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Too Big for Satire: Sacha Baron Cohen and Sarah Silverman Miss America
by Lara Zarum
Photo Illustration by The Village Voice
Showtime was surely being facetious when, in the run-up to the July premiere of its Sacha Baron Cohen prank show Who Is America?, the network promoted the series as "perhaps the most dangerous show in the history of television." But in the wake of last night's stinker of a finale, even a generously ironic reading of that claim is laughable. Showtime engineered a buzzy start to the series, keeping its existence under wraps until just a couple of weeks before the premiere, and screening the first two episodes — which boasted the strongest sketches of the season — in-person only, for critics who had signed nondisclosure agreements. The message we were meant to absorb was clear: Cohen's daring new program was not going to pull any punches.
If we'd been sharper, we might have realized that the secrecy was an admission of the show's delicacy, its dependence upon surprise — that it wasn't that big a deal on its own and had to be puffed up into one. Time after time, when confronted with the opportunity to hold his unwitting scene partners' feet to the fire, Cohen went for a light singe instead of a sick burn. Even when people behaved in genuinely damning ways, goaded along by Cohen's characters, the series suffered from a fundamental disconnect between what were intended as "gotcha" moments and the way such moments play out on TV at a time when politicians and media provocateurs regularly call for their opponents to be jailed or worse. What's really shocking about Who Is America? is that it's not shocking at all.
Sacha Baron Cohen Is Back to Help America's Politicians Embarrass Themselves
Most of the finale centered on an elaborate joke in which Cohen, in the guise of Israeli terrorism expert Erran Morad, puts a trio of Trump-supporting white men through special "training" on how to infiltrate America's most dangerous group — antifa. Morad selects one man to accompany him to the Women's March in San Francisco, where both men dress up as "radical lesbians" in pink knit pussy hats and put "tracking devices" on three individuals in the crowd. Using an iPad, Morad shows the man the location of the three targets, and instructs him to press a button to detonate the device and kill one of them. The man does as he's told. "I feel a little queasy," he remarks, but it's just a brief moment of pause. Then he calls the experience "wonderful."
So much for the gotcha. This segment and others throughout Who Is America?'s seven-episode first season (Showtime hasn't disclosed whether there will be a second) remind me of a very different show with a similar problem. Hulu's I Love You, America With Sarah Silverman, which premiered last fall and returns for a second season on September 6, is an unabashedly sincere program dedicated to bridging the gaps that divide Americans today. A "late night" talk show, if a streaming series can be described in such archaic, clock-bound terms, I Love You, America is filmed in front of a studio audience, with taped remote segments and a guest each week who sits down for a one-on-one with Silverman.
In the show's first-ever episode, Silverman has dinner at the Louisiana home of a white, Trump-voting family that was displaced by Hurricane Katrina; she's the first Jew the family has ever hosted. But despite Silverman's enveloping warmth, it's hard to take the show's stated aim — to connect with "un-like-minded people" — at face value. When Silverman leaves their home after the meal, one family member who earlier had confessed to being a birther remarks that it was so nice to talk to a person with different viewpoints without being judged. Like so many Who Is America? bits, the segment ultimately does nothing but make a racist conspiracy theorist feel seen and heard.
I Love You, America may posit itself as a sweet antidote to the bitterness of so much contemporary political comedy, but more often than not that approach renders the series jarringly out of touch with political reality. And, like Cohen's show, Silverman's series never delivers on its promise to reveal something about America that viewers likely don't already know. (Her show is basically Heal the Divide, one of several fake reality shows that constitute Who Is America?, this one hosted by an NPR T-shirt–sporting, pussy hat–wearing liberal.) With the aid of heavy prosthetics, Cohen appears as several characters who, through their interactions with politicians, tech executives, reality-TV stars, and ordinary Americans, will provide a collective answer to the show's title question.
With the exception of a few genuinely damning segments, however, Who Is America? quickly betrayed its pledge to peel back the curtain on the dark corners of this fractured country. Most sketches devolved into adolescent-boy fart-and-dick humor — a series of missed opportunities that recall South Park's bungling of the 2016 election. (Who Is America?, which has an all-male writing staff, also falls into the same both-sides trap as South Park, treating wounded Hillary supporters as the hysterical equivalent of the goons who chant "Lock her up.")
In one episode, Cohen appears as a Finnish YouTube star of a toy-unboxing show, with dyed-red hair and a pair of loudly checked overalls, and sits down with Trump backers David Clarke, the former sheriff of Milwaukee County, Wisconsin, and, in a separate segment, Joe Arpaio, the cruel, immigrant-hating former sheriff of Maricopa County, Arizona, whom the president pardoned last August after Arpaio was convicted of criminal contempt of court. In the presence of these two despicable humans — both oversaw correctional departments that were responsible for horrific human rights violations, some of which resulted in the deaths of inmates — Cohen reverts to wordplay jokes about golden showers and hand jobs, and relies on the toy-unboxing for laughs.
Nothing is revealed here; this is the liberal equivalent of the conservative rallying cry "own the libs," and the viewer's reward is often just a befuddled expression on the face of Cohen's target before a sketch abruptly ends. The show presents itself as a no-holds-barred shock-fest, but there's not much about Who Is America? that feels truly risky in the manner of Terence Nance's kaleidoscopic series Random Acts of Flyness. And, like that of I Love You, America, Cohen's apparent goal of exploring America's multitudes belies his show's actual focus on belittling, baiting, or simply giving a platform to white Americans in particular. It's the entertainment equivalent of pundits who focus on the white working class as the one and only demographic politicians need to court, rather than the full spectrum of enfranchised — and increasingly disenfranchised — Americans. In the vernacular of Random Acts, these shows suffer from whiteness.
It's almost as if Cohen and his collaborators, and Silverman and hers, have too much faith in format, in the power of a familiar TV template, to win hearts and minds. What Cohen and his production team don't seem to understand is that the presence of a camera doesn't mean what it did fifteen or twenty years ago, when Cohen began his career as a gonzo, on-the-street comedian. We are under constant surveillance, often of our own volition, and anyway, what are the chances that the dude who dressed in drag to "infiltrate" the Women's March has even one friend who watches Who Is America?, or for that matter, even knows what it is? Who has this guy been exposed to in the first place, and does he even mind that he's been exposed? And if his peers were to see his performance, it wouldn't be his pernicious beliefs that would turn them off, but the fact that he dressed as a liberal, gay woman — just as the Georgia state senator who participated in another of Colonel Moran's "training sessions" in an earlier episode and subsequently resigned from his position likely did so because Cohen got him to pull his pants down and expose his bare ass, not because the show laid bare the senator's blatant Islamophobia.
Cameras record people in power doing lots of shameful things these days, and most of those people — not least of all the president of the United States — simply shrug it off and keep moving. The fact that the show's producers got O.J. Simpson to sit down in the season finale with Cohen's Italian mogul character Gio Monaldo and laugh off jokes about killing one's girlfriend means precisely nothing. Simpson is a free man. He wrote a book called If I Did It, confessing to the crime while claiming, with a wink, to be innocent. What has been exposed, here? If Who Is America? has demonstrated anything, it's that political satire isn't terribly effective in the age of Infowars — a show whose creators claim the mantle of satire when confronted with legal challenges even as they court an audience that takes host Alex Jones's lunatic rants as gospel. A dangerous TV show is one that gives people with noxious views a platform to spread their poison and boost their brands. But I doubt that's the kind of danger Showtime had in mind.
More:America with Sarah SilvermanI Love YouSacha Baron CohenSarah SilvermanWho is America?


