Hi, documentary club, thanks for coming back to discuss Dust to Glory. If you haven't had the chance to see it yet, you can watch it here. Those who stand on the sidelines love to pontificate about the higher meaning of competition. "It's not about a race," director Dana Brown narrates at one point in his 2005 documentary Dust to Glory, "it's about the human race." Which, fine, that certainly sounds nice. But for the actual athletes, competition isn't some big cosmic event: it's a collection of fleeting, intensely personal experiences that arise when emotion, stamina, and drive all intersect.
Most competitions last mere minutes or a few hours at most, rarely sustaining the same level of intensity for their entire duration. But imagine racing a motorcycle at 110 mph across treacherous terrain for 32 hours straight. The annual off-road Baja 1000 race is a real brain-breaker in that sense. It's kind of hard to appreciate the grand significance meanings of competition when you're white-knuckling it between cacti at 4am, you know?
By no means is Dust to Glory a perfect documentary: it's not the handsomest production nor the best-filmed, but these shortcomings can be attributed to an honestly rendered present-tense production (i.e. nothing seemed to be re-staged for our benefit). As far as providing a thorough, thoughtful examination of an admittedly nightmarish event, it's hard to ask more of this film. And let's be real, some of that immersive footage (including some stunning helicopter work and of course McCall's frightening crash) is truly remarkable. The film's aggressive insistence on getting impossible shot after impossible shot keeps it in line with the ugly vehicular beasts it documents. Broken fenders, tattered tires, and filthy windshields aside, it crosses the finish line like a champ.
So how did you feel about Dust to Glory? Let's talk about this thing!
1. Forget the bikers: what kind of death wish do these spectators have, anyway?
2. Um, did I imagine this, or did a racer really get knocked off his motorcycle by one of the documentary's camera helicopters?
3. More than one driver has admitted to seeing strange lights in the sky. Please discuss.
4. "There's a good reason the name Andretti is synonymous with speed. Because it's synonymous with speed." Brilliant narration or brilliant narration?
5. Which vehicle would you prefer to race: motorcycle, trophy truck, buggy, or Beetle?
6. Wait, is this race about the human race after all?
What else occurred to you while watching Dust to Glory? Let's talk it out! For more of all things Netflix, visit netflix.kinja.com.


The matter raised in my Rushmore Casino theft article has been largely settled, with the player receiving to date a total of $6,444, representing his full original cashout of $7444 less a $1000 bonus which had been removed previously.
I'm sure this will be sorted out before long.
It remains unclear why the casino's frequently stated apparent failure to "verify" the player, after numerous attempts on the part of the independent investigators to prove to Rushmore that he had passed all aspects of their verification process and was therefore fully verified, remained an issue to them.
Also remaining unclear is the casino's apparent and uncorroborated belief that software had been used "...in order to accumulate the same winnings each time". If any such software exists it is surely the end of the online gambling industry, as no player, other than those of extreme masochist tendencies, would ever lose. But of course, this was not a credible claim.
And it is also further unclear why Bryan "Casinomeister" Bailey locked the player out of his forum and dismissed his claim as fraudulent, when clearly it was not, the only fraud in question being that practised by the casino on the player. But maybe an actual investigation, on the part of this self-proclaimed "player watchdog", was a bit too much to ask.
I'm happy that the player is well on the way to receiving all his money. He was highly cooperative and courteous all the way through. And while cooperation, courtesy nor any other human quality should be necessary in order to collect rightfully-owed winnings, one recognises the realities of the online gambling industry.
Your last paragraph rings especially loud. It's ridiculous how often the Player 'Advocates' of this industry will use a player's colourful language or anger as an excuse to ban them from their forums or refuse to help them etc.
I don't know what the social 'rule' is for this sort of thing, but if there was a Family Feud question about "appropriate reactions to theft of large amounts of money" - pretty sure "anger" would score a lot of points.
I would wager my life on it.
The player has now received the missing $1000, and this matter is finally closed.
Your efforts on this case were admirable and I applaud them.
And if the 'matter' is limited to Embalu ONLY, I agree the 1.5 year painful process is now closed. And I'm glad for Embalu.
But I would think the 'matter' is somewhat greater than Embalu and his stolen money. I would think the 'matter' would be the fact that it was stolen and only the casino group would know how many times they have done this. There are very few people who have Embalu's amazing strength and persistence. All those people [including me] would likely have never been heard from. Particularly if they didn't have Embalu's master of his non-native tongue.
The way I see it, the 'matter' has never been more OPEN. Or more unresolved.
I was referring only to the specific matter in hand, not the general status of the Rushmore group.
The updated Gambling Grumbles report: vindication and payment.


