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The 'ghost cells' of Troy: 800 year old skeleton with mysterious nodules allowed researchers to reconstruct ancient bacteria
30-year-old woman was laid to rest in a stone-lined grave
Curators found two calcified nodules just below her ribs
Nodules contained enough DNA to allow researchers to reconstruct bacteria
Found two bacteria probably caught from cattle killed the woman
By Mark Prigg For Dailymail.com
Published: 14:01 EST, 10 January 2017 | Updated: 15:18 EST, 10 January 2017
Eight hundred years ago, in a hardscrabble farming community on the outskirts of Troy, once one of the fabled cities of the ancient world, a 30-year-old woman was laid to rest in a stone-lined grave.
However, the skeleton was hiding a secret - two calcified nodules, each the size of a strawberry, nestled at the base of the chest, just below the ribs.
Experts found the mineralized 'ghost cells,' closely resembled bacteria from the genus Staphylococcus, a family that includes the highly pathogenic species S. aureus - and give new clues into life in Troy.
Researchers found the skeleton was hiding a secret - two calcified nodules, each the size of a strawberry, nestled at the base of the chest, just below the ribs.
HOW DID SHE DIE?
The physical evidence suggests the cause of the woman's death, which occurred in the waning decades of the Byzantine Empire, was chorioamnionitis, a bacterial infection of the placenta, amniotic fluid and membranes surrounding the fetus.
In addition to the woman's DNA, and that of the bacteria causing her infection, researchers identified ancient Y chromosome DNA, likely that of a male fetus.
'The preliminary thought was that these were tubercles arising from tuberculosis,' says Caitlin Pepperell, a University of Wisconsin-Madison expert on the evolution of pathogens and a professor of medicine and medical microbiology.
A bacterial infection, tuberculosis is characterized, often, by the growth of calcified nodules in the lungs or other tissues.
DNA, elemental and microscopic analysis of the round white stones, however, ruled out tuberculosis as well as urinary or kidney stones as possibilities.
Cracking open the nodules, researchers discovered extraordinarily well preserved microfossils, mineralized 'ghost cells,' that closely resembled bacteria from the genus Staphylococcus, a family that includes the highly pathogenic species S. aureus.
Henrike Kiesewetter, an archaeologist affiliated with Project Troia at Tüebingen University, spotted the nodules as she curated the skeleton: two calcified nodules, each the size of a strawberry, nestled at the base of the chest, just below the ribs.
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The nodules and the DNA locked inside their concentric layers of calcium were sent to McMaster University's Hendrik Poinar, an expert in ancient DNA whose lab is known for its prowess in extracting and reconstructing genetic material from ancient archaeological and paleontological remains.
'Amazingly, these samples yielded enough DNA to fully reconstruct the genomes of two species of bacteria, Staphylococcus saprophyticus and Gardnerella vaginalis, which infected the woman and likely led to her death,' says Poinar.
Writing in the journal eLife, a team led by Pepperell and Poinar provides a molecular portrait of the fatal infection.
The work lends insight into the everyday hazards of life in the late Byzantine Empire, sometime around the early 13th century, as well as the evolution of Staphylococcus saprophyticus, a common bacterial pathogen.
A cross section (measured in centimeters) of a calcified nodule found in a skeleton dating to Byzantine Troy, sometime around the 13th century. Cracking open the nodule, researchers discovered extraordinarily well preserved microfossils ? mineralized ?ghost cells? ? that closely resembled bacteria from the genus Staphylococcus, a family that includes many pathogenic species. The ghost cells yielded enough DNA for researchers to fully reconstruct their genomes.
'Calcification made little tiny suitcases of DNA and transported it across an 800-year timespan,' says Pepperell of the nodules that formed while the woman was still alive, encasing the bacterial pathogens in calcium and preserving their genetic material.
'In this case, the amount and integrity of the ancient DNA was extraordinary. One typically gets less than 1 percent of the target organism.'
TROY AND TROJANS
A Trojan horse, made famous by a battle in the region of Troy
Troy is the name of the Bronze Age city featured in the Trojan War of ancient Greek oral and literary tradition, and the name given to the archaeological site in the north west of Asia Minor (now Turkey) which has revealed a large and prosperous city occupied over millennia.
There has been much debate as to whether mythical Troy actually existed and if so whether the archaeological site was the same city.
However, it is now almost universally accepted that the archaeological excavations have revealed the city of Homer's Iliad.
Other names for Troy include Hisarlik (Turkish), Ilios (Homer), Ilion (Greek) and Ilium (Roman).
The present-day location is known as Hisarlik.
It was the setting of the Trojan War described in the Greek Epic Cycle, in particular in the Iliad, one of the two epic poems attributed to Homer.
The nodules, says Pepperell, also contained human DNA of the woman and what looks to be her male fetus, but between 31 and 58 percent of the preserved DNA came from the bacteria responsible for the woman's infection.
'There was something really interesting about the way this material was preserved,' says Pepperell.
'The quality of the (genetic) data is unparalleled.'
The physical evidence, she says, suggests the cause of the woman's death, which occurred in the waning decades of the Byzantine Empire, was chorioamnionitis, a bacterial infection of the placenta, amniotic fluid and membranes surrounding the fetus.
'Quite a few women died from complications during pregnancy and childbirth,' notes Kiesewetter, a co-author of the eLife report.
Finding a case of maternal sepsis in the fossil record, notes Poinar, is unique: 'There are no records for this anywhere,' he says.
'We have almost no evidence from the archeological record of what maternal health and death was like until now.'
The ability to extract DNA from ancient materials and, in this case, reconstruct the genomes of microorganisms responsible for a fatal infection, help fill in the picture of rural daily life eight centuries ago.
THE ANCIENT BACTERIA
The strain of Staphylococcus saprophyticus is different than the kind that typically infects humans today, and is more closely aligned with strains found in livestock.
'The Troy isolate is in this really interesting position between the cow and human-associated staph,' explained Pepperell.
'It looks like the bug that caused her disease was in a different niche than what we see associated with human infections today.'
The genetic blueprint for the Staphylococcus saprophyticus bacterium, she notes, adds to 'a pretty short list of ancient bacteria -- cholera, tuberculosis, leprosy, plague - for which we have DNA.'
Some strains of Staphylococcus bacteria, such as Staphylococcus aureus, are commonly found on human skin where they typically pose no health risk.
But the bacterium can cause serious and even fatal infection if it penetrates deeper into the body.
Staphylococcus saprophyticus, on the other hand, can be acquired from the environment. 'The strain from Troy belongs to a lineage that is not commonly associated with human disease in the modern world,' Pepperell explained, noting that the historical record indicates Byzantine peasants typically lived with their livestock.
'We speculate that human infections in the ancient world were acquired from a pool of bacteria that moved readily between humans, livestock and the environment.'
'Results from the osteological analyses of the Late Byzantine burials from Troy fit well to a picture of a rural population,' says Kiesewetter of the burials amid the ruins of the city best known as the setting of the Trojan War as told in Homer's epic poem the Iliad.
Degeneration of the spine and joints, found in more than half of the skeletons from the time, are believed to portray a life of hard labor in the fields.
'People were struggling with physical strains and infectious diseases and only a few lived beyond the age of 50,' explains Kiesewetter.
'Many newborns did not survive infancy and almost all skeletons of children show signs of malnutrition and infection.'
Rampant tooth decay in the population, she adds, may have been the result of a rural diet rich in fruit such as figs and dates.
The preservation of the bacterial DNA, like the infection itself, was likely an artifact of the woman's pregnancy, Pepperell notes.
'The placenta is very prone to calcification as there is a lot of movement of calcium to the fetus.
'The biomineralization process can occur very quickly.'
The 'ghost cells' of Troy: 800 year old skeleton contains strange nodules that allowed researchers to reconstruct ancient bacteria
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2018/19 Annual Review
Voices from the Frontline
What we've funded
London Impact Awards
Grenfell Young People's Fund grants awarded
By Kelly Rust
Kelly Rust
Director of Grants and Impact
We are pleased to announce that the first round of grants totalling £395,435 has been awarded through the Grenfell Young People's Fund, an Evening Standard Dispossessed Fund initiative.
10 organisations were awarded funding of up to £15,000 per year over up to three years to support children and young people affected by the Grenfell Tower fire. Through this fund, funding was made available for organisations who will improve wellbeing for children and young people, enable them to be more engaged and empowered and have a role in society or to support them to become work ready or employed. You can see the full list of organisations funded here.
The Grenfell Young People's Fund has been developed and is being overseen by a panel of local young people and community members who made decisions about how the outcomes and criteria as well as how the funding is allocated.
There will be two further rounds, with invitations for applications running again later in 2019 and in 2020.
The purpose and design of the Grenfell Young People's Fund has been decided by the young and local people who make up its Grants Panel, supported by LCF. It is their experience and community expertise which has determined the outcomes, priorities and activities to be funded. As needs naturally change in the community LCF will be supporting the Grants Panel to decide how the fund develops, working collectively and collaboratively.
The London Community Foundation
Unit 1.04, Piano House
9 Brighton Terrace
London SW9 8DJ
info@londoncf.org.uk
If you need to raise a complaint, please contact: complaints@londoncf.org.uk
Stay up to date with our latest news and grants by entering your email here
© 2020 The London Community Foundation The London Community Foundation is a registered charity (1091263) and company limited by guarantee (4383269). Quality accredited by UK Community Foundations to standards endorsed by the Charity Commission.
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redpajama_set_name: RedPajamaCommonCrawl