ARIVIERE.com consists of carefully curated high-end fashion, luxury travel and beauty photography laid out as an online magazine. All content is directed by founder Alex Rivière and produced by her own creative studio.
Alex Rivière, 26, French origins but born in Barcelona. Alex studied one year Fashion Design, BA degree in Fashion Marketing and Communication and a degree in Business Administration. Passionate for fashion since the early age of three, she has built up her corner into Fashion Industry through her social media channels and now with this new platform.


text:
Jacob Seebacher (1833 in Germany – August 18, 1889 in New York City) was an American politician from New York.

Life
He attended the common schools in New York City. Then he became a cigar maker, and later an auctioneer. He was a lieutenant in the 6th Regiment of the National Guard. He was at times an Inspector of Lamps and Gas; a clerk in the County Clerk's office; and Warrant Clerk in the Finance Department.

He was a member of the New York State Assembly (New York Co., 8th D.) in 1865 and 1866. Afterwards, he was a deputy sheriff.

He was again a member of the State Assembly (New York Co., 6th D.) in 1878 and 1879; and a member of the New York State Senate (6th D.) in 1880 and 1881.

He died at his home at 393 Pleasant Avenue in East Harlem.

Sources
 Civil List and Constitutional History of the Colony and State of New York compiled by Edgar Albert Werner (1884; pg. 291, 367f and 377f)
 The State Government for 1879 by Charles G. Shanks (Weed, Parsons & Co, Albany NY, 1879; pg. 136f)
 Ten-Thousand-Dollar Offices — Appointments by the Sheriff Elect in NYT on December 25, 1870
 DEATH OF JACOB SEEBACHER in NYT on August 21, 1889

1833 births
1889 deaths
Democratic Party New York (state) state senators
Politicians from New York City
German emigrants to the United States
Democratic Party members of the New York State Assembly
19th-century American politicians
People from East Harlem

redpajama_set_name: RedPajamaWikipedia


The ultimate companion for outdoor excursions, fend off the elements with the Trawl Quilt Coat from Barbour. Designed in a lightweight composition that combines a baffle-quilted outer with a contrast lining, it keeps you insulated and dry in temperamental climates. Fashioned in a modern, sporty aesthetic, it's elasticated at the hem and cuffs for a secure fit and fastens with a two-way zip through to a fixed hood, keeping you covered whatever the weather. Side-seam pockets deliver a clean finish. Simply throw this coat over your off-duty ensembles and keep yourself polished and protected in inclement weather. Please note, Barbour International sizing can run small, therefore we recommend ordering one size up to ensure your best fit.