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Home » News » How Network Segmentation Can Protect Supply Chains from Ransomware Attacks
How Network Segmentation Can Protect Supply Chains from Ransomware Attacks
Tripwire Guest Authors
IT Security and Data Protection
Organizations can take various steps to protect their operational technology (OT) environments against digital threats. But some stand out more than others. In particular, network segmentation is described as "the first answer to insufficient ICS (Industrial Control System) cybersecurity." Experts advocate zoning ICS assets to coordinate informational technology (IT) and OT environments effectively.
That doesn't always happen, however. Indeed, the WannaCry and NotPetya attacks decimated the OT side of the affected organizations' infrastructure partly because segmentation was not in place. Otherwise, the impact of the attacks could have been mitigated at least in some way.
The State of Supply Chains, Ransomware, and Segmentation
Over the past year, organizations around the world have witnessed an untold proliferation of ransomware attacks across their supply chains.
Illustrating this fact, a recent survey of hundreds of executives found that 36% of cyberattacks had disrupted supply chains significantly within the past three years. And in 2020, the greatest threat to organizations' supply chains behind COVID-19 was cyberattacks.
Fortunately, network segmentation has proven helpful in mitigating common ransomware attacks especially those arising from breached IoT devices, third-party vendors, and the like. Part of this has to do with the main benefits of network segmentation. These include the following:
Eliminates network congestion, resulting in overall improved performance. More so, it is harder to detect threats and fix vulnerabilities on a congested network.
Improves intrusion control by making it easy to contain detected threats.
Minimizes access to specific sensitive data and information by zoning them to a more secure network.
Segmentation also helps in organizations in the recovery phase. By limiting the available attack surface, the impact of any attack becomes much lower, making it easier to recover or replace lost data. That stands in contrast to having to revamp a supply chain's entire cybersecurity infrastructure.
Moving Away from Linear Network Security
Organizations can implement network segmentation on their supply chains through a virtual local area network (VLAN), firewalls, Software-Defined Perimeter (SDP), and other micro-segmentation techniques. Not only that, but companies can build even more resilient supply chains by combining these with other features such as encryption and access control.
The way in which they integrate these features together is important. Indeed, experts have been saying for years that organizations need to move away from a flat network approach. That's because perimeter security is great only until an attacker figures out how to breach the perimeter while remaining invisible the whole time. When that happens, the attacker moves stealthily across the network to attack assets and hold them for ransom.
Network Segmentation Best Practices
Supply chains have essentially become supply (chain) networks in that most organizations have jettisoned a linear supply structure for a complex system of production and distribution. Hence, there must be a security approach that addresses this current reality, and that is network segmentation. Organizations require a scalable security solution that protects their value networks using the following best practices:
As IoT proliferates supply chains everywhere now, it uses secure-by-design devices. Indeed, security for IoT devices begins right from the PCB assembly stage.
Uses firewalls to filter traffic between defined network segments. This limits and controls access to sensitive data. In the case of a breach of classified data, it is easier to identify and isolate the source.
Uses micro-segmentation to implement the zero-trust principle of least privilege, which grants access to network resources per use basis. What makes this work, particularly with software-defined perimeter (SDP) solutions, is that such segmentation is identity-based rather than device-based.
It is also essential to be conscious of over-segmentation. Heavily isolating your networks can impact performance and impede the smooth flow of the supply chain. The goal must be to balance productivity and security in the supply chain. In essence, network segmentation must be strategic, never all in or all out.
Reduces the number of endpoints that you must protect by integrating resources with similar properties into a single database. Your supply chain might be spread out widely, but you still need a central security strategy.
Consider segmenting third-party vendors. There have been significant attacks to supply chains resulting from vendor mismanagement. Use the principle of least privilege to restrict vendors to only the resources they require to meet your needs.
In all the best practices discussed above, there is a caveat. Truly, network segmentation can minimize the impacts of attacks, but it is not a cure-all or a protect-all. Instead, it is just one of the preliminary steps to secure your supply chain infrastructure.
Always remember that network segmentation is not just about security; it is also about control and visibility. The vaster the supply chain, the greater the control that should be implemented since even the tiniest breaches may have the mightiest impacts.
About the Author: Joseph Chukwube is the Founder of Digitage (https://digitage.net). He discusses Cybersecurity, E-commerce and Lifestyle and he's a published writer on Infosecurity Magazine, The HuffingtonPost and more.
Editor's Note: The opinions expressed in this guest author article are solely those of the contributor, and do not necessarily reflect those of Tripwire, Inc.
Categories IT Security and Data Protection
Tags network segmentation, ransomware, supply chain
About Tripwire Guest Authors
Tripwire Guest Authors has contributed 1,032 post to The State of Security.
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Waters, Sarah
"Your Own Dark Cell": Sarah Waters, Affinity
May 14, 2021 May 14, 2021 Rohan Maitzen3 Comments
'And if you don't take me,' she said, '—well, when they put an end to your visits, what will you do then? Will you go on envying your sister's life? Will you go on being a prisoner, in your own dark cell, forever?'
And I had again that dreary vision, of Mother growing querulous and aged—scolding when I read too softly or too fast. I saw myself beside her in a mud-brown dress.
This post is more or less a mea culpa for the many times I have remarked that Affinity is my least favorite Sarah Waters novel. I usually elaborate on that by noting that her very worst novel would still be better than most novelists' best (a distinction she shares, at least in my opinion, with a pretty small cohort including, just for example, Hilary Mantel). I usually point to Fingersmith as my personal favorite, a preference that's probably based in my interest in Victorian sensation fiction; I've assigned it often in a seminar on that topic and digging in on its details in the way you do when you're working through a reading with students has only deepened my appreciation for it.
I decided to reread Affinity because I have always wondered if I'd underestimated it; because I was in the mood for something plotty but smart and (sadly) Stuart Turton's The Devil and the Dark Water, which I just read for my book club, looked promising but turned out not to be very good; and because I recently "attended" an interview with Waters as part of the London Library Book Festival, which of course was lively and fascinating. And here's the thing. Affinity probably remains my least favorite Sarah Waters novel—but reading it this time, I was very conscious of just what a high bar that actually is! I was gripped from the first page and absorbed from beginning to end. I was surprised by it, because I read it long enough ago that I didn't remember the details, and I was satisfied by it because its details are so well considered. Waters has the rare knack of making her historical research feel alive on the page, and somehow her characters feel true in a way that Turton's never did for me. I don't know if I could point to any specific example or highlight anything in particular that she does differently, but reading Waters right after reading Turton reminded me of the bit in Henry James's "The Art of Fiction" when he notes that, on the subject of childhood, "with M. de Goncourt I should have for the most part to say No. With George Eliot, when she painted that country, I always said Yes." I ended up saying "no" to Turton; Waters is a writer to whom I always say "yes."
I'm not going to go into a lot of detail about the novel because one of its pleasures is how tense and twisty it is. I will say that one aspect of the novel that I especially enjoyed this time was how nicely Waters uses Little Dorrit to signal some of her own themes. Like Dickens's novel, which Waters' protagonist Margaret Prior reads with her mother, Affinity is set in a literal prison but is also very much about metaphorical prisons—social, psychological, and emotional. Much as Dickens does, Waters plays this idea out like a theme and variations, so that various meanings overlap and amplify each other. Margaret is free to come and go from London's grim Millbank Prison, where she volunteers as a "Lady Visitor" offering company and comfort to the inmates, but she is unable to escape the crushing expectations and limitations of life as an unmarried woman whose interests and desires do not fit the life she is supposed to lead. When the novel's action begins, she has already tried to commit suicide; thus life itself, to which she was unwillingly returned, is a kind of confinement, and her misery about her circumstances makes her eager to believe in the possibility of spirits that can pass back and forth over the threshold between life and death. Unable to express, much less claim, the love that might make her happy (for her sister-in-law Helen, for example), Margaret is also trapped by her loneliness. When she meets Selina Dawes, imprisoned at Millbank for fraud and assault, she gradually comes to believe that she has found the key that will set her free. Selina, in her turn, seeks liberation, from her literal cell but also from other forces the novel only gradually unveils for us.
What can these two imprisoned women mean to each other? What place is there for them in the world? I think the main reason I still find Affinity less exciting than Fingersmith is that its answer to these questions is [vague spoiler alert] sadder. Fingersmith goes to pretty bleak places, worse even (perhaps) than the "darks" of Millgate, but something luminous and beautiful emerges at the end. I've always remembered Affinity as dour by comparison, and this reading confirmed that impression; its grimness is not lifted in the same way by the sense of possibility, of escape, that the conclusion of Fingersmith offers. I might tentatively say that Affinity is more Gothic while Fingersmith is more Victorian, though like many such period or genre distinctions, that one may confuse more than it illuminates! At any rate, both novels are great reads and I'm glad I gave Affinity another chance. I might reread some of Waters' other novels this summer: how is it possible that it has already been more than a decade since The Little Stranger came out?
sensation fiction, Waters, Sarah
"Bored by Fear": Sarah Waters, The Paying Guests
October 7, 2014 Rohan Maitzen5 Comments
Once, she never would have thought it possible for a person to be bored by fear. She recalled all the various terrors that had seized and shaken her since the thing had begun: the black panics, the dreads and uncertainties, the physical cavings-in. There hadn't been a dull moment. But she was almost bored now, she realized. Bored to tears.
It's not that I was bored by The Paying Guests, exactly — I found it as smoothly readable as all of Waters's previous novels. Her sentences move with ease across the page, even when (as was certainly the case for long stretches here) the precise and abundant details seem in excess of what is really necessary to convey scene or mood, never mind plot or theme. Waters is a master of meticulous but imperceptible effort: her extensive historical research leads her neither to the dreaded awkward "info-dump" nor to the "fearless pedantry" I admire so much in A. S. Byatt's ruthless stretches of exposition. How people lived, what they wore, what they ate, how they cleaned or decorated their houses, how they cut and styled their hair — it's all there, but the artifice of her recreation is so artful it feels completely natural, even while you never forget you're in 1922, not 2014.
Waters is a consummate story-teller, too, though her love of the long, slow burn was more conspicuous to me this time as a feature of her fiction, rather than a necessity of this fiction. She likes to take her time with her plots, and in The Paying Guests that means we're 200 pages in before anything decisive happens and another 100 pages along before we reach any kind of crisis. The interest and momentum is sustained during this very gradual ascent to drama because Waters is so good at anticipation — creating it in her characters and also, because of her back catalogue, manipulating it in her readers. In a Sarah Waters novel, we know something more is happening than we can tell at first; we can be sure there is a twist, a surprise, to come, that will reveal what was really going on or how things were really working.
Or, I thought we could be sure of that! It turns out that the big reveal in The Paying Guests is that there is no big revelation. Events just keep on unfolding, until eventually we know what happens and it's over. For a page-turner, then, it turns out that The Paying Guests actually is kind of boring, or at least anticlimactic. I enjoyed reading it until I realized there wasn't more to it — that my expectations and speculation had exceeded what Waters was offering — and then I felt disappointed, and my critical curiosity deflated because I couldn't see what, beyond its impeccable surface, the novel was actually about. Its plot is gripping as far as it goes, but what are its themes? What idea drives it? What does it do with its material, besides tell a story? (If I'm bored by simple suspense, it's Waters's own fault for setting the bar so high with Fingersmith.)
And then I read the author's note, in which Waters lists some of her key sources, and then I felt my curiosity revive a bit. Maybe (no matter whose fault it was) I was reading for the wrong things. Just because it walks like a neo-Gothic or sensational duck and at times quacks like one too, that doesn't mean The Paying Guests isn't something else entirely — or a twist on a different form, one I also know a little about. The first book Waters cites, it turns out, is Nicola Humble's The Feminine Middlebrow Novel, which is one of the sources I drew on myself when thinking and teaching about the Somerville novelists (among others, Humble discusses Dorothy Sayers, Winifred Holtby, and Margaret Kennedy). As Humble explains it, the feminine middle-brow novel "straddles the divide between the trashy romance or thriller on the one hand, and the philosophically or formally challenging novel on the other: offering narrative excitement without guilt, and intellectual stimulation without undue effort." That sounds quite a bit like The Paying Guests. The novels I've read from this category (such as Holtby's The Crowded Street or Kennedy's Together and Apart) also often challenged me by being flatter and more literal than is altogether helpful to the attentive critic. They are intensely domestic; they accept the limitations of personal experience rather than making those limits overt themes or formal problems. In Fingersmith Waters takes over the conventions of sensation fiction for her own purposes. I can see The Paying Guests as her doing something similar with the conventions of domestic realism that belong, themselves, to the period in which she's set her story: taking them over, infusing them with the desires and frustrations and uncertainties of her characters in a way that modernizes them while still following their more pedestrian processes — the twisty endings I was imagining don't belong in that genre.
But putting her aesthetic choices into that context didn't end up making The Paying Guests itself more exciting to me. I don't want to undersell it: it's still a good novel (for elegant account of its strengths, see Alex's post at Thinking in Fragments, all of which I agree with — except of course I think she missed a bet in not finishing the second half of Fingersmith — or Teresa's at Shelf Love, which wisely and rightly notes that "The mysteries and tensions that drive the book are those of the human heart"). I just wish Waters had done more with her materials. Vera Brittain also figures in her sources — Testament of Youth as well as Chronicle of Youth — and, drawing on these, Waters develops a very believable picture of the grief and dislocation of families who have lost all their young men in the war; she also picks up on the double-edged gift of autonomy and ambition the war had made to women But since we can read Brittain, or other contemporary sources, for first-hand accounts of these moods and experiences, and since Waters has shown she can layer her novels in such thought-provoking ways, The Paying Guests seems a bit thin. There wasn't a dull moment in it, but in the end I was almost bored by it.
Waters, SarahWaters, Sarah
Incalculably Diffusive? The Impact of the Humanities
March 8, 2013 Rohan MaitzenLeave a comment
From the Novel Readings archives, a response to early reports on the UK's "Research Excellence Framework." Collini's critique (and this post) came out in November 2009 (sadly his piece now appears to be behind a paywall). UK academics can no doubt update us on how far his concerns have proven justified.
At the TLS, Stefan Collini has a trenchant critique of the British government's "Research Excellence Framework" for research funding in the universities. A key factor will the assessment of "impact":
approximately 25 per cent of the rating (the exact proportion is yet to be confirmed) will be allocated for "impact". The premiss is that research must "achieve demonstrable benefits to the wider economy and society". The guidelines make clear that "impact" does not include "intellectual influence" on the work of other scholars and does not include influence on the "content" of teaching. It has to be impact which is "outside" academia, on other "research users" (and assessment panels will now include, alongside senior academics, "a wider range of users"). Moreover, this impact must be the outcome of a university department's own "efforts to exploit or apply the research findings": it cannot claim credit for the ways other people may happen to have made use of those "findings".
Collini's main interest is in the "potentially disastrous impact of the 'impact' requirement on the humanities":
the guidelines explicitly exclude the kinds of impact generally considered of most immediate relevance to work in the humanities – namely, influence on the work of other scholars and influence on the content of teaching
Collini points out a number of profound "conceptual flaws" in the proposed process, among them the assumption that all disciplines across the university can and should be assessed in the same way, and the pressure on researchers to devote their time not to the "impact"-free zones of writing and teaching in their areas of specialization (because influence on work in your field, for instance, does not count as "impact") but on marketing. His concluding peroration:
Instead of letting this drivel become the only vocabulary for public discussion of these matters, it is worth insisting that what we call "the humanities" are a collection of ways of encountering the record of human activity in its greatest richness and diversity. To attempt to deepen our understanding of this or that aspect of that activity is a purposeful expression of human curiosity and is – insofar as the expression makes any sense in this context – an end in itself. Unless these guidelines are modified, scholars in British universities will devote less time and energy to this attempt, and more to becoming door-to-door salesmen for vulgarized versions of their increasingly market-oriented "products". It may not be too late to try to prevent this outcome.
Though I agree it is essential to make the argument about the intrinsic value of "the humanities," it seems at least as important to challenge (as he does) the mechanisms for measuring impact, because the "end in itself" argument risks perpetuating popular misconceptions about the insularity of humanities research, when in fact it is quite possible to argue that our impact on the wider world (particularly, but not by any means exclusively, the cultural world) is already substantial, but probably too diffuse to be measured even by the "thirty-seven bullet points" comprising the "menu" of "impact indicators." Two academic articles I read recently provide some supporting evidence for this claim.
Here's Cora Kaplan, for instance, in a recent essay in The Journal of Victorian Culture:
Sarah Waters has a PhD in literature . . . ; she has said that her research on lesbian historical fiction suggested to her the potential of an underdeveloped genre. In its citation and imitation of their work, Fingersmith paid generous tribute to Victorian novelists; it also has a considerable indebtedness to feminist, gay, lesbian and queer critics and social and cultural historians of Victorian Britain. It would not be too frivolous to see Fingersmith – together with other examples of fictional Victoriana – in their synthesis of the detail and insights of several decades of new research on the Victorian world and its culture as one measure of the ways in which Victorian Studies has developed over the last half century. (JVC 13:1, 42)
And here are Patricia Badir and Sandra Tomc responding, in English Studies in Canada, to calls to take the humanities "beyond academia." Offering a polemical summary of "what the humanities in general, fueled by highly esoteric post-structural theory, have accomplished in the way of widespread social and cultural contributions over the last twenty years," they begin with the premise that poststructuralism began as a "theory propounded by a tiny priesthood of high intellectuals":
