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Events Profiles
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Events in Lombardia
Events around Brescia
Events in Acquafredda
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Events in Adro
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Events in Agnosine
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Events in Alfianello
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Events in Anfo
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Events in Angolo Terme
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Events in Artogne
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Events in Azzano Mella
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Events in Bagnolo Mella
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Events in Bagolino
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Events in Barbariga
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Events in Barghe
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Events in Bassano Bresciano
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Events in Bedizzole
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Events in Berlingo
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Events in Berzo Demo
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Events in Berzo Inferiore
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Events in Bienno
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Events in Bione
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Events in Borgo San Giacomo
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Events in Borgosatollo
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Events in Borno
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Events in Botticino
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Events in Bovegno
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Events in Bovezzo
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Events in Brandico
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Events in Braone
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Events in Breno
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Events in Brescia
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Events in Brione
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Events in Caino
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Events in Calcinato
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Events in Calvagese Della Riviera
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Events in Calvisano
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Events in Capo Di Ponte
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Events in Capovalle
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Events in Capriano Del Colle
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Events in Capriolo
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Events in Carpenedolo
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Events in Castegnato
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Events in Castel Mella
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Events in Castelcovati
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Events in Castenedolo
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Events in Casto
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Events in Castrezzato
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Events in Cazzago San Martino
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Events in Cedegolo
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Events in Cellatica
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Events in Cerveno
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Events in Ceto
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Events in Cevo
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Events in Chiari
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Events in Cigole
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Events in Cimbergo
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Events in Cividate Camuno
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Events in Cizzago
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Events in Coccaglio
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Events in Collebeato
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Events in Collio
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Events in Cologne
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Events in Comezzano
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Events in Comezzano-Cizzago
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Events in Concesio
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Events in Corte Franca
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Events in Corteno Golgi
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Events in Corzano
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Events in Darfo Boario Terme
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Events in Dello
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Events in Desenzano Del Garda
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Events in Erbusco
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Events in Esine
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Events in Fiesse
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Events in Flero
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Events in Gambara
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Events in Gardone Riviera
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Events in Gardone Val Trompia
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Events in Gargnano
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Events in Gavardo
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Events in Ghedi
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Events in Gianico
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Events in Gottolengo
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Events in Gussago
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Events in Idro
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Events in Incudine
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Events in Irma
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Events in Iseo
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Events in Isorella
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Events in Lavenone
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Events in Leno
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Events in Limone Sul Garda
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Events in Lodrino
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Events in Lograto
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Events in Lonato Del Garda
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Events in Longhena
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Events in Losine
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Events in Lozio
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Events in Lumezzane
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Events in Maclodio
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Events in Maderno
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Events in Magasa
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Events in Mairano
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Events in Malegno
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Events in Malonno
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Events in Manerba Del Garda
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Events in Manerbio
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Events in Marcheno
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Events in Marmentino
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Events in Marone
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Events in Mazzano
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Events in Milzano
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Events in Moniga Del Garda
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Events in Monno
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Events in Monte Isola
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Events in Monticelli Brusati
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Events in Montichiari
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Events in Montirone
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Events in Mura
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Events in Muscoline
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Events in Nave
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Events in Niardo
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Events in Nuvolento
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Events in Nuvolera
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Events in Odolo
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Events in Offlaga
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Events in Ome
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Events in Ono San Pietro
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Events in Orzinuovi
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Events in Orzivecchi
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Events in Ospitaletto
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Events in Ossimo
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Events in Ossimo Inferiore
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Events in Ossimo Superiore
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Events in Padenghe Sul Garda
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Events in Paderno Franciacorta
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Events in Paisco Loveno
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Events in Paitone
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Events in Palazzolo Sull'Oglio
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Events in Paratico
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Events in Paspardo
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Events in Passirano
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Events in Pavone Del Mella
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Events in Pertica Alta
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Events in Pertica Bassa
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Events in Pezzaze
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Events in Pian Camuno
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Events in Piancogno
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Events in Pisogne
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Events in Polaveno
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Events in Polpenazze del Garda
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Events in Pompiano
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Events in Poncarale
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Events in Ponte Di Legno
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Events in Pontevico
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Events in Pontoglio
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Events in Pozzolengo
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Events in Pralboino
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Events in Preseglie
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Events in Prestine
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Events in Prevalle
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Events in Provaglio D'Iseo
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Events in Provaglio Val Sabbia
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Events in Puegnago Sul Garda
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Events in Quinzano D'Oglio
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Events in Remedello
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Events in Remedello Sopra
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Events in Remedello Sotto
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Events in Rezzato
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Events in Roccafranca
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Events in Rodengo Saiano
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Events in Roncadelle
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Events in Rovato
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Events in Roè Volciano
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Events in Rudiano
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Events in Sabbio Chiese
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Events in Sale Marasino
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Events in Salò
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Events in San Felice Del Benaco
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Events in San Gervasio Bresciano
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Events in San Paolo
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Events in San Zeno Naviglio
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Events in Sarezzo
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Events in Saviore Dell'Adamello
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Events in Sellero
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Events in Seniga
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Events in Serle
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Events in Sirmione
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Events in Soiano Del Lago
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Events in Sonico
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Events in Sulzano
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Events in Tavernole Sul Mella
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Events in Temù
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Events in Tignale
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Events in Torbole Casaglia
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Events in Toscolano
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Events in Toscolano-Maderno
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Events in Travagliato
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Events in Tremosine
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Events in Trenzano
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Events in Treviso Bresciano
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Events in Urago D'Oglio
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Events in Vallio Terme
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Events in Valvestino
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Events in Verolanuova
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Events in Verolavecchia
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Events in Vestone
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Events in Vezza D'Oglio
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Events in Villa Carcina
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M'Bumatay's BDthèque
A francophone bande dessinée enthusiast's interests, ideas, reactions, and reviews.