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Mine Rehabilitation and Replenishment: It's Not a Game
Do you ever unwind from a stressful day by playing video games? More than 270 million Americans do the same. When you enjoy a break from reality with a game like Skyrim or World of Warcraft, you only need to wait a while for monsters, mines, and ores to repopulate. Mine rehabilitation isn't a concern.
The real world doesn't work like that. The minerals and raw materials we mine from the earth's crust exist in finite amounts, and they won't repopulate, even after a few centuries of inactivity.
Historically, mining companies would abandon a mine site once it's mined out. But as we move forward with the energy transition, we know this behavior is no longer acceptable.
First, we must look into any secondary materials from a mine. Launching a new mine is a paperwork nightmare, so dedicated sites should be repurposed for other materials whenever possible. Secondly, once a mine is finally truly exhausted of resources, there are environmental concerns to solve and damage to mitigate.
Today, we're talking about mine rehabilitation and replenishment, and we'll cover ideas like reforestation and wildlife reintroduction. But first, let's talk about how and why we should rehab abandoned mines.
Why Should We Rehabilitate Abandoned Mines?
From individual tragedies of accidental death to long-term effects on wildlife and water tables, let's examine why we should rehab abandoned mines.
The Acute Human Losses
Abandoned mines are extremely unsafe. According to the US National Parks Service (NPS), drowning is the most common cause of death associated with abandoned domestic mines. Water that collects in quarries and shafts is deceptively cold, the walls may be slippery or crumbling, and there may be sharp equipment just below the surface.
Beyond drowning, people die in abandoned mines by:
Inhaling deadly gases
Cave-ins and collapses
And unstable explosives
Real-world explorers on vacation should avoid mine shafts and quarries. This isn't EverQuest, and there's no treasure chest to be looted at the bottom of the mine. Even if you explored a mine safely in the past, it may have deteriorated since then.
Remember that mines are constructed and maintained while they are operating. Once the miners depart, they leave vertical openings uncovered and remove ventilation systems. Support structures, like timber or pillars of ore, are removed or left to decay. So mines are much less stable than when they were operating.
Beyond the imminent danger posed to adventurers, abandoned mines can harm the local environment.
Long-Term Dangers of Abandoned Mines
In the US, abandoned mines associated with acid mine drainage (AMD) significantly threaten ground and surface water quality. Active and abandoned mines disturb the land and alter the local hydrologic balance, as the quality and quantity of nearby freshwater are affected. Most domestic mines are now reclaimed after the completion of mining activities, but before the enactment of environmental laws in the 1970s, most abandoned mines were not reclaimed.
This is a global issue. While domestic mine sites — and their acidic discharges — must be remediated in the US, undeveloped nations aren't yet on board. Some countries, like China, seem to have minimal regard for water quality, and we've covered this before.
The chronic effects of abandoned mines include:
Unhealthy water for agriculture and wildlife
Illness and congenital disabilities in nearby communities
And cognitive disabilities in children born near mines
Now that we know how vital mine rehabilitation is, let's discuss how to get it done.
Mine Rehabilitation Explained
Mine rehabilitation is a sustainable response to the destruction of lands through mining and drilling. Many heavily polluted or toxic mining sites have been successfully restored to a safe and functioning ecosystem through mine rehabilitation.
Mining and extraction provide the critical metals and minerals our global society needs to function. But the environmental impact of mining is significant. American Mine Services, LLC (AMS) says it best, "If not properly managed, mining activity can impact surrounding environments and their biodiversity. This can result in disastrous erosion and release toxins and heavy metals."
So, how does it work? Well, that depends on the type of mine and the ultimate goal of rehabilitation.
How Mine Rehabilitation Works
You might think the first step to rehabbing a mine site is to fill in the holes and shafts. But it's a bit more complicated.
Doing the Research
Before filling in a mine, we must conduct studies to understand things like erosion and groundwater movement. The goal isn't just to fill a hole with debris but to return the site close to its original state or make it otherwise useful.
Mining companies use a combination of boots-on-the-ground, software, aerial surveillance, and soil and water testing. Then they can choose which type of rehabilitation will cost-effectively produce results.
Chemical Containment
One of the most pressing problems for miners is chemical containment, and the problem starts during the mining process when chemicals are used to leach materials from the host rock. (Check out our previous articles if you want to learn more about that process.)
Chemical containment is an ongoing issue. We cannot simply leave acids at a site to eventually leak into the ground and poison local water tables. So that's one of the first tasks an organization undertakes when rehabbing a mine.
A standard answer to this question is the use of settling ponds. Operations that extract coal, copper, gold, diamonds, lead, nickel, salt, uranium, and other materials produce wastewater containing dissolved heavy metal ions. These ions can affect the pH of receiving waterways if not treated. Settling ponds or basins can remove impurities and improve the quality of the water leaving the site.
Settling ponds work by holding water until the suspended solids settle. Then we can remove those solids. Chemical treatments can hasten the settling process. These settling ponds, called basins, are lined with geomembrane material to prevent groundwater contamination.
Filling the Site
Next, we fill the mines using a combination of draining materials and mineral-rich soils or whatever that specific site requires. Then we compact this material very hard to prevent settling and erosion. Now the site is ready for reuse.
Types of Mine Rehabilitation
There are four primary types of rehabilitation for mine sites, and farmers or biologists can sometimes interchange them to produce nutrient-rich soil.
Once the mine is filled and covered with topsoil, it's farmed sustainably. Agriculturists try to match the crop production at the site with the crops of surrounding farms for the best chances of success. Here in the US, we like to plant orchard grass, which we can then harvest for hay or use to create pasture.
Grazing relies on domestic livestock consuming grasses or vegetation to redistribute nutrients to the soil. It can maintain and increase the area's biodiversity, returning it to a viable farm. The type of livestock pastured at a site depends on the local topography. Cattle, for example, do well on flat, grassy pastures with access to fresh running water. On the other hand, goats are happy on rocky cliffs and can survive on the scrubby brush as long as they have access to shelter.
Conservation is a broad term encompassing:
Naturalization, or restoring the land to an unmolested state
And heritage protection on/near tribal lands
Native Restoration
The goal of native restoration is to bring back the native vegetation to a mine site in hopes that the wildlife will follow. It usually does. Reforestation is a popular method and brings all sorts of benefits like cleaner air and CO2 capture.
Success Story: The Reintroduced Elk of Central Appalachia
As the coal mining industry of our Appalachian mountains drifts into the mists of memory, locals are rehabbing vast swaths of strip-mined land near the tiny town of Grundy, VA (population: 875).
A million acres of land has recently been repurposed for Rocky Mountain elk, who love grazing on open flat lands and disappearing into the groves of locust and autumn olive trees.
This site was initially used for coal mining via shafts and then was subject to mountain-top removal mining. As the name implies, this radical and controversial mining method requires entire mountain tops — and all the flora and fauna that live there — to be blown to bits, leaving a flat top and access to the precious coal beneath.
Mountain-Top Removal Mining
Of all the types of coal mining, this may be the most environmentally destructive. Now that coal mining is mostly obsolete in America, it's time to rehabilitate those cropped mountains. Now, it's impossible to put a mountain back together again exactly as it was. And there's no way to undo the deaths of billions of lifeforms. But we can plant grasses and trees and reintroduce grazing wildlife, like the elk, which will spread some biodiversity and nutrients via their manure.
The good news is that the elk seem to love it there. Residents near Grundy enjoy (highly controlled) hunting activities, and there's a future market for recreational hunting and hospitality that never existed in the tiny coal town.
The Ultimate Goal of Mine Rehabilitation
As we shift from a fossil fuel-based energy system to a mineral-based system, it's our responsibility to leave as little waste as possible at mine sites and find other uses for mining sites if we can. But the ultimate goal should be to return spent mines to nature's possession. Mine rehabilitation isn't a game. There's no final boss. But we could still win.
Related Reading & Resources:
Miningtechnology.com: Mining Vehicles – A Ride Through Time
Gwpc.org: Abandoned Mines
Dendra.io: Progressive Restoration for Mine Reclamation
energy transitionenvironmentmineralsminingtechnology in energy
Reusing Mine Waste: How to Make Mining More Sustainable
Reducing the Impact of Lithium Extraction and Processing
The Practical Problems for Solar Farms: Distribution, Disposal,...
Corporate Venture Capital in Climate Tech, From Drugs...


The City of Spokane has been working to ensure that we have accurate account information for all of our customers. We have been updating our database so that utility accounts accurately reflect the owner of a property.
The City also has a new credit for low-income seniors and disabled persons who qualify for State of Washington property tax exemptions granted through Spokane County.
If you need to update your account information or apply for the City's credit program for senior or disabled individuals, you can get started here by providing your account number and street address.
Utility billing account number that appears on your statement.
Street address only, exactly as it appears on your statement.
Why is it important to make sure Utility Account information is accurate?
Who is responsible for paying a City utility bill?
The property owner or property management firm will be sent an original monthly bill and is ultimately responsible for the utility bill. Upon request, the City will issue a duplicate bill to a tenant. Payments are accepted from property owners, property management companies, a tenant, or any third party.
What is the new credit for low-income seniors and disabled individuals?
For 2018, the City of Spokane created a new credit program for low-income seniors and disabled individuals. The new credit is available to low-income seniors and disabled persons who qualify for State of Washington property tax exemptions granted through Spokane County. For most qualified individuals, the credit amounts to $10 a month. A third of the amount will be credited toward each of the three main utility services: water, sewer, and solid waste. The credit is prorated for customers with only one or two services.


