHC policy reforms.
Apostol, G. L., Alvior, H. M., & Samson, M. C. (2021, July 13). Applied stakeholder analysis in mapping political actors involved in the implementation of universal health care in 25 provinces in the Philippines. 2021 World Congress on Health Economics. https://healtheconomics.confex.com/healtheconomics/2021/meetingapp.cgi/Paper/5234
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We know that online shopping for clothes can sometimes be difficult without knowing the exact fit of a garment. We want you to be satisfied with your purchases, love wearing your new clothes and continue shopping with us.
If something isn't right we will be happy to send you another colour, a new size, an entirely different style or an online store credit. At this point in time, store credits cannot be used online. They can be used either instore or over the phone. We do not provide refunds for change of mind, including if the incorrect size has been ordered. Any exchange is subject to availability.
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Any unsuitable items can be returned to us for an exchange or store credit as long as the item is in new and unused condition, with all original tags attached with your original receipt.
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Boxing is a bit of a craze right now - everyone from your best friend to VS model Shenina Shaik is doing it. From a PT's perspective, why do I encourage it and what's it going to do for you?
The majority of boxing sessions take a leaf out of HIIT, in that you smash a bag / pad / another person (personal favourite) and have a short rest. With high reps and little resistance, your body's metabolic rate is firing away for up to 24 hours after you leave.
Running, cycling, cross training… all wonderful exercises for cardio fitness, but they neglect your upper limbs. The action of punching forces you to tense your muscles over an extended period of time - and this means that the 'frame' of our muscles are tightened - creating a smaller overall shape. We can't specifically 'spot' reduce fat - ie. burn it from one area only - but we can alter the framework from which our fat hangs.
Any article on boxing has to highlight that it allows you to unleash your anger, sadness, anxiety and any other emotions you're experiencing. I often get my clients to tell me any issues that they are sorting through pre-boxing, and when they are punching, I'll repeat it to them and yell "LET IT OUT!" There's nothing more powerful than a physical release of stress - your dopamine and serotonin levels go through the roof, leaving you with that feeling of absolute zen.
For those who haven't boxed before, I highly recommend seeing a trainer as they can teach you correct technique to maximise calorie expenditure and prevent injury. Boxing in a group is super fun, and a healthy activity to share with your girlfriends or partner. And will leave you feeling absolutely smashing…. literally!


Yesterday my friend Tim Campbell passed away. Tim was one of the first friends I made when I moved to Seattle and he was one of the smartest, nicest, and most genuinely sincere people I have been privileged enough to call a friend.
When I first heard of his passing, I sat down where I was and cried. I'm crying again as I write this. I haven't cried in years, and when I do it's not something I share.
Even though we met in Seattle, Tim moved to the Berkeley in 2013 with his wife Katie to pursue a PhD at Cal and I was so glad when he did. I love the friends I have made in California, but the friends I made at UW, Tim included, I count among the best I will ever have.
I made cookies for Tim and Katie last week and stopped by his house in Berkeley to drop them off. In true Tim fashion, he immediately offered to make me dinner. When I declined he literally gave me a portion of the meal he had just made for himself. That's the sort of person he was. I don't think he ever once in his life put his own needs before those of his family and friends.
Tim was the sort of person who others always wanted to be around because his love of life and fascination with the world around him were contagious.
When I became an RA at UW, I inherited Tim's room and floor from him in Haggett Hall. The staff that had worked with him the year previous had so many wonderful things to say about him, and I wondered often if I was doing as good a job as he would have supporting my residents. I don't think I was ever close to being as good an RA as Tim, but that's OK because he was the sort of person you aspired to be more like. Even though you could never be as good as him, you knew you were ultimately a better person for him having shown you what was even possible to begin with.
I always found it amazing that Tim, despite his diagnosis with cancer, remained one of the most positive people in my life. I think back on times we biked around Berkeley or went to see the Alabama Shakes at the Greek Theater in Berkeley, and when I picture him in those moments I picture that wide smile that so rarely left his face.
A lot of people over the years have called me 'positive pat' because I generally try to look for the good in things. I wrote a blog post last month about something to that effect. Tim however was positive despite the fact he knew he was sick. He bore that weight himself and still projected warmth and generosity in ways I will never be able to.
I'm going to miss Tim a lot, and I can't even imagine what Katie must be going through right now. The world was a better place with him in it.
Posted by Patrick Dugan on September 17, 2015 .


Unite members at the Workers Educational Association had voted by 85% in support of industrial action over an imposed restructure of London Region Staff without full and meaningful consultation. However, as a result of discussions with ACAS involvement, a last minute agreement ensures that the WEA's 111 year history with no strike action can continue!
• New proposals will be presented to Unite, staff and regional governance.
• Both parties agree that these proposals will be the basis for meaningful consultation.