Take an Australian classic like pumpkin soup, add a Moroccan twist and make this "souper" meal which is vegan friendly.
Heat oil in a large saucepan over low-medium heat and cook leek, garlic and 2 teaspoons salt, stirring occasionally, for 3 minutes or until soft. Add chilli, cinnamon, ginger and cumin and stir for 1 minute or until fragrant. Add carrots, pumpkin and split peas. Stir to coat in onion mixture.


text:
INMATES (STAFF)
INTERVIEWS ARCHIVES
KONTACT US
OVER THE TOP ROPE
PHILM PHREAKS
PHILM PHREAKS ARCHIVES
TORTURE CHAMBER
TORTURE CHAMBER ARCHIVES
WORMWOOD FILES
WORMWOOD FILES ARCHIVES
INTERVIEWS >
MORBID ANGEL-2
MORBID ANGEL "The Method to the Madness"
Interview by Dr. Abner Mality
The obnoxious pro wrestling personality Eric Bischoff once published a book entitled "Controversy Creates Cash". If that's true, then Morbid Angel ought to be the richest band on Earth. One of the undisputed creators of what we know as death metal, this band has always lived in its own dimension, far from the circles other extreme bands travel in. This has given them a reputation for being aloof and maybe even arrogant. Possibly they just don't want to contaminate their creativity with what everybody else is doing.
Now after a long layoff, Morbid Angel returns to action with "Illud Divinum Insanus"...and all hell has broken loose in the metal underground. The album mixes their typical technical style with traces of industrial and some would say mainstream metal music. This has led to the conservative fans howling for their scalp and threatening to boil them in oil, as if the slightest deviation from the norm is a mortal sin. To be honest, even open-minded fans may scratch their heads during a couple of moments on the album. But a lot of it is still pure, crushing Morbid Angel. To see what I thought of it, check HERE.
These guys have been heroes of mine for a couple decades now and Wormwood has never shied away from controversy, so I jumped at the chance to talk to David Vincent, their lead singer who has returned to the fold after a departure of many years. Someone told me to be careful, he has a reputation for being "difficult". I call bullshit on that unwarranted claim. His first words to me were a compliment on the name of our zine. In 12 years, no one has opened an interview in better fashion.
What follows is my conversation with the voice of the most talked about band in death metal right now and I for one found it interesting and illuminating. Hopefully you will feel the same...
DAVID VINCENT: First, I have to say I love this name you've come up with for your endeavor.
WORMWOOD CHRONICLES: You know, it just kind of struck me one day like an inspiration. I don't know where I came up with! It's funny, because later I found out things about "wormwood" that I didn't know when I first used the name.
DV: It's very "Lord Byron".
WC: I understand you just got back from Europe. How did that go?
DV: Great. It went very well.
WC: What were some of the highlights from over there?
DV: Well, generally speaking, Europe becomes "festival land" in the summer. You can do a few club shows here and there, but there are so many festivals...that's what people plan their whole summer around. Which is actually cool and it's much different than any of the things that are called festivals over here. Those are actually more like tours and it's the same show every night. Over there, a festival is like a two, three or even four day event. People go and camp, they live on the property and there are up to eight stages. There's a whole compliment of really diverse music on each stage for three days in a row or so. What's cool is, you get exposed to a lot of stuff you ordinarily wouldn't get exposed to. I'm also playing shows with bands you wouldn't expect that we'd be touring with. It's just a real diverse musical situation. From a fan standpoint, even if I weren't playing these festivals, I'd be attending them because there's so much going on, so many different kinds of things happening. They're very lucky over in there in that respect.
WC: It's always been a dream of mine to check out some of the more well-known ones like Wacken.
DV: Yeah, Wacken is one of the top festivals. SwedenRock is good, Graspop, Summer Breeze...the list goes on. There's so many of them and they're all getting bigger, they're all growing each year. It's kind of like a European thing and in a lot of ways, I'm jealous. I wish we had such an outlet over here, using the European model as a plan. But then I could wish on one hand and shit in the other.
WC: I don't what the difference is, but I attended Days of the Doomed this last weekend in Wisconsin. I got to see three-fifths of the band Trouble reform and also the band Iron Man who've been around for many years. And they could barely pull in 200 people. In Europe, I'm sure the same line-up would have got in the thousands.
DV: Well, the thing over here is that people are just cynical and the Internet has made people lazy. Sadly, fandom is not the same in this country as it once was and still is in the rest of the world. One only has to go to Youtube and look at footage of some of these festivals we've played over the years to see a difference. You've got 70,000 people just going off and then over here....I don't know, I don't know what happened here. Maybe people are just more into video games.
WC: When you rejoined Morbid Angel, did you have to knock off some rust or did things just seem to click again right away?
DV: I would say that I felt like I had to knock off some rust when I was prior to going to rehearsal, but once I got there, it was almost kind of seamless. That surprised me. I had a little apprehension, so I went back and reviewed some of the material to refresh myself so when we got to rehearsal and got to the points in question, my hands went to the right place. So old habits are hard to break, I guess.