We realize you may have a few questions, like what type of portable toilet do I need or how much is this going to cost. Just give us a call and one of our specialists in Fishers, Indiana will be happy to answer any questions you may have.
Hints For Renting a Port-A-Potty by Fishers, Indiana.
Choosing the correct porta potty option ensures that your event will be remembered as a good time. Getting a porta potty usually is not the most prevalent thing on someone's mind when they're hosting an event, but the last thing you need is for guests to be waiting in irritating lines to use the bathroom. Prior to ahead with any big event you'll want to make sure you have enacted preparations to prepare for the typical bathroom desires of your attendees with a porta potty option.
Choices to consider when selecting a portable toilet solution include the number of guests attending, the estimated length of the event, whether food and beverages will be served and whether the atmosphere of the event will be causal or formal. The number of people, the length of time they'll be attending and how many refreshments you'll be hosting are all good factors in selecting the right porta potty solution.
Choosing a reliable portable toilet vendor is going to make a big difference in both the type of service and the expense you're going to incur. You should go with a portable toilet company that has experience, a wide selection, a consistent service history, and has the experience to work with you to get the perfect portable sanitation selection to suit your needs. Ask your portable toilet company about how quickly they can react in case there is an issue with any of their stalls during your big event, since no one wants to watch their guests exit prematurely due to a spill. There are many varieties of portable restrooms from standard porta potties to high end luxury restroom trailers, and all different types of toilets for a variety of uses.
Your basic porta potty will be made of plastic, have a single stall and will come with toilet paper along with some sort of hand sanitizer . If you are looking to keep costs down, you could actually use an outside sanitation station where attendees can wash their hands after, which will save you the extra fees of needing to rent stalls with inside wash bins. As you probably already know, porta potties don't have any plumbing, but rather they use chemicals to take care of waste and are disposed of afterwards . The substances are the blue liquid found at the bottom of a stall, and if you are renting for a long time, then you may have to ask about removal and replacement services.
Many porta potty rental companies will gather information such as your guest size and length of your event prior to providing an accurate price quote. Price will vary greatly depending on kind of event, region, crowd size, porta potty type, length of use, and accessories. You will be able to customize your porta potty addons and include things such as mirrors, running water inside and also air fresheners if you'd like them for your event.
There's a serious of situations when you can benefit by getting a portable toilet rental on site for any occasion that involves large amounts of people. Corporate functions, charity events, and weddings are examples of situations when it makes sense to rent the upscale restroom options. Whenever you are having guests who are going to be dressed up in nicer attire, it makes sense to opt for the more luxurious portable toilet options. These rental facilities will help ensure that your attendees aren't hindered by lack of stalls or amenities that they would always enjoy inside.
To rent a porta potty, it's important to know all the options it comes with. An entry level portable toilet comes with with several sanitary amenities like toilet paper, seat cover, a holding tank, dispenser, and door lock along with indicators. A deluxe flushing toilet has additional sanitary options besides having the selections of a basic restroom. Some of the options you could go with include higher end portable toilets with hand soap dispensers, washing stations and mirrors. VIP self-contained mobile toilets have all the finer options that are listed above along with an interior light.
At the very least you're probably going to be spending at least for renting a basic portable toilet for a day, or as much as one hundred dollars depending on the area you're in. You absolutely don't want to overestimate and end up paying for too many stalls, therefore it's important to get the exact amount you want to save on costs. Get the portable restroom rental agency that is close to the occasion's location as it can end up saving you some more extra dollars. Costs of portable toilets tend to increase during wedding season, in the Spring or Summer times, so that's something to keep in mind when making your choice. You can get the best rates if you book your portable toilets in advance throughout the off season. As long as you have a basic understanding of portable toilet selections and what goes into their pricing, you'll be able to make the best choice in order to manage a great event regardless of how many people you're anticipating.


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This free lunch seems unsustainable, but no one is minding guardrails
Tim Rowland
timr@herald-mail.com
At the dawn of 2020, New York state had a $5 billion hole in its budget, with no clear idea how to close it. God bless the pandemic. By some projections, the pending financial stimulus bill will pay the state six times its original debt, while "making it rain," as Pac Man Jones once said, on small communities that are by no means clear on what they're supposed to do with the windfall.
Certainly, there is a level of need. New York, like other states, was economically crippled by the pandemic, spending billions battling COVID, while losing corresponding amounts of revenue due to the economic shutdown. Yet any way you slice it, the state is receiving a Get Out of Jail Free card for excessive, pre-pandemic spending.
(Should any snowflakes feel themselves entering a shame spiral over this circumstance, they can take heart that in a normal year it's the red states that are being bailed out with a disproportionate share of federal dollars.)
Whatever is the opposite of throwing the baby out with the bathwater, the pending federal stimulus bill is it. State and local governments are being drenched with cash, not only as a way to recoup their losses, but as a backdoor infrastructure plan, allowing them to, as your rich uncle would say, buy themselves something nice.
This is public policy, 2021 style.
It is also what happens when only one side of the aisle has any policy ideas to begin with.
Polling, to the degree that it can be believed anymore, shows a surprising number of Trump voters support President Joe Biden's economic plan, even if they're wary of Biden himself. This turns an old conservative axiom on its head: They hate the sinner, but love the sin.
It also helps to recall that a central pillar of the stimulus — $1,400 checks for the great majority of the American public — was advocated by the former president. Indeed, it is quite likely that Republicans lost control of the Senate because, in the waning hours of the Trump presidency, conservatives couldn't even agree on a rudimentary snippet of policy that the former president himself wanted.
To people of both parties there is relief in seeing action — any action — on the part of their leaders, instead of watching their intubated government lying comatose in the face of multiple crises.
It is a low bar to be sure, but Biden seems to have gained traction by reminding Americans that lawmakers have a job to do, beyond tweeting and egging on sad sacks who fancy themselves part of some elite Barney Fife strike force.
Conservatives who are truly worried about socialism — and Lord only knows whether they truly are, or not — should have spent the past three years showing the public that capitalism worked. They could have moved on a much-talked-about, never-acted-upon infrastructure bill. They could have hardened the country against severe weather and turned the private sector loose on our software and energy inadequacies. But since 2017, there has not been one unified GOP policy initiative that went beyond opposing anything the liberals were for.
So bereft of ideas was the GOP that it couldn't even scrape together a platform at its 2020 convention. Even conservative Greatest Hits such as a balanced budget amendment and frowning with concern at judicial activism went by the boards.
Congressional conservatives who once, correctly, fretted over executive overreach, surrendered their legislative duties to the former president, who ruled by executive fiat that, unlike law, is easily reversible. The result of that path was apparent in January, when President Biden effectively undid four years of Trump crockery smashing in one day.
Then, hamstrung by those meddling kids otherwise known as American voters, conservatives who once preached judicial restraint, turned to the courts for relief, and have been sorely disappointed that conservative jurists believe in — who knew? — an independent judiciary.
In place of creating legislation, congressional Republicans have created a one-act play of airing grievances and parroting catchphrases, seeking soundbites and elevating emotionally charged symbols above problem-solving legislation. The result is a valueless ghost of a party left to drift in the direction of whoever is blowing the most hot gas.
Lacking discipline, no conservatives in 2017 did the conservative thing by asking how we would pay for a $1.5 trillion tax holiday for the wealthy. So they lack the intellectual consistency to protest the $1.9 trillion bailout today.
No one knows the long-term result of this largesse. Maybe, as more economists are saying, debt is no longer relevant. But to some of us, this sounds like an unsustainable free lunch. Unfortunately, there is no conservative left with the stature to tell us that we can't all quit our jobs and wait for the government to send us more checks.
Tim Rowland is a Herald-Mail columnist.


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"Bart Gets Hit by a Car" är det tionde avsnittet av den andra säsongen av den amerikanska, animerade komediserien Simpsons. Avsnittet sändes i amerikansk TV för första gången den 10 januari 1991.

Handling
Mr. Burns bil kör på Bart när han åker på sin skateboard. Bart får en utanför kroppen-upplevelse, där han åker på en rulltrappa av guld och kommer till himlen. Som brukligt är gör Bart raka motsatsen till vad han blir tillsagd (håll i räcket och spotta inte över kanten), och blir därför skickad till helvetet. Väl där möter han Djävulen. Han svävar in i sin kropp igen, och vaknar upp i en säng på sjukhuset. Bart har fått mindre skador, en bula i pannan och en bruten tå, men inget allvarligt. Lionel Hutz, en jurist, kommer in i rummet och föreslår att Homer ska stämma Mr. Burns. Burns erbjuder Homer 100 dollar, men han vägrar ta emot dem utan går till Lionel Hutz. Hutz lovar Homer en ersättning på minst 1 000 000 dollar. De går till läkaren Nick Riviera, som säger att Bart är svårt skadad. En bild på ett fingeravtryck visade enligt honom egentligen brutna revben. Marge tvivlar dock på Dr. Nicks kompetens.

Homer stämmer Mr. Burns, och Bart ger sitt (överdrivna) vittnesmål om hur han lekte oskyldigt, ända tills "dödens lyxbil" träffade honom, och Burns återger sin (ännu mer överdrivna) version av händelsen, i vilken han var på väg till barnhemmet för att dela ut leksaker när Bart, i vild fart, åkte in i bilen. När juryn ser misstroende på Mr. Burns, skriker han till sina advokater och beordrar dem att föra Homer och Marge till hans hus. På hans herrgård erbjuds Homer 500 000 dollar om han tar tillbaka stämningen. Homer och Marge diskuterar saken, men Homer vägrar att gå med på förlikningen, med argumentet att Mr. Burns vet att han kommer förlora rättegången och blir tvungen att betala en miljon dollar till dem. När Marge säger att åtalet bygger på falska bevis drar Burns tillbaka erbjudandet.