1. Alvin Roth and Lloyd Shapley from USA have been awarded with the 2012 Nobel Prize in economics for their work on the theory of stable allocations and practice of market design.
2. British novelist Hilary Mantel won the 2012 Booker prize for her novel -Bring up the Bodies- which is the second book in a historical trilogy. Earlier she won the Booker prize in 2009 as well for the first novel in the trilogy named -Wolf Hall".
3. Yahoo has appointed Google executive Henrique de Castro as its next chief operating officer (COO). This is the second time; it has hired its top executive from its biggest rival Google. Earlier Yahoo has appointed former Google executive Marissa Mayer as its Chief Executive Officer (CEO).
4. Citigroup Inc Chief Executive Officer Vikram Pandit and Chief Operating Officer John Havens have resigned yesterday with immediate effect. Previously chief executive for Europe, Middle East and Africa, Michael Corbat has been appointed as the new CEO of the third largest US bank by the board chaired by Chairman Michael O'Neill.
5. The German government has lower its 2013 GDP growth forecast to 1% from earlier forecast of 1.6% due to worsening euro zone debt crisis and lower export demand from the entire region.


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'An American Celebration' concert to be held for Pieta House
This summer group travel specialists Celtic Horizon Tours are hosting a special 'An American Celebration' concert in aid of Pieta House.
The event, which has been called a 'unique celebration of Irish Song and Culture' will be held on American Independence Day (July 4th) at the National Concert Hall in Dublin.
The concert will include a performance from the Tacoma Concert Band from Washington, the premier community symphonic band of the Northwest of America.
Under the direction of Robert Musser, the band will join forces with the renowned Artane Senior Band under Director Ronan O'Reilly.
They will also be joined on stage on the night by one of Ireland's leading Tenors – Paul Byrom.
Senator Pádraig O'Ceidigh, a long-time supporter of Pieta House, has played an integral part in bringing these performers and partners together.
Speaking about the concert, he said: 'I am delighted to be involved with this fund raising event for Pieta House.'
'With over 85% of its funding coming from donations, Pieta House relies on the generosity of the public to continue to provide its life-saving services free of charge. Whatever I can do to support their continued services is a privilege.'
Keith Kelly, performing arts director at Celtic Horizon Tours said: 'We're delighted to welcome our guests from Tacoma, Washington to Ireland for the July 4th 2018 celebrations in the National Concert Hall.'
Pic: Collins
'The Tacoma Concert Band are a fine example of that "American Sound" we all associate with July 4th.'
'All partners in this event felt strongly that we wanted to work with Pieta House and help raise much needed funds for this important charity.'
The concert will take place on July 4th, 2018 at 8pm, in the National Concert Hall, Dublin.
Tickets for the charity event are on sale now, and are available at: www.nch.ie
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It sounds like a Christmas list — a new rectory for St. John the Apostle Parish in Milford, a renovated parish hall for St. Elizabeth Ann Seton Parish in Bear, an air conditioning system for St. Bernadette in Harrington.
However, those renovation and building projects and others in process throughout the diocese are being delivered without Santa's help.
The funds to improve and maintain parish properties are from diocesan parishioners' own generosity to the Sustaining Hope for the Future capital campaign for $28 million that began in 2013.
This rendering shows the new rectory that will be built at St. John the Apostle in Milford with the help of funds parishioners donated to the diocese's Sustaining Hope for the Future capital campaign.
The portion of those donations being disbursed to parishes amounts to nearly $6.7 million of the $22 million that has been received so far, said Deborah Fols, head of the diocesan Development Office that runs the campaign.
Bishop Malooly started the $28 million Sustaining Hope campaign to "re-energize the diocese" after it emerged from bankruptcy in 2011.
The bishop's goal was to build up the Lay Employee Retirement Fund by $10 million; grow the Priests' Health and Welfare fund by $3 million, raise for $2 million for sustaining diocesan ministries and designate $11.2 million for parish projects.
The remaining $1.8 million is part of the diocese's 60 percent and earmarked to satisfy campaign expenses from 2013 through 2018, Fols noted.
When pledges exceeded the original goal by more than $3 million in 2015, the bishop called the response a "real tribute to the people and the pastors" of the diocese.
Each parish's share of the Sustaining Hope funds is based on it exceeding the 60 percent mandatory portion of their target goals. The remaining 40 percent of the parish's campaign donations have been returning to parishes.
When and if a parish surpasses 120 percent of its Sustaining Hope target, the rest of the collected dollars are assigned fully to that parish, said Fols.
At the close of 2016's third quarter, Fols said, $31,636,674 had been pledged with a little more than $9 million remaining to be collected.
At St. Elizabeth Ann Seton in Bear, the pastor, Father Roger DiBuo said the Sustaining Hope funds returning to the parish have helped renovate its 36-year-old church hall and build a pole barn for storage on the parish property.
The SEAS renovated parish hall has been in use since September. The hall, which was the parish church for its first 18 years, now has new LED lighting, ceiling and floors, and renovated walls, bathrooms and stage.
"The parish is very proud of the hall. We're excited to use it and bring others to see it. We did not start until we had all the money in hand," Father DiBuo said.
The pole barn will be used to store booths, grills, tents and parking barriers that are used each year for the SEAS carnival, he added.
The pastor said the parish Sustaining Hope committee "surfaced the projects" the parish needed and a committee also helped design the renovated hall and pole barn. He thanked parishioners Tom Cupples, Joy Capano Lemly, Frank Bartuski and Mark Bucholz for their leadership on the committees.
St. Elizabeth Ann Seton also turned to the Diocesan Building Committee for approval and advice on the construction projects.
"We sent all our plans and all our bids to the diocesan committee," the pastor said.
"They were so helpful. They responded in good time with suggestions when I sent them a proposal.
Romy Aquino, chairman of the Diocesan Building Committee, said the group reviews plans for all construction project in the diocese that involve spending $25,000 or more.
The committee, under the guidance of Vicar General Msgr. Steven P. Hurley, validates the need for the construction projects, and reviews plans for parish and school projects that have already been OK'd by the bishop.
The funds returning to parishes from the Sustaining Hope for the Future campaign are starting to increase the building committee's work.
As parishes consider projects, Aquino recommends they make a priority list after making assessments of the church, rectory, offices and school needs.
"The Diocesan Building Committee has a lot of relationships with consultants and contractors we can call on for assistance" to help parishes make cost estimates, Aquino said.
The earlier a parish contacts the Diocesan Building Committee with its plans, the better, Aquino said.
At St. John the Apostle in Milford and its mission, St. Bernadette in Harrington, Father Anthony Giamello, the pastor, said Bishop Malooly gave the go-ahead for a new rectory at St. John's and the Diocesan Building Committee has approved the project's budget for construction.
Lessar Builders in Camden will be the contractor of the new rectory designed by C. O'Brien Architects in Bala Cynwyd, Pa.
The Sustaining Hope project at St. Bernadette will be installation of air conditioning in the parish hall.
Father Giamello said the St. John rectory will be a handicapped-accessible ranch-style house of about 3,600 square feet that includes three suites, each with a sitting room, bedroom and bathroom, and a common kitchen and dining room.
The committee had questions on what the HVAC (heating, ventilation and air conditioning) system would be and also recommended the parish make sure it has the county's permission for land usage and grading. They also recommended St. John's lighting contractor investigate possible rebates from the federal government for energy saving lights.


