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J-Source: A look ahead
By Many • 9 years ago • Commentary
J-Source's new editor-in-chief introduces himself and looks ahead to some of the changes in store for the site.
By Bruce Gillespie, Editor-in-Chief, J-Source
I was a fan of J-Source long before I started contributing to it. As a self-confessed news junkie, I was glad to find a site that aggregated all of the important news about journalism in Canada. I liked that it also featured original reporting and commentary that dug a bit deeper to reveal a level of detail that would bore most general readers but was of great interest to someone like me. I also appreciated how well it balanced the interests of its three main audiences: working journalists, journalism instructors and journalism students.
That being so, I'm delighted to be taking the reins of a site I've found so valuable in the past. And I'm indebted to my predecessor, Janice Neil, and her team of editors for leaving the site in such great shape.
Since I stepped into this role on August 1, the question I've been asked most often is what changes I'm planning for the site. I'm happy to say that I have no plans to make any major changes for the time being. As uninspired as that might sound, I'm committed to providing more of the same reporting and commentary about the industry, the issues it faces and the people involved that you're used to finding on the pages.
Related content on J-Source:
Bruce Gillespie appointed as editor-in-chief of J-Source as of August 1
J-Source and ProjetJ transition begins with call for potential new contributors
J-Source: A look back
That being said, there are some changes in the offing. Mine is not the only new byline you'll see on the site. In the coming weeks, we'll be introducing some new editors and contributors to the J-Source team to provide an even wider range of coverage than we currently offer.
The most noticeable changes will likely come in the new year. As you may already know, J-Source is moving to a new editorial structure and funding model by the end of 2013, which you can read about here. For me, one of the most exciting aspects of this transition is the opportunity to create stronger links between J-Source and journalism schools and instructors across the country. One of the ways we'll do this is by establishing editorial centres and news bureaus that will be housed in various journalism schools and produce a steady stream of reporting about issues relating to J-Source's editorial mandate that we'll feature on the site.
We're also in discussions with individual college and university instructors across the country who would like to integrate J-Source into their classes. So, starting in 2014, some newsroom courses will produce articles and other content for the site, which I think will be a great way to engage journalism students and give them some real-world experience.
In the months ahead, I look forward to working with associate editor Tamara Baluja and our crack team of editors and volunteers to bring you more news, analysis and commentary. Although I may not always be visible on the site, I'll be busy behind the scenes, so please don't hesitate to get in touch if you have any questions, suggestions or story ideas. J-Source is very much a community project and, as such, your input is invaluable.
Bruce Gillespie is the editor-in-chief of J-Source and an assistant professor in the journalism program at Wilfrid Laurier University's Brantford campus.


The CAREN extended system is a significant upgrade from the CAREN Base. The major differences are the additions of a dual belt instrumented treadmill mounted on the motion base and a wider peripheral vision scope. The CAREN Extended system is bespoke for both balance as well as all gait applications. In addition, the CAREN extended system contains a cylindrical projection screen that allows for peripheral vision up to 180 degrees.


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Home Latest News Jobs Kinder Morgan announces leadership transition plan
Kinder Morgan announces leadership transition plan
By Nicolas Torres -
Kinder Morgan president and COO Steve Kean. Image courtesy of Rice University.
Kinder Morgan president and COO Steve Kean said Wednesday he will take the reigns as CEO when founder Richard Kinder eventually transitions into his role as executive chairman.
The company has not provided a projected timetable for the leadership change.
Kinder, 70, is expected to step down as CEO and stay on as executive chairman, a role that will allow him to still be involved in major decisions at the company.
Kinder is "not retiring" and has no plans to sell any of his Kinder Morgan shares, the company said.
A Kinder Morgan spokesperson confirmed Kean, 59, will take over for Kinder although the appointment must still be approved by the company's board
Kinder founded the company along with William Morgan and other investors in 1997 when the group purchased the Enron Liquid Pipeline.
The company is now the largest midstream company in the world.
In August, Houston-based Kinder Morgan inked a $44 billion deal with its subsidiaries and related companies that unified all operations under Kinder Morgan Inc.
Shareholders approved the merger in November.
The transaction is expected to close by the end of 2014.
Richard Kinder
Steve Kean
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Nicolas Torres

redpajama_set_name: RedPajamaCommonCrawl


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You're probably attracted to R/C flying for the chance to perform dramatic maneuvers with a realistic low-wing model. But first, you have to master the fundamentals – which is faster and MUCH easier with a high-wing basic trainer.
Will you need to buy two planes to reach your ultimate goal? Not if your first is the Flyzone Switch.
Start in the trainer configuration to learn essential skills. Then "switch" to the low-wing sport configuration for more adventurous flying. It's quick, simple, and requires nothing more than what Flyzone already includes in the box.


I like to explore the intersections of culture, conflict, community, and identity. I'm also a strong believer in creative community outreach and dedicate most of my spare time volunteering in the arts and refugee sectors. This is where I visually keep track of most of the non-profit and public-facing projects I've been involved in.
I teach& mentor high school artists interested in photography and conceptual art when their own schools don't have the appropriate resources/funding for art classes. I also love teaching workshops of all ages on empathy and creative communication.
LVA (Louisville Visual Art) is an incredible arts organization that aims to engage, inspire, and improve the community and city through the arts. After becoming engaged with them as a board member it became clear that a rebrand was inevitable with the advent of a new strategic plan. I volunteered my services as an Interim Director of Brand Strategy to develop a new brand vision, identity, target demographics, playbook, and internal/external toolkit. As the co-chair for the Long-Range Strategic Planning Committee I co-developed sustainable implementation practices to turn what's on paper into a reality.
Seeds of Peace is an international NGO dedicated to training exceptional young people in leadership and peace-building. This organization hosts an annual fundraising bridge-walk around the world in which I had the honor to design the 2014 passbook for.
micro-documentary production house / artist duo / husband & wife team sharing stories about the arts, human rights, and culture.
From MPs to Artists, we have worked with an array of people, events and organizations from all over the spectrum to share their stories. We specialized in short form and have produced micro-documentaries, crowdfunding campaigns, and music videos. We've never believed in one-size-fits-all formulas; each story is as unique as you. That's why all our post-production, including musical composition, was done in-house.
I began working as a volunteer for the Refugee Week Conference and have stuck around since. I do photography, produce short films and press releases, and have helped develop/implement internship programmes.
As a creative hub, they co-create, develop, produce, facilitate, promote, curate, research, publish and disseminate a range of arts and media projects exploring refugee and Migrant experiences.
The O.Z. Gallery was started by a group of friends and undergraduate classmates in the glass art program at the University of Louisville, Hite Art Institute. The name itself was derived from both of the glass furnaces at the University of Louisville's Cressman Center: the Z. Furnace and the O. Furnace.
Our aim was to encourage the development of even higher standards of performance and accomplishment in both glass and glassmaking but has extended beyond any one medium into all forms of art. We made no profit; only wanting to promote creative dialogue with our community and positively challenge traditional ways of social engagement.
Top right work created by Mitchell Noah; Middle right work created by Sarah Davis; Bottom left photo credit to Sarah Davis; Bottom right work created by Collin Lloyd.
CIDA is a development agency for entry level creatives with no resources or connections. They target marginalised and excluded communities to provide opportunities for expression and growth through subsidising gallery spaces, hosting networking events/workshops, providing web distribution, etc.. I designed for Cr8Net, their annual Creative Industries Conference, and Creative XPO, their annual networking event.
A Project with the Photographic Alliance and Americana Community Center teaching migrant/refugee children how to make cyanotype prints and how to harness resources around them to create art.
Empowering the voice of children through the teaching and mentorship of our Collaborative Ideas and Advanced Photography group at the University of Louisville. Through several sessions we taught the children self-confidence through art including photography, light-painting, shadow puppets, and narrative. Following, the EMPOWER exhibit was created as an effort to teach children to believe in their own visions. Each child was asked to design his/herself as a superhero and then we created those costumes, taking portraits of the children as they assumed their superhero alter-egos. To see more photos and learn more about this experience, visit our Collaborative Shelter Webpage.
Using the Louisville public bus shelters through TARC (Transit Authority of River City) to bring poetry and visual art to the community. Collaboration with poet Jak Cardini.
Redefining the everyday and the boundaries of art in public spaces. Assistant to Turkish artist Serkan Ozkaya, hand- rendering the front page of the newspaper to be published for the Louisville Courier-Journal. Collaboration with the Courier Journal Newspaper in Louisville, Kentucky and Art Without Walls. As written about further in the New York Times and USA Today.


The events of a ghastly kidnap unexpectedly force an oblivious wife to confront the truth about her shady husband.
Victor Daniel-Kalio is a 21 year old screenwriter with a global perspective. With a brain that spuns entertaining, incredible, outrageous, and unexpected story by the minute, Victor is by far one of the most gifted creatives of today.
Victor hails from Nigeria, a country rich in its culture of storytelling - a culture that is soaked deep in the bloodstream of this creative mind.
He writes story in a vast number of genres for a vast number of content formats. Adventure, horror, mystery, rom com, Victor has the ability to take any idea, any prompt, any thought, and weave it into such compelling, detailed story...it's breath-taking to watch.


Blair looks like a classic fantasy castle – gleaming white, encrusted with turrets and set amid broad acres of gardens and parkland. It has been home to the Stewarts and Murrays of Atholl for 19 generations. Since 1703 the head of Clan Murray has had the title Duke of Atholl.
Part of the castle, Cummings Tower, dates back to around 1269. It was extended during the 16th century then the second Duke transformed it into a fine Georgian residence in 1740. The 7th Duke made several additions in the 1860s-1870s. These ranged from a superb ballroom, still in use, to the installation of gas for heating and light. Most recently in 2000, a new exhibition space was added (Banvie Hall).
The landscaped grounds were created during the 18th century. The walled Hercules garden has a large orchard, ponds and a statue of the Greek hero. A beautiful flowering border runs for 250 yards (230 metres) along the south-facing wall. Wooded Diana's Grove, next to the castle, has some fine tall trees.
Banvie Burn flows through the woods and is crossed by two old bridges. The bridges lead to the ancient ruins of St Bride's Church. Here lie the remains of John Graham, Viscount Dundee, known as 'Bonnie Dundee'. He was killed at the Battle of Killiecrankie in 1689 while leading Jacobite troops to victory. This was the first of the Jacobite uprisings that aimed to restore the Stuarts to the throne of England and Scotland.
Interestingly, Blair Castle is home to the only Private Army in the Uk. The 'Atholl Highlanders' were formed in 1839 and comprise around 40 troops. Their role is ceremonious although they have the right to defend the castle against attack.


