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Magenta – We Are Legend
Leo Trimming 13 April 2017 Magenta
"Mirror your World through my Touch…Set me Free, oh Set me Free"
These words, from the song Colours on Magenta's new We Are Legend album, are about Vincent Van Gogh, but they could also describe the feelings engendered by this imaginative and impressive release from the premier Welsh Progressive Rock band. We Are Legend underlines Magenta's outstanding musical credentials, but they have far more than just great technique, imbuing their songs with melodies to stir the soul and stories to fascinate the mind.
In a recent interview with Peter Jones on his Progzilla Radio show, Tales from the Tiger Moth, Magenta main-man Rob Reed revealed that he wanted this Magenta album to be "different". Since their last album, The Twenty Seven Club in 2013, Magenta have overcome some issues, including illness, but Reed revealed that he had struggled in writing a new Magenta album after the peaks he felt they had achieved. As a result he channelled himself into his own excellent Mike Oldfield inspired solo Sanctuary projects and helping Christina Booth complete her fine emotional solo album The Light. The results of this break have clearly refreshed Reed as We Are Legend projects Magenta into a new trajectory, fizzing with energy and creativity.
Magenta have never made compromises in their music, ever since Rob Reed decided to stop trying to pursue mainstream success and produce exactly what he wanted to – a truly epic and distinctly 'uncool' double debut album Revolutions in 2001 shamelessly referencing his 1970s Prog heroes, Genesis and Yes in particular. Magenta went on to develop their own distinctive sound built around the trademark triad of the pyrotechnics of Chris Fry on electric guitars, Christina Booth's pure, luminescent vocals and Rob Reed's mastery of the Piano, Hammond and Moog. However, when considering the new album Reed initially felt restricted by that template and felt he did not want to re-tread old ground. Therefore, he decided to channel what he felt was 'negativity and angst' about the direction of the next album, similar to his frustrations prior to Revolutions, and decided to "make a record for me – I will use whatever I want on it", leading to an album which includes distinctly 'un-Magenta' elements such as drum loops, sequencers, dashes of dance music rhythms and heavy guitars as Reed and the band stretch their boundaries. But long-term Magenta fans should have no fear, they are still recognisably Magenta, but noticeably reinvigorated with energy, sounds and an edge, showing a band that does not compromise and wants to move on in terms of its expression and imagination.
In a break from previous albums, there is no overall 'concept' around this release. Magenta have chosen to present three distinct songs with separate narratives and atmospheres, but there is a cohesive feel to the whole album. In a throw back to vinyl days there is one epic 'side long' track and two shorter songs (both in the region of ten minutes) echoing the layout of classic Yes albums Close to the Edge and Relayer, but let's be clear, Magenta are no 'Prog by numbers' clones and have produced a remarkable and vibrant progressive rock album.
The epic opening track, Trojan, starts atmospherically with synths which then explode with squealing guitars over a juggernaut of bass and drums, immediately evoking a sense of science fiction. Steve Reed, lyricist and Rob's older brother, has shared that the theme of this piece was initially suggested by the opening few minutes of the music alone, presented to him by Rob, the musical ideas helping to inspire Steve's lyrics towards a peculiar yet interesting sci-fi story. In short, huge robots emerge from the sea and initially appear to be benign, but ultimately act as 'Trojan horses' to take over the world for a long forgotten and banished human species that took to living beneath the seas and have now returned to reclaim the Earth!
If you think that's bonkers then wait until you've heard the music which sounds like some sort of spectacular soundtrack for a Japanese Manga or Studio Ghibli cartoon. This is pulsating music. sweeping across the narrative in a range of distinct parts. Rob Reed revealed that he was influenced by Marillion's Misplaced Childhood suite, which has the reputation for being epic in length, but is a series of linked songs. Similarly in structure but not in style, Trojan is a series of song sections over 26 minutes 'sewn together' (as Reed puts it), although you can hardly see the joins, such is the skill of Reed and the band.
Following the opening cinematic section, Chris Fry kicks in with a heavy guitar riff and Christina Booth, over shimmering dance inflected keyboards, chants the early panic of those on land confronted with the slow, emphatic progress of these strange new conquering robots. The atmosphere changes to the gentler perspective of a little girl in Japan who thinks of the robot as a 'Tin Man', with imagery akin to Ted Hughes' Iron Giant. Booth shows great vocal versatility as she switches from the softer vision of the small girl to more dramatic parts of the narrative as the story develops. The music flows descriptively – you can visualise the slow, inexorable march of the robots as Magenta interweave sinuous dance inflected keyboards, reminiscent of Faithless, with passages of fluid, dreamy blues tinged guitar at some points. Pastoral guitars underpin a peaceful passage with Booth's soft vocals before distorted guitar breaks in, possibly to indicate that the 'paradise' of ease brought by the robots will be ultimately destroyed.
I hope you're keeping up!!!
Don't worry, Magenta's imaginative music carries you along and you may not always understand (or even care!) exactly what is happening as you dive into the rich multi-layered elements that make up the epic sound and story. Steve Reed has always sought to look at subjects from unorthodox and differing perspectives, such as the 'glutton for punishment' angle of the classic Gluttony from Seven. Similarly, in Trojan he seemingly shifts from the fate of the land civilisation to the perspective of the long exiled species of undersea dwellers held within the Trojan Robots, looking forward to hopefully reclaiming their world. A beautiful acoustic guitar led section of hope emerges with Christina singing beautifully;
"The light it fades, When you all will sleep
With love to share, Anger drifts away
As the hurting stops, With the time to find
Paths to tread in this world…
I see the need inside your soul
The love that's in your heart."
Such poetic and touching lines perfectly match the emotive music as Fry's languid guitar flows along before ascending into a brief transcendent solo, characteristic of his more restrained performance throughout the album. It's remarkable that amidst this science fiction complexity they can skilfully insert a song of such delicacy and feeling, underlining that for Magenta the priority is always melody and emotion, not the sterility of mere technique without feeling. Jonathan 'Jiffy' Griffiths shows his versatile and subtle percussive skills alongside Fry's eerie, expressive guitar as the piece sinisterly shifts towards the treachery of the robots as they turn against the land dwellers. The whole composition comes full circle as the dramatic robotic fanfare from the intro re-emerges with soaring guitars over pulsing synths and as one civilisation falls another rises from within the Trojan robots with hope:
"At the break of day, As the silence roars
And the dust it falls, Open up the doors
When we're stepping out, Walk into the light, Man's re-birth."
Both musically and through the narrative, the opening track is quite a ride! Definitely a piece that, like most great tracks, pays repeated listenings with a strange story that reveals itself more over time.
Legend is another imagined narrative song with a post-apocalyptic sci-fi feel, partly inspired by the films Omega Man and I am Legend, and the intro certainly sounds cinematic as weird sounds throb and pulse before a crunching combination of drums, bass and guitar puts us firmly in the stark post-apocalyptic setting. Dan Nelson, long time live bassist, has now fully joined the band and with new member Griffiths' fine rhythmic work on drums they underpin this album with precision and power, particularly on the leviathan that is Legend. Christina Booth sings powerfully as this driving song describes the fate of one of the last men on Earth, before Reed's synths and Fry's weird distorted guitars intertwine in a nightmare musical depiction of the vampiric state into which humanity descends. A strange but captivating song, it concludes almost elegiacally with the last human trying to hang on to the final vestiges of his humanity as the vampires hunt down the weak and vulnerable, even amongst themselves. Perhaps it's a comment on the self-consuming and self-destructive nature of much of our society… or just a dramatic but depressing story about zombies and vampires!! Who knows, but the journey is compelling.
Colours is another remarkable song about the tortured and tragic soul of an artist. It starts with a beguiling musical box intro before erupting into an intense passage with staccato and textured sounds underlying Booth's manic vocals. The evocative and multi-layered music conveys images of the artist, on the edge of sanity, passionately and frantically applying his paint to the canvas. Apparently Rob Reed presented the music to lyricist Steve by simply saying "It's about Van Gogh", but he had no words, making it remarkable that Rob was able to so fully evoke the musical images of a complex and tortured individual obsessively daubing paint onto canvas to try and express his innermost thoughts and feelings. Flute-like melodies move through to subtle blues inflected guitar, a short fluid Hammond Organ passage followed by a soaring guitar vignette by Fry, with Nelson in fine form, constantly changing the colours of Magenta's musical palette. Van Gogh perceived everything in swirling vibrant colours, mirrored by the music as the impetus picks up with insistent synthesiser, orchestral keyboards and driving guitars, Steve Reed adding one of his best lyrics to reflect the power of the music and convey the artist's sad decline in a maelstrom of creativity which he cannot sustain. The music and lyrics combine so well in this remarkable offering, building darkly to an intense finale with Rob Reed excelling, culminating in intensely sung and chilling lines:
"Save me, love me, Gun in your hand and I'm waiting to die
Sky bright, sun shine
Field like the sea, I'm wanting the end
Darkness, silence, Near to the end Theo
Please set me free, set me free."
The ending is rather enigmatic, but there is a suggestion that Van Gogh's brother Theo shoots him to put an end to his suffering in an act of mercy. Whether fact or not, it is certainly an evocative and emotive song which displays the combined talents of Magenta. A real showcase for the band, particularly Booth, as the song builds to its dramatic ending, it has already become rather a live favourite, no wonder as it combines the music and lyrics so well.
In We are Legend Magenta have created one of the best albums of their career by daring to stretch and express themselves with great integrity and dazzling imagination. This will be regarded as one of THE progressive rock albums of 2017 – Magenta have definitely added to their own 'Legend'.
[TPA would like to give Special Thanks to Chris Jones and Steve Reed for their help with this review. Quotes from Progzilla Radio's Tales from the Tiger Moth interview with Robert Reed used with the permission of Peter Jones.]
01. Trojan (26:09)
02. Colours (10:47)
03. Legend (11:32)
Robert Reed – Keyboards, Programming, Backing Vocals
Christina Booth – Vocals
Chris Fry – Acoustic & Electric Guitars, Backing Vocals
Dan Nelson – Bass Guitar
Jonathan 'Jiffy' Griffiths – Drums & Percussion
Record Label: Tigermoth Records
Country of Origin: U.K.
Date of Release: 27th April 2017
STUDIO DISCOGRAPHY
– Revolutions (2001)
– Seven (2004)
– Home (2006)
– New York Suite (2006) (Home & New York Suite later combined and re-released 2010)
– The Singles 2007)
– Metamorphosis (2008)
– Chameleon (2011)
– The Twenty Seven Club (2013)
Magenta – Website | Facebook | Bandcamp
Magenta - The White Witch: A Symphonic Trilogy31st Oct 2022
Fusion 3.5 Festival 202218th Mar 2022
Magenta / Peter Jones05th Dec 2021
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City Tour "Up And Down"
Do you want to get a bird's eye view of the city? And what about walking through classified tunnels? It's a tour for those who are not afraid of the dark and heights! You will walk around historical centre of Yekaterinburg, visit Chekist Town, go under the city through classified tunnels, go up the viewpoint of a skyscraper and tasty Russian cuisine!
12.00 Greet with your guide at 1905 Square station and start to explore historical centre!
16.30-18.00 Visiting the Chekist Town – a great example of constructivist architecture where members of the Soviet NKVD once lived; Going down to the dungeons under the guidance of a professional digger – you will see and hear about the secret life of the city during the times of political repressions.