Turquoise : Rwanda, France, and the In-Between of Representation
Posted on June 28, 2014 by mbumatay
Five years in the making, Turquoise,[1] a joint effort between Olivier Bramanti (artwork) and Frédéric Debomy (scenario) that revisits the 1994 genocide in Rwanda, is not a bande dessinée in the conventional sense of the term. The size of Turquoise (much narrower and slightly taller than a regular bande dessinée), the textured soft back cover, the high-quality paper, and Bramanti's tempera paintings instantly distinguish this text from mainstream bandes dessinées. Indeed, the name of the publisher, Les Cahiers dessinés [Illustrated notebooks], provides a more accurate description of the format of Turquoise as the text more closely resembles an artist's book rather than a standard "48 CC" bande dessinée.[2] In this regard, the title, being the middle ground between blue and green, can signify the ambiguous classification of the text itself—not quite a bande dessinée—in addition to simultaneously referring explicitly to the ostensibly humanitarian French-led effort Operation Turquoise and symbolically representing the psychological gap between the victims and perpetrators of the genocide as Jessie Bi aptly points out.
This metaphor of in-betweenness suggested by the title, when applied to the text more broadly, provides useful insight into the verbal and visual narrative strategies of Debomy and Bramanti. Most immediately, the text is visually dominated by Bramanti's paintings of the landscape in which the ratio and representation of the blue sky with the verdant rolling hillsides—iconic images associated with Rwanda—vary with changes in mood. In addition, Debomy and Bramanti make narrative use of the space in between each of the images. While the thick white margins of the page generally direct our attention to the meaning of the images and the text accompanying them, there are many moments of silence as well in the form of images without text and also in completely and almost completely blank pages. This strategy effectively turns up the volume of silence and the non dit or the unspoken and at the same time draws attention to the difficulty of representing an admittedly delicate subject matter. For, as Debomy explains in the afterward entitled, "Le genocide des Tutsi du Rwanda et l'Opération Turquoise,"[3] writing about recent history is difficult. Nonetheless, it is also necessary to which the labored production and subsequent publication of this text attest.
In an attempt to make sense of this recent history, Debomy and Bramanti focus on the complicated reality of France's involvement in the genocide as epitomized by the simultaneity of Operation Turquoise's humanitarian efforts and its geopolitical underpinnings. This bifurcated undertaking initiated by then French President François Mitterrand—on the one hand openly praiseworthy and on the other hand surreptitiously politically driven—ultimately became the lens through which the international community was made aware of the genocide. However, as this text makes explicit and tries to undo, the images of the genocide that began circulating as a result of the descent of Western journalists on Rwanda with Operation Turquoise were quickly engulfed by the narrative of a humanitarian crisis developing in the refugee camps in the eastern region of Zaïre (now the Democratic Republic of the Congo) due to the outbreak of cholera, ultimately silencing the atrocities and scale of the actual genocide.
To emphasize the dual nature of Operation Turquoise and to problematize the Western media's representation of the genocide, Debomy constructs a narrative around the handful of repeated images broadcast internationally of the French troops' arrival in Rwanda and what they witnessed. Not surprisingly, Debomy's narrative oscillates between fact and fiction to immerse us in a deeper understanding of what took place before Operation Turquoise as well as after its implementation, thus providing the unsettling context of the genocide that the repetitive media images succeeded in stripping away.
To complement this oscillation at the visual level, Bramanti's imagery and style shift between a more representative mode and more evocative mode. For example, at one point we are presented with some of the now iconic images of the genocide that circulated in Western media at the time of Operation Turquoise; Bramanti's style accordingly becomes more detail-oriented to re-present the actual screenshots of footage and photographs of the time. Conversely, at other times, Bramanti deploys repetition and variation to evoke a specific tone and to activate an emotional response.
Repetition and variation
One striking example of this can be seen in this image in which the horizontal body of a victim on the ground is juxtaposed and bisected with the vertical body of a genocide perpetrator in the foreground. The framing of the victim occurs three times over the course of two pages with the perpetrator in two of the frames; each time, Bramanti's rendering of the figures and their environment changes, becoming ever more in focus and culminating in the image seen here. The repetition and variation of these images—presented without text—provoke a reaction and inhibit us from simply passing over the reality of the genocide.
Ultimately, Turquoise exposes the devastation of the genocide beyond the media-driven focus on the health crisis of the refugee camps and thus invites us to take stock of what we think we might know about the genocide. Moreover, it foregrounds the interplay of truth and lies at the heart of discourse about the genocide. To that end, the text is almost completely devoid of proper names. Interestingly, while the main character, a genocide survivor, is only referred to as elle [she], her captor Ferdinand, a neighbor who becomes a participant in the genocide, is the only character identified with a name. Similarly, the text avoids the use of actual terms for nationality and ethnicity, thus hovering between the universal and the specific, all while pointing directly to the political and ideological weight of certain terms. This delicate balancing act is characteristic of the entire text and demonstrates the subtle efficacy of Bramanti and Debomy's efforts.
[1] Beaux Livres-Albums, 2012, 96 p., 23.35 €ISBN 978-2-283-02558-1
[2] 48 CC is an industry shorthand that describes the standard printing format of many mainstream bandes dessinées in which 48 refers to the number of pages and CC stands for cartonné [hardback] and en couleur [in color].
[3] The Genocide of the Tutsi in Rwanda and Operation Turquoise
Posted in BD Reviews	| Tagged Bramanti, Debomy, Les Cahiers Dessinés, Operation Turquoise, Rwanda	| Leave a reply
Le Turban et la capote: Satire and Diversity in Mayotte
Quick-witted and cheeky, Le Turban et la capote[1](published by L'Harmattan BD in 2013),set in the French overseas department of Mayotte, introduces francophone readers to a cast of energetic and short-tempered characters already well known to spectators and readers in the Indian Ocean. This bande dessinée, written by Mahoran Nassur Attoumani and illustrated by Madagascan Luke Razaka, is an updated version of an existing bande dessinée published in Mayotte by Coco-Création in 2000, which was, in fact, an adaptation of Nassur's successful play of the same title originally written in 1996.[2]
Celebrated and acclaimed author Nassur Attoumani's first play, La Fille du polygame,[3] premiered in 1989 and was the first play published from the Comoros Islands in the Indian Ocean. His second play, Le Turban et la capote, of which this bande dessinée is an adaptation, premiered soon after in 1996 and was quickly published in Reunion by Grand Océan. As with La Fille du polygame, La Turban et la capote demonstrates Attoumani's deft Molière-esque satire that entertains spectators and readers while also engaging them in a critique of contemporary society. The correlation with Molière is especially pronounced in La Turban et la capote for the main character, Mabawa Ya Nadzi, an Islamic judge who embodies the title as he hides condoms in his turban, echoes Molière's Tartuffe in many ways.
