Since the 1880 Milan Conference, the field of deaf education has divided itself into camps (e.g., sign language versus spoken language, school for the deaf versus general education setting), creating an "us versus them" construct. As a result, we have created a field where some professionals often appear more loyal to their philosophy than to the needs of deaf and hard-of-hearing (DHH) children. Research is revealing that many linguistic and educational decisions are being driven on philosophical stance rather than the needs of children, and parents are reporting that the advice given to them by professionals is biased towards particular communication methods.
In order to move forward as a field (and to truly do right by DHH children), we must recognize and address the biases that exist within deaf education, particularly when it comes to linguistic and educational decision making.
It takes a village, and in deaf education, members of our village often disagree. It is difficult to collaborate and build a community of practice with people with whom we disagree. It is often easier to reject or dismiss viewpoints that are not in alignment with our own philosophies and educational approaches, and it takes a conscious effort to understand and accept viewpoints that are not in alignment with our own. Further, it is critically important that we work to collaborate beyond our own philosophical silos. We must be willing to have open and honest dialogue and collaboration with those who think or approach things differently than we do.
Not all DHH children are the same or need the same things.
Confirmation bias drives a lot of decisions made in deaf education.
As professionals, our words and actions matter.
Regardless of our philosophical leanings, we are pieces of the same puzzle.
We are too small to be divided.
Currently, research makes clear that there is no single approach to deaf education that works for all DHH children. Instead of focusing on who or what is right or wrong, we should focus on establishing a community of practice around common-unity, focusing on problems that are bigger than ourselves, (for example, improving the literacy outcomes for DHH children). By working as separate entities (Deaf community, deaf educators, parents, professors, researchers, doctors, etc.) we limit possible solutions.
When we come together for the sake of common-unity, we engage in a cycle of professional growth and development by building a broader knowledge base as we learn to see the bigger picture of what it means to be deaf. Within a diverse community of practice, we are able to build a stronger knowledge base by observing and collaborating with others who view and experience the field differently. These actions help stakeholders in deaf education to reflect on practice, change practice, and gain and share valuable experience that will drive the field and that will support the needs of all DHH children.
Assume Positive Intent– We all have a bias and experiences that shape the way we approach things. Take a leap of faith that there is no "hidden agenda".
Set out to Open Minds, Not Change Them– You do not have to compromise your knowledge base or belief system to build a diverse community of practice. Look for the common threads and remember that if you take a stand for something, it does not mean you are against something else.
Have Empathy– Challenge yourself to have an honest, judgement-free dialogue with someone who is your perceived counterpart in an environment in which you can come together as human beings, not adversaries.
Stay the Course– Attack issues, not people. We are stronger together, and in order to be strong, we need to find ways of building each other up instead of creating barriers to learning and growing which limits opportunity and solutions.
Most importantly, do it for the kids.


Shane Harwood takes a deserved drink after his devastating spell of bowling.
St Annes President Brian Standing making his point.
9 Fleetwood fielders surround the bat.
Terry Hunte of Kendal on the attack against the Fleetwood bowling.
James Ellis make an immaculate forward defensive stroke.
Fleetwood's stand in Professional Mahendra Nagamootoo prepares before going out to field.
Steve Hill Fleetwood's opening bowler.
Shane Harwood the St Annes Professional only the second bowler take 100 or more wickets in a season.
St Annes 1st Team Division 1 Champions.
Martin Pickles of Blackpool, was this his last game for Blackpool?
Grahame Clarke of Netherfield receives the !st Division Runners Up Trophy from John Cotton of Thwaites.
John Cotton and Coiln Bland of Barrow CC winners of the !st Division Fair Play Award.
Andrew Dugdale of Kendal looks at the 2nd Division Fair Play Award (Joint winners with Chorley) after the presentation by John Cotton of Thwaites.
Sponsor Norman Poole presents Terry Hunte of Kendal with his award for the Amateur batsman with the most runs.
John Cotton presents to Ian Austin of St Annes the 20/20 Runners Up Trophy.


text:
Га́рольд Шу́кман (; 23 марта 1931, Лондон — 11 июля 2012, Лондон) — британский историк, ведущий специалист по русской истории; писатель и переводчик. Перевёл на английский язык роман «Дети Арбата» А. Н. Рыбакова и работы Д. А. Волкогонова.

Биография
Родился в 1931 году в Лондоне в семье эмигрантов из России Давида и Марии Шукман.

В 1951—1953 годы служил в Королевских военно-воздушных силах Великобритании в качестве переводчика с русского языка и дослужился до звания сержанта.

В 1956 году окончил Ноттингемский университет, где в 1958 году стал старшим научным сотрудником.

В 1960 году в получил докторскую степень по истории в Оксфордском университете за диссертацию про Бунд и год провёл в качестве постдокторанта в Гарвардском и Стэнфордском университете. В том же году он был избран младшим научным сотрудником  Оксфордского университета, где он проработал до 1998 года и был избран почётным членом.

В 1969—1998 годы преподавал в Колледже святого Антония.

В 1981—1991 годы — директор Русского Центра Оксфордского университета.

Являлся научным сотрудником Гарвардского и Стэнфордского университетов. На протяжении многих лет он преподавал курс русского языка для магистров Оксфордского университета.

Скончался от рака в 81 год. Похороны прошли 13 июля 2012 года на кладбище Вольверкот.

Публикации

Автор книг
 Lenin and the Russian Revolution (1967, 1968)
 Lenin's path to power bolshevism and the destiny of Russia (1971)
 Гарольд Шукман, Уильям Дикин, Гарри Уиллетс. A History of World Communism (1975)
 Lenin and the Russian Revolution (1977)
 Roy Medvedev and Harold Shukman. All Stalin's Men (1985)
 A.A. Gromyko and Harold Shukman. Memories (1989)
 Dmitri Volkogonov and Harold Shukman. Stalin: Triumph and Tragedy (1991)
 Dmitri Volkogonov and Harold Shukman. Stalin: Triumph and Tragedy (1995)
 John Reed and Harold Shukman. Ten Days That Shook the World (1997)
 Rasputin. — 1997. — 113 с. ISBN 978-0-7509-1529-8.
 The Russian Revolution (1998)
 Stalin (1999)
 Harold Shukman, Geoffrey Elliott. Secret Classrooms (2002)
 E.N. Kulkov, Oleg Aleksandrovich Rzheshevskii and Harold Shukman. Stalin and the Soviet-Finnish War, 1939—1940 (2002)
 Redefining Stalinism (2003)
 Secret Classrooms: An Untold Story of the Cold War (2006)
 War or Revolution: Russian Jews and Conscription in Britain, 1917 (2006)
 Railways and the Russo-Japanese War: Transporting War (2007)
 Rasputin: An Introduction (2009)
 Geoffrey Elliott and Harold Shukman.Secret Classrooms: An Untold Story of the Cold War (2011)
 Agents for Change. ISBN 0-9536151-9-7.

Главный редактор
 The Blackwell Encyclopedia of the Russian Revolution, Basil Blackwell (New York, NY), 1988.
 Stalin's Generals, Grove Press (New York, NY) (1993)
 Lenin: Life and legacy (1995)
 Agents for Change: Intelligence Services in the 21st Century (2000)
 Stalin's Generals, Grove Press (New York, NY) (2002)
 Stalin and the Soviet-Finnish War, 1939-40 (2002)
 Redefining Stalinism (2003)
 Agents for Change: Intelligence Services in the 21st Century (2004)

Перевод книг
 Anatoly Rybakov. Heavy Sand (1981)
 Anatoly Rybakov. Children of the Arbat (1988)
 Roy Aleksandrovich Medvedev. China and the Super Powers.
 Совместно с Максом Хейвордом и Майклом Гленни перевёл пьесы Исаака Бабеля и Евгения Шварца (1965)

Перевод и редактирование
 Andrei Gromyko. Memoirs (1989)
 Dmitri Volkogonov. Stalin (1991)
 Dmitri Volkogonov. Lenin (1994)
 Dmitri Volkogonov. Trotsky (1996)

Критика
 Арчи Браун, почетный профессор политологии Оксфордского университета считает Шукмана «превосходным лингвистом», «вдохновляющим учителем» и отметил, что «Он создал отличные переводы книг Генеральный Дмитрия Волкогонова».

Семья
 Сын — .

Примечания

Ссылки
 Dr Harold Shukman (1931—2012)
 Книги Гарольда Шукмана
 Harold Shukman on IMDb

redpajama_set_name: RedPajamaWikipedia


I've been studying all day, and I'm pretty much all caught up on my usual study break (catching up on the latest arguments at the Supreme Court). So instead, I'm going to procrastinate studying more by (finally) updating the blog! Today was the last day of classes for law students. Today also marks two weeks (to the day) from when I'll be heading home. Actually, as I write this (7:30pm in NY) it's almost exactly 2 weeks to the hour that I'll be home. It'll probably take me about this long to deboard and get past security, so we're almost exactly two weeks away from when I'll see my parents! I figure I'll use this post to update everyone on how my semester has gone, and give you some sneak peaks into the Spring (because as of yesterday afternoon, my schedule is finalized! Yay!).
Starting with the mundane: The weather. It's either been warmer this year, or I'm just way better prepared for cold weather this year than I was last year. I'm not entirely sure which it is. There have certainly been some really cold days, but I've got an adequate amount of coats/hats/scarves/sweaters/other-warm-clothing/boots/etc to keep me warm. So that's actually been kinda nice. I've only been made fun of a couple times for my sad face on the days it's been cold. I also remembered to take a picture of the tree outside during the summer. I don't think I still have last year's fall and winter pictures easily accessible, but the next time I'm procrastinating, I'll try to remember to make a comparison post.
Being a TA has been fun. I've had a few students seem really appreciative of help I've given them, and in general it's been cool to have an extra peek into how much I've improved this year. (Wow, did I really do things that poorly a year ago?!) I am definitely looking forward to this next semester. Perhaps most importantly, we get to do my favorite unit – the oral argument. I'm going to enjoy helping them improve their briefs and their oral advocacy skills.
The clinic has been really fun, and probably deserves a post of its own. I'm really glad I decided to take a clinic, and pretty satisfied with my decision to not take a criminal-law related clinic. It's been fun to gain a bit of expertise in Employment law, and from the practical/fieldwork side of things, it's been cool to feel like I could be really making a difference in peoples' lives, which is a sensation that law school traditionally and generally is severely lacking. I am definitely looking forward to another semester of the clinic as well. Having the simulation has been a great experience as well.
Corps … is definitely not my favorite body of law. It was interesting at times, and it was probably very worth my while in the grand scheme of things. There are worse classes I could've taken, I'm sure. Unfortunately we never got to the insider trading/Securities Regulations/Fraud stuff that's related to my real passion (criminal law). I do know that hostile takeovers are not something I find particularly fascinating. I think I learned quite a bit though, and I think I have enough of a foundation to build on for the class to have meant something.