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Justia Forms Business Contracts 10x Genomics, Inc. Amendment No. 2 to the License Agreement, dated July 27, 2018
Amendment No. 2 to the License Agreement, dated July 27, 2018, between the Registrant and The Board of Trustees of the Leland Stanford Junior University
Contract Categories: Intellectual Property - License Agreements
EX-10.9 16 d737378dex109.htm EX-10.9 EX-10.9
Certain information has been excluded from this exhibit because it (i) is not material and (ii) would be competitively harmful if publicly disclosed.
AMENDMENT No 2
LICENSE AGREEMENT EFFECTIVE THE 15th Day of October 2015
EPINOMICS
Effective the 27th day of July 2018, THE BOARD OF TRUSTEES OF THE LELAND STANFORD JUNIOR UNIVERSITY ("Stanford"), an institution of higher education having powers under the laws of the State of California, and 10X GENOMICS INC. ("10X Genomics"), a corporation having a principal place of business at 7068 Koll Center Parkway, Suite 401, Pleasanton, CA 94566, agree as follows:
Stanford and 10X Genomics are parties to a License Agreement effective October 15th, 2015 ("Original Agreement") covering "ATAC-seq: Fast and efficient chromatin hypersensitivity mapping in small cell numbers using direct transposition" disclosed in Stanford Docket S12-404.
The Original Agreement was amended by an Amendment No 1 effective February 1st, 2017 ("Amended Original Agreement") to add an invention entitled "ATAC-see: a method for integrated imaging and sequencing of the accessible genome" disclosed in Stanford Docket S16-007.
The Amended Original Agreement was assigned to 10X Genomics on March 7, 2018.
Stanford and 10X Genomics wish to amend the Amended Original Agreement to:
Extend the exclusivity term for the Research Field of Use;
Add Stanford Docket S17-507 "Simultaneous measurement of RNA sequence and accessible chromatin sites in single- and ensemble cells"; and
Make such other amendments as set forth herein.
The Background provision of the Amended Original Agreement is hereby deleted in its entirety and replaced with the following:
"Stanford has an assignment of an invention related to mapping chromatin regions, also known as "Fast and efficient chromatin hypersensitivity mapping in small cell numbers using direct transposition," invented in the laboratories of Dr. William Greenleaf and Dr. Howard Chang, and described in Stanford Docket S12-404 (the "Invention"). The Invention was made in the course
of research supported by the California Institute of Regenerative Foundation ("CIRM"), The National Institutes of Health ("NIH"), and the Scleroderma Foundation. Dr. Chang was an employee of The Howard Hughes Medical Institute ("HHMI") and a Stanford faculty member when the Invention was made. Epinomics assigned this Agreement to 10X Genomics on March 7, 2018. Stanford wants to have the Invention perfected and marketed as soon as possible so that resulting products may be available for public use and benefit."
Paragraph 2.9 of the Amended Original Agreement is deleted and replaced in its entirety with the following paragraph:
"2.9 "Licensed Patent" means:
Stanford's PCT application Serial Number PCT/US2014/38825 filed May 20, 2014 (Stanford Docket S12-404),
US patent application Serial Number 62/306,504 filed March 10th, 2016, and PCT application serial number PCT/US2017/021677 (Stanford Docket S16-007),
U.S. provisional patent application number 62/626,603 filed February 5th, 2018, and
any foreign patent application corresponding to either of the foregoing, and any divisional, continuation, or reexamination application, extension, and each patent that issues or reissues from any of these patent applications.
Any claim of an unexpired Licensed Patent is presumed to be valid unless it has been held to be invalid by a final judgment of a court of competent jurisdiction from which no appeal can be or is taken. "Licensed Patent" excludes any continuation-in-part patent application or patent (each, a "CIP"), and it is agreed that a CIP will only be filed upon mutual consent of the parties."
Paragraph 3.2 (B) of the Amended Original Agreement is deleted and replaced in its entirety with the following paragraph:
"(B) Exclusivity in the Research Field of Use. The license in Section 3.1 is Exclusive, including the right to sublicense under Article 4, in the Research Field of Use beginning on the Effective Date and ending on the date of expiration of the Exclusive Term according to Section 3.2 (A) above (the "Research Field Exclusivity Period")."
Paragraph 6.1 of the Amended Original Agreement is hereby amended as follows: the last sentence in Paragraph 6.1 ("If Epinomics fails to meet Milestone 6 set forth on Appendix A, Stanford may, in its sole discretion, convert the license in the Research Field of Use to nonexclusive.") is deleted in its entirety.
Paragraph 7.6 (A) (2) under "License Maintenance Fee" is deleted and replaced in its entirety by the following:
"7.6 (A) (2)
Paragraph 7.8 "Earned Royalty" is deleted and replaced in its entirety by the following:
7.8 "Earned Royalty. Epinomics will pay Stanford earned royalties (Y%) on Net Sales as follows:
By way of an example only, [***]
Paragraph 7.9 "Combination Product" is modified as follows: the following sentence is added at the end of Paragraph 7.9:
"If, however, the parties determine that the above formula does not adequately and fairly reflect the contribution of each component in a particular Combination Product(s), then the parties shall negotiate in good faith a modification of the formula for the determination of Net Sales of that Combination Product(s). It is understood by the parties that kits to perform the ATAC-seq reaction will not be treated as Combination Product, but rather, as a whole Licensed Product."
Appendix A "Milestones" is deleted and replaced in its entirety by the following:
"Appendix A — Milestones"
By July 15th, 2019, 10x Genomics will have a first sale of reagent kit for performing ATAC-Seq.
By December 15th, 2019, 10x Genomics will establish a strategic partnership/collaboration offering of Licensed Product as a service through its Certified Service Provider network.
By October 15th, 2019, 10x Genomics will reach annual Net Sales of at least $1 million.
By October 15th, 2021, 10x Genomics will have a first sale of version two of a reagent kit for performing ATAC-Seq.
By October 15th, 2023, 10x Genomics will have a first sale of version three of a reagent kit for performing ATAC-Seq.
By October 15th, 2023, 10x Genomics will reach $9 million of cumulative Net Sales.
By October 15th, 2024 if the Exclusive term is extended in accordance with Section 3.2(A) 10x Genomics and Stanford will discuss and agree, in writing, on additional diligence."
All other terms of the Amended Original Agreement remain in full force and effect.
The parties to this document agree that a copy of the original signature (including an electronic copy) may be used for any and all purposes for which the original signature may have been used. The parties further waive any right to challenge the admissibility or authenticity of this document in a court of law based solely on the absence of an original signature.
The parties execute this Amendment No 2 by their duly authorized officers or representatives.
THE BOARD OF TRUSTEES OF THE LELAND STANFORD JUNIOR UNIVERSITY
Signature: /s/ Mona Wan
Name: Mona Wan
Title: Associate Director
10X GENOMICS, INC.
Signature: /s/ Eric S. Whitaker
Name: Eric S. Whitaker
Title: General Counsel