WC: Well, they say you never forget how to ride a bike.
DV: Yeah, exactly.
WC: You've got some new faces in the band since you've rejoined. What was it like playing with Tim Yeung and Destructhor?
DV: Both of those guys were choices Trey and I made together. They're both very, very talented, very committed, very hard-working musicians and I'm very proud of their contributions to the band.
WC: The chemistry was pretty much there right away?
DV: Oh, yeah.
WC: What's Pete Sandoval's status with the band? Will he return or is that still unknown?
DV: I wish I could answer that question. He has some serious challenges. I could sit here and tell you how unhappy we all are about it, but the fact remains how we feel doesn't change the reality of it. And the reality is, he's recovering but he's still not recovered 100%. We had to make a tough decision and he was part of that decision, that we needed to get someone else to do the record. Such is life.
WC: The prognosis is kind of uncertain, then?
DV: Well, you know, I'm not a physician, I wouldn't want to completely comment on that but suffice it to say that when he tells me he still feels pain and needs more test done, as much as I'm rooting for him, the most important thing for me regarding Pete is that he heals. That he follows the directions of his physician and starts to feel better. And that comes from someone who considers himself a friend and really a family member. I don't want the guy to be in pain, I don't want the guy to be suffering, I want the guy to be able to play drums because that's what he does.
WC: There's a lot of people out there pulling for him, because he's got a sound that's all his own.
DV: There's no question about it. We're all well aware of how inspiring he's been to extreme metal drumming. He's really a pioneer of a certain style. My sentiments couldn't be anymore profound on this issue, but again, all I can do is hope for the best.
WC: What's the difference between the David Vincent who left Morbid Angel and the David Vincent who rejoined Morbid Angel?
DV: Huh! Well, I would probably start by saying maturity and self-control.
WC: What was the songwriting process like for "Illud"? Was it significantly different because of the new blood in the band or did it follow the patterns you used before?
DV: I would say it was pretty much the same. Destructhor contributed to the writing as well. It's still a collaborative effort. I would say it was "as usual" but what is "as usual" for Morbid Angel? I don't know how to define that because it's an ever-growing monolith. It's like the Borg on "Star Trek"...it sees something, it encompasses it and it keeps going.
WC: Resistance is futile...
DV: (chuckles) Correct.
WC: When you were working on the album, were you aware of how controversial it would be? Did you welcome the controversy?
DV: You know, to be honest with you, I wasn't even thinking about that. I didn't even internalize that until after we were done and then I realized, wow, this is really diverse! I'm excited about such things. I look at it as art and expression. There are things that go along with being a ground-breaker. And that's OK. I've got a pretty big personality, so I can deal with such things.
WC: As an artist, you're allowed to take risks, but fans sometimes don't seem to get that.
DV: Well, some people just don't feel creative, maybe they have a different way of looking at things. There's no right way or wrong way. There's just different ways. Some people look at stuff in such a way where they get a formula together, it works for them and they stick with that. For me personally, that's boring. That's not the avenue that I choose to pursue.
WC: While recording the album, was there ever a point where somebody said "no, this is something we can't do or shouldn't do"? In other words, was there anything that was tabled?
DV: (sighs) I don't know. Some of the stuff was a little more difficult to bring to fruition because we were trying to decide where we're going with this. Trey spent a lot of time in the studio on the guitar sound on these songs, really trying to isolate what it is that he's hearing. He had a lot of time at his disposal and he spent a couple of months on a few parts, really dialing it in and making it exactly the way he wanted it to be. Good! You put forth the effort and you get the result.
WC: The first proper song on the album is "Too Extreme". That's an interesting title. Is it like a challenge to the fans?
DV: It's not a challenge, it's just the truth.
WC: Explain that a little further, if you could.
DV: It's crazy, it's absolute insanity, but we turn it into something completely different. That was the first thing that came to mind. There's a lot of extreme things in this world...we just added something to it, something that hadn't been done before.
WC: The translation of "Illud Divinum Insanus" roughly comes out to "divine insane thing". Does that refer to the band or does it refer to God or is it something else entirely?
DV: It refers to creativity. I've always thought that true artistic creativity is something that's divinely inspired. Divine not necessarily in a Christian sense...we could get into a whole religious discussion but I don't know if we have time for that. The gist of it is that creativity is divine and our creativity just happens to be insane.
WC: What's your favorite tune off the album and why?
DV: Hmmm, I don't know if I can answer that...
WC: Is it changing all the time?
DV: Well, I'm not analyzing the album song to song yet. When I'm listening to it, I start at the beginning and listen to it in its entirety, from beginning to end, in order. I think it's all part of a complete story. I'm not able to select a favorite. It's like a complete work.