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SCHEDULE 13D
(Amendment No. 24)*
Xerox Holdings Corporation
Common Stock, $1 par value
98421M 106
(CUSIP Number)
Jesse Lynn, Esq.
16690 Collins Avenue, Suite PH-1
(Name, Address and Telephone Number of Person Authorized to
Receive Notices and Communications)
If the filing person has previously filed a statement on Schedule 13G to report the acquisition that is the subject of this Schedule 13D, and is filing this schedule because of Section 240.13d-1(e), 240.13d-1(f) or 240.13d-1(g), check the following box / /.
NOTE: Schedules filed in paper format shall include a signed original and five copies of the schedule, including all exhibits. See Rule 13d‑7 for other parties to whom copies are to be sent.
*The remainder of this cover page shall be filled out for a reporting person's initial filing on this form with respect to the subject class of securities, and for any subsequent amendment containing information which would alter disclosures provided in a prior cover page.
The information required on the remainder of this cover page shall not be deemed to be "filed" for the purpose of Section 18 of the Securities Exchange Act of 1934 ("Act") or otherwise subject to the liabilities of that section of the Act but shall be subject to all other provisions of the Act (however, see the Notes).
CUSIP No. 98421M 106
1. NAME OF REPORTING PERSON
Icahn Partners Master Fund LP
2 CHECK THE APPROPRIATE BOX IF A MEMBER OF A GROUP
(a) / /
(b) / /
3 SEC USE ONLY
4 SOURCE OF FUNDS
CHECK BOX IF DISCLOSURE OF LEGAL PROCEEDINGS IS REQUIRED PURSUANT TO ITEMS 2(d) or 2(e)/ /
6 CITIZENSHIP OR PLACE OF ORGANIZATION
7 SOLE VOTING POWER
8 SHARED VOTING POWER
9 SOLE DISPOSITIVE POWER
10 SHARED DISPOSITIVE POWER
11 AGGREGATE AMOUNT BENEFICIALLY OWNED BY EACH REPORTING PERSON
CHECK BOX IF THE AGGREGATE AMOUNT IN ROW (11) EXCLUDES CERTAIN SHARES/ /
13 PERCENT OF CLASS REPRESENTED BY AMOUNT IN ROW (11)
14 TYPE OF REPORTING PERSON
Icahn Offshore LP
Icahn Partners LP
Icahn Onshore LP
IPH GP LLC
Icahn Enterprises Holdings L.P.
Icahn Enterprises G.P. Inc.
Beckton Corp.
1 NAME OF REPORTING PERSON
Carl C. Icahn
This statement constitutes Amendment No. 24 to the Schedule 13D relating to the shares of Common Stock, $1 par value ("Shares"), issued by Xerox Holdings Corporation (successor to Xerox Corporation) (the "Issuer"), and hereby amends the Schedule 13D filed with the Securities and Exchange Commission (the "SEC") on November 23, 2015 (as previously amended, the "Schedule 13D"), to furnish the additional information set forth herein. All capitalized terms contained herein but not otherwise defined shall have the meanings ascribed to such terms in the Schedule 13D.
Item 3. Source and Amount of Funds or Other Consideration
Item 3 of the Schedule 13D is hereby amended by replacing it in its entirety with the following:
The Reporting Persons may be deemed to be the beneficial owner of, in the aggregate, 28,526,037 Shares. The aggregate purchase price of the Shares purchased by the Reporting Persons collectively was approximately $728.2 million (including commissions and premiums for forward contracts to purchase Shares). The source of funding for the Shares held by the Reporting Persons was the general working capital of the respective purchasers. The Shares held by the Reporting Persons are held in margin accounts together with other securities. Such margin accounts may from time to time have debit balances. Part of the purchase price of such Shares was obtained through margin borrowing.
Item 5. Interest in Securities of the Issuer
Items 5(a) and (b) of the Schedule 13D are hereby amended by replacing them in their entirety with the following:
(a) The Reporting Persons may be deemed to beneficially own, in the aggregate, 28,526,037 Shares, representing approximately 14.38% of the Issuer's outstanding Shares (based upon the 198,384,932 Shares stated to be outstanding as of October 31, 2020 by the Issuer in the Issuer's Quarterly Report on Form 10-Q filed with the Securities and Exchange Commission on November 4, 2020).
(b) Icahn Master has sole voting power and sole dispositive power with regard to 11,841,871 Shares. Each of Icahn Offshore, Icahn Capital, IPH, Icahn Enterprises Holdings, Icahn Enterprises GP, Beckton and Mr. Icahn has shared voting power and shared dispositive power with regard to such Shares. Icahn Partners has sole voting power and sole dispositive power with regard to 16,684,166 Shares. Each of Icahn Onshore, Icahn Capital, IPH, Icahn Enterprises Holdings, Icahn Enterprises GP, Beckton and Mr. Icahn has shared voting power and shared dispositive power with regard to such Shares.
Each of Icahn Offshore, Icahn Capital, IPH, Icahn Enterprises Holdings, Icahn Enterprises GP, Beckton and Mr. Icahn, by virtue of their relationships to Icahn Master (as disclosed in Item 2), may be deemed to indirectly beneficially own (as that term is defined in Rule 13d-3 under the Act) the Shares which Icahn Master directly beneficially owns. Each of Icahn Offshore, Icahn Capital, IPH, Icahn Enterprises Holdings, Icahn Enterprises GP, Beckton and Mr. Icahn disclaims beneficial ownership of such Shares for all other purposes. Each of Icahn Onshore, Icahn Capital, IPH, Icahn Enterprises Holdings, Icahn Enterprises GP, Beckton and Mr. Icahn, by virtue of their relationships to Icahn Partners (as disclosed in Item 2), may be deemed to indirectly beneficially own (as that term is defined in Rule 13d-3 under the Act) the Shares which Icahn Partners directly beneficially owns. Each of Icahn Onshore, Icahn Capital, IPH, Icahn Enterprises Holdings, Icahn Enterprises GP, Beckton and Mr. Icahn disclaims beneficial ownership of such Shares for all other purposes.
Item 5(c) of the Schedule 13D is hereby amended by the addition of the following:
(c) The following table sets forth all transactions with respect to Shares effected by the Reporting Persons during the past sixty (60) days. Except as otherwise noted below, all such transactions were purchases of Shares effected in the open market, and the table includes commissions paid in per share prices.
Name of Reporting Person
Amount of Securities
After reasonable inquiry and to the best of each of the undersigned knowledge and belief, each of the undersigned certifies that the information set forth in this statement is true, complete and correct.
By: /s/ Irene March
Name: Irene March
Title: Executive Vice President
By: Icahn Enterprises G.P. Inc., its general partner
By: /s/ SungHwan Cho
Name: SungHwan Cho
Title: Chief Financial Officer
/s/ Carl C. Icahn
[Signature Page of Amendment No. 24 to Schedule 13D – Xerox Holdings Corporation]


You can now officially schedule and publish on Instagram, but whats the catch?
Home/Social Media/You can now officially schedule and publish on Instagram, but whats the catch?
Instagram has made some changes to their API and today Instagram introduces scheduling posts. You can now officially schedule and publish on Instagram, but whats the catch? The catch is we can only use Facebook Marketing Partners or Instagram Partners to schedule and post. And you do have to have an Instagram business account, plus you have to log in with Facebook so several catches actually.
Businesses will also now be required to use Facebook Login when giving permission to third-party tools to utilize these features. For those who wish to continue using their existing API tools, they will still be able to do so but will be unable to access any of the new features as a result.
HootSuite is one of the biggest social media management platforms and they are partners at Instagram. HootSuite announced today before anyone else that they are able to schedule and publish on Instagram through their Hootsuite dashboard.
However, it's still very exciting, for us social media marketers who were jumping for joy that we can schedule and publish on Instagram, we are easily pleased. We have been waiting for this for a long time, but there are some hurdles to overcome.
As we know Instagram is becoming more and more popular so more businesses are clambering to get on the visual social network. (If you are still asking Why do I need to be on Instagram read that post.) I was wondering what the cost is going to end up being, are you going to have to pay for a business account soon? And can we only use approved apps to do this? Then I realised that you probably have to pay for HootSuite to use this feature, so I popped over to find out. No, it seems you can include your Instagram in the 3 networks limit, but for more, you have to pay. Whether or not you can have 3 free Instagram accounts, I will have to find out. That might be a bit more tricky, being as you have to sign up with Facebook, so it might not be all roses for marketers.
We still have lots of questions that need answers.
I personally love Buffer, for scheduling – I've asked them if they will be adding the ability to schedule and publish on Instagram, and I've not seen any comments from them. I assume they are not an Instagram Partner and still might not be able to schedule and post. You can schedule with them right now, and you get an alert to publish it from your phone. Which at first was a pain but it actually works pretty well.
UPDATE – Good News Buffer have said they are beta testing this feature before it rolls out to everyone, so watch this space. Buffer also said that they are exploring the Partner aspect right now. I was using my @techieminx account rather than my @michelledh account – just in case you were wondering.
However, on Hootsuite they said that the new features will roll out today for all Hootsuite customers who have an Instagram businesses profile.
Select Instagram and press Connect with Instagram.
Enter your password and authorize Hootsuite to access your account.
I checked everywhere and it still came up with the error – I will revisit this tomorrow and update my findings.
If you are struggling with engagement, likes, followers and getting people to your website via Instagram then do let me know. We can fix that for you.