These sconce inspired accent mirrors stand out. Protruding 5 inches from the wall and adorned in eglomise, our small hexagonal mirrors work well for an off the wall effect. Designed to be grouped or bunched as a focal point in any room.


Final Exams Bachelor Upgrade class South East Europe in Bangkok – Human Study e.V.
The extremely critical shortage of trained & competent Prosthetic and Orthotic clinicians in the world and their crucial importance to society is often not well understood. The World Health Organization has estimated the 2010 combined population of Africa, Asia and Latin America at approximately 6 billion with the estimated number of people in need of prosthetic and orthotic devices at 30 million. It is estimated that 40,000 trained personnel are needed immediately in the above noted countries to provide prosthetic and orthotic services to meet the needs of the population. Currently, more than 75% of developing countries have no accredited prosthetics and orthotics training programs, leaving a total of approximately 24 schools with varying levels and standards that are graduating no more than 400 personnel per year for all remaining developing countries. As long as this troublesome societal problem remains unsolved, the huge numbers of Persons With Disabilities will remain a welfare drain rather than contributing & employable members of society.
In close collaboration with the Medical Faculty, Mahidol University, the Sirindhorn School of Prosthetics & Orthotics, in Bangkok, Thailand, Human Study, e.V. leads the worldwide first group of students to their BSc. Degree examination after completion of this unique Blended Distance Learning Education program.
This pilot batch of students from 4 different countries in Eastern Europe, has completed the World's first International Upgrade Program through a Blended Distance Learning Coursework.
Mahidol University, the Sirindhorn School of Prosthetics & Orthotics, has expanded the program and opened opportunities for students in very many countries where there is a huge need of such services but no access to professional education in this field. Currently our students from Afghanistan, Malawi, Togo, Tunisia and even Spain are enrolled in this unique educational program.
These students represent a new beginning and a solution to address an ever growing World dilemma.
The clinical examinations or our first generation will take place from 6th to 9th December 2016 at the Sirindhorn School of Prosthetics and Orthotics, Faculty of Medicine Siriraj Hospital, Mahidol University, Bangkok, Thailand.


The Nexus 6 has flown off the virtual shelves since Oct. 29, when Google released the smartphone for preorders in its Google Play store.
Many would-be consumers have been frustrated with disappearing stock, but the preorder scramble came to a close early Wednesday, with the Nexus 6 now shipping from Google and steadily becoming available for purchase from U.S. cellular stores.
At 6.27 x 3.27 inches, Google's new phablet is as big as the Apple iPhone 6 Plus (6.22 x 3.06 inches) and slightly thicker because of the classic Motorola curved back, made to fit in your hand. Factor in the aluminum sides, and the body could be mistaken for an oversized Moto X— but the Motorola-manufactured Nexus 6 has a few improved specs.
Most notable of the Nexus 6 specs is its HD display. At 5.96 inches, the screen is larger than the iPhone 6 Plus's 5.5-inch display and the Samsung Galaxy Note 4. The Nexus 6 tops the 1920 x 1080 resolution and 401ppi of the iPhone 6 Plus, with a pixel density of 493ppi; it matches the resolution of the Samsung Galaxy Note 4 at 2560 x 1440 Quad HD.
The 13-megapixel camera on the Nexus 6 is an improvement on previous underperforming Nexus and Motorola cameras. With an f/2.0 aperture and optical image stabilization, the Nexus 6 camera should perform well in low-light situations. The camera has the ability to shoot 4K UHD video, while the iPhone 6 Plus maxes out at 1080p, but the built-in Nexus 6 camera has no 240fps slow-motion or time-lapse options, as the iPhone 6 Plus does.
Starting at $649 in the Google Play store, the Nexus 6 ships running Android 5.0 Lollipop, with features including new multitasking and notification options and updated power-saving components. The phone comes preloaded with Google apps and six months of Google Play Access.


text:
SILVERCHAIR Freak Show Hq
Australian grunge-rock band "Silverchair", formerly known as "Innocent Criminals", were still in high-school when they won a radio contest on Triple J. They managed to build on that momentum into a worldwide success before they had even finished their senior year. The CD Single "Tomorrow" was produced as a result of winning that contest, it was an EP that in 1994 reached #1 in Australia, a year before the album "Frogstomp" was even released.
Slave 3:57
Freak 3:49
Abuse Me 4:03
Lie To Me 1:22
No Association 3:56
Cemetery 4:04
The Door 3:37
Pop Song For Us Rejects 3:15
Learn To Hate 4:19
Petrol & Chlorine 3:59
Roses 3:34
Nobody Came 6:11
The Closing 3:25
MENTAL CRUELTY HILL TO DIE UPON (RED MARBLE)
CANNABIS CORPSE LEFT HAND PASS (LTD/LIGHT ROSE )
AGGRESSIVE PERFECTOR HAVOC AT THE MIDNIGHT HOUR

redpajama_set_name: RedPajamaCommonCrawl


Judith Pacht's book of collected poems, Summer Hunger, will be published by Tebot Bach in October, 2010. Her chapbooks, User's Guide, 2009, and St. Louis Suite, 2010, were published by Finishing Line Press. Her manuscript Vectors was a finalist for the 2008 Philip Levine Prize and the Tupelo Press open submission competition. Pacht won Honorable Mention in the 2007 Robert Frost Award and the 2007 Robinson Jeffers Tor House Prize for Poetry competitions. She was first place winner in the Georgia Poetry Society, Edgar Bowers competition.
A two-time Pushcart nominee, her work includes poems published in Ploughshares, Runes, Phoebe, Cider Press Review and Foreign Literature (Moscow, Russia). Her poems have appeared in numerous anthologies including From the Other World: Poems in Memory of James Wright (Lost Hills Press. 2007), The Poetry of Relationships (Canadian Federation of Poets, 2009) and The Gastronomic Reader (University of California Press). Writers at Work featured her poem, Surface, as their January, 2009 selection. Her chapbook, also her first poetry collection, Falcon (Conflux Press), was published in 2004.
She won't reveal the third.