Le Turban et la capote's origin as a play can be felt as the narrative unfolds as a series of scenes with the various characters entering and exiting, often with comedic timing. Also, directly following the title page is a visual replica of the front cover with the addition of the characters' names and a short description of their role and / or relationship to another character, effectively serving as a cast list and hinting at the potential conflicts between the characters based on their placement in the lineup. For example, the top three figures are the main characters with Mabawa Ya Nadzi strategically placed between the quarreling couple and the bottom three figures are important supporting characters. Moreover, as the central figure, Mabawa Ya Nadzi is placed in the most privileged position while the doctor, ostensibly his foil as a spokesperson for and representative of Western medicine, science, and modernity, is placed directly below him for they are in opposition.
Taking place in contemporary Mamoudzou, Le Turban et la capote provides readers a glimpse into the socially and culturally diverse everyday life of the capital of the French department of Mayotte. Through the interactions of the six characters— Dr. Hachafati, an imported doctor, and Bata-Bata, his no-nonsense secretary; Maborcheti and Pessoiri, a quarreling couple; and Mabawa Ya Nadzi, an Islamic judge and ostensibly honorably religious man and Djanabati, his secretary—the narrative addresses the familiar juxtaposition of tradition versus modernity, focusing on the unique case of Mayotte and the specific themes of Mayotte's departmentalization, the emancipation of women, birth control and the prevention of AIDS, polygamy, and the lack of any form of structured social program to accompany Mayotte's political shift.
The title, itself, Le Turban et la capote, points to the simultaneity of different value systems through metonymy with the turban signifying both Islamic culture and traditional African cultures and the condom signifying Westernization and, more specifically, sexual liberation and the emancipation of women. While the juxtaposition of a turban and a condom is meant to create a spark to hook the audience (of the play) and readers (of the bande dessinée), the 'et' [and] between the two gives them equal weight, thus sidestepping the primacy or validity of one over the other. Indeed, the narrative foregrounds the assumption that the traditions and value systems associated with these two images are at odds when, in fact, they are often not at odds and do not have to be. Through satire and comedy, Attoumani reveals how this tension between perceived difference and reality manifests in everyday life.
In the afterward of Le Turban et la capote, editor and director of the L'Harmattan's bande dessinée collection, Christophe Cassiau-Haurie explains that Madagascan cartoonist Ndrematoa (Tana Blues) was first considered to supply the artwork for the updated edition of the bande dessinée. Directly following Cassiau-Haurie's afterward are the first ten pages in black and white (the last two of which are sketched by not inked) of the bande dessinée as drawn by Ndrematoa. Given Ndrematoa's extravagantly detailed and expressive drawings, the incompletion of such a massive project is not surprising. However, Madagascan cartoonist Luke Razaka who illustrated the original edition of the bande dessinée, reworked his original images on the computer and added colors (whereas the original was in black and white) and, while Razaka's drawings are nowhere near as realistic and detailed-oriented as Ndrematoa's, his cartoonish style, very much in the vein of famed Belgian cartoonist André Franquin's Gaston Lagaffe, has the double advantage of, on the one hand, capturing the urgency and energy of Attoumani's characters and, on the other hand, appealing to a global, French-speaking audience already familiar with the visual and verbal comedic conventions of Franquin's style. For example, characters' expressions are exaggerated and, to emphasize their anger, they become completely red and even their clothes change the same color red as their complexion. Moreover, Razaka's use of physical comedy, onomatopoeia, and action lines goes a long way in bringing the humor of Attoumani's play to life on the page. Ultimately, Razaka's balance between a swift cartoonish style and a playfulness of characters' expressions complements Attoumani's quick-paced and lively satirical writing style.
Opening scene
Another added bonus of this updated version is the overall impact color has on the text and the reader's experience of Mayotte. Situated in the Indian Ocean in the crux between Madagascar to the east and the Mozambican coastline to the west, Mayotte, not-surprisingly, is a place where cultural hybridity constitutes the fabric of everyday life. Visually, Luke Razaka's use of color subtly emphasizes this. For example, during the taxi ride at the beginning of the text, Razaka populates the urban coastal setting with people from a wide range of ethnic backgrounds, but it is mainly through the people's clothes that the color scheme provides the most visible marker of cultural hybridity: blue jeans and bright t-shirts for more modern outfits contrast with bright colored traditional African fabrics worn by many of the female characters and with the white traditional men's outfits.
According to Cassiau-Haurie, the goal of this updated and colored version of the 2000 bande dessinée was to give new life to Attoumani's insightful satire that excels in exposing the social and cultural complexity of life in Mayotte leading up to and during the long (and still ongoing) process of departmentalization.
Mayotte, a small archipelago of the Comoros Islands, became part of the French empire in 1841 and while the rest of the Comoros Islands gained independence from France in 1975, the population of Mayotte, in 1976, voted almost unanimously to forgo independence in favor of keeping its ties to France. In the spring of 2009, the Mahoran people voted, almost unanimously once again, to become an official part of France, thus shifting political status from an overseas community to an overseas department, a long-term process destined to have deep social, cultural, and political affects. Included in the departmentalization of Mayotte would be the gradual phasing out of traditional Islamic law and the establishment of French civil code and republican institutions such as French schools and courts.
It is in the midst of this transition that Attoumani sets Le Turban et la capote, deftly presenting readers with a comical portrait of the diversity of the Mahoran population while also wittingly bringing to bare on important social issues and satirizing personally-motivated hypocrites who take advantage of the vulnerability of such a transitional time.
