text:
The Strange Connection Between Jill Biden and Serial Killer Robert Durst
Survival Update Team July 9, 2021 4 min read
First Lady Jill Biden's ex-husband, Bill Stevenson, recently revealed that he had an intimate relationship with Kathie Durst, the first wife of accused killer and New York real estate heir Robert Durst — just 10 days before she vanished in 1982.
Bill Stevenson and Jill Biden were married from 1970 to 1975, he said in an interview with News 12 Westchester. He decided to open up about the affair with Kathie Durst for the first time because of Robert Durst's failing health and ongoing trial.
"I feel like I'm the missing link in this case," Stevenson, a concert hall owner from Delaware, News 12 Westchester's Tara Rosenbloom.
He said he first met Kathie Durst in the 1960s when they spent summers near each other in the Poconos as children.
"She was a cool little sister where you'd look over and laugh and she would say something funny. And you know, she was to be heard, not to be just seen," he said. "As we went through our lives together, I watched her grow up to be a beautiful young woman."
Kathie went on to marry one of America's most notorious suspected serial killers, while Stevenson got married to Jill, who eventually married the future president.
However, as the friendship between Bill and Kathie blossomed, he and then-wife Jill hosted the Dursts at their Delaware home for a long, three-day weekend in the summer of 1974, according to the report.
According to Stevenson, Kathie and Jill had an instant connection. "Both students. Both very smart. They're similar people at that age. It was hard not to hit it off," Stevenson said on News 12.
Stevenson said that a few years later, a very upset Kathie called him and said she was "scared to death," and having "a real problem with Robert" and that he was being violent with her.
"I think at that point she really couldn't trust anybody around her who knew Robert, I guess. I don't know why she picked me, but I'm glad she did," he told Rosenbloom. "But I do feel like I let her down. I look back at that last two months and go, 'What could I have done differently?'"
Stevenson said that when he was divorced from Jill, he visited Kathie at least five times in New York City between December 1981 and January 1982 to try to help her escape Robert.
During one of the visits to Kathie's apartment, their relationship took an unexpected turn.
"I felt like I was falling asleep. I was looking at the table and then all of a sudden, I look over and Kathie is standing next to me, and I looked over and I realized that she was in a silk nightie, nothing was said, and she grabbed my hand," he said.
"Led me back to the bedroom. We closed the door and life changed for both of us. Totally unexpected. Beautiful night and no regrets," Stevenson said.
"The next thing I realize, there is pounding at the door at 7:30 a.m. She runs out of the bedroom, and then runs back in and says, 'It's Bob.' I jump up. I ran out. And then all of a sudden, he screams something," he continued.
"He had a wad of cash rolled up and hit her right in the face with it, and it was so crazy, and he started yelling, 'Kathleen, this isn't going to happen!'" Stevenson recalled.
"And she started yelling, 'I'm moving to Delaware. I'm moving to Delaware. I'm done' and I'm like, sitting there. I'm in shock. People have to understand that this guy is a monster — I saw it in his eyes," he added.
Kathie disappeared 10 days later.
When asked if he thought his intimate relationship with her had anything to do with her disappearance, Stevenson said, "Absolutely."
"I think it would have driven him crazy. And I don't feel guilty about that. He was abusing her and she wanted out. I do not regret that," he said.
"The minute I saw her standing there and she grabbed my hand, it was all I could think about. I've got to be honest, and if it led to him going off the deep end I think, and at that point, I don't regret it. Not a second," Stevenson said.
"I feel if something was wonderful at the end of her life, I hope this was it. I just hope she had the same thoughts at the end there," he added.
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24 thoughts on "The Strange Connection Between Jill Biden and Serial Killer Robert Durst"
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Charming Washington Redskins helmet design, small size tattoo on the left arm.
The Washington Redskins are a professional American football team located in the Washington, D.C. metropolitan area. The team belongs to the East Division of the National Football Conference (NFC) in the National Football League (NFL). Washington Redskins fans are crazy showing their affection by having their bodies tattooed with some funny and crazy design. Also showing love and support in a wide range of ways having inked their commitment forever into their body.
Awesome Washington Redskins design, medium size tattoo on the back.
Nice and Cool design of Washington Redskins logo, medium size tattoo on the right arm.
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Page 1 of 1 Start over Page 1 of 1. Amazon Inspire Digital Educational Resources. Water, Tomatoes, Cane Sugar, Cane Vinegar, Salt, Molasses, Scotch Bonnet Peppers, Garlic Powder, Thyme, All Spice, Black Pepper, Cinnamon, Nutmeg, Citric Acid, Potassium Sorbate preservative. The video does not play. Jamaican Jerk Chicken with Jamaican Red Beans and Rice. Walkerswood Traditional Jamaican Jerk Seasoning, 10 oz.
After smoking my first first Jerk Chicken, it was good but needed something else. One thing I really love about it is that it flavors whatever you put it on, but does not overwhelm it. I immediately went online to purchase this dipping sauce! From totto to gizzada to these flaky plantain tarts, be sure to experience just how flavourful Jamaican cuisine is.


text:
Protest against Rolex Sydney Hobart Yacht Race line honours win ruled invalid
BY APB Staff on 2 Jan 2019
Runner up Black Jack appealed unsuccessfully against ninth line honours winner "Wild Oats XI"
The results of the 74th annual Rolex Sydney Hobart Yacht Race in Australia were under dispute recently, as the Race Committee lodged a protest against Wild Oats XI. The supermaxi took its ninth line honours win in 19 hours, seven minutes and 21 seconds. Within a few hours, an appeal was made by the runner up, which was ultimately found invalid.
According to Mark Bradford, owner and skipper of Black Jack, the Wild Oats XI's AIS (Automatic Identification System) had not transmitted throughout the entire race. The protest was held in the Jury Room at the Royal Yacht Club of Tasmania on Saturday December 29, where it was found that the protest was invalid and so Wild Oats XI retained her line honours crown – with the award officially presented on December 30.
(Photo: Rolex Sydney Hobart Yacht Race)
On investigation, and based on its own evidence, the Race Committee considered that there may have been a breach of S.I. 11.4 in respect of Special Regulation 4.09 (a).
The CYCA Commodore, Paul Billingham explained: "The Race Committee is independent of the organising authority of the race to ensure objectivity is maintained and seen to be maintained in circumstances such as this."
www.rolexsydneyhobart.com
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redpajama_set_name: RedPajamaCommonCrawl


text:
Q: how to get the background color of a view to save it in SharedPreferences
With seekbar I can change background color but cannot save shanged
  color when open activity

button.setOnClickListener(new View.OnClickListener() {
                @Override
                public void onClick(View v) {
                    SharedPreferences sharedPref = getSharedPreferences("COLOR", MODE_PRIVATE);
                    SharedPreferences.Editor editor = sharedPref.edit();
                    editor.putInt("color_KEY",  );   //?? what code for this?
                    editor.commit();
                }
            });
        }
        @Override
        public void onProgressChanged(SeekBar seekBar, int progress, boolean fromUser) {
            mScreen.setBackgroundColor(Color.rgb(red.getProgress(), green.getProgress(),blue.getProgress()));
        }
        @Override
        public void onStartTrackingTouch(SeekBar seekBar) {
        }
        @Override
        public void onStopTrackingTouch(SeekBar seekBar) {
        }
    }

A: Use this class to pass your view and get the color code. then you can save it as you want with your colour_Key!
private Bitmap mBitmap;
    private Canvas mCanvas;
    private Rect mBounds;

    public void initIfNeeded() {
      if(mBitmap == null) {
        mBitmap = Bitmap.createBitmap(1,1, Bitmap.Config.ARGB_8888);
        mCanvas = new Canvas(mBitmap);
        mBounds = new Rect();
      }
    }

    public int getBackgroundColor(View view) {
      // The actual color, not the id.
      int color = Color.BLACK;

      if(view.getBackground() instanceof ColorDrawable) {
        if(Build.VERSION.SDK_INT < Build.VERSION_CODES.HONEYCOMB) {
          initIfNeeded();

          // If the ColorDrawable makes use of its bounds in the draw method,
          // we may not be able to get the color we want. This is not the usual
          // case before Ice Cream Sandwich (4.0.1 r1).
          // Yet, we change the bounds temporarily, just to be sure that we are
          // successful.
          ColorDrawable colorDrawable = (ColorDrawable)view.getBackground();

          mBounds.set(colorDrawable.getBounds()); // Save the original bounds.
          colorDrawable.setBounds(0, 0, 1, 1); // Change the bounds.

          colorDrawable.draw(mCanvas);
          color = mBitmap.getPixel(0, 0);

          colorDrawable.setBounds(mBounds); // Restore the original bounds.
        }
        else {
          color = ((ColorDrawable)view.getBackground()).getColor();
        }
      }

      return color;
    }

A: You can do this:
SharedPreferences sharedPref = getSharedPreferences("COLOR", MODE_PRIVATE);
SharedPreferences.Editor editor = sharedPref.edit();
// Only if you know it is a color
ColorDrawable buttonColor = (ColorDrawable) button.getBackground();
int colorId = buttonColor.getColor();
editor.putInt("color_KEY", colorId  );
editor.commit();