Under rättegången kallas Marge till vittnesbåset. I hennes version kritiserar hon Dr. Nick för att vara en låtsasdoktor, som är mer angelägen om att sätta bandage på Bart än att få honom bättre, medan hon säger att Julius Hibbert, deras första läkare, är mer seriös. Hon ombeds att beskriva Barts mentala skador. Hon är dock inte säker på hur allvarliga de egentligen är, men hon nämner att han var hemma från skolan i tre dagar, och när hon bes sätta ett pris på hur mycket de förlorat, säger hon att Bart skulle fått 5 dollar om han kunnat gå ut med soporna. Marges ärliga berättelse förstör Hutzs mål. Senare ger Burns Homer ett nytt bud, nu på 0 dollar, vilket Hutz råder honom att ta. Trots att Bart nu får bra behandling och börjar må bättre efter rättegången, är Homer nedslagen över att Marge gjorde så att han förlorade en miljon dollar. Han går ner till Moe's. Marge, som förstår att något är fel, följer efter honom till Moe's och ber Homer att förlåta henne för vittnesmålet, men han svarar att han inte är säker på att han kan älska henne längre. När han ser henne i ögonen inser han dock att han gör det och han känner sig gladare, och de kysser varandra.

Debuter
Figurer som gör sina första framträdanden i detta avsnitt är:
 Dr. Nick Riviera
 Lionel Hutz
 Den blåhåriga advokaten

Referenser till populärkulturen
 Herb Alpert and the Tijuana Brass sång "Tijuana Taxi" har hörts två gånger i seriens historia: i detta avsnitt (när Burns berättar om sin färd till barnhemmet, innan olyckan) och i "On a Clear Day I Can't See My Sister".
 Djävulen säger "Please allow me to introduce myself", vilket är en referens till The Rolling Stones sång "Sympathy for the Devil".
 När Bart vaknar upp efter sin utanför kroppen-upplevelse, säger han: "I did go away, Mom! I was miles and miles and miles away, writhing in agony in the pits of Hell! And you were there! And you and you and you,", en referens till filmen Trollkarlen från Oz, när Dorothy vaknar upp ur sin dröm.

Källor

Externa länkar
Avsnittskapsel på The Simpsons Archive

Avsnitt av Simpsons säsong 2
TV-avsnitt 1991

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text:
Pam Summa | author, editor, and creativity coach
Feed the Muse
Tag Archives: Noomi Rapace
July 9, 2015 by pamsumma
Women fight back: Lisbeth Salander, part IV
Noomi Rapace as Lisbeth Salander
To reiterate: at the end of the trilogy, Lisbeth has her freedom — she is rich, she has the legal rights of an adult, and all of her personal enemies are dead or in jail. Stieg Larsson had a fourth book planned in which Lisbeth went to Canada, with flashbacks to explain why she got the dragon tattoo that defines her. Larsson died soon after delivering the trilogy to his publisher so we don't know what he intended, or how he (and Lisbeth) perceived that tattoo.*
To this reader (me), the tattoo is about protection – Lisbeth wants a dragon to watch her back, to protect her from enemies. But unlike Perseus, who used the gorgon's head to slay his enemies, Lisbeth can't set aside the dragon when it becomes burdensome – its watchfulness is part of her. And unlike Josey Wales and Patrick Jane, Lisbeth's vengeance can't be satisfied and justice achieved by killing the man who murdered her family; her quest is too large for that. It's as large as a dragon or a rainbow, and just as hard to reach — Lisbeth has the audacity to believe that women have the right to be safe from abuse. Since no one else in her world seems to be doing anything to ensure this right Lisbeth takes the sword of justice into her own hands, killing or disempowering "men who hate women" when they cross her path.
While she is willing to die in the attempt to make women safer (as when she goes after her gangster father and half-brother, who have been trafficking in women), she would rather survive and live in freedom. More like Patrick Jane than Thelma and Louise, Lisbeth uses her formidable intellect, plans ahead, thinks on her feet, and controls her impulses to achieve her ends. But since her quest is endless (the world is full of misogyny and misogynists), there's no redemption in sight for her.
As well as the problem of an endless quest for justice, Lisbeth herself has been turned to stone by abuse. Being brutalized has shaped her into someone who can exact retribution, who can be as implacable as that blindfolded goddess with the scales. But what does that do to her human side? Actor Noomi Rapace talked about how it felt to play Lisbeth when she had to "find her in me" and then "translate her into me", which was like having the character "move in" to her own body.
Noomi Rapace as herself
Rapace said that her initial inspiration was Patricia Arquette in True Romance — one of Rapace's long-time favorite films, she had watched the scene where Alabama kills the hit man at least a dozen times. After reading Larsson's books Rapace wanted to play Lisbeth but worried that she looked too "soft". She lost weight and learned kickboxing for the audition. When she got the part she had Lisbeth's facial piercings done instead of faking them so her portrayal would feel more authentic. And then she descended into the character for the duration, filming the three movies back to back.
Rapace said she was glad the movies were filmed all at once (in about 18 months) because she couldn't have managed being Lisbeth over a longer period of time. As Lisbeth, Rapace was suspicious, angry, and aggressive, and this state of mind or being bled into her interactions with friends and family. At the party for completing the films, while cast and crew drank champagne to celebrate, Rapace went off by herself and vomited. She said she wasn't ill, she was casting Lisbeth off – literally throwing Lisbeth up and out of her body so that she could go back to being Noomi. Much as she admired the character, she was ready to end the symbiosis. The peace of mind that comes to righteous avengers only visited Rapace when she was able to stop being the girl with the dragon tattoo.
*Larsson died without a will, so the rights to his books went to his father and brother, who hired another author to write the sequel. (Due out next month, with no reviews allowed until then, and no advance copies. Seems a bit odd, to say the least. You have to buy it before you can decide if you're interested?) Eva Gabrielsson, Larsson's partner of 30 years, has said that the sequel is not about "continuing" the characters and story (as advertised), but about making money. She was also unhappy about the way the Swedish films were hustled into production to take advantage of the books' popularity, but in later interviews said that Noomi Rapace "made" the films, and even that Rapace "managed the literary estate" on her own, defending the character of Lisbeth Salander by refusing to do or say anything in the film that did not match the character in the books.
Posted in Books & Movies
Tagged Eva Gabrielsson, Josey Wales, Lisbeth Salander, Noomi Rapace, Patricia Arquette, Patrick Jane, Stieg Larsson, True Romance
Women fight back: Lisbeth Salander, part III
Lisbeth visits Mikael in (a pretty low security) jail.
Despite Lisbeth's nearly total indifference to what others think of her, she is not impervious. When she falls in love with journalist Mikael Blomkvist (played by Michael Nyqvist) she is so afraid of being ridiculed for her feelings, especially after she realizes that he only sees her as a friend and occasional sex partner, that she takes off on a year-long trip. Even after he has saved her life and helped secure her freedom, she refuses to see or speak to him until her "foolish" feelings of romantic love are gone. Then can she be friends with him again. Which suggests that the ridicule Lisbeth fears comes from a harsh inner critic and is more about how she appears to herself than to Blomkvist; but this doesn't seem to occur to her.
The last we see of Lisbeth, she is either shutting the door on Blomkvist but saying she will "see him later" (in the film), or allowing him to invite himself in for coffee (in the book). In both cases Blomkvist is relieved to have her friendship again, and Lisbeth is relieved that she only wants him as a friend.
Off the top of my head I can think of two righteous avengers who find something better on the other side of revenge – Clint Eastwood in The Outlaw Josey Wales, and Simon Baker as Patrick Jane in TV's The Mentalist. Once the scales are back in balance (the eye for an eye) and justice restored, the character (and the society they are part of) can begin to heal.
Patrick Jane (Simon Baker) and Teresa Lisbon (Robin Tunney), working together.
Eastwood's Josey Wales finds love and community in an idyllic Western landscape of mountains, forests, and rivers, living in harmony with the indigenous people and the land. Baker's Patrick Jane finally hooks up with former boss Teresa Lisbon and plans to rebuild a house so ramshackle it has no keys – like a child's treehouse – in another idyllic setting, while family and co-workers dance ecstatically at their wedding. In both stories there is a sense of innocence regained or discovered, even if only momentarily — innocence achieved.
In the Millenium trilogy the society is saved, a hidden canker revealed and cut out – but what Lisbeth Salander might do with her life is unclear. She has been saved from death and prison, her rights have been restored, and she has piles of money. So what now?
Posted in Books & Movies, TV
Tagged Clint Eastwood, Josey Wales, Lisbeth Salander, Noomi Rapace, Patrick Jane, Teresa Lisbon, The Mentalist
Women fight back: Lisbeth Salander, part II
Lisbeth taking out the bikers
As Judith Lorber noted, the discrepancy between Lisbeth Salander's looks and her ability to defend herself is part of the story's appeal. Although she's been compared to Clint Eastwood's avenger characters, Lisbeth Salander as played by Noomi Rapace appears to be a victim. Eastwood is a tall, broad-shouldered man whose body language and stone face can radiate threat; his enemies know to be wary, and only gloat when he is seriously outnumbered. But when two bikers find Salander alone at a cabin in the woods they can interpret her lack of expression to mean anything, even that she is too slow-witted to understand her danger. So they gloat all over her. The second biker continues to gloat even after she has laid out the first. Like the corrupt shrink who is trying to get her put away forever, they are so convinced that she can't hurt them that they don't believe it even when she does. These men perceive Salander as their natural prey – a woman barely five feet tall, weighing less than a hundred pounds soaking wet, and all alone.
But all alone is Salander's natural state. She is not part of any group, except for an international community of ace hackers who usually connect online instead of in person. Like most good detective and thriller protagonists, Salander is a loner. In her case she is isolated by her own personality as well as the circumstances of her life – as if she has been turned to stone by forces outside her control.
It's not that she doesn't care about other people. There's plenty of evidence of her feeling for those few she calls friends, like her old guardian Holger Palmgren, her friend and lover Miriam Wu, and her ex-boss Armansky. But Lisbeth is often misread (by Armansky, for instance), since she can't show what she feels. In most cases, she doesn't want to. Lisbeth has learned to rely on herself, and a poker face has enabled her survival. The way she stonewalls official interrogators when charged with the attempted murder of her father, by saying nothing and showing no emotion, not even making eye contact, means they can't put words in her mouth or use her feelings against her. What helps her maintain a stone face for hours on end is its emotional equivalent – she doesn't give a damn what the authorities think of her, only what they can do to her. She has no emotional connection to them, no stake in gaining their approval. (Many young women, in comments on blog sites,* admired this quality most – Lisbeth doesn't need anyone's approval.) She cannot be manipulated by fear of what others think.
*P.S. I re-found the site, which had been discontinued. It was at unputdownables.net, and the article that prefaced it, written by a young woman whose name I can't find, was called "Why is the girl with the dragon tattoo so damn popular?" A good article, if anyone else can find it, let me know.
Tagged Lisbeth Salander, Noomi Rapace
February 26, 2015 by pamsumma
Women fight back: Medusa, Thelma, Louise, and Salander
The image of Alabama's fury in the movie True Romance made me think of another visual image, Carvaggio's Medusa (see below). His painting of the beheaded Gorgon shows that her horror and pain are mixed with rage at what has happened to her. This Medusa is not a vacant-eyed trauma victim; even the snakes that have become her hair seem to writhe in anger as much as agony.
Medusa by Carvaggio
In Ovid's version of the myth Medusa was not born a monster, but a human female. She was a good-looking teenager, and happened to be admiring her hair in some reflective surface in one of Athena's temples when Poseidon sneaked up on her and raped her. Furious at the sacrilege and insult, Athena turned Medusa's hair into snakes and the girl into a Gorgon whose look changed men to stone. (Talk about 'Don't hate me because I'm beautiful.') While Athena's reaction hardly seems fair when Poseidon was the perp and got off scott-free, it's about what could be expected from a goddess born out of Zeus's forehead after Zeus ate her pregnant mother. Athena is supposed to be the goddess of wisdom and justice, but as the head trip of the father of the gods she was born to be a man's woman, and a token goddess. But I digress.
In the 1970s and 1980s, feminists took the myth of Medusa as a metaphor for female rage, but also for female power and freedom. No coincidence that this was also when public discussion began about such taboo subjects as domestic violence and rape, including date rape and sexual abuse within the family. (The first modern-day battered women's shelter opened in London in 1970; the first rape crisis center in the U.S. opened in San Francisco in 1971.*)
But depictions of female rage and power in mainstream movies, in a more-or-less 'reality'-based context (not comic book, spoof, or spy-fi) lagged behind. The first one I remember was in Romancing the Stone in 1984 (see earlier post). Later there were other film depictions of women who fought back when threatened or hurt. The indie romantic comedy Desperately Seeking Susan in 1985, for instance, has Roberta (Susanna Arquette) whacking Susan's (Madonna) and her own would-be attacker on the head with a wine bottle and knocking him out.
As a more comprehensive example, Thelma and Louise in 1991 was also one of the great female buddy movies. But while the plot of Thelma and Louise hinges on female rage at male violence against women, with Louise (Susan Sarandon) shooting a man who is about to rape Thelma (Geena Davis) in a parking lot, it can't be said that Thelma and Louise fight back and win. Instead of seeking 'justice' in a system that, Athena-like, excuses a rapist, the women turn outlaw — Louise in one unguarded moment of fury, and Thelma after she's been 'freed' sexually as well as financially by a 'polite' robber (Brad Pitt). Turning outlaw seems to be the only real choice Thelma and Louise have got, and they make it knowing at some level that it will cost their lives.
But in The Girl With the Dragon Tattoo trilogy Lisbeth Salander (played by Noomi Rapace) is going for a different kind of justice. Lisbeth is willing to die fighting, but she'd rather make her own justice however she can and survive in freedom; and she plans accordingly.
Before I take on the trilogy about Lisbeth Salander: There have probably been many other women in movies who fought back and won. These posts are a somewhat random sample based on movies I happened to see, with characters I enjoyed (which is why I don't cite La Femme Nikita) who overcame their opponents by more or less ordinary methods like being quick-witted and fast on their feet, instead of through any special training or superpowers (although Salander's hacker skills verge on a superpower). Science fiction and maybe horror movies (about which I know zip) were likely way ahead in their portrayals of women who fight back against male violence and win, since science fiction, fantasy, and mysteries (genre fiction) were years ahead of mainstream and literary fiction in alternative scripts for and portrayals of women. For a recent recap of women 'warriors' in movies that span the genres, see Lesley Coffin's "17 Most Badass Women in Movies, 2014".
*Click on 'myth of Medusa' and scroll down to 'Feminism' for books and articles on Medusa imagery and women's rage. For a history of the battered women's movement, click on this link.
Tagged Desperately Seeking Susan, female rage, Lisbeth Salander, Medusa, Noomi Rapace, The Girl with the Dragon Tattoo, Thelma and Louise, True Romance
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"The message, instructions for how to enjoy the message, and all the medicine you need to cope with the side effects of both, are all here. This is the music of everything, which is always arranged but never complete."
Breathnach was deeply moved by the Golden Records included on the Voyager spacecraft in 1977. He became obsessed with sending "blooms of healing sonics" into the universe, and began work on his own Golden Cassette. Because Breathnach subjected his tapes to a wide variety of physical processes - burying, burning or encasing them in moss, submerging them in water from various holy wells - most of the recordings were destroyed.
This cassette brings together the surviving recordings Breathnach planned to include on the Golden Cassette, offering a unique view into Irish outsider electronic music. The release includes liner notes by the philosopher Timothy Morton.
The cassette was commissioned by the Galway Arts Centre and is currently on display there as part of the Galway International Arts Festival. The cassette comes in a limited edition of 50 copies. To purchase, please e-mail caoimhinaisteach [at] gmail [dot] com.