But this priesthood had acolytes–graduate students at first, then, by the mid-1980s as "theory" inevitably made its way into the classrooms of ivy league professors, undergraduates. The undergraduates . . . did not uniformly move into Ph.D. programs, thereby assuring theory's continued enclosure in a specialized community. They moved into a variety of illustrious professions and industries, including, most significantly, America's powerful and ubiquitous culture industries. . . . [T]he Hollywood of today is ruled by ivy league degrees, most of them earned in the 1980s or 1990s, and most of them . . . heavily larded with humanities courses–courses in English, film studies, American studies, gender studies, history. These people were taught by their professors to value certain kinds of aesthetic objects. As they assumed positions of authority in the late 1980s and early 1990s, they began to patronize films and filmmakers that meshed with what they had been taught was cutting-edge culture. The signature films of the early 1990s . . . featured the "politically correct" identity issues and self-referential formal experimentation lauded in the postmodern classroom: Thelma and Louise; Philadelphia; The Crying Game; Priscilla, Queen of the Desert; The Piano; Pulp Fiction; The English Patient. In television, . . . the transformation to postmodern forms has been even more radical: Buffy, the Vampire Slayer; The X-Files; Alias. . .
"One could make the same argument," they go on, "for the field of journalism," and they go on to do so, and to the "massive industry" in "'literary' objects" including not just books but adaptations. To calls that the humanities address the interests of "civil society," they reply that "the humanities have, in a large measure, already shaped contemporary civil society": "the fashions we are being asked to follow are our own." (ESC 29:1-2, 13-15). I'm sure it's easy to argue about which are the "signature films" of the 1990s, but the general case that specialist research in the humanities makes its way into the wider world by way of our classrooms seems presumptively strong–but that is just the kind of "impact" apparently discounted by the Research Excellence Framework.
I'm sure more (and perhaps more concrete) examples could be provided by most academics looking at intersections between their own fields of specialization and the world "outside" the academy. A concerted campaign to demonstrate the "impact" of humanities research might do as much good as insisting also that, whatever its "impact," the work is valuable in itself. And it should probably be carried on not (just), as with my two examples, in the pages of academic journals, but as publicly as possible–in the TLS, but also through blogs, letters to the editor, talking to our neighbours–you name it. Many thousands of our students are out there somewhere, too, who could surely testify to the "impact" of our work, not just on their cinematic tastes, but on their thinking, reading, and voting lives. After all, the REF may be specific to the UK, but the narrow version of utilitarianism it represents is not.*
*Narrower than J. S. Mill's, certainly: "Next to selfishness, the principal cause which makes life unsatisfactory is want of mental cultivation. A cultivated mind – I do not mean that of a philosopher, but any mind to which the fountains of knowledge have been opened, and which has been taught, in any tolerable degree, to exercise its faculties- finds sources of inexhaustible interest in all that surrounds it; in the objects of nature, the achievements of art, the imaginations of poetry, the incidents of history, the ways of mankind, past and present, and their prospects in the future. It is possible, indeed, to become indifferent to all this, and that too without having exhausted a thousandth part of it; but only when one has had from the beginning no moral or human interest in these things, and has sought in them only the gratification of curiosity."
Academia, Waters, SarahAcademia, humanities
Recent Reading: Ghosts (or Not)
January 17, 2010 Rohan MaitzenLeave a comment
It was an interesting experience reading Sarah Waters's The Little Stranger and Audrey Niffenegger's Her Fearful Symmetry one after the other. Both are well-written, original books by consummate story-tellers. Both invite us to imagine a lot of "what if" questions about our world, particularly about whether there's more to it than we can see, whether we (at least some of us) live in it longer than our physical bodies do, and whether those remnants (call them supernatural, or spiritual, or perhaps metaphysical), if they are around us, might be trying to tell us something. Both seem self-conscious about their Gothic inheritance; both treat that legacy somewhat playfully, Waters, as in Fingersmith, showing herself especially deft at the evocative use of intertextuality (of course the peeling wallpaper in the house is yellow, for instance). The similarities seem to me to end there, however, except that in my estimation at least, both books also have in common that they are good but not great.
The Little Stranger is certainly the more ambitious of the two novels. Like Waters's other period pieces, it is conspicuously researched without being tediously expository; she has the enviable knack of weaving in historical details (in this case, about life in Britain in the post-war years) as if they belong to the immediate perspective of the characters rather than the retrospective discovery of the author (or reader). She's also extraordinarily sure-footed with dialogue, not just in creating voices for her characters but, again, in sustaining a faintly outdated tone that nonetheless feels completely modern: yes, people use words like "bloke" and "chum," but not too often, and often enough with their own sense of irony at play, so that we can sustain our connection with them without losing our self-conscious historical distance. I've read a couple of historical novels recently that I thought really struggled with how to make their people sound. I think Waters grasps the important principle that people who might have spoken in what, to us, would be an archaic idiom, in their own moment were wholly contemporary and idiomatic, and she avoids the hazard of attempting versions of Olde Englishe or, equally annoying, having everyone speak with extreme formality, as if slang hadn't been invented yet and wearing corsets (or the post-war equivalents) meant you actually were uptight all the time. She's an excellent plotter, of course, too, and The Little Stranger is suspenseful without relying on cheap thrills. I think one way in which her expertise in 19th-century fiction has influenced her as a novelist is in convincing her that a good story can be the basis for a serious, intelligent, and subtle novel–can be literary, in other words.
So for all those reasons, I enjoyed The Little Stranger. But . . . I was also a bit disappointed in it by the end. It is not quite as well written as Fingersmith or The Night Watch, for one thing. It's a bit prosy at times; the energy flags–or at least mine did, reading along (the long saga of the man with the burst appendix near the end, for instance). Of more significance, though (because after all, my own favourite novelist is extremely vulnerable to just that charge), is that I felt the novel did not exploit its ingredients as fully as Fingersmith does. There's Dr. Faraday, for instance. As the novel went along I began really hoping there was more to him than there seemed to be. I could imagine a few pretty cool twists, either involving him more directly in the uncanny events at Hundreds Hall, or, from a more metafictional perspective, undermining our trust in his narration. The ambiguity or uncertainy on which the story turns–is it, can it be, a ghost, or at least some kind of a haunting, something "spawned from the troubled unconscious of someone connected with the house itself," causing all the upsets, or do they all exist in the minds of the characters, or in his mind?–is not resolved, which is fine (that's how uncanny things stay uncanny, right?). But our inability to know for sure ought to have mattered more: think The Turn of the Screw. Or his inability to know for sure should have been more of a problem. Instead, unless I missed some crucial detail, he is, throughout, the perfect foil for the more psychologically susceptible Ayres family, a medical man, a man of science, always ready with the skeptical explanation, always taking the practical steps. At the end he admits to being "troubled" by the details he couldn't explain away, but there's no weight to his wavering, though surely there should be: if he can even entertain the supernatural explanation, where are we left, in the battle between rational and irrational, natural and supernatural?
The other interpretive option, of course, is symbolic, and here's where the book is at once smartest and dullest. Throughout, it's made clear that Hundreds Hall represents a decaying way of life, one out of step with modernity and under threat from all sides as the estate loses money and the house quite literally falls apart. This is a fight the family cannot win, unless it can adapt, and under the pressure of time, or history, the Ayreses prove maladaptive. Faraday sees the family with a real, if faintly bitter, nostalgia, due in part to family connections (his mother was 'in service' at Hundreds Hall) and in part to his own consciousness of the changing times. He loves the house first, and the family, including his eventual fiancee, as much because of their home as for themselves, as Caroline protests at one point. He is in an interestingly conflicted position, then, representing, as a doctor, the forces of progress, but as a man, regret for the erosion of a certain idea of England. So far, great: we have everything we need to grasp that the mysterious events at Hundreds Hall, and their catastrophic consequences, are heavily freighted thematically. Why doesn't Waters trust us enough to bring things to a crisis without then laying out our options, as she does at the very end? Faraday's colleague Seeley offers the "defeated by history" theory; Faraday rehearses the "other, odder theory"; and then he concludes with his own perplexity, and the possibility that all he really saw in the old Hall was his own reflection–his desires, his longings. All of those options are activated effectively enough in the telling that it seemed inept to sum them up in this way. At the same time, though, I didn't feel the novel had shown me clearly enough what difference it would make which option I (or Faraday) ultimately believed. What are the stakes in this interpretive decision, or indecision? (Also, how much cooler would it have been if Faraday turned out to have been scheming all along to somehow get the house for himself? I was really hoping–half expecting–that he would turn out to be quite, if not wholly, unreliable.)
Her Fearful Symmetry is a lighter book, morbid, perhaps, in its fascination with death and cemeteries, but not scary or even really poignant. It too is meticulously researched: one of my favourite aspects of it was all the lore about Highgate Cemetery. I had hoped to get out there on my recent trip to London and didn't; next time, for sure. While Waters is working with the uncanny possibility that there are forces beyond our senses (or our control), Niffenegger takes a resolutely literal and definite stance on ghosts: there are such, and they 'live' (exist? operate?) according to fairly specific constraints and possibilities, which you have to accept without too much quibbling or you might as well stop reading. (One of my problems with this book, much as I enjoyed it, was that it kept reminding me of Ghost, in which Patrick Swayze struggles mightily to move pennies and so forth but somehow never, say, falls right through the floor. Niffenegger's ghost also spends a lot of time learning how to concentrate her "energy" enough to have an impact on the material world. In case you're wondering, her big breakthrough is discovering that dust is light enough for her to move. Fortunately, the piano is dusty so she can write messages there! For some reason, she can fit in a drawer or pass through walls but not leave the flat. No quibbles. Just accept it.)
I liked that Niffenegger is not sentimental, about either death or ghosts. There's a bit of a twist near the end, for instance, that I really appreciated because it kept the ghost consistent with the highly imperfect and self-serving character she was when alive. There's no heaven in this novel, no angels, no starry reunions with loved ones, no catering to wishful thinking about everything being all right at the, or past the, end (The Lovely Bones, anyone?). Even love is not treated sentimentally here. A couple of the most intense loving relationships are claustrophobic for those in them, one, in fact, literally so, as the wife of a man with severe OCD chafes against living with the windows papered over and most of the contents of their flat in boxes. Life, we come to see, is not always all it's cracked up to be–not, that is, if death is a viable option. But death, too, has its drawbacks: it's cold, and you can't smell people, or feel them. The novel's climax is built around a quirky version of a sensational plot involving switching identities (with two sets of twins in the case, I kind of saw that coming, though I admit I hadn't anticipated quite how it would resolve) and body-snatching (sort of). Here too, as with The Little Stranger, I wanted people to be more devious than they turned out to be: as I'm trying not to give too much away, I'll just say that I wish the whole thing had been planned more or less from the get-go. But I liked that Niffenegger avoids the saccharine ending that would justify all the cliches about loves that endure past death. Perhaps she wanted to write a kind of antidote to The Time-Traveller's Wife.
So where's the problem with this one? Well, basically, I thought it lacked ideas. My dissatisfaction with The Little Stranger was that, good as it was, I thought it could have been even better, because it was smart enough to do so much already. In this case, the story really is all. I realize that in some quarters it is considered 'middlebrow' to expect a novel to be about something. I'm not altogether afraid of being middlebrow, but I should be clear that I'm not regretting the lack of a didactic moral or a message. It's just that there don't seem to be any ideas under all the activity in the novel, except maybe that love is unpredictable and potentially dangerous, and that dead people can be selfish too (does that count as an idea if it deals with something as hypothetical as the emotional status of the dead?). Here Niffenegger has taken as her setting a site filled, literally, with many great literary figures, many of whom write with great creativity and insight about love and death. But Her Fearful Symmetry doesn't raise questions about, for instance, who framed that symmetry and what intention or design we might thus infer from it. It doesn't exploit the irony that sisterhood can be as constricting as saving, which it might have illustrated with some lines from "Goblin Market." It doesn't put up an idea about how death is constructed today to put up against its evocation of Victorian death, which it deals with so engagingly through its account of the development of Highgate Cemetery. It takes us to a wonderful little park full of plaques commemorating acts of ordinary heroism, but this illuminates (at most) our sense of the character who loved to picnic there, not a commitment to "unhistoric acts" as the real foundation of life after death, when we join "the choir invisible." What, ultimately, is this book about, then? It's about an inventive cast of characters (and I definitely give Niffenegger credit for making them interesting and vivid) and a "what if" scenario: what if, after death, your opportunities to interfere in the lives of others turns out not to be over? It's very clever, but that's not really enough.
Niffenegger, Audrey, Waters, Sarah
This Week in My Classes (November 25, 2009)
November 25, 2009 Rohan MaitzenLeave a comment
In Nineteenth-Century Fiction it's time for Jude the Obscure. It always strikes me as a fairly gloomy way to wrap up the term, but there's not much I can do in a course that's supposed to cover "Dickens to Hardy"! Maybe because of the time I've been spending this week thinking about the "impact of the humanities," I have more sympathy for Jude on this re-read than I sometimes do: the folly (Fawley!) and the collapse of his dream of scholarship and learning has poignancy precisely because (despite his later conclusions) there is value in that ideal, however imperfectly it is realized within the walls of the colleges that shut Jude out so pitilessly. Where would be the tragedy, after all, if it were otherwise? In the context of our readings this term, Jude fits easily into a long line of foolish dreamers, especially Pip (though his dream of becoming a "gentleman" is as foolish but less ennobling) and Dorothea. But he seems also to have something in common with both Casaubon and Lydgate, whose failures are touched with pathos because they, like Jude, can perceive the worth of what lies outside their grasp. This is my first time through the novel since actually being in Oxford this summer; not least because of the novel's own attentiveness to the physicality of the city–its stones and walls and cobbles and spires and arches–I appreciate being able to picture it more fully in my own mind as I read. Jude is a novel that would lend itself well to a hypertext edition that would somehow activate both its literary and its visual references.
We're discussing Fingersmith in Victorian Sensations. It really is the perfect book for this course, not only because its details hum with significance thanks to all the reading we've done in and about sensation fiction, but because Waters plays with the tropes and conventions of her Victorian predecessors in ways that involve us also with questions about how we (and our own critical and reading predecessors) have worked with that material. For instance, the biggest twist in the novel works–surprises us–partly because up until that moment we have seen just what we expected to see (notice how carefully I'm avoiding spoiling just what that twist is!). In fact, several features of the novel strike me as deliberately using our expectations of Victorian fiction as well as of Victorian characters against us. The most obvious thing Waters does is break apart the line between proper and improper fiction–a line already blurred or crossed, as we've discussed all term, by the sensation novels we've read, but trampled in her version. Not only does she include Victorian pornography (and the active trade in it) as a plot element, which could (but doesn't) read as an almost patronizing move to expose the repressed other side of Victorianism, but she studies the (often unexpected, always disruptive) effects of desire on her characters in ways that make you reflect on the more oblique representations of similarly disruptive forces in mainstream Victorian novels. Desire is everywhere in Victorian novels: why is it so easy to mistake and condemn these novels as somehow repressed, and what advantage do we imagine is gained by being more explicit–particularly for women? Maud envies Sue her illiteracy; through her reading, she has become, perversely, disembodied, unsexed. The challenge, of course, is to write desire differently, and thus Fingersmith itself ultimately stands as a kind of counter-example to, say, The Lustful Turk and the rest of Mr. Lilly's collection.
This Week In My Classes, Waters, Sarah
Summer Re-Run: Sarah Waters, The Night Watch
July 27, 2008 Rohan MaitzenLeave a comment
My new reading right now is mostly samples of the books I'm considering for my Mystery and Detective Fiction course, and I don't have much to say about them at this point, so I thought that over the next couple of weeks I'd re-post and lightly update a couple of earlier things that otherwise would just be languishing in my archives. I have a few more regular readers now than I once did (hey, any number is greater than zero, right?), so, as the networks say, some of them may be "new to you." I'll write new posts too, of course.
Sarah Waters, The Night Watch
(originally posted March 5, 2007)
I've been eagerly waiting for the paperback edition of this novel, as I am a big fan of Fingersmith (such a smart novel, artistically and intellectually) and was thoroughly entertained by Tipping the Velvet. The Night Watch too was easily readable, deceptively so, I've ended up thinking, as I moved through it smoothly only to arrive at the end feeling quite dissatisfied with how I had read it. The backwards chronological structure, for instance, seemed an artificial device, until on a bit of reflection and then with some help from some of the novel's reviewers, I began to think more about ways it suits the kind of character development Waters seems to be engaged in: it's a kind of up-ended Bildungsroman in which rather than seeing people growing into themselves, we peel back the layers of their past experience to see what lies beneath the people they have become. Now I wonder if there isn't a way in which Waters's approach has, perversely almost, a strong forward momentum for the characters, as we realize how complex and contingent their 'current' identities are and how much they (or their situations) have changed over time: instead of seeing them as having arrived, we see them as poised just ahead of their next transformation: their next relationship, their next disappointment or tragedy, their next moment of hope. At the same time, the glimpses of beauty and hope (such as Helen's face at the end/beginning) are so overlayed with our knowledge of change and (usually) destruction that the overall effect seems more disheartening than otherwise: it's too bad, I kept thinking, that this moment here had to turn out the way I already know it did. One reviewer commented that the novel needed to be read twice, and I certainly expect it will seem quite different on a second reading, as the characters' experiences that are presented so elliptically in the first section will feel much more concrete. I like the simplicity of Waters's prose–also deceptive, as the novel is clearly the result of much research and is effortlessly laden (if that's not oxymoronic) with period details. But I would also appreciate some exposition, a thicker layer of narrative commentary, even some philosophizing! Waters's touch is so light that I find it hard to be sure what she thinks is important about the moment she has chosen, or why she develops the kinds of characters and linkages she does. Why write about the 1940s now, for instance? 'Showing' is all very well, but (and perhaps this is just the Victorianist in me) I like the author to collaborate more actively with me on these questions; otherwise I have the sensation of having seen or felt a series of images and moments, but I have not grasped a strong idea. For this, a little 'telling' would be in order.
Update: Having recently read Affinity, I'm all caught up on Waters now.
I'll just add that as historical fiction, The Night Watch struck me as wholly convincing.
Historical fiction, Waters, Sarah


