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Kurier Galicyjski: niezależne pismo Polaków na Ukrainie – dwutygodnik i portal internetowy wydawany w języku polskim we Lwowie oraz w Iwano-Frankiwsku od 2007 roku, największa polska gazeta na Ukrainie dostępna w wersji elektronicznej, radiowej i telewizyjnej. Jej założycielem, wydawcą i redaktorem naczelnym był Mirosław Rowicki (1953–2020).

Historia
Pismo ukazało się po raz pierwszy 15 sierpnia 2007 roku. Jego celem jest informowanie Polaków mieszkających na Ukrainie o życiu kulturalnym i politycznym społeczności polskiej, a także stosunkach polsko-ukraińskich. Sporo uwagi poświęca redakcja tematyce historycznej, społecznej i regionalnej. Kurier wspiera finansowo Senat Rzeczypospolitej Polskiej, za pośrednictwem fundacji Wolność i Demokracja oraz Fundacji "Pomoc Polakom na Wschodzie". Od stycznia 2019 roku redakcja gazety mieści się przy ul. Czuprynki we Lwowie.

Działalność
Kurier Galicyjski oprócz wydania drukowanego to także portal internetowy, radio i telewizja internetowa.

Redakcja jest też producentem filmów dokumentalnych. Przy Kurierze Galicyjskim działa Studio Filmowe "Lwów". Grupa Medialna Kuriera Galicyjskiego wydaje też książki i albumy w ramach Biblioteki Kuriera Galicyjskiego. Dziennikarze Kuriera Galicyjskiego współpracują z kanałem TVP Polonia współtworząc telewizyjny magazyn informacyjny Studio Lwów.

Biblioteka Kuriera Galicyjskiego
 Dmytro Antoniuk, Rok 1920. Pamięć w czasach zarazy. Tvori, Winnica 2021, s. 207 ISBN 978-966-949-973-8

Nagrody
 2009 – nagroda im. Witolda Hulewicza
 2015 – Krzyż Kawalerski Orderu Odrodzenia Polski dla Mirosław Rowickiego
 2015 - Nagroda Honorowa Festiwalu Filmów Emigracyjnych "Emigra" 2015 za całokształt pracy dziennikarskiej redaktora naczelnego "Kuriera Galicyjskiego" Mirosława Rowickiego.
 2015 – Nagroda im. Macieja Płażyńskiego w kategorii redakcja medium polonijnego. W uzasadnieniu podano, ze jest to nagroda za odważną publicystykę dotyczącą polskiej tożsamości na Ukrainie oraz za wnikliwą analizę procesu tworzenia się państwowości ukraińskiej i aspiracji Ukraińców do budowania państwa opartego na europejskich wartościach.
 2018 – nagroda im. Macieja Płażyńskiego – wyróżnienie dla Beaty Kost, dziennikarki "Kuriera Galicyjskiego" za książkę "Kobiety ze Lwowa"
 EMIGRA 2018 – wyróżnienie: Jarosław Krasnodębski i Eugeniusz Sało za film "Tam był mi raj. Opowieść o dawnym Stanisławowie".
 W 2018 roku z okazji jubileuszu 10-lecia dwutygodnika redakcja "Kuriera Galicyjskiego" otrzymała list gratulacyjny i nagrodę specjalną  od wicepremiera i ministra kultury i dziedzictwa narodowego RP Piotra Glińskiego.
 2018 – Mirosław Rowicki, redaktor naczelny Kuriera Galicyjskiego, został odznaczony orderem "Za Rozbudowę Ukrainy"

Przypisy

Linki zewnętrzne
 Wydania gazety online
 Archiwalne numery gazety

Czasopisma nagrodzone Nagrodą im. Macieja Płażyńskiego
Czasopisma w języku polskim
Czasopisma wydawane od 2007
Dwutygodniki na Ukrainie
Polska prasa na Ukrainie
Prasa w Iwano-Frankiwsku
Prasa we Lwowie

redpajama_set_name: RedPajamaWikipedia


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France: reparation is due
Colonialism Reparation calls on France, the homeland of the "Declaration of the Rights of Man and of the Citizen", on the occasion of the "National Day of remembrance of slave trade, slavery and abolition" to take responsibilities regarding the colonial period and to positively respond to the reparations demand of CARICOM.
Immediate reparations to the former Caribbean colonies
Colonialism Reparation supports the request for reparations of the members of the Caribbean Community (CARICOM) for the genocide of the native people and the slavery and calls on the former colonizers (United Kingdom, France, Netherlands, etc. ) to immediately apologize and pay reparations for the colonial period.
Support to the CARICOM reparations Commission
Colonialism Reparation supports the path taken by the regional reparations Commission and calls on all Member States of the Caribbean Community (CARICOM) that have not yet done it to form as soon as possible their own national reparations committees.
No to the recolonization of the Central African Republic
Colonialism Reparation calls on France to carry out the immediate withdrawal of its troops and asks that the armed forces of the Central African Republic be placed side by side only with the support mission of the African Union.
Apologies and reparations for Batang Kali
Colonialism Reparation supports the request for apologies and compensations of the victim's families committee for the Batang Kali's massacre and calls on the United Kingdom to apologize and pay compensation to Malaysia for the colonial period.
Transparency on colonial profits
Colonialism Reparation supports the adoption by the town of Sainte-Anne in Martinique of a transparency clause that obligates its suppliers to declare any profit obtained from slavery and wishes that more and more local and national administrations ask for transparency on colonial profits as well.
The Caribbean nations are demanding reparations
Colonialism Reparation supports the request for reparations for the genocide of the native people and slavery presented to the United Nations General Assembly by the members of the Caribbean Community (CARICOM) and calls on the former colonizers (United Kingdom, France, The Netherlands, etc. ) to apologize and pay compensation for the colonial period.
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redpajama_set_name: RedPajamaCommonCrawl


Our Large Clamp can be attached to walls, panels, beams and poles that are up to 1.8 inches in width. This clamp's large size greatly increases your mounting options.
I got a new tent for my art shows and needed a different clamp for my lights. Silicon Lightworks shipped the clamp the same day it was ordered and the entire purchase process was a delight.
These clamps work well for attaching the lights to the top bar of my pipe and drape. My only complaint is that they do not fit in my hard shell case very well. With 4 lights it was hard to get the original large clamps in the case. These new clamps don't close down as compactly, making it virtually impossible to get the case zipped.