WC: Will the Morbid Angel sound morph even further on the next album or have you even thought about that?
DV: It's not something that we really discuss. Things just sort of happen. It's much more organic than that.
WC: It's pretty spontaneous...
DV: And that's the magic of it. The magic happens when things are spontaneous. A lot of the creativity that happened on this record, a good portion of it happened on the spot, in the studio, in the moment. There were outlines, sure. You have to record the drums before you put the guitars and vocals on, obviously, From the initial outline to the final product, it was a journey.
WC: And that approach is the same for all the Morbid Angel albums?
DV: I believe so. We always try to avoid saying there has to be this rule or that rule. For me, the only rule I have is being true to creativity. Anything beyond that is not useful to me. Treading the same ground is boring. Is there a reason for me to keep repeating myself and recording the same album over and over again? To do the same thing I did 20 years ago? That's not being artistic, that's just being calculating.
WC: In a career that lasts 25 years, certainly you can be allowed to take a few risks.
DV: You know, honestly, Mike, when I think about "risk", that word has a connotation...that's not the premise I'm working from. The premise I'm working from is I don't consider such things. Risk is something where you're making a decision, like you're sitting at a gambling table. You think this card is going to be next, I'm going to put a bet on that. I don't think that way when I'm writing. I just flow. I just write a lot of stuff. I might be listening to it and think, hmmm, this might be good for a video game, or this might good for some ambient soundtrack stuff. Unless somebody comes to me and says, I need a jingle for a commercial, then OK, I'll put my thinking cap on. It needs to be this long, needs to fit in these parameters. But when I write for myself, I never ever think that way.
WC: I've heard that things are coming together for a new Terrorizer album. When you write for Terrorizer, do the same ideas apply as they do for Morbid Angel? I've always thought Terrorizer was more straightforward grind than Morbid Angel. Putting some kind of ambient soundscape with that would be inappropriate.
DV: Well, I did not really write anything for Terrorizer. The writing was done prior to me recording.
WC: A lot of people are looking forward to Terrorizer as well. Is there anything you can tell us about that?
DV: I just can't comment on anything relating to Terrorizer yet, if you don't mind. It's not because I don't want to, it's because I can't.
WC: OK. When you play live with Morbid Angel, would you feel comfortable playing material from the period Steve Tucker was the lead singer?
DV: We have on occasion played a track from "Formulas Fatal To the Flesh" and we've discussed putting some other songs in the set. It is part of the band's history. Obviously, when you put together a live set, we have quite an extensive catalogue at this point, so it becomes increasingly difficult to choose one song over another when you know there are certain songs we HAVE to play. I'm sure you couldn't imagine Ozzy Osbourne not playing the song "Paranoid"...it simply wouldn't happen. Same thing for "Crazy Train" and several other songs that it's mandatory he does. We also have a number of tracks like that in our set. Suffice it to say, the things that get priority are those and of course we want to do as much new material as we can. That's what I want to concentrate on.
WC: What kind of live plans do you have for the States?
DV: Anything I would tell you right now just wouldn't be official. Morbidangel.com or one of our social network sites like Myspace or Facebook is where the very latest is announced. That's the best source of information. As things are confirmed, that's where they're announced.We don't put things out there unless they're set in stone. That's what I tell everyone...when you read it on Morbidangel.com or one of the social network sites, that's when you can believe it. Anything else is just conjecture.
WC: If you could ask any three people from history to dinner, who would they be?
DV: Oooh! That's a damn good question. Ummm...Thomas Jefferson. Friedrich Nietzsche, and the Marquis deSade.
WC: That one would be hopping! (laughter)
DV: It would be an interesting dinner. I don't think my guests would get along with each other. But since they are my guests, I would force manners and compliance!
WC: What was the last CD or album you got just because you wanted to check out the band?
DV: The new Septic Flesh, "The Great Mass".
WC: That's a pretty interesting band. Ever considered playing with them?
DV: I just happened to be over at our label Season Of Mist's office and heard these sounds coming out of someone's personal workstation's stereo. I asked what it was and was told it was the new Septic Flesh. I said, may I please get a copy of it? They trusted me with a copy and I think it's very creative and I really like it.
WC: What was the last show or gig you caught just because you wanted to see the band?
DV: Last week, I was in Europe and we took a train in Holland to see the band Krisiun play.
WC: They know how to bring the mayhem.
DV: Yup!
WC: In the long history of Morbid Angel or any of your other bands, is there any kind of a Spinal Tap moment you'd care to share with the fans?
DV: (laughs) I don't know. I can't answer that off the top of my head.
WC: Any last words to the fans out there?
DV: Sure, man. First to you, I had fun with this. And I look forward to seeing people on tour. It's going to be an interesting ride for sure.
www.morbidangel.com