A: you can do in this way,
ColorDrawable buttonColor =(ColorDrawable)button.getBackground();
     int colorId = buttonColor.getColor();
     SharedPreferences sharedPref = getSharedPreferences("COLOR",MODE_PRIVATE);
     SharedPreferences.Editor editor = sharedPref.edit();
     editor.putInt("color_KEY",id.toString());
     editor.commit();

redpajama_set_name: RedPajamaStackExchange


text:
Home News Cancer Wellness Centre for Hawke's Bay
Cancer Wellness Centre for Hawke's Bay
The Hawke's Bay Cancer Society is celebrating a milestone, with the launch tomorrow of a Cancer Wellness Centre building project.
By: Georgia May
The Hawke's Bay Cancer Society is celebrating a milestone, with the launch tomorrow of a Cancer Wellness Centre building project.
The centre will be a first for New Zealand and The Cancer Society hopes it will become a model which will be adopted by other regions.
More than 1000 people are diagnosed with cancer in Hawke's Bay each year, and many are unsupported during and after medical treatment.
The wellness centre will be about more than just treating cancer, it will provide care and treatment for the patient, in both body, mind and spirit.
Current statistics predict that cancer will increase by 50 per cent over the next 15 years. While medical treatment is provided, there is a lack of mental and emotional support for cancer patients and their families who are affected by the diagnosis.
As well as the planned wellness centre, Hawke's Bay cancer patients may also have the opportunity to receive radiation therapy closer to home.
The Palmerston North-based regional cancer treatment service is replacing its four linear accelerators that are used to deliver radiation therapy, and Hawke's Bay may receive one.
MidCentral District Health Board acting clinical executive for cancer screening, treatment and support Dr Claire Hardie said it was proposed two accelerators remain in Palmerston North, one sent to Hastings and one to New Plymouth.
Hardie said the distance between Palmerston North and Hawke's Bay was disruptive to patients' everyday schedules and an "off-putting" factor.
This, combined with the Cancer Wellness Centre, would offer more support and less emotional interference for patients and their families.
Hawke's Bay Cancer Society centre manager Trudy Kirk says the wellness centre will be a positive step towards growing and extending cancer support services at the time of diagnosis and continue to be available to those living with cancer and beyond in the community.
"Research tells us that people who know they are not alone in their journey, and that help is available at the right time in the right way, have an enhanced quality of life, before, during and after treatment.
"It will be a place to have moments of quiet reflection or to meet and chat with others over a cuppa. Your place just to be."
Cancer Wellness Centre
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More than the population of Taupo diagnosed with cancer every year
Health Central - May 7, 2018
Cancer is now the number one killer in New Zealand. More than 23,000 people are diagnosed every year, according to figures released by the Ministry of Health today.


It's come to our attention (via InsideEVs contributor Michael Beinenson who recently took delivery of a refreshed Tesla Model P90DL in Atlanta himself) that Tesla apparently now fits all of its new cars with a front license plate…regardless of legal necessity.
The Tesla store representative in Atlanta says the fitment of the front plate has something to do with crash testing being performed with the plate in place (perhaps pedestrian safety testing?).
Anyways, Model S owners who live in states that don't require a front plate are inclined to remove that unsightly and certainly not aerodynamic front plate.
Turns out its not that easy to take off. Fortunately, there's a how-to video showing removal of the plate and it's a rather straightforward process that only requires a drill, a die grinder, a screwdriver and a heat gun (hair dryer).
47 Comments on "Tesla Model S Front License Plate Delete – How-To Video"
Thanks for the video. My state doesn't require a front plate. I hope Tesla changes this policy for the Model 3.
Kind of a crazy that you would not require a front plate, maybe Tesla knows that these states will change the rule at sometime.
Not really that crazy. There are 19 states that don't require a front plate. I don't see these laws changing any time soon.
That's just the list of redneck states.
More like Republican controlled states?
Redneck is a bit harsh for states such as PA and DE.
I'm from Michigan and wouldn't consider us a "redneck" state or Republican. Michigan has voted Democrat the last 6 elections.
Not really harsh. I'm from Central PA. Redneck is an understatement in the rural areas of pa.
Well I personally think it's kind of crazy, but I'm not American. While it's nice and all to have a clean front fascia, front plates have many benefits.
Front plates are really good for accountability. Police ANPRs (LPRs) and members of the public can report dangerous drivers using their front plates; something they would be unable to do if they cannot see the rear of the vehicle. A roaming squad car or mobile plate reader can hot-flag a stolen car on the police database. No front plate reduces the likelihood of illegal vehicles being caught out.
Additionally front plates make it far easier for stolen vehicles to be located, and you can reverse into parking spaces without obscuring your plate.
All in all, front plates are worth the visual cost. They help make roads safer.
Disagree. Stolen cars could just remove the plates or swap them. Do you really think that people who steal cars care about breaking the front license plate rule? And making life easier on plate readers? No thanks.
I'll keep my money (plates aren't free) and keep the front of my car plate-free.
You're welcome to disagree, but none of the above reasons are convincing to me.
Which of these states can you pick up a Tesla in? PA & Florida?
At least in Arizona you can just park it outside, the adhesive will melt, and the plate will fall off.
I've come to accept front plates but I still don't know why law enforcement allows us on their roads without side plates, too.
And roof plates for the helicopter chases.
I believe all of Canada also has mandatory front plates as well. It's odd that some US states do not require it.
Wrong, Quebec has no front plate.
Thats why I said "I believe". ***hat.
He's not an ***hat for correcting you. You're an ***hat for not checking your facts ahead of time.
If you don't know something don't pretend you do and qualify it– check it out.
You should be *thanking* DriverGuy01 for correcting your drivel and doing the research you were obviously too lazy to do yourself.
You don't need both a drill and screwdriver. A screwdriver is enough.
…if you have the right security bit that is.
Then a bit screwdriver and a hair dryer is enough and you don't need a screwdriver, Dremel or angle grinder.
If you have to watch a how to video to remove a license plate mount, then maybe you shouldn't be touching your new car. And a grinder? Come on, do it the right way and get the right bit fir your screwdriver from Harbor Freight Tools. Probably cost you $3. A lot less than you'll spend when you slip with that cutting disc! Its at least a $70k car, do it the right way.
I had to watch a video on how to watch that video.
Thanks for making me laugh today kdawg. I needed it.
I went to Harbor. They have never heard of a socket of this design.
This is a repeat. In CA, they require front plates, but %25 of the cars don't have one. I take mine off immediately.
Its stupid. How many cars involved in hit and run back away from the scene?
How many criminals robbing a store pull in nose first to a parking spot in view of security cameras?
Also, in serious hit and run accidents, sometimes the front license plate or the entire front bumper cover is left at the scene of the accident.
Maybe CHP needs to do their job?
Oooh No, Tesla driving mall sales. this is good news for Tesla as malls are crying a river these days over foot traffic declines.
People that make videos about how to use tools should first be tool users themselves.
I vote for the front license plate to become completely obsolete. I don't see why it's necessary to have two; anyhow, it would be more aerodynamic just to have one in the back. Plus, the front face on many vehicles would be more appealing as seen in the above photo with the Model S without a face plate.
Police number plate recognition cameras basically read the plates of the vehicles both in front AND behind the squad car as they drive along, cross-referencing them on their database.
In the UK, since front plates are mandatory, you could be driving along and a police car in front of you – or even a few car lengths further down the road in front of you – is reading your plate automatically using its ANPR camera. If you lack insurance, taxation, MOT, the vehicle is marked as stolen, etc, etc, it flags up on the system that's running in the police car.
Without a front plate, police would only be able to recognise vehicles in front, and they would not be able to recognise vehicles coming towards them on the other side of the road, either.
So, yeah, for the sake of a tiny bit of aerodynamics… it's kind of important to have front plates. It's strictly enforced in sensible parts of the world.
oh and it also makes stolen cars easier for police to recover.
Does anyone have any proof or evidence that a front plate is hurting aerodynamics in any way? Seems a bit of a stretch to me. The center front of a bluff surface like that is surely a stagnation point and thus has little affect on airflow.
That was my thought, too. I'm not sure it has a huge effect on aero. But it does look horrific on that Tesla.
We should do a new law that says you can simply stick on a strip of adhesive with the number on it. Ok, maybe the state label at the top too… but that's all. Let me stick it low on the front… so it can be read by the scanners… and cops… fine… but why mar up the front and screw up the aerodynamics.
Cannot make counterfeiting the license plates too easy, can we. Current plates in whatever country are still quite complex objects, some even having holograms and watermarks in the coating layer – a bit like money. Making them only stickers is an option only when still keeping the security elements.
Well, in the Netherlands the front plate is useful as some parking lots and other access systems read the front plate for billing or access, without it that wouldn't work.
I bought a ferry ticket online, entered my license plate and when I got to the ferry I didn't even have to show anything. It recognized the plate and payment and it opened up. Pure win.
Well, not PURE win. You still had to have an ugly front license plate. PURE win would be a system that works seamkessly like that *without* the front plate.
I'm surprised nobody has mentioned how superior the Tesla plate mount is compared to other cars. Most other car manufacturers just drill through the bumper cover for the mount. Removing the mount leaves ugly holes. At least the Tesla can be cleanly removed.
Very silly to add front plate holder in all states, hope they don't drill. That's the worst.