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Learn how to play major chords in this Howcast video about how to play a pedal steel guitar.
Okay, how to play major chords. Well, you've got different positions that are available to you in several different ways. Because you've got ten strings, you've got quite a lot of horizontal action going on here. Starting with the tenth string, you can have a grip that's, a grip is basically a hand position and the combination of strings involved. So there are numerous grips that will give you all the same major chord of E. You're in E when you start here. It's the ninth climatic tuning.
So, you've got four different E triads right out of the gate. You've got ten, eight and six. You've got eight, six and five; six, five and four; and five, four and three. Okay? So that's just without anything. That's without using the tone bar, without using needle levers, or anything. Now, we'll use the key of G as an example. So not only do you have the four major chords we just described, but moving upward if you have the A pedal engaged and the F lever engaged, that's the first needle lever here on your left, raising the E's. Go up three frets from the G, and that's another G major. So you have a G major here on the third fret. You have a G major here on the sixth fret.
Now, if you bring your knees together, lower the E and lower the G sharp... A nice sound there, huh? That's a G also. So let's see what we've got. Then two frets higher than that on the D fret, A and B pedals down, it's the fourth of D, so the fourth of D is G, just as the fourth of E is A. The same thing applies higher up. So let's see. All right, that's not bad, and then all the way up again to the then 15th fret is going to be your next G chord.
So that's already quite a lot of G stuff going on. Now, we've only touched upon those voicings of the six, five and four variety. So, I mean, this all applies. That's your ten, eight, six voicing. That's your eight, six and five voicing. That's your six, five and four voicing, and that's your five, four and three voicing. Now, you can use all sorts of combinations. You could do eight and three and four if you wanted. You can use six, five and three. It's purely a matter of the kinds of sounds you want to get, and where you're coming from and where you're headed to. Those are the basic major chords.
How to Understand Overtones when Tuning a Pedal Steel Guitar