text:
Start Over You searched for: Collections Medicine in the Americas, 1610-1920 ✖Remove constraint Collections: Medicine in the Americas, 1610-1920 Subjects United States ✖Remove constraint Subjects: United States Languages English ✖Remove constraint Languages: English Dates by Range 1850-1899 ✖Remove constraint Dates by Range: 1850-1899
« Previous | 1 - 100 of 2,074 | Next »
1. Life insurance, its nature, origin and progress: a plain exposition of the principles of life insurance, manner of calculating tables of premium, sources of profit, etc. : containing, also, tables of mortality, annuities, expectation of life, compound interest and rates of premium, together with much other valuable information for parties connected with the business of life insurance as well as for policy holders
Mutual Benefit Life Insurance Company.
New-York : John A. Gray, printer, 1858
Insurance, Life
2. Circular. No. 7
United States. Surgeon-General's Office.
Washington, D.C. : Surgeon General's Office, [1862]
Nurses -- supply & distribution
Personnel Administration, Hospital
Hospitals, Military
Dix, Dorothea Lynde, 1802-1887.
United States. Army.
3. An historical sketch of the state of medicine in the American Colonies, from their first settlement to the period of the Revolution
Beck, John B. (John Brodhead), 1794-1851
Albany : Van Benthuysen, printer, 1850
History, 18th Century
4. Medical education: the annual discourse before the Philadelphia County Medical Society : delivered December 29, 1852
Jackson, Samuel, 1787-1872
Philadelphia : Published by the Society, 1853
Education, Medical
5. Report of a committee of the associate members of the Sanitary Commission, on the subject of the nature and treatment of yellow fever
United States Sanitary Commission.
New York : Wm. C. Bryant & Co., 1862
6. Report of a committee appointed by the Sanitary Commission to prepare a paper on the value of vaccination in armies
Philadelphia : Collins, printer, 1861
Smallpox -- prevention & control
7. To the loyal women of America
[Washington, D.C. : The Commission, 1861]
8. Report of a committee of the associate medical members of the Sanitary Commission on the subject of scurvy, with special reference to practice in the Army and Navy
9. Report of a committee of the associate medical members of the Sanitary Commission on the [su]bject of amputations
Boston : Clapp, printer, 1861
10. Report of a committee of the associate medical members of the United States Sanitary Commission, on the subject of pneumonia
[Washington, D.C.] : Printed for circulation by the United States Sanitary Commission, 1863
Pneumonia -- therapy
11. Report on military hygiene and therapeutics: report of committee on military surgery to the Surgical Section of the New York Academy of Medicine
Post, Alfred C. (Alfred Charles), 1806-1886
Military Hygiene
12. Report of a committee of the associate medical members of the Sanitary Commission, on the subject of amputations through the foot, and at the ankle-joint
New York : Printed by R. Craighead, 1862
Amputation -- methods
Foot -- surgery
Ankle Joint -- surgery
13. Report of a committee of the associated medical members of the Sanitary Commission, on the subject of continued fevers
Typhus, Epidemic Louse-Borne
14. Report of a committee of the associate members of the Sanitary Commission on dysentery
15. Rules for preserving the health of the soldier
Van Buren, W. H. (William Holme), 1819-1883
[Washington, D.C. : Sanitary Commission, 1861]
16. Report of a committee appointed by resolution of the Sanitary Commission, to prepare a paper on the use of quinine as a prophylactic against malarious diseases
Washington : McGill, Witherow & Co., printers, 1862
Malaria -- drug therapy
Malaria -- prevention & control
Quinine -- therapeutic use
17. Report of a committee of the associate medical members of the Sanitary Commission on the subject of venereal diseases, with special reference to practice in the Army and Navy
New York : Trow, printer, 1862
Sexually Transmitted Diseases -- therapy
18. The organizing of the American Medical Association: read before the Philadelphia County Medical Society, Feb., 1852
Philadelphia : Printed for the society, 1852
American Medical Association.
19. Report of a committee of the associate members of the Sanitary Commission, on the subject of the nature and treatment of miasmatic fevers
Metcalfe, John T. (John Thomas), -1902
New York : Baillier̀e Brothers, 1862
20. Report of a committee of the associate medical members of the Sanitary Commission on the subject of the treatment of fractures in military surgery
Philadelphia : J.B. Lippincott, 1862
Fractures, Bone -- therapy
Military Medicine -- methods
21. Hints for the control and prevention of infectious diseases, in camps, transports, and hospitals
New York : Wm. C. Bryant & Co., printers, 1863
Communicable Diseases -- transmission
22. Report upon legal restrictions for the control of the sale of poisons and dangerous drugs
Guthrie, C. B.
[United States : s.n., 1859?]
Drug and Narcotic Control
23. Practical views on medical education, submitted to the members of the American Medical Association
Harvard Medical School.
Boston : D. Clapp, 1850
Schools, Medical
24. Extracts from the reports of the Chief of the Bureau of Medicine and Surgery, Navy Department, for 1863 and 1864
[Washington, D.C.? : s.n., 1865?]
Salaries and Fringe Benefits
Personnel Turnover
United States. Navy Department Medical Service Corps.
25. Report of a committee of the associate medical members of the Sanitary Commission on the subject of amputations
Slade, D. D. (Daniel Denison), 1823-1896
[Washington, D.C.? : s.n., 1861]
[Washington : Government Printing Office, 1861]
27. Camp inspection return
[Washington, D.C. : s.n., 1861?]
28. The prospective progress of medicine in America: a valedictory address delivered before the graduating class at the first annual commencement of the New-York Medical College
Green, Horace, 1802-1866
New-York : Baker, Godwin & Co., printers, 1851
Medicine -- trends
29. Report of a committee of the associate medical members of the Sanitary Commission, on the subject of pneumonia
New York : Baker & Godwin, printers, 1862
31. Report on the condition of the troops, and the operations of the Sanitary Commission in the Valley of the Mississippi, for the three months ending November 30th, 1861
Newberry, J. S. (John Strong), 1822-1892
Cleveland : Fairbanks, Benedict & Co., printers, 1861
32. Report concerning the Woman's Central Association of Relief at New York: to the U.S. Sanitary Commission at Washington
Charities -- organization & administration
Woman's Central Association of Relief.
33. Minutes of the proceedings of the Quarantine Convention: held at Philadelphia by invitation of the Philadelphia Board of Health, May 13-15, 1857
National Quarantine and Sanitary Convention (1857 : Philadelphia, Pa.)
Philadelphia : Crissy & Markley, printers, 1857
34. Associate members of the U.S. Sanitary Commission: March 15th, 1862
[New York? : The Commission, 1862]
United States Government Agencies -- organization & administration
35. Third report concerning the aid and comfort given by the Sanitary Commission to sick soldiers passing through Washington
Knapp, Frederick Newman, 1821-1889
36. Report of the Soldiers' Aid Society, of Cleveland, Ohio, and its auxiliaries: to the U.S. Sanitary Commission, at Washington, November 30, 1861
United States Sanitary Commission. Cleveland Branch.
Cleveland, Ohio : Fairbanks, Benedict Co., printers, 1861
37. The Army Surgeon: an address to the graduates of the Medical Department of the University of Buffalo, February 24th, 1863
Rochester, Thomas F. (Thomas Fortescue), 1823-1887
Buffalo : Joseph Warren & Co., Printers, 1863
38. Two reports concerning the aid and comfort given by the Sanitary Commission: to sick soldiers passing through Washington
[Washington : Office of the Sanitary Commission, 1861]
39. Report on the condition of camps and hospitals: at Cairo and vicinity, Paducah and St. Louis
Patton, William W. (William Weston), 1821-1889
Chicago : Dunlop, Sewell & Spalding, printers, 1861
Midwestern United States
United States Sanitary Commission. Chicago Branch.
40. Associate members of the U.S. Sanitary Commission: December 7th, 1861
41. The Sanitary Commission is daily answering the requirements of eighty general military hospitals, not to speak of regimental and other hospitals
[New York? : s.n., 1862?]
42. Revised general instructions for camp inspections
43. Report of the operations of the Cincinnati Branch of the United States Sanitary Commission, to March 1, 1862
United States Sanitary Commission. Cincinnati Branch.
[Cincinnati? : s.n., 1862?]
44. Instructions to general inspectors concerning certain campaign duties
Records as Topic -- standards
45. To all loyal citizens of the United States
46. Abraham Lincoln, President of the United States
Personnel Selection
47. Two reports on the condition of military hospitals at Grafton, Va., and Cumberland, Md
48. To the President of the United States
49. Regulations of the New York Agency of the Commission, and for its transport service on the Atlantic coast
Transportation of Patients
50. Letter from Chaplain Quint
Quint, Alonzo H. (Alonzo Hall), 1828-1896
[Boston : s.n., 1863]
Military Personnel -- psychology
51. The attention of the Sanitary Commission has been, for several months past, directed to the subject of a timely provision for the soldiers disabled in the war, after peace shall be restored
52. Applications for material to be manufactured into hospital clothing are constantly received by us
53. First report to the Commission
United States Sanitary Commission. Department of Special Inspection of the General Hospitals of the Army.
54. Fourth report concerning the aid and comfort given by the Sanitary Commission to sick soldiers passing through Washington
55. Statement of the object and methods of the Sanitary Commission: appointed by the Government of the United States, June 13, 1861
56. Report on the operations of the U.S. Sanitary Commission in the valley of the Mississippi, made September 1st, 1863