text:
Wedding Vow in Poetry: 'Walk With Me' by Amy Foreman
Poetry Competition: Four Lines for the Fourth of July ***Winners Announced
From the Society, Poetry Contests
Book Review: Hare Krishna by Mahathi, Prowess Publishing, 2017
Essays, Poetry, Reviews
Chidiock Tichborne, Gwendolyn Brooks, Adam Sedia
The Power of One: Monosyllables in Classical Poetry
Essays, Poetry, Poetry Forms
by Adam Sedia
The origin of poetry is inextricably tied to music. The earliest poems—the Homeric epics, the Chinese Book of Songs—were all lyrics to be sung. Because vowels allow the open voice to sing while consonants break the voice, the syllable defined the meter, setting the rhythm of the song. Thus, metered poetry—which is to say, all traditional poetry—is inextricably tied to syllabification.
The syllable is the basic unit of poetry. It builds feet, which in turn build verses. Even verse constructed of non-uniform syllable quantities such as accentual verse in Old English epic poetry still presume the syllable as their basic unit, with the accented syllables defining meter. The only smaller unit of language in poetry, the sound, figures as a poetic device in alliteration and assonance. While in Old English poetry alliteration helps to quantify the meter, sounds, particularly consonants, on their own do not contribute to the musical rhythm, or meter, at least in English.
Sometimes a syllable and a word are coterminous. This is the monosyllable. On its own, it seems unremarkable—an everyday feature of nearly every language. Yet monosyllabic words feature prominently in English. Indeed, among the world's languages and Europe's in particular, English contains an unusually high number of monosyllabic words, which can be found in every part of speech. A 2007 study conducted by the University of Lyon in France found English to have an average of approximately 1.5 syllables per word—roughly equivalent to both French and Mandarin Chinese, and far fewer than in German, Spanish, Italian, and Japanese. With syllabification as the basis of meter and English so heavily monosyllabic, would it not be expected to find monosyllabic words playing a prominent role in English verse?
As it turns out, the monosyllable plays a powerful and not frequent enough role in affecting expression in English poetry. This essay explores the different ways in which exclusive or near-exclusive use of monosyllables does so, to variegated and indeed surprising effect.
Development of Monosyllables in English
English was not always a strongly monosyllabic language. Centuries of development made it so. A critical element in this development revolves around the all-pervasive silent "e" in modern English. In many cases it is a vestige of earlier forms that pronounced vowel as a schwa. The opening lines of the General Prologue of Chaucer's Canterbury Tales in the original Middle English illustrates this:
Whan that Aprille with his shoures sote
The droghte of Marche hath perced to the rote,
And bathed every veyne in swich licour,
Of which vertu engendred is the flour;
To read these lines in their proper iambic pentameter requires observing some stark differences from modern pronunciation. First, the plural "shoures" ("showers") and the past-tense "perced" ("pierced") and "bathed" are pronounced as disyllables, with the final "e" pronounced as a schwa. Less apparently, "sote" and "rote" ("soft" and "root"), are also disyllables, with the final "e" as a schwa giving the lines a feminine ending. The same applies to "Aprille," "droghte," "Marche," and "veyne," but the final "e" elides with the following words that begin either in a vowel or in h, thus masking the second syllable. Significantly, all of these Middle English words are now pronounced as single syllables, illustrating English's tendency to compress pronunciation into monosyllables, either dropping the final "e" altogether or converting it into a silent orthographical device that affects the pronunciation of a preceding vowel (distinguishing, for example, "kit" from "kite").
A special case of syllable compression involves the –ed suffix in the past tense of verbs. Pronouncing the suffix as a separate syllable persisted well into the seventeenth century, and in some verbs persists to this day. Consider the following line from John Dryden's "Annus Mirabilis," written in 1666:
And armed Edwards look'd with anxious eyes,
The contraction of "looked" to "look'd" indicates that Dryden would have regarded the word as disyllabic. Yet for the verse to conform to the poem's iambic pentameter, "armed" must be pronounced as a disyllable as well: "armèd." The meter throughout the poem demonstrates varying pronunciation of the –ed suffix: "judged," "fired," and "grieved" are all monosyllabic, identical to their current pronunciations; yet "stopp'd," "seem'd," "call'd," and "oppress'd" are all contracted to accommodate the meter. This variance indicates that English was on its way to losing the separate pronunciation of the –ed suffix, but had not arrived there yet for all verbs.
Verbs ending in a consonant followed by "t" (including double "t") continue to retain the pronunciation of –ed as a separate syllable in their past tense because elision of the "t" and "d" is not natural. "Wanted" and "hunted," for example, are disyllabic in "Annus Mirabilis" and remain so today.
Heavily Monosyllabic Verse
With a wide palette of monosyllables available in every part of speech, English poets could construct entire verses from them alone. Not surprisingly, then, many works of English poetry utilize the monosyllable as a device without going so far as to construct an entire poem from monosyllables. Two types of partial monosyllabic content appear: either (1) an entirely monosyllabic section appears within a larger work or (2) the entire, usually shorter, work makes extensive, though not exclusive, use of monosyllables.
An example of the first type appears in Shakespeare's King John. In Act III, Scene 3, King John of England is about to order his retainer Hubert to kill Arthur, his nephew, a potential rival claimant to the throne. Before giving the order he tests Hubert's loyalty, beginning the speech in four entirely monosyllabic lines:
Hubert: I am much bounden to your majesty.
King John: Good friend, thou hast no cause to say so yet:
But thou shalt have; and creep time ne'er so slow,
Yet it shall come for me to do thee good.
I had a thing to say, — but let it go:
The king is struck by Hubert's profession of loyalty, and wryly states that Hubert's loyalty will be proven by the deed he is about to ask him to perform. He then concludes by saying that he has an unspoken thought.
The exclusive use of monosyllables in this passage give the meter a measured, hesitating feel. The king is carefully weighing his words as he prepares to order the murder of his own kin. As a dramatic device, the monosyllable perfectly captures the king's cautious deliberation, even on the written page without the aid of thespian interpretation.
The second type of partial monosyllabic usage appears in a short but famous poem by Robert Frost:
Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound's the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
Although only the first and fourth lines are purely monosyllabic, nine of the remaining lines are monosyllabic except for a single polysyllabic word—in every case disyllabic except for the word "promises," which is the longest word in the poem. The remaining five lines are still monosyllabic except for two disyllabic words. All in all, 89 of the poem's 108 words are monosyllabic.
The impression the monosyllables give is classic Frost: laconic, direct, unembellished—the stereotypical flinty New Englander. Frost gives a direct description without any emotional effusions or descriptive flourishes, directing the reader to the substance of the description rather than the beauty of the language used. The poetic focus here is on the scenery and the action, not the description.
The sparsity of the monosyllables also reflects the starkness of the New England winter, a time of bare trees and fallow fields and colorless snow-covered landscapes. In this very subtle and very skillful way the poetic language complements the poem's subject, conveying by pronunciation the atmosphere it describes.
Totally Monosyllabic Verse
While Frost's poem is more than 80 percent monosyllabic, it still uses disyllables and even one trisyllable when needed to achieve its desired expression. But writing a poem entirely in monosyllables requires strict discipline; the poet must forego common words like "only" and "little," most participles and gerunds, and even many prepositions ("before," "after," "into," . . .). Writing a successful poem entirely in monosyllables would truly constitute an achievement, but has it been done?
As it turns out, yes—at least twice. Only two well-known poems—at least that this author has been able to locate—consist entirely of monosyllables. Both of them use the device to great effect, and are certainly worth exploring here.
The first of these is the famous Elegy written by Chidiock Tichborne (1562-1586), written while he was imprisoned in the Tower of London awaiting execution for his involvement in the Babington Plot against Queen Elizabeth I. The evening before he was to be hanged, drawn and quartered—that is, castrated and disemboweled while still conscious—he sent correspondence to his wife with the following poem:
My prime of youth is but a frost of cares,
My feast of joy is but a dish of pain,
My crop of corn is but a field of tares,
And all my good is but vain hope of gain;
The day is past, and yet I saw no sun,
And now I live, and now my life is done.
My tale was heard and yet it was not told,
My fruit is false, and yet my leaves are green,
My youth is spent and yet I am not old,
I saw the world and yet I was not seen;
My thread is cut and yet it is not spun,
I sought my death and found it in my womb,
I looked for life and saw it was a shade,
I trod the earth and knew it was my tomb,
And now I die, and now I was but made;
My glass is full, and now my glass is runne,
This is impressive work for any twenty-four year-old, let alone one under the stress of knowing he was soon to be gruesomely butchered to death. Here the narrative voice is first-person, Tichborne himself meditating on his limbic existence, contrasting his youth with the death sentence that overshadows him. Though he is in the prime of his life, he is as good as dead.