redpajama_set_name: RedPajamaCommonCrawl


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The Top 5 Colonial Conspiracy Theories
For all of the focus on misinformation and disinformation campaigns in the past year, there is a startling gap in the conversation that I have tried, numerous times, to fill. I'm very grateful for the feedback and uptake on last year's article "The Rise of Māori MAGA"… but looking around at the way that people continue to erase the colonial context of misinformation, even when they themselves exist within a colonial context, speaks to just how deep down the colonial rabbithole many New Zealanders, even those who claim to be aligned with truth and integrity, really are.
Now don't get me wrong, I am just as concerned about misinformation as the next person and its implications for public health, Māori health, and the health of our taiao is a huge worry for me. But if you think that conspiracy theories started with 1080 and 5G, think again. Māori have been subjected to disinformation campaigns since the day the Endeavour showed up on an Imperial expansion mission dressed up as a science expedition and started killing us then reporting it as an unfortunate misunderstanding (another snippet of disinformation that not only persists but is supported by the NZ government). The list of misinformation that colonial descendants have ignored, continue to ignore, and ask us to ignore is LONG – and while no doubt many of you reading this will think yourself above conspiracy theories, the fact is that most of you are playing along with at least one of the following list, right now.
So let's go – for brevity's sake, I've just grabbed what I consider to be the top 5 colonial conspiracy theories.
"The Warrior Race"
It bears saying, from the outset, that anyone who can survive the multigenerational genocidal intent of European imperialism can only be described as having a fighting spirit – but the myth of the "Warrior Race" is something quite different, and bears little attention to the culpability of colonizers.
Moana Jackson outlining the origins of the "Warrior Race" myth in his now famous "Once Were Gardeners" lecture.
The notion of Indigenous people being savage warriors is not exclusive to the Aotearoa/Maori experience. Walter Raleigh famously reported back to Queen Elizabeth the first that it was a "savage and primitive race" which prevented him from bringing riches back to her from the non-existent "El Dorado" (because telling the truth, that he couldn't find it, would mean his death). The myth of Native peoples being savage warriors both legitimized "explorer" requests for military resources as well as providing the rationale for colonization in the first place as a noble act of civilizing the globe. We'll get further into that soon. The application of the warrior race myth to Māori is probably one of the most extreme cases, however. It is a particular fascination that relegates us to being edgy, primal curiosities whose value sits roughly equivalent to a barbaric gladiator. Hence colonial haka-fetish.
The warrior-myth was perpetrated by the colonial government to justify continued military invasions of Māori communities which were later termed the "Land Wars" but are more accurately termed as "Land Theft Wars". Truth is, all cultures are deeply complex and multifaceted, but racist colonizers reduce native groupings into caricatures that suit their fantasies and legitimize their Imperial agenda. For Hawai'i this resulted in the fetishizing of hula, for Aotearoa it has resulted in the fetishizing of haka. The warrior-myth has become so ingrained in Aotearoa psyche that many Māori also believe it of ourselves, and in a classic trauma cycle, begin to manifest the very behaviour that we are taught belongs to us as a measure of being "authentically Māori".
SO, in this framework, Māori are fighters, rugby players, manual labourers, bouncers, and thugs. Not scientists, horticulturalists, diplomats or designers.
This idea, once entered into a system of media, research and policy that shapes public perception and legislative responses, results in Māori being framed as poor, violent parents, incapable of even self-preservation without state oversight. It results in lower scholastic expectations and lower employment potential. It results in being many times more likely to be arrested, incarcerated, having our children removed and everything that comes with that (such as state sexual abuse, physical and psychological harm).
This is not a historical practice – the concept of Māori as a warrior race persists in current media, social discourse, policy and scientific research. Māori, of course, are well aware of our own scientific, horticultural, oratorial, artistic traditions. We are aware of the amazing birthing and child rearing traditions.
Takurua Tamarau with his mokopuna Leo, Alfred and Lorna Tamarau in Rūātoki. Source: https://teara.govt.nz/en/photograph/26329/maori-grandfather-with-grandchildren
We are aware of the deep importance of hospitality, and communal awareness, and love for our land and waters – and so we have watched this particular colonial misinformation play out while the Crown disproportionately overlooks the pākeha and Crown record of child abuse and theft for over 250 years, with no concern whatsoever by our Treaty partners about its harm and lack of integrity.
Moriori whanau c1910 Image source: https://en.wikipedia.org/wiki/Moriori#/media/File:Chatham_Islands_photo,_1910,_Canterbury_Museum,_2016-01-27.jpg
2. Moriori
One of the most common (and persisting) colonial conspiracy theories is that "Maori arrived and killed all of the Moriori". This of course, is news to the Moriori who are still very much present and quite tired of being told they are extinct. In the words of Moriori legal scholar and leader Maui Solomon, the mythmaking about Moriori was deliberate and slanderous.
"According to that story, Moriori arrived on mainland Aotearoa before Māori but were pushed out to the Chathams by later and more dominant Māori migrants arriving from Polynesia. To add a touch of colour, the mythmakers also described Moriori as red-headed and of Melanesian "stock". Many still believe that myth today, despite many efforts by Moriori writers and Pākehā writers, too — such as Henry Skinner (writing in the 1920s) and Michael King — to set the record straight. But the myth was a powerful political weapon to justify European colonisation of New Zealand and so it stuck fast in the consciousness of Pākehā New Zealanders."
Maui Solomon
Of course Māori, and most especially Moriori, are well aware that this extermination theory was a myth. That didn't stop it being taught in schools up until very recently, and that doesn't stop every day New Zealanders still throwing this piece of disinformation at Māori every chance they get in order to mitigate their own colonial guilt.
3. Colonization civilized Māori
Source: https://www.dailymail.co.uk/news/article-1389142/British-royalty-dined-human-flesh-dont-worry-300-years-ago.html
Another common retort from those seeking to justify colonization is that, were it not for colonization, Māori would still be eating, fighting and killing each other. A few points bear mentioning here:
Cannibalism was certainly still present in Europe throughout our colonial experience, including today. The global colonial project was not a charitable act to raise the consciousness of the savage world and save it from its savage self. European monarchs were partaking of human flesh and bones even as the imperial project spread out across the world.
Just like everywhere else it went, colonial interference made inter-Maori conflict WORSE. Trite comments about Maori selling skulls and buying guns to kill each other off are as common and shallow as those who like to raise that there were African slave traders. In both cases, they miss the point that these practices were systematized by Western exploitation and incentivisation. Colonizer arguments commonly erase the significance of western interference – how they exploited and deliberately exacerbated inter-iwi political tensions. How they promised to spare communities from colonial invasion and extermination if they assisted in other means or provided what was requested. How the forcibly introduced systems created new levels of poverty, destitution and desperation.
The colonial project itself has been brutal beyond any measure of comparison to pre-contact Maori. This fact has often been challenged by the apparent instructions of Lord Normanby that Lieutenant Hobson seek the "intelligent consent" of our ancestors to authoritarian rule by the British. The way this story is often framed is that the New Zealand Land Company was the evil commercial land-grabber, and the Crown were generously intervening to halt unbridled land loss. What is spoken of less often is that British parliamentarians had also purchased, and were selling land also through the New Zealand Land Company, and were very clear that Britain had to colonize Aotearoa in order to protect those interests.
Check out British MP for Guildford, Ross Mangles, who wrote the astonishingly titled "How To Colonize: The Interest of the Country and the Duty of Government". Mangles was, by the way, a co-director of the New Zealand Land Company whilst also a British MP. Before the ink was wet on Te Tiriti o Waitangi, Maori loss of life and land accelerated. Within 50 years the Maori population dropped to less than 40% of its original size. No precolonial act was anywhere near as destructive to Maori as colonization has been. Nor was this process civilized. It included brutal murders of women, children, babies and elders. It includes two centuries of child theft and sexual assault so severe that it has permanently scarred family lines. Colonization, as a process, is about the most uncivilized behaviour this planet has seen and it continues to surround us today in the form of wealth, poverty, mortality rates, incarceration, state child theft, and continued territorial theft. Those of us on the sharp end of this experience understand that it is anything but civilized, but that does not stop others from raising it time, and time again.
4. Māori Privilege
I'm not joking when I say that barely a week goes by when I don't see or hear some comment along the lines of "Maori are all on a gravy train" "why should Maori get special treatment" "Maori have always got their hand out".
I'm just going to cut straight to the point: The New Zealand economy is built off the back of stolen Māori land.
New Zealand would, quite simply, NOT HAVE an economy if it were not for the millions of acres confiscated through the colonial project by nefarious means, which were then transferred across to European colonial imports to farm – which became the economic foundation of the nation. Much of that land has never been returned (once it is sold privately it is not able to be returned to Māori regardless of how unjust its theft was). From fisheries to conservation tourism – the amount of economic privilege enjoyed by everyday New Zealanders that stems from Māori dispossession is near innumerable.
I say that because there is no way the "settlement" funds transferred by the Crown comes anywhere near meeting the true, intergenerational and ongoing costs of the wealth that has been (and continues to be) transferred OUT of Māori hands. There is no way settlement payouts should be misconstrued as restitution – From 1999 to 2004, only 0.1 per cent of all government spending was for Treaty settlements. This amounted to less than 2 per cent of the real value of Māori land loss in spite of the fact that the government continued to generate enormous income from what it had taken. The government has spent nearly $1.2billion bailing out ONE COMPANY (South Canterbury Finance). Add the $1billion dollar government bailout of Air New Zealand a few years ago and you have already topped all of the government payments to every settlement for all iwi put together ($2.2billion).
Now add to that the fact that as taxpayers, Māori who have been dispossessed and oppressed are also paying the bill as compensation for their own oppression at the hands of the Crown. Some of these funds paid are not just for land theft, but for the aforementioned atrocities of rape, child theft, murder – and we are, as taxpayers, paying ourselves back on behalf of the Crown for those atrocities. Maori privilege? GTFOH.
5. The Government is legitimate
Yep saved the best for last. Of all the ways in which Te Tiriti o Waitangi was violated in the years after its signing, the New Zealand Constitution Act of 1852, passed in Britain, in which it absolved itself of its Treaty responsibilities WITHOUT agreement from Māori co-signatories, was without a doubt the most destructive. The New Zealand Constitution Act which set up NZ parliament had absolutely no just grounds to do so. The document signed by over 500 of the 530 signatures was Te Tiriti o Waitangi, which allowed for a governor and the protective capacity of the British Crown – but ultimate authority remained with Maori. The New Zealand government's OWN treaty judiciary has looked at this issue and concluded that Maori never ceded sovereignty.
Let's go over that again.
The New Zealand government has itself concluded that Maori never ceded sovereignty.
That means that the New Zealand government was acting outside of the law when it set itself up.
And even though it's been acknowledged by the government, it's never ever been acted upon. It is carrying on, in a delusional state, making laws as if it is legal, governing Māori as if it is legitimate, spending public funds as if it has a legal mandate to do so. It does not, and this is the largest, most impactful disinformation campaign that Maori have been faced with for 168 years now.
And every step of the way it has been upheld by the media and legitimized by colonial science (and still is). Small wonder then that Māori have such little faith in these systems – our very survival has depended upon us challenging them.
It is, in fact, a cheek for any one of those sectors to expect Māori to trust them considering their role in unfairly vilifying Māori while obscuring or ignoring Crown villainy. The Crown itself still does not trust Māori to determine our own future, to the point where it continues to wield its own illegitimate authority over us, nor does it trust us with direct access to information in a crisis (like COVID). When Helen Clarke's Labour government carried out the largest landgrab of modern times (a move she recently said she has no regrets over and would do again) – they did so off the back of a vicious misinformation campaign that suggested Māori would lock everyday New Zealanders away from the beaches. It was a completely nonsensical premise that had no basis in fact as Māori had previously held the shoreline without doing anything of the kind up to that point (while plenty of pākeha beachfront properties and businesses fenced off access), but nevertheless the Foreshore and Seabed debate was rife with the suggestion (both from government AND in media, and from the general public) that Māori could not be trusted to allow New Zealanders to access the beach. Think about that next time you want to discuss Māori having trust issues.
So every time I hear people snidely insult QAnon believers, or conspiracy theorists, I can't help but hear the colonial self-interest in their tone. It's only one form of misinformation that most colonial commentators are concerned with right now, and their failure to broaden the conversation to include the ongoing mis and disinformation of colonial governments undermines their own commitment to truth, and integrity. When I look at you wanting to discuss misinformation, standing on colonized ground, and ignoring the colonial context – you just look, to me, like you're down a rabbithole of your own.
Author Tina NgataPosted on March 7, 2021 March 14, 2021 Categories Uncategorized
3 thoughts on "The Top 5 Colonial Conspiracy Theories"
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Sarah Conner says:
I never even heard of the Moriori before, thanks for sharing!
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Nikolai Iwanowitsch Platonow (; *  in Nowy Oskol; † 1. Dezember 1967 in Moskau) war ein russischer Flötist, Komponist und Hochschullehrer.