The Women's Lightweight Tradie Shirt - Short Sleeve is made of 145 GSM lightweight cotton twill that keeps the wearer cool in summer. This shirt features triple stitched seams and is darted at the back for a feminine fit. This women's shirt has extended curve shirt back and curved side insert hem.


AstraZeneca was looking for a profound understanding of the (medical) journey of patients suffering from severe asthma and the impact of this disease on their daily life.
We used an ethnographic angle to really understand what living with severe asthma is about. Patients took part in an extensive photo assignment to show us who they are and to picture the impact of their disease in a daily context. The output of the photo assignment provided us with sharp insights. Next to that, it offered the patients a natural and empathic basis for the two hour in-home conversations.
This all led to an impactful visualised patient journey, showing the barriers and friction that patients have to deal with both in their medical journey as well as in their daily life. The journey is embraced and widely shared by AstraZeneca /pharmaceuticals, hospitals and the two main patient associations (Longfonds and Vereniging Nederland Davos). It is now used to empower patients, optimise care and develop solutions.


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'70s Music Meets the White House in 'Jimmy Carter: Rock & Roll President'
By Stephen Deusner
In 1978, during a concert on the White House lawn, legendary jazz trumpeter Dizzy Gillespie put the leader of the free world on the spot. President Jimmy Carter, formerly a peanut farmer in his home state of Georgia, had requested "Salt Peanuts," a rambunctious tune that had been a hit for Gillespie back in the 1940s, but the musician said he'd only play it if Carter himself sang the lyrics. That's not a hard job: There are only two words, "Salt peanuts," repeated over and over, in a fast, staccato exclamation.
Carter gamely obliged and took his place onstage among the jazz greats, wearing not an official suit but a more casual outfit of unbelted slacks and a shirt-sleeve shirt. No musician himself, the President gave it his best shot, but could barely keep up with the veteran players. The song ended in laughter, but it was no joke. Instead, it revealed not only Carter's sense of humor about himself—a rarity among politicians—but also his abiding love of music. Even as he's flubbing such a basic vocal, he looks like he's having the time of his life up there.
That impromptu performance is a key scene in the persuasive and often joyous new documentary Jimmy Carter: Rock & Roll President, which redeems the 39th President by examining his accomplishments in office through his relationship to music. The words stagflation and malaise are never mentioned, nor is there any appearance by an angry rabbit — all issues that have long obscured Carter's legacy. A naval submarine officer turned politician who farmed peanuts on the side, he served in the Georgia State Senate through the 1960s before running successfully for governor in 1970.
Six years later he ran for president, right at the heyday of southern rock and outlaw country, when the entire nation seemed to be fascinated by the South. Artists like Gregg Allman, Ronnie Van Zant, and Willie Nelson saw in Carter more than a little of themselves: Southern men who didn't fit the old hick stereotype, who might have called themselves rednecks, but rejected the hostilities and prejudices and buzzcuts associated with that figure.
And Carter was a real fan of the music they were making at that time. They not only befriended but endorsed him, playing fundraisers along the campaign trail and later visiting him in Washington, DC. Willie Nelson was famous for sneaking up to the roof of the White House to smoke pot and Rock & Roll President reveals that it was Carter's son Chip and not some security guard who joined him. These were not family-friendly pop stars like the Osmonds or the Partridge Family, but countercultural figures who could very easily have hindered a candidate by tying him to drugs or sex or rebellion. Rather than undercut Carter's gravity or mission, they helped portray him as an outsider who could clean up the mess made by Nixon and Watergate.
As the documentary makes clear, however, this wasn't just politics as usual. There was no strategy behind Carter's partnership with these southern musicians. Instead, it came about more organically, a happy accident stemming from his clear love for the music. He and several other talking heads say as much in the film, but the most convincing evidence is visual. Rock & Roll President is filled with archival footage of the President watching and listening to a wide array of music — not just rock, but folk, jazz, gospel, and country — and at every concert he's there singing along and smiling his big, toothy smile. Rather than playing up a focus-group-approved reaction, he lets his guard down and projects something resembling pure joy. At 95, Carter remains an imposing and presidential presence. Yet, especially when he's recalling a particular concert or simply putting a Dylan record on the turntable, that unselfconscious smile returns, its hint of mischief intact.
Rock & Roll President includes interviews with a range of artists, some of whom are still identified as progressives (Rosanne Cash, Willie Nelson, Bob Dylan) and others who have swayed further right over the years (Larry Gatlin). But they all respond to Carter's calls for bipartisanship, his moral leadership, his steady demeanor in office, and of course his musical knowledge. Over time many of his accomplishments have been dismissed, undone, or simply swept under the rug, but the documentary connects some of them — his handling of the historic peace treaty between Egypt and the United Arab Emirates, for example — to Carter's Christian faith and the principles he found in music.
There are, of course, holes in the story Rock & Roll President presents, but Carter's idealism is refreshing especially at a moment when politics has become ugly, divisive, and cynical to the point of nihilism. He comes across as a folk hero: embraced by the people and too honest for politics. "There was so much about the story that is timeless, in terms of messaging," says director Mary Wharton. "During filming and production, there were all these things that would happen in the news that resonated with the stories that were being told in the film. Things like Carter's role in the Civil Rights movement continue to be more and more relevant."
She and producer Chris Farrell spent three years researching and filming the documentary, which included two trips down to Plains, Georgia, to speak to the former peanut farmer himself. For our latest Roots on Screen column, BGS spoke to the duo while they were in Massachusetts for the Berkshire International Film Festival, where Rock & Roll President played at a drive-in theater — just like it was '76 all over again.
BGS: In the film, Carter seems to be very unselfconsciously enjoying himself around this music whenever there's live footage. What was he like to deal with?
Chris Farrell: He's in his mid-90s, first of all. He's a former President. He's a naval guy. He's pretty stern, and even in his advanced age, he's still pretty imposing. He shows up to the interview and sits down and he's very serious. But within the first three to four minutes, he realizes this is not the typical interview. We want to talk about his love for music, what music meant to him, and how he used music in his personal and political life. I'll never forget — that smile just showed up, and you can see it in the interview.
Mary Wharton: We were told that President Carter was a very punctual man and that we needed to be ready when he walked in the door. They said he's not very patient in terms of waiting around for you to get ready for him. He's a very exacting person who does not suffer fools. And why should he? But it was obvious that he had enjoyed talking about this stuff, and that he had a lot of fun with it. I think he genuinely enjoyed sharing this part of his life that he had never really been asked about before.
Was he the first president to use music this way? How unprecedented was it to have endorsements from this kind of countercultural creative class?
MW: JFK got the endorsement of Frank Sinatra and the Rat Pack. I don't know if they were doing campaign benefits for JFK or not — I never researched that — and the only other thing I could point to is Nixon inviting Elvis to the White House, because Elvis wanted to be made a sheriff or something along those lines. But that didn't seem like anybody endorsing anything…
CF: And Johnny Cash, remember? Nixon tried to co-opt Johnny Cash and it didn't work. Again, the interesting thing was: This was not marketing necessarily for them. As the film shows, from his very early childhood, music was massive in Carter's life. It was very, very important to him, and that's why it made a natural component to his campaign. It wasn't like some campaign manager said, "Hey, listen, boss, just trust us on this. You know, if you hang out with these guys, you're gonna get endorsements and people are going to like you." He genuinely loves music, all music, and he really, really felt a strong relationship and bond with these guys, and that's what made them willing to endorse him.
Willie Nelson, Emmylou Harris and Jimmy Carter
And these weren't just any old musicians either. They were Southern musicians who seemed to be redefining how the South was being depicted. The Allmans and Skynyrd were popular right when you're having movies like Walking Tall and Deliverance, and suddenly there are new ways of thinking about the South.
CF: Mary and I are both from the South — and not terribly far away from where Jimmy Carter is from. We're both from North Florida. Even though we were young when he was elected — I was ten, Mary is slightly younger than me — we spent the '70s in the South and we remember that it was changing. As Chuck Leavell says very well in the film, and Rosanne Cash says extremely well, things were going in the right direction, and Carter personified that attempt to move us along not only in the South but the country as a whole. Unfortunately, a lot of those issues we were making progress on then, it feels like we've gone backwards on, whether that's civil rights, women's rights, a whole host of issues.
Looking back, many of the artists associated with that movement are now seen to be very conservative, while Carter was and remains very progressive. It's interesting to see footage of him sharing a stage with Charlie Daniels.
MW: Charlie Daniels [became] very conservative. But he was more affiliated with Carter and was onstage at his campaign rallies. He did a lot to support Carter at the time, then had a bit of a change of heart during the Reagan administration. Larry Gatlin is another one who's in our film who is now very conservative. At the time, though, he did support Carter. He saw that Carter was a good man, and he believed in him. The country was a little less polarized back then. As John Wayne says in that clip in the film, he's a staunch Republican and was known for being "the opposition." But he makes clear he's a member of the "loyal opposition." He saw that Carter was president and said he would support him as best he could. We as Americans may not always agree on every issue, but we need to figure out how we can work together to come up with some kind of compromise that we can all live with. We've gotten to a point where that doesn't even exist anymore.
CF: That's ultimately the point of the movie: that Carter was able to use music to bring people together. We have so many examples of how music broke down barriers and brought people together, unified people — and would it be nice to think that, somehow, that can happen again.
MW: We had an early screening of a rough cut in New York, just some friends of mine and the editor. We just needed to get some feedback from some outsiders, and there was this one woman in the group who had a very visceral reaction to the Charlie Daniels piece of music in the film. Charlie Daniels is playing at this campaign rally in 1980 where the Ku Klux Klan showed up and were counter-protesting and demonstrating outside the rally. Carter stood up to them and essentially called them cowards for hiding behind white sheets. Charlie Daniels got up on the stage and performed, and that was why we wanted to play that music. This woman so associated the music of Charlie Daniels with many of the beliefs that the KKK espouses. She saw Southerners as automatically racist, and that's a common misperception. I've heard people say, "Oh, you're from the South, but you're not a racist. What made you change your mind?"
CW: One of the most beautiful examples of that is the jazz on the White House lawn. There's the sheer brilliance of those musicians and how Carter brought them all together and how he honored the genre. Carter said part of the reason that jazz had not been recognized over the years was racism. He was able to talk about racism in a way that eludes so many politicians. They find it a difficult topic to deal with, but he tackled it head on. That's one of those scenes where you really get the essence of Jimmy Carter, where he really shows moral courage and moral leadership.
What I find remarkable is that he's able to connect that to his Christian faith, which is another issue that people seem to have misperceptions about. Christianity is usually associated with a very specific political stance.
CF: The best example of that in our movie, I think, is the Gregg Allman story, because, to me, that's the essence of Carter. He didn't judge Gregg Allman, and he didn't think he needed to forgive Gregg for something, because he knew it wasn't his place to forgive him. It was his place to be compassionate and be there for his friend in his time of need. I consider myself Christian. I'm an Episcopalian, and to me that's what Christianity is all about. It's about love. It's about compassion. And I think that he really does exhibit those attributes.
Carter seems to be thought of as a failed president who really came into his own after he left the White House. But the film argues that the traits we associate with his humanitarian efforts were the same traits that guided his presidency and the same traits he found in the music he loved.
MW: The thing we wanted to do with Carter was look at him through this different lens of his relationship with music, and perhaps that might make people reconsider their ideas about his presidency. Jim Free [formerly special assistant on congressional affairs], who's so great in the film, got angry when he talked about how people saw Carter as a bad president. On both sides of the aisle, people will say, "He was a terrible president, but I love what he's done post-presidency." And that would just make Jim angry. He said, "If you like what he's done post-presidency, then take another look at what he accomplished during his administration because he was about the same things. He wasn't always successful, because the presidency is not a dictatorship. It's not a monarchy. You can't just decide what you want to happen and then, lo and behold, it happens. You have to work with Congress. What Carter was able to accomplish puts him on the right side of history.
CW: If people would go back and look at the record — and we could have done this with the movie, but we decided not to go down this path, because Stu Eizenstat wrote a 900-page book about this — they'd see that Carter had an enormous amount of legislation, some really groundbreaking legislation. He's one of the most efficient and effective presidents in history, in that regard. Nile Rodgers rightly says that Carter got the short end of the stick somehow. Hopefully, upon further reflection and examination, people will hold him in higher stead. And he loves music and understands that it has this incredible power to bring us joy, to bring us together, and to remind us that we're more alike than we are different. We all want to dance to a good song.
Lede photo, Jimmy Carter and Rosalynn Carter photo, Jimmy Carter on stage photo, and Jimmy Carter interview photo: courtesy of Greenwich Entertainment; Photos with Willie Nelson and Emmylou Harris, and photo with Dolly Parton, from Carter Presidential Library.
'O Brother, Where Art Thou?' Created an Instant Audience for Old-Time Music Roots on ScreenJan 27, 2021
Branford Marsalis Did a 1920s Deep Dive for 2020's 'Ma Rainey's Black Bottom' Roots on ScreenDec 23, 2020
'70s Music Meets the White House in 'Jimmy Carter: Rock & Roll President' Roots on ScreenSep 14, 2020
'Urban Cowboy' at 40: How a Mechanical Bull Changed Mickey Gilley's Life Roots on ScreenAug 12, 2020