Three sixains of iambic pentameter—a total of 180 monosyllabic words—is impressively consistent, yet throughout the poem the device never renders the language strained or awkward. Instead, the expression is completely natural. The monosyllabic phrasing, as with Shakespeare, conveys a sense of measure and deliberation in the narration, slowing the pace of the voice and thus conferring on it a solemn and staid demeanor appropriate for its subject. The monosyllables also foreclose any elaborate or technical language, restricting the description to a very basic vocabulary. This, in turn, conveys a sense of sobriety and frankness, an acknowledgment of harsh reality divorced from any superficiality of emotion or erudition. Indeed, monosyllables seem perfect for the rendering of the Elegy's subject matter.
The other poem was written nearly four centuries later, across the Atlantic, by a black American woman. Rather than musing on death, it describes a scene of life. Yet despite its great differences in time, place, authorship, and subject, it achieves a large measure of its effect by consisting entirely of monosyllables. This poem is Gwendolyn Brooks's famous 1959 poem, "We Real Cool":
We Real Cool
The Pool Players.
Seven at the Golden Shovel.
We real cool. We
Left school. We
Lurk late. We
Strike straight. We
Sing sin. We
Thin gin. We
Jazz June. We
Die soon.
Much has been written on this simple poem of eight lines and a mere twenty-four syllables, and indeed it presents unexpectedly complex layers of meaning. This analysis, however, will focus only on the effect achieved by Brooks's use of entirely monosyllabic words.
The narrative voice of the poem is not Brooks herself, but seven pool players she observes at a dive-bar called The Golden Shovel. The tone here is not the mournful introspection of Tichborne's Elegy, but a boastful reveling in irresponsibility, crime, alcoholism, and libertinism. The short, clipped monosyllables are confrontational, even threatening, like shots of gunfire, perfectly capturing the mindset that perpetrates the actions described.
And in the final line Brooks presents the consequences of the pool players' delinquency: "the wages of sin is death." (Romans 6:23.) Even though the impending death of the men is portrayed in a sentence of three monosyllables like the rest of the poem, that final line assumes a different character from the boasting of the previous lines. Its terseness presents the sense of the abrupt end for which the narrators are destined. Indeed, the entire poem through syllabification conveys the Hobbesian "poor, nasty, brutish, and short" existence of savage man.
The monosyllable has a special place in English and in English poetry specifically. No other length of word can so easily be put to constant or exclusive use in a poem. Avoiding monosyllables would require omitting all articles, many important prepositions, and most forms of basic verbs such as "be," "have," "do," and "see." Any expression beyond a mere few clipped sentences becomes impossible without these. Not so with the monosyllable. As Frost and Tichborne show, very eloquent and stirring verses can be assembled mostly or even entirely from monosyllables.
The exclusive use of monosyllables by both Tichborne and Brooks two very different poets in very different places and times writing very different poems—demonstrates its versatility as a poetic device. It is surprising, then, that only their two well-known poems employ it exclusively. Monosyllabic verse, then, presents a still-unexplored avenue of poetic exploration, one that may yield both surprising and admirable results.
Joseph S. Salemi February 18, 2021
Monosyllabic words in English (like words of any syllabic length) are tools in the poet's toolbox, and can certainly be used for the effects that Sedia mentions, or even for the composition of a poem that uses them exclusively. And the excellent poems of Tichborne and Brooks and Sedia himself prove that without question.
But they are tools primarily, not ends in themselves. A poem of extended length that was consciously constructed solely of monosyllabic words would be more in the category of a literary feat, such as an acrostic poem that uses the first letters in its initial words to spell out something; or what the Greek poet did who composed a poetic summary of all twenty-four books of the Iliad by omitting the letter alpha in the first book, beta in the second book, and so on through the entire alphabet. Such feats are admirable, but in some cases we might admire the feat more than the poetry itself.
I don't bring this up to deny Sedia's very thoughtful and lucid points, and his excursion on how English developed into a heavily monosyllabic tongue is precise and scholarly. (I hope, by the way, that what Sedia says about the /-ed/ preterite ending will finally convince some people here to stop putting eighteenth-century apostrophes in their past-tense verbs.) But I think we should be careful about assuming that any one tool in the poet's toolbox is preferable to any other. Remember how the modernist Ezra Pound laid down strictures against abstract terms and adjectives. The entire modernist agenda (at least in the hands of its third-rate camp followers) was not about "freedom," as the cover story goes, but about the restriction and strangulation of language, and the imposition of a plain-style colloquialism on "serious" poets.
Look at the "small noun" poetry of George Oppen, which carried these restrictions to absurd lengths, or that of Basil Bunting, who also delighted in monosyllabic words. The entire formalist rebellion against this kind of verbal parsimony involves bringing back a full-throated eloquence that uses whatever words we choose to make a poem work. Monosyllabic lines of verse are perfectly OK (consider Shakespeare's "To love that well which thou must leave ere long" and many other lines in his sonnets), but let's be careful of a surreptitious modernist agenda to promote monosyllables as a way to keep language in chains.
Adam Sedia February 19, 2021
I hope I didn't convey that I regard monosyllabic poetry as a gimmicky avant-garde technique. You are exactly right: it is a tool in the poet's toolbox that can be put to surprisingly effective use. I was so surprised that I decided to write an essay. It was Frost's poetry that turned my attention to the laconic sound of monosyllabic verse – both in the quoted example and in "Fire and Ice." As I explored more, only the Tichborne elegy and Brooks's famous poem employ it exclusively, or at least that I could find scouring my volumes of poetry. That surprised me, so I thought I'd draw attention to a device that really is not frequently employed but has great potential. Like anything, it can become hackneyed with overuse, but with the emphasis on novelty over the last century and the influence of Chinese verse on the early modernists I though monosyllables would have been more of "a thing." It turns out they're not.
James A. Tweedie February 18, 2021
May it come to pass that your own one-beat verse will wind up in that queue as a third! To write verse (or prose) in this way can at times sound like a man who beats a drum one stroke at a time— or, if done with skill, the thought can be phrased in a way that lifts one's soul to the heights of bliss!
I don't think this is a hard thing to do, but I do think that it is a hard thing to do well.
When they're set down with care,
Words can be light as air;
And if stressed on the beat
Leave your seat, tap your feet!
Live it up, take a chance,
Do a one-step, and dance!
What you say is quite true,
And my hat's off to you.
Words, like bricks in a wall,
One by one (although small)
Can—for better or worse—
With some skill, be a verse
Just as good (dare one hope)
As a Frost, Poe, or Pope.
Well done, my friend.
C.B. Anderson February 18, 2021
I use more four-letter words in my daily discourse than I use in my poems, and have , thereby, missed out on any number of good rhymes.
Daniel Kemper February 19, 2021
I thoroughly enjoyed and also admired this essay. For me, studies like this could lead to clear maps for various sonics and the impact of their effects the way artists have color so well mapped out and musicians, notes. Collecting and publicizing these things could greatly contribute to formal poetry getting recognized more widely as the fine art that it is.
I'm elated that you found the essay illuminating. The effect of the monosyllable never really struck me until I really delved into Frost. I think it's a key component of his style. And you're exactly right: syllabification just as much as meter affects the timbre of recited poetry just like musical phrasing. Poetry's origins lie with music, and divorcing it from those origins does it great disservice.
And thank you for giving my music a listen. I'm glad you enjoyed the quartet.
Here are a few examples from bad modernist verse:
Whence comes man at his birth? or where
does death lead him? Whom do you mourn?
Whose steps wake your delight?
–Basil Bunting, "Chomei at Toyama"
(Bunting also has a poem with the line "His coat is torn and his hat has a hole in it," the title of which I cannot recall. An editor once quoted this crappy poem of Bunting to me an an example of "modernist brilliance.")
Then there's this:
A poor lobsterman
His teeth were bad
he drove us over that island
In an old car.
–George Oppen, "Ballad"
In the second example from Oppen, note that "lobsterman" is one of those English compounded nouns that could easily resolve itself into two separate words, thereby making the passage even more monosyllabic. Disyllabic words like "hothouse, fairway, searchlight, cowshed, keystone" and countless others are of this type, and therefore many lines of English poetry could be construed as being more monosyllabic than they appear on the printed page.
Margaret Coats February 20, 2021
Adam, you did good research here, and based on it, made some interesting suggestions for poets, then gave a good demonstration of how to follow the most difficult suggestion (in your poem posted separately from this essay). Worthwhile accomplishments! However, you're dead wrong on literary theory about the place of the syllable in English verse. Still, your accomplishments do not at all depend on your theory. Thus I'm saving my criticism of it for a second comment below, because here I'd simply like to follow up your research with some of my own that you inspired.
You found just two Robert Frost poems to mention as specially significant uses of monosyllable. I decided to take a look at about 200 pages worth of John Greenleaf Whittier (1807-1892), because he would seem to be a likely user of monosyllable. Whittier was a New Englander like Frost, but he had little formal education and did very little travel. He was a Quaker, and as he says in his "First-Day Thoughts," Quaker worship can occur with nothing spoken at all.
The results of my research confirm yours. Whittier neither wrote a monosyllabic poem, nor used monosyllables to any great extent within his poems. There are just a very few poems in which he may be treating monosyllables as a technique. These include his 25-line "Proem," written to appear first in one of his earlier published collections (1848). In it, he capably expresses appreciation for Spenser, Sidney, Milton, and Marvell. The last two lines, addressing Freedom, form a monosyllabic contrast to the whole:
Still with a love as deep and strong
As theirs, I lay, like them, my best gifts on thy shrine.
Perhaps Whittier wished to present himself as a humble, taciturn American, but this seems to fall flat in relation to the Proem's earlier lines. And (illustrating a potential deficiency of monosyllabic lines), it depends on the antecedents to "theirs" and "them." Its ceremonial weight derives from the final line's length, and from slowing achieved by commas.
Whittier changed the title of "Dedication of a Schoolhouse" to "Our State," which like the topic may suggest a focus on monosyllables. The second of seven stanzas reads,
Rough, bleak, and hard, our little State
Is scant of soil, of limits strait;
Her yellow sands are sands alone,
Her only mines are ice and stone.
"Arisen at Last," most likely written in 1855 to congratulate Massachusetts on exercising states' rights against the federal Fugitive Slave Law, has a better conclusion than "Proem," achieved by contrasting monosyllables with longer words:
. . . When North and South shall strive no more,
And all their feuds and fears be lost
In Freedom's holy Pentecost.
Some of Whittier's most famous lines, from "Barbara Frietchie," are mostly monosyllabic:
'Shoot, if you must, this old gray head,
But spare your country's flag,' she said . . .
All day long that free flag tossed
Over the heads of the rebel host.
Other well-known lines come from the 38 quatrains of "Our Master," which is the source of no fewer than five hymns (typically four or five stanzas). Whittier as a lifetime devout Quaker never sang hymns at worship, but the musical qualities of monosyllables–when judiciously combined with some disyllables and a few trisyllables–are recognizable in this religious poem. Please be aware that hymn publishers are notorious for altering texts, and don't try to consult Whittier's hymns in a hymnal, but study the original long poem in a reliable edition of his works.
Whittier saw and used the artistic potential of monosyllabic words, but I believe he viewed them as WORDS, not syllables. Despite his relative lack of education and experience, his reading enabled him to revel in our English word-hoard, and use a variety of words to become a master in the English tradition of accentual–not syllabic–meter.
In my summary sentence on Whittier above, I refer to accentual and syllabic meter, because you, Adam, are veering into prosodic theory in the first paragraphs of your essay, and you're doing this rather incautiously to support the idea that monosyllables are important in English poetry. You say that syllables define meter and set rhythm in song (which would horrify some music theorists), and that the syllable is therefore the basic unit of poetry, being the building block of metrical feet. I am no prosodist, and I will simply give you a few words from Paul Fussell, who is such a careful one that he puts "iambic pentameter" in quotes when talking about Shakespeare's basic meter. He is the author of the landmark book Poetic Meter and Poetic Form, but these snippets come from his articles on English prosody and on meter in the Princeton Encyclopedia of Poetics, 2nd edition. "The reader naturally measures by stresses, not by the number of syllables, and he finds it almost impossible to grasp the metrical shape of the poem [of syllabic construction] without an elaborately unnatural pause at the end of each line." Fussell says that only three feeble generalizations seem to hold true for all English verse, and the first of these is that "stress has generally played a more notable part in the structure of English verse that it has in many continental [syllabic] poetries." He also warns that when English verse becomes more accentual-syllabic than accentual (as in the era of Dryden and Pope), a certain restrictiveness and rigidity arises.
I would say that the first two paragraphs in your essay are problematic and unnecessary to the interest of the whole.
Well, let's be fair — Sedia did not say that words and syllables are the same. He just pointed out that a word and a syllable would be coterminous if the word were monosyllabic. In scanning an English line, a monosyllabic word and a syllable do not carry different weight for the reader, who is of course being guided by the stress pattern of the poet's chosen meter.
Yes, it is primarily stress (call it "accent" or "ictus" or "tonic") that is the dominant element in a line of English verse. To focus on syllables rather than stress is to invite the slavish syllable-counting that is too common among self-styled traditionalist poets.
The original Proto-Indo-European line, as reconstructed by M.L. Gasparov, was purely syllabic and stress played no part whatsoever in versification. But we've come a helluva long way since then, especially in the Germanic languages. They are heavily stress-based. This is why attempts to bring English back to a purely syllabic metrics, or one based on the long or short quantity of syllables, always fail. They just don't sound right to the English ear.
Be fair to me, Joseph. I did not accuse Adam of saying that words and syllables are the same. And I did give you an opportunity to re-assert your always-welcome insistence that stress is the dominant element in English verse. Adam does say "syllable is the basic unit of poetry," and if he alludes to English stress at all in his theory, it is defined in terms of syllable, as "non-uniform syllable quantities."
Adam is able to use his focus on syllables to make a powerful analysis of Gwendolyn Brooks's meaning as Hobbesian existence revealed through syllabification. He does not claim to deal with the meter in her poem, and thus I am merely complementing him (not correcting him!) by pointing out its achievement as a unique monometer poem in monosyllables. Fussell's second "feeble generalization" about English verse is that ascending rhythms (with stress at the end of the line) are more natural to it. This is why Brooks wants "We" at the end of her lines–to show where the stress is, and deny significant stress to words other than "We." Just a minor thing we can notice by focusing on stress as well as syllable.
Thank you for really delving into my essay. A thoughtful criticism is one of the sincerest compliments an author can be paid. But I am afraid you read too much into my very brief venture into prosodic theory. I am not arguing that syllabification alone defines meter. Quite the contrary: the foot defines the meter. However, the foot is still composed of syllables, which are the irreducible units of verse. Syllables have different qualities that combine in different ways to define feet, but the syllable is still the basic unit.
Consider this imperfect analogy from science. Think of the verse as a molecule and the feet composing it as atoms. The atoms have different qualities in a finite variety because they are composed of a finite combination of particles that are either charged (protons and electrons) or uncharged (neutrons) — which represent syllables in this analogy. The combination of different qualities of syllables (for example, stressed and unstressed) defines a different foot, just as different numbers of particles (charged and uncharged) define the elements and their isotopes. The particles themselves remain the fundamental building blocks. (Yes, protons and neutrons can be broken down further into quarks, which might be said to represent sounds, but the analogy becomes too strained here – as I said, it's an imperfect analogy.)
I do not disagree with you or Dr. Fussell that stress defines English meter, in contrast to French, for example, which is purely syllabic. But I am not making the point that English is syllabic; only that syllables are the irreducible units from which feet are constructed. Stress is only a quality.
As for music theory, my position is the same. In singing, a note is inescapably tied to a vowel or diphthong – just try sustaining the sound "k" or "b" on a note. Rhythm and melody are constructed from combinations of notes, but the note itself, which is inextricably tied to the vowel of a syllable, remains the basic unit of music.
What the monosyllable does is make each basic building block into a single word, rendering the unit that conveys the meaning (the word) with the basic unit from which the metrical feet are constructed.
I hope I clarified my position. I do not think we ultimately disagree, but I may have unintentionally made what I thought was a fairly uncontroversial observation into a theory of prosody that I never intended to put forth.
Margaret, I did not mean to criticize either you or Adam Sedia. My main concern was to add a warning note to the effect that focusing on syllables in English verse is like walking into a ditch of quicksand in a swamp — we will sink into a morass of unnatural syllable-counting and faux-classical quantitative ("long-short") measurements.
My personal reading of Brooks' poem places the ictus on the pair of words that come between the repetitions of "We" — hence
Of course this is my personal scansion, and it may not be the emphasis given by other readers.
Hey Adam, it might be a good thing to address this: since iambic hex and anapestic tet have equal syllable counts, you must have something different in mind concerning "measure" than literally hit the page. Did you simply mean something like "are foundational" ? Or maybe a more limited context ? Or is it just a slip?
On another note…
One either writes form-al poetry and gets it right and always plays in tune, or one is merely writing form-ish poetry.
Imagine a student protesting a low grade because of grammatical errors by saying, "I'm mostly right; I'm not some… some… comma-counter!"
I get what you're saying. My statement about the relationship of the syllable to verse is more fundamental. Yes, iambic hexameter and anapestic tetrameter both have twelve syllables per line. They vary in the *quality* of the syllables, but the fundamental unit of measure for both is the syllable. I can see how my use of "measure" in a poetic context was ambiguous. I'm speaking of "measurement" in the scientific context. Energy is measured in joules, time in seconds, and verse in syllables. The stress or alliteration contained in each affects the quality of the syllable, and groupings according to similar qualities are a "higher-level" unit of verse. But fundamentally the syllable is the most basic unit that carries any meaning. I hope this clarifies my position.
BDW March 1, 2021
as per "Clear Dew" Ibuse
Vocalissimus,
what syllables do you seek?
The roaring winds speak.