Leben
Schon als Kind erwarb Platonow die ersten Fertigkeiten am Klavier bei seiner Mutter. Auch beschäftigte er sich mit Geige, Klarinette und Flöte und spielte im Schulorchester. 1915 schloss er das Klassische Alexander-Gymnasium für Jungen in Korotscha ab. Darauf begann er zunächst ein Jurastudium an der Universität Moskau. Daneben absolvierte er 1916–1917 am Moskauer Konservatorium die Flötenklasse von Wilhelm Kretschmann. Nach dem Tod seiner Mutter im Jahr 1918 brach er sein Studium ab und kehrte nach Nowy Oskol zurück. Dort arbeitete er als Lehrer an der ersten Musikschule der Stadt und spielte im Militärorchester. Im Sommer 1919 diente er in der Roten Armee.

1922 kehrte Platonow an das Moskauer Konservatorium zurück und nahm sein Studium in A. N. Alexandrows Kompositionsklasse und W. N. Zybins Flötenklasse wieder auf. Nach dem Abschluss 1927 wurde er Solist im Orchester des Bolschoi-Theaters und von 1930 bis 1931 auch des neuen Großen Symphonieorchesters des Allunionsrundfunks.

Schon während des Studiums begann Platonow 1924 an der RabFak des Moskauer Konservatoriums zu lehren. 1933 wurde er Dozent am Moskauer Konservatorium selbst (1945 Ernennung zum Professor). 1931 erarbeitete er eine Methode zum Erlernen des Flötenspielens. Daraus wurde 1933 das Lehrbuch Die Flötenschule, das 9 Neuauflagen erfuhr (zuletzt 1999) und immer noch das Hauptlehrbuch für angehende Flötisten in Russland ist. Als Komponist wurde er durch seine zahlreichen Etüden für Flöte mit Klavier bekannt, die immer wieder von 1937 bis 1991 gedruckt wurden, durch Stücke für Sopran, Flöte und Klavier, durch Sonaten für Oboe mit Klavier und für Trompete mit Klavier, durch ein Gedicht für Waldhorn mit Klavier und durch ein Konzert für Posaune mit Orchester. 1938 komponierte er die Oper Leutnant Schmidt.

Ab 1942 lehrte Platonow an der Moskauer Gnessin-Musikhochschule und am Gnessin-Musiklehrerinstitut. J. N. Dolschikow und M. I. Kaschirski waren Platonows Schüler. 1957 wurde er mit seiner Dissertation Wege zur Meisterschaft auf der Flöte zum Doktor der Kunstwissenschaften promoviert. 1965 wurde er Verdienter Künstler der RSFSR.

Die Kinderkunstschule in Nowy Oskol trägt Platonows Namen.

Einzelnachweise

Klassischer Flötist
Komponist (Sowjetunion)
Hochschullehrer (Moskauer Konservatorium)
Absolvent des Moskauer Konservatoriums
Russe
Sowjetbürger
Geboren 1894
Gestorben 1967
Mann

redpajama_set_name: RedPajamaWikipedia


Heralded by The New York Times as "a latter-day Houdini," David Blaine has redefined magic around the world with his unique, intimate, close-up style and his challenges that have set new boundaries of human endurance.
The world's most famous magician and endurance artist who has captured several Guinness World Records for his feats, David Blaine amazes audiences around the world with his awe-inspiring body of work. Having first come to the public's attention through the documentary Street Magic, Blaine is an extraordinary artist who has followed in the footsteps of the great Harry Houdini by pushing himself to the limit and showcasing the strength that lies dormant in all of us. Blaine, who was one of only two speakers to receive a standing ovation at the 2009 TEDMED Conference, is the center of many high-profile, televised stunts, including being buried alive, living underwater and hanging in a glass box over London's River Thames for 44 days. He dazzles audiences with his unique brand of magic, making a powerful case for the role that creativity plays in all of our lives. Blaine has been featured in many articles as well as on The Oprah Winfrey Show, The Late Show with David Letterman, Charlie Rose and Larry King Live. His 90-minute special, David Blaine: Real or Magic, premiered on November 19 on ABC to rave reviews. He took viewers into the homes of some of the world's most high-profile people for their up close and personal reaction to his magic—leaving many stunned and questioning what is happening before their eyes.
For more than a decade, David Blaine has been attracting the world's attention with his high-profile endurance stunts. Starting his career as a magician who appeared to do the impossible with a deck of cards, he was soon following in the footsteps of Houdini, seeking out that which seems physically impossible, and actually doing it. To that end, he's been buried alive in New York City for a week, barely survived being encased inside a six-ton block of ice for three days and three nights, stood atop a 100-foot-tall pillar in Bryant Park for 36 hours without a safety net, survived inside a transparent box in London on nothing but water for 44 days and spent one week submerged in a sphere-shaped aquarium at Lincoln Center, at the end of which he attempted to break the world record for holding one's breath. A year later, he succeeded in breaking that record live on the Oprah Winfrey show, holding his breath for 17 minutes and 4 seconds.
Born in Brooklyn, Blaine discovered his passion for magic at the age of four when he saw a magician perform in the subway. His mother encouraged his passion and he began performing professionally at private parties by the age of thirteen. By the age of twenty-three, Blaine had created, directed and produced an original television program titled Street Magic, which garnered rave reviews by critics and revolutionized the way magic is portrayed on television. Penn Jillette of Penn & Teller called Street Magic, "the best TV magic special ever done" and "the biggest breakthrough in our lifetime." The New York Times noted that Blaine has "taken a craft that's been around for hundreds of years and done something unique and fresh with it." The New Yorker claimed that "he saved magic." Since then, Blaine has produced nine additional primetime specials.
Blaine has performed magic privately for U.S. Presidents Bill Clinton and George W. Bush, Governor Arnold Schwarzenegger, Bill Gates, Henry Kissinger, Mayor Bloomberg, Mark Zuckerberg and Muhammad Ali, as well as President Dmitry Medvedev of Russia and other international leaders. He also performed alongside Michael Jackson, and during the Super Bowl halftime show.
In 2010, Blaine performed magic for 72 hours straight in Times Square, raising nearly $100,000 for relief efforts following the earthquake in Haiti.
This past October, Blaine stood atop a small, 22-foot high platform on New York's Pier 54, in the middle of a massive globe, surrounded by seven Tesla coils. The coils were directed at him for the entirety of the stunt, producing an electrical discharge of at least one million volts continuously for 72 hours. The event was streamed live via Youtube, engaging more than 400 million users with the event on the world's leading social networks.


