text:
Wednesday, 26 June 2019 13.30
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Venue: Y Siambr - Y_Senedd. View directions
Note: 218(v4)
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Transcript: Transcript for 26/06/2019 - Plenary
(60 mins)
Joint debate with the Welsh Youth Parliament
View the background to item 1.
NDM7100 Elin Jones (Ceredigion)
To propose that the National Assembly for Wales:
1. Notes that the Welsh Youth Parliament's work for the duration of its first term will focus on the following issues:
a) mental health and emotional wellbeing;
b) life skills in the curriculum; and
c) littering and plastic waste.
2. Confirms the Assembly's commitment to support the work undertaken by Welsh Youth Parliament Members to engage young people across Wales.
3. Agrees the joint declaration outlining the Assembly and Welsh Youth Parliament's commitment to work together on behalf of the young people of Wales.
Declaration - Welsh Youth Parliament and Assembly
The item started at 13.30
In accordance with Standing Order 13.3 the Llywydd, having consulted with Business Committee, invited eight Welsh Youth Parliament Members to participate in Assembly proceedings for the purpose of this joint item. 31 other Welsh Youth Parliament Members were also present in the Chamber for the item.
In accordance with Standing Order 11.15(ii), voting on the motion under this item was taken at the end of the debate.
The result was as follows:
The motion was agreed.
At 14.15, proceedings were suspended for 15 minutes. The bell was rung 5 minutes before reconvening.
Questions to the Minister for Finance and Trefnydd
The Presiding Officer will call party spokespeople to ask questions without notice after Question 2.
OAQs.e , item 2. PDF 272 KB
The first 7 questions were asked. The Presiding Officer invited party spokespeople to ask questions to the Minister after question 2.
Questions to the Minister for International Relations and Welsh Language
Questions 1 – 6 and 8 – 10 were asked. Question 7 was withdrawn. Questions 2, 8 and 9 was answered by the Deputy Minister for Culture, Sport and Tourism. The Presiding Officer invited party spokespeople to ask questions to the Minister after question 2.
Questions to the Assembly Commission
Both questions were asked.
Topical Questions
To ask the Deputy Minister for Economy and Transport
Russelll George (Montgomeryshire): Will the Minister provide an update on what support the Welsh Government has provided to construction company Jistcourt?
To ask the Minister for Economy and Transport
(5 mins)
90 Second Statements
Dawn Bowden made a statement as the species champion for the European Eel
Vikki Howells made a statement commemorating the 125th anniversary of the Albion Mining Disaster (23 June 1894)
NDM7109 - Elin Jones (Ceredigion)
To propose that the National Assembly for Wales, in accordance with Standing Order 17.3, removes Dawn Bowden (Labour) as a Member of the Constitutional and Legislative Affairs Committee.
The motion was agreed in accordance with Standing Order 12.36.
Debate on the Equality, Local Government and Communities Committee report: Diversity in Local Government
NDM7099 John Griffiths (Newport East)
Notes the report of the Equality, Local Government and Communities Committee, 'Diversity in local government', which was laid in the Table Office on 4 April 2019.
Plaid Cymru debate - The Higher Education Sector
NDM7101 Rhun ap Iorwerth (Ynys Môn)
1. Notes the serious financial crisis facing the Welsh higher education sector, with significant job losses announced over the last twelve months amid concerns as to the financial sustainability of individual institutions.
2. Calls on the Welsh Government to commission an urgent review of the financial sustainability of the Welsh university sector.
3. Calls on the Welsh Government to give HEFCW an explicit mandate to intervene to prevent the bankruptcy of any higher education institution in Wales in the immediate future, by means of an emergency loan if necessary.
4. Calls on the Welsh Government to ensure that any public funding to a Welsh university is contingent on vice-chancellor salaries being no more than five times median earnings.
5. Calls on the Welsh Government to ensure the adequacy and transparency of university oversight and governance arrangements, especially in relation to the expenditure of public funds.
6. Calls on the Welsh Government to remit HEFCW, and any successor body, to exercise a partnership approach with students and university staff at all levels of decision-making, and to require universities to take account of student and staff views in making staffing decisions.