text:
Stuart Pearson Wright
Follow Links
Baroness Wilcox
2020. The lockdown hair has since gone but the feeling remains. Keep smiling folks
Oil and pigmented gesso on oak
Emilio Santoro
Pencil, colouring pencil, charcoal, pastel, ink, gouache and watercolour with collage on paper
(Elvis x 20) + (Tom x 1)
Halfboy and Halfsister
Oil, sheeps wool, zebra wood, wire and mixed media on linen
HALFBOY
Burnt Fucking House
2015/2016 I
2015/2016 II
J.K.Rowling (side view)
Oil and mixed media on board and 3D assemblage
If We Make It Through December
Oil on found panel
Video still
The Tiger's Bride
The Spectre of Brave Alonzo
Ceramic earthenware, ceramic stoneware, steel, fibreglass, ink, acrylic, bull's blood and mixed media
Love and Death
Pencil, colouring pencil, charcoal, pastel, ink, gouache and watercolour with collage on paper, 2018
Dave 'Memphis' Barlow
Pencil, colouring pencil, charcoal and moongold on paper, 2018
Aaron Walker
Pencil, colouring pencil and charcoal on paper, 2016
Colbert George 'Black Elvis' Hamilton
Pencil, colouring pencil, charcoal and collage on paper, 2016
Dean 'Rock n Roll' Hammond
Eugene Jacobs
John James 'Elvis on Wheels' Hindle
Alan Dennis
Pencil, colouring pencil, charcoal and gold on paper, 2018
Brian Troy
Paul 'Chinese Elvis' Hyu
Pencil, colouring pencil, charcoal, gold, glitter, gouache, ink, shellac, silver and collage on paper, 2018
Darren Price
Pencil, colouring pencil, charcoal and silver on paper, 2016
Des 'Elvis Desley' Perenara
Emma Evans
Juan 'Graceland' Lozano
Mark 'The Blue Sueders' Fitch
Pencil, colouring pencil, charcoal, gold, spray paint and collage on paper, 2018
Tony 'GracelandManila' Colinares
Pencil, colouring pencil, charcoal, gold and moongold on paper, 2017
All of the drawings in this body of work were made between 2016 and 2018 in Porthcawl, Seattle, London, Norwich and in the artist's studio in Suffolk. They were originally exhibited at The Fairhurst Gallery in Norwich, UK (7 December, 2018 - 2 February, 2019).
Stuart Pearson Wright in conversation with Paul Hyu
Being Elvis
8 November 2018.
SPW It's the 8th of November. I'm here with Paul Hyu, aka Chinese Elvis, and we're going to do some drawing… (laughs) "we both fall silent".
PH I've now run out of anything to say of any value or insight.
SPW So I'm going to start drawing.
PH For the Elvis Tribute Acts (ETAs) who haven't come from a musical theatre background, performing as Elvis is their first entry into the world of being an entertainer, so they come with no idea of the snobbery that is felt towards them by other kinds of performers. In spite of this, it's disappointing that they all fall into what I call the Elvis paradigm. I don't know what the rules of the paradigm are, but they are very strict and the ETAs all follow these rules. Fans have invented the rules and the performers try to comply with them. My whole take on this is that Elvis himself was acknowledged to be a very creative artist. I have always argued that if you want to really do justice to Elvis, it's less about impersonating his moves and his vocal idiosyncrasies but more about trying to follow his philosophies. For example, if you are a Christian you don't have to grow a long beard and wear a robe: you follow the man's ideas. The notion of "let's all look like Elvis and do exactly what he did, and whoever is the most convincing, is the best Elvis", is inherently stupid. Another similarity with Christianity is that - being an Elvis devotee is a form of religion.
SPW There are some very strong parallels aren't there?
PH Yeah, I mean, A, in its fervour, B, in the idea of blasphemy: If you blaspheme against Elvis, there's an Elvis fatwah put out on you. Yet if you were authentically following Elvis's philosophy then the more creative you are with your interpretation of Elvis then the closer you are to Elvis as an artist. "I'm going to do the 1971 International Hotel Concert and I'm going to do it in the same order that Elvis did, I'm just going to copy everything", I don't think that approach is creative at all. There is skill and craftsmanship involved but it isn't art.
SPW It's interesting you say this because there are strong parallels with portrait painting. If you go to an exhibition like the BP Portrait Awards, which showcases all the up and coming and established portrait painters in the country, all vying for the top prize, you'll see a very strong tendency that becomes more prevalent each year, where the portraits are about photo-realism and a kind of accuracy: it's about getting the nose right and about getting the ear right and whilst I can admire an artist's technical facility I'm turned off by that approach to portrait painting because what does it tell you, other than what an ear or nose look like? What do we learn about the sitter or the artist, or about the experience of the one painting the other?
PH You might as well take a fucking photo.
SPW Indeed. What does a portrait like that do that a photograph doesn't? For me, portrait painting and drawing are about subjective interpretation.
PH I agree. Recently I've started saying to audiences: "Chinese Elvis is retiring" because I'm old or fat or whatever's happened that night, "so I'm thinking of doing something else, so, Ladies and Gentlemen, tonight you have: Chinese Elton John" and I just sing an Elton John number and everyone sings along with it, then I'll say: "Ladies and Gentlemen Chinese something else..." So it ends up, that I'm just doing a whole load of karaoke favourites of my choosing and saying that I'm the Chinese version of them. Because of the repetition, that in itself is funny. But I also like it because I'm not then stuck to the cannon of Elvis. What I've also started doing is songs that Elvis never sang, but should have, or would have, had he lived long enough.
SPW Nirvana?
PH Yeah, so I could do anything now but if you're adhering to the strict Elvis paradigm, as I refer to it - then of course you can't do songs Elvis never sung. And also, you can't wear a combination of Elvis outfits from different periods: this is why I purposefully wear gold lame when I'm performing and combine it with a puffy shirt and a Vegas scarf and belt. In reality, Elvis never wore those things together at the same time.
SPW It's like a distillation of different versions of Elvis.
PH Correct, that's exactly it.
SPW …all filtered through your Chinese-ness.
PH Correct, or rather faux Chinese-ness: I am ethnically half Chinese, my Dad's Chinese but he's from Guyana in the West Indies and my mum's white English. I actually look less Chinese now than I ever have, because I'm getting older and fatter and greyer. My Chinese-ness is wearing out. I don't even look as Chinese as Michael McIntyre.
SPW Were you born here then?
PH Yeah. I was born in London. My Dad had literally arrived from Guyana on a banana boat about three years previously. So culturally, I'm not what English people would understand as being Chinese, that is: coming from Hong Kong. Being West Indian Chinese means that, culturally, I'm Caribbean: I'm Guyanese not Chinese. So, when I originally started the Chinese Elvis act I didn't manifest any of the stereotypes that people would associate with being Chinese. The idea of Chinese Elvis is a comic dichotomy, it's two things that you put together that are inherently funny. Black Elvis isn't that funny, and other diverse Elvis's aren't inherently funny: like lesbian Elvis. Although there are some good lesbian Elvis's.
SPW Is there a lesbian Elvis?
PH Yeah. Elvis isn't really a gay icon, but he is a lesbian icon. I went to see an Elvis show at the Edinburgh Festival in 2002 by an Elvis Tribute Artist called Elvis The Girl. During her act, she didn't even sing, she was just combing her hair and getting on a motorbike. They had the music playing but the act was just her styling herself.
SPW Being Elvis.
PH So it was odd, but that's what gave me the idea of doing an actual show.
SPW That's where the original idea for your show came from?
PH I thought: "could I do a whole show with no music?" But I failed because there were gaps when I just didn't know what to do and so I ended up singing. The whole idea behind my own show was to try and subvert and question the paradigm that all Elvis shows are the same. If you see there is going to be an Elvis in town, I find it annoying that you know exactly what you are going to get: just Elvis songs and Elvis moves.
SPW You're suggesting that approach is little more than an impersonation?
PH I didn't have a problem with it when they called themselves Elvis impersonators but when they started claiming to be tribute artists, I felt that the word Artist means you're giving something of yourself to the performance.
SPW How did Chinese Elvis arise? Where did the idea come from? What made you become Chinese Elvis?
PH The original idea of Chinese Elvis wasn't mine. There was a guy called Paul Chan and he opened a restaurant in a really shitty part of New Cross in the 80s. He was very Hong Kong with a strong accent and although he didn't have authentic suits, he did love Elvis. Despite the horrible location the restaurant was packed out! He made a fortune and became a bit of a legend.
SPW He performed in the restaurant?
PH Yeah, he'd just walk in and sing with a Chinese accent. People just loved it. I went to it in the mid 90s when the novelty was running out, but it was still doing ok. The food was really crap, but in spite of that I had a good time. This guy is obviously Chinese yet thinks he's Elvis. That's funny because Elvis has a very defined identity whereas Chinese has no identity. Certainly before 2010 the British had no fucking idea what Chinese was. If you had to write a Chinese joke it was very hard because there wasn't a Chinese stereotype. Around that time, by coincidence, I acted in a play called Martha, Josie and the Chinese Elvis. After the run I asked if I could buy the Elvis costume: a padded jumpsuit. When I ended up getting my first gig it was for Angelina Jolie. I didn't have any equipment apart from the fat suit, so I ended up having to borrow everything. I wasn't worried because in a way, Chinese Elvis can't fail. Pictures of me and Angelina Jolie were in US Weekly in a double page spread, I ended up getting a lot of work and becoming quite famous. I developed the act by going to Paul Chan's restaurant and saying: "do you need a spare Chinese Elvis?" He did and so I performed there for four years. I quickly realised that people were coming to the restaurant to have a laugh, but they were laughing at me, and I didn't like that. I decided to turn the tables and laugh at them, but that can only work if the audience are complicit. They have to enjoy laughing at themselves. So, I put in a lot of show stopping songs early to shut everyone up. "Who's the best singer in this building?" So now when I pass the mic around I remain the boss.
SPW Did you pass the mic around?
PH You have to pass the mic around in an Elvis restaurant, but having established the hierarchy, I can start telling jokes about being Chinese, something like – "Ladies and Gentlemen it's great fun to be here, as you know I'm a big star, but it wasn't always like this, I was under a lot of pressure to be a doctor or a lawyer. Like most Asian parents, my Dad wanted me to be a professional, so you can imagine his face when I said to him I want to be a comedian. He looked at me and he said (shouts in a Chinese accent) 'but people may laugh at you'!"
SPW Doing your Dad in an accent he never used! I like that.