text:
Mount Vaux är ett berg i Kanada.   Det ligger i provinsen British Columbia, i den centrala delen av landet,  km väster om huvudstaden Ottawa. Toppen på Mount Vaux är  meter över havet.

Terrängen runt Mount Vaux är huvudsakligen bergig, men åt sydväst är den kuperad. Den högsta punkten i närheten är  meter över havet,  km söder om Mount Vaux. Trakten runt Mount Vaux är nära nog obefolkad, med mindre än två invånare per kvadratkilometer..

I omgivningarna runt Mount Vaux växer i huvudsak barrskog.  Trakten ingår i den hemiboreala klimatzonen. Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är juli, då medeltemperaturen är  °C, och den kallaste är december, med  °C.

Kommentarer

Källor

Berg i British Columbia
Berg i Kanada 2000 meter över havet eller högre


Product prices and availability are accurate as of 2019-04-19 07:12:32 UTC and are subject to change. Any price and availability information displayed on http://www.amazon.com/ at the time of purchase will apply to the purchase of this product.
Original design by Headline Shirts. Hand-sewn in the USA using our exclusive poly/cotton VintageBlendª blend fabric. Skillfully printed with soft-hand, eco-friendly inks. Genuine Headline Shirts product. In stock and ready to ship. Ships within 24 hours. Free and easy returns & exchanges and a 100% satisfaction guarantee.


Time to bring a little bit of glamour to your pole wear! The Aurora Set from RARR Designs is stunning! Lace, satin, garters, beautiful colours what more could you want.
Please note: Sizing is just a guide. RARR Designs use a number of different fabrics and sizing may fit slightly different across different fabrics. Metallic fabric does run smaller due to less stretch so please consider going up a size depending on your measurements.


text:
Der Reichsverband Deutscher Rundfunkteilnehmer  e. V.  (R. D. R.) war eine 1930 gegründete und 1936 aufgelöste Interessensvereinigung, die sich für einen nationalsozialistisch geprägten Rundfunk in Deutschland einsetzte. Ihr Verbandsorgan Der Deutsche Sender erschien von Januar 1930 bis Juli 1936 wöchentlich.

Geschichte

Demokratische Anfangsstruktur
Der Verband entstand aus dem Umfeld des deutschnationalen Medienunternehmers Alfred Hugenberg. Das Register des Amtsgerichts Berlin-Charlottenburg weist unter der Nummer 6270 den 12. August 1930 als offiziellen Gründungstag des "Reichsverbandes Deutscher Rundfunkteilnehmer" mit den Vorstandsmitgliedern Alfred Walther Kames, Goetz Otto Stoffregen und Hans Fritzsche aus. Anfangs war die Zielsetzung des Verbands moderat: Man wollte den Interessensorganisationen der Mitte-links denkenden Hörer ein rechts gerichtetes, deutsch-nationales Gewicht entgegensetzen. Die Aufsichtsbehörde für die deutschen Radiosender, die Reichs-Rundfunk-Gesellschaft, betrachtete dies als legitimen Versuch der Gebührenzahler, moderaten Einfluss auf die Programmgestaltung zu nehmen.