The timeliness of this updated version of Attoumani's adept play-turned-bande-dessinée and its portrayal of the complex social reality in Mayotte is even more pressing when we consider that, as of 1 January 2014, Mayotte officially became one of the most far-reaching regions of the European Union. Indeed, the issues of cultural hybridity and overlapping value systems—in particular the civil codes associated with French republicanism and traditional Islamic codes of conduct—at the heart of Attoumani's text are representative of broader discussions of identity in the contemporary global context.
[1] The Turban and the Condom
[2] L'Harmattan also offers a DVD of a 2011 performance of the play directed by Sophie Fueyo. You can watch the trailer for it here.
[3] The Polygamist's Daughter
Posted in BD Reviews	| Tagged Le Turban et la capote, Luke Razaka, Mayotte, Nassur Attoumani, satire	| Leave a reply
Notre Histoire: From Lilian Thuram's Personal Story to a Shared Diasporic History
Posted on June 5, 2014 by mbumatay
Notre Histoire[1] (volume 1, 2014) recounts the story of Mariana Thuram, mother of famed Guadeloupian footballer-turned-activist Lilian Thuram, and focuses on her fortitude and the fortitude of those before her and like her who actively work towards providing a better future for their children. As mentioned on the title page of this recent publication from Éditions Delcourt, the story is loosely inspired by the essay Mes Étoiles noires, de Lucy à Barack Obama[2] by Thuram and Bernard Filaire published in 2010 by Éditions Philippe Rey. As Thuram explains in the introduction to Notre Histoire, this bande dessinée takes up the story of his first star, his mother, while also introducing readers to other stars, in this case, important historical figures whose legacies and contributions are often overlooked and also elements of traditional African culture, in particular from Fulani culture. Written by Jean-Christophe Camus (artistic director of Delcourt and author of the autobiographically-inspired Negrinha), illustrated by Spanish Sam Garcia (Lunes birmanes), and colored by Hugo Poupelin, Notre Histoire uses Thuram's personal family history both as an emblem of other family histories and as a vehicle to open up our understanding of history as an experienced shared by all.
Notre Histoire draws on Thuram's celebrity by offering readers an authentic look into his humble beginnings. The text even includes a bonus section with reproductions of Thuram's family photographs and preparatory sketches by Garcia for the bande dessinée. Indeed, Notre Histoire is an example of a recent trend in which public figures not normally associated with the 9th art produce autobiographically-inspired bandes dessinées and picture books as a means of introducing enriching historical perspectives to a multicultural contemporary French-speaking readership. Examples include Azouz Begag's Leçons coloniales[3] (2012) illustrated by artist Djillali Defali and Alain Mabanckou's Ma Soeur-étoile[4] (2010) illustrated by artist Judith Gueyfier. In each of these cases, the format is meant to appeal to a broad audience, thus engaging a wide range of readers with the authors' personal stories.
Mariana's difficult decision
Starting in the summer of 1980, Notre Histoire tracks Mariana's decision to leave the hard work of the sugar cane fields and of housekeeping in Guadeloupe (difficult and physically demanding jobs that fail to provide her a decent income to adequately support herself and her five children) for better-paying jobs in France. Though there are those in her community that question the wisdom and plausibility of her decision as she must travel alone and leave her children behind while she earns enough to bring all of them to France and support them, Mariana's courage and determination lead to young Lilian (aged 8 in the text) and his siblings moving to France a year later. Once in France, Lilian and his siblings happily take to learning new customs and adapting to differences in weather, cuisine, and culture. Interestingly enough, as their first home-cooked meal in France, Mariana prepares them couscous, which she explains is a dish that everyone in France eats—a not-so-subtle indication of the always already hybrid nature of French culture and of the ways in which the effects of France's long-reaching geopolitical history manifest in everyday life.
At first, the Thurams live with Mariana's boyfriend and his daughter. However, after tension arises between the couple, Mariana arranges for her family to move to a different apartment all in one day to give her former boyfriend the slip. The family moves to a new apartment located in an HLM (habitation à loyer modéré)[5] in Fourgères (northeast of Rennes) and it is in this new neighborhood that young Lilian befriends an old man, Neddo. It is also at this point in the text (little more than half way) that Notre Histoire shifts from being about Thuram's family history to being about a shared diasporic history.
Back Cover with Neddo on the right
Neddo, as Thuram explains in the introduction to Notre Histoire, is in fact a figure from Peul (the French term for Fulani) cosmogony who stands as the primordial man with the gifts of intelligence and speech charged with keeping watch on universal harmony and who transmits his wealth of knowledge to his descendants. Symbolically, Neddo represents all the people in our lives who help us become who we are. Visually, the character of Neddo in Notre Histoire resembles celebrated Senegalese sculpture Ousmane Sow, the first African artist to be inducted into the Académie des Beaux-Arts in Paris in 2013. Through his name and his appearance, Neddo thus embodies the richness and wisdom of traditional and contemporary African cultures and the gift of his knowledge is meant to open young Lilian's eyes and by extension, those of the readers. In this regard, the didactic nature of the character of Neddo most aptly demonstrates the motto of Lilian Thuram's Foundation: "Éducation contre le racisme."[6]
By teaching readers (young and old alike) through young Lilian about slavery in the Caribbean and about forgotten and underappreciated black historical figures, in particular Commander Louis Delgrès and Solitude who, in 1802, fought against the reinstatement of slavery in Guadeloupe under Emperor Napoleon, and Haitian scientist Joseph Anténor Firmin who, after much research, published De l'égalité des races humaines – Anthropologie positive[7] in 1885 as a refutation of Arthur de Gobineau's ubiquitous Essai sur les inégalités des races humaines[8] (1853-1855), Neddo explains how preconceived notions of the past are based on certain versions of history. Moreover, at the end of the text is a list of definitions of key historical terms, events, and laws pertaining to the global history of inequality.
Young Lilian's curiosity about and passion for such historical figures and events is meant to find an echo in the reader through Garcia's dramatic renderings of the past and Poupelin's dynamic and cinematic color palette. Implied in Neddo's recounting is the fact that there are many important events and people that risk being forgotten due to the power dynamics of remembering. Ultimately, these fascinating histories (and Notre Histoire itself) demonstrate how racism and all forms of prejudice are social constructs and that knowledge and education are the best tools for changing such constructs.