PH Which he never used! So, with that kind of self-deprecating humour I had the audience on board: they were now laughing with me. Of course, some places don't want to hire you for any of your banter, just your singing. That took me time to get used to, but I'm an actor. I'll just sing, who gives a shit? As long as I was being paid. I do believe that if Elvis were to come back and judge the ETAs, when I told him about my career and what I did, he would anoint me as the number one tribute act.
SPW For keeping his spirit alive?
PH His spirit of creativity. That belief puts me at odds with every other ETA, who are all mortally offended by my approach. But now Chinese Elvis is definitely on the wane. I feel that the lifestyle is just too lonely: I don't bring a girlfriend to my gigs. I just show up on my own, set up, perform, get paid and go home. I'm literally in it for the money. Quite a few ETAs have a jealous girlfriend whom they bring along, because the girlfriends know that there are going to be women in the audience he's going to flirt with and they want to keep them at bay. Sometimes ETAs come with a whole band of course. That's more sociable but I would hate to split my fee with a band. So, I find it lonely and also it's undignified for a man of 50 plus to be all sweaty at the end of the night. "Why am I doing this?" Well, money is the answer. If I could knock it on the head I would. I've recently gone back to the theatre, after a decade-long hiatus to bring up my son. The main thing that's good about theatre is that even if you're doing a one-man show there's a whole crew. It's a sociable thing. That's why I'm going off doing Elvis and wanting to get back into the theatre instead.
SPW Because it's collaborative?
PH Yes. So Chinese Elvis is only going to make special appearances in the future. You know, I once received a letter from Elvis Presley Enterprises saying: "you can't call yourself Chinese Elvis."
SPW It was from the Elvis Estate?
PH Yeah. It turns out that Elvis Presley is a trade mark in America, but I published their email on my website and said: "fuck you Elvis Presley Enterprises, my name is Chinese Elvis, see you in the High Court". Fortunately, I never heard from them again. You see I don't think there are any other ETAs who have a story like that. I did it for sport, that's all.
SPW If they had taken you to court that would only have worked in your favour. Particularly if you appeared in court as Chinese Elvis, in character. That would have been something like a Sacha Baron Cohen film.
Can you say a little bit about the process of becoming Elvis? To what extent do you - you could apply this generally too, because you're an actor - transform into a character. I mean could you say something about that process?
PH In the last ten years I've worried less about that, but I used to psyche myself up: getting into character and running through the gags. The main thing I do is to warm the voice up, because if you're doing 90 minutes, that's 30 songs. You can really fuck your voice up. So, I warm up my voice, and try and remember the names or the occasion: the bride and groom or whatever it is. I now rely on my general charm, because I'm confident, and worry less about prepared material. But I still will have self-deprecating gags: "let's get you up dancing. If you think you're going to look ridiculous, just take a look at me". I'm here to deflect the embarrassment. So, I just make that up as I go along now. Preparation these days is just making sure I sound good.
SPW Is that true of acting as well though? If you're in a play do you have to take yourself off to a special place before?
PH In a recent production of Othello, in which I had a minor role, the actors who had the biggest parts were warming up and concentrating in the dressing room an hour before but, after the official half hour call, they were relaxed because all the preparation had been done. Because it was ten years ago that I was last on stage, despite the fact I'd done all the same preparation in the rehearsal room, I was petrified that I was going to forget my lines. I had this kind of paranoia. It's something that comes with age.
SPW Forgetfulness?
PH No, fear. By the end of the run I realised that I knew the lines and even if I forgot them on stage, it's not the end of the world.
SPW But, improvising Elizabethan English is quite tricky isn't it? I saw Michael Gambon doing it once. It was Henry VI. In one scene he was struggling to get the lid off a bottle, and in the midst of it he said: "fucking bottle", under his breath. Of course everyone heard it and it brought the house down.
PH "Forsooth, me thinks, I've lost all me words" - I could come up with that and then the other person would know just to jump in with the next line.
SPW I was in amateur dramatics when I was a teenager. I was in a play called Someone Waiting by Emlyn Williams: a murder mystery. There was a gun placed in a bureau and the guy was supposed to shoot himself at the end of the play to frame someone. But at the beginning of the second half, he took the gun out of the bureau and it went off and so did the exploding blood sack in his shirt as it was synched with the gun. So, he had suddenly shot himself in the chest and I mean, what do you do? He had to die on stage, but at the beginning of the second act instead of at the end. So, we then had to improvise the rest of the second act.
PH You're joking!
SPW No, and I was only sixteen or seventeen. We just had to make it up: the whole second act. Then it was no longer the wife who'd set him up but the husband, or something like that. I can't remember the actual plot, but we invented a new one.
PH I remember improvising a lot when I was a kid. When you have no fear and you've got nothing to lose.
SPW But, beyond the fear, can you say something about the process of actually becoming, essentially, another person? There are method actors of course, like Daniel Day-Lewis, who aim to merge their own identity with that of the character they're playing. I guess there's a sliding scale of the extent to which actors absorb their character.
PH I think you're exactly right.
SPW Where are you on that scale?
PH Daniel Day-Lewis played Hamlet at the National Theatre about 25 years ago, but because of his process, when he saw Hamlet's father as a ghost he saw his own father. It traumatised him so much, he couldn't go on stage. I don't see the value in that. I think that during rehearsals you do become your character at certain times. What you have to do is remember that time and how you felt: remember your intentions, how you received the lines and how you delivered them. It doesn't mean you're going to deliver them in the same way each time, but because the intention is the same, it'll be coming from the same place and then it's kind of like auto pilot, but it doesn't necessarily mean that you profoundly feel the emotions each time.
SPW Does the repetition of the performance and the lines trigger the emotional equivalent of a kind of muscle memory?
PH That's exactly it. Trying to deconstruct what's happening when you're acting is difficult. Every actor has their own approach that works best for them: Some actors work from the outside in, and some from the inside out. I don't use any specific method, but you've got to believe you're the character, that's what it boils down to.
SPW Would you like to see the drawing so far? It's in its very early stages. You're quite an animated subject.
PH So, it's hard is it?
SPW It is. You haven't got a mouth yet but that's because you've been talking. Anyway I'll show it to you. You look a bit like Ken Livingstone, but I will change that. I'm not sure you even look particularly Chinese yet.
PH I don't. Well I don't look Chinese, even my Mum said I don't.
SPW But, it will change a lot.
PH (laughs) I like it. It is definitely me I'd say.
SPW So, when do you think we will see Chinese Othello? Is that coming our way soon?
PH I doubt it. I've actually got a nice niche: ethnic actor who plays parents and willing to do relatively small parts at the National or the Globe.
SPW Curiously enough there's a play on at the National Theatre at the moment in which there's a character based on me.
PH Ok?
SPW It's a play called Stories by Nina Raine. It's autobiographical: about her search for a sperm donor. We have a mutual friend and since I was conceived by donor insemination, Nina wanted to meet me to ask what it was like to be conceived in that way. I told her it was utterly shit and that I had a huge hole in my identity. My response made her change her plans completely and those scenes between her and I, and her subsequent actions, are acted out in the play. It was intensely surreal seeing my own words, remembered by Nina, and being spoken by an actor. I had a kind of out of body experience in the theatre. It was intensely bizarre to reflect that if we hadn't had that conversation not only would she have had a different baby by another father in reality, but the play would have had a different ending as well, as a consequence. For a moment my existence felt real, that it had substance. I had proof that I was here: I was watching it on the stage!
Do you ever dye your hair when turning into Elvis?
PH The one thing I haven't done, in preparation for this sitting, is to blacken my hair. As long as you sing the songs well, Elvis fans will accept anything: black Elvis, gay Elvis, lesbian Elvis, fat Elvis but they don't like grey Elvis. I would normally spray it black, but I thought "I'm just going to go with this."
SPW Well why not? It puts another spin on it. For me the whole purpose of this project is to explore how different people appropriate or manifest the identity of Elvis Presley. I'm interested in identity and how it can be a fluid entity. That's why I'm interested in actors and the process of a person becoming someone else. That's what fascinates me about the phenomenon of Elvis tribute acts: What is it about the man that people choose to temporarily subsume their own identity to become this very particular person with a hugely specific identity? I want to understand what motivates them to do that. You suggested that some men want to become Elvis because they believe it will make them sexually attractive to women and that is very true. I have seen the effect that even my drawings of a beautiful man dressed up as Elvis have had upon my own wife. Elvis manifests a kind of intense male sexual power that must be very appealing to want to share in or partake of, even in a drastically diluted form. But people must decide to become an ETA for a whole host of other reasons.
PH That's true.
SPW It's been interesting hearing about your own story.
PH Well that whole idea of Chinese and Elvis, that is all to do with identity. As I said earlier, I don't think the Chinese have a strong identity in this country, certainly one that's difficult to stereotype.
SPW You talk about the lack of stereotype, yet ironically, if there is a Chinese stereotype in Britain it's probably that they are quite self-contained, as a community. They don't seem to have a particularly loud voice in the big collective consciousness.
PH But, I wouldn't say that's a stereotype, I think that's just a trait: being unremarkable. Is having no stereotypical features, a stereotype? that's the question that you've just asked, I think.
SPW Um, I'm wondering if I can use your facilities actually? Then I've got to try and stop you looking like Ken Livingstone.
PH (laughs)