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40 Under 40: Latasha Barnes
Friday, July 29, 2022 - 12:30pm
What can't you do with an A.B. degree? Lawyer and Municipal Court Judge Latasha V. Barnes, double major in political science (A.B '05) and history (A.B. '05), created her path to making a difference, earning a place on the 2020 Bulldog 100 list of fastest growing businesses and a member of the 2022 class of the 40 Under 40:
Admitted to practice law in Georgia in 2010 and started her career as a prosecutor in Fulton County State Court in downtown Atlanta and worked there for five years, handling thousands of cases and had over 50 jury and bench trials.
Started her own law firm, The Barnes Law Office, LLC, in 2015 and specializes in personal injury and DUI cases. In October 2021, she was sworn in as a Municipal Court judge in the City of Stonecrest and served as a pro hac judge in DeKalb County State Court- Traffic Division.
She is a proud alumna of Cedar Grove High School and the Barnes Law Office awards a $1,500 scholarship annually to a Cedar Grove High School senior who is college-bound and interested in the legal field.
Member of the Stone Mountain-Lithonia Chapter of Delta Sigma Theta Sorority, Incorporated where they engage in community service events in the service areas of Stone Mountain, Lithonia and Conyers, Georgia.
Past President and member of the DeKalb Lawyers Association where she participated in the "If You Can See, It You Can Be It" program which educates students in Dekalb County to speak with students about what lawyers do and how to become a lawyer.
Congratulations, Judge Barnes!
A.B. degree


The introduction is the most important part of your graduate school admissions essay. Your reader's first impression can either make or break your application. A weak introduction is a clear indicator of an underdeveloped essay. If you want to get into your first choice graduate program, do not blow it this early in the game.
Ok, so you've read and reread the prompt, you've come up with a thesis, you know your argument, and now you're staring at a blank Word document. Do you just blurt out your thesis and lay all of your cards on the table? Do you save the thesis for a surprise later in the paper? Or should you just turn off your computer and put off writing this paper one more day? Never fear— here are a few quick and easy guidelines for beginning the all-too-oft-dreaded grad school application essay.
Think of the introduction as an upside down triangle. You want to begin with general statements or broad ideas. From there, you hone in on certain details and gradually get more specific until, ultimately, you conclude with your thesis statement.
It is important to keep your introduction short. Ideally, your introduction should only have two to four sentences and a thesis statement.
When I first started playing chess, I never expected that I could become so fascinated with one game, and that years down the road it would be one of the most important aspects of my life, compelling me to ceaselessly spend hours studying openings, developments, and endgame strategies.
There are more possible ways to play a forty-move game of chess than there are electrons in our universe.
The first example is indirect and rambling. It is difficult to tell which details are pertinent and which are not. By the time the reader finishes the sentence, he or she likely forgot how it began. Keep your reader happy.
The second example presents a little known fact. It introduces the idea of chess, provides some trivia, and induces the reader to read on so that he or she sees how this concept relates to the main idea of the author's essay. Keep it short and interesting: do not use compound sentences (i.e. two sentences combined with "and" or "but"), do not start with a prepositional phrase (i.e. a phrase that comes before the sentence itself), aim for less than 25 words for your first sentence, and aim for two to four sentences before your thesis statement. You will have plenty of time to reveal and elaborate later.
A hook is the element of your introduction that captures your reader's attention. You can choose to make your first sentence the hook, or you can you can use the first sentence to lead into the hook — it is up to you. The following methods are the most popular ways to secure your reader's attention and interest.
You can hook your reader by presenting information that is startling, thought-provoking, or provocative. It can be an intriguing fact, an interesting tidbit about yourself, or even a hypothetical idea. If you choose to use a fact, make sure that it is correct. Take a look at the following examples.
There are only five known cases of my disorder in the world.
I have been to forty-nine different countries in my life.
The first example is interesting but not too revealing. To learn more about you, the reader must read further. The author begins by revealing information gradually, leaving the reader curious and eager for more.
The second example promotes positive assumption. Anyone with so much variety in their life must have something worth saying. It also immediately shows a unique quality about the author, something that will make him or her stand out. Again, the reader will be curious to learn more.
Try to think of something that sparks your reader's curiosity — a sentence that provokes questions, or reveals a unique feature of your story.
When I was fourteen, my father asked me to name the mightiest animal in the jungle. At first, I had suggested a lion, but he only shook his head and said that lions are hunted by men with guns and spears. Later, my father was shot and hospitalized—a travesty that had brought me to my next assumption: that the mightiest animal is the gun. I lived constantly pondering and revisiting my father's question, but today, I have a different answer: the mightiest animal in the jungle is the man.
The example above uses an anecdote and a personal story. It introduces the importance of the author's father, which is likely to be a central theme of the essay. Within the anecdote, there is also a clear progression through the three phases of the author's life. There is also a conclusion to the story, from which the thesis will extract its main argument. While succeeding at all these things, the author manages to keep the story's length down to only four sentences.
Finding the best graduate program and mentor can be one of the most arduous processes of a young man's life.
This statement is very broad. Even if the reader agrees with the statement — which he or she might not — there is nothing unique or extraordinary about this sentence; it is not gripping. These kinds of introductions can get the reader to sympathize and agree with your perspective before you have even presented it, but they are seldom the best option.
No matter how you choose to introduce your essay, make sure that you explain its significance. If you use a story, highlight the relevant details, or extract the moral of the story to support your thesis. When writing your thesis, be specific and clear. Your thesis should be an interpretation — not a statement of fact — that gives your opinion on a specific subject relating to the prompt (for more on the thesis see Developing Your Thesis).
Keep your first sentence under 25 words long (aim for between 10 and 15). Do not use compound sentences (i.e. two sentences combined by and/or/but). Do not start with a prepositional phrase (i.e. a phrase that precedes the main sentence containing the subject and verb).
Keep the intro short; write at most 2-4 sentences preceding your thesis statement.
Conclude your introduction with your thesis.
Address the topic outlined in the prompt. The prompt is not meant to be a springboard question.
Have a voice. This is not journalistic writing, and you are not expected to be unbiased. Honesty, wit, and an ability to connect ideas and come to conclusions are all appreciated.
Make an impression. Try to think of ideas that might resonate with the reader.
Use a hook and save your thesis for the end of the introduction.
Repeat the prompt in your first sentence.
Include material that can be found in everyone's paper (i.e. "I really want to get into this graduate program" or "I am hard-working and a quick learner.") If you can take a self-description from your essay and apply it to anyone else, you do not want to use it. You want your tone to be both interesting and unique.
Do not make excuses or apologize. Do not mention that you are not an expert, or that your opinion does not matter. The purpose of your essay is to improve your own credibility.