[1] Our History
[2] My Black Stars: From Lucy to Barack Obama
[3] Colonial Lessons
[4] My Star-Sister
[5] Subsidized housing
[6] Education Against Racism
[7] On the Equality of Human Races
[8] Essay on the Inequalities of the Human Races
Posted in BD Reviews	| Tagged Fondation Lilian Thuram, Guadeloupe, Lilian Thuram, Notre Histoire, Ousmane Sow	| Leave a reply
Ep. 42 – Frantz Fanon, Black Skin, White Masks — Always Already Podcast
Madame Livingstone: Congo, la Grande Guerre
BD Reviews
Non-BD Related

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Vol. 11, No. 12 / Ship and Boat Building in the United States and Gulf of Mexico Region
Agricultural Economics, Marine Resources, Seafood Economics
In this issue, Dr. Posadas compiled and summarized the trends in the gross regional product, and number, wages, salaries, and earnings of workers and owners of the ship and boat building industry from 2014 to 2020 or 2021. The socioeconomic characteristics of workers and owners in 2020 were described. These long-term data on ship and boat building illustrate the significance of the industry in the national and Gulf economies. The direct impacts of the global pandemic on ship and boat building are presented in annual percent changes in output and jobs from 2019 to 2021.
Ship and boat building; gross regional product; jobs; wages, salaries, and earnings; socioeconomic characteristics; workers and owners
This newsletter is a contribution of the Mississippi Agricultural and Forestry Experiment Station and the Mississippi State University Extension Service. This material is based upon work that is supported in part by the National Institute of Food and Agriculture, U.S. Department of Agriculture, Hatch project under accession number 081730, and National Oceanic Atmospheric Administration (Office of Sea Grant, U.S. Dept. of Commerce, under Grant NA10OAR4170078, Mississippi Alabama Sea Grant Consortium).
Ship and Boat Building Gross Regional Product
The NAICS (2021) sector 33661 comprises of establishments primarily engaged in operating shipyards or boatyards. Shipyards are fixed facilities with drydocks and watercraft typically suitable or intended for other than personal or recreational use. Boats are defined as watercraft typically suitable or intended for personal use. Activities of shipyards include the construction of fabrication equipment capable of building a ship, defined as ships, their repair, conversion, and alteration, production of prefabricated ship and barge sections, and specialized services, such as ship scaling.
The gross regional product (GRP), also called regional gross domestic product (GDP), is the market value of all goods and services produced within a given area over a specific period and is a good measure of the size, income, and productivity of a regional economy (EMSI, 2021).
Figure 1. The GRP of ship and boat building in the U.S. showed a rising trend since 2014, reaching $14.2 B in 2020. Source of raw data: EMSI. https://e.economicmodeling.com.
Figure 2. In the Gulf of Mexico (GoM) region, the GRP of ship and boat building fell considerably in 2016 and remained almost flat until 2020. Source of raw data: EMSI. https://e.economicmodeling.com.
Figure 3. The GRP of ship and boat building in Alabama continued to fall until 2020. Source of raw data: EMSI. https://e.economicmodeling.com
Figure 4. The GRP of ship and boat building in Mississippi fell and rose from 2014 to 2020. Source of raw data: EMSI. https://e.economicmodeling.com.
Figure 5. The GRP of ship and boat building in Louisiana started to decline from 2015 until 2020. Source of raw data: EMSI. https://e.economicmodeling.com.
Ship and Boat Building Employment and Wages, Salaries, and Earnings
Ship and boat building directly provided over 143,000 jobs per year in the U.S. during the eight years.
About -3.1 percent of SBB jobs in the U.S. were lost during the global pandemic in 2019-21.
The five GoM states (AL, FL, LA, MS, and TX) added over 42,000 SSB jobs or 30% of all SSB jobs during the same period.
Approximately -1.1% of the SSB jobs in the GoM were lost in 2019-21 during the global pandemic.
Figure 6. U.S. and Gulf of Mexico states ship and boat building employees, self-employed, and extended proprietors. Source of raw data: EMSI. https://e.economicmodeling.com.
Ship and boat building provided 5,260 jobs per year in Alabama (Fig. 7). Alabama lost -1.1% of SSB jobs in 2019-21.
Ship and boat building created over 12,500 jobs per year in the Mississippi (Fig. 7). Mississippi lost-0.3% of SSB jobs in 2019-21.
Ship and boat building generated over 6,400 jobs per year in Louisiana (Fig. 7). Louisiana lost -5.6% of SSB jobs in 2019-21.
Figure 7. Northern Gulf of Mexico states ship and boat building employees, self-employed, and extended proprietors. Source of raw data: EMSI. https://e.economicmodeling.com.
The annual wages, salaries, and proprietor earnings (WSPE) of workers and owners of ship and boat building in the entire U.S. averaged $62,800 per job during the past seven years (Fig. 8).
The annual WSPE of workers and owners of ship and boat building in the five Gulf of Mexico States averaged $59,700 per person or 95% of the national average (Fig. 8).
The annual WSPE of workers and owners of ship and boat building in Mississippi averaged $64,000 per person or 2.3% more than the national average.
The annual WSPE of workers and owners of ship and boat building in Louisiana averaged $60,600 per person or 98% of the national average.
Figure 8. U.S. and GoM ship and boat building wages, salaries, and earnings. Source of raw data: EMSI. https://e.economicmodeling.com.
Ship and Boat Building Industry Breakdown of Employees and Owners by Gender
The 2020 industrial overview released by EMSI (April 2021) showed that approximately 83% of workers and owners in the U.S. are males.
In the Gulf States, 84.2% of workers and owners are males (Table 1).
Table 1. Distribution of U.S. and Gulf of Mexico States ship and boat building employees, self-employed, and extended proprietors by gender. Source of raw data: EMSI. https://e.economicmodeling.com.
Ship and Boat Building Industry Breakdown of Employees and Owners by Race or Ethnicity
The 2020 industrial overview disseminated by EMSI (April 2021) also categorized the workers and owners by race or ethnicity (Table 2).