text:
2484 - 20 March 2021
Medical pioneer's library sold at Bonhams New York
Offered at Bonhams New York (27.5/25/20/13.9% buyer's premium) was a first selection from the medical library of James Tate Goodrich (1946-2020).
Ian McKay
A plate from Humphrey Ridley's 1695 work on the Anatomy of the Brain – $14,000 (£10,525) at Bonhams New York.
He was the world-famous pediatrician and neuro-surgeon who in 2016 famously led a team of over 40 in a pioneering, 27-hour craniophagous operation to safely separate conjoined 13-month-old twins.
Early works in the December 10 sale included, at $14,000 (£10,445), a copy of Giacomo Berengaria da Carpi's Tractatus de fractura calve sive cranei that in 1998 had been part of the great Haskell F Norman library dispersed by Christie's New York.
Printed in Bologna in 1518, this woodcut-illustrated work is the first separate treatise on head injuries and their neuro-surgical treatment. The author had attended to Lorenzo de Medici following a gunshot wound and a skull fracture received in battle.
Another 16th century success was a 1546, Basel first of Epistola rationem modumque propinandi radicis Chynae decocti… by Andreas Vesalius, which sold at $22,000 (£16,540). A work on the discovery and therapeutic use of the 'china root' in the treatment of syphilis, this work is also a major source for details of Vesalius' life.
Venetian Vesalius
Sold at $30,000 (£22,555) was a 1568 Venetian edition of Vesalius' greatest literary monument, De humani corporis fabrica…, that was purchased in 1680 by Robert Hooke, and the most expensive of the lots in this first Goodrich sale was a copy of Hooke's own great literary and pictorial landmark, his Micrographia of 1665.
Containing 35 engraved plates, mostly folding, illustrating his …physiological descriptions of minute bodies made by magnifying glasses, it made $55,000 (£41,355).
Sold at a record $14,000 (£10,525) was a 1695 copy of Humphrey Ridley's Anatomy of the Brain, the first monograph in English devoted entirely to the subject, and in this instance a copy recorded by its first owner, Edward Bedingfeld, as being a gift from the author.
Books and works on paper: Grimm and wonderful buys
Vagabonds tramp to Chicago
Books and Works on Paper
Fifteenth century friar's manual inspired by the game of chess
Buyer gets teeth into Thomas Nashe feast
British and Irish book auctions: February 7-28, 2023
Archive reveals UK election shenanigans, 1826 style


Searched for "UNI". Found 33 results in 262 milliseconds. Displaying results 1 to 10 of 33.
should be addressed by email to: admissions.eus@uni-flensburg.de . We ask for your patience in these matters as each case is dealt with individually.