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Mannheim Steamroller is coming to The Fox Theatre Nov. 24
This fall, Chip Davis, founder and creator of Mannheim Steamroller, will celebrate the 35th Anniversary of his annual Christmas concert tour, making it the longest-running consecutive concert tour in the entertainment industry!
Davis' hallmark tour will begin on November 11, 2019, and run through December 29, 2019. Two traveling ensembles will hold performances in cities across the country.
Mannheim Steamroller will be at the Fox Theatre for two performances on Sunday, November 24. Tickets are on sale now at FoxTheatre.org, the Fox Theatre Ticket Office, and 855-285-8499. Ticket prices start at $45, plus applicable fees. Single-event access to the Marquee Club presented by Lexus will be available for purchase on top of the show ticket. Marquee Club passes are $65 per person and include an enhanced pre-show through post-show experience with complimentary food and non-alcoholic beverages.
"I remember when I came out with my first Christmas album in 1984 followed by our first tour. Back then, many in the music industry said focusing on Christmas just wouldn't work," said Davis.
"Now, 35 years later, we are still going strong. I want to thank our fans for making us part of their holiday tradition. Today we often see multi-generational families join us during the holidays each year."
Davis founded his own record label, American Gramaphone, which went on to become one of the industry's largest independent record labels. A Grammy Award winner, Mannheim Steamroller has sold more than 40 million albums, 29 million in the Christmas genre. Their holiday CD's have become synonymous with Christmas and occupy top positions on Billboard's Seasonal Chart every year.
This year's show will feature all of the favorite original classic Christmas hits from the first Mannheim Steamroller Christmas album, along with multimedia effects in an intimate setting. Davis will direct and co-produce Tour performances with MagicSpace Entertainment.
Mannheim Steamroller Christmas by Chip Davis is co-produced by MagicSpace Entertainment. The company is headed by Lee D. Marshall, Joe Marsh, John Ballard and Steve Boulay and has been producing and presenting national tours, Broadway shows, concerts and museum exhibits worldwide for over 35 years. They have an office in Park City, UT. www.magicspace.net
August 6, 2019 The Peach Review®ATL Christmas Events, ATL Concerts, ATL Events, Chip Davis, featured, Mannheim Steamroller, Mannheim Steamroller Atlanta, Mannheim Steamroller Tickets
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text:
var webpack = require('webpack');