Why are Income Participating Securities and Income Deposit Securities being touted as the next generation of income trusts?
What are the lender's concerns and how can they be addressed?
What are the emerging governance standards and the lessons learned from Atlas Cold Storage?
How do you align the interests of shareholders and management on a win-win basis?
What is the potential impact of rising interest rates and commodity prices on the income funds market?
What are the factors driving industry consolidation and how does the process work?


ABC's action-comedy series Batman (1966–68) famously offered a dual address in its wildly popular portayal of a comic book hero in a live action format. Children uncritically accepted the show's plots and characters, who were guided by lofty ideals and social values, while adults reacted to the clear parody of the values on display. In Batman, author Matt Yockey argues that the series served as a safe space for viewers to engage with changing attitudes about consumerism, politics, the Vietnam war, celebrity, race, and gender during a period when social meaning was increasingly contested in America.
Yockey examines Batman's boundary pushing in four chapters. In "Bat-Civics," he analyzes the superhero as a conflicted symbol of American identity and considers the ways in which the Batman character parodied that status. Yockey then looks at the show's experimentation with the superhero genre's conservative gender and racial politics in "Bat-Difference" and investigates the significance of the show's choices of stars and guest stars in "Bat-Casting." Finally, he considers how the series' dual identity as straightforward crime serial and subversive mass culture text set it up for extratextual production in "Bat-Being."
The superhero is a conflicted symbol of American identity—representing both excessive individualism and the status quo—making it an especially useful figure for the kind of cultural work that Batman undertook. Batman fans, from popular culture enthusiasts to television history scholars, will enjoy this volume.
Matt Yockey is assistant professor of film studies at the University of Toledo. His work on fan studies and the superhero genre has appeared in such publications as The Journal of Fandom Studies, Transformative Works and Cultures, The Velvet Light Trap, and Studies in Comics.
Matt Yockey's marvelous volume on Batman deftly captures the complexities of the Adam West TV show. From consumerism to civics, from the political contradictions embodied in Yvonne Craig's Batgirl and Eartha Kitt's Catwoman to the irresistible campy playfulness of Liberace meeting Batman, Yockey combines close analysis of the episodes with a detailed historical context. The most expert Bat-fan will find something new, fascinating, and fun in Yockey's critical but affectionate study.
Matt Yockey pulls off one mask after another to reveal the multiple double identities at work in the iconic 1960s Batman television series—a program for adults as well as children; Pop art as well as trash culture; progressive parody as well as conservative and patriarchal propaganda; mass market commodity as well as incitement for playful participation, attracting both fans and anti-fans. As a child of the 1960s, Batman is a sacred text for me, but Yockey knows his stuff, takes the series seriously enough to understand its meaningfulness, but still remembers how much fun this Bat-text can be.
This book makes a convincing case for the significance of the 1960s TV series Batman by showing how its parodic tone and Pop art visuals negotiated the major issues of its time, from gender and race to consumerism and citizenship. Today, when the 'Dark Knight' version of this comic book figure has attracted so much attention, this lively study reminds us of the formative role this TV program had in self-reflexively mining the ambivalences of postwar American society in a manner that would pave the way for future Batmen.
Taken as a spoof, reruns of that old show are a treat, particularly in the shadow of the recent and very dark Chris Nolan trilogy. Sadly, the series still isn't available on DVD (although the spinoff movie is), but Yockey's book will fill a gap, as he discusses the social and cultural impact of the show and recalls moments of great humor (like when a tied-up Robin catches the bat-rope with his teeth, and Batman tells him that good dental health saved his life). The author digs deep, but it never feels like the tone is too heavy. The show was ludicrous, and Yockey has a blast getting playful with the themes and characters.
Yockey's Batman is neither a superficial essay nor a collection of anecdotes or personal impressions by a die-hard fan, rather an excellent study in Mass Culture and, this reviewer would add, it may possibly serve as an accurate general introduction to the discipline of American studies, even though it was not meant to be.


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Anorectal
Colorectal Neoplasia
Gallbladder and Biliary Tract
Invasive CRC Rates in Line With Incidence of Previously Undetected Disease
Gastroenterology Advisor Contributing Writer
Investigators evaluated the preclinical burden of colorectal cancer by examining its incidence in 1-year age increments, with an emphasis on the transition between ages 49 and 50 years.
Incidences of invasive colorectal cancer (CRC) in patients aged 49 to 50 years are consistent with incidences of previously undetected CRCs diagnosed via screening at age 50 years, according to study results published in JAMA Network Open.
Rates of early-onset CRC are increasing; however, controversy surrounds whether screening should begin at age 45 or 50 years. Many cases of CRC do not produce symptoms; therefore, observed incidence rates of early-onset CRC in the Surveillance, Epidemiology, and End Results (SEER) registries do not reflect the burden of undiagnosed CRCs in patients younger than age 50 years. The objective of this study was to assess the incidence rates of CRC in 1-year age increments, focusing on the transition between the ages of 49 and 50 years.
In this study, researchers analyzed data from the SEER 18 registries for years 2000 through 2015, when rates of early-onset CRC started increasing and screening became more commonplace. They calculated incidence rates of CRC in 1-year age increments at every age from 30 to 60 years and stratified data according to US region, sex, race, disease stage, and tumor location. Investigators analyzed a total of 170,434 cases of CRC among 165,160 patients (55.9% men, 75.4% white and 14.3% black, with a mean age of 51.6±6.7 years).
Updated Recommendations Issued for Postcolonoscopy Surveillance
Alterations in Lipids May Help Predict Development of Colorectal Cancer
Association Between Oral Antibiotics and Risk for Colorectal Cancers: A Matched Case-Control Study
Results revealed steep increases in the incidence of CRC from 49 to 50 years of age in all SEER 18 registries (46.1% increase: 34.9 [95% CI, 34.1-35.8] to 51 [95% CI, 50-52.1] per 100,000 population) during the 1-year age transition. Steep increases from 49 to 50 years of age were also observed in all US regions, both sexes, white and black populations, and in both colon and rectal cancers. At 50 years of age, 8799 (92.9%) of the 9474 cases of CRC diagnosed from 2000 through 2015 were invasive.
This study had several limitations. First, researchers could not confirm that steep increases in the incidence of CRC from 49 to 50 years of age resulted from the increased detection of potentially asymptomatic preclinical CRCs. Second, researchers could not determine when CRC began growing in patients before the age of 50 years. Last, SEER 18 represents only 28% of the US population.
The study researchers concluded that steep increases in the incidence of invasive CRC between 49 and 50 years of age are consistent with a high burden of preclinical CRCs before screening at the age of 50 years. Moreover, relying on SEER incidence rates to estimate CRC outcomes in younger populations may underestimate the benefits of cancer prevention.
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Abualkhair WH, Zhou M, Ahnen D, Yu Q, Wu XC, Karlitz JJ. Trends in incidence of early-onset colorectal cancer in the United States among those approaching screening age. JAMA Netw Open. 2020;3(1):e1920407.
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We welcome grown ups and children above the age of 12.
During the day we serve food that is relaxed and informal. In the evening things are a bit more refined, showcasing the incredible local ingredients we have on our doorstep.
Surrounded by some of the best English wine estates we are passionate supporters and have one of the largest English wine lists in the country.
Please note we don't have a children's menu.
Our sourcing policy means most of our ingredients come from local fishermen, farmers and foragers. The quality of their produce is remarkable and it's an environmentally sustainable model.
The restaurant in the UK that's making the most of the larder on their doorstep.
Our new private dining room – the Cabin, sits up to 16 guests in cosseted luxury.
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Our new lunch menu is served from 10.30am through to 2.00pm and on Sunday's from midday to 3.30pm.
It's informal and relaxed with dishes we think you might enjoy after a long walk on the beach. There are also some brunch items on there too in case you missed breakfast.
Happy people needed to help make our guests happy.
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We are one of only 70 or so restaurants in the UK to have this accreditation.