Abbreviation of Eleanor 'shining light'.
Diminutive of Ellen or Eleanor: A variant of the Greek Helen, meaning shining light, or most beautiful woman.
Sea nymph; daughter of Nereus. In Greek mythology the Nereids were mermaids and deities of the seas.
Light, lamp of the Lord.


A highly moisturising and protective hydrating gel for regular and frequent use in the management of dry or chapped skin conditions which may also be itchy or inflamed.
Directions for use: The same instructions apply to adults, the elderly, babies and children.
Gently apply Doublebase to the affected areas as often as necessary. Doublebase may also be applied before washing, showering or having a bath in order to prevent further drying of the skin.
Do not use in cases of known sensitivity to any of the ingredients.


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};

redpajama_set_name: RedPajamaGithub


A return to a two section, 1600 point total with the essay section becoming "optional".
The material is intended to align more closely with the standard core being implemented in high schools across the country (including adding material that incorporates science subject matter).
Incorrect answers will no longer be counted as negative points.
Khan Academy will provide free on-line test prep materials.
The ideals presented by the CollegeBoard are admirable. They are trying to make the test less aligned to a student's family income. I applaud this attempt. The unfortunate thing is that they are proposing a new test that almost identically mirrors the format and material of the "other" college entrance standardized test – the ACT. In 2016, instead of students having two tests to try to see which better suits them, there will be only one type of test to take. It is good for students to have two different test formats available to them – I always advise that a student try them both and use the one that works better for them. Starting in 2016 a student probably won't see much of a difference between the results of one test versus the other. The days of having a choice of formats will be gone. There will be even more standardization in the world of standardized testing – and we're supposed to be happy about that?