// Base config
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// Configuration based on environments
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if(process.env.NODE_ENV === 'production'){
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  webpackCfg.output.path = './assets'; // Bug?
  webpackCfg.output.filename = '[hash].js' // hash filename, cache busting
}else{
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  webpackCfg.devtool = '#source-map'
}

module.exports = webpackCfg;

redpajama_set_name: RedPajamaGithub


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UK wine industry faces big bill and paperwork hell in no-deal Brexit
By Lisa Riley
A no-deal Brexit will generate over 600,000 additional forms costing the wine industry £70 million, according to the WSTA.
It says a raft of "new forms and laboratory test demands" will force UK wine businesses to "jump through hoops" to import wine into the UK and that "concerned officials from Whitehall" are holding "emergency meetings" to discuss how to cope with the onslaught, which is set to "treble their work load overnight".
It also warns that the additional costs, when added to the wine duty hikes enforced by the Chancellor earlier this month, as well as the introduction of wine tariffs and rising inflation, will mean UK wine consumers face a "budget busting rise" in prices.
And it predicts the subsequent pressure on small wine producers is likely to be "too great" and in some cases wine supplies from smaller vineyards into the UK are expected to stop.
"The additional form filling and laboratory tests required for a no deal scenario will come as a real blow to exporters and importers alike," said Miles Beale, chief executive of the WSTA. "Wine inspectors will find themselves drowning in paperwork and - unless they can double their workforce - wine consignments are going to be held up by unnecessary additional red tape. The reality is that if we leave the EU without a deal wine businesses, big and small, will be facing a catalogue of extra costs which will ultimately be passed onto the British consumer."
Some 55% of wine consumed in the UK is imported from the EU. The WSTA has been advising members for over a year that they should increase their stock by 20% to ward off the negative impact of a no-deal Brexit.
This month the WSTA repeated it's call for a temporary suspension on all wine tariffs until the end of 2020 in the event of a no deal to ease the pressure on the supply chain.
It also called on the Government to "urgently" review the proposed import rules, including documentation, and to seek agreement from the EU to have continued access to the EU's Excise Movement Control System (EMCS) which tracks alcohol coming in and going out of the country electronically, with no extra checks or costs.


During the daylight hours you could believe El Dorado, California is just like any other city, but some long buried folks from the olden days have come back to this place. Things go down around here that cannot be explained. People who have never stayed overnight in this municipality will laugh and say it's untrue, but the phantoms of El Dorado are out tonight trying to locate somebody to terrify.


text:
Costa Coffee er en international kæde af kaffebarer fra Storbritannien med hovedkvarter i Dunstable. Det er verdens næststørste kæde af kaffebarer efter Starbucks og den største i Storbritannien.

Virksomheden blev grundlagt i London i 1971 af de italienske brødre Sergio og Bruno Costa.

På verdensplan havde kæden mere end 3.883 i 2018, og omsatte for £1,168 mia. (2016).