The bouldering in the Virgin Islands has been on my radar for a few years now with a couple of climbing movies having been filmed there and knowing a couple of people who have made the trip. I never really considered going there myself, at least not until I was given a copy of the new guidebook to the area written by Rich Crowder and Jonathon Wasser.
As I dove into reading the book I quickly realized that a bouldering trip to the Virgin Islands is really about much more than the climbing. The first 1/3rd of the book is dedicated to details other than climbing like detailed instructions on how to get there, potential itineraries, suggested activities that aren't climbing and the always helpful pirate vocabulary lesson.
Once you get into the climbing section of the guide it has everything you would expect from a modern climbing guidebook. It's loaded with great photos and color maps of areas with all the beta you'll need to explore the bouldering on the Virgin Islands.
As I finished reading the book I realized that there was really no choice: at some point I need to make trip to the Virgin Islands. Not so much for the climbing itself, but for the entire experience.
I'd highly recommend Virgin Gorda for a very chill, climbing-related trip. It'll work with a non-climbing significant other too, since the boulders are on the beach and it's too hot to climb all day anyway. If you've got the dough, charter a sailboat for a week and do the BVI.
Went a few years back. This place is certainly not a climbing destination. It's way to hot to climb by 7 a.m. although you will try. Its gods biggest joke on climbers. If the area ever falls into a mini ice age It would be an amazing place to climb. But til then go there to drink and relax. Take your climbing shoes elsewhere.
The lodging on Virgin Gorda runs the full gamut, from sleazy rooms down by the marina, vacation homes by the beach, to five-star resorts. There are several hotels such as Fischer Cove and Leverick Bay Resort that cost about $100 per night. You can rent a vacation home on the beach from places like Guavaberry Spring Bay Vacation Homes for about $100 per night. At the high end, the world-renowned Bitter End Yacht Club is hailed as one the finest full-service resorts in the world for about $800 per night. Little Dix Bay near Spanish Town has suites for as little as $1,500 per night. Be warned, Virgin Gorda is a Third World island with restaurant prices that will make a New Yorker's head spin. This island is definitely not for penniless Camp 4 climbing bums. If you plan to eat out, plan to spend $125-$150 per person, per day. The cheapest route would be to travel with a group, rent a vacation home and shop at the commissary instead of eating out.


text:
Mangelia amatula is a species of sea snail, a marine gastropod mollusk in the family Mangeliidae.

Description
The length of the shell attains 6.5 mm, its diameter 3 mm.

(Original description) The small shell is pale waxen yellow, with occasional brown spots between the ribs. It contains about 1½ smooth white whorls in the protoconch and about 5½ subsequent whorls. The axial sculpture consists of (on the body whorl eight) stout protractively arcuate ribs with subequal or narrower interspaces not continuous up the spire, but extending from the suture over a slight shoulder to the siphonal canal. The spiral sculpture consists of numerous fine sharp striae covering the shell (except on the anal fasciole) with flattish wider interspaces. There is a slight angle at the shoulder. The aperture is narrow. The outer lip is infolded. The anal sulcus is large. The siphonal canal is hardly differentiated. The columella is smooth.

Distribution
This marine species occurs off California, found at San Diego.

References

External links
  Tucker, J.K. 2004 Catalog of recent and fossil turrids (Mollusca: Gastropoda). Zootaxa 682:1–1295.

amatula
Gastropods described in 1919


text:
Q: I have Ubuntu 20.04.3 but not Linux 5.11, what's up? I've confirmed that I got the point release update to 20.04.3 LTS with lsb_release -a, but uname -r shows that my kernel is still on 5.4.0-81-generic. Should I not be on 5.11? My machine running Ubuntu 21.04 is on 5.11.0-31-generic.
I found an old thread here which proposes using apt to install linux-generic, but I wanted to make sure it was still good advice.

A: Presumably you are running Ubuntu 20.04 LTS on this machine because you have determined that it's more important for this machine to be stable rather than having newer, more bleeding edge software.
Ubuntu 20.04 currently uses Linux Kernel 5.4 unless you have enabled HWE or have manually upgraded the kernel beyond the version in repositories.
Unless you actually need the newer kernel version, it might be better to leave it alone if stability is more important to you than the newest versions of software.

A: You have to enable HWE stack for kernel by
sudo apt install --install-recommends linux-generic-hwe-20.04

See release cycle for actual kernel versions.

redpajama_set_name: RedPajamaStackExchange


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[fr] Très difficile d'évaluer la qualité d'une proposition de conférence basé sur un résumé textuel (ce que je suis en train de faire à présent pour la conférence BlogTalk 2009 qui aura lieu à Jeju, en Corée du Sud). Il faudrait que les candidats donnent non seulement un descriptif écrit de leur proposition, mais aussi un court extrait vidéo (2-3 minutes), soit d'une conférence qu'ils ont déjà donnée, soit d'un "pitch" pour le sujet qu'ils proposent.
Just a passing thought, as I'm spending some time reviewing submissions for the upcoming BlogTalk 2009 conference in Jeju, South Korea.
Just as my proposal was reviewed (and rejected) last year, I am now on the other side of the fence, looking at proposal abstracts and trying to determine if they would make good presentations for the conference.
BlogTalk is an interesting conference, because it tries to bridge the academic and practitioner worlds. The submission process resulting from that led to some interesting discussions last year (academics are used to submitting papers all over the place and are paid for that, practitioners on the conference circuit are more used to being asked to come and talk) and as a result the process was modified somewhat for this year. Practitioners and academics alike submit a short abstract of their talk/paper/research, and people like me (the programme committee) review them.
What I am realizing, doing this, is that it is very hard to imagine if the proposals will produce good talks. I mean, I can judge if their content is interesting or not. I don't know the people sending in the proposals, so I keep going from "ah, this could be really good if the speaker is competent" to "ew, if the speaker isn't good this could be a nightmare".
Already in my long-gone university days, I had understood that content is only half of the deal. Take great content but a crap speaker, you'll lose half your audience (and I'm being nice).
In 2007 and 2008, I gave a fair amount of talks all over the place and organized my own conference. All this time on the "conference circuit" and amongst regular speakers led me to view it as something quite close to the entertainment business.
So, setting up a conference that will be successful means finding engaging speakers who will be able to talk about interesting topics. When I organized Going Solo (clearly a very different type of conference than BlogTalk, of course), I picked speakers I was familiar with and that I had already seen "in action".
Back to screening proposals for conferences — of course, if you want an open process, you're not going to know all the speakers. But how about asking candidates, alongside the written abstract, for a 2-3 minute video excerpt of them giving a talk, or pitching their proposal?


Advance care planning in dementia – a difficult conversation?
Dr Karen Harrison Dening, Head of Research and Publications, Dementia UK considers the right time to start advance care planning discussions with dementia patients and who, actually, are such conversations difficult for?
There is much debate on when is the best time to offer advance care planning to people with dementia. I would say as soon as possible after the diagnosis of dementia is made. Many professionals feel that getting people with dementia to start thinking about their end of life care wishes is both too soon and insensitive within the diagnostic process. Planning for end of life needs to take place early in the course of the disease process, while the person has sufficient mental capacity to consider their preferences and make decisions, not the focus of this blog, but a timely diagnosis of dementia whereby they still have capacity to make plans for their future is essential.
In my research and studies I have found families affected by dementia only too willing to engage in such discussions, so who is the conversation difficult for?
Good, effective communication is essential in enabling advance care planning for anyone with a life-limiting condition but perhaps even more so for people with dementia. Communication is a two way process but in people with dementia their ability to communicate with others and to receive their communication becomes increasingly difficult as the condition progresses.
1. It may take me longer to process what you are saying to me and to think of my response - give me sufficient time to respond to you. Only ask one question at a time and try to avoid open ended questions as these can confuse me further and limit my ability to respond to you. Some people mirror what I say (repeat back to me) to confirm what it is I am saying. This is helpful to me as it confirms with me that I have been understood and also to feel in control of the conversation.
What is important to me is….
2. Ensure a person-centred approach try and help me to describe my values and preferences; this is a good way for you to start a conversation on advance care planning; what is important to me (and my family); my personal history, likes, strengths, beliefs, etc. This can also help when starting to think about a Lasting power of Attorney.
How you should approach me….
3. Face me directly and make good eye contact with me, this gives me every opportunity to understand you are focused on me and helps me to communicate. Please use short, clear sentences with me that are free of jargon and 'clinical speak' and use language and words that are familiar to me.
Yes, I have a family but….
4. I may, or may not, wish my family carer/member to be present; ensure you ask me and never assume.
5. Ensure the space chosen to have the conversation with me is quiet, calm and free from distractions. Actually, my own home or familiar surroundings is best.
6. Be aware of and maximise upon your non-verbal communication: tone of voice, facial expressions, hand gestures, etc. These will all help me to better understand what is being said to me. Also be an 'active listener' and be fully attentive to my body language and expressions as well as what I am saying to you – sometimes they may not convey the same meaning. Lastly, you can use other ways to communicate with me if I am finding things difficult – try word cards or pictures (e.g. www.talkingmats.com/ ).
AFIRM is a framework to guide professionals in holding difficult conversations and to use these as opportunities to discuss any apprehensions or queries the person with dementia (and/or their family member) may have.
Meeting suggested to discuss their concerns with significant people, such as, a clinician, care coordinator, GP, family member(s), legal representative, etc.