text:
If animals are sentient, what then?
By Emily Meller
24.Oct.14
Have you ever been seduced by an argument? Watched it unfold before you, smoothly and softly, tugging you a little deeper with each sentence. For me, it was the gravity of ethicist Peter Singer's proposition in Animal Liberation, written over 30 years ago, that drew me in: namely, that if animals are sentient beings just as we are, they probably want to avoid pain, just as we do.
It sounds simple, even obvious – and, on one level, it is. On another level, the complexities and subtleties are enough to occupy a lifetime of thought. It is a great paradox that part of what makes us human is the ability to disassociate our beliefs from our actions and our sense of self from the context that helped create us.
There is one thing I do know. It always begins with the same questifon. 'Do animals suffer?' The answer must be yes, so then comes the real question, namely can we then justify causing that pain?
The approach doesn't lead to a conclusion but a string of questions, doubts and dilemmas. It is easy to see how so many of us simply give up.
Nevertheless, the animal rights movement has been gaining momentum for at least the last three decades. Soon-to-be-enacted reforms to New Zealand law suggest that the shift in public sentiment strongly favours a formal recognition of animal sentience. NZ legislators have listened, providing a serious precedent for Australia to follow.
What is animal sentience? The proposed New Zealand law contains no definition. So, while it seems like a significant step forward, with far reaching implications on everything from factory farming to live export, it also lacks weight.
Peter Singer is clear that it is not necessarily enough to insert a legal clause without a defined meaning.
'I think that judicial activism would be very slow,' he says. 'It is a tool for judges, but probably no more. In Germany and Austria there are laws prohibiting unnecessary killing. But of course the question you're going to ask is what counts as "unnecessary" and the truth is that remains more or less unresolved.'
Without a definition of sentience, it is unlikely that the debate in New Zealand will even reach that point. Marcelo Rodriguez Ferrere, who lectures about animals and the law at the University of Otago, thinks that the hollowness in the laws mean they could quickly lose any significance at all.
'I am really hesitant because without a definition of what sentience really means, I am afraid this is just window dressing,' he argues. 'The idea of sentience here is not linked to those who care for animals or how people act towards animals. I mean, to be perfectly honest, it is unclear how it has the power to change anything.'
The reading speech suggests that the amendment is a direct response to public sentiment. Many of the submissions called not just for a recognition of sentience, but the banning of factory farming and live exports, as well at outlawing hunting. But the reforms barely touch on these topics in practice.
'You have really got to question whether or not the public sentiment has been registered by Parliament or whether it has just simply been outweighed by economic interests,' Ferrere says.
This is the most significant roadblock faced by the animal rights movement. Economically, most Western societies are built on the use of animals. Everything about the lives of many species of animals that no longer exist in the wild is dictated by commercial interest. Their very existence is predicated on the market demand for them. For this reason, assigning them rights, as we understand the concept, is counter-intuitive – if giving animals a right to move freely, breed freely and live with autonomy makes farming too expensive to be viable, it is conceivable that the species would no longer exist outside of zoos.
Instead, the law favours the idea of giving animals 'freedoms'. In New Zealand, these freedoms are enshrined in legislation. But they are not widely enforced – the government outsources regulation to a not-for-profit organisation that is strained for staff.
'We have very few inspectors actually categorising and cataloguing the breaches of the act, very few prosecutions. It's deplorable, really, to encourage a poor attitude to animal welfare simply because there are no real consequences for not upholding it,' says Ferrere.
Using animals while recognising them as sentient beings creates a difficult position to defend. But it is not an impossible view. Singer adds, if there is no real harm then there is no real problem.
'You would have to show some actual harm to the animal, or I have a tough time finding it is truly exploitation,' he says.
It all turns on definition, on drawing a line between exploitation and interaction, between using and abusing. Zoos, in particular, can fall on either side of that line. The central point is how humans view themselves in relation to animals.
Anthropologist and author of Only The Animals Ceridwen Dovey has long been interested in this use of animals.
'I think sentience is a very important and very interesting turn,' Dovey says. 'When I was writing I was very aware that mine were very human animals. I think it was John Berger who said that "animals are the original metaphor". They gave us the great gift of metaphor and over time we degraded them in language.'
Language, it can be argued, is one of the most important things separating 'us' from 'them'. Humans first draw a distinction between species, and then use it to justify appropriating them both physically and in metaphor.
'I was very wary of putting words in animals' mouths. The only thing animals have left to confront us with is their silence,' Dovey says of writing Only The Animals.
While researching the ethical boundaries of what defines humans as a species threw up new perspective on animals, but not in a traditional way.
'I haven't become a vegetarian,' Dovey says. 'I think everyone is very confused.'
Lurking beneath the surface of recognising sentience is an element of wanting to take humans out of the natural world, wanting to remove a sense of violence that would ordinarily occur. According to Dovey, this is a view that the current animal moment in literature is still coming to terms with.
'In a way it has retired to folklore,' she says. 'If you look at the old traditions of the folk tale there is a darkness, there is the idea of an intense gaze you would get back from a wild animal that you wouldn't get from an animal in a zoo … You don't want to idolise that too much because that violence in the wild reminds you that life is meaningless, and that our life ends with as little meaning of those species around us.'
Perhaps the driving force behind the recognition of sentience is the attempt to escape our own animal instincts. But, if we accept that animals feel, and then further accept that a distinction between their pain and ours is an arbitrary one, it seems our decision really comes down to whether we can justify treating species differently.
According to Ferrere, once you outline this approach many people alter their behavior as a result.
'Public pressure is what has given rise to all of the changes so far,' he says. 'People find it very difficult to resist.'
Emily Meller is a Sydney-based writer and law student. Her work has appeared in The Lifted Brow, Vertigo and The Full Bench Law Journal.
More by Emily Meller
From Amanda Mackay on 24 October 2014 at 7.14 pm
This is an enlightening perspective on what is essentially a fraught issue. As a teacher of English, currently reading with my students the novel, 'Into that Forest', which grapples with such conundrums, I would love to use this as a resource to illuminate the issue of animal sentience. How would I go about quoting your article?
From Unconventional on 25 October 2014 at 11.33 am
You're a teacher of English and you don't know how to quote an article? Hello? So you ask the author for help? What kind of teacher are you? Do you get your students to do research? Then why don't you do some yourself and go find out how to quote an article. Or just read the bloody thing again and choose from it what you think would be most effective in the classroom for your discussions and analyses. Or get your students to read it (the possibilities are several). My god. Such stupidity!
The article, btw, is excellent. So thankyou to the author and Overland.
From Steven on 28 October 2014 at 11.10 am
Such hotheadedness. The question was fair enough, and well motivated. I laud teachers who go beyond prescribed curricula to help their students.
Meller, Emily 2014, [in italics:] If animals are sentient, what then?, Overland, accessed [insert date],
An example of how you might reference it. Or you can search 'how to reference website/online articles' to see alternative ways. All the best in teaching about this important issue.
From weasel clause on 25 October 2014 at 11.36 am
If humans persist in not seeing and thinking of themselves as animals too then their not sentient beings.
*they're – animals ain't much good at spellin' either
From Ben on 25 October 2014 at 1.39 pm