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Rob Halpern's Hieroglyphs of the Inverted World (Kenning Editions, 2021)
Between around 2012 and 2017, Rob Halpern was in the UK every summer, and during this time he gave an extraordinary series of readings, in Brighton, Cambridge, London, whose echoes still sometimes crash off the walls with a kind of plangent whisper. Lisa Jeschke memorably characterised one of these readings as lasting so long that it felt as if if it still hadn't ended. "In some ways it still hasn't", she observed, and this wasn't really a joke. The reading in question took place at the Sussex Poetry Festival in summer 2013, held in the upstairs room of a pub next to Brighton station, where the shutters could be closed so that none of the sunlight from outside entered into the room, a kind of all-day poetry cocoon. Lisa Robertston read—I think—the whole of Cinema of the Present and Rob read a substantial portion of Music for Porn (or perhaps it was Common Place): two very different poetries, two entire worlds, poetics that engage with a kind of world-building, an attempt to map a totality—in the case of Cinema of the Present, in a luxuriant, sentence-based structure, in that of Music for Porn, a mixture of poetry and prose that curls in on itself with an agonised and painful rigour that at once collapses and extends the distances and costs of the so-called War on Terror. Though they were the 'headliners', both poets read well beyond the expected length, around an hour each; it was excessive, too long, too much—and it was thus precisely right for each of the projects and the way they move into and out of the world, pushing at the limits of what we can hear. Like Lisa J said, the reading still hasn't ended.
During this time, Rob was working through the project encompassing Common Place, Music for Porn, and their refraction in the UK collection Placeholder: a difficult project which is a work of mourning—for the victims of US neo-imperialism after 9/11, for the loss of a lover that the work can barely begin itself to articulate—a ritualistic, repetitive, masturbatory one conducted through an eroticized register that, in the wake of Genet, Whitman, and New Narrative writing, drags us through the contemporary necropolis with a tenderness that's at once deliberately repulsive and full of loving care. In their ability to convey a kind of ambient, immersive detail in the minutiae of horrific documents of the abuses of power, combined with a devastating queer erotics of mourning and loss, along with Rob's patient, slow, careful, sometimes agonising delivery, those readings were a vitalizing force—at once rigorously Marxist, queer, and committed, through a verse line sometimes knottily prosaic in its unfolding and a prose line verse-like in its lyrical concatenations, its devotional circulations. (The impact of that work on a transatlantic poetic community—or, perhaps more accurately, several intersecting communities--can be illustrated by the special Crisis Inquiry volume of Damn the Caesars that Richard Owens edited around this time, jointly dedicated to the work of Halpern and Keston Sutherland). Since Placeholder, Rob's work has moved on, even as the formal features and many of the thematic concerns remain: in 2017, a veer pamphlet called Touching Voids in Sense came out with little fanfare, but was, for me, one of Halpern's finest achievements, its amped-up play with sound, a rhyming insistence sometimes deliberately verging on doggerel, suffusing a painful reckoning with that personal loss the previous work had skirted around, via meditations on a photography by Mike Kelley reproduced on the cover; and then last year (though written earlier), came Fertility, published by Sara Crangle and Sam Ladkin's Sancho Panzo press, a set of love poems with the characteristic reflexive torque of Halpern's verse, but with a lighter tone—one might almost call them charming, something that could hardly be said of the preceding Music for Porn-Common Place Inferno.
Now comes Halpern's latest. The 28 poems that make up Hieroglphys of the Inverted World, none longer than two pages, were written, as Halpern notes in the book's long afterword, in the atmosphere of the far right rallies at Charlottesville in 2017, through the period extending into the moment of corona crisis in 2020. As such, they function as something of a failed daybook, a stop-start diary full of gaps, ellipses pauses or smoothed-over transitions, like the rub of imperfectly-sanded wood, the visible superglue on broken plastic or metal, the Polyfilla on the crack in the wall. The book's title, and its explanation in the afterword, 'For a Hieroglyphic Poetics', refigure such fractured "calendrics" through a kind of after-the-fact schematisation by which discrete lyrics are joined into the coherent incoherence of a book. Both the hieroglyphs and the inverted world are Marx's terms for the operations of capital, the structural prism in and through which the world is viewed upside down, the most 'unnatural' and distorted of social relations enshrined as the norm.
Value, therefore, does not stalk about with a label describing what it is. It is value, rather, that converts every product into a social hieroglyphic. Later on, we try to decipher the hieroglyphic, to get behind the secret of our own social products; for to stamp an object of utility as a value, is just as much a social product as language.
(In today's climate this process gets once more concealed under that murderously snappy slogan "the new normal"; but it is better understood as what Adorno, half-a-century before, called "the heritage of the ancient spell—the new form of the myth of the ever-same".)
A poem is, Halpern suggests, both a good and a bad place to figure "the narrow path of the totality". Within the frame of the poem, and if one is not Zukofsky attempting to set Marx to Cavalcanti, poems have tendency to evade their concepts, either too light or too blunt a hammer for the task; and if, as per Marx, the Hegelian dialectic must in turn be "inverted", turned right side up, the rush of blood streaming down the body when one spends too long standing on one's head risks its own kind of hallucinatory distortion. Yet it is this impulse that, as Césaire observed of Lautréamont, that also gives poetry is particular brand of (sur)realism in chronicling that "inverted world"; and in the past few years of imperial afterlives as much as the era of 19th century imperialism, such distortions more than match the distorted world around. Consequently, a real Baudelarian spleen, new to Halpern's work, suffuses the anti-Fascist fury of some of the earlier poems: "in my tongue-torqued tuna-slag the fascists are totally fucked / They puke their boiled prawns on my dream of corn & fat" (13) writes Halpern, insisting on his right "to smother / [fascists] in their own puke" while sarcastically observing "they fashion the worst haircuts too" (22). Later poems become less gleeful, more mournful, as Halpern (re)turns to the bloody viscera familiar from his earlier work: the victims of bombings and torture spread out across a landscape at once real and imagined, in which "common sense" and "common place" are distorted echoes as akin to black sites where torture, erasure and incarceration underwrite whatever script's read out on the evening news or the propaganda of official verse, official statistic, official silence. Here Halpern reiterates the concerns of his previous work with deliberate obsessiveness for which rhyme's absurd recurrence forms a useful figure (more on that presently): homonationalism, the war on terror, the unspeakable trauma of the AIDS crisis, personal loss, the rising inequalities of a hometown—San Francisco—in which the tech boom, the opioid crisis, homelessness, the radical alteration of the city's social landscape index the changing structure through which the wealthier realms of the 'western world' view life as such—the screens of social media, their bases a few miles away from where Halpern might write the poem.
Building on Halpern's tutelary immersion in New Narrative writing, much of his previous work sees the erotic as the primary valence through which such concerns are figured, from the radically compromised devotional erotics of Music for Porn and Common Place and their Genet-ian love poems to the dead, the beautifully bungled, self-sabotaging love poems in the chapbook Fertility. That's perhaps less the case in these Hieroglpyhs, where the erotic occurs alongside a broader range of dedications—to Halpern's daughter, Laia-Rose, to his late father, to Sean Bonney and to Andrea Brady—and on less programmatic lines. Yet Halpern nonetheless continues to borrow from the erotic and more-than-erotic methodologies of the Romantics and the Metaphysical poets in particular. As he suggests in the afterword, via Anahid Nersessian's recent The Calamity Form, these are poets whose approach to the collapsed distances of simile, metaphor, rhyme, and other forms of metonymy reproduce the changing scalar dimensions of the growth of racial capitalism, from the initial colonial moments of the Early Modern era and its extensions into the Americas, to the growth of the Industrial Revolution and the Atlantic expansion of the triangular trade. Like these emergent and expanding forms of capital, the conceit, wordplay and wit, maintain multiple dimensions at once, at once an expansion and a compression, or what Halpern might, in today's terms, name "a 'kill box' collapsing space [...] the interior of a prison cell like another hoary figure for the soul" (38).
This receives perhaps its clearest expression in one of the longer poems in the book, Halpern's elegy-cum-verse essay, "for & after" Sean Bonney:
Counterfeiting stones to rhyme with what I can't even hear
Inaudible substance of catastrophe a heavy-handed conceit [...]
like the soul
In Donne's Funerall where the poet compares his to a wreathe
Of braided hair laced round his lover's shrouded writs
Confusing the spirit that inspires his verse with a cuff
Or cop-lock affirming the vehicle's power to collapse mystery. (36)
For Halpern, as in Donne, this metaphysical collapse maps the image of the beloved, of fulfilled or frustrated desire, onto the cartographic extensions and concealments of imperialism and its mirrors in a language which enables and justifies—or at least normalises, renders into common sense—this movement. (Again, that naming and renaming of conquered territory, "the names of occupied places & lands / And how each enlarges a colony".) Here are some of those cartographies: constantly recurring images of body parts and the desires they arise juxtaposed with the tortured bodies and corpses of the War on Terror and the occupation of Palestinian lands: the erasure from maps and physical locations of dwellings, which, raised according to Zionist tenets, Halpern "was told as a kid / never existed as places" (26); the bones of buried Palestinians ground up to simulate the sands of a beach in Ramallah (27); the victims of drone strikes or the wounded soldiers of occupying armies juxtaposed with Halpern's interactions with his one-year old daughter; the poet writing the poem alongside the workers in Shenzen or Ghuangzho (20) who produce the earpieces and computer devices he uses to communicate internationally or the clothes he wears, in a parody of globalisation's distances, at once collapsed through technologically-advanced commodities and radically extended through the gap between Global North and Global South.
For Halpern: "What appears to be the most obvious of things—be it the self-evidence of everyday life, or the social violence erased in that self-evidences—arrives dispossessed of a language not already structured by the violence it might wish to oppose or decry" (49). The aim, then, is not a revelation of a tenderness that might outstrip such conditions—a tenderness that reaches its parodic peak in Halpern's images of erotic fantasy and commune with the corpses of US soldiers in Iraq and Afghanistan and of Guantanamo Bay detainees in Music for Porn and Common Place—but of the inextricability of a language of love, desire, tenderness and care from the structural conditions in which these affects are produced. For Halpern, the poem thus evinces a kind of Marxist version of "negative capability" challenging the irritable facts and reasons of what passes for common sense in the "inverted world" where unequal social relations are reified as normality, where abstraction of value and the commodity form is the ground on which relations from the most minute to the largest are conducted; "whose unspeakable aim might be to abolish its own conditions, something the poem is only ever too frail to do" (57). Poetry is at once both the ideal site for such analysis and something which, precisely because it moves beyond the analysis of diagnostic, prosaic language, gestures beyond itself and beyond the social conditions which produce it and in which it is produced: "In other words, diagnosis of our conditions always lies elsewhere [...] the poem's competence is [...] as a point of departure [...] a move beyond the poem, out of poetry, headlong & recklessly into the world" (57).
In metaphor, simile, and other forms of conceit, one thing stands for another thing, but they don't line up as do the balanced parts of an equation or a fraction, the components of a sum. Relatedly, in its play with various forms of rhythmic counting, parallelism, the numbered parcelling out of syllables and other particles of sound, poetry may gesture at mathematics, but it lacks the forms of closure, or even the paradoxical logics of set and chaos theory. Likewise, it may gesture at music, but a music that's lost the flow of sound, one which is blocked and dammed by the stumbling block of word on page (or perhaps vice versa). These paradoxes and double-binds—which are not, perhaps, fully-formed dialectics—once more for Halpern find their expression in the titular figure of the hieroglyph, taken both, as we've seen, from Marx, and from Johann Wilhem Ritter via Walter Benjamin (with Etel Adnan's Arab Apocalypse ever in view). For Ritter, Halpern suggests, the hieroglyph is a sign that stands in for sound, a fixed mark that stands in for movement, a compressed point that contains a kind of transparent secret, were we to know how to read it, and the book's cover design incorporates fragments Ritter's sound diagrams, cut in half by the spine. The hieroglyph is thus a useful jumping-off point for the way these poems work with sound. "Purposeless rhymes mute forgotten / Crimes" (38), Halpern writes in the poem dedicated to Sean Bonney; or again, in the following poem, for Andrea Brady: "I think of the names of occupied places & lands / And how each enlarges a colony as if the word / Itself were a spit of sand in my mouth" (39). At times, sound forms an alternative way of knowing. In the same poem, Halpern notes his daughter Laia-Rose's imitation of a seagull on the beach, "soaring in some divine imitation she soars the air / Parts as it would for a word like 'bird' it brings / Her closer to the world its creatures & mysteries" (39)—for the moment, a counter-possibility to the colonial mimesis, its naming and renaming of erased place names, redrawn borders on the map, from Afghanistan to Palestine, which occupies the rest of the poem. Likewise, in the concluding poem, 'Hieroglyph No.11520', dedicated to Laia-Rose, Halpern recalls the recitation of Delmore Schwartz's 'I Am Cherry Alive, The Little Girl Sang' to his daughter during the first year of her life as a daily ritual. Here, poetry—particularly the jingling sonic pleasure of rhyme—is lullaby, balm and joyous invention, with "not one rhyme excluded" (45), "as if truth / Were hiding in some alphabetic trance where it reaches us / Thru a veil this screen of rhymes" (46). But a poem cannot include every rhyme, and rhyme's infinity forms a clanging bad metaphor for the impossibility of imagining elsewhere, a perpetual echo to narcissus' ever-same, the poem a mirror to nature only in that nature's 'self-evidence' is that of the totalising sphere of global racial capitalism, with all its extractivist terror.
Ultimately, then, the rhyme, the conceit, the metaphor, the simile, and all those forms of heightened language contained with the serial cell of the poem recur as a repeated, and traumatic re-staging of the poem's own failure to grasp and encompass the common sense and common place it seeks:
This model falls flat the conceit's useless
To do anything more than what poetry has always done
To arouse the ache for communion or the rage that joins
Its loss [.] (37)
To many readers, this aroused ache will hardly seem "useless": "To arouse the ache for communion or the rage that joins / Its loss" is surely as good a slogan or a programme for poetry as any, even as it within its very form is staged that collapse, that breaking apart so central to the book, easing as it does into iambics before the polysyllables of "communion" break it apart, extending into the line break between 'joining' and 'loss' that contradictions its very urge for communion or joining with their opposites. This double movement—that of utopian assertion and formal negation—doesn't so much cancel out as further the project of deciphering the hieroglyphs that surround us, reading the unreadable, in aching rage against the losses the daily we hide from and are hidden from us. In doing so, the ache and the rage of Halpern's verse trace a music intensely moving in its repeated commitment: "To exceed its limit in a movement beyond the shattered sight of glass: to conceive what's inconceivable as part of a larger effort to abolish the conditions of that impossibility" (59).
Posted by david_grundy at 12/26/2021 01:09:00 pm No comments:
Labels: Anahid Nersessian, Etel Adnan, Jean Genet, John Donne, Karl Marx, Poetry, Rob Halpern
I talked to Diedre Murray earlier in the year, and that interview is now out in Point of Departure, thanks, as ever, to Bill Shoemaker. We touch on her career as a cellist in improvised music, including her work with Larry Young (Khalid Yasin) in the 'Lawrence of Newark' band, with Henry Threadgill and Marvin Hannibal Peterson, with Fred Hopkins, with The Roots, and as a composer for the stage. A respected figure in the world of musical theatre for her arrangements of Gershwin, her collaboration with the likes of Chesney Snow, and as a composer of operas and musicals, Murray's prior career as an improviser has been sorely neglected in the often male-centric world of jazz criticism, but it's a crucial part of the legacy of American (and global) improvised music. Hopefully this interview brings it some of the attention it deserves.
Also in the new Point of Departure, reviews of a Sam Rivers session, Undulation, and of the newly-rediscovered recording of John Coltrane performing the 'A Love Supreme' suite with an expanded group live in Seattle. Another talk on that album, focusing more on its social and historical context, appears at Artforum, here.
And my essay on Gabrielle Daniels, writer-choreographer Ishmael Houston-Jones, and New Narrative appears in Journal of Narrative Theory.
Other things in the pipeline meanwhile, on the 'Occult School of Boston', musical responses to the Attica uprising, etc...
Posted by david_grundy at 12/08/2021 10:49:00 am No comments:
Labels: Diedre Murray, Fred Hopkins, Gabrielle Daniels, Ishmael Houston-Jones, John Coltrane, Sam Rivers
Rob Halpern's Hieroglyphs of the Inverted World (K...