A concentration bank is a financial institution that is the primary bank of a specific organization. A concentration bank may also be where the organization conducts most of its transactions. Several organizations use multiple banks but generally deal significantly with one bank (the concentration bank).
An example of a concentration bank can be a company that has multiple chain stores across the country, with each store depositing its cash into local banks. The company can set it up so that these funds are concentrated or deposited into one account, usually called a concentration account, at a concentration bank.
A concentration account is a deposit account that aggregates funds from several locations (e.g. from the national company's many branches) into one centralized account. Banks may also employ concentration accounts for fund transfers, private banking transactions, trust and custody accounts, and international transactions.
U.S. authorities heavily scrutinize concentration concentration accounts, due to the possibility of money laundering. It can be more difficult to follow a money trail if funds from disparate sources are combined in one central location. The USA Patriot Act recently required banks to establish clearer policies for detecting and reporting suspicious transactions and prohibited customers from moving own their funds into, out of, or through the concentration accounts.
A company with multiple branches may decide to place its funds in a concentration bank to facilitate investment management as well. An investment manager will aims to meet particular investment goals of the company (such as growth or increased liquidity) through a process that may involve asset allocation, financial statement analysis, stock selection, monitoring of existing investments and plan implementation.
Investment management includes ensuring a company's tangible and intangible assets are maintained, accounted for and well-utilized. The global investment management industry in 2015 was worth an estimated $79 trillion in assets under management, as measured by a PricewaterhouseCoopers report in 2017.
Off-premise banking is any bank location, other than its main location, that provides banking services of any kind that don't require tellers.