Referencer

Eksterne henvisninger

Caféer i Storbritannien
Etableret i 1971
Coca-Cola
Kaffevirksomheder

redpajama_set_name: RedPajamaWikipedia


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A DEDICATED LIFE
ANNIE T. ALLEN
Annie was the fifth of six children born to Orson and Caroline Wheeler Allen, missionaries sent to the Near East by American Board of Commissioners for Foreign Missions. All the children were born in Harpout in eastern Turkey.
Orson was born in 1827. He graduated from Amherst College and Andover Seminary. He married in September of 1855 and sailed from Boston in October of that year with his bride. He remained on the mission field until 1896, when he resigned and returned to America. His wife died in 1898. The first three of his children had died very young, and at the time his wife died, two of his three children were still on the Mission Field, and Orson moved back to Turkey to be with them. Daughter Annie had graduated from Dana Hall, Wellesley, Bible Normal, Springfield, Mt. Holyoke College in 1890. She left Boston in 1890 to help her parents in Harpout. She received full missionary status and appointment in 1903.
According to the James L Barton, author of "The Story of the Near East Relief (1915-1930," Annie T. Allen, of Auburndale, MA, for many years engaged in mission work in Turkey, died from typhus at Sivas on February 2, 1922, From the time that the Turkish Nationalist regime was set up in Angora (today's Ankara), she was the representative of the Near East Relief in that city and acted as a liaison officer with the government. At the time of her death she had journeyed several hundred miles overland on horseback to Kharput in mid-winter to investigate conditions among Armenian and Greek deportees, then on the march to exile, and to adjust difficulties between relief workers and the local government in the city of Kharput. The weather was bitterly cold and traveling difficult. She contracted typhus from the refugees she was attempting to help. She died in Sivas on 2 Feb 1922. She was 54 years old.
Labels: ABCFM, Annie T. Allen, Harput, Near East Relief, Orson Allen, Sivas
IMMORTALNOBODIES OF A DIFFERENT KIND
The animals below have played a very important part in our lives. It occured to me the other day that these precious pets out to be considered as Immortal Nobodies too. Why not give them the same treatment as I have when I've selected the ordinary human ImmortalNobodies. Yes, why not!
SPOT came to us as a wedding gift from Bev & Ed Duffy. She was smart and sweet natured. She lived to be an old lady, looking like a bag of cat fur with some bones rattling around in it. But she was beautiful to us, and we kept her forever until she got Alzheimer's at 18 and we had to put her down.
DOLLY was originally Bryn's cat, but we acquired her when Bryn married. We called Dolly our "dumb blond" - she was very pretty but a little short on judgment. She loved her catnip! She died from Feline Leukemia
ANNIE was Kerry's cat until Kerry graduated and moved out on her own. Annie was not a very pretty tortie, but her smarts made up for it. She took walks with us every afternoon, running across the lawns while we walked the dog on the sidewalk, no matter how far we went. She lost her life when the house was fumigated for termites. :(
1980ish-1993
This kitty, when about 4 months old, walked up to our front door one day and said he was lost. I carried him around two blocks, hoping to find his owner, but to no avail. So he became ours. We named him Sammy Davis III, a black jewish cat, we said. Everyone liked Sammy. He was kind, gentle, friendly and never under foot. He was easy to love. When we went to Istanbul we passed him on to our niece, Robyn, who had loved him like we did. He ultimately died of cystitis.
This is Chauncy, who appeared one day in our back yard and sauntered into the house to have a mouthful of the cats' IAMS. He stuck around for about 4 days, long enough for me to give him a name that I thought would be an ego-boost for him (he was a scrappy male cat!), and then he left as silently as he arrived. I was so sorry. I did like the cat a lot.
Missy Maud was a "found" puppy, turned in at my cousin's vet clinic. She was the first dog I'd ever had and what a pleasure it was, every minute of it. All the little grandkids knew and loved her too. She was just their size. She got sick with an unidentified ailment and died from a stroke.
Tigger arrived at our apartment in Istanbul as a tiny little kitten. That was our lucky day. This cat gave us more pleasure that we ever would have expected. He is the one we have cremated and will somehow find a way to have his ashes buried with us. He was one loving cat, though he didn't tolerate any what he considered "nonsense" (like vet exams!)
Cipsi (pronounced Gypsy) was our second Turkish cat, arriving in the arms of a Turkish neighbor who heard her screaming underneath a parked car. She was hardly even weaned and she wanted milk! The Turkish neighbor spoke no English and I no Turkish, but the understanding was that if the lady could catch her I would care for her. Cat lovers both won! She had very long, thick hair, and once home, we had her "summer cut" done for the hot months. In the winter she looked like a furry bowling ball. She died in 2001 of diabetes.
19?? to 2005
This is GLORIA DARLING. We moved into a rented house upon our return from Turkey, and it was in a neighborhood where the residents let feral cats run everywhere. In the middle of them was this cat, who definitely had been someone's cat once (she had been spayed) but she had run with the pack for so long she was really skittish around us. But we persevered, slowly bring her back to her real self, and giving her a name that should have let her know what we thought of her. After a year, we had to move, and for some reason I can't remember, we left her at the old house. The next morning at 7 a.m. I jumped in the car, pulled up in front of the old house and yelled, "Gloria Darling, I've come to get you." She separated herself from the pack and ran to my car. I tossed her in the cat carrier and took her to her new home with us. She was a fabulous lady. She ultimately died from cancer. We'll never forget her.
Bucky was a fostered dog; he was a purebred sheltie belonging to my cousin, a vet, and lived with us, I think because we needed a dog after losing Missy Maud. My cousin named him "Bucket of Fun", because as a tiny puppy he was the life of the litter. He answered to Bucky. He was such a dog, so much fun, so smart, We were so lucky to have him until we retired and moved out of the area. My cousin found a new home for him with a friend, but he died shortly of bladder cancer. :(
Squeaky is our lovely old-lady cat now. She all but talks to us and she understand exactly what we say. There are three of us in the apartment, Jerry, Squeaky and me, and I swear we understand each other. I used to baby-sit this cat when her owner went out of town, and at that time I told Joan if she ever needed to find a home for her, give me first crack. All it took was a phone call about a year later and she became ours. She resides on the end of my bed.
This is our newest, whose name changed from "Blue Eyes" to "Ziggy" when she took up residence at our apartment. She belonged to Jerry's sister Judy, and we always were the backup for her if she needed to find another home for the cat. When Judy decided to move to Oklahoma to be nearer her daughter, that's when Ziggy came to us, just a month or so ago. We couldn't be happier. She is a talkative cat, not a fussy eater, doesn't care which potty box she uses, and has commandeered my computer chair as her bed. And no, she isn't deaf. We hope we outlast both her and Squeaks; we would hate to ever have to give these two up just because we are getting old!
So now you know the ImmortalNobodies who have touched our lives in the 41 years we've been married.
Posted by Bobby Dobbins Title at 12:55 PM 2 comments:
STOPPING THE PARADE
PHILIP L. ASHER
PHILIP L. ASHER DIES AS ELKS' PARADE STARTS FOR THE DEPOT
Philip L. Asher, one of the best accountants in the country, died last night as a result of an attack of heart disease in the Elks' Home, on Elk Place, near Canal Street, just a few minutes before the great procession started to the Union Depot to receive Colonel John P. Sullivan, the grand exalter ruler of the order.
Mr. Asher was ready to get in line with the marchers when he was seized with a sudden attack and collapsed. He was carried into the Elks' Home by friends, and Dr. Lescalle, who was present, attended him. The unfortunate man was beyond all medical skill, and passed away in a few minutes.
The news was broken to Mrs. Asher and her children in their home at 2407 Milan Street, and their grief was pathetic. Mr. Asher was 51 years old. For many years he lived in Opelousas and there he served as the exalted ruler of the Elks' Lodge. Aside from being a member of that order, he was a member of the Knights of Pythias, the Red Men and the Woodmen of the World. Leaving Opelousas with his family a year or so ago, he went to Baton Rouge, but he had an opportunity to locate here, and three months ago Mr. Asher came to this city with his family. His eldest son, Julius, a young man of 22 years, became identified in commercial circles and Mr. Asher was employed in one of the big lumber concerns as an accounting.
Last afternoon he told his family that he was going to take part in the reception of Colonel Sullivan and looked forward to a great deal of pleasure. A year or so ago, when Mr. Asher was at Dubuque, where he attended a big meeting of the Red Men, he was seized with an attack and was cared for. He did not suffer seriously and returned to his family.
Mr. Asher was born in Jackson, Mississippi. He located in Opelousas, and almost twenty-three years ago he married Miss C. [Cleona] Weil, of Alexandria. Five children were born to them. Four are boys, while the other is a girl of 10 years of age.
The Elks had the body cared for by Undertaker Lynch, and the remains were kept in the mortuary parlors for the night. This morning the body will be conveyed to Opelousas, where it will be interred.
NOTE: The little 10 year old girl noted here is Sylvia Julia Asher, who became the grandma of my stepchildren Kathie z"l and Garry Title.
Labels: Alexandria, Baton Rouge, Cleona Asher, Cleona Weil, Elks Club, New Orleans, Opelousas, Philip Asher, Red Men, Woodmen of the World.


text:
The Downfall of Traditional Law Firms: The Struggle in Finding Good Legal Advice
New research conducted by global elite network Interlaw, reveals the challenges GCs face in finding consistently high quality legal advice in all of the jurisdictions in which they operate. A detailed analysis of the global footprint of major international firms revealed a significant bias towards Europe and the USA, with gaps in other key trading areas around the world.
The research, which surveyed more than 100 general counsels and senior lawyers at 55 independent law firms across 41 countries, revealed what today's global client is seeking from its legal provider. The findings also showed that the traditional law firm model is being challenged by alternative providers, with GCs having the freedom to choose the best legal provider structure for their needs
In this article, Michael Siebold, Chair of Interlaw, will shed light on the way 'New Law' models are challenging the 'Big Law' approach to give GCs this much needed depth and breadth they are seeking in legal provider.
As corporate tentacles sprawl across new and emerging geographical markets, legal services providers must be capable of offering their global clients consistently high-quality advice and service anywhere in the world – even in the most remote jurisdictions. However, Interlaw's most recent independent research paper – 'Global Legal Services in a Disruptive World' – reveals the challenges general counsel face in securing this all-important uniformity in all corners of the globe.
The research, which surveyed more than 100 general counsel (GC), and senior lawyers at 55 independent law firms across 41 countries, revealed what today's global client is seeking from its legal provider. The short answer to this question is quality, with feedback from GCs showing they are increasingly becoming less reliant on the international law firm model and more open to the idea of working with alternative providers.
One of the reasons behind this may be found by taking a closer look at the true geographical reach of some of the world's leading 'international' law firms. The research reveals a significant bias towards the West – with 83% of lawyers at the top 30 firms based in Europe or North America – and clear gaps in key trading areas around the world. This calls into question the capability of such firms to deliver the consistently high standards their global clients demand.
More detailed feedback from clients about their experiences of working with international law firms revealed further concerns, with almost a quarter of GCs admitting that consistency in quality and service was the biggest challenge, while one in five reported problems with inconsistent working practices between offices, as well as patchy local insight and understanding of cultural nuances. Indeed, half of in-house lawyers (50%) said that as global law firms continue to grow they become bogged down by internal operating pressures at the expense of client service. The same proportion also said they had witnessed inter-firm political wrangling, citing poor communication between teams, blocking relationships to preserve income for a particular office and a lack of joined up working among the worst behaviours. Rather than a spirit of collaboration, the research uncovered a prevailing protectionist culture at some international firms with a distinct lack of co-operation between offices. This is entirely at odds with the type of seamless global legal services that today's multinational client is seeking and giving rise to alternative ways of delivering legal services.
As we've seen, the corporate flag planting favoured by the traditional international law firm model is vulnerable to the destructive impact of political infighting. Instead, clients want flexible and agile legal providers who are willing to collaborate across borders – this is more in keeping with the network model, which is centred around collaboration and building trust. It is this emphasis on joint effort and camaraderie – where people strive to perform at their best because they do not want to let their network colleagues down – that not only sets some law firm alliances apart from others, it also sets apart the network model from traditional international law firms.
I have long held the view that the network model is more attuned to the needs of the multinational, 24/7 client. The past two years in particular have seen the waters getting increasingly muddied in terms of large firms adopting the network model, and it's a trend that will only continue to grow. International law firms are becoming more like networks and networks have adopted some of the best traits of international law firms, but with one distinct advantage. Networks offer better value for money, as they do not have the expense of supporting the vast infrastructure that international law firms have to maintain, a fact stemming from the independence of our firms.
Almost half (46%) of the GCs involved in the Interlaw research said they already use or intend to use a network of independent firms. Of those who had already worked with a global network, 77% described their experience as good or excellent, with local insight and understanding of local culture cited as the most important benefit. They described networks as "convenient", "dependable", "efficient" and "effective", but there is still work to be done to convince some in-house lawyers who used words such as "complicated" and "confusing" to describe the model. They also didn't score as highly as international firms on their ability to use consistent working practices, such as billing and project management.
Through this report, it was important for us to get an honest picture of the type of service global clients currently receive and how we need to adapt to their future needs. Our mission at Interlaw is clear – we want to create a leading global legal services platform that can truly meet and evolve with the needs of the 21st Century multinational client, providing seamless access to consistently high quality legal solutions in every jurisdiction in which they operate.
This means ongoing investment and collaboration, but we have a clear plan and are already delivering against it. We conducted a detailed strategic review, which has resulted in our new Interlaw 3.0 strategy – a three-year plan, with clearly defined projects and timescales, to create a legal network that embraces innovation, technology and sophisticated marketing and business development processes. Not only will this bring benefits for our member firms to grow and develop their businesses, it will ensure we keep pace with the evolving needs of our global clients.
About Interlaw Ltd.
For over 35 years, Interlaw has been one of the world's leading global networks of elite independent law firms for both global clients and member firms. Chambers and Partners ranks Interlaw as a global elite legal network. With 7,000 lawyers worldwide in 140 cities and growing, Interlaw has the capacity and ability to mobilise lawyers for the benefit of global clients and member firms, wherever in the world they want to do business. The network is fluent in the nuances of international business, yet offers an unrivalled presence across the world.
Unlike a global law firm, each Interlaw member is an established independent law firm in its country, with only the best law firms accepted as members to ensure quality is never compromised. The connected capability offered by Interlaw means lawyers can respond to the demands of global business no matter what the time zone.
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By Michael Siebold Last updated May 30, 2018 0
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On this episode, Safari Mike presents his touring guide to the Animal Kingdom for the adult beverage lovers out there! He offers up the best way for those adult travelers who want to soak in the atmosphere and ambience, hit a few rides and probably walk out of the park a little buzzed. Later in the show, Dave can't resist the temptation to discuss the new "Star War Experience" details announced during the Disneyland 60th Anniversary television show. If you have any questions or comments regarding the show, please email us at jamboeveryone@gmail.com. Asante Sana!
It's time for another of our guided audio tours of Disney's Animal Kingdom, as Safari Mike takes us on a journey through the backstory, details and animal life at the Pangani Forest Exploration Trail. Before that, Dave and Mike talk about all the news from the Animal Kingdom and the rest of Walt Disney World. If you have any questions or comments about the show, please feel free to email us at jamboeveryone@gmail.com. Asante Sana!
This week's show is devoted mostly to catching up on all the news we have been ignoring the last couple of weeks. After the news, Dave and Safari Mike make good on a promise from a couple of weeks ago and give their ideas for brining Star Wars to Disney's Animal Kingdom.