text:
Poison in the Colony
Diana's White House Garden
Heroes of the Surf
Night Running: How James Escaped With the Help of His Faithful Dog
Blood on the River: James Town, 1607
Last Dance on Holladay Street
Storm Warriors
Stealing Freedom
Starting School with an Enemy
Sarah and the Naked Truth
Corey's Story
Many Windows
Teaching Large Classes
Recipes from the Books
Blood on the River Study Guide
Last Dance on Holladay Street Study Guide
The Pack Study Guide
Storm Warriors Study Guide
Stealing Freedom Study Guides
Sarah Books Study Guide
For Readers & Writers
The 30 Day Creativity Program
Young Writer Resources
Home Page BOOKS Poison in the Colony Diana's White House Garden Heroes of the Surf Jump Night Running: How James Escaped With the Help of His Faithful Dog Blood on the River: James Town, 1607 Last Dance on Holladay Street The Pack Storm Warriors Stealing Freedom Starting School with an Enemy Sarah and the Naked Truth Corey's Story Many Windows Teaching Large Classes FOR EDUCATORS Recipes from the Books Blood on the River Study Guide Last Dance on Holladay Street Study Guide The Pack Study Guide Storm Warriors Study Guide Stealing Freedom Study Guides Sarah Books Study Guide FOR WRITERS Frequently Asked Questions Young Writer Resources The 30 Day Creativity Program
by Elisa Carbone
The year is 1878, and thirteen-year-old Eva Wilkins has lost all the family she's ever known. With Mama Kate and Daddy Walter both gone now, Eva feels like an orphan—but she's not. Sadie Lewis, the woman who gave her up at birth, is alive and well in Denver. Eva sets out to find her, carrying only an address on a slip of paper. But when she reaches 518 Holladay Street, she discovers Sadie Lewis's shocking secret—a secret that lands Eva in a house of ill repute, forced to dance with strangers for her keep. In this rough new world, the necessities of life come at a price-but is it a price Eva is willing to pay?
About the guide:
This guide includes discussion questions and projects appropriate for classrooms, book clubs, literature circles, and other discussion groups. It is intended to provoke thought and insight into the themes of this book which include self esteem, parent relationships, freedom, defining one's standards, friendship, and meaningful work.
Author Interview:
Q: What got you started writing books for young people?
A: I felt as though I had something to say to young people -- I wanted to encourage them to follow their dreams, find the courage inside of them, believe in themselves -- and I felt that presenting those kinds of messages within the pages of exciting novels was the best way to reach out to young readers.
Q: LAST DANCE ON HOLLADAY STREET is a story for young readers almost entirely set in a brothel. What inspired you to write this story?
A: When I first learned about the brothels in the 1800's and how young women and girls were coerced and pressured into working there, I was struck by the parallels with what is going on today, with young girls often being pressured into sexual activity when they are much too young. I wanted to write a story that would be empowering to young readers, that would help them see the value in sticking up for themselves, being strong and being true to themselves, and most importantly, NOT giving in to peer pressure.
Q: What similarities and differences do you see for young people growing up today vs. the time in which LAST DANCE is set?
A: The question for young people faced with social, economic, or other pressures, then and now, is the same: do I sell myself out or look for a better way? Do I follow the path I seem to be forced into, or do I stay strong and follow my *own* path? Young people are still strong, still resilient, and still resourceful. That's why they are inspiring to write for.
Q: What are you trying to communicate to your readers in LAST DANCE ON HOLLADAY STREET?
A: I have embedded several messages in this story, all around self esteem issues, which young people are dealing with at this age:
Don't let yourself be pressured into anything you don't want to do.
Be strong, be yourself, and value yourself and your body.
No matter how far you think you have fallen out of grace, there is still love and forgiveness waiting for you if you open up to it.
No matter how bleak and impossible things look, there is always a good way through the troubles and on to the good stuff.
Q: You do a lot of research for your novels. Can you talk a bit about your research methods?
A: I do the usual book, article and photo research, though I focus mostly on original sources rather than secondary sources because they have more life to them. Also, I'm an experiential learner, so I use a lot of fun research methods to help make the story come alive for me. For Last Dance on Holladay Street, I got a private tour of a Colorado silver mine (because one of the characters is a miner). I rode a narrow gauge railroad train up into the Rocky Mountains the way Eva did. I even got to touch an old fashioned curling iron (tongs that were placed into a kerosene lamp to heat up) in a museum, and this inspired me to add a scene where Lucille is talking to Eva while curling her hair for her evening's work (the scene includes the smell of burning hair -- those curling irons were hard to regulate!). I find that if I can touch and experience the things my characters did, I will discover the details that will make the story vivid for my readers.
Pre-reading:
What do you know about the west during the late 1800's? What were things like for women? For former slaves? How did people earn their living? What do you think would be the most difficult aspect of surviving during this rough and tumble age?
Comprehension Check:
1. Why must Eva leave her home and set out for Denver?
2. Describe Denver in the 1870's.
3. Who comes to Eva's aid in Denver?
4. Compare Eva's life on the farm to that on Holladay Street.
5. In the end, how does Eva solve her problems?
Discussion Guide:
1. How would you describe Eva? How has she been raised? What does Mama Kate expect of her? What does she expect of herself?
2. How did Eva come to lose both Daddy Walter and Mama Kate? What type of relationship did Eva have with them? How did she come to live with them?
3. Who is Mrs. Santini? What does she teach Eva? How does this help her in the long run? What does she notice about her own and Mrs. Santini's complexion? Why is this important to her?
4. Throughout the rest of the novel Eva talks to Mama Kate, almost like a prayer. How does this help her? How does it influence her decisions?
5. In what circumstances does Eva come to meet Mr. Stonewall? What do you think Zeke Stauder had in mind for Eva? Do you think this still happens today? How does Mr. Stonewall help Eva? Have you ever had an adult who was not your parent mentor you like Mr. Stonewall did for Eva? What does she learn from him?
6. When Eva learns what type of house 518 Holladay Street is, what does she do? What would you have done? What choices did she have?
7. How does the economy of the brothel work? Do you think it is a fair economy? Would you have felt indebted to Miss B like Eva did? What power does Miss B have?
8. At first Eva is excited by the new clothes, abundance of food, makeup and jewelry. How does dancing turn out to be not what she expected? Is it a slippery slope toward working upstairs? Why or why not? Would you be willing to dance on Holladay Street (or want a sister to?)
9. Many of the women and girls tell the story of how they came to work at 518 Holladay Street. What were some of their circumstances? Do you think they had other options that they didn't consider? Are they simply making excuses or is there ever someone who simply must turn to prostitution to survive? Why or why not? Do you think these same issues apply to young women today?
10. Would you describe Eva as having high self-esteem? What about Pearl? And Sadie? Do you think a girl or woman with high self esteem would ever be convinced to work in a brothel? Why or why not? How can a girl develop a strong sense of self? Do you think it is easier or more difficult in modern times than it was back in Eva's time?
11. Describe how Eva escapes. What is she wearing? Why? What options does she have? Would you have been so bold to act in this way? What would you have done?
12. Why does Eva allow the Flanagan adults to believe she's an immigrant? Why does she fear she would be put out on the street otherwise? How do the Flanagans treat Eva? What do they do for her? What happens on the mountain? Why don't they just let Eva stay permanently with them? Were you surprised by this?
13. Would you have run from the orphanage representative too? Why or why not? What would life in the orphanage be like?
14. Where are Sadie and Pearl when Eva gets back to Denver? Why? How does Eva get Miss B to bail them out? What do the three do to change their own circumstances?
15. Read the author's note at the end of the novel. What did you learn from the author that you were surprised by? Why do you think she decided to write this story?
Language Arts:
Choose one of the characters: Eva or Mr. Stonewall, and create five pieces of writing as that character from the following time periods: Before the opening of the novel, after they learn about 518 Holladay Street, while Eva is in the mountains, when the eating house has just opened, and two years after the close of the novel. You may write letters, poems, journal entries, or even a scene from a play.
Research one of the topics mentioned in the story. Create a PowerPoint presentation, web site design or pamphlet about what you learned. Some topics (or get one approved before starting):
consumption (tuberculosis)
train travel in the late 1800's
silver mining
orphanages
immigration in the late 1800's
Visual Art:
Design a scene for the play adaptation of Last Dance on Holladay Street. You may use technology or old fashioned methods to bring your plan to life. Be as historically accurate as possible.
This guide was created by Tracie Vaughn, a reading specialist and author of the book Sketches from a Spy Tree. Visit her website and find dozens of other guides to children's literature.
All contents copyright (c) 1998-2019 Elisa Carbone. All right reserved.
Please do not copy anything unless expressly designed for that purpose, like the study guides.
Thank you for respecting the copyright laws.


text:
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1 oz Random Year Krugerrand Gold Coin | Rand Refinery
Random Year 20 Swiss Franc Gold Coin
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The Krugerrand coin series is a worldwide known collection that started in 1967 to help South Africa's prestigious precious metal industry expand its reach and encourage individual ownership of gold amongst investors.
Ships individually in a plastic sleeve
Consisting of 1 oz of 9167 Fine Gold
Obverse: Features the engraving of a rand in the African landscape, the year of release along with the metal type and purity in English and Afrikaans
Reverse: Features an effigy of Paul Kruger along with the country name in Afrikaans and English
The reverse bears the classic image of South Africa's national animal, the Springbok Antelope, traversing the 'veld' of its homeland. Set within a light, decorative frame, you'll also find the 'Krugerrand' title and the year of issue, along with details of content (shown in Afrikaans and English), and weight.
The obverse bears the likeness of the final president of the former South African Republic (which later became known as Transvaal), Paul Kruger, who lived from 1825 to 1904. Also on the obverse, within a decorative frame, the South African legend in both Afrikaans and English. While Paul Kruger is considered a controversial figure due to his status as the 'face of the South African 'Boer,' his death actually precedes the beginning of the Apartheid regime by 44 years and the bullion coin that bears his name is considered a welcome and much-needed source of revenue for the New South Africa.
These coins are discounted as they may be tarnished, scratched or visibly handled.
Weight and purity are guaranteed but year and condition are subject to availability.
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Established in Germiston, South Africa, in 1920, The Rand refinery was constructed to efficiently maximize the abundant quantities of gold present in the beautiful African nation. The Rand refinery became globally recognized as the sole refiner and producer of the world's first bullion coin, the Gold Krugerrand, possibly the most recognizable bullion coin in the world. In addition to the production of the Krugerrand, the Rand Refinery is also responsible for the production of sleek, elegantly styled gold ingots such as these 1 oz gold bars of 9999 purity.
Finish Lightly Used
Country South Africa
Manufacturer Rand Refinery
Designer Otto Schultz (obverse), Coert Steynberg (reverse)
Obverse Bust of Paul Kruger and the words "SUID-AFRIKA·SOUTH AFRICA".
Reverse A Springbok Antelope with the mintage year on either side and the words "KRUGERRAND FYNGOUD 1 oz FINE GOLD".
Diameter (mm) 32.6
Rand RefineryRand Refinery1 oz Random Year Krugerrand Gold Coin | Rand Refinery The Krugerrand coin series is a worldwide known collection that started in 1967 to help South Africa's prestigious precious metal industry expand its reach and encourage individual ownership of gold amongst investors. COIN HIGHLIGHTS *Ships individually in a plastic sleeve *Consisting of 1 oz of 9167 Fine Gold *Obverse: Features the engraving of a rand in the African landscape, the year of release along with the metal type and purity in English and Afrikaans *Reverse: Features an effigy of Paul Kruger along with the country name in Afrikaans and English The reverse bears the classic image of South Africa's national animal, the Springbok Antelope, traversing the 'veld' of its homeland. Set within a light, decorative frame, you'll also find the 'Krugerrand' title and the year of issue, along with details of content (shown in Afrikaans and English), and weight. The obverse bears the likeness of the final president of the former South African Republic (which later became known as Transvaal), Paul Kruger, who lived from 1825 to 1904. Also on the obverse, within a decorative frame, the South African legend in both Afrikaans and English. While Paul Kruger is considered a controversial figure due to his status as the 'face of the South African 'Boer,' his death actually precedes the beginning of the Apartheid regime by 44 years and the bullion coin that bears his name is considered a welcome and much-needed source of revenue for the New South Africa. These coins are discounted as they may be tarnished, scratched or visibly handled. Weight and purity are guaranteed but year and condition are subject to availability. ABOUT THE RAND REFINERY Established in Germiston, South Africa, in 1920, The Rand refinery was constructed to efficiently maximize the abundant quantities of gold present in the beautiful African nation. The Rand refinery became globally recognized as the sole refiner and producer of the world's first bullion coin, the Gold Krugerrand, possibly the most recognizable bullion coin in the world. In addition to the production of the Krugerrand, the Rand Refinery is also responsible for the production of sleek, elegantly styled gold ingots such as these 1 oz gold bars of 9999 purity.