redpajama_set_name: RedPajamaCommonCrawl


This is a unit study only. It does NOT include the novel.
order it directly from the publisher.
Poetry Skills Activities including: Couplet, Triplet, Quinzain, Haiku, Cinquain, Tanka, Diamant�, Lantern and Shape Poem.
If you purchased this unit at kindle or Nook and would like an extended PDF version that offers more activities and can be printed out for your class, contact our publishing company through email at with proof of your purchase or just to let us know the name of the unit study you made the purchase of and then go to www dot hshighlights dot com, and on the left column, click on AD ON. An item with no picture will show up called AD ON. Purchase that for $1. You will get an email that looks like a working link, however, this link will not work. Once the sale has completed, we will send the full PDF for the unit you require in a different email with 72 hours.
The PDF version we send you will include everything in this version but will have a different appearance with pages to print out. The PDF version will also offer a lap book plan, plans for hands on crafts and art expression activities which require the ability to be printed out.


Melbourne, 07.04.1879, 1 Share of £ 50, #44, 14,7 x 23,2 cm, schwarz, weiß, rechter Rand ungleichmäßig, Auflage maximal 200 Stück, rückseitig auf James Cassius Williamson übertragen und vom ihm signiert.
Melbourne, 7 April 1879, 1 Share of £ 50, #44, 14.7 x 23.2 cm, black, white, right edge uneven, not more than 200 shares issued, transferred on back to James Cassius Williamson and signed by him.
Das Princess Theater in Melbourne wurde dort gebaut, wo das Astley's Amphitheatre war. Dieses wurde 1857 modernisiert und in Princess Theatre and Opera House umbenannt. James Cassius Williamson war ein Schauspieler und Theatermanager, der in den USA geboren und aufgewachsen war. Er tourte 1874-75 durch Australien und kam 1879 nach Melbourne zurück. Zusammen mit George Musgrove and Arthur Garner gründete er die Gesellschaft und baute ein neues Theater, das Princess Theatre. Es öffnete am 18. Dezember 1886 die Pforten mit einer Aufführung von Mikado.
The Princess Theatre was located in Melbourne. It was built on the site of Astley's Amphitheatre which had been renovated in 1857 to become the Princess Theatre and Opera House. James Cassius Williamson was an actor and theatrical manager. He was born and educated in the USA. He toured to Australia in 1874-75 and returned to Melbourne in 1879. Together with George Musgrove and Arthur Garner he formed a partnership resolving to built a new theatre. The name was Princess Theatre. It opened on 18 December 1886 with the performance of Mikado.


text:
package com.google.ads.googleads.v10.resources;

public final class CampaignGroupProto {
  private CampaignGroupProto() {}
  public static void registerAllExtensions(
      com.google.protobuf.ExtensionRegistryLite registry) {
  }

  public static void registerAllExtensions(
      com.google.protobuf.ExtensionRegistry registry) {
    registerAllExtensions(
        (com.google.protobuf.ExtensionRegistryLite) registry);
  }
  static final com.google.protobuf.Descriptors.Descriptor
    internal_static_google_ads_googleads_v10_resources_CampaignGroup_descriptor;
  static final
    com.google.protobuf.GeneratedMessageV3.FieldAccessorTable
      internal_static_google_ads_googleads_v10_resources_CampaignGroup_fieldAccessorTable;