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Baltic - Norwegian Fjords - Russia Cruise Ports
Mariehamn Aland (Finland)
Baltic - Norwegian Fjords - Russia
Mod. breeze
36 °F / 3 °C
Mariehamn is a port city and the capital of Aland Islands (autonomous Finnish territory, covering a total area off approx 1580 km2 / 610 mi2). Mariehamn City covers a total area of approx 21 km2 (8 mi2) and has population around 12,000. The city seats Aland's Government and Parliament, and 40% of Aland's total population (around 30,000) most of which is Swedish-speaking (88%).
Mariehamn was named after the Russian empress Maria Alexandrovna (1824-1880). The town was established in 1861. Sodragatan is one of its oldest streets, with many wooden houses dating back from the 19th century. Mariehamn is on a peninsula and features two important harbour ports - one on the eastern coast and one on the western. Both harbor waterways are ice-free almost the whole year-round and have no tides.
Western Harbour is a major international port serving daily traffic to mainland Finland, Sweden and Estonia. The main reason why Baltic Sea ferries stop at Port Mariehamn is that Aland Islands are not part of the EU's customs zone. This means that duty-free merchandise can be sold onboard these ships. Aland and Mariehamn have a highly reputable heritage in shipping. Anchored in Western Harbour is the museum ship Pommern (Flying P-Liner class iron-hulled sailing ship built in Glasgow Scotland and launched in 1903 as "Mneme").
Eastern Harbour has one of Scandinavia's largest yacht marinas. The Dutch steamship Jan Nieveen (aka FP von Knorring) can also be found there.
Mariehamn Airport is located in the neighboring Jomala, approx 3 km (2 mi) northwest of downtown.
As cruise port, Mariehamns Hamn is visited by mainly smaller-sized ships. In 2019, the port had scheduled 24 ship calls (40% increase over 2018).
Mariehamn Aland cruise terminal
Regularly scheduled passenger ferry service (twice daily) is provided by the companies Viking Line and Silja Line. Their ferries link Mariehamn with Stockholm Sweden and Turku Finland.
Port Mariehamn Aland cruise ship schedule shows timetable calendars of all arrival and departure dates by month. The port's schedule lists all ships (in links) with cruises going to or leaving from Mariehamn Aland, Finland. To see the full itineraries (ports of call dates and arrival / departure times) and their lowest rates – just follow the corresponding ship-link.
2022 February2022 May2022 June2022 July2022 August2022 September2023 June2023 July2023 August
Hanseatic Spirit 08:00 13:00
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Mariehamn Aland - user reviews and comments