[Louisville, Ky.? : s.n., 1863?]
57. Account of the Field Relief Corps, of the U.S. Sanitary Commission, in the Army of the Potomac
Steiner, Lewis H. (Lewis Henry), 1827-1892
Military Medicine -- organization & administration
58. Reports from the Western Department
United States Sanitary Commission. Western Department
[Louisville : The Commission, 1862]
59. Proposed scheme for the relief of disabled soldiers
Ordronaux, John, 1830-1908
Veterans Disability Claims
60. General order of the Sanitary Commission for its executive service
[Washington? : The Commission?, 1863]
Military Hygiene -- organization & administration
Organization and Administration -- standards
61. Supplement to fourth report, (of Dec. 15th, 1862), concerning the aid and comfort given by the Sanitary Commission to sick soldiers passing through Washington
62. Fifth report concerning the aid and comfort given by the Sanitary Commission to sick and invalid soldiers
63. Rules of the central office
64. What they have to do who stay at home
Efficiency, Organizational
65. Preliminary report of the operations of the Sanitary Commssion in connection with the engagement in the harbor of Charleston, South Carolina, July 1st to 20th, 1863
67. Second report to the Committee
Clark, Henry G. (Henry Grafton), 1804?-1892
Washington [D.C.] : McGill & Witherow, printers, 1863
68. Preliminary report of the operations of the Sanitary Commission with the Army of the Potomac during the campaign of June and July, 1863
69. Preliminary report on the operations of the Commission during the present campaign in northern Virginia
70. Address of Harvey Lindsly, president of the Association: from the minutes of the Twelfth Annual Meeting of the American Medical Association, held in the city of Louisville, May 3, 1859
Lindsly, Harvey, 1804-1889
American Medical Association. Annual Meeting
71. Report of cases of hospital gangrene treated in Douglas Hospital, Washington, D.C
Thomson, William, Dr
Gangrene -- therapy
Douglas Hospital (Washington, D.C.)
72. Medical and surgical science in the United States, specialties, empiricism, &C: enlarged from an article published in the New Orleans Picayune of Feb. 14, 1860
Moschzisker, F. A. von (Franz Adolph)
New Orleans : Picayune Office Print., 1860
73. The "Times" review of McClellan
Swinton, William, 1833-1892
New York : N.Y. times, 1864
McClellan, George B. (George Brinton), 1826-1885.
74. Reception of the American Medical Association, at Independence Hall, Philadelphia, May 2, 1855
Philadelphia : T.K. and P.G. Collins ..., 1855
75. Army meteorological register, for twelve years, from 1843 to 1854, inclusive: compiled from observations made by the officers of the Medical Department of the Army at the military posts of the United States
United States. Department of the Army. Office of the Surgeon General.
Washington : A.O.P. Nicholson, public printer, 1855
76. Cases in surgery: Gun-shot wounds ; Plural births
Warren, Jonathan Mason, 1811-1867
Pregnancy, Multiple
Surgical Procedures, Operative
Wounds, Gunshot
77. Artificial limbs for the United States Army and Navy: per commission of Surgeon-General, U.S.A
Hudson, E. Darwin (Erasmus Darwin), 1843-1887
Artificial Limbs
78. Ten days in the Army of the Potomac: being an account of my adventures in the field during the campaign of July 1863
Carvallo, Carlos, -1882
[United States? : s.n., 1864]
United States. Army of the Potomac.
79. Report on the pension systems, and invalid hospitals of France, Prussia, Austria, Russia, and Italy: with some suggestions for the best means of disposing of our disabled soldiers
Perkins, Stephen H. (Stephen Higginson), 1804-1877
80. National portrait gallery of eminent Americans: including orators, statesmen, naval and military heroes, jurists, authors, etc., etc
Duyckinck, Evert A. (Evert Augustus), 1816-1878
New York : Johnson, Fry & Co., 1861-64
Famous Persons
81. National portrait gallery of eminent Americans: including orators, statesmen, naval and military heroes, jurists, authors, etc., etc (Volume 1)
83. Observation book: containing certain inductions and classifications, ante mortems and post mortems : ante mortems by medical officers of wards, post mortems by surgeon in charge : National, U.S. Army General Hospital, Baltimore, Md
Baltimore, MD : [Pri]nted and published at the National U.S. Army General Hospital, Printing Office, [1865?]
84. On the construction, organization, and general arrangements of hospitals for the insane
Kirkbride, Thomas Story, 1809-1883
Philadelphia : [s.n.], 1854
Hospitals, Psychiatric -- organization & administration
Hospital Design and Construction
85. Report of the Committee on Medical Sciences: presented at the third annual meeting of the American Medical Association, Cincinnati, May, 1850
Parsons, Usher, 1788-1868
Philadelphia : T.K. & P.G. Collins, printers to the Association, 1850
86. Circular. No. 11
United States. Adjutant-General's Office.
[Washington : War Dept., Adjutant General's Office, 1864]
87. Report on the sanitary police of cities: presented to the American Medical Association at its annual session, held at Detroit, May, 1856
Newman, James M.
Philadelphia : T.K. and P.G. Collins, printers, 1856
88. Dr. R. Greene's indianopathy, or science of Indian medicine: founded upon the "laws of nature," the principles of which were obtained by Dr. Greene in his travels among the Indians, whereby he is enabled to successfully treat cancers, tumors, scrofula, ulcers, and all chronic diseases
Greene, R. (Reuben), 1817-
Boston : Published by order of the Board of Managers, 1858
Indians, North American
89. General orders. No. 130
Disability Evaluation
United States. Army. Invalid Corps.
90. Smith's homoeopathic directory of the United States
New York : Smith's Homoeopathic Pharmacy, 1857
91. The relics of General Joseph Warren: a paper read before the New England Historical and Genealogical Society, Wednesday, November 4, 1857
Loring, James Spear, 1799-1884
[Boston : C. Benjamin Richardson, 1857]
Warren, Joseph, 1741-1775.
92. Life of General Joseph Warren
Wyatt, Thomas.
[Philadelphia : G.R. Graham, 1850]
93. The dispensatory of the United States of America
Philadelphia : Lippincott, Grambo and Co., 1854
Dispensatories
Smith, Henry M.
New-York : Smith's Homoeopathic Pharmacy, 1857
95. Report to Wm. J. Dale, Surgeon General, Massachusetts
Gay, George H. (George Henry), 1823-1878
[Boston : Printed at the office of the Boston post, 1862]
96. A manual of military surgery: for the use of surgeons in the Confederate army : with an appendix of the rules and regulations of the medical department of the Confederate army
Chisolm, Julian John, 1830-1903
Richmond, Va. : West & Johnston, 1861
97. Meteorological register for twelve years, from 1831 to 1842 inclusive: compiled from observations made by the officers of the Medical Department of the Army at the military posts of the United States
Washington : C. Alexander, printer, 1851
98. A biographical sketch of Dr. Roswell Bronson
Rockwell, P. G.
[Hartford? : s.n., 1856?]
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99. Charges and specifications, with copy of orders, and defence of accused: read before a court martial convened in the city of New York, December 10, 1863
Webster, Warren, 1835-1896
New York : W.C. Bryant & Co., printers, 1863
Physicians -- legislation & jurisprudence
Military Personnel -- legislation & jurisprudence
100. The Prescriber's pharmacopoeia: containing all the medicines in the London pharmacopoeia, arranged in classes according to their action, with their composition and doses
New York : Wood, 1853
Pharmaceutical Preparations
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Medicine in the Americas, 1610-1920✖[remove]2,074
NLM Publications and Productions8
United States✖[remove]2,074
American Civil War1,119
Military Personnel861
United States. Army.791
Personnel Management260
United States. Adjutant-General's Office, author.855
United States Sanitary Commission.63
United States. Adjutant-General's Office.62
United States. Surgeon-General's Office.34
United States. Surgeon-General's Office, author.27
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The dispensatory of the United States of America13
General orders. No. 147
General orders. No. 37
English✖[remove]2,074
Case Reports76
Addresses72
Legislation68
Address62
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Within 1 Month8
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What is that term that means someone is oblivious but it's a good thing they don't know it?
There's some term that means that someone's oblivious, they're in their own little world and don't know about the bad things going on, but it's a good thing because they couldn't handle it or it'd make them sad. I just can't remember the term. Please someone help?
Weiwei
Asked May 02, 2014
Unaware. Blind. Absent Minded.
Buff1234
Answered May 03, 2014
What does someone mean when they tell a person you don't have any thing no where
Do you know who's art this is or it's value?
How do I know when it's time to change strings?
MRI Scan of ankle - Can someone please translate what it means in layman's terms
Any of you know the meaning of this Infix thing?
Why does the term debit not always mean increase and credit does not always mean increase.
Do they like me, or am I just overthinking things?
It's about a leak thats coming from under my transmission.
Damages season 3 song name? it's emergency!
Why does my ipod 1st gen shut off when it's idle?
People do not know a good thing until it's gone
I love this guy, but I don't know if it's too late to ask him out?
Can someone tell me what these it terms mean in laymens terms
What causes staph(i don't think that's how it's spelled) infection?
What mean by hyperlink and it's use for what?
I don't like to go to school.i am not very good in studies
Someone please help it's important!
What does "it's classified." mean?
SOMEONE PLEASE HELP! It's long
I am really worried about things, am I being silly?
Accents and Dialects
Definitions and Word Differences
Word and Phrase Origins