text:
Hunting With Dogs 101
How to Slow Down and Speed Up Time
Hunting with dogs is a time-honored tradition that dates back hundreds of years, and it's still going strong today. With the right dog at your side, you can enjoy days in the woods without ever needing to break out the gun again. Take an intro course on everything from hunting techniques to training methods so you're ready for any prey come next season!
Note from the editor: This is a guest post by Jake Hall.
The hunting season is approaching, and you may be considering obtaining a dog to assist you in your endeavors. Dogs have a long history of serving as hunting partners for keen outdoorsmen, so I'd like to offer you a crash course on how to get started hunting with dogs today.
Canis familiaris is without a doubt the most significant animal to assist man in his search for sustenance (the domestic dog). Although some horse enthusiasts may believe that our equine friends have aided humans for longer, the hunting dog dates back 20,000 years, whereas the horse was not domesticated until roughly 4,000 BCE. While contemporary man has forgotten past hunting techniques and customs, an ancient hunter's livelihood relied on his hunting prowess.
Men have depended on dogs to hunt for food, housing, and clothes for millennia. Around 9,000 years ago, with the domestication of cattle, the dog's function moved from hunting to herding and defending, signaling the start of man's quest to selectively breed his closest friend to meet particular working demands. The dog has always served a role since then. As fast-developing agriculture and industry reduced man's need on wild game gathering for subsistence, so did his reliance on the hunting dog. Hunting became a pleasure, typically retained as a family heritage, and dogs were utilized as working animals much less often.
As vital as a man's position as a provider is to his family and his personal well-being, a deeper awareness and connection to nature is essential to a hunter's growth and success. Fostering human-animal interactions may teach every hunter about his role in the cycle of life and the importance of hunting a live species. Working dogs aren't for everyone, and they certainly aren't for every hunter, but there are few things more rewarding to an outdoorsman than building a communication channel with an animal and seeing it appreciate and try to meet your demands.
Breeds and Techniques
Hunting dogs are divided into three categories: hounds, gun dogs, and terriers, with the exception of guardian and herding types. Despite the fact that many terrier breeds have been developed as house pets, others are still produced as working dogs. These terrier breeds have a variety of applications, including varmint hunting and blood tracking bigger, wounded wildlife, although many of these hunting methods have gone out of favor in the United States. As a result, we'll concentrate on hunting with gun dogs and hounds, which are more readily accessible and legal. It's critical to comprehend what distinguishes these groupings, but first and foremost, one must comprehend wild game. The simple version is that there are two sorts of games: those that run and those that hide. Gun dogs are employed to detect camouflaged, concealing game, whereas hounds are used to follow running game.
Hounds of Scent
On a hunt in Mississippi, Crockett, a Mountain Cur, treeing a squirrel.
Smell hounds are distinguished by their ability to scent and their loud voice. The majority of breeds in this category have booming, powerful voices that they easily use while tracking a scent. Although this may be a problem in populated locations such as densely packed neighborhoods or apartments, it is a very important quality for a hunter who wants to track a dog even when it is out of sight. Endurance is essential for staying on a track and following it over long distances and difficult terrain.
In their pursuit of game, all of these breeds are similar, although some have been developed expressly to push an animal that finds sanctuary in a tree, in which case the dog will wait at the foot of the tree until the hunter comes. These "tree hounds" are very effective in keeping wildlife in a tree so that the hunter may study it before harvesting it. When determining the gender or legality of bigger game, this might be a valuable tool. Tree hounds are often used to track squirrels, raccoons, bobcats, mountain lions, and bears (such as Curs and Coonhounds). Rabbits, foxes, coyotes, wild boar, and deer are examples of non-treeing game that may be hunted with both tree and running hounds (more information on breeds below).
Two German Shorthaired Pointers locate pheasants and "point" them.
Gun dogs are those breeds that are most adapted for hunting upland and wetland game, particularly birds and rabbits. The pointers, flushers, and retrievers subgroups of this group are further divided into three subgroups. Hundreds of books have been published on the various gun dog breeds and their hunting strategies, but the fundamental goal is the same for all of them: to find game within shot range of the hunter and then recover the fallen wildlife. These breeds excel in locating concealed birds by detecting smell in the air, unlike hounds that follow the foot trail left by running animals. This group hunts in a more structured manner in order to find these concealed creatures in much closer proximity to the hunter. Gun dogs are an excellent alternative for people looking for a flexible hunting dog that can track down a variety of birds and return them to the hunter.
Selecting a Breed
The first important consideration when selecting a hunting dog is the game that will be pursued. If pheasant or quail seem sweeter than rabbit or squirrel, then immediately away a hunter may concentrate on the gun dog group instead of the hounds. The ultimate purpose is to put food on the table, and the hunter is responsible for just harvesting wildlife that he intends to eat. Trying to get a Coonhound that was raised to chase down animals for miles while barking to identify birds within shotgun range would be futile. All canines can be educated to do particular tasks, but just as men have deeply ingrained instincts in our masculinity, animals have deeply ingrained instincts in their approach to hunting. As a result, it's critical to narrow down your ideal game before narrowing down your breed selection to a certain group.
Second, the kind of hunting you choose will reduce your breed choices to a subgroup. Would you rather a gun dog detect birds and force them to fly right away, or would you rather he discover the bird and wait for you to come before flushing it? Spaniels are excellent at sticking near to the hunter and flushing birds for quick shot. To find game, pointers will extend their range and stay steady, "pointing" at it for the hunter to flush and shot. When it comes to hounds, you may choose whether you want the dog to bark during the whole chase of your game or if you want him to keep quiet until the game is spotted. Curs, like Coonhounds and smaller hounds like Beagles, Bassets, and Teckels, are renowned for howling while following a track, while Coonhounds and smaller hounds like Beagles, Bassets, and Teckels, are noted for staying quiet until the game is in sight.
Following the selection of a subgroup, a particular breed may be chosen. Even if the parameters have been restricted thus far, there is still some work to be done in order to find the ideal hunting buddy. If a rookie hunter wants a pointing dog, for example, he or she may not know the difference between a German Shorthaired Pointer and an English Pointer, or a Brittany and an English Setter. Although they may hunt in the same manner, breeds vary in terms of activity level, flexibility, desire to please, and hunting technique. Finding your ideal dog may be as simple as researching bloodlines, contacting breeders, and seeing various breeds hunt in person. Research is crucial, and finding breeders that exclusively produce high-quality working animals will take time, so plan on spending several months identifying breeders and hunting with their dogs before purchasing from their stock. Finally, all dogs have one thing in common: they have been loyal to humans for thousands of years.
Hounds of a Large Size Hounds of the Small Size Curs
Bluetick* Beagle Mountain*
Tan and Black* Basset Kemmer*
Walker in the Woods* Teckel Blackmouth
Plott* Catahoula
English*
Redbone*
Leopard of America*
*Tree Hounds are a breed of dog that lives in the woods.
You may hunt squirrels, rabbits, raccoons, wild boars, mountain lions, bears, foxes, bobcats, and coyotes with these breeds.
Pointers Retrievers Setters Spaniels
English Labrador English Springer
Brittany* Golden Gordon Cocker
German Shorthaired* is a breed of dog that originated in Germany. Bay of Chesapeake Irish Field
Drahthaar* (German Drahthaar) Poodle (standard)
Wirehaired Pointing Griffon* (Wirehaired Pointing Griffon) (Wirehaired
Pudelpointer*
Munsterlander*
*A versatile breed, capable of hunting both birds and furred prey as well as retrieving ducks.
You may hunt quail, pheasant, partridge, duck, dove, geese, grouse, woodcock, and rabbit with these breeds.
After a successful Ruffed Grouse hunt, a Gordon Setter.
Those new to hunting (and even seasoned hunters) may be scared by the prospect of rearing a working animal, but it is not as tough as it seems. When training a hunting dog, the most essential thing is to keep to a particular training schedule. There are thousands of approaches to teaching obedience and hunting skills, but mixing and matching strategies, particularly as a beginner trainer, might cause your dog to get confused. Dogs thrive on consistency, so committing to a single philosophy and training method will save you time and ensure that your dog is confident in meeting your needs.
The importance of obedience and training in the development of a good hunting dog cannot be overstated, yet without exposure, a dog can never completely mature as a hunter. During the first two years of their lives, young dogs must learn experience and spend a significant amount of time really hunting. You must be willing to spend several days in the field each month, as well as ensuring that your protégée has as much interaction with game as possible. Young canines should be taught to hunt in the wild rather than in the backyard. A day's job in the life of a hunting dog includes running through briars, swimming over streams and rivers, and being exposed to the weather, and it is the trainer's role to assist the dog grow brave during these sessions. So, during the first year of its existence, anticipate to spend at least an hour in the field, 2-3 days a week, to develop a courageous, experienced hunting dog.
Because raising a puppy takes a lot of time, energy, money, and patience, another alternative for first-time dog owners is to purchase a young, already trained dog. Many breeders and trainers will have 1-3-year-old dogs who have been taught in obedience and have hunted for one or two seasons. Buying one of these dogs will need you to discover how their existing trainers have treated them, and bonding will take a bit longer than with a puppy, requiring you to concentrate on creating confidence and trust. These dogs are also more costly than puppies, but they have already had all of their basic training and will be ready to go hunting as soon as you acquire them.
For prospective gun dog owners and houndsmen, there are several resources available online. Hunters with dogs are also always happy to assist individuals who are new to dealing with working breeds. For novice hunters or trainers, forums like gundogforum.com, sqdog.com, biggamehoundsmen.com, and others are essential information. The best way to meet other dog owners, participate in field trials, and obtain training assistance is to join a local American Kennel Club, United Kennel Club, or Versatile Hunting Dog Assoc. club. For rookie hunters seeking for expanses of publically accessible property, state wildlife departments, the Army Corps of Engineers, and private landowners are all feasible options. Always check state hunting rules to see whether hunting particular game is permissible and if dogs are allowed on public property while hunting with dogs.
Dogs have been utilized by many renowned hunters throughout history. Famous houndsmen Ben Lilly and Holt Collier took Theodore Roosevelt on bear hunts in Louisiana with a pack of bear hounds. The "Teddy Bear" was born during the Holt Collier hunts, and Ben Lilly's tough lifestyle made an indelible mark on TR.
Hunting has been a need of man's life since the beginning of time; we've depended on hunting for ages to produce food, clothes, and tools in order to live. A successful hunt may be the difference between life and death, and generations of hunters have relied on their four-legged companions to give them the best chance of survival. Many effective hunters depend only on their own abilities to hunt, but working with a hunting dog is an excellent method to combine your own abilities with the benefits provided by a dog. Our forefathers had a deeper understanding of the relationship between man and environment, as well as our links to the land. We may enjoy a more profound connection to the game we seek and boost our daily dosage of manliness by working directly with a piece of nature.
Watch This Video-
"What do dogs hunt in the wild" is a question that I am often asked. Dogs are an excellent hunting partner, but they have to be trained properly. Reference: what do dogs hunt in the wild.
How does hunting with dogs work?
A: Hunting with dogs is a game where the hunter and their hunting dog will hunt prey, and then there are several variants of this. For example one variant would be to have a stag beetle strapped onto your back which you must free from its habitat in order for it to go into hibernation. Another variation could be that you have an army ant colony on your head as ants try to eat away at your brain, or lastly theres something simpler like mice who run around in circles trying not get eaten by the cat
What Animals Can you hunt with dogs?
A: You can hunt with your dogs on the following animals. Bear, Boar, Buffalo, Caribou, Deer (Roe deer), Elk
What is the best dog to take hunting?
A: The best breed of dog to take hunting is the pointer. They are highly intelligent, energetic and have a great sense of smell.
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The season of 'Lights'
Welcoming Christmas, visitors to downtown
By Brittany Hively - bhively@aimmediamidwest.com
Volunteers spend weeks organizing the lights and decorating the trees and Gallipolis City Park area for visitors to enjoy.
Brittany Hively | OVP
Each year the Gallipolis in Lights display is different than the last, event organizer Shari Rocchi has previously told Ohio Valley Publishing.
Thousands of lights and dozens of other decorations cover Gallipolis City Park for the Gallipolis in Lights Christmas display.
Gallipolis City Park is full of holiday cheer, including the bandstand that sits in the center of the park.
Gallipolis City Park is full of unique and eye-catching light displays for Gallipolis in Lights.
Across Gallipolis City Park several unique displays.
Gallipolis in Lights kicked off in 2013 and continues to grow each year through volunteers and community support.
A number of trees purchased and decorated for businesses, organizations, awareness campaigns as well as in honor of and in memory of loved ones, line the hill at the boat ramp in Gallipolis for Gallipolis in Parks.
Community members have purchased and decorated trees that line First Avenue and the bottom of the hill between the Gallipolis City Park and the boat ramp.
The Gallipolis City Park entryways have welcomes hundreds of visitors already this Christmas season as the park is lit up for Gallipolis in Lights.
The Gallia-Jackson-Meigs ADAMH Board has a display set up in Gallipolis in Lights. "You matter," is a part of the organization's current "Your presence is a present" campaign.
As the days tick down to Christmas, visitors continue to fill Gallipolis City Park to enjoy the lights and holiday cheer of Gallipolis in Lights.
The Ohio Valley Bank tree brings a spin to the average Christmas tree and entertainment to visiting light viewers.
Along with other displays across Gallipolis City Park for Gallipolis in Lights is the photo-worthy gingerbread house.
GALLIPOLIS, Ohio — The Gallipolis City Park is welcoming visitors from across the Tri-State this holiday season to enjoy the ninth season of Gallipolis in Lights.
Each night the park is lit up with thousands of lights and includes a number of other Christmas and holiday decorations for people to enjoy.
The light display will continue nightly through January 1, 2022 with the lights starting each night at 5:30 p.m.
As previously reported by Ohio Valley Publishing, "the light event is purely donor funded," said Shari Rocchi, event organizer. "While the organization has two fundraisers each year, due to COVID-19 both have had to been cancelled for the past two years.
Rocchi said anyone wishing to donate to the event is welcome to, there will be mailbox-type donation boxes at almost each corner and a gingerbread house where donations can be dropped, Rocchi said.
Event organizers encourage everyone to stay safe with distancing and wearing masks when comfortable.
© 2021, Ohio Valley Publishing, all rights reserved.
https://www.mydailysentinel.com/wp-content/uploads/sites/14/2021/12/web1_IMG_2732.jpegVolunteers spend weeks organizing the lights and decorating the trees and Gallipolis City Park area for visitors to enjoy. Brittany Hively | OVP
https://www.mydailysentinel.com/wp-content/uploads/sites/14/2021/12/web1_IMG_2734.jpegEach year the Gallipolis in Lights display is different than the last, event organizer Shari Rocchi has previously told Ohio Valley Publishing. Brittany Hively | OVP
https://www.mydailysentinel.com/wp-content/uploads/sites/14/2021/12/web1_IMG_2739.jpegThousands of lights and dozens of other decorations cover Gallipolis City Park for the Gallipolis in Lights Christmas display. Brittany Hively | OVP
https://www.mydailysentinel.com/wp-content/uploads/sites/14/2021/12/web1_IMG_2742.jpegGallipolis City Park is full of holiday cheer, including the bandstand that sits in the center of the park. Brittany Hively | OVP
https://www.mydailysentinel.com/wp-content/uploads/sites/14/2021/12/web1_IMG_2743.jpegGallipolis City Park is full of unique and eye-catching light displays for Gallipolis in Lights. Brittany Hively | OVP
https://www.mydailysentinel.com/wp-content/uploads/sites/14/2021/12/web1_IMG_2745.jpegAcross Gallipolis City Park several unique displays. Brittany Hively | OVP
https://www.mydailysentinel.com/wp-content/uploads/sites/14/2021/12/web1_IMG_2746.jpegGallipolis in Lights kicked off in 2013 and continues to grow each year through volunteers and community support. Brittany Hively | OVP
https://www.mydailysentinel.com/wp-content/uploads/sites/14/2021/12/web1_IMG_2756.jpegA number of trees purchased and decorated for businesses, organizations, awareness campaigns as well as in honor of and in memory of loved ones, line the hill at the boat ramp in Gallipolis for Gallipolis in Parks. Brittany Hively | OVP
https://www.mydailysentinel.com/wp-content/uploads/sites/14/2021/12/web1_IMG_2757.jpegCommunity members have purchased and decorated trees that line First Avenue and the bottom of the hill between the Gallipolis City Park and the boat ramp. Brittany Hively | OVP
https://www.mydailysentinel.com/wp-content/uploads/sites/14/2021/12/web1_IMG_2765.jpegThe Gallipolis City Park entryways have welcomes hundreds of visitors already this Christmas season as the park is lit up for Gallipolis in Lights. Brittany Hively | OVP
https://www.mydailysentinel.com/wp-content/uploads/sites/14/2021/12/web1_IMG_2769-1.jpegThe Gallia-Jackson-Meigs ADAMH Board has a display set up in Gallipolis in Lights. "You matter," is a part of the organization's current "Your presence is a present" campaign. Brittany Hively | OVP
https://www.mydailysentinel.com/wp-content/uploads/sites/14/2021/12/web1_IMG_2781.jpegAs the days tick down to Christmas, visitors continue to fill Gallipolis City Park to enjoy the lights and holiday cheer of Gallipolis in Lights. Brittany Hively | OVP
https://www.mydailysentinel.com/wp-content/uploads/sites/14/2021/12/web1_IMG_2792.jpegThe Ohio Valley Bank tree brings a spin to the average Christmas tree and entertainment to visiting light viewers. Brittany Hively | OVP
https://www.mydailysentinel.com/wp-content/uploads/sites/14/2021/12/web1_IMG_2795.jpegAlong with other displays across Gallipolis City Park for Gallipolis in Lights is the photo-worthy gingerbread house. Brittany Hively | OVP
By Brittany Hively
bhively@aimmediamidwest.com
Brittany Hively is a staff writer for Ohio Valley Publishing. Follow her on Twitter @britthively; reach her at (740) 446-2342 ext 2555.
Hi! A visitor to our site felt the following article might be of interest to you: The season of 'Lights'. Here is a link to that story: https://www.mydailysentinel.com/news/69020/the-season-of-lights