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JSPS-NRCT Seminar at Thailand Research Expo 2016
On August 19, 2016, JSPS Bangkok Office organized "JSPS-NRCT Seminar" as a part of the Thailand Research Expo 2016, sponsored by National Research Council of Thailand (NRCT).
The Expo is an annual academic event organized by NRCT, where many organizations set up their own booth, and where scientific seminars are also held by both domestic and overseas researchers. JSPS Bangkok Office has co-hosted seminars with NRCT and invited Japanese researchers since its inception in 2009. This year, we set the theme as "The Mission of Education and Research for Sustainable Society", which is based on the final document adopted in the UN Summit Conference on Social Development held in 2015 "Transforming our world: the 2030 Agenda for Sustainable Development", and also invited three female speakers, Prof. Dr. Reiko Kuroda from Tokyo University of Science, Assoc. Prof. Momo Waguri from Fukuoka Women's University and Assist. Prof. Dr. Yukari Fuchigami from Osaka University.
In addition, Assoc. Prof. Dr. Prompilai Buasuwan from Kasetsart University moderated the seminar. Therefore, the speakers and the moderator in this seminar were all women.
Assoc. Prof. Dr. Prompilai Buasuwan
In the opening ceremony, Ms. Yossavadee Ungvichian, Senior Advisor of NRCT, delivered welcome remarks.
Ms. Yossavadee Ungvichian, Senior Advisor of NRCT
Prof. Dr. Kuroda made the first presentation entitled "The Mission of Education and Research for Sustainable Society" that was same as the seminar's theme. Prof. Dr. Kuroda, who received L'Oréal-UNESCO Awards for Women in Science in 2013, outstandingly works as a scientist and also serves as a committee of The Scientific Advisory Board of the United Nations. In this seminar, Prof. Dr. Kuroda talked about her research in "Chirality" which means left-right asymmetry and her enthusiastic activities to link "Science" and "Society". Prof. Dr. Kuroda clearly explained with familiar examples that Chirality appears from micro- to macro-levels in both living and non-living things. In addition, Prof. Dr. Kuroda talked about the importance of basic research, saying that how outcome produced by her own and other scientists' daily research can help society development
Prof. Dr. Reiko Kuroda
The second speaker, Assoc. Prof. Waguri made a presentation, entitled "Experiential Learning and Japanese Higher Education: Nurturing Reflectivity, Nurturing Global Citizens", about Japanese higher education and Academia's roles. The presentation also included discussion among participants and a short-movie that students of Fukuoka Women's University conducted field-study on "development" in Sri Lanka. Though it is the fact that many students do not understand what they want to learn, the participants in the field-study overcome several difficulties caused by language barrier and cultural gap, and then their attitude and interest had actively changed. Assoc. Prof. Waguri mentioned with the movie that it was important for universities to organizationally work so that students can nurture their reflectivity.
Assoc. Prof. Momo Waguri
The last speaker, Assist. Prof. Dr. Fuchigami delivered a presentation entitled "Sustainable Management of Natural Resource Use: The Coexistence of Conservation, Economic Activity and Regionality". Dr. Fuchigami talked about the difficulty of using sustainable natural resources, with subjects of her study including forest management in Japan, analysis of bio-cokes and traditional use of natural resource. Dr. Fuchigami explained with survey research she have done so far that it was difficult and necessary to properly solve the problems such as environmental conservation, economic activity and affection for local area. Dr. Fuchigami also told that eco-tourism, which is regarded as good for environmental conservation, actually has some influence on environment because of emergence of business from outside and large-scaled population migration. Dr. Fuchigami added that it is necessary for researches to cooperate each other from several viewpoints in order to find the best solution for sustainable society.
Assist. Prof. Dr. Yukari Fuchigami
In the Q&A session, participants asked questions, and one participant said that three presentations enabled for him to easily understand from the seminar's concept to actual research.
Q&A session
Last of all, Prof. Yamashita Kuniaki, Director of JSPS Bangkok Office, gave thanks to three female speakers and the moderator, and his comment that he wished to strengthen further cooperation between both countries and boost the event with NRCT toward next year, 130th anniversary of friendship between Japan and Thailand concluded in the seminar.
Prof. Yamashita Kuniaki, Director of JSPS Bangkok Office
3 speakers & a moderator
Ms. Natthida, Liaison Officer of JSPS Bangkok Office, who was in charge of a MC at the seminar
Exhibition hall at Thailand Research Expo 2016
The seminar's program is available here.
← JSPS guidance seminar at De La Salle University (DLSU) in Philippines JSPS guidance seminar at Universiti Sains Malaysia (USM) →
About JSPS
Japanese University in Thailand