Die Nationalsozialisten spielten anfangs nur eine untergeordnete Rolle in dem Verband. Unter den neun Vorstandsmitgliedern des R. D. R. Anfang 1931 war nur ein NSDAP-Vertreter, Horst Dreßler-Andreß, quasi ohne Einfluss. Um mehr Gewicht zu bekommen, gründete die NSDAP im Frühherbst 1931 eine "Verbandsgruppe Nationalsozialisten" mit dem Ziel, dass von hier "ein einheitlich gefaßter und disziplinierter Wille zur Eroberung des Reichsverbandes für eine nationale revolutionäre Rundfunkpolitik" einsetzte, also eine Unterwanderung des weitgehend demokratisch besetzten R. D. R. Am 1. November 1931 veröffentlichte die Verbandsgruppe die erste Ausgabe ihres Monatshefts Deutsch der Rundfunk (Devise: "Brecht den roten Rundfunkterror!"). Während die "Verbandsgruppe Nationalsozialisten" innerhalb des Reichsverbands tätig wurde, kümmerten sich von der NSDAP ausgesuchte, besonders rundfunkaffine und technisch versierte Parteimitglieder um die Basisarbeit vor Ort. Diese "Funkwarte" trugen insbesondere Informationen aus den einzelnen Sendeanstalten zusammen, die bei der Vorbereitung der General-Mitgliederversammlung am 19. Dezember 1931 zentral wichtig waren.

Generalversammlung 1931 mit Eklat
Die "Verbandsgruppe Nationalsozialisten" berief eine Generalversammlung ein, nachdem sie die Mehrheit der Mitglieder auf ihrer Seite sah. Bereits kurz nach Beginn am 19. Dezember um 15 Uhr im "Hotel Prinz Albrecht" kam es wegen eines Geschäftsordnungsthemas zum Eklat. "Während der Unterbrechung der Sitzung verhandelten die Nationalsozialisten mit den Vertretern des Stahlhelms und der Deutschnationalen. [Sie] forderten die Umorganisation und Neubesetzung des Vorstands", schrieb NSDAP-Parteimitglied Heinz von Fehrentheil 1934 in "Rundfunk im Aufbruch". "Nach Wiedereröffnung der Sitzung verkündete der Leiter der Verbandsgruppe Nationalsozialisten, Pg. Eugen Hadamovsky, daß es gelungen sei, die Voraussetzungen zu schaffen, den Reichsverband Deutscher Rundfunkteilnehmer zur rundfunkpolitischen Kampforganisation der nationalen Opposition unter aktiver Führung zu machen." Die Generalversammlung endete mit dem Ergebnis, dass alle moderaten Kräfte aus dem Vorstand des R. D. R. herausgewählt worden waren, die NSDAP den neuen Vorsitzenden sowie die beiden geschäftsführenden Vorstandsmitglieder stellte; ansonsten waren im Vorstand nur noch zwei Mitglieder des Stahlhelm und ein Mitglied der Deutschnationalen Volkspartei.

Am 19. März 1932 ersetzte der Vorstand in einer weiteren Hauptversammlung die drei Nicht-NSDAP-Mitglieder durch Parteigenossen und gab sich eine neue Satzung, "die den Führergedanken in sich trug". Das Verbandsorgan Der Deutsche Sender meldete im März 1932 knapp 100.000 Mitglieder – eine Steigerung um das Doppelte "innerhalb kürzester Zeit". Der R. D. R. feierte einen ersten großen Erfolg: Am 14. Juni 1932 sprach erstmals ein Nationalsozialist im deutschen Radio. "Bald hatten wir weiteren führenden Parteigenossen das Mikrophon freigekämpft".

Goebbels als Verbandsvorsitzender
Den Gipfel seiner Bedeutung erreichte der R. D. R. mit der Generalversammlung am 10. Oktober 1932, wieder im "Hotel Prinz Albrecht": Joseph Goebbels, der Propagandachef der NSDAP, übernahm höchstpersönlich den Vorsitz. Goebbels bissiger Schreibstil hatte die Kommentarspalten der Verbandszeitschrift Der Deutsche Sender auch vorher schon geprägt. Er selbst gab sich nur selten als Autor zu erkennen. Am 2. November 1932, drei Monate vor Adolf Hitlers "Machtergreifung", löste Goebbels die Lobbygruppe innerhalb des R. D. R., die "Verbandsgruppe der Nationalsozialisten", auf und kündigte in der R. D. R.-Hauszeitschrift an, was er wenige Monate später in die Tat umsetzte: "Die nationalsozialistische Idee […] soll den deutschen Menschen ganz und gar durchdringen und erfassen. Dazu ist uns heute der Rundfunk eine wichtigste Waffe, weil er unsere Volksgenossen von früh bis spät […] begleitet und führt." Wenn das Ziel erreicht sei, "werden wir mit dieser revolutionären Waffe der neuen Zeit der Welt beweisen, was deutscher Geist und deutscher Wille vermag." Um sich auch handwerklich auf die Übernahme des Radios im Falle eines Wahlsieges Hitlers vorzubereiten, richtete der Reichsverband einen "Künstlerdienst" ein, eine Ausbildungsstätte für NSDAP-treue Journalisten und Schauspieler. Die Teilnehmer lernten die "funkisch wirksame Bearbeitung ihrer Vortragsthemen", sie sollten einen "Klangsinn" und "das Sprachgefühl für unsere Muttersprache" erlernen. In der Ausbildung wurden "Sprechchöre, Hörfolgen und Sendespiele" geprobt. Der Künstlerdienst des R. D. R. sprach zudem Musiker und Schriftsteller "deutschen Geistes und Blutes" an, sich am zukünftigen Rundfunk zu beteiligen.

Propagandathemen und Machtergreifung
Die Propaganda des R. D. R. drehte sich in den Monaten bis zur "Machtergreifung" zentral um drei populistische Themen: Die Rundfunklandschaft sei "jüdisch-marxistisch" durchtränkt, in den Sendern arbeiteten vorwiegend Juden. Zweitens verdienten Rundfunkfunktionäre viel zu viel Geld und veruntreuten somit die Rundfunkgebühren. Und drittens verübten Marxisten Bombenanschläge auf Rundfunkanstalten und bauten Störsender auf. Dieses Gerücht versuchte der Verband mit der These zu untermauern, die Linke sehe, wie die Rechte den deutschen Rundfunk allmählich übernehme und übe sich jetzt im verzweifelten, gewalttätigen Widerstand. Für die NSDAP war dies ein Vehikel, um eine "wirksame Reichsfunkhilfe" mit "funkpolizeilichen Überfallkommandos" und "Schutzstaffeln aus dem Personal der Sendehäuser" ins Leben zu rufen, also einen "Reichsfunkschutz".

Die intensive Auseinandersetzung mit dem Rundfunk und als Ziel dessen Instrumentalisierung für das eigene Gedankengut gehörte für die Nationalsozialisten zum Konzept einer modernen Wahlkampf- und später Staatspropagandastrategie. "Wir wollen das Wort des Führers bis in den letzten Winkel der deutschen Erde tragen und den Rundfunk in jedes Haus bringen", schrieb Goebbels 1933 in der Verbandszeitschrift. Bei der "Machtergreifung" Hitlers Anfang 1933 trugen die in weiten Kreisen erfolgreiche Stimmungsmache und die Fachkompetenz des R. D. R. Früchte: Bereits am selben Abend, dem 30. Januar 1933 hörten die Menschen eine Reportage über den Fackelzug. Die komplette Umstrukturierung des Rundfunks zog sich anschließend nicht lange hin, sondern ging innerhalb weniger Wochen vonstatten.

1936 war der Rundfunk in Deutschland längst gleichgeschaltet, der Auftrag des Reichsverbands Deutscher Rundfunkteilnehmer e. V.  hatte sich erledigt, und der Verband löste sich auf. Das Verbandsorgan Der Deutsche Sender ging in die Zeitschrift der Reichsrundfunkkammer NS-Funk über.

Einzelnachweise

Rundfunk (Nationalsozialismus)
Organisation (Weimarer Republik)
Organisation (Deutsches Reich, 1933–1945)
Gegründet 1930
Aufgelöst 1936


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September 10, 2003 News Releases Research Faculty
New Book by Missouri Journalism Professor Focuses on the Benefits of GIS in Journalism
Columbia, Mo. (Sept. 10, 2003) — Mapping the News: Case Studies in GIS and Journalism, a new book by Missouri School of Journalism assistant professor David Herzog, details how geographic information systems (GIS) technology guides journalists to where news is happening as they strive to bring information to the world.
Mapping the News: Case Studies in GIS and Journalism
Herzog specializes in using geographic information systems (GIS) tools to report the news and uses his expertise to educate and inform students and professionals alike. As an academic adviser for the National Institute of Computer-Assisted Reporting (NICAR) since January 2002, he instructs working journalists and students in how to tap databases of governments and other institutions for important stories. NICAR is a joint program of the Missouri School of Journalism and Investigative Reporters and Editors (IRE), a global association of journalists headquartered at the school.
According to Herzog, journalism students who study GIS technology are well prepared for their reporting careers. "Missouri students understand the tools and how to make them work. This hands-on experience gives them an advantage when they enter the work force, he said."
Before joining the school, Herzog spent five years as an investigative reporter at the Providence Journal in Rhode Island, where he used computer-assisted reporting to cover public corruption. Earlier, he was the editor for computer-assisted reporting at The Morning Call in Allentown, Pa., a business reporter for the Baltimore Sun and a general assignment reporter for other newspapers in Pennsylvania.
Mapping the News includes step-by-step examples and full-color illustrations that detail GIS functions and how they have assisted reporters in different situations. A copy of Mapping the News has a list price of $19.95. It is available at bookstores, online at http://www.esri.com/esripress, or by calling 1-800-447-9778.
Nov 24, 2020 Journalism Professor David Herzog awarded the 2020 Provost's Award for Leadership in International Education
Apr 27, 2017 Alumnus Publishes 'Our Fathers: Making Black Men'
Mar 09, 2017 2 Master's Students Selected for Dow Jones News Fund Data Journalism Program
Apr 06, 2016 ASNE and Missouri School of Journalism Develop Unique Training Resources for High Schools
Jul 15, 2015 Faculty, Alumni, Students to Present Papers at Global Research Conference
Feb 10, 2015 Professor David Herzog Publishes Book on Data Literacy
Feb 05, 2015 Master's Student Zahra Rasool Launches News-Brief Startup 'Gistory'
Nov 25, 2014 NPR Series Benefits from Graduate Student's Data Journalism Skills
Feb 12, 2014 Students Add Interactive Mapping to Their Journalism Toolkit After Workshop Hosted by ONA Mizzou
Sep 30, 2013 3 Missouri Journalism Alumni to Lead Upcoming Workshop on Data Journalism
Mar 18, 2011 Journalism Professor Works to Make Missouri Information More Accessible
Sep 10, 2003 New Book by Missouri Journalism Professor Focuses on the Benefits of GIS in Journalism
David Herzog