This article shows how a radiographically evident condylar hyperplasia can be successfully managed as a case of condylar hypoplasia.
A 22-year-old male patient presented with the chief complaint of progressively increasing deviation of the chin to the right side (Fig. 1).
Fig. 1 22-year-old male patient with facial asymmetry, chin and midline deviation to right, canted occlusal plane, and Class III skeletal pattern before treatment.
The patient had experienced a fall from stairs when he was 7 years old, but reported no visible injury or treatment at that time. Clinical examination revealed marked asymmetry in the middle and lower thirds of the face, with a canted oral rim, chin deviation to the right, concave profile, depressed nasal bridge, and malar deficiency. The right side of the face appeared shorter than the left; the chin was deviated to the right, and there was a midface deficiency. Both arches were well aligned, but in complete crossbite. The lower midline was shifted 4mm to the right, and the occlusal plane was canted downward on the left. The upper and lower first molars were carious.
A panoramic radiograph showed an elongated left condyle with a deep masseteric notch. The left ramus was longer and narrower than the right, and the right antegonial notch was deeper than the left, with longer body length on the left.
The lateral cephalogram indicated a Class III skeletal pattern with a retrognathic maxilla and prognathic mandible (SNA = 79°, SNB = 89°, ANB = −10°), as well as a horizontal growth pattern (FMA = 9°). The maxilla was small in terms of both effective and absolute length (CoA = 76mm, ANS-PNS = 43mm). The effective mandibular length from the left condylion to left gnathion was within normal limits (117mm), but the right half of the mandible was notably shorter. The maxillary incisors were proclined (U1-NA = 50°, 10mm), and the mandibular incisors were retroclined (L1-NB = 18°, 2mm).
The posteroanterior cephalogram revealed marked asymmetry in the lower two-thirds of the face. The chin point was deviated to the right (Me-MSR = 6mm) because of the shorter lower border of the mandible on the right (Ag-Me = 43mm) than on the left (50mm). The vertical dimension of the maxilla was also shorter on the right (Cg-J = 94mm) than on the left (103mm), and the right ramus (Co-Ag = 53mm) was shorter than the left (63mm). In summary, the patient had a facial asymmetry with the left side of the face appearing longer, even though its measurements were within the norms.
To assess the cause of asymmetry, a technetium (Tc) 99m scan was used to reconstruct single-photon emission computerized tomography (SPECT) images (Fig. 2).
Fig. 2 Single-photon emission computerized tomography shows increased uptake in left condyle, indicating left condylar hyperplasia.
The increased uptake in the left condyle indicated left condylar hyperplasia. Muscle function on both sides of the face was evaluated by electromyography, using bipolar surface electrodes. The right temporalis showed greater activity than the left, both at rest and in function. In addition, the right masseter showed slightly greater activity than the left in function (clenching).
Based on the clinical and radiographic analysis, we concluded that the maxilla was deficient on the right side, in the sagittal dimension as well as in the vertical plane. Mandibular dimensions were within normal limits in the sagittal plane, despite the Tc scan indication of a hyperactive condyle on the left side. This finding was reaffirmed by an optimal 12.5% ratio of head size to total body height.10 The ramus was shorter on the right side, resulting in occlusal canting. Therefore, to correct the facial deformity in the vertical and sagittal dimensions, we would need to increase the mandibular ramal and body length and the vertical height of the maxilla on the right side, advance the maxilla, and restore the carious teeth. Conventional treatment of condylar hyperplasia would have called for a condylectomy and mandibular reduction surgery on the left side, but the patient's facial height contraindicated such reduction.
Leveling and alignment were carried out for four months using .022" MBT* appliances, until an .019" × .025" stainless steel archwire could be placed (Fig. 3).
Fig. 3 After six months of treatment, prior to mandibular distraction.
After six months of treatment, an extraoral device was placed to correct the mandibular asymmetry by distraction of the right side (Fig. 4).
Fig. 4 After seven months of treatment, with mandibular distraction in progress.
An angular cut was made, and the distractor was placed obliquely to elongate the ramus and the mandibular body simultaneously. Distraction was carried out at the rate of one turn per day for eight days, until the chin point was centered. The distractor was kept in place for another two months to retain the correction.
Although this procedure corrected the canting of the mandibular occlusal plane, it created an 11mm open bite. To bring the posterior teeth into occlusion on the left side, we prescribed ³⁄16", 3.5oz intermaxillary elastics for two months (Fig. 5).
Fig. 5 After eight and a half months of treatment, with mandibular distraction complete, intermaxillary elastics used to close 11mm open bite; bite block worn on right side to maintain interocclusal gap and allow for eventual vertical correction of maxilla.
An intermaxillary elastic was worn across the midline from the upper left canine to the lower right canine to maintain a retentive force toward the distracted side.
At that point, panoramic and PA cephalograms clearly showed the leveled lower occlusal plane with marked deviation of the maxillary occlusal plane, which was canted upward on the right (Fig. 6).
Fig. 6 After 12 months of treatment, lower occlusal plane leveled and maxillary occlusal plane canted upward on right side.
To allow for eventual vertical correction of the maxilla, the interocclusal gap on the right side had been maintained with an acrylic occlusal bite block. A facebow transfer was taken to record the maxillary occlusal plane with respect to the cranium, since the maxilla required correction in both the sagittal and vertical directions. After the models were articulated, a mock surgery was performed to visualize the required amount of correction. A Le Fort I osteotomy was then performed to advance the maxilla by 7mm, along with a genioplasty to correct the chin asymmetry. An intraoral distractor was placed by means of a midpalatal split to elongate the maxilla on the right side, thus correcting the maxillary cant and closing the interocclusal gap (Fig. 7). The upper archwire was cut at the midline to allow vertical descent of the maxilla on the right side (Fig. 8).
Fig. 7 After 14 months of treatment, with vertical maxillary distraction in progress.
Fig. 8 After 15 months of treatment, with vertical maxillary distraction complete.
The distraction achieved 7mm of vertical movement of the right maxilla, and the posterior occlusion was settled within one month. The sectional wire was then removed, and an upper .017" × .025" nickel titanium archwire was placed. Class III elastics were worn for nine months to maintain the positive overjet.
Total treatment time was 24 months (Fig. 9A and B).
Fig. 9 A. Patient after 24 months of treatment (continued in next image).
Fig. 9 (cont.) B. Superimposition of pre- and post-treatment cephalometric tracings.
Post-treatment photographs showed marked improvement in the canting of the oral rim, with a centered chin. An esthetic profile and excellent occlusion were achieved. Post-treatment radiographs showed that the difference in mandibular body length on the right and left sides was reduced from 9mm to 3mm. Menton shifted 6mm to the left and was centered on the MSR.
Two-year follow-up found a stable occlusion and facial symmetry. A repeat Tc 99m scan showed negligible focal spots at the left condyle, indicating cessation of growth at this previously active site (Fig. 10).
Fig. 10 Technetium 99m scan two years after treatment.
Condylar hyperplasia is commonly treated by reduction of the apparently enlarged side, but our patient had normal mandibular dimensions and a nearly ideal 12.5% ratio of head size to total body height,15 presenting a true diagnostic and treatment-planning challenge. Since a reduction of mandibular length was not indicated, the right facial dimensions had to be increased to correct the facial asymmetry. Saridin and colleagues have pointed out that condylar hyperplasia can also be caused by reduced growth of the contralateral condyle compared with the affected condyle, as indicated by oxygen-15-labeled water and fluoride-18-labeled positron emission tomography imaging.18 In our patient, the fluoride uptake was significantly higher in the affected condyle, indicating a cessation of growth in the contralateral condyle and weighing against condylectomy in this case. Because the active condyle in a case of condylar hyperplasia ceases to grow between ages 18 and 25,7 the growth status of the functioning condyle must be kept under observation. A repeat Tc scan was performed to assess the need for condylectomy when the patient approached age 25.
Management of condylar hyperplasia depends on the patient's growth status and deformity.19 In this case, based on clinical evaluation and cephalometric findings, we decided to correct the skeletal deficiency first by means of distraction and orthognathic surgery, avoiding the need for later condylectomy. The results were satisfactory and stable.
*Trademark of 3M, Monrovia, CA; www.3M.com.
1. Hegtvedt, A.K.: Diagnosis and management of facial asymmetry, in Principles of Oral and Maxillofacial Surgery, vol. 3, ed. L.J. Peterson, A.T. Indressano, R.D. Marciani, and S.M. Roser, Lippincott Williams & Wilkins, Philadelphia, 1992, pp. 1400-1414.
2. Cohen, M.M. Jr.: Perspectives of craniofacial asymmetry, Part III: Common and/or well known causes of asymmetry, Int. J. Oral Maxillofac. Surg. 24:127-133, 1995.
3. Reyneke, J.P.; Tsakiris, P.; and Kienle, F.: A simple classification for surgical planning of maxillomandibular asymmetry, Br. J. Oral Maxillofac. Surg. 35:349-351, 1997.
4. Olate, S.; Netto, H.D.; Rodriguez-Chessa, J.; Alister, J.P.; de Albergaria-Barbosa, J.; and Moraes, M.: Mandible condylar hyperplasia: A review of diagnosis and treatment protocol, Int. J. Clin. Exp. Med. 6:727-737, 2013.
5. Obwegeser, H.L. and Makek, M.S.: Hemimandibular hyperplasia—Hemimandibular elongation, J. Maxillofac. Surg. 14:183-208, 1986.
6. Wolford, L.M.; Movahed, R; and Perez, D.E.: A classification system for conditions causing condylar hyperplasia, J. Oral Maxillofac. Surg. 72:567-595, 2014.
7. Blasberg, B. and Greenberg, M.S.: Temporomandibular disorders, in Burket's Oral Medicine, 11th ed., ed. M.S. Greenberg, M. Glick, and J.A. Ship, B.C. Decker Inc., Hamilton, Ontario, 2008.
8. Singh, V.; Verma, A.; Attresh, G.; and Batra, J.: Ortho-surgical management of condylar hyperplasia: Rare case reports, Natl. J. Maxillofac. Surg. 5:54-59, 2014.
9. Jones, R.H. and Tier, G.A.: Correction of facial asymmetry as a result of unilateral condylar hyperplasia, J. Oral Maxillofac. Surg. 70:1413-1425, 2012.
10. Boyd, E.: Outline of Physical Growth and Development, Burgess Publishing Co., Minneapolis, 1941.
11. McCoy, J.D.: Applied Orthodontia, 3rd ed., Lea & Febiger, Philadelphia, 1931, p. 49.
12. Proffit, W.R. and Turvey, T.A.: Dentofacial asymmetry, in Contemporary Treatment of Dentofacial Deformity, ed. W.R. Proffit, R.P. White, and D.M. Sarver, Mosby, St. Louis, 2003, pp. 574-644.
13. Severt, T.R. and Proffit, W.R: The prevalence of facial asymmetry in the dentofacial deformities population at the University of North Carolina, Int. J. Adult Orthod. Orthog. Surg. 12:171-176, 1997.
14. Bishara, S.E.; Burkey, P.S.; and Kharouf, J.G.: Dental and facial asymmetries: A review, Angle Orthod. 64:89-98, 1994.
15. Ahn, S.J.; Lee, S.P.; and Nahm, D.S.: Relationship between temporomandibular joint internal derangement and facial asymmetry in women, Am. J. Orthod. 128:583-591, 2005.
16. Nitzan, D.W.; Katsnelson, A.; Bermanis, I.; Brin, I.; and Casap, N.: The clinical characteristics of condylar hyperplasia: Experience with 61 patients, J. Oral Maxillofac. Surg. 66:312-318, 2008.
17. Mehrotra, D.; Dhasmana, S.; Kamboj, M.; and Gambhir, G.: Condylar hyperplasia and facial asymmetry: Report of five cases, J. Maxillofac. Oral Surg. 10:50-56, 2011.
18. Saridin, C.P.; Raijmakers, P.G.; Kloet, R.W.; Tuinzing, D.B.; Becking, A.G.; and Lammertsma, A.A.: No signs of metabolic hyperactivity in patients with unilateral condylar hyperactivity: An in vivo positron emission tomography study, J. Oral Maxillofac. Surg. 67:576-581, 2009.
19. Xavier, S.P.; de Santana Santos, T.; Silva, E.R.; Faria, A.C.; and de Mello Filho, F.V.: Two-stage treatment of facial asymmetry caused by unilateral condylar hyperplasia, Braz. Dent. J. 25:257-260, 2014.
Dr. Tripathi is a Senior Professor and Head, Dr. Neha is a Senior Research Associate, and Dr. Rai is a Professor, Department of Orthodontics and Dentofacial Orthopedics, Maulana Azad Institute of Dental Sciences, New Delhi 110002, India. Dr. Srivastava is Dean and Professor, ESIC Dental College and Hospital, Delhi, India. E-mail Dr. Tripathi at drtulikatripathi@yahoo.com.
Fig. 9A Fig. 9 A. Patient after 24 months of treatment.
Fig. 9B (cont.) B. Superimposition of pre- and post-treatment cephalometric tracings.