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Precipitation levels below normal
January 12, 2020admin0 Comments
However, it's worth noting, at this time last year, we had a five month total of 160 millimeters, prior to the June-July disaster. For the second year in a row Fort St. John has recorded a monthly precipitation total slightly below the May norm.Despite a snowfall total of 14.5 centimeters…three and half times the monthly average…the precipitation total was only 28.9 millimeters, about 11 millimeters less than the norm.It was also a little less than last year's total of 35.4 and less than half the total in May of 2007, which was 74.9.- Advertisement -However, once again the key months, for local farmers and ranchers, will be June and July.Traditionally, they're the high moisture months in this region, with norms of 70.9 and, 83.2 millimeters…but, last year they had drought contributing totals, of only 26.7, and 20.6.So far this calendar year, we've received nearly 139 millimeters, as compared to the five-month-norm, of about 128.Advertisement read more
Giroud swaps Arsenal for Chelsea
January 6, 2020admin0 Comments
Giroud managed just one Premier League start for Arsene Wenger's side in 2017/18 and made his final appearance off the bench in the 3-1 defeat at Swansea on Tuesday.The Blues were in the market for a target man and had expressed an interest in signing Roma hitman Edin Dzeko, but they were forced to look elsewhere and agreed an undisclosed fee with their neighbours to land the 31-year-old striker on an 18-month contract.Chelsea director Marina Granovskaia called Giroud a 'fantastic signing'. Photo/DAILY MAIL"Chelsea is one of the biggest teams in the Premier League. They have won maybe the most trophies in the last six or seven years," Giroud told his new club's official website."It's a massive club and I am proud to sign for Chelsea, and I'm looking forward to playing."Chelsea director Marina Granovskaia added: :Olivier is a proven talent at the top level and we are very pleased to call him a Chelsea player."He has scored goals regularly throughout his career and is well accustomed to English football and the Premier League. We are sure he will be a fantastic signing."The former Montpellier ace scored 105 goals in 253 outings for the north Londoners and won the 2017 FIFA Puskas Award for his scorpion-kick goal against Crystal Palace on New Year's Day.0Shares0000(Visited 2 times, 1 visits today) 0Shares0000Giroud will wear the No 18 shirt at Chelsea, and said he was 'proud' to join the club. Photo/DAILY MAILLONDON, United Kingdom, Jan 31 – Olivier Giroud has brought a frustrating 18 months to an end after joining Premier League champions Chelsea from London rivals Arsenal on transfer deadline day.The France international has been a consistent goalscorer for the Gunners during his five-and-a-half-year stay, but found himself playing the role of impact substitute this season and last. read more
Morata double gives Spain victory over Malta
0Shares0000Alvaro Morata scored both goals as Spain won in Malta © AFP / Filippo MONTEFORTETA'QALI, Malta, Mar 27 – Alvaro Morata's remarkable revival continued on Tuesday as he scored twice for Spain in a 2-0 victory over Malta.After edging past Norway 2-1 on Saturday, Morata's double at the Ta'Qali stadium gives Spain two wins from two in Euro 2020 qualifying and the perfect start in Group F. Luis Enrique's side again showed the inability to convert possession into chances that clouded their early exit from last year's World Cup.But Morata's brace offers room for encouragement, the striker extending his return to form since he joined Atletico Madrid on loan from Chelsea in January.He has five goals in six games, his best return since September 2017, and has strengthened his case for a position that has proved so troublesome for Spain in recent years."The boss knows how happy I am to be here and I am grateful to him," Morata said. "We want to qualify as soon as possible for the Euros so it was important to win today."Malta lie 182nd in FIFA's world rankings, between Liechtenstein and Macau. Their win over the Faroe Islands last weekend was their first in 17 matches and only their second in almost four years.Luis Enrique was absent for "personal reasons", leaving his assistant Robert Moreno in charge on the touchline.There were unfamiliar faces on the pitch too as only three players – Sergio Ramos, Morata and Marco Asensio – retained their places in a much-changed line-up from the team that beat Norway.Six of Spain's starting 11 owned five caps or fewer, including Real Betis' attacking midfielder Sergio Canales and Mario Hermoso, the 23-year-old Espanyol defender linked with a summer move to Real Madrid.Morata's first, shortly after the half-hour, owed much to Malta's goalkeeper Henry Bonello, who failed to stop the forward's scuffed finish after Hermoso's clipped pass over the top.Sergi Roberto's cross almost gave Morata his second, only for the glancing header to flash wide, but he did not have long to wait.Jesus Navas delivered another ball to the back post in the 73rd minute and this time Morata made no mistake.0Shares0000(Visited 1 times, 1 visits today) read more
Arsenal and Liverpool target reveals dream move
1 Nabil Fekir in action for Lyon Arsenal and Liverpool target Nabil Fekir has revealed his dream move would be to Barcelona.The winger was one of the star performers in Ligue 1 this season, scoring 13 goals and attracting interest from several clubs.Arsenal and Liverpool have both scouted the 21-year-old and had been linked with a summer move for his services.However, the France international has ended talk of him leaving at the end of the season and also revealed his preferred destination would be Barcelona."Yes my future is to spend another year to play Champions League football with Lyon," Fekir told news outlet 20 Minutes."It will be fabulous to play in that competition here. After that, we will see what happens."Ever since I was young, the club of my dreams has been Barcelona. If I have the chance to go there one day, the story would be magnificent." read more
Get serious on DNA funding
160Want local news?Sign up for the Localist and stay informed Something went wrong. Please try again.subscribeCongratulations! You're all set! Los Angeles should have "no higher priority than getting rapists and murderers off the streets," as City Councilman Jack Weiss recently said. And he's right. But in actuality, there are many, many higher priorities at City Hall. That's why the city has no problem lavishing 23percent pay raises for bureaucrats, yet it can't come up with the cash to adequately fund the DNA analysis that's crucial to solving some of L.A.'s worst crimes – and putting away some of the city's most heinous offenders. Currently, evidence from some 7,000 rapes and homicides – going back at least a decade – sits in a laboratory. Weiss, who wants to be city attorney, tells a chilling story of a rapist who was able to attack two additional victims – one of them a child – while authorities waited for the rape kit from his first victim to be processed. AD Quality Auto 360p 720p 1080p Top articles1/5READ MOREWhicker: Clemson demonstrates that it's tough to knock out the champThat's why Weiss is pushing for $10million in city funding to hire 22 new criminalists and four lab technicians over the next two years. The goal is to clear up the city's massive backlog within 30 months. Getting killers and rapists off the street is not only good for the health and safety of the city, it's also good for the bottom line, saving millions by preventing crimes before they happen. It's unconscionable that a rare instance of City Hall penny-pinching should put lives at risk. If city leaders are serious about making public safety L.A.'s top priority, they will waste no time clearing out the city's DNA-case backlog. read more
LOCAL NEWS: PARISH BULLETIN FOR ST PATRICK'S, DONEGAL TOWN & ST AGATHA'S, CLAR
NEWSLETTERSt. Patrick's Church, Donegal Town Fr. Willie Peoples 074-9721026Saturday 5th 10.00am Mary & James Breslin – Anniversary11.00am First Holy Communion – Scoil Aodh Rua Agus Nuala6.00pm Gene & Veronica Doherty – AnniversarySunday 6th 9.00am Deceased Members of the Mc Glinchey Family11.30am Joe Weir – AnniversaryFriday 11th 9.30am Special IntentionSaturday 12th 10.00am Cecelia Mc Allister – Months Mind 6.00pm Peggy Hughes – AnniversarySunday 13th 9.00am11.30am Eamon O' Donnell – AnniversaryMASSES DURING THE WEEK – Monday, Tuesday, Thursday – 9.30amROSARY – Monday, Tuesday, Wednesday & Friday – 7.00pm. For our Lady's Month of May. Rosary led by Legion of Mary.EUCHARISTIC ADORATION – St. Patrick's Church on Thursdays, from 10.00am -9.00pm. All Welcome! CONGRATULATIONS – To all Children from Scoil Aodh Rua Agus Nuala who made their First Holy Communion this Weekend.St. Agatha's Church, Clar Fr. Danny Mc Brearty 074-9721093Saturday 5th 6.30pm Danny Martin – AnniversarySunday 6th 10.30am Teresa Mc Andrew – AnniversarySaturday 12th 6.30pm Mary and John Mc Bride – AnniversarySunday 13th 10.30am Mary Dunnion, Katie and Peter Campbell – AnniversaryMASSES DURING THE WEEK: Tuesday 7.00pm, Wednesday, Thursday & Friday – 10.00amEXPOSITION OF THE BLESSED SACRAMENT -Tuesday from 3pm -7pm in St Agatha's Church, Clar. CEMETERY SUNDAY – Sunday 8th July, at 10.30am, in St Agatha's, Church, Clar. Please tell your family and friendsFIRST HOLY COMMUNION – St Agatha's Church, Clar on Saturday, 19th May 2012 at 11.00am Mass.SUPPORT GROUP FOR BEREAVEMENT AND PERSONAL LOSSOur next meeting will take place on Thursday, May 10th at 8.00pm at the Solace Centre, St. Joseph's Avenue. Feel free to come along and bring a friend.DONEGAL TOWN TIDY TOWN COMMITTEEWe are organising a clean-up of the local area in preparation for the Tidy Towns Competition 2012, we would be glad of your help. If you are available please meet on the Diamond on Tuesday, 8th May at 8.00pm. Also every Monday in May thereafter, same time, same place. (Weather permitting). Any enquiries to 074 97 23760 (office hours).ST FRANCIS NATIONAL SCHOOL BARNES PARENTS ASSOCIATIONWe would like to say a big thank you to all who donated to our recent Annual Church Gate collection. Your generosity goes a long way in helping to fund activities for the school children. Thank you to all who volunteered to assist with the collection. €760.00 was raised.CERTIFICATE IN MARRIAGE EDUCATIONAre you interested in training as a facilitator with ACCORD Marriage Care? For more information ring 074 9723944 or visitwww.accord.ie DAWN CHORUS AT HARVEY'S POINT COUNTRY HOTELAs part of the Bealtaine Festival which celebrates 'Creativity as we age' this year's event will again be held on the shores of beautiful Lough Eske, beside Harvey's Point Country Hotel, on Sunday, 27th of May at 7.00am. The event consists of many Choirs, Groups, Individuals & Instrumentalists as possible coming together at Dawn for a sing – along. The theme is Appreciating Nature. Everybody Welcome. For more Information, please contact Lanna McNamara at 0749721369.LOCAL NEWS: PARISH BULLETIN FOR ST PATRICK'S, DONEGAL TOWN & ST AGATHA'S, CLAR was last modified: May 5th, 2012 by BrendaShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window)Tags:CLARDONEGAL TOWN & ST AGATHA'SLOCAL NEWS: PARISH BULLETIN FOR ST PATRICK'S read more
TD urges Transport Minister to provide emergency funding to fix damaged roads
Fianna Fáil Spokesperson on Transport, Tourism and Sport Robert Troy TD has called on Minister Shane Ross to make emergency funding available to help repair damaged transport infrastructure in areas hit by severe flooding.Deputy Troy made the comments as torrential rain overnight led to the collapse of roads and bridges in Donegal."The torrential rain that has fallen in parts of Donegal over the last 24 hours has caused significant damage to transport infrastructure such as roads and bridges. "It's clear that emergency funding will be needed to help repair the damage to roads and bridges in particular. Minister Ross needs to put in place a contingency fund to help repair the damage and ensure that works are carried out without delay."Local communities in Donegal have been left isolated as a result of the damage to transport infrastructure. They are not in a position to wait weeks for repairs to be carried out as the council follows standard procedures to allocate funding for repairs."This is an exceptional situation which requires an exceptional response."It is also the height of the tourism season which is an integral part of the local economy in the north – east. Minister Ross needs to ensure that speedy repairs to transport infrastructure are carried out to help protect the tourism industry. The Government needs to provide assistance to those affected by the flooding and support the work of Donegal County Council as they respond to the situation on the ground," concluded Deputy Troy. Featured image by AWS Tyres.TD urges Transport Minister to provide emergency funding to fix damaged roads was last modified: August 23rd, 2017 by Elaine McCalligShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window) Tags:robert troyshane rossTransport read more
Problematic water mains at Meenaleck/Ranafast to be replaced within months
Confirmation from Irish Water of mains replacement works in the West Donegal Gaeltacht region has been welcomed as 'encouraging news'.The townlands of Mín na Leice, Derrynamansher and Rann na Feirste have experienced regular water mains bursts in recent years, according to local councillor Michael Cholm Mac Giolla Easpuig.In correspondence to the councillor, Irish Water confirmed that approximately 3km of water mains is due for replacement from Meenaleck to Ranafast in the coming months. This is part of a larger 45km countywide mains replacement contract. A Contractor has just been appointed and is due to commence in the next few weeks and a programme of works is expected in the coming weeks.Cllr Mac Giolla Easpuig said: "This certainly is encouraging news for Mín na Leice, Derrynamansher agus Rann na Feirste. I have been working on this this last number of years along with others to improve our water infrastructure to Rann na Feirste, Derrynamansher agus Mín na Leice and other areas as well."There has been hundreds upon hundreds of water bursts this number of years within this area at approximately €12-€1500 per-fix." Problematic water mains at Meenaleck/Ranafast to be replaced within months was last modified: June 18th, 2018 by Rachel McLaughlinShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window) read more
2019 Ohio Hop Conference highlights blossoming industry
Share Facebook Twitter Google + LinkedIn Pinterest Ohio Ag Net's Joel Penhorwood recently visited with hop producers at the 2019 Ohio Hop Conference in Columbus. The event, organized by the Ohio Hop Growers Guild, brought together hop farmers for industry updates, research presentations, chats with craft brewers, and more.In this video, we hear from Jamie Arthur and Dave Volkman.
Shakira attends Lionel Messis wedding with her partner
November 19, 2019admin0 Comments
(Eds: Correcting name in headline)Los Angeles, Jul 2 (PTI) Shakira and her partner Gerard Pique attended FC Barcelona star Lionel "Leo" Messis lavish wedding in Argentina.Messi tied the knot with his childhood sweetheart, Antonella Roccuzzo, on Friday.Shakira, 40, wore a chic black dress, which featured a sheer overlay on top of a tulle skirt and completed her look with black stilettos, a gold clutch and her hair styled in a half-up, half-down do, reported Entertainment Tonight.Pique, who also plays for FC Barcelona, sported a classic black tuxedo, bow tie and gigantic grin.The singer took to Instagram to post a photo of herself and her man in wedding attire with a caption, "Thanks to Antonella and Leo and all the people of Rosario for your hospitality! Shak." PTI SSN SSN read more