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Better the studio
The Benny Lackner trio was on tour through Asia and Australia and NZ with funding from the Goethe Society. I heard them in the quiet atmosphere of the ArtSound studio as they recorded a broadcast for transmission on a coming friday night. All very rushed. Arrive Airport 3.30pm; taxi to ArtSound; coffee and recording; lift to hotel for dinner and a shower; evening gig at Hippo; fly out next morning. This is the life of a jazz player on tour. Despite the frantic pace, the music was laid back grooves, spacious, floating, Euro-styled. Pensive heads with lyrical, leisurely solos from Benny on piano (impressed by the Yamaha C6 in the studio) that might rush into sixteenth notes then drop back to 8th notes; plentiful lively solos from Paul on bass; drums soloing as occasional fillers or lengthier against an obbligato line. This is a contemporary, rock-aware music with jazz sensibility. His albums include takes on pop (Prince Sign of the times; 99 red balloons) and the ArtSound set included Hendrix If 6 was 9. His albums also touch on the standards although still with a contemporary view. Bemsha swing is identifiable but rhythmically further contorted on bass with an long insistent solo line over. I haven't heard Brad Plus but an intriguing title (Bad Plus meets Brad Mehldau, I guess) Palau was a ballad, an open and airy music box, reminiscent of Ravel. Heartracer was rock groove and moving chords with a hesitating piano over. There's a European awareness here, gentle and pensive, but with a contemporary sensibility. Not for nothing that Benny is from Berlin and has studied with Charlie Haden and Brad Mehldau is his mentor. Not really something for Hippo, but for the studio or a quiet venue, light and airy and searching. You can hear them sometime soon with Chris Deacon on ArtSound's Friday Night Live.
Benny Lackner (piano) led his trio with Paul Kleber (bass) and Matthieu Chazarenc (drums) in a recording for ArtSound.
This is CJBlog post no. 1300
Posted by Eric Pozza at 3:14 pm No comments:
Labels: ArtSound, Benny Lackner, Matthieu Chazarenc, Paul Kleber
Excuse me if CJ suffers a little over coming weeks. I've been and I am busy. For the next few weeks, it's rehearsals and then time in the pits for the Sound of Music (along with Wangaratta Jazz Festival and whatever else I can manage). This is my first musical and it's exciting. I am sharing the bass seat for Sound of Music at TheQ for the Queanbeyan Players under musical director Jennifer Groom. I'm having a great time and the songs are ever in my head (they are infectious). More news to come, and if you can get to SoM, it's looking good.
Labels: Admin
Due applause
The applause for the Song Company and Ironwood performing Bach's Mass in B minor at St Christopher's went for an unrelenting 5 minutes. I know; I recorded it. It was obvious on the night that the audience was quite ecstatic. I've since discussed with several others who attended and the comments were remarkably similar. Everyone was blown out. The work is a thing of wonder, of course, and the performance did it admirable justice. I loved the fabulously capable voices, and particularly melted over one soprano who cut through especially high and pure and a similarly strong tenor. Our own Tobias Cole made an appearance. Roland Peelman was conducting or perhaps dancing to the music, with the musicians. No baton but expressive hands and body; all involvement and invitation to performers and audience. The bass and cello seemed to have an unrelenting task and presumably also the organ (but this was not quite so visible). The obbligato features of violin, oboe d'amore, flutes, bassoons, horns, were intriguing. The duos and solos displayed voices as features. The drums interested me, sounding very differently from modern timpanies despite looking similar (not too sure here; I couldn't see too well). The baroque trumpets rang admirably restrained but still imparted great exhilaration and joy. This is the Mass, with Crucifixus and Resurrexit and Credo, all the stuff of Christian suffering and salvation and belief, so there was hope and loss and commitment spelt with the most wondrous of endless baroque counterpoint and canon. Beyond the expression of belief, it's a clear pinnacle of art. There were some quibbles. The balance was not perfect: the 20-or-so musicians, even with gentler period instruments, sometimes overwhelmed the singers; Song Co were just 10 singers, which highlighted the parts but sacrificed some power. The space, too, was quite reverberent so the sound was just a bit mushy. Maybe it's how it would have been first heard, in a church in Bach's days (it is a Mass, after all) but we are pampered now with acoustically pristine concert halls and I would have liked to have heard (and recorded) this in one of them. But the size and intimacy was there, and that's something sometimes lost in pristine spaces. I can only admire the performers, and the work is unquestionable. A fabulous performance to remember.
The Song Co presented Bach's Mass in B minor in collaboration with Ironwood at St Christopher's, Manuka. Roland Peelman introduced and conducted. The names are too numerous to transcribe, but for the techies, the organ was tuned to A=415hz.
Labels: Bach Mass in B minor, Ironwood, Roland Peelman, Song Company
Happy returns
Meg Corson was a foundation member of Idea of North and an early Canberra Jazz School graduate. She's now done the sea-change (to the country) and I've noticed she's been visiting recently to play with old mates, Greg Stott and others. They went through the School together so there were musical memories but with much developed professional skills. This was a seriously nice duo. Meg with her confident phrasing and firm voice and overseeing presence; Greg accompanying with bass lines and finger picking or naked solos holding the tune against some finger snaps from Meg. I only caught part of one set and got some terrible pics in the low light (best one above), but this was highly competent stuff. BTW, those school memories included Angel eyes, Nice work if you can get it, Skylark, You'd be so nice to come home to and Lover man. Meg Corson (vocals) and Greg Stott (guitar) performed at the National Press Club.
Labels: Greg Stott, Meg Corson
I couldn't help but think California. Pat Metheny is actually form Missouri, the mid-West, near Kansas City, but the hair, the endless smiles, the spirit of innovation and a feeling of cinematic expanse in his music make me think of sun and adventure and West Coast. He visited Canberra on his extensive touring schedule and it was a blast. One big concert that had the drinkers in the audience squirming in their seats (about 2.5 hours including encore; no interval). Pat was on stage right though. The concert was in four main parts. Firstly, Pat playing acoustic with his Pikasso guitar (42 strings including 6 and 12 string necks and two lute-like additions played open string. Then the Unity Group with Chris Potter, Ben Williams and Antonio Sánchez doing five adventurous, but less expansive compositions in a contemporary jazz vein. Then Giulio Carmassi came on, strangely seated behind the band and hidden for me behind the bass amp, and they performed tracks from their new album, Kin <-->; given the length, presumably the whole album. This was the big, cinematic vision with processed richness that defined the night for me. Then a set of four duos: Pat with bassist Ben playing Jobim's How insensitive, a fairly straight take; Pat with Chris on tenor playing Cherokee, rapid fire and concurrent and verging on free; Pat with Giulio including some wordless vocals from the keyboardist; finally Pat with Antonio and sharp nylon strung guitar and precise drum solo. Then a final blues and an encore which was clearly recognised by his followers in the audience. This was a big show, expansive, suited to a stadium with its life-sized performers and over-sized instrumentation (Pat's creation, the Orchestrion, loomed over the band on each side of the stage). Pat's music sounds essentially rocky / pop influenced to my ears (he claims influences from the Beatles, Joni Mitchell and others), his solos sound fairly straight, tonal, but with quirky twists of rhythm and long lines extending over barlines and odd times. He has an abiding interest in tone, playing a range of guitars, controlling synths and ultimately the grand Orchestrion, which I now understand as a guitar-controlled looper controlling a batch of percussion instruments, drums, cymbals, keyboard percussion, organ-like blown bottles (?), whatever, all with associated lighting. Chris provided a straight and jazz-acoustic-toned response to this with bass clarinet, contrabass (or bass?) flute, tenor and soprano saxes played with contemporary sensibility. Ben was punchy and laid a strong groove on double bass and was quick for his one (slightly odd and challenging) switch to electric for a short solo then back again. Nicely done! Antonio was always tight, interestingly capricious at splitting his beats, all concentration but smiling just fleetingly in the final blues of the night. The drums sounded a dream, as they do when a drummer can let go on the skins. It's not something you can quite get in the intimate atmosphere of a jazz club. Giulio was hidden from me and his playing seemed to meld into the Orchestrion and the mass of sound which was this concert although I did notice some sustained chords and piano and those vocals. But I did enjoy it. The whole was a bit loud from where I was sitting, but an involving and inventive outing it was. And another example of hard-working musos at the professional level. Several people I talked to after felt the same, not too knowing of Metheny before the gig but impressed by the night. It worked a charm for me.
Pat Metheny (guitars, Orchestrion) led his Unity Band at the Canberra Theatre with Chris Potter (bass clarinet, contrabass (or bass?) flute, tenor and soprano saxes), Ben Williams (double and electric basses), Antonio Sánchez (drums) and Giulio Carmassi (keyboards and perhaps more).
The band requested no pics on the night. Thanks to Paul C Herbert and Wikicommons for the pic of Pat Metheny with the Linda Manzer Pikasso guitar
Labels: Antonio Sánchez, Ben Williams, Chris Potter, Giulio Carmassi, Pat Metheny, Pat Metheny Unity Group
From across the ditch
I caught Jake Baxendale last with Luke Sweeting a year ago. The band was Antipodes Quintet and the two had met in Germany. This time Jake was here with mates from New Zealand in his 5-piece format called JB5 at Hippo prior to the full 8-piece band appearing as The Jac at Smiths the following night. They were performing tunes from their new album with compositions by Jake and guitarist Callum. This was not the full band with rich orchestration that's on their website, but the tunes were probably the same and the playing was clean and well rehearsed. I liked these compositions. They were nicely varied in grooves and rhythms with nice harmonies up front on some effective but not too obviously structured heads. The bass and guitar started spacious (one had guitar playing a single note on the beat for extended bars and it worked a treat) but would grow in intensity; the drums seemed generally more urgent and ready to blow. The front horns took their share of solos, of course. Alexis on trumpet had an ease with rapid lines with a nice degree of curliness. Jake's alto was more cerebral, sometimes puckered, other times wailing or imploring, plucking lines and contradictions. This was just more-so while soloing simultaneously. I enjoyed two bass solos by Nick, but especially one towards the end of the night, long and strongly rhythmic and unforced. I noticed one of Callum's guitar solos as simply themed then developed through unexpected dissonance into more speedy playing. This was interesting charts very neatly played, embellished with extensive soloing. Nice and presumably more lush in the 8-piece format. Sorry I couldn't get there.
JB5 were Jake Baxendale (alto sax), Alexis (Lex) French (trumpet), Callum Allardice (guitar), Nick Tipping (bass) and Shaun Anderson (drums).
Posted by Eric Pozza at 12:36 pm No comments:
Labels: Alexis French, Callum Allardice, Jake Baxendale, JB5, Nick Tipping, Shaun Anderson
To rekindle some hope
I left Anthony Albanese's talk at Politics in the Pub with some hope and it's a relief after recent years. Like many, I have been disappointed by Rudd and Gillard and despaired that that three-word slogans won Abbott the Lodge to implement IPA's 75 (now 100) actions in such a radical and class-ridden process. We are mulling over "progressive" politics now following the very recent death of Gough Whitlam. It was in this context that Albo's response to one question gave me some hope and trust in Labor. A woman had attacked the "corrosion of reforms" in the ALP, citing single parents moved to Newstart and HECS in place of free education. Albo defended strongly: we love Gough but some people have "rose-coloured glasses". He listed later positive changes by Labor; he claimed pride in the achievements of Rudd and Gillard and argued that they "will be regarded well by history"; he admitted some errors and policies that he didn't agree with, but "only the impotent are pure". It was a strong rebuttal and reasonable. Another questioner had also attacked Labor/Albo on public housing. Again, Albo stood his ground: he denied denigrating public housing; he argued for social housing being good not just for the poor, but also for the richer by maintaining a good social mix; he argued that it's inconsistent that individuals invest in housing but Government says it can't afford it (I thought that individuals are actually sponsored by Govt to invest in housing; they might not so invest on the mythical level playing field). Again, a strong rebuttal. It's interesting that Labor is having to defend itself so strongly, even from its supporters, but not surprising. Albo did a good job and restored some faith. Otherwise, what did he say?