Good article- am pleased that Overland have published such a piece. However, for a politically and culturally progressive journal concerned with some of the most pertinent issues of our time, it would be awesome to see more stuff on the underlying processes of human exceptionalism, and the profound moral, social and environmental costs of the presumed belief that animals are here purely for the purpose of serving us in whichever way we envisage. If man is indeed the only species with the knowledge of its own inevitable death, or the capacity to realise that other beings suffer, and if we strive to be moral beings and attain compassion for those we cannot understand and do not have voices in the exact same way we do, yet willingly and knowingly inflict untold levels of suffering on innocent beings for profit, sport, fashion, leisure, taste….then we are kidding ourselves into not only a particularly fallacious way of seeing, but also occupying a thoroughly destructive presence on the planet. I'd like to think we've come a long way from the obscene ideas of philosophers like Descartes on these matters, but unfortunately we have not. Animals are clearly sentient. Your pet dog is clearly sentient.
Remarks like this, in a logical world, should be met with universal disgust and incredulity. A good starting point is Jonathan Safran Foer's book "Eating Animals" and the documentary narrated by Joaquin Phoenix "Earthlings"
http://earthlings.com/
From Anitra Nelson on 26 October 2014 at 12.24 pm
There is a debate and literature on plants feeling too. Where does that leave us?
From Joe Dolce on 27 October 2014 at 9.08 am
Aboriginal culture, here and in the US and Canada, has always accepted that animals are sentient beings. Hence the almost sacred and ceremonial ritual around killing animals for food. A future argument will also include plants and vegetables as well. (Perhaps all matter.) The reality is this: we have to eat something. So to do it with mindfullness.
From michelle on 3 November 2014 at 6.12 pm
HiYa Joe, love your comment. For me it is not 'all men are equal', it is not even 'all humans are equal', it is 'all things are equal'. That's my goal and I'm sticking with it. 🙂
From O. Puhleez on 29 October 2014 at 10.56 am
All animals feel what could be described as 'pain', and accordingly practice avoidance behaviour and strategies. Experience teaches them what to avoid, and what to seek out and welcome.
However, to assert that all animals are equally sentient would be to walk into a psychological and philosophical minefield. The reality is that intelligence, and almost certainly sentience, increases as we rise up the phylogenetic tree. An earthworm will respond automatically to light and to touch, and maybe 'feels' these as 'pain'. The light sensor at my front door responds also to light, and I am pretty sure that the electronic circuitry involved registers no 'pain' at all. But I cannot be certain on that point.
Joe said above: "A future argument will also include plants and vegetables as well. (Perhaps all matter.) The reality is this: we have to eat something. So to do it with mindfullness." [Whatever 'mindfullness' is, Joe, I will try to do it with.] This is a topic which has been discussed quite extensively in the past. But I think it overlooks what we might call microbial realities, and if the reader is a Buddhist, perhaps best to skip the next paragraph of this comment.
Every mouthful of food we eat inevitably includes numerous live cells, by count mostly bacterial. Some foods (eg yoghurt) are particularly rich in these. They descend into the stomach, which is a bacterial hell. Most of them die in the hydrochloric acid bath, which is part of the reason that bath is there in the first place. But further down the gut, billions of bacterial cells live in symbiosis with each of us; for a while. But most of them die in the digestive process, and faeces (ie shit) largely consists of dead bacteria. But I have no moral qualms about that because it is both natural and unavoidable.
Like all of us, I was born with the digestive system of an omnivore. I eat vegetables often, no worries. The animals lowest on the aforesaid tree I have no qualms about eating are oysters. Though I do not eat wormburgers or snails I have no objections to them in principle. I do eat prawns, which I consider to be roughly equivalent to marine insects, and likewise have no moral qualms about swatting flies, mosquitoes and moths. Climbing the tree further, I am happy to eat chicken, fish, sheep meat and beef, but not pork or bacon. I draw my line there.
But wherever we draw it, it is going to be an arbitrary line, and whatever absolute standard we set up, we will likely violate sooner or later.
All living wild organisms follow one imperative given by nature: reproduce as successfully as you can before you are eventually, and inevitably, eaten yourself. We humans to date appear to be the only (partial) exception. We have largely beaten predation, though not yet death; not that I think we ever will.
From tao of poo on 29 October 2014 at 1.47 pm
There is no line. There are no exceptions. We humans are too busy eating our own and all allegedly below us on the great chain until there will be nothing left – look out insects – with food stocks sure to dwindle – you're next in the fry pan, swat?
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If, like me, you like some bright and odd colors among the plain gray/green/brownish military aircraft models on the shelf, then jubilee schemes and aggressor aircraft are the best pick.
The Kfir is actually one of the better ones among Dragon's 1/144 kits, apart from that notorious 'zombie' filling the cramped cockpit and a mediocre fit of parts. The dimensions are right and the shapes match the real thing well.
The model depicts Kfir C-1 airframe 999735 c/s '01' as operated by VMFT-401 'Snipers' at MCAS Yuma between June '87 and October '89. Some excellent detail color pictures of this one and other F-21A's can be found in Osprey Superbase series nr.9 'Yuma' by George Hall (ISBN 0-85045-946-X) and some more in Osprey 'Aggressor aircraft' by Chuck Stewart (ISBN 0-85045-986-9).
I cut up the kit decals (serials and bort numbers) for this scheme.
No F-21A Kfir is complete without an oil drum strategically placed under the lowest place of the fuel tank below the rear fuselage, as the Kfir proved to be among the worst fuel leaking planes in the US inventory, second only to a cooled down SR-71.
The oil drum came from a set of Preiser N-scale 'freight loads', although I'm sure there are other (cheaper) ways to find an oil drum at this scale.
replaced the pitot tube with one out of stainless steel magazine staple.
cut open canopy to place it in slightly raised position.
removed zombie from cockpit and added some details.
thinned down the canard planes.
improved the shape of auxilary inlets on fuselage spine and belly.
opened up the twin inlets in the base of the tail fin.
separated the end of the lower fuel tank from the fuselage tail section.
improved shape of exhaust recess in tail.
shortened exhaust pipe by 1mm.
Date finished: May 1, 1994.
The F-5E comes together with the Kfir in DML's 'the Adversaries' double kit (cat 4008). Whilst the Kfir clearly is the better of the two kits, the F-5E can also be made into a credible looking model.
Do make sure the forward fuselage fits the rear section, a bit of extra care here saves a lot of sanding later.
The model represents a NFWS Top Gun F-5E, serial 160794, bort (5)45 in a color scheme that looks like a variation on USAF's 'New Lizard' scheme.
Paints used are Polly S over Humbrol, both colors mixed to match Fed.Std. 30140 and 20400.
That shiny tail is brush-painted with Humbrol Metal Cote 'Polished Steel' over a coat of gloss varnish. I love that stuff, it's the easiest way to get a piece of plastic to look like real metal: paint with a brush, let it cure for 15 minutes, mask surrounding painted surfaces (to avoid stains), burnish with a cotton tip (Q-Tip), remove the masking and that's all. No sealer required, yet it won't deteriorate with age (I first used it over 20yrs ago and that model still looks as shiny as it did the day I buffed it).
Date finished: April 10, 1998.
The Revell F-5E kit (cat nr.04018) is modeled after an updated Swiss AF F-5E, so it comes with the enlarged squared-off LEX's and a flattened 'shark nose' radome. The kit comes with decals for Swiss AF and a New Blue aircraft of VFA-127 'Cylons' bort 24.
The Revell F-5E kit is a bit tricky to build because wings and tailplanes lack mounting tabs. The tail fin and tail planes are too thick, but filing these down to a credible thickness means that all details are lost, so for the tail fin I just fitted a tail cap antenna to mask its thick cross section and filed down the edges. The kits lower rear fuselage lacks the hollow cross section just in front of the exhaust pipes.
The kit also has the auxilary inlet louvres on the fuselage sides behind the wings in open position, which is great for a Swiss F-5E, but with the US versions these louvres only open on take-off, so I puttied the louvres shut.
This VFA-127 F-5E is an ex-USAF aircraft, an earlier model with pointy nose cone and smaller LEX's, which is fairly easy to convert but it looks like I forgot to change the LEX's. I did change the shape of the nose cone and added a stainless steel pitot tube made from a magazine staple.
Date finished: April 24, 1999.