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04/02/2020 | Projects | AXOR
La Réserve Eden au Lac Zurich: The Imaginary Yacht Club by the Lake
New Philippe Starck Interior Design Concept with Bathroom Fixtures by AXOR
Copyright: La Réserve Eden au Lac Zurich
Schiltach, April 2020. Under the impetus of La Réserve and the vision of excellence upheld by its owner Michel Reybier, the Eden au Lac property is reinventing itself as La Réserve Eden au Lac Zurich, a new 5-star establishment in Zurich. The hotel has been completely redesigned to provide an elegant and timeless experience in the heart of an imaginary yacht club dreamed up by Philippe Starck. The French creator conceived the renovation to be minimal yet not minimalist, based on a quest to reveal the structural soul and raw poetry of the place, releasing the light and maximizing the architectural volumes. The hotel is filled with fertile surprises and mental games, sophisticated and carefully curated objects and materials that give a unique poetry and charm to the place.
"La Réserve Eden au Lac Zurich is like rock-and-roll dancing with the Queen of England. Everything is classic, yet nothing is classic anymore. It is a timeless blend of creativity, classicism and intelligence — like Switzerland itself," Philippe Starck explains.
For the hotel's bathrooms, La Réserve Eden au Lac and Philippe Starck worked with AXOR collections, including AXOR Starck for the wash basin, bathtub and shower, and AXOR Starck Organic for accessories. Two AXOR Starck collections inspired by nature that focus on the beauty and magic of water. Elegantly combined with the AXOR Citterio collection, a subtle mix of right angles, flat surfaces and refined curves, the results are timeless yet creative, rational yet sensuous bathrooms. Many of the products are finished in Brushed Chrome, one of fifteen exclusive AXOR Finish Plus surfaces.
"My work with AXOR has always been only about water, its magic and beauty. At La Réserve Eden au Lac Zurich, the lake is an omnipresent attraction that I wanted to keep visible everywhere and at all times. It is only natural that these two projects come together, as there is nothing more connecting, more human than water. Water is life," Philippe Starck.
For further information about La Réserve Eden au Lac Zurich, please visit: www.lareserve-zurich.com
About AXOR
AXOR develops, constructs and produces taps, showerheads and accessories for luxurious bathrooms and kitchens to perfection. At the highest aesthetic and technological levels, avantgarde, one-of-a-kind pieces and collections are created. Some of them are considered classics of bathroom design to this day. Collectively they embody the claim "Form Follows Perfection": not ending the developmental process until nothing more can be added or removed. Pace-setting design objects have been developed with this recipe for more than 25 years with world-renowned designers, among them Philippe Starck, Antonio Citterio, Jean-Marie Massaud and Patricia Urquiola. AXOR is a brand of the Hansgrohe Group.


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Women's stand collar beauty tunic suitable for beauty salons, therapists, spas and hairdressers. Features contemporary contrast piping detail and side vents for comfort.
Copyright © 2019 Brentwood Uniforms and All Rights Reserved.


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Five Ontario Universities in Shared Last Print Copy Repository Project
Five university libraries in Ontario (at the University of Ottawa, the University of Western Ontario, Queen's, University of Toronto, and McMaster) are participating in the Keep@Downsview partnership, which is a shared last print copy repository project:
"The project, called Keep@Downsview, aims to consolidate and rationalize low-use print materials held by the partner libraries and ensure long-term preservation of these important scholarly materials in Ontario, while still providing access via document delivery and ILL. In doing so, each of the partner institutions demonstrates its commitment to the stewardship of print collections for future generations while repurposing valuable space on campus. This paper describes the background, rationale, challenges, and lessons learned for this unique Canadian project that leveraged funding from the province of Ontario, the University of Toronto's high density preservation facility at Downsview, and the commitment of all partners to preserve the scholarly record in Ontario (...)
"(...) the five libraries also quickly established the goals of the project and agreed to four key principles:
The project strives to save costs while maintaining access to a principal research collection by sharing in the responsibility of storing and maintaining one shared preservation print copy at the Downsview facility.
The project includes both journals and monographs.
All materials in Downsview are low-demand materials, as determined by the participating institutions.
All institutions share ownership of the materials they transfer. "
There has been some discussion (but less action) in relation to the idea of a "last print copy repository" in the case of legal materials, as can be seen in these 2 Slaw.ca articles from recent years:
Where Will Old, Expensive, or Unexpected Legal Information Come From When Libraries All Downsize Together? Sarah Sutherland, December 12, 2013
Preservation Week: Pass It On! , Louis Mirando, April 28, 2015
Labels: libraries, preservation
LexBox App Now Available on CanLII
Legal Information Preservation Alliance Webinar on...
Interview with Colin Lachance, CEO of Compass/MLB,...
Canadian Association of Law Libraries Webinar on L...
Canadian Association of Law Libraries Early Career...
Supreme Court of Canada Calendar of Upcoming Hearings
New Additions to Free Quebec Law Online
April 2017 Issue of In Session - E-Newsletter of C...
Supreme Court of Canada: New Library Titles
Profile of Manager of Ottawa Public Library Altern...


Thailand's Prime Minister Prayut Chan-o-cha's visit to the White House scheduled for today has been postponed. Both sides reportedly need more time to consider how proceedings will transpire.
Tensions between the US and Thailand rose after Chan-o-cha's military junta came to power in a 2014 bloodless coup. The Obama administration then punished the anti-democratic regime by reducing military and technical cooperation, while Thailand began to strengthen ties with China through the Belt and Road initiative.
Under the Trump administration, however, relations have thawed. Chan-o-cha received an unexpected phone call from the White House in May— as did Philippine strongman Rodrigo Duterte. This trend suggests that these traditional US allies, whose authoritarian leaders were given a cold shoulder by President Obama, could be back in favour.
Expect talks to go ahead as the US looks to once again improve ties with its traditional Southeast Asian ally.