He's now Labor's spokesman on cities. He argued that Commonwealth Government must be involved in cities (planning, transport, infrastructure, etc) as 80% of population and GDP are in Australian cities. Australia is exceptionally urbanised. Sydney, Melbourne and Brisbane will number 8 million each in 2050. Infrastructure and jobs growth must be matched; big cities must function with multiple centres; urban design is essential for quality, livable cities. I was interested in the concept of a "30-minute city" meaning work, education, most necessary functions, are accessible within 30 mins. In its first day in office, Abbott abolished the "Major Cities Unit" and moved all funding from public transport to roads. Albo quoted Abbott's Battlelines that there are not enough people to warrant other than private motor vehicles, and the (perhaps a rough quote) "in the car the individual feels like he is king". Good planning promotes efficiency and sustainability and it's good economics: "it saves money". [Can't argue with that one!].
Albo had started by praising the previous day's Parliament (the honour session for Gough) and specifically esteeming Warren Truss' speech, but then passing to Abbott's government as ideological, promoting withdrawal of the State and individualism as a philosophy and seeking to institutionalise it. This was "unexpected at election" and the Budget was a "concrete indication of these principles". The Right argues that class doesn't exist, but this was a "class-based budget". Roughly, the poor electorates are impacted $1,000 against $150 for richer. We need a debate on equality in Australia. He ended by saying "enormous opportunities are presented by this Government", meaning opportunities for Labor to capitalise on very real hardships. [This is one to wait and see. I don't see much capitalisation yet].
There was a question on trams in Melbourne. Apparently Howard bemoaned the loss of trams in Melbourne under Menzies. Albo didn't specifically reply on our own tram, only to argue that public transport (and roads and other infrastructure) must be justified over time and this requires analysis. He lambasted the Left for NIMBYism and Abbott for withdrawing funding from well supported (public transport) infrastructure and placing it, with poor analysis, into roads. Another question was on the East-West Link in Melbourne in the context of the election. He argues the Benefit Cost ratios don't add up and that the Federal Government has hog-tied the states through access to funding, and had already transferred $2b to Victoria to improve the books for the coming election . [Mmm, I hadn't heard anything about that, but politics and reporting can be local]. There was another question on ANU divestment and the Government storm in reaction in context of Abbott's "coal is good for humanity" claim. Albo said it's this government speaking for a sector of the market, not for the economy. Then a touch on the Shakespearian tragedy of Greg Hunt's role "driven by an objective that is so small", especially given his thesis (A tax to make the polluter pay : the application of pollution taxes within the Australian legal system / Greg Hunt & Rufus Black). "We [Labor] may not always get it right but we think to the future". This was a rough quote but a positive theme to end on.
We are experiencing a radical right government. Like Gough, it's crash or crash through, but unlike Gough's, it's got small vision, prefers ideology to evidence and serves a small class of society. "Coal is good for humanity" only joins a string of ignorance like "climate change is absolute crap" or goodies and baddies or invisible substances. You can't argue with physics. You shouldn't argue with class.
Anthony Albanese spoke at Politics in the Pub organised by the Australia Institute.
Labels: Anthony Albanese, Australia Institute, Politics in the Pub
Lunchtimers
Another Lunchbox concert at ANU. It amused me that I spoke to one muso after the performance and she spoke of nervousness, but it's common enough, even for a small audience of friends like this. Common but an essential step in a musician's development. Again, there were four items on the program -, three duos and one soloist. First up was Clara Barrs and Lauren Giddy performing Mozart Violin sonata in G major, K.301. Not unexpectedly, this was a lovely and dignified thing with courtly presence and considerable wit. Then Paul Broomhead accompanied by ANU staffer Calvin Bowman Anthony Smith playing the final movement of Franck Sonata in A major arranged for flute. More modern, impressionist, occasionally dissonant. I enjoyed the different and strong tone of the flute and admired Calvin's confident accompaniment. Then Stephanie Jones playing two pieces for guitar, Sor Variations on a theme of Mozart and Albeniz Cordoba. She played unhurriedly, with facial and musical expression, a wealth of dynamics and a sharp tone and I thought a subdued volume. Very involving. Then a heavy work, Ying Li and Katrina Rivera playing the first movement of Brahms Sonata for two pianos in F minor, Op.34b. This was heavy (grand and substantial) as expected and quite a change after Mozart and Spanish guitar tones. I enjoyed the task of identifying the two players, playing similar instruments but taking different roles and expressions throughout. The return of the Lunchbox concerts (especially ones I can get to) is valuable for the students and a great way to pass an hour on an occasional Tuesday afternoon.
The latest ANU Lunchbox concert featured Clara Barrs (violin) and Lauren Giddy (piano) playing Mozart, Paul Broomhead (flute) and Calvin Bowman Anthony Smith (piano) playing Franck, Stephanie Jones (guitar) playing Sor and Albenitz and Ying Li (piano) and Katrina Rivera (piano) playing Brahms.
Posted by Eric Pozza at 3:08 pm 2 comments:
Labels: Anthony Smith, Clara Barrs, Katrina Rivera, Lauren Giddy, Paul Broomhead, Stephanie Jones, Ying Li
Return to Hollywood
Sunset Boulevard at TheQ was a strange experience. I was taken by the performance. This was seriously capable and well presented and I've only today heard that they are local performers. I'm immensely impressed. I didn't like the real Sunset Boulevard when I was there recently, but there was a mention of street number 10,093 (?) so it's long and it run through hills so there must be salubrious areas than we frequented. I also didn't like the musical. I felt the book (script) was trivial and the music was repetitive (I think it was at the start of the second half that there was an overture and it seemed to only have two themes). One theme for the old actress / toy boy and another for the young writers couple. This may be composition by leitmotif and you certainly knew who was on stage, but it's not adventurous. I laughed when the central character is shot, it being so sudden and unexpected (especially as the killer had earlier attempted suicide). It felt decidedly lunchtime-TV with obvious dialogue and I didn't notice any obvious wit (I heard the Sound of Music script today and it's not high intellectual entertainment but even it has some nifty innuendoes). Maybe it's just me (no lover of either film or celebrity), because the Andrew Lloyd-Webber musical won a swag of awards (Tonys for Best Musical, Best Original Score, Best Book and lots more) and it has an extensive and successful international performance history. But I look at the list of tunes and I didn't know any before and not much after. Much of the singing was conversational (recitative?) but I noted at least three feature songs, for Joe and Norma and Max. I found the stage set fabulous with the orchestra glowing backstage. Joe Gillis (the central writer character) seemed immensely well performed, both in terms of voice and character. The key women around Joe (faded, eccentric silent actress seeking comeback, Norma Desmond, and emergent writer, Betty Schaefer) both played parts and sang very well. Strangely, Cecil B DeMille makes an appearance. The music was an obvious challenge to perform and I was impressed by the quality of performance. So, in the end, my take was great performance of little interesting musical. Many musical goers wouldn't agree (but several mates at the theatre did). Congrats on a wonderful performance.
Sunset Boulevard (music by Andrew Lloyd-Webber music; lyrics by Don Black and Christopher Hampton) was performed at TheQ. Amongst many others involved were Stephen Pike (director), Sharon Tree (musical director), Bronwyn Sullivan (Norma Desmond), Daniel Wells (Joe Gillis), Peter Dark (Max von Meyerling) and Vanessa de Jager (Betty Schaefer).
Posted by Eric Pozza at 6:21 pm 1 comment:
Labels: Bronwyn Sullivan, Daniel Wells, Peter Dark, Sharon Tree, Stephen Pike, Sunset Boulevard, Vanessa de Jager
ANU's mix-tape
ANU School of Music presented its annual showcase concert last Friday. We came in a little late so missed DRUMatiX. I find it a fascinating mix of rhythms and percussion pitch so I was sorry it was up first. We walked in during something which is new for the ANU school - a popular music ensemble. This was called Eponymous which was not at all eponymous. It reminded me somewhat early psychedelia, apt given that I'd heard of the final Pink Floyd album release only that day (they are finally giving it up) and I always think of PF pre-Dark side when they were floaty types with absurd covers (think Atom Heart Mother cows). Then the Jazz Ensemble, singing gospel and ballad and a sunny finish. Nice voices, stronger on females as usual and some good front line performances. The Experimental Music Studio followed. I assume this comprised a good deal of (classical) improvisation. I especially liked the declarative voice and the free-cum-classical crossover piano. The classical/chamber stream followed interval. Firstly, the Guitar ensemble with is acoustic twang and Spanish aliveness. Then an attractive trio of flute, bassoon and clarinet, with the bassoon playing every bit the accompanying bass part, and a duo that I'd heard before at a recent lunchtime concert, soprano Jelena Mamic accompanied by pianist Anne Ewing performing four songs by Menotti. Then the Chamber choir, again heavy on women, led by Tobias Cole, performing Vivaldi, de Lassus and a fascinating time-study by Tobias himself with numbers as lyrics and commendably sung without charts. Then the finale with the ANU Chamber Orchestra performing some very recognisable pieces, movements from Mozart's Jupiter Symphony and Mendelssohn's Italian Symphony. Both were very comfortable and hugely attractive pieces and no-doubt essentials on the repertoire. We left with a light step. Nice.
Also, just a pic of Michael Dante Mori, former US Marine lawyer representing Australian Guantanamo Bay detainee David Hicks. Mori gave a presentation before the ANU SOM Showcase for the Law School.
Labels: ANU School of Music, Michael Mori
Truth and fiction
The obvious question is whether truth is stranger than fiction. It was asked and journalist/authors Chris Uhlmann and Steve Lewis cogitated and offered some examples and pretty much agreed that few would accept some of the true stories out of Australian Parliament if they were presented as works of fiction. Chris and Steve were presenting their second novel, The Mandarin Code, at the Australia Institute's Politics in the Pub. It's second of a trilogy and more a thriller than its satire predecessor, The Marmalade Files. There are characters you may imagine are thinly disguised, but this is fiction. Certainly. Our law doesn't allow otherwise (This surprised me. Copyright law allows for satire, but recognised characters can sue authors, presumably under defamation law, and it was mentioned that two lawyers were looking into the Marmalade Files). This is an opportunity for two major Australian political journalists to explore and to some degree expose our politics in ways that journalistic conventions disallow. A range of issues, both local and international, were mentioned. They were mostly in the daily press for the observant, although I wasn't always totally clear on what was and was not being spoken of as fiction. The Chinese Embassy building black site was in our papers. The Information Dominance Center at Fort Mead MD is real (I just risked NSA perusal by Googling it) but is the design like the bridge of the Starship Enterprise and the head's parking space being numbered 007 true? Apparently the transgender security analyst is real. Sending a US Carrier Strike group through the Taiwan Straights apparently remains possible. But is it art? It's certainly useful way to view the world, especially given political spin and control of public perceptions. It's also a "more entertaining read". It's been called "dickhead lit" (it's "fast paced" and there's a bondage scene in the latest book) but Chris is quite happy for it to sell well as airport lit and it's planned as a TV series. There was discussion of how the two write together. Also of whether panties is a valid term these days (Annabel Crabb queried it, but what of VPL?). An audience member questioned their take on the Greens, but the reply was that all parties get some ridicule and that most were concerned about being left out (and it's only Greens that raise this question). Jokingly, Chris and Steve both noted they'd been accused of writing fiction in their day jobs, too. So, worth the read? They noted Canberra as a place of interest and intrigue, especially for those working close, in Parliament, embassies, senior public service, defence, lobbyists and the like. Any capital city must be like this, and those that are built for the purpose are probably more concentrated. I've never been quite close enough, so I have reading to do.
Steve Lewis and Chris Uhlmann presented their latest novel, The Mandarin Code, at Politics in the Pub for the Australia Institute. Their first novel was The Marmalade Files.
Labels: Chris Uhlmann, Mandarin Code, Steve Lewis
East Coast meets South India via Melbourne