text:
Opera Block
30 East Bayfield Street,
Washburn, WI 54891
Architects: W.H. Webster
Firms: Webster & Dodge
Styles: Romanesque Revival
StageNorth
Bijou Theater
Olympic Theatre
Fountain Theater
Andrew Aune and John Overby built the "Opera Block" in 1884. The building was fifty by eighty feet, and was built at an initial cost of $8,000.
The auditorium was located on the second floor, while the ground level housed a saloon and pool hall, operated by Mr. Overby.
The upstairs auditorium served many functions, in addition to hosting early Vaudeville acts. Community events and dances were also held there, and it became a cultural hub of the community.
The original building was destroyed by a fire on September 14, 1888, but was immediately rebuilt to the plans of architect W.H. Webster of architectural firm Webster & Dodge.
Contributed by Bill
Joe Vogel on June 27, 2016 at 1:46 am
Aune and Overby were not architects. They owned and operated the theater, along with a saloon. According to a survey of Washburn's historic resources, the architect of the 1888 rebuild of the Opera House Block was W. H. Webster, of the Ashland, Wisconsin firm of Webster & Dodge. The rebuilding was done in the popular Romanesque Revival style.
The theater was listed in the 1912-1913 Cahn guide as the Washburn Opera House. The ground floor of the building is still standing, though altered, but the second floor, which contained the Opera House, has been entirely obliterated. The truncated building is at the southeast corner of E. Bayfield St. and 1st Ave. E..