text:
Marine Corps Times
WWII veteran and Pearl Harbor survivor celebrates 99th birthday by flying in B-17 bomber
By Christopher Diamond
American Flying Fortress's taxi-ing on their airfield before taking off, somewhere in England on March 22, 1943, for a raid on the German Naval base at Wilhelmshaven. (AP Photo/Staff/Worth)
Marine Corps Sgt. Eugene Leonard, a World War II veteran and Pearl Harbor survivor, took flight in a B-17 bomber on Saturday to celebrate his 99th birthday, according to Fox News.
While flying on the World War II era bomber, nicknamed "the Flying Fortress," Leonard said he felt like he was back in the 1940s, recalling memories from the Pacific.
"There was combat. We had to fly into Guadalcanal. They had control over Guadalcanal and we had to slip in with fire protection," Leonard said.
Leonard joined the Marines in 1936 and was stationed at Pearl Harbor on Dec. 7, 1941. He was in a truck when the attack began and found cover in a scorpion infested sinkhole, according to Stars and Stripes.
Leonard later served in the Pacific theater, facing combat and surviving a gunshot wound from enemy fire. He also served in the Air Force and has worked as a mechanic for 76 years of his life.
"It makes me feel good, it makes me feel good and I know that Gene is happy," said Guy Coulombe, a friend of Leonard's and a fellow veteran.
Leonard befriended Coulombe two years ago during a monthly meeting of Pearl Harbor survivors in San Diego. Coulombe arranged the flight to cheer up his friend after Leonard recently lost his second wife.
More than 12,000 B-17s were built in a collaborative effort between Boeing, Lockheed and the now defunct Douglas Aircraft Company, according to Boeing. Most were scrapped at the end of the war, with Leonard flying on one of only a few that remain.
"Without the B-17 we may have lost the war," said Gen. Carl Spaatz, the American air commander in Europe.
Sgt. Leonard joined other Pearl Harbor survivors for the 75th anniversary this past December in Hawaii. It was his first time back on the island since he was stationed there.
Marine dad's 'Periodic Table of Military Slang' decodes grunt-speak