Most of the workers in the U.S. are White (65.1%), followed by African American (16.4%), Hispanic (13.6%), & Asian (2.9%).
The rest are with two or more races (1.3%), Native Hawaiian (0.2%), & American Indian (0.5%).
In the Gulf States, relatively more Hispanic (20.5%), African American (18.1%), and Asian (3.3%) workers and owners are involved in the industry.
Fewer White (56.8%) workers and owners are engaged in ship and boat building in the Gulf States.
Table 2. Distribution of ship and boat building employees, self-employed, and extended proprietors by race or ethnicity. Source of raw data: EMSI. https://e.economicmodeling.com.
Ship and Boat Building Industry Breakdown of Employees and Owners by Age
The 2020 industrial overview published by EMSI (April 2021) also classified the workers and owners by age (Table 3).
5.9% of the U.S ship and boat building workers and owners are 65 + years old.
21.7% of the workers and owners were 55-64 years old.
The 45-54 years old group added 20.7%.
The 35-44 years old consisted of 21.5%.
The 25-34 years old added 22.6%.
19-24 years old workers and owners consisted of 7.3%.
In the Gulf States, workers and owners of ship and boat building are relatively older than the national average.
Table 3. Distribution of ship and boat building employees, self-employed, and extended proprietors by age group. Source of raw data: EMSI. https://e.economicmodeling.com.
Ship and boat building directly provided over 142,000 jobs per year in the U.S. during the eight years, but -3.1 percent of SBB jobs in the U.S. were lost during the global pandemic in 2019-21.
The Covid-19 global pandemic in 2020-21 also caused significant reductions in ship and boat building jobs of workers and owners in 2020 in the Gulf region and individual states.
The annual gross regional product of ship and boat building in the U.S. showed a rising trend since 2015, reaching $14.2 B in 2020, but was significantly reduced during the global pandemic in 2020.
My Economics Outreach on Ship and Boat Building
Posadas, B.C. 2021. Ship and boat building in the United States and the Gulf of Mexico Region. Mississippi MarketMaker Newsletter, Vol. 11, No.12.
Posadas, Benedict C. 2021. Ship and Boat Building in the United States and the Gulf of Mexico States. Virtual Presentation. Mississippi Horticulture, Marine, and Disaster Economics Outreach State University, Coastal Research and Extension Center, Biloxi, Mississippi.
Posadas, B.C. 2015. Suggested Approach to Estimate Economic Impacts of Mississippi-Alabama Sea Grant Research, Education, and Outreach Programs. MSU Extension publication 2883.
Posadas, B.C. 2015. Economic Sectors Targeted by the Mississippi- Alabama Sea Grant Research, Extension, Education, and Outreach Programs. MSU Extension publication 2846.
Posadas, B.C. Ship and boat building in the United States and Gulf of Mexico Region. Mississippi MarketMaker Newsletter, Vol. 11, No. 12. December 21, 2021. http://extension.msstate.edu/newsletters/mississippi-marketmaker.
Department: Coastal Research & Extension Center
Dr. Ben Posadas
Assoc Extension/Research Prof
Seafood marketing; Marine and disaster economics
Dr. James Newton Barnes
Associate Extension Professor
Dr. Dominga Elizabeth Canales Medina
Dr. Alba J. Collart Dinarte
Horticultural Marketing
Dr. James Marcus Drymon
Assistant Extension Professor
Dr. Joshua Gilchrist Maples
Dr. Rebecca Campbell Smith
Dr. Eric L. Sparks
Assc Extension Prof & Director
coastal conservation and restoration, living shorelines, marine debris, environmental stewards
MSU class crafts a brand image for Chickasaw farm
Good summer crops mean low wheat acreage planted
Crop factors impact upcoming deadlines
Corn growers feel the bite from a bear market
More acres planted in state's major row crops than in 2013
Economic Sectors Targeted by the Mississippi- Alabama Sea Grant Research, Extension, Education, and Outreach Programs
Custom Rates for Farm and Ranch Services in Mississippi
Suggested Approach to Estimate Economic Impacts of Mississippi-Alabama Sea Grant Research, Education, and Outreach Programs
Vol. 6, Issue 20 - Mississippi MarketMaker Economic Impacts of Shrimp Industry in 2015
Vol. 6, Issue 19 - Mississippi MarketMaker In-Service Training Workshop and Outreach
Vol. 6, Issue 18 - Mississippi Oyster Season to Open in October
Vol. 6, Issue 17 - Marine recreational fishing
Vol. 6, Issue 16 - Gulf of Mexico July Shrimp Landings and Exvessel Prices
http://www.ext.msstate.edu/newsletters/mississippi-marketmaker/2021/vol-11-no-12-ship-and-boat-building-the-united-states-and


Drain Clearing Service From $99. Call DCM Gold Coast on (07) 5576 5305.
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If a blocked drain bursts, the foul-smelling contents can cover a home or garden with sewage and waste resulting in potential contamination, a costly repair and not to mention being unpleasant for everyone all round.
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Call DCM Plumbing as soon as signs of a blocked drain start to appear. We'll clear the drain and, as a certified 'Tidy Tradie', take all the evidence away with us…including the nasty pong!


Bring your families to Fyvie Castle Estate to learn some bushcraft skills around the camp fire. We will learn different fire lighting techniques and other skills that will be useful in the natural world. We will also make a hot drink so don't forget your snacks!
All our events begin and end in the properties car park where there is a car parking charge for non-members.


text:
UK to start work on own satellite system to rival EU's Galileo
Published : Aug 27, 2018, 8:56 am IST
Updated : Aug 27, 2018, 8:56 am IST
Britain's finance minister Philip Hammond has approved 100 million pounds to explore a post-Brexit satellite system.
The European Commission has started to exclude Britain and its companies from sensitive future work on Galileo ahead of the country's exit from the EU in seven months time. (Photo: ESA)
Britain is to start work on its own satellite navigation system to rival the European Union's Galileo project because the UK's access to sensitive security information could be restricted after Brexit, the Sunday Telegraph reported.