On Tuesday, November 1 at 7:30 p.m., "Etty," a one-woman play based on the diaries and letters of Etty Hillesum, a young Dutch Jewish woman who died in Auschwitz in 1943, will be performed at Fairfield University's Quick Center for the Arts Wien Experimental Theatre.
Adapted and performed by Susan Stein, the play employs the writings of Etty Hillesum to promote social justice, to challenge prejudice by examining the consequences of genocide and to enable participants to explore their own personal stories alongside Etty's, as they consider their role in the struggle for human rights.
Using only Etty Hillesum's words, Stein's adaptation brings us to 1941 when Esther "Etty" Hillesum is living in Amsterdam. Upon the recommendation of her therapist, Julius Spier, she began a diary on March 8, 1941 to help her with her depression. The diaries take on their own literary life, presenting both Etty's growth as a writer and spiritual transformation. Etty's words, insights and beliefs reach out from the Holocaust and allow us to see the power of hope and individual thought in the most extreme circumstance.
The play is free and open to the public. Reservations are requested. The event is sponsored by Fairfield University's Carl and Dorothy Bennett Center for Judaic Studies. For reservations, e-mail bennettcenter@fairfield.edu or call 203-254-4000 ext. 2066.


text:
Home > Industry > article
Shipping industry receives short-term liquidity to overcome financial woes
Lim Chang-won Reporter(cwlim34@ajunews.com) | Posted : April 23, 2020, 13:02 | Updated : April 23, 2020, 13:02
[Courtesy of Korea Line]
SEOUL -- South Korea will inject 1.25 trillion won ($1.01 billion) into its shipping industry for short-term liquidy support. The lion's share of up to 470 billion will go to HMM, the country's biggest shipper, which should repay maturing ship financing.
The injection of liquidity is separate from a government relief package worth 40 trillion won unveiled the previous day to rescue South Korea's troubled key industries, the Ministry of Oceans and Fisheries said on Thursday. "We hope the measures will preemptively provide liquidity to shipping companies to minimize the damage," Minister Moon Seong-hyeok said.
HMM, formerly known as Hyundai Merchant Marine, has been managed by the state-run Korea Development Bank (KDB) and the Korea Maritime Promotion Agency to minimize damage from a pandemic on the premise of corporate management innovation and self-rescue efforts.
"Considering the characteristics of the shipping industry, which has a time difference between the worsening global economy and falling sales, the damage is expected to increase after the second quarter," Moon said. This yea's global container fares are forecast to fall six percent on-year, requiring preemptive liquidity support as the market outlook is worsening due to a pandemic.
The Korea Maritime Promotion Corporation, a government-backed organization set up to support the recovery of South Korea's shipping industry, will support the issuance of corporate bonds to secure up to 260 billion won in bonds issued by shipping companies. For small and medium-sized shipping companies, the agency will provide 100 billion won by directly purchasing corporate bonds while providing funds for mergers and acquisitions.
HMM has tried to enhance its international competitiveness and profitability since Hanjin Shipping, which used to be South Korea's largest container carrier, terminated its 40-year-long business in February 2017, when South Korean shippers were in trouble due to falling freight rates and a protracted slump in the global economy.
As part of a government scheme to rehabilitate the domestic shipbuilding industry, HMM has signed contracts with three top shipbuilders to acquire 20 giant eco-friendly container ships by 2020.
Lim Chang-won Reporter
email : cwlim34@ajunews.com
© Aju Business Daily & www.ajunews.com Copyright: All materials on this site may not be reproduced, distributed, transmitted, displayed, published or broadcast without the authorization from the Aju News Corporation.
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Colten Brewer is an American professional Baseball player who plays in the Major League Baseball (MLB). As of 2018, Colten Brewer currently plays for the Boston Red Sox as their pitcher. Colten Brewer has played for other teams like Pittsburgh Pirates, New York Yankees, and San Diego Padres.
As a pitcher, Colten Brewer reportedly earns around $535 thousand as his yearly salary from Boston Red Sox. Further, Colten Brewer has an estimated net worth of over six-digit figure.
Colten Brewer was born on October 29, 1992, in Dallas, Texas. However, there are no any details about his parents. As per his nationality, he is American and belongs to White ethnic group. Further, his star sign is Scorpio.
Talking about his education background, Brewer attended Canton High School in Canton, Texas where he played for their baseball team.
As of 2019, Colten Brewer has an estimated net worth of over six-digit figure. Further, the MLB player has an average salary of $535 thousand annually while J.D. Martinez is one the highest earners of the team with an annual salary of $23.75 million.
Colten Brewer so far has made earnings of $545,000 from his entire MLB career.
Further, the MLB Player Colten Brewer earns a good amount of money from various sponsorships, helping him to collect decent net worth.
Unlike his professional career, it was a tough task to dig up his personal life and moreover about his marital status. Further, he hasn't dropped a single hint about his current relationship status as he maintains his life low profiled.
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However, the famous pitcher might be in a relationship and living a happy life with his wife or girlfriend but there aren't any source to claim the fact till date. Talking about body measurement, the 26 years old MLB star is 6 feet 3 inches in height and weighs around 104 kg.
In the fourth round of the 2011 MLB draft, the Pittsburgh Pirates selected Brewer and signed him. He made his professional debut on April 12, 2018, where he recorded 1-3 with a 3.24 ERA in eight games (six starts).
After the 2016 season, the New York Yankees selected Brewer from the Pirates in the minor league phase of the Rule 5 draft and played for the Yankees till 2017.
Later, After the 2017 season, he signed a major league contract with the Padres. On 20 November 2018 Padres traded Brewer for Esteban Quiroz to the Boston Red Sox.
Currently, he is playing along with his star teammates such as Dustin Pedroia, Rick Porcello, Nathan Eovaldi and many more.