This Time Star Plus' Iconic Dance Reality Show got the Boost and Difficulties in Dance Level goes One Level Up. Yes, In Dance Plus Season 3 Remo D'Souza brought his own Squad and Contestants have to Compete with the World Dance Champions in a Squad. The Names and Photos of World Dance Champions revealed here.
Remo's Squad is the Group of Internationally Acclaimed Dancers who are very Talented Dancers and the Dance Plus Contestants have to Compete with them and the one who defeat the Remo's Squad gonna be the Winner of Dance Plus Season 3.
Worlds Dance Champions People from Japan, India, France, USA will make the Grand Entry in Remo D'souza's Dance Plus 3. The Contestants in Dance Plus Season 3 going to have Tough Time this Season. Remo D'Souza's Squad will be the Individual, Group Dancers Performers.
Dance Plus Season 3 Scheduled to Kick Start from 1st July 2017, Every Saturday-Sunday 8 PM on Star Plus Channel. Stay Tuned.


text:
Spanish police thwart plan to assassinate Prime Minister Sanchez
Leader of Spanish Socialist Party PSOE, Pedro Sanchez, attends a press conference in Madrid on May 25, 2018. - 'Spains biggest opposition party, the Socialists, filed a no-confidence motion today against Prime Minister Mariano Rajoy after his conservative Popular Party was found guilty of benefiting from illegal funds in a mega graft trial. (Photo by GABRIEL BOUYS / AFP) (Photo credit should read GABRIEL BOUYS/AFP/Getty Images)
Spanish police have thwarted a planned attack on Spanish Prime Minister Pedro Sanchez, authorities confirmed on Thursday.
Catalan police tweeted they had arrested a man who "wanted to kill'' Sanchez and found a large stash of weapons at his home.
"The man was arrested recently in the Catalan town Terrassa on suspicion of planning the attack,'' police said in separate statement in Barcelona.
READ ALSO Zimbabwe leader vows investigation after 47 die in bus collision
The man allegedly wanted revenge for the Spanish government's plans to exhume and relocate the remains of former Spanish dictator Francisco Franco.
Franco has since his death in 1975 been buried in a massive mausoleum at the Valley of the Fallen, a memorial site North-West of Madrid.
The 63-year-old had a license for the large amount of weapons found at his home. Police found 16 firearms, including snipers and an assault rifle.
The man worked for a private security company.
According to media reports, he had announced his plans to assassinate Pedro Sanchez on social media.
"He has already been brought before a judge and is currently in prison in Terrassa,'' a spokeswoman for the Catalan Justice Department told dpa.
Tags: pedro sanchezSpanish police
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Holding hands in public is a beautifully understated way for a couple to express their feelings for one another and present a united front of mutual commitment to the world. Whilst most of us take it for granted, for some issues of sexual orientation and cultural pressures make public hand holding a gesture loaded with anxiety. These are the issues explored by Israeli Director Yoav Brill in his animated documentary HORA. DN invited Yoav to share how a foundation of personal interviews built into this fascinating exploration of intimacy and societal expectations.
Hora is an animated documentary about the intimate but public habit of hand holding among gay men. It is based on interviews I held with men from my hometown Tel Aviv, some who are happy to be walking the streets holding hands and some who can't imagine expressing that kind of affection in public. The idea came after I moved to a neighborhood populated by asylum seekers from African countries like Sudan and Eritrea. Seeing straight African men holding hands in public, in a neighborhood where Israeli gay men wouldn't feel comfortable to do the same, made clear that there was a lot about this simple gesture to dig into. Questions arose of culture differences, public intimacy and the performative nature of living in a society.
Questions arose of culture differences, public intimacy and the performative nature of living in a society.
Since the film is a documentary based on people's monologues, I began by interviewing friends of mine, people who I felt comfortable with, some who had experiences with hand holding and some who avoided it at all costs (the avoiders were actually the ones who had MORE to say). Topics that came up in those recorded conversations led me to other interviewees who I thought would have a unique perspective about the different aspects of hand holding. For example, in order to understand better the performative nature of hand holding in public, I talked with gay musicians and performers. To confront different types of hand holding, I spoke with a dancer (who admitted to hating holding hands in the street even though he has no problem doing it on stage), and a healer who's used to touching people as part of his practice.
I spent about a month turning the 8 hours of interviews into a guiding soundtrack for the film. The goal was to ensure the story worked even without the animation, like a short podcast. Editing conversations that were recorded with different people in different situations was like playing dominoes – which sentence would lead to which anecdote? How can people contradicting each other turn the collage into a conversation?
Having a solid structure was necessary since I didn't have the time to create a complete video board for the whole film. Splitting the narrative to chapters (geography, fear, performance, etc.) meant I could add a scene if I had some more time. In fact, the last two sentences in the film were added just a few days before completing it (the original ones didn't have a strong enough emotional impact). The first scene, "showing" the recordings of the interviews, was the last to be made.
Technically, it was a mixture of techniques: mostly 2D cut outs in a 3D space, combined with some live video and pixelation. The characters and objects are mostly vintage illustrations found on the web. The city of Tel Aviv is composed of photographs I took and colored in Photoshop. The scene in India is all made of ancient Indian paintings. Apart from preparing the layers in Photoshop, it was entirely done in After Effects, the one piece of software I really like.
The entire soundtrack was composed on Cubase in about a week (again, the deadline…!), by me and my band leader at the time Amit Erez (The Secret Sea), just jamming to the rough cut and trying to find the right atmosphere for every scene. All in all the film took about 7 Months to make.
At the moment I am developing a full length documentary, not necessarily animated, but it's too early to elaborate about that (there's an evil eye!). And I'm working as a freelance animator/video editor, while trying to pursue new projects.