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McCarus Beverage Company
I should have started importing La Colombera years ago. Timorasso is one of Italy's most interesting white wine grape varieties, one of the few noble varieties that age well (the variety reminds me of Chenin Blanc, one of my favorite age-worthy white varieties); Elisa Semino of La Colombera is a brilliant and enthusiastic proponent of the variety, and of this region, the Colli Tortonesi; and her and her brother and father grow and vinify one of the best examples of it, as well as some other very good wines, including a delicious Croatina. Better late than never.
Ian d'Agata describes Timorasso as '…crisp, high acid and very mineral; it will remind you of a very dry Riesling, with less sweet fruit when it is about five years of age or more. Before that, it has aromas and flavors of white flowers, unripe stone fruit, and bright citrus.' Elisa Semino, who did her enology school thesis on the variety, makes two versions: the estate-bottled 'Derthona' (the old name for the nearby town of Tortona), and the single-vineyard 'Il Montino.' Montino is deeper, but the Derthona is an excellent introduction to the variety.
LA COLOMBERA ESTATE
'We have 23 hectares (57 acres) of vineyard in total. In December 2017 we bought another 10 hectares (25 acres) near Sarezzano, a whole hill of calcareous soil, perfectly suited to vineyards.
We farm using organic practices, although we aren't certified. We use only sulfur and copper sulfate for mildew diseases, and we work the soil under the vine row mechanically; we haven't used weedkiller since the early 2000s.
We feel these practices improve the soil, which then has a positive effect on the grapes and the resulting wines.
All of our wines are made from estate-grown fruit.
Our Barbera, Croatina and Dolcetto vines are from clonal selections, our Cortese, Nibiò and Timorasso are massal selection.
The clay-based soils on the hill where our farm, La Colombera, can be found are both light and dark in color with a lot of while stones. We decided where to plant our different varieties based on the kind of soil in each plot. Timorasso, our best-known local variety, was planted in 1997, 1998, 2000, 2004, 2010 and 2016, Croatina in 2000, Cortese in 1977 and 1999, and Barbera in 1961, 1977, 1984 and 2000.
The story of La Colombera is a story of farming tradition, started by great-grandfather Pietro, then Renato, then Piercarlo, and now Piercarlo alongside his children Elisa and Lorenzo, five generations of the Semino family dedicated to the soil. Since 2000 the identity of our region, the Colli Tortonesi, has become increasingly tied to the Timorasso grape, which originated in this area and which finds its best expression here.
CORTESE 'BRICCO BARTOLOMEO'
'100% Cortese, planted in 1977 and 2000 in middle of the Colombera hill, above the cellar. The altitude is 280-300 meters (900-1000 feet) above sea level. The vineyard is called Bartolomeo; the soil is limestone-based clay.
The harvest is normally in the middle of September. There is a brief three-hour maceration in the press, then the bunches are pressed, and the must is fermented with indigenous yeasts in stainless steel tanks. The wine is aged on the fine lees in these tanks for about 5 months, and is then cold-stabilized and filtered before bottling. There is less than 1g/L of residual sweetness in the wine (dry), and around 90 ppm of SO2 is added. Around 10,000 bottles are produced.
This Cortese is pleasing and fruity; thanks to the aging on the lees the weight in the mouth balances the crisp freshness of the variety. Excellent aperitif and broadly useful food wine.'
TIMORASSO DERTHONA
'100% Timorasso, from several vineyards on our property, planted between 1997 and 2000. The vines are located at between 270 and 300 meters (900 to 1,000 feet) above sea level. The soils include both light and dark limestone-rich clay.
Harvest takes place typically in the middle of September. The grapes are macerated in the press for three hours before pressing; the wine is then fermented with indigenous yeasts in stainless steel tanks, and aged on the fine lees for at least 10 months before bottling. The wine is cold stabilized and filtered. Residual sweetness is 1.2 g/L (dry), and the SO2 is 70 ppm at bottling. Sixteen thousand bottles are produced each year.
Derthona is the old name for the city of Tortona. Timorasso is the grape variety that best represents the hills around Tortona, as this white grape was born here. The white wine it produces is structured and elegant, capable of aging for a surprisingly long time in bottle. On the nose the young wine shows notes of white peach, honey, acacia, hawthorn blossom, and chamomile, developing smoky and mineral notes with age. On the palate, there are are savory notes that remind one of our clay soils. The fresh acidity of the wine allows it to improve in the bottle for many years.'
TIMORASSO 'IL MONTINO'
'Single-vineyard Timorasso from the Montino vineyard, which is found at 290 meters (950 feet) above sea level. The soil is pale calcareous clay. The harvest normally takes place in mid September; after three hours of maceration in the press, the grapes are pressed and fermentation is carried out with indigenous yeasts in stainless steel tanks. The wine is aged for ten months on the fine lees in tank, then the wine is cold stabilized and filtered before bottling. The wine is then aged for 18 months in bottle before release.
Residual sweetness is 2 g/L, dry; SO2 at bottling is 80 ppm. Five thousand bottles are produced each year.
We selected the Montino vineyard for our 'cru' bottling after studying the harvests from the different vineyards for 5 years; we found that the berries from this vineyard were the most expressive. Il Montino is picked and vinified separately, aged for twice as long on the lees as our estate Timorasso, then aged for 18 months before release to allow the characteristics of the wine to begin to emerge.
Il Montino is our most prized wine, the essence of the Timorasso grape and of our winery.'
'100% Barbera, from different clay vineyards on our farm planted in 1999, at about 270 meters (900 feet) above sea level. The harvest normally takes place in mid to late October; the grapes are briefly macerated in the press, then pressed and the must is fermented at controlled temperature using selected yeasts in stainless steel tanks. After 6 months in tank (3 on the fine lees), the wine is cold-stabilized, filtered and bottled.
Residual sweetness is 1.5 g/L (dry), and SO2 at bottling is 60 ppm total. Production is 6,000 bottles a year.
This rosé from Barbera grapes is very interesting, it has the drinkable freshness of the Barbera variety, and perfumes of fruit and flowers.'
CROATINA LA ROMBA
'100% Croatina from the calcareous clay vineyards around Cascina La Romba, planted in 2000. Altitude of the vines is 250 meters (825 feet) above sea level. The harvest normally takes place at the end of September; the fermentation is carried out using indigenous yeasts, with a total maceration of about 15 days in stainless steel tanks. The wine is aged for about a year in tank, then cold-stabilized and filtered before bottling.
Residual sweetness is 4 g/L, with SO2 at bottling of 70 ppm total. About 6,000 bottles are produced per year.
The La Romba vineyard was planted in 2000, Croatina is a very interesting grape variety giving particularly distinctive perfume of red fruits and spices. On the palate it shows round, velvety tannins and full body. It can age in the bottle.'
Above are words from Oliver McCrum – www.omwines.com
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Latest BMT designed SATV makes waves in offshore wind
We are excited to welcome another vessel to our growing family of over 55 BMT designed windfarm support vessels worldwide.
Latest BMT-designed SATV Makes Waves in Offshore Wind
Commercial maritime Energy and resources
Designed by BMT, the 36m SATV completed an extensive sea trials program for the owners (Ventus Marine) and charterers (SGRE) and has immediately commenced operations and maintenance activities on the Formosa 1 site. BMT partnered with Penguin Shipyard International for the 36m SATV, who together have delivered many vessels within different sectors of the marine industry, including High-Speed Ferries, Oil and Gas crew boats, Firefighting Vessels and Crew Transfer Vessels.
The pioneering design of the 36m SATV makes this the first vessel of its kind anywhere in the world. Its advanced design will offer greater operational versatility, providing long term offshore accommodation while still pushing up against the turbine to transfer technicians. This new concept and size of vessel will be able to plug the gap, where a full-size SOV (service operation vessel) would be unsuitable and too expensive.
Chris Witty, Technical Lead at BMT, comments:
"It's fantastic to be a part of continually developing Offshore Renewables industry, particularly with such exciting projects like the SATV. The design brief really allowed us the freedom to devise the optimal configuration, from both a comfort and a workflow perspective."
Seakeeping and efficiency were at the forefront of the project. BMT leveraged technologies and experience derived from the broad range of markets it serves to develop this unique design. The hull form is based on BMT's ModCat range, which offers improved seakeeping performance but minimal resistance. A complete active ride control system also complements the improved vessel motion.
The design also boasts the third generation of BMT's patented Active Fender System™. Through substantial investment as part of their R&D program, BMT has designed this next-generation active fender system for larger vessels like the SATV. The aim is to land on wind turbine generators with a significantly reduced impact load, enabling service technicians' safe transfer onto the towers.
The 36m SATV is designed to optimise passenger comfort by keeping all sleeping accommodation above the main deck, where noise levels are kept to a minimum by a resiliently mounted superstructure, both of which are a first for a transfer vessel of this size. Allowing ten crew to stay on board for the 12-day offshore endurance, the SATV will be used to service offshore turbines on the Formosa 1 Offshore Windfarm, off the coast of Taiwan.
It is powered by twin MTU 16V2000 engines coupled with a CPP propulsion system (supplied by Servogear) to optimise fuel efficiency during different modes of operation. The new 36m SATV will travel at a sprint speed of 20 knots and cruise at a rate of 16 knots, with a deadweight capacity of 75 tonnes.
£1.6bn MoD contract for Royal Navy support ships awarded to Team Resolute
A £1.6 billion contract has been awarded to Team Resolute to manufacture the vessels providing munitions, stores and provisions to the Royal Navy's aircraft carriers, destroyers and frigates.
BMT Unveils New Crew Transfer Vessel Design at International WorkBoat Show 2022
To meet the industry's growing demand for lower carbon emissions, capacity, and prolonged offshore operations, BMT is introducing its new 32m Crew Transfer Vessel design to what is already an extensive range of designs.
Lee Hedd appointed as Regional Sales Director for BMT in the Americas
Seasoned leadership to provide focus on business growth through capability development and local delivery of global BMT expertise.
Scalable off-grid project from BMT puts rural electrification in Canada at 'forefront of energy transition'
The microgrid collaboration demonstrating floating tidal technology between community and utility offers long-term advantages that can help to overcome the traditional locked-in position of energy-starved or energy-deficient communities.


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Film soundtrack
Film, Game Music, Interviews
May 5, 2012 | Audun Sorlie | 2 Comments Share this Who? What? Where?: Jacob Diaz Interview
Today, we talk to Jacob Diaz, the video game remixer who goes by the name Jakesnke17 and DjjD. He has been active on the Overclocked Remix scene for a little while now, creating catchy dance remixes of your favorite video game themes, and participated on some of the many projects the community continues to spew out.
These days, Diaz has been busy working on his very first film soundtrack, shifting his focus from arranging to movie compositions with his score for the upcoming movie, 10. Diaz discusses the differences from arranging to composing, the amount of work that goes into an original score, and his video game music influences put to use in 10.
Click the jump to read our talk with Diaz! (more…)
Anime, Film, Reviews
Not Much Missing: Vanishment of Haruhi Suzumiya Movie Soundtrack (Review)
February 26, 2010 | Wes Chung | 8 Comments Share this Not Much Missing: Vanishment of Haruhi Suzumiya Movie Soundtrack (Review)
There is a curious tradition I've observed when lighter anime series are put on the big screen. I first noted this with Tenchi Muyo In Love, which discarded the whimsy of its roots to focus on a larger scale story involving (coincidentally) the disappearance of the main character and the world under threat. To match this jump in production values, Christopher Franke (of Tangerine Dream fame) composed a full orchestral score. Another, perhaps more relevant example, is the impressive Oh My Goddess! Movie, which featured a brilliant score by the one and only Nobou Uematsu and his long-time orchestrator Shiro Hamaguchi. Both are cases of a romantic-comedy with limited musical offering being used as a springboard for a soundtrack that more than eclipsed its small-screen counterpart.
Vanishment breaks that tradition slightly. Satoru Kousaki composed the incidental music for The Melancholy of Haruhi Suzumiya and has retained the role of primary composer here, with some contributions by the likes of Ryuichi Takada (Soul Calibur II/III) and Keigo Hoashi, with whom Kousaki collaborated when adding to the Mushihimesama Double Arrange album.
The result of their work surprised me a little, and has made all three names well worth watching in the future. Click the jump to find out why. (more…)