Galileo, a 10 billion euro ($11.44 billion) satellite program being developed by the EU as a rival to the US Global Positioning System, has emerged as a flashpoint between Britain and the EU, which is already beginning to treat Britain as an outsider.
Britain's finance minister Philip Hammond has approved 100 million pounds to explore a post-Brexit satellite system and an official announcement will be made this week, the Sunday Telegraph reported.
A spokeswoman for Britain's Department for Business, Energy and Industrial Strategy declined to comment.
The European Commission has started to exclude Britain and its companies from sensitive future work on Galileo ahead of the country's exit from the EU in seven months time.
Galileo was commissioned in 2003 and is due for completion by 2020. One expert has predicted that it could cost Britain about 3 billion pounds to build a rival system.
The EU has said Britain will be able to continue to use Galileo's open signal, but that Britain's military could be denied access to the encrypted version when the satellite becomes operational.
Britain has said it plans to press ahead with the development of its own satellite navigation system if the EU continues to insist that it will be barred from the secure elements of the project and will demand a repayment of up to 1 billion pounds for the work it has carried out on the project.
end-of
Tags: brexit, satellite, galileo
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text:
Campbell v. Fong Wan
U. Air Lines v. Occupational Safety Health App. Bd.
1917, ch. 586, § 46, p. 864. See Campbell v. Fong Wan (1943) 60 Cal.App.2d 553, 558 [ 141 P.2d…
Natural Soda Products Co. v. City of L.A
We will first consider defendants' appeal. Defendants first contend that the evidence is insufficient, as a…
Full title:JAMES CAMPBELL, Respondent, v. FONG WAN et al., Appellants; STATE…
Court:Court of Appeal of California, First District, Division Two
Date published: Sep 24, 1943
60 Cal.App.2d 553 (Cal. Ct. App. 1943)
141 P.2d 43
Court of Appeal of California, First District, Division Two
Docket No. 12247.
APPEALS from judgments of the Superior Court of Alameda County. S. Victor Wagler, Judge. Affirmed.
D.W. Brobst, A.J. Harwood and John L. McNab for Appellants.
Weinmann, Quayle Berry, Chas. Burkett, Jr., Nichols Richard and Leonard Dieden for Respondents and for Intervener and Respondent.
NOURSE, P.J.
These three actions were brought for personal injuries by Hocking, Pegnem and Campbell against Fong Wan and his two sons Richard R. Fong and Edward E. Fong. The cases were consolidated for trial and the jury returned a verdict in favor of each of the plaintiffs upon which three judgments were entered. The State Compensation Insurance Fund was allowed to intervene, it being a compensation insurance carrier for the employer of the three plaintiffs, and it also had judgment against defendants to recover compensation paid. The defendants above named appeal from the judgments entered against them. A rehearing was granted in this case in order to give further consideration to the effect of safety orders of the Industrial Accident Commission in determining the standard of care required in building a scaffolding.
The plaintiffs, Hocking, Pegnem and Campbell, were employed by Witt as plasterers in remodeling the New Shanghai Cafe in Oakland, which property stood in the names of Richard and Edward Fong, but which was managed by Fong Wan, who was an alien incapable of holding real property in his own name. The plaintiffs were injured when they fell from a scaffolding placed in front of the New Shanghai Cafe building. One Lloyd Dawson, a contractor, had supervised the erection of the scaffolding and had made an oral agreement with Witt for the plastering job. Dawson was paid $10 a day plus a fixed percentage of the cost if he kept the cost of building within certain limits; he supervised the work, but all workmen, insurance, both social security and workmen's compensation, and materials were paid for through Fong Wan's office; Dawson had not posted a bond, but he secured the building permit; and some testimony was given that Fong Wan was around the job frequently, and urged the workmen to rush the completion of the remodeling. Fong Wan testified that he was making the improvements for himself and for his sons. He put some of his own funds into the job. He managed the New Shanghai Cafe when it was in operation and his sons had no interest in the venture, other than their ownership of the realty. The rentals from the real property were collected by him, and he would turn part over to his sons. At the time they purchased the real property, Fong Wan told the sons that they would have to take title because he was an alien who could not hold real property.
There is a sharp conflict in the testimony concerning how the scaffolding was constructed — what grade of lumber was used, how many nails supported the framework, and how the ribbons were placed beneath the ledger supporting the platform planks upon which the workmen stood. Two of the injured workmen testified that they noticed that the platform upon which they were working was supported by only a single ledger. Over objection that the usual and standard practice in the community was immaterial where there were laws and statutes of the State of California covering the matter, testimony of a qualified expert was admitted concerning the "usual and standard of custom and practice of the building trade in" the vicinity in constructing scaffoldings. This testimony paralleled the requirements of the General Construction Safety Orders of the Industrial Accident Commission then in force. It also paralleled the requirements of the Construction Safety Orders effective approximately two months after the accident except that it failed to mention the alternative method of construction providing for either two ledgers of a small size or one ledger of a large size. The testimony mentioned only the two ledger type construction. Defendant Dawson testified that the scaffolding in question conformed to the one ledger type construction. However, on this point his testimony is in conflict with the testimony of the men who built the scaffold, who testified the ledgers used were of the size of the double ledger type construction.
[1] Appellants, on the basis of Lloyd Dawson's deposition, contend that there is insufficient evidence to support the implied finding of the jury that Dawson was an employee of the appellants, but they contend that this evidence shows that he was an independent contractor having complete control over the construction of the improvements, though paid upon a per diem basis. After this deposition was taken, special counsel was employed for the witness and his testimony at the trial was directly contrary to that given in his deposition. The jury chose to accept the testimony given at the trial, and that ends the controversy.