The following amendments have been tabled:
Amendment 1 - Rebecca Evans (Gower)
Delete all and replace with:
1. Recognises:
a. that Universities in Wales and the UK are independent and autonomous institutions;
b. the financial challenges facing the Higher Education sector across the UK, including Brexit and the decline in the number of 18 year olds;
2. Welcomes:
a. the introduction by the Welsh Government of the most generous student support system in the UK, and the significant increases in the number of part-time and post graduate students in Wales;
b. the introduction of a fair and sustainable funding settlement for Welsh universities and the commitment to increase funding to HEFCW in each financial year for the lifetime of this Welsh Government;
c. the sector-wide commitment in Wales to pay the real living wage to all staff, the increased openness and transparency in the reporting of senior pay, measures being taken to address the gender pay gap and the adoption of the Code of Practice on Ethical Employment in Supply Chains;
d. that Wales is the best performing nation in the UK for student satisfaction;
3. Notes the Welsh Government's remit to HEFCW to work in partnership with the sector to increase openness and transparency around the use of fee income and to strengthen governance and accountability.
Code of Practice on Ethical Employment in Supply Chains
[If amendment 1 is agreed, amendments 2 and 3 will be de-selected]
Amendment 2- Darren Millar (Clwyd West)
Delete point 3.
Amendment 3 - Darren Millar (Clwyd West)
In point 4, delete 'is contingent on vice-chancellor salaries being no more than five times median earnings' and replace with 'includes conditions to tackle excessive vice chancellor and senior leadership pay'.
Add as new point at end of motion:
Calls on the Welsh Government to publish the information about the higher education sector's financial position that it takes into consideration before agreeing the sector's annual budget allocation.
Voting on the motion and amendments under this item was deferred until Voting Time.
A vote was taken on the motion without amendment:
The motion without amendment was not agreed.
The following amendments were tabled:
A vote was taken on amendment 1:
Amendment 1 was agreed.
As amendment 1 was agreed, amendments 2 and 3 were de-selected
Amendment 4 was not agreed.
A vote was taken on the motion as amended:
The motion as amended was agreed.
Voting Time
Votes Summary
Votes Summary , item PDF 134 KB
Short Debate - No motion tabled
No motion tabled
Motion to suspend Standing Orders (5 mins)
NNDM7103 - Elin Jones (Ceredigion)
To propose that the National Assembly for Wales, in accordance with Standing Orders 33.6 and 33.8:
Suspends that part of Standing Order 11.16 that requires the weekly announcement under Standing Order 11.11 to constitute the timetable for business in Plenary for the following week, to allow Dawn Bowden's Short Debate to be considered in Plenary on Wednesday, 26 June 2019.
Short Debate
NNDM7098 - Dawn Bowden (Merthyr Tydfil and Rhymney)
Time to establish a legal right to adequate housing in Wales:
Making a national commitment to the fundamental principle that every one of us should have a human right, underpinned by law, to access adequate and sustainable housing.


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text:
29 May 2021 Elif Seven Interview comments 2072
Mike Moreno (Photo: Jon Shapley / Houston Chronicle)
Other than his prominent musicianship, guitarist Mike Moreno has come up with beautiful ideas about music in the last couple of years which attracted a lot of people's attention to the history of jazz deeply. The first one is "Standards From Film" where he takes you through the history of a jazz standard that's been overly played and recorded by lots of musicians, by digging deep the history of that song where it's been first played in a movie. His other highly interesting project is the "House Guest Series" which started after the pandemic, where he gradually turned his home into a studio format to be able to play duo with one guest musician and livestreame online, from home. You can find the "House Guest Series" on youtube under the name "morenovids". Now it's been 24 weeks with 24 different guests every sunday. There are also interview sessions with some of the guests after the live playing. Each guest is a different story to listen, each guest is another inspiration so stay tuned! After getting highly inspired and being able to learn a lot from all of these project, I wanted to make this interview with Mike Moreno to learn about his development process about these beautiful contributions in music.
How is life going in New York right now?