I found a drumming theme in the performance of Ben Carr at the Gods. Ben's a sax player, but his music has plenty of rhythmic interest in the Brazilian music that he plays, choro, but even more so in some tortuous grooves and experimentations. The latin's lovely and rhythmically strong, but nothing like the complexities of Ben's arrangement of Coltrane's 26-2 with a reverse Indian classical take on 9 underlying it, or his musical response to a NYC t-shirt slogan that was dastardly uncountable to my ears, or a composition of the normal drummer in Ben's trio, Phill Collings (ex-Canberra/ANU School of Music), which was all odd times and pantonal, or Ben's own study of NYC hip-hop grooves called Beat research which counted in 17. The easy melodicity of Pixinguinha and Cavaquinho were a relaxation against this complexity but both styles were a joy. I loved Ben with his long lines spelling chords as in Coltrane and his often strangely clarinet-toned soprano sax (he explained it's in the hard reed and a search for woodiness), and Tom with his heavy reading lines and neat and expressive solos and sit-in drummer Adam with his so-sharp snaps on snare and tom and his classical-Indian inspired cuts to the beat, spacious then snapping with determined dissections. There were a few covers, the Brazilian music of Pixinguinha and Cavaquinho, of course, which were of a different world altogether, and that take on 26-2 which was sufficiently reimagined to deserve considerable rights, and Joe Henderson's Isotope and Alister Spence's Maianbar. This was the exposed sound of a sax trio, clear and demanding and intellectually satisfying. It was a great gig that was too poorly attended.
Ben Carr (tenor, soprano saxes) led his trio with Tom Lee (bass) and Adam King (drums) at the Gods.
Labels: Adam King, Ben Carr, Tom Lee
Returning to Court
It wasn't courtly music but it was a return to the High Court for a Sunday afternoon concert. This was Llewellyn Choir and they were performing music that featured composers involved in WW1 - Ernest Farrar, Herbert Howells and Gustav Holst - amongst others. This was a time of transition for English composers with the younger generation trained and many lost and yet this led to a rejuvenation of British music in the post-war years. Llewellyn choir is SATB and accompanied. This performance was accompanied with piano by Anthony Smith. It's a capable choir, nicely voiced and carefully dynamic. The sound was airy and lightened with a predominance of female voices partly due to attendance on the day but partly anyway. Tollite Hostias by Saint-Saens was a rousing start. Then To daffodils by Farrar and The scribe by Howells and two movements of a Howells Requiem. Then a few Poulenc motets and This have I done from my true love by Holst. Despite singing of love, this sounded unexcited to my ears, mediaeval in its worldview. And a final Laudamus Te by Poulenc. To my ears, most of the music had a forlorn air but this in unsurprising after the Great War. My favourites sandwiched the concert: the pealing and appealing Saint-Saens Tollite Hostias and the final, vital, exciting Poulenc Laudamus Te. A weighty program but a nice choir to present it.
The Llewellyn Choir performed at the High Court. Rowan Harvey-Martin conducted and Anthony Smith (piano) accompanied.
Labels: Anthony Smith, Llewellyn Choir, Rowan Harvey-Martin
Visiting my sense of the absurd
It was my sense of the absurd that had me interested in an Artist's Shed performance of Sergeant Pepper's on uke and cello. It's a great album, of course, and it's personally influential for anyone my age and I have a good feeling towards the Artist's Shed which was the venue (sadly homeless at present). In the end, I gently settled into the familiar strains of Sergeant Pepper, sang along although occasionally limited my performance for respect of nearby seats, admired the take on A day in the life (how was that possible on uke & cello? Hint: they used some voice), felt disappointed that there were (otherwise) no vocals, struggled for the sound of the cello amongst muddy low notes, wondered if the tracks were shortened given no vocals needing repeats, generally revisited a landmark recording. I enjoyed it and admired the take. There was some nice and unpretentious playing by both uke and cello. They played side one (this was an LP so it had two sides; we tend to forget that now) then side two, each as a medley. They performed with accompanying projection of song title with related cute image. The audience was of an age to not require the titles. Then another set, with a string of century-old songs, or in style of, and a successful take on Russell Morris's The Real thing (and a threat of In a gadda da vida, this being a night of some boomer nostalgia). The encore was What a wonderful world and that was Louis Armstrong so this was jazz, wasn't it? I remember Wonderful world as my theme song for a Christmas many years back and it's probably the first "jazz" that I remember enjoying. The show had started with the collected forces of UROC (Ukelele Republic of Canberra). They had fun and I liked their repertoire (Divinyls and Kinks and Amy Whitehouse meets Herman's Hermits and Nancy Sinatra) and this was mostly assembled strumming and singalong with just a few harmonies and a Beatles bass. I sang along and enjoyed it and worried that the guy in the next seat might object. There's a whole world of music and performance that prioritises entertainment over art and it's not something I visit too often. I should; it's fun. It's nice to sing along. But after hearing a trio of authentic virtuosi the night before (and even paying a few dollars less), I left a bit bemused about the status of the arts in our community. But nothing new there. BTW, you can see YouTube videos of this take on Sgt Pepper's embedded on AJ Leonard's website.
AJ Leonard (uke, vocals) performed Sgt Pepper and more with Jenny Rowlands (cello). They were supported by UROC (Ukelele Republic of Canberra).
Sgt Pepper on uke & cello YouTubed
Labels: AJ Leonard, Jenny Rowlands, UROC
Getting real
A friend posted to Facebook "Shit just got real" during this gig. She was right. This was the concert of Jamie Oehlers, Steve Magnusson and Ben Vanderwal. These are peak players in the Australian jazz scene. They were visiting Canberra to launch a new CD, Paper Tiger. There was no bassist (Bassless allegations was mentioned as a possible band name, probably in jest), but anomalous lineups are common these days. Steve played some bass lines or fingerpicked and the low notes did the job. Jamie also took an accompaniment role, behind Steve's guitar solos, and this is unusual but given his skills, wonderfully effective. This was choppy music. There was just one swing, as I remember, and one ballad. This was solid even-eights drumming that had me wondering what passers-by would be discovering. Few rock drummers will play with Ben's sharpness and invention. Jamie's solo lines were ever varied. These players were all this way: profoundly knowledgeable of options and thus fresh in their choices. Steve's technique, too, was choppy. Not smooth and distorted and searing but crisp, twangy, staccato and rabidly fast and endlessly varied. I guess these guys, too, have their habits and licks, but nothing seemed too obvious. Their new CD is 15 short tunes and this performance was pretty much that. The shortest was around 90 seconds and they obviously surprised themselves when it suddenly ended. Even the longest was perhaps 7 or 8 minutes. Jamie's known to play extended solos but this was a different experience. There were originals from all members and wit around the stories to introduce them. The music may be deadly serious, but this band's got the banter. Ben ran a commentary on left communitarianism ("We're all in this together") while denying any interest in politics. Was this banter for the Canberra visit? Ben wrote A song to parallel park to and he claimed to dislike it from the start, only to let it loose on his mates. A rocking chair on a carousel (on a cruise ship in choppy seas) was a song title and a story in itself. Then there were covers: Backhand by Keith Jarrett, Word from Bird by Ornette Coleman, Slow boat to China, Hard times come again no more. This was a challenging mix of contorted or pretty melodies that are developed with immense complexity. Jamie's Lament was a lovely ballad although never too obvious. Paper tiger was rubato, experimental with loops. Slow boat is a lovely old tune but was busily embellished. Hard times was in three and played with relative simplicity. This is a peak experience for jazz in Australia, three of the most capable and inventive players together and on record. It certainly got real; the final slice of the sandwich.
Jamie Oehlers (tenor, soprano saxes), Steve Magnusson (guitar) and Ben Vanderwal (drums) launched their new CD, Paper tiger, with a gig at Smiths.
Labels: Ben Vanderwal, Jamie Oehlers, Stephen Magnusson
Sandwiched
Second of three gigs for the day. We'd booked up a year of classical concerts and the Borodin Quartet for Musica Viva at Llewellyn Hall ended up clashing with a startler jazz gig at Smiths so I only stayed until interval. They were performing Beethoven, Shostakovich and Tchaikovsky and luckily the two I most wanted to hear, Beethoven (String Quartet in G minor, Op.18 no.2) and Shostakovich (String Quartet no.8 in C min, Op.110), were up first. My favourite, and the favourite of most who I talked to at interval, was the Shostakovich. The Beethoven was lovely but relatively sweet to my ears, at least the opening movement. It's an early string quartet in classical form and commentary talks of wit and humour and references to Haydn. The Shostakovich had the bizarre of the newer century (now last century) and I'm pleased to see that we are now accustomed enough to prefer or at least enjoy it. It also had a much heavier theme. It was written in three days when he was staying near Dresden in 1960. It's gloomy and melancholic as a response to the Allied bombing that destroyed the centre of that city on 13/14 Feb 1945. I noticed a strange low drone, which is reminiscent of bombers in the sky. I read of references to various works, of chromaticism and key changes but the centrality of C minor, of a four note motif D-Eb-C-B which in German spell out D(imitri) Sch(ostakovich) implying an autobiographical theme. I listened for very different tones from the two violins to match different roles, for the harmonies of violin and viola or viola and cello, for the lines led by whatever instrument, for the undoubted skills of all the players. No doubt a worthy performance but my appreciation of the string quartet format is meagre and my mind was on the Oehlers by this stage. Just to end, a note of activities as we arrived. Jazz band Pocket Fox were playing outside, but the most amusing was a "conduct me" opportunity in the foyer with a genuine string quartet. I'm not sure how influential were the conductors but some, at least, looked the part. A champagne glass in the left hand might not be the go, but there's obvious communication in this pic, even if it's just shared mirth.
Borodin Quartet performed for Music Viva at Llewellyn Hall. The Borodin Quartet comprised Ruben Aharonian (violin), Sergei Lomovsky (violin), Igor Naidin (viola) and Vladimir Balshin (cello).
Labels: Borodin Quartet, Igor Naidin, Ruben Aharonian, Sergei Lomovsky, Vladimir Balshin
First concert of the day was a Lunchbox concert at the ANU School of Music. These are students, presumably at different stages of their training, performing a varied repertoire on diverse instruments. What's not like. Aaron Chew (piano) started with Fantasia Baetica by Manuel de Falla. This was a substantial work, virtuosic, exciting, passionate. He mentioned the sounds of guitar, footstamps and female vocals (this is Spanish music). Aaron played with confidence the waves of notes with crossing hands and several passages of a quizzical dissonance. I loved this piece and I thought he did an excellent job on it. Then Jelena Mamic (soprano) sang four Canti di lontananza by Menotti with accompaniment by Anne Ewing (piano). This was intense, vibratoed high notes (lyric soprano? dramatic soprano), glorious tone but inevitably intelligible. I wonder why classical singing is so often unintelligible; words seem a key to songs. The passion fitted for Gli amanti impossibili; Jelena lightened up for Il settimo bicchiere di vino; I wondered if Mattinata di neve was a bit heavy. The voice is glorious if the themes are mostly lost, but this is classical vocals. Next was another singer, Jade McFaul (voice) with accompaniment by Tristan Struve (piano) performing Who points the swallow by Alan Tragaskis. This is a modern piece in English. I caught a word or two but may have caught more with more concentration. One stanza ended in "arrogance" so the theme piques interest. Jade has a gentler, less insistent voice: she still enforced and vibratoed some notes, but mostly this was more intimate. Elizabeth Biggs (harp) followed with Krumpholtz Sonata Scene Pathetique Op.16 no.1. The soft, finger-picked tone of harp and the instrumental balance of melody and harmony was a change after the singers. Also the references to lament and pathos that comes with the title; although not miserable or pitiable. Last was Hamish Strathdee (guitar) playing Rodrigo's Junto al Generalife. Again, the finger-picked pluck of nylon strings; again, the Spanish connection. Every guy my age has toyed with guitar, so this had some technical interest. I enjoyed the picking that I could watch so closely, like the thumbed melody against fingered triplets on the G string (interesting if perhaps a common enough classical guitar technique). I heard it as genial and moderate, but it's about a garden (Junto not Junta) at the Alhambra, so that's apt. So this was the concert. About an hour of varied music, varied musicians, varied instruments and tones. Apparently the Lunchbox concerts are returning and now that I have time, I hope to get to a few. A great pleasure.
Aaron Chew (piano), Jelena Mamic (soprano), Anne Ewing (piano), Jade McFaul (voice), Tristan Struve (piano), Elizabeth Biggs (harp) and Hamish Strathdee (guitar) performed in the Larry Sitsky Room at the ANU School of Music for a (free) Lunchbox concert.
Labels: Aaron Chew, Anne Ewing, Elizabeth Biggs, Hamish Strathdee, Jade McFaul, Jelena Mamic, Tristan Struve