How can Westmont better meet the needs of alumni? To answer this question, the alumni and parent relations office is sending students to talk to alumni one-on-one. During school breaks, these student ambassadors will sit down with alumni in their hometowns and ask them about their experiences while at Westmont and since they've graduated. At the same time, the students will discuss the college today.
The alumni office will use the information gathered to better serve alumni. "What we learn will help us form strategic plans, set goals, and discover ways to provide effective and relevant programs and communication to our alumni," Rouse says.
During the next few years, some of Westmont's most talented first- and second-year students will meet with more than 1,500 alumni. The program began during spring break in March 2013.
Emily Pihl '16 belongs to the first group of ambassadors trained during the spring. "I wanted to see what life after Westmont is like and build relationships with alumni," she says. The first time she visited Westmont with her brother, Zach '14, she felt a sense of belonging. Connecting with alumni has deepened that feeling.
A native of Tustin, Calif., she has interviewed about a dozen alumni in Orange County, contacting them herself to set up meetings. She talks about her major in education, her minor in Spanish and her plans to teach elementary school.
But mostly she listens to experiences from alumni of all ages. She loved meeting a couple who knew Kenneth Monroe and John Page. She's surprised at the range of professions she's encountered and says she hears recurring themes. Alumni describe their time at Westmont as "life-changing," they value the liberal arts, and they keep in touch with classmates and professors. "It's been good to see how happy they are and how God has blessed them," she says.


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Adam Sandler, Drew Barrymore together again in Blended trailer
John Stewart	December 17, 2013
Slanted > Film > Adam Sandler, Drew Barrymore together again in Blended trailer
Few on-screen couples have the staying power of Adam Sandler and Drew Barrymore, the rom-com duo are back again this time in a new film called 'Blended'. The film won't hit theatre until May 23, 2014 but you can get your first look starting tonight.
This is actually the third film that features the two love-birds, the other two being the hit romantic comedies "50 First Dates" and "The Wedding Singer." In this film, after a disastrous blind date, single parents Lauren (Barrymore) and Jim (Sandler) agree on only one thing: they never want to see each other again. But when they each sign up separately for a fabulous family vacation with their kids, they are all stuck sharing a suite at a luxurious African safari resort for a week.
"Blended" also stars Joel McHale (NBC's "Community") as Lauren's ex-husband, Mark, and Wendi McLendon-Covey ("Bridesmaids") as her best friend, Jen; Kevin Nealon ("Weeds") and Jessica Lowe (funnyordie's "RobotDown") as an overly romantic couple also vacationing at the resort; Terry Crews ("The Expendables 2") as the resort's singing host; and Dan Patrick (ESPN SportsCenter) as Dick.
John Stewart December 17, 2013
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The project, which will run until September 2018 and is one of nine national pilot studies, funded by Historic England, to explore how the heritage sector might more fruitfully engage with 'natural capital' and 'ecosystem services' approaches by looking in detail at the heritage associated with particular environmental contexts. The aim of the overall project is to explore how the historic environment might be better included in these approaches contribute to developing guidelines.
'Natural capital' is defined as the world's stock of natural resources, which includes geology, soils, air, water and all living organisms. 'Ecosystem services' are the many and varied benefits that humans freely gain from the natural environment and from properly functioning ecosystems.
The Blackdown Hills Area of Outstanding Natural Beauty (AONB) has a suite of special qualities that together make it unique and outstanding, underpinning its designation as a nationally important protected landscape (designated in 1991). An extensive and connected field boundary network is one of special qualities that underpin its designation.
The Blackdown Hills AONB case study will explore the historic landscape character of the AONB, looking at the pattern of fields, boundaries and linear landscape features of this 'everyday' but extremely special farmed and managed landscape. It will consider the heritage assets that are integral to these patterns (e.g. prehistoric enclosures, parish boundaries) and those that are regularly associated with them (e.g. orchards within former extractive pits; veteran hedgerow trees and catch-meadow irrigation systems). The case study will look at the landscape as a provider of different and varied ecosystem services.
The Blackdown Hills is an isolated, unspoilt rural area and remains relatively undisturbed by modern development and so ancient landscape features, special habitats, historical and archaeological remains have survived intact. The traditional pattern of villages, hamlets, paths and roads remains largely unchanged and there is an identifiable and characteristic vernacular, pastoral landscape. There is a diversity of landscape patterns and pictures. The visual quality of the landscape is high and is derived from the complex patterns and mosaics of landscapes.
Although the scenery is immensely varied, particular features are repeated. Ancient, species-rich hedgerows delineate the fields and define the character of the landscape, enclosing narrow twisting lanes. There are long views over field-patterned landscapes. The high plateau is dissected by steep valleys, supporting a patchwork of woodland and heath, and fine avenues of beech along the ridge. The history of medieval and parliamentary enclosures has resulted in an individual, patchwork landscape of small fields in the valleys and larger fields with straight hedges on the plateau.
The landscapes of the Blackdown Hills have been created by the interplay of people and the land over the centuries. There are significant concentrations of early prehistoric evidence: since prehistoric times those who lived here have left evidence of their activities that can still been seen today; tools from the Neolithic, Bronze Age barrows on the ridge tops and spectacular Iron Age hillforts that dominate the surrounding lowlands. The Romans left their villas and extensive evidence of iron working. The pattern of fields medieval, and in places prehistoric, in its origins. The ancient woodlands and the royal hunting forest of Neroche are also survivals of the medieval period. Parliamentary enclosure of the commons, culminating in the 19th century, created the regular fields and straight roads of the plateau tops. Three airfields on the plateau played important roles in World War Two. Since that time there has been a substantial loss of hedgerows and orchards to meet the needs of modern agriculture; simplifying parts of the landscape and masking their early origins.
The biodiversity of the Blackdown Hills is one of its greatest assets. The unique geology and landscape patterns of the area have combined with traditional management to support a rich diversity of habitats and species. This immense variety, with patches of valuable habitat scattered throughout the landscape, is notable; these include flower-rich meadows, ancient hedgerows, spring line mire, wet woodland, heathland, calcareous grassland, ancient woodland, fen and bog. Bees, butterflies, birds, bats and many other animals, some nationally scarce, thrive in the Blackdown Hills, feeding and breeding in the habitats the area provides. These habitats and wildlife bring colour, texture, sound and life to the landscape, epitomising the mental picture of the 'English Countryside', which has, in reality, long since disappeared elsewhere.
The natural capital value of these features has not been measured and indeed there is little information on the extent and condition of the resource overall. For the historic environment a baseline desk-based survey of the area was undertaken prior to designation as an AONB.