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text:
Stories From Before
A Different Kind of Border Wall
Stories From Before the First Fifty Years
Wisconsin students quickly transformed the construction site of the Elvehjem Art Center into a public commentary on life in the 1960s
The four-foot-tall plywood fence surrounding the construction site of the Elvehjem Art Center, splashed with student musings and advertisements for co-ops. (Courtesy of UW Archives)
"More people read this fence than they do the Bible. — John Lennon."
The tongue-in-cheek proclamation, a riff on the musician's infamous assertion that the Beatles were "more popular than Jesus," was splashed loudly across a large plywood wall framing the construction site of the Elvehjem Art Center. The year was 1966, and the Beatles, Simon & Garfunkel, and the Mamas & the Papas were topping the charts. Unlike Lennon's notorious claim early that year, however, which led to protests and album burnings across the United States, this comment was anonymous, a glib meta-commentary on the popularity of the wooden fence amongst students at the UW-Madison during a turbulent, exhilarating, and sometimes violent era.
Construction on the building, initially known as the Elvehjem Art Center, began in 1965, and it finally opened to the public on September 12, 1970. The unsightly four-foot-tall wooden fence was erected around the construction area to dissuade students and passers-by from entering the museum construction site, sometimes a futile task, as records of the building site show that precious materials, like marble, were routinely nicked, often setting the construction schedule back. Students, tempted by the enormous blank canvas the wall presented, immediately took it upon themselves to turn it into their own piece of public artwork, a commentary both on both the serious and inane of the late-1960s. Using paint, students from all over the University eventually transformed the wall into a inimitable amalgam of community art, newspaper (complete with "classified ads" for the ubiquitous co-ops of Madison), and protest piece.
Courtesy of UW Archives
The wall became an ephemeral record of the values, concerns, and humor of UW students of the Vietnam era, not unlike a pre-internet, plywood Reddit board, with musings on topics ranging from politics to education, mental health to music, and philosophy to romance. "God is not dead! He is living under an assumed name in Greenwich village," proclaimed a message in a headline that would not be out of place in The Onion (another UW student creation, natch.) Another lyrically mused, "Dred Scott was on pot."
The satirical daggers of the students pierced current events as well, underscoring the University's legacy as a hotbed of student protest during the 1960s and 1970s: "Where is Lee Harvey Oswald now that we really need him?" pondered one, while another quipped, "Lock up McNamara, throw away Ky," a pointed critique of the Secretary of Defense and the Prime Minister of South Vietnam. Other students were less concerned with politics and more concerned with the daunting philosophical problems facing humanity: "Mickey Mouse is dead." Still others took it upon themselves to warn the Madison community of lakeside dangers as the weather warmed: "Coming soon to your local beach: the Summer Buddha!" And in honor of the wall's purpose, guarding the soon-to-come Art Center, one slogan ruminated open-endedly, "When do you put a Lenny da Vinci next to a modern painting…?"
While the students saw the fence as a way to communicate with each other and to the wider community, University officials and administration were not as amused. The Wisconsin Student Association asked the administrators to maintain the fence, even if elsewhere on campus, as a permanent form of art and communication. The administration ultimately refused and tore the plywood fence down when the Elvehjem Art Center had its soft opening on September 11, 1970, leaving the time capsule of student musings, humor, and concerns ("Help! I am being held prisoner in an education factory!") to languish in the dumpster.
—Jennifer Gramer
John Keefe. "U.W. Student Use Fence to Display Wit." Eau Claire Leader. October 18. 1966.
John Stumreiter. "The Wall Speaks: Latest Pronouncements." The Capital Times. August 22, 1966.


text:
Pricing/Specifications
Video/B-roll
Jan 11, 2022 All-New Capstone Grade Elevates 2022 Toyota Tundra to New Heights
TORONTO, Ontario (January 11th, 2022) – With enthusiasm for the all-new 2022 Toyota Tundra already at a fever pitch, full-sized trucks now have a new entry at the upper echelon of the segment. The new Tundra Capstone grade provides a premium collection of features and upgrades for those looking to elevate their truck experience...
Dec 15, 2021 Rugged, Ready and Resilient: See How Toyota Prepared the 2022 Tundra for Winter Weather Driving
Wind, snow, sleet or ice, winter weather is no match for the Toyota Tundra. Just ask Senior Vice President and Executive Chief Engineer Mike Sweers and his team of professional drivers. They put the all-new 2022 Toyota Tundra to the cold-weather test,...
Nov 19, 2021 Get Ready To Pick Up Your New Pick Up: The All-New 2022 Toyota Tundra Goes On Sale December 3rd
TORONTO, Ontario (November 19th, 2021) – The all-new 2022 Toyota Tundra is ready to rock the full-size pick-up truck segment, with a bumper-to-bumper redesign that delivers more power, more efficiency, more safety, bold new styling, and a long list of new technologies. And with the choice of almost two-dozen model and trim configurations...
Sep 19, 2021 Absolute Powerhouse: Next-Generation 2022 Toyota Tundra
TORONTO, Ontario (September 19, 2021) – With a plethora of adventure-ready, go-anywhere, been-anywhere vehicles cementing its foundation, the all-new 2022 Toyota Tundra is born from a lineage of trucks and SUVs rooted in quality, durability, and reliability...
Aug 10, 2021 2022 Toyota Tundra: New Truck, New Approach
TORONTO, Ontario (August10, 2021) – "Turning over a new leaf" certainly applies to the all-new 2022 Toyota Tundra. Toyota engineers re-imagined the suspension to set a new bar for on- and off-road performance. Stayed tuned with the latest updates here....
Jul 27, 2021 2022 Toyota Tundra: Setting a New Bar for Comfort, Capability and Convenience
TORONTO (Ontario), July 27, 2021 – With a host of innovative new features and next-level interior refinement, here's a quick glimpse of just some of what the all-new 2022 Toyota Tundra will offer. More to come when the Tundra is fully unleashed this...
Jun 22, 2021 Adventure on the Horizon With the All-New 2022 Tundra
TORONTO, ONTARIO – June 22, 2021 – A front-row seat to adventure in the next-generation 2022 Toyota Tundra. Sign up to get the latest updates for the 2022 Toyota Tundra here. #Tundra About Toyota Canada Inc. Toyota Canada Inc. (TCI) is the...
Jun 18, 2021 First Official Look: 2022 Toyota Tundra
Jun 15, 2021 iForce MAX: New Powertrain Leads 2022 Toyota Tundra
TORONTO, ONTARIO – June 15, 2021 – The next generation of heroic iForce performance is ready to power the all-new Tundra. Sign up to get the latest updates for the 2022 Toyota Tundra here. #Tundra...
May 18, 2021 Buckle Up: All-New Toyota Tundra Coming Soon
TORONTO, ONTARIO– May 18, 2021 –The future of Toyota trucks is bright with the all-new, next generation 2022 Toyota Tundra leading the way. Stay up to date with the latest information here...
Toyota Canada Inc. Awards and Accolades
2018 Toyota Tundra Specifications
2017 Toyota Model Price Schedule - Pocket Summary MSRP
2016 Tundra Specifications
2016 Model Year - Toyota Pricing Summary