Rupert Murdoch's The Daily, which is currently only available on the iPad 2, will come to the UK and the rest of Western Europe before the end of June .
Jonathan Miller, chief digital officer at News Corp, told an audience at the Abu Dhabi media summit that the service would start charging for the content next week, a move that he described as "its moment of truth"
He confirmed that, the service, which was launched in the US last month, has attracted hundreds of thousands of users.
The US version will cost roughly 14p per day or $0.99 per week ($39.99 per year) but News Corp has yet to confirm how much it will charge for the UK and European editions.
News Corp has yet to confirm whether the service will be available to other platforms including Android, WebOS or Windows.
One of the biggest stumbling blocks to the proliferation of more news services on the iPad is the fact that Apple wants to keep 30 per cent of the revenues from subscriptions generated by the iPad.
Furthermore, Apple strictly forbids publishers from advertising iPad deals cheaper elsewhere and maintain a comprehensive customer database; that said, the Daily is the first app that actually collects subscriber data via its in-app technology.


text:
In addition to Round. 6 Discover 5 Korean Movies You Need to Watch
October 30, 2021 by Paula Hooper
short Music Non Stop no Facebook
Since joining the catalog of Netflix, the series Round 6 has caught the attention of viewers and aroused curiosity to know other Korean productions.
With an electrifying script, whose main motto is a survival game with a high cash prize, Round 6 introduced to thousands of people the originality that is usually present in movies and series in the country.
If you were also impacted by the series, know that there are other audiovisual products from the Asian nation that deserve a closer look!
Next, discover 5 Korean productions you need to watch!
Paranmanjang (Night Fishing, 2011)
Paranmanjang is a short film, just over 30 minutes, of fantasy and horror, which tells the story of a man who, while fishing, ends up hooking a woman's body.
The production, directed by Park Chan-wook (responsible for films such as Oldboy and Bloodlust), has the distinction of having been entirely recorded on an Apple iPhone 4.
The fact that it was recorded on an iPhone shows that anyone with a good idea can create interesting productions and even develop professional skills.
For those who like this branch of audiovisual, it is worth researching recordings by smartphone and by programs video editing, which are easy to use but have great features – as is the case with Wondershare Filmora.
Image: Freepik / Filmora
In addition to having professional tools in an intuitive environment, Fimora has a website with practical tips for making quality video editing. A good way to start taking your ideas off paper and onto the screen!
Steel Rain (2017)
Featured in the Netflix catalogue, another Korean movie you need to watch is called Steel Rain, directed by Yang Woo-suk.
The story revolves around a former North Korean agent, who is given a very complex mission: to execute the country's guard commander and security minister.
Steel Rain is the kind of action movie that captures the viewer because it has a well-planned plot, without leaving aside emotional scenes.
26 Years (2012)
When it comes to Asian countries, Brazilians do not always have access to the history of these nations, whether at school or in traditional media.
With the feature 26 Years, directed by Keun-hyun Cho, we have the opportunity to learn a little more about South Korea, representing one of the most tragic and important events in the country's history.
26 Years focuses on the call Gwangju Massacre, May 18, 1980. In a demonstration for democracy, thousands of people were killed by state troops. The kind of movie to watch and learn.
Image: Koreain Magazine
Okja (2017)
The film Okja is a production that was shot in South Korea and the United States, directed by Bong Joon-ho, the same director responsible for Parasite, an Oscar-winning feature.
Okja brings the story of giant animals, developed in the laboratory and bred for their meat consumption. However, one of these animals grows up on a farm and becomes a child's companion.
Afraid of losing their pet, the child begins to think about how to protect it.
High Society (2018)
To close the list of the 5 Korean movies you need to watch, we have a drama – ideal for those who like the addictive dramas.
In the film, we see the story of a middle-class couple, who want to enter the high society of South Korea. For that, they are willing to put ethics aside and get involved in delicate situations.
Korean productions on the rise
For a long time, Brazilians got used to consuming American productions, with some exceptions for national and European films.
However, with the internet, we can get to know other cultures and discover what is interesting for people around the world, reaching even South Korean productions.
So, if you haven't watched movies or series from the country yet, this is the perfect opportunity to give these productions a chance! Certainly, scripts have everything to hold your attention, from beginning to end.
We want to give thanks to the author of this post for this outstanding material
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Nintendo Continues to Fuel Persona 5 Switch Rumors
Hope CorriganThursday, December 27, 2018
There have been hints that we may see a Persona 5 Switch version of the incredibly well-received JRPG in the near future. These rumors were super-charged by the recent reveal that the protagonist Joker will be coming to Super Smash Bros Ultimate in an upcoming DLC drop. And Nintendo isn't slowing down there.
Atlus, the publisher behind Persona 5, has posted a video to its YouTube page showcasing Super Smash Bros Director Masahiro Sakurai talking all about his love for Persona. The video itself is all in Japanese with no English subtitles but it appears to be entirely complimentary towards the series.
The video takes place in what looks like it could be the Atlus offices and starts with Sakurai meeting Morgana, the mascot from the latest game. The two share a long hug before launching into the interview part of the video.
This video could just be further publicity for Smash rather than a Persona 5 Switch release but according to Polygon, there are other developments at play.
Apparently, several Persona related domain names were registered over the past weekend. Eagle eye fans spotted Persona5R.jp, Persona5B.jp, Persona5S.jp and Persona5M.jp being added and the previously registered P5R.jp domain was recently moved to a dedicated server.
Twitter user MysticDistance has done a deep dive into what all these domains could mean and reports to have it on "good authority" that the P5R.jp is an enhanced Switch port of Persona 5.
It seems that we could have some more information as soon as December 30 to coincide with the release of a new episode of the Persona 5 anime series.
With Joker coming to Smash, it seemed pretty likely we'd see his appearance on a Nintendo console in a more significant way than Persona Q2 on the 3DS. An enhanced Persona 5 Switch edition would be welcome addition to the series and a great way to steal hundreds of hours away from a whole new audience.
Tags: atlas, nintendo, persona 5, Super Smash Bros., Switch