text:
Q: Rails: Ignore nested attributes with a certain name? Basing this functionality off of Ryan Bates Nested Model Form tutorials, when I submit my form, I've got this set of data that's submitted:
{
    "authenticity_token"=>"mdohADjieoqUwOwUK/H52TAiH5HdFYQtTbTuMJtDJE8=",
     "utf8"=>"✓",
     "id"=>"92",
     "survey"=>
    {
        "questions_attributes"=>
        {
            "1299616889104"=>
            {
                "display_type"=>"",
                 "text"=>"",
                 "other"=>"0",
                 "display_order"=>"0",
                 "answer_choices"=>"",
                 "item_type"=>"multiple_choice"
            },
             "new_questions"=>
            {
                "display_type"=>"compare",
                 "pick"=>"one",
                 "text"=>"",
                 "other"=>"0",
                 "display_order"=>"0",
                 "answer_choices"=>"",
                 "item_type"=>"compare"
            }
        },
         "id"=>"92"
    }
}

What I need to figure out how to do is ignore the new_questions section. I know you can add reject_if to accepts_nested_attributes_for but there are hidden fields that are included and pre-populated with data, so I can't ignore based on empty fields.
So how can ignore new_questions in my example data?
I'm running Rails 3.0.3

A: i would look into using conditional validation.  heres a railscast on it dealing with passwords, but you can easily adapt something similar for your situation

redpajama_set_name: RedPajamaStackExchange


text:
Q: Dataset visualization I am using weka for traffic classification. I have an .arff dataset that contains different columns and rows. Each row is an instance where each column is a feature. Is there any software that can visualize my Dataset for more than two features?
I have noticed that weka can visualize two dataset,However I need to visualize up to 8 features.
Thanks in advance.

A: You can check out the so called Parallel Coordinates which can visualize any number of features. There are many existing implementations, some of which are avaliable from prof. Inselberg page


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text:
In When Grit Isn't Enough, Linda Nathan investigates five assumptions that inform our ideas about education today, revealing how these beliefs mask systemic inequity. Seeing a rift between these false promises and the lived experiences of her students, she argues that it is time for educators to face these uncomfortable issues head-on and explores how educators can better serve all students, increase college retention rates, and develop alternatives to college that don't disadvantage students on the basis of race or in- come. Drawing on the voices of Boston Arts Academy alumni whose stories provide a window through which to view urban education today, When Grit Isn't Enough helps imagine greater purposes for schooling.
Find it at a local independent bookstore: IndieBound
Linda Nathan, EdD is the co-founder and co-director of the Perrone-Sizer Institute for Creative Leadership (PSi), a year-long graduate certificate program that develops innovative leaders who integrate education, artistic, and community-based resources to transform the lives of youth and families.
Dr. Nathan is a Lecturer at the Harvard Graduate School of Education, where she teaches courses on school design and school observation. As an experienced leader in education, Dr. Nathan actively mentors teachers and principals, and consults nationally and internationally on a wide range of topics, such as: leadership, creativity, pedagogy, differentiated instruction, curriculum design, family engagement, developing mission, vision and values, board development and fundraising, as well as strategic planning with an equity focus, and how to develop and evaluate a new or existing schools or nonprofits. Her international consulting includes Argentina, Brazil, Chile, Colombia, Hong Kong, India, Ireland, Mexico, Netherlands, Portugal, Spain, South Africa.
Dr. Nathan's widely praised book, The Hardest Questions Aren't on the Test, about teaching and leadership in urban schools, was published in 2009 in both English and Spanish. Her second book, When Grit Isn't Enough, was released by Beacon Press in October of 2017. She blogs at www.lindanathan.com.
Dr. Nathan previously served as Faculty Director of the Creative Educational Leadership Institute at Boston University School of Education. Her prior positions also include Special Advisor to the Superintendent of Boston Public Schools, and Founder and Executive Director of the Center for Arts in Education. Dr. Nathan was also the Founding Headmaster of the Boston Arts Academy, Boston's first public high school for the visual and performing arts, and the Co- Director of Fenway High School, one of the first pilot schools in the Boston Public Schools. Dr. Nathan also founded two nonprofit organizations: El Pueblo Nuevo, which focused on arts and youth development, and the Center for Collaborative Education, which works on issues of school reform. She began her teaching career in San Juan, Puerto Rico, and then came to Boston to work as a bilingual middle school teacher.
Dr. Nathan holds a Doctor of Education degree from Harvard University, Master's degrees from Emerson College and Antioch University, and a Bachelor of Arts degree from the University of California, Berkeley.
In When Grit Isn't Enough, veteran educator Linda Nathan gives the lie to five popular but unproven beliefs about education that do little to improve schooling but instead blame the victims of poor and unequal schooling. This is a courageous book, one that challenges all of us, educators and non-educators alike, to do better for our most vulnerable students.
Sonia Nieto
Professor emerita of Language, Literacy, and Culture, College of Education, University of Massachusetts, Amherst
It's a marvelous book, and badly needed at this time. Drawing on the powerful stories of children at the Boston Arts Academy, Linda Nathan bravely confronts the widely circulated myth that children who grow up in poverty can overcome inequity and every other daunting obstacle they face if they just 'believe,' 'persevere,' 'work like hell,' and show sufficient 'grit.' Many of these students do prevail, but Nathan makes it clear that 'grit' is not enough and that our adherence to this appeasing myth is letting a divided and bitterly unequal social order off the hook.
Jonathan Kozol
Author of Savage Inequalities: Children in America's Schools
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