There are 450 messages - Messages 211 through 220 are displayed below.
Message My father, Corporal Floyd L Hamm, was in the Sokkogae area, Korea War July 11, 1953. He saved many lives that day. He was in Company L, 32d Infantry. I am proud to say that he is a hero. Floyd and his comrades were engaged in bitter battles with enemy forces. Due to the devastating enemy fire, Corporal Hamm's unit was suffering heavy casualties. Disregarding his own personal safety, Corporal Hamm continued applying effective first aid and directing the evacuation thoughout the battle, saving many lives. Just before leaving the area, Corporal Hamm screened the trenches and bunkers to ensure that everyone had been evacuated. The heroic action of my father Corporal Hamm reflects great credit on himself and the military service. He was in 2d squad, 1st platoon, displayed outstanding courage. When four men got wounded, he voluntateered to evacuate them to a personnel carrier. During the evacuation he kept up their morale by talking with them. After the men were in the carrier it received a direct hit from enemy artillery fire, but Cpl. Hamm stayed in the carrier and gave assistance to the wounded. He then took them back to the check point for further evacuation to the hospital. After the men were cared for at the check point, he returned to his squad and kept them in position until the platoon withdrew at approximately 1600 hours. My father saved two of the men that were wounded seriously. They might have otherwise died. I am so proud to say he is my father. May he rest in peace. All my love. - His oldest daughter, Tena marie Hamm Smith. He passed away March 27, 1976.
Message My Dad was in the Korean War and it was something he really never talked about. Once I did ask him a few questions but he teared up and did not want to talk about it. I did not ask again prior to his death and I regret not knowing what my poor father experience in that war. I am looking for any one who is willing to talk to me about the war.
Message I am the daughter of Robert Loyd Goff, member of the 3rd Infantry Division of Military Police. If anyone has any info on him I would appreciate it. He is represented on this site as Robert Lloyd Goff and his death date was actually May 24th, 2003. He never spoke of the details of his service and I am very interested. He was amazing.
Message I am searching for Air Force buddies who were at Walters AFB, Mineral Wells, Tx., Hq, Aviation Engineer Force, Hq, Squadron, in 1952. namely Sgt. Richard Pike , joseph Biancha, and Charles Foudray. Also in USAF OCS Flight 53C, Flight Juliett , from Feb. to Sept. 1953, namely Jim Bridgers, Bob Dings, Austin (Rip)Regan, Clovis Haddock,etc. Phone (314) 842-1461.


text:
Adopted by the Security Council at is 5592nd meeting,
Taking note of the reports of the United Nations Panel of Experts on Côte
d'Ivoire dated 5 October 2006 (S/2006/735) and 12 December 2006 (S/2006/964),
1. Decides to renew until 31 October 2007 the provisions of paragraphs 7 to
12 of resolution 1572 (2004) and of paragraph 6 of resolution 1643 (2005);
2. Demands that all Ivorian parties, including the transitional Government
and the Forces nouvelles, provide unhindered access, particularly to the Group of
Experts established pursuant to paragraph 9 of resolution 1643 (2005), to
equipment, sites and installations referred to in paragraph 2 (a) of resolution 1584
(2005), and to UNOCI and French forces which support it to enable them to carry
out the tasks set out in paragraphs 2 and 12 of resolution 1609 (2005);
3. Reiterates that any serious obstacle to the freedom of movement of
UNOCI and of the French forces which support it, or any attack or obstruction to the
action of UNOCI, of the French forces, of the High Representative for the Elections,
of the International Working Group (IWG), of the Mediator mentioned in paragraph
20 of resolution 1721 (2006) or his representative in Côte d'Ivoire constitutes a
threat to the peace and national reconciliation process for purposes of paragraphs 9
and 11 of resolution 1572 (2004);
4. Requests the Secretary-General and the French Government to report to it
immediately, through the Committee established by paragraph 14 of resolution 1572
(2004) (the Committee), of any serious obstacle to the freedom of movement of
UNOCI and of the French forces which support it, including the names of those
responsible, and requests also the High Representative for the elections, the IWG,
the Mediator mentioned in paragraph 20 of resolution 1721 (2006) or his
representative in Côte d'Ivoire to report to it immediately, through the Committee,
any attack or obstruction to their action;
5. Requests all States concerned, in particular those in the region, to report
to the Committee, within 90 days from the date of adoption of this resolution, on the
practical steps they have taken to implement the measures imposed by paragraphs 7,
9 and 11 of resolution 1572 (2004) and by paragraph 6 of resolution 1643 (2005),
and authorizes the Committee to request whatever further information it may
consider necessary;
6. Decides that at the end of the period mentioned in paragraph 1 above, the
Security Council shall review the measures imposed by paragraphs 7, 9 and 11 of
resolution 1572 (2004), paragraph 6 of resolution 1643 (2005) and reiterated in
paragraph 3 above, in the light of progress accomplished in the peace and national
reconciliation process in Côte d'Ivoire as referred to in resolution 1721 (2006), and
expresses its readiness to consider the modification or termination of these measures
before the aforesaid period only if the provisions of resolution 1721 (2006) have
been fully implemented;
7. Decides to extend the mandate of the Group of Experts for a further six
months, and requests the Secretary-General to take the necessary administrative
measures as expeditiously as possible, drawing, as appropriate, on the expertise of
the members of the Group of Experts and appointing new members as necessary in
consultation with the Committee, this mandate being as follows:
(a) To exchange information with UNOCI and the French forces in the
context of their monitoring mandate set out in paragraphs 2 and 12 of resolution
1609 (2005);
(b) To gather and analyse all relevant information in Côte d'Ivoire and
elsewhere, in cooperation with the governments of those countries, on flows of arms
and related materiel, on provision of assistance, advice or training related to military
activities, on networks operating in violation of the measures imposed by
paragraph 7 of resolution 1572 (2004), and on the sources of financing, including
from the exploitation of natural resources in Côte d'Ivoire, for purchases of arms
and related materiel and activities;
(c) To consider and recommend, where appropriate, ways of improving the
capabilities of States, in particular those in the region, to ensure the effective
implementation of the measures imposed by paragraph 7 of resolution 1572 (2004)
and by paragraph 6 of resolution 1643 (2005);
(d) To seek further information regarding the action taken by States with a
view to implementing effectively the measures imposed by paragraph 6 of
resolution 1643 (2005);
(e) To report to the Security Council in writing before 15 June 2007, through
the Committee, on the implementation of the measures imposed by paragraphs 7, 9
and 11 of resolution 1572 (2004) and paragraph 6 of resolution 1643 (2005), with
recommendations in this regard;
(f) To keep the Committee regularly updated on its activities;
(g) To provide the Committee in its reports with evidence of any violations
of the measures imposed by paragraph 7 of resolution 1572 (2004) and paragraph 6
of resolution 1643 (2005);
(h) To cooperate with other relevant groups of experts, in particular that
established on Liberia by resolutions 1521 (2003) and 1579 (2004);
(i) To monitor the implementation of the individual measures set out in
paragraphs 9 and 11 of resolution 1572 (2004);
8. Requests the Secretary-General to communicate as appropriate to the
Security Council, through the Committee, information gathered by UNOCI and,
when possible, reviewed by the Group of Experts, about the supply of arms and
related materiel to Côte d'Ivoire;
9. Requests also the French Government to communicate as appropriate to
the Security Council, through the Committee, information gathered by the French
forces and, when possible, reviewed by the Group of Experts, about the supply of
arms and related materiel to Côte d'Ivoire;
10. Requests also the Kimberley Process to communicate as appropriate to
the Security Council, through the Committee, information and, when possible,
reviewed by the Group of Experts, about the production and illicit export of
diamonds;
11. Urges all States, relevant United Nations bodies and other organizations
and interested parties, including the Kimberley Process, to cooperate fully with the
Committee, the Group of Experts, UNOCI and the French forces, in particular by
supplying any information at their disposal on possible violations of the measures
imposed by paragraphs 7, 9 and 11 of resolution 1572 (2004), paragraph 6 of
resolution 1643 (2005) and reiterated in paragraph 3 above;
12. Underlines that it is fully prepared to impose targeted measures against
persons to be designated by the Committee who are determined to be, among other
(a) A threat to the peace and national reconciliation process in Côte d'Ivoire,
in particular by blocking the implementation of the peace process as referred to in
(b) Attacking or obstructing the action of UNOCI, of the French forces
which support it, of the High Representative for the Elections, of the IWG, of the
Mediator or his representative in Côte d'Ivoire;
(c) Responsible for obstacles to the freedom of movement of UNOCI and of
the French forces which support it;
(d) Responsible for serious violations of human rights and international
humanitarian law committed in Côte d'Ivoire;
(e) Inciting publicly hatred and violence;
(f) Acting in violation of the measures imposed by paragraph 7 of resolution
13. Decides to remain actively seized of the matter.
Côte d'Ivoire, Diamonds (Kimberley Process)
Quoted in resolutions