  public static com.google.protobuf.Descriptors.FileDescriptor
      getDescriptor() {
    return descriptor;
  }
  private static  com.google.protobuf.Descriptors.FileDescriptor
      descriptor;
  static {
    java.lang.String[] descriptorData = {
      "\n7google/ads/googleads/v10/resources/cam" +
      "paign_group.proto\022\"google.ads.googleads." +
      "v10.resources\032:google/ads/googleads/v10/" +
      "enums/campaign_group_status.proto\032\037googl" +
      "e/api/field_behavior.proto\032\031google/api/r" +
      "esource.proto\"\273\002\n\rCampaignGroup\022E\n\rresou" +
      "rce_name\030\001 \001(\tB.\340A\005\372A(\n&googleads.google" +
      "apis.com/CampaignGroup\022\017\n\002id\030\003 \001(\003B\003\340A\003\022" +
      "\014\n\004name\030\004 \001(\t\022[\n\006status\030\005 \001(\0162K.google.a" +
      "ds.googleads.v10.enums.CampaignGroupStat" +
      "usEnum.CampaignGroupStatus:g\352Ad\n&googlea" +
      "ds.googleapis.com/CampaignGroup\022:custome" +
      "rs/{customer_id}/campaignGroups/{campaig" +
      "n_group_id}B\204\002\n&com.google.ads.googleads" +
      ".v10.resourcesB\022CampaignGroupProtoP\001ZKgo" +
      "ogle.golang.org/genproto/googleapis/ads/" +
      "googleads/v10/resources;resources\242\002\003GAA\252" +
      "\002\"Google.Ads.GoogleAds.V10.Resources\312\002\"G" +
      "oogle\\Ads\\GoogleAds\\V10\\Resources\352\002&Goog" +
      "le::Ads::GoogleAds::V10::Resourcesb\006prot" +
      "o3"
    };
    descriptor = com.google.protobuf.Descriptors.FileDescriptor
      .internalBuildGeneratedFileFrom(descriptorData,
        new com.google.protobuf.Descriptors.FileDescriptor[] {
          com.google.ads.googleads.v10.enums.CampaignGroupStatusProto.getDescriptor(),
          com.google.api.FieldBehaviorProto.getDescriptor(),
          com.google.api.ResourceProto.getDescriptor(),
        });
    internal_static_google_ads_googleads_v10_resources_CampaignGroup_descriptor =
      getDescriptor().getMessageTypes().get(0);
    internal_static_google_ads_googleads_v10_resources_CampaignGroup_fieldAccessorTable = new
      com.google.protobuf.GeneratedMessageV3.FieldAccessorTable(
        internal_static_google_ads_googleads_v10_resources_CampaignGroup_descriptor,
        new java.lang.String[] { "ResourceName", "Id", "Name", "Status", });
    com.google.protobuf.ExtensionRegistry registry =
        com.google.protobuf.ExtensionRegistry.newInstance();
    registry.add(com.google.api.FieldBehaviorProto.fieldBehavior);
    registry.add(com.google.api.ResourceProto.resource);
    registry.add(com.google.api.ResourceProto.resourceReference);
    com.google.protobuf.Descriptors.FileDescriptor
        .internalUpdateFileDescriptor(descriptor, registry);
    com.google.ads.googleads.v10.enums.CampaignGroupStatusProto.getDescriptor();
    com.google.api.FieldBehaviorProto.getDescriptor();
    com.google.api.ResourceProto.getDescriptor();
  }

  // @@protoc_insertion_point(outer_class_scope)
}

redpajama_set_name: RedPajamaGithub


Transport stream (TS) is specified in MPEG-2, and it is a standard format for transmission and storage of audio, video, and data, and is also employed in broadcast systems for instance ATSC and DVB. Transport stream specifies a container format encapsulating packetized streams, with error correction and stream synchronization features for maintaining transmission integrity in the event the signal is degraded.
PID - Each table or elementary stream inside a transport stream is identified by a 13-bit packet ID (PID).
Program Specific Information(PSI) - There are 4 PSI tables: Program Association , Program Map, Conditional Access, and Network Information. The MPEG-2 specification does not specify the format of the CAT and NIT.
Programs - Transport stream has a concept of programs. Each program is described by a Program Map Table (PMT) which has a unique PID, and the elementary streams associated with that program have PIDs listed PMT.
PMT - Program Map Tables (PMTs) contain information about programs. For each program, there is one PMT.
PCR - To enable a decoder to present synchronized content, like audio tracks matching the associated video, at least once each 100 ms, or PCR is transmitted in the adaptation field of an MPEG-2 transport stream packet.
AT - Stands for Program Association Table. It lists all programs available in the transport stream.