[2a] Next appellants contend that the court committed reversible error in allowing the expert testimony relating to the custom and usage of building contractors in constructing scaffoldings in the face of the safety rules of the Industrial Accident Commission. [3] The court takes judicial notice of the General Safety Orders of the Industrial Accident Commission. (Code Civ. Proc., sec. 1875 (3); Drillon v. Industrial Acc. Com., 17 Cal.2d 346, 352 [ 110 P.2d 64]; Lab. Code, sec. 7157.) [2b] However, it is clear that it was not error to admit the testimony of general usage and standard. The evidence was relative to the issues at hand as expert testimony on a matter not within the common knowledge of jury. ( Brockman v. Aldous, 11 Cal.App.2d 650 [ 54 P.2d 43]; Long v. John Breuner Co., 36 Cal.App. 630, 636 [ 172 P. 1132]; McStay v. Citizens Nat. T. S. Bank, 5 Cal.App.2d 595 [ 43 P.2d 560].) The testimony was necessary in order for the jury to come to an intelligent conclusion concerning the standard of care required of an ordinary man in constructing a scaffolding.
[4] But the appellants contend that the Safety Orders of the Industrial Accident Commission establish the only standard for the construction of scaffolding. They argue that evidence of custom or usage may not be admitted to vary the express terms of a statute. This position is not tenable. California Jurisprudence states the rule: "It does not follow that merely because one has complied with the terms of a statute or ordinance that he is thereby absolved from negligence. One may act in strict conformity with the terms of an enactment, and yet not exercise the amount of care which is required under the circumstances." (19 Cal.Jur. 634; Sickles v. Mt. Whitney Power Elec. Co., 177 Cal. 278, 280 [ 170 P. 599]; Bush v. Southern Pac. Co., 106 Cal.App. 101, 108 [ 289 P. 190]; Harper v. Northwestern Pac. R. Co., 34 Cal.App.2d 451, 454 [ 93 P.2d 821].) [5] Although we can conceive of regulatory statutes, compliance with which would be due care as a matter of law in the absence of other circumstances, ( cf. James v. White Truck etc. Co., 1 Cal.App.2d 37, 42 [ 36 P.2d 401]) the regulations before us were not intended to be more than the minimum standard of care stated to meet the charge of wilful misconduct or of a criminal violation. Section 6318 of the Labor Code, found in the Workmen's Safety part of the Safety in Employment Division, provides that orders of the Industrial Accident Commission establish a minimum standard of care to be construed in connection with any local order relative to the same matter, provided that the local order may not lower the standard of care required by the commission. This section foresees a possibly higher standard of care in relation to safety in places of employment in the particular locality than that imposed by the commission. Although no similar provision is found in the article relating to scaffolding which contains special provisions with respect to employees working on a scaffolding, it is clear that the Legislature did not intend to abrogate higher standards in relation to scaffolding and not in other places of employment.
[6] Finally, it should be noted that we can find no prejudice in the admission of the testimony if any error there was. To show prejudice in the admission of the testimony, the appellants assert that it varied from the Industrial Accident Commission Construction Safety Orders in stating that two ledgers were required instead of one. This accident happened on July 2, 1940. At that date the following pertinent statutes and orders were in force: Labor Code 7156 — "Offenses. Any person employing or directing another to do or perform any labor in the construction, alteration, repairing, painting, or cleaning any house, building, or structure within this State is guilty of a misdemeanor who does any of the following:
"(a) Knowingly or negligently furnishing, etc. Knowingly or negligently furnishes or erects, or causes to be furnished or erected for the performance of such labor, unsafe or improper scaffolding. . . ." Labor Code 7157 — "Safety orders, making and enforcing. The commission may make and enforce safety orders in the manner prescribed by law, to supplement and carry into effect the purposes and provisions of this article."
General Construction Safety Orders — "The platform of the scaffold shall be supported by putlogs made of one by six (1x6) inch boards or heavier material, laid on edge." ("Putlogs" are the ledgers herein referred to.)
Although on October 1, 1940, revised Construction Safety Orders went into effect which allowed the alternative methods of construction for light building trades ( cf. Order 1120) testified to by the expert and Dawson, depending on the size of the ledger board, at the date of accident the only criterion laid down by the Industrial Accident Commission was that the ledgers be 1"x6" boards at least, and the number was to be determined solely by the words "unsafe or improper" in section 7156 of the Labor Code. Therefore the testimony of the expert was not in conflict with the statutes of the State of California, but explanatory of a statutory duty.
[7] Next it is argued that the respondents were guilty of contributory negligence as a matter of law. Two of them testified that they looked at the scaffolding before going up and saw that it was constructed with but one ledger, the third testified that he paid no attention to it. If the only claimed defect in the construction of the scaffolding was the use of one ledger the argument of appellants would be more persuasive. But where other defects were claimed, some of which were not patent, the question of contributory negligence was properly left with the jury. To put it another way, where there is evidence of negligence in the construction or maintenance of an instrumentality, which is not patent and cannot be observed by the use of ordinary care, the question of the negligence of the party using the instrumentality is one of fact.
[8] Finally it is argued that the judgment should not stand against appellant Fong Wan since he was merely the agent of his two sons. It appears that the sons were the record title owners of the premises, that Fong Wan, independent of the sons, conducted the cafe upon the premises and made the plans to construct a new building. Into this building Fong Wan put some of his own funds, and paid for the work and materials. Whether his status was that of a trustee, agent, or equitable owner cannot be determined from the record. In all his dealings with labor and material he did not represent himself as agent for his sons, but held himself out as at least a part owner in the premises. He was sued as such, and the burden was upon him to prove that his activities were limited to the relation of agent for his sons. Thus the question of that relation was one of fact for the jury, and the implied finding that he was an owner of some interest is supported by substantial evidence.
The judgments are affirmed.
Spence, J., concurred.
Appellants' petition for a hearing by the Supreme Court was denied November 22, 1943.


Every video plays fine using Mezzmo on a wired network to a Sony Bravia TV, using that profile. Only one video does not play the video...the sound is fine. It's an m2ts file at 1080p. It plays over DNLA using Windows Media Player of Windows 7 to the same Sony Bravia TV. The thumbnail image is odd colors, unlike all the other ones.
The TV natively plays the video using an external hard drive connected to its USB port.
Is there any way to have just this one video not be transcoded? If not, how might it be possible to play this video. Note, it does play using Wild Media Server as a trial, but that program is overly complicated and apparently meant for someone that I am not.
Mezzmo is much improved over that bag of bones! But I just can't get this one video to play...arrrg! Thanks in advance.