The LAPD represents a department of 10,000 skilled professionals working to make a difference. The City of Los Angeles is one of the most diverse and inclusive cities in the country. Its residents speak 224 languages and live in diverse communities. LAPD Officers are sworn to protect and to serve the more than 3 million residents of the City of Los Angeles. LAPD Officers represent the diverse communities that they serve and actively recruit in all communities throughout the state.
LAPD is hiring and welcomes men and women from all backgrounds.


text:
Google's app privacy briefings go live in the Play Store in February 2022
Developers can now fill out the information ahead of time
By James Vincent Oct 19, 2021, 6:14am EDT
Share All sharing options for: Google's app privacy briefings go live in the Play Store in February 2022
Google is one step closer to launching its new data privacy section for Play Store apps. App developers can now fill out the relevant details via Google's new "Data safety form" on the Play Console. The company says the required information will be visible to users from February 2022 and mandatory for developers to submit by April that same year.
This new feature was announced back in May, after Apple started showing similar privacy and data disclaimers for apps in the App Store last December. The data section is supposed to give consumers a quick and simple overview of what apps are doing with their information. Developers will be encouraged to tell users the following:
What type of data their app collects, including "location, contacts, personal information (e.g., name, email address), financial information, and more"
Whether this data is optional or required to use the app
Whether or not the app encrypts data in transit
If the app been independently reviewed "for conformance with a global security standard"
Developers can now enter this information via the Google Play Console, and Google has added guides for developers to help them navigate this new requirement. "Following our common protocols, we'll begin gradual rollout today and expect to expand access to everyone within a couple of weeks," said Google in a blog post.
Next Up In Policy


text:
Го́ликово () — село в Александровском районе Кировоградской области Украины.

Население по переписи 2001 года составляло 511 человек. Почтовый индекс — 27333. Телефонный код — 5242. Код КОАТУУ — 3520582501.

Местный совет
27333, Кировоградская обл., Александровский р-н, с. Голиково, ул. Конева, 1

Ссылки
 Голиково на сайте Верховной рады Украины
 Административно-территориальное устройство Кировоградской области

Населённые пункты Александровского района (Кировоградская область)


text:
Team > Joey Teitelbaum
Joey Teitelbaum
Vice President, Research
As a child, Joey Teitelbaum was easy to pick out from the crowd at Baltimore Orioles games as she was the lone six-year-old diligently keeping score. When she went off to college, she kept statistics for the University of Virginia basketball and baseball teams. And now, for over a decade, she has used that knack for understanding not just what the data say, but what they mean from a communications standpoint, to help advise think tanks, issue advocacy organizations, and political campaigns.
Joey has led polling for local, state, and federal candidates across the country, from her native state of Maryland where she helped elect Baltimore Mayor Brandon Scott, Baltimore County Executive Johnny O, and Governor Wes Moore; to Arizona where her work has helped Democrats flip seats up and down the ballot, including in the U.S. Senate; and out west where she has led research for Katie Porter (CA-47) and Robert Garcia (CA-42).
Joey is passionate about electing pro-choice and queer candidates, but she is proudest of her work defending the rights and freedoms of people to control their own bodies, having led the research to defeat anti-abortion ballot amendments in Colorado (2020), Kansas (2022), and Kentucky (2022). Joey is also one of the country's leading experts on attitudes toward guns and gun violence, having conducted dozens of qualitative and quantitative research projects for Everytown for Gun Safety, Giffords, the Joyce Foundation, and Project Unloaded.
If Joey isn't working, there's a 99% chance she and her fiancée are sleeping, hiking, or skiing. There's a 1% chance she's watching her beloved Orioles lose or her beloved 'Hoos win.


Rafael Nadal's epic late-night five-set quarterfinal victory over Dominic Thiem will go down as one of the most exciting, most talked about and longest match in the history of the U.S. Open.
The semi-final will pit Nadal against third seed and 2009 US Open champion Juan Martin del Potro for the second successive Grand Slam tournament.
Thiem levelled the match with a fourth set tie-break victory before Nadal finally edged a tense final set after another tie-break. And it was the way Nadal won - with power and tireless energy, matching his younger opponent's athleticism and appearing to grow stronger with each monstrous forehand - that told the story of how the two best players in the world have fared in recent months.
Thiem produced a stunning first-set performance to take the opener without losing a game but fell victim to a Nadal fightback.
But Nadal held on and is into the semifinals at a third consecutive major tournament, as he bids for a fourth US Open title and 18th Grand Slam trophy overall.
It was a question of a little bit of luck at the end.
"It's been a great battle", an exhausted Nadal said. The World No.1, for the first time, started the match with such a worst beginning. While Thiem clearly made the big winners, Nadal just knew when to raise his level by just a solitary notch, that awarded him the win.
"Whatever the humidity is on outer courts or in the city, I think it's amplified on center court", Isner said.
Despite that, the 29-year-old was never broken in the 3 hour 31 minute match where Isner unleashed 26 aces but was undone by 52 unforced errors compared to Del Potro's 14. I tried to stay in the match some way in the second set.
"It has been physically demanding because the conditions have been tough out there, too. Forever I'm going to remember this match, for sure", said Thiem after his first ever hard court match against Nadal. Nadal was once again able to recover after going down a break, forcing the set to a tie-breaker.
"He will say "this is my opportunity and I'm expected to lose, but I have to go out there guns blazing".
"To play John in these kind of matches, it's like an epic". Nadal then broke again to take the set 7-5.