text:
Kevin Bacon Jealous of Look-Alike Who Got David Lee Roth's Autograph in '70s
Ayron Rutan
Ayron Rutan Published: May 30, 2022
YouTube: The Bacon / Paul Natkin, Archive Photos/Getty Images
A photo on Reddit surfaced recently, allegedly from 1978 where Van Halen singer and rock icon David Lee Roth is seen signing a record for a young fan who appears to be none other than actor and Footloose star Kevin Bacon. Unfortunately for fans of both stars, the Law of Bacon (fan theory that connects Kevin Bacon to anyone on Earth in six connections or less) did not pan out in this case as Bacon himself debunked the photo, saying that the young man was simply a random look-alike.
Bacon took to Twitter to disprove the photo writing and said, "I would LOVE to relive this moment but I never lived it in the first place. Little jealous of this lookalike."
While the meeting with the Van Halen frontman may have never took place, Bacon has always had a strong connection to the rock world.
In an interview with MusicRadar, the actor revealed the ten rock records that changed his life which included artists such as The Beatles, Bruce Springsteen, and The Rolling Stones to name a few. The actor also mentioned that a big reason why rock appealed to him so much growing up was due to his idolization of the guitar and those who played it.
"I've often said that my heroes played guitars, and in a way it all started at home," said Bacon. "Michael [Bacon] played guitar and my sister played cello, oboe, guitar, banjo, piano, pretty much anything. They sounded great. Seeing them make music in front of me, the fact that they played instruments and were in a band, it really got to me. It seemed really cool."
Bacon and brother Michael are even in the country-rock band The Bacon Brothers together. The project started in 1995 and since then the duo have released 10 studio albums with songs featuring in numerous films such as The Woodsman and Loverboy, both of which Kevin stars in.
While the meeting between Roth and Bacon didn't actually take place rock fans all over the world can safely assume that Bacon's celebrity status and connection to genre makes the odds of a meeting between the two icons fairly high.
25 Hilariously Accurate Rock Star Look-Alikes
Source: Kevin Bacon Jealous of Look-Alike Who Got David Lee Roth's Autograph in '70s
Filed Under: david lee roth, kevin bacon, van halen
See Photos of Guitar Legend Eddie Van Halen Through the Years
Charity Auction – See All the Cool Items Donated By Ozzy Osbourne, David Lee Roth + More Legends
Try Not to Laugh Challenge – David Lee Roth's Isolated Vocals From Van Halen's 'Runnin' With the Devil'
Steve Vai Reunited With Stolen 'Swiss Cheese' Guitar From David Lee Roth 'Yankee Rose' Video After 36 Years
Every David Lee Roth-Era Van Halen Song Sammy Hagar Sang: 1986-04
39 Years Ago: Van Halen Get a Jump on '1984'
10 Rock + Metal Bands Featuring a Parent + Their Child[ren]
Sammy Hagar Admits to 'Goofing Off' While Writing Van Halen Songs


text:
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Want to learn more about the work Geographers do?
We offer public outreach and environmental education programming to BC high school and elementary students, First Nations communities, and the general public. By sharing our classrooms, laboratories and expertise, we hope to demonstrate SFU's commitment to advance environmental literacy and inspire the next generation of geographers.
Community-Based Research & Engagement
Many of our faculty are also actively involved in research aimed at better understanding and improving conditions in our surrounding communities. The following projects provide a lens into how research in Geography is applied within a community setting.
Worldwide EcoUrbanism Research Project
As part of the EcoUrbanism Worldwide research project, Geography 449 students have been involved in piloting a new place observation tool in one of Vancouver's "greenest" neighbourhoods, the Village at Southeast False Creek.
The visual imagery and qualitative data collected with the place observation tool can be used to create benchmarks for the comparative analysis of different planned neighbourhoods, within different national contexts, that have been planned and designed with sustainability goals.
The EcoUrbanism research project is investigating what is happening to urbanism on the ground in model sustainable neighbourhoods. Beginning with a pilot (2010-2012) that compared model redevelopment projects at Melbourne's Docklands and Vancouver's Village at Southeast False Creek, EcoUrbanism (2014-2019) built insight from researchers and theorists, policy makers, architects and city-builders globally toward a compendium of ecourban projects, and a set of pioneering case studies. The project has now been transformed into the Ecourban Research Network of international researchers and practitioners seeking to challenge ideas about city building and create more sustainable cities.
Food as Harm Reduction (FaHR)
As part of this project researchers examined how access to food can reduce the harms associated with illicit drug use. Specific goals of the project were to:
determine how and when access to food (or lack thereof) impacts the health and well-being of People Living with HIV/AIDS (PLWHA) who use drugs (PWUD)
document how PLWHA who use drugs navigate their environment in order to access food and harm reduction resources; and
highlight the importance of safe and supportive food sites as a means of reducing the nutritional harms of drug use.
Landscapes of Injustice Project
In 1942 the Canadian government uprooted over 21,000 people of Japanese ancestry from coastal British Columbia and began the forced sale of Japanese Canadian property.
These actions resulted in the eradication of Japanese Canadian enclaves throughout British Columbia, transformed individual lives and the broader landscapes of Canadian life.
Former property owners and their descendants still feel the shock of the forced sales, the destruction of their neighbourhoods, and the betrayal of the promise that the Canadian government would "protect and preserve" their land and possessions. Canadians are heirs of landscapes of injustice.
A collaborative, multi-partner project, this seven year, SSHRC funded initiative, is designed to document, explain and analyze this poorly researched moment in Canadian history. SFU is a crucial partner, and several Geography students - both graduate and undergraduate - are working with Nick Blomley and other faculty on archival research relating to land titles, community records, and historical GIS.
Further information can be found at http://www.landscapesofinjustice.com
(Re)Claiming the New Westminster Waterfront
Learn about the history of New Westminster's urban waterfront in this informative video.
The Coquitlam Farmer's Market
One of the longest running farmers markets in the Lower Mainland, the Coquitlam Farmers Market was started in 1997 by four SFU students. Terri Evans (a current PhD student within the Department), one of the market's co-founders, shares her story of creating the market for a class project and speaks about her long-standing connection to SFU.