It's been about the same for months now, but things are slowy starting to open up again so there are some clubs that are having music maybe 25% now, I mean they are letting 25% of the audience in. Everything (the restaurants, etc) is open. You just have to eat outside, you can inside now also too. I went to the restaurant the other night, we signed inside but there were only 3 tables inside but outside is completely packed. They are actually doing more business than usual, some of the places.
You think that the clubs will open soon?
I think so, they are already open. Smalls is open and Mezzrow is open, Smoke also. I think they can let a certain amount of people in. Other venues like Dizzy's, I don't think they've opened. The clubs that really pay the most are not open. They have huge staff and the rent is high etc, everythings's done by the union they're legal, so in order for them to open it's very expensive. Blue Note, the sound engineer is working for the union and he has to be paid a certain amount of work within a certain time so it's difficult.
Is the government paying them?
Yeah, if you have a business you can apply for these loans. I have my business for my music so I just applied a few days ago. I was super late I don't know why. So you can get pretty big loans, the loans are forgiven. You get the loan and then you apply to get the loan forgiven and then you don't have to pay it back. It's a lot of money, maybe a quarter of a year salary. When it all first started I didn't know if I would be able to stay in my apartment but I ended up making more money than usual. Mainly because I didn't spend it. There was nowhere to go. No expanses other than getting all of the equipments for online teaching, streaming, etc.
So how did you feel when it all started, when a deadly virus hit the world? I think you were in China on a tour?
Yeah, I was in China we played with my band for a week there and no one was talking about it. It was the first week, literally the first seven days of the year. Then we went to Korea and then I came back to the US. Then I started hearing a couple of things on the news about this virus. I was like "oh well, I'm glad I left". The virus was just in Asia back then and then I went to Europe. The last day in Spain I got sick and then we flew to Vienna and I was sick in Vienna also, the first couple of days. Then the rest of the tour no one else got sick. I still don't know if I had it or not. I think if I did, I would've given it to everyone.
When did you start to realize that this is serious?
It wasn't until April. I had gigs at the end of the March. My last gig with the live audience completely packed was in NY on March 4th. We were playing in Brooklyn in a small place but around 150 people. And then after that, the next thing I did a few days later, I went to the Smalls, I went to the Village Vanguard and people were starting to talk about it. Right after that, they shut the city down. And I thought "oh this is crazy but maybe it's gonna be for a week". I still have gigs at the end of the month, we're supposed to do 5 nights at the Jazz Standard with Jimmy Greene and then the next day I was gonna go back to Europe. But that was just for vacation, taking my mom to Italy for her 81st birthday, she's never been to Europe. She was all excited, we had tickets and everything. Then the Jazz Standard got cancelled and my mom said "no way I'm going to Italy". That's when it was really bad in Italy. And then in April it hit New York. I remember there were sirens and ambulances all day long. Never stopped.
Did you lose any friends or family members from Covid?
No luckily but both my parents had it. My dad said he slept like a day or two but my mom was sick for 3 weeks but she was just at home. But she didn't tell anyone not even me. She wasn't having any trouble breathing but she wasn't getting out of bed for a week. It took 3 weeks initially to get over it for her. My dad also didn't tell anyone not even my mother, he just slept and woke up and got back to work. He probably killed half of his friends going back to work but he didn't have a test until my mom got sick so he didn't know it.
Did you go to see you friends during lockdown? Meet with them during these times or you were totally isolated?
In the beginning it was like you choose your one or two friends you would see saying "we'll be careful and hangout" and then it started to be a little bit more relaxed. When I started doing the livestreams, obviously people were cool by that time, late October, also things were opening back up really good maybe like now. So everybody's coming over. Most people wore a mask but some people like Mike Stern surprisingly came over here and the first thing he did was to ask if he can take the mask off.
Have you got vaccinated?
I didn't get vaccinated mainly cause I'm not travelling and I'm not super afraid that I will die. But when I'll start travelling I'll get it, pretty soon I think. But a lot of people got vaccinated here.
Did you start teaching online after the pandemic or you were already teaching online before all of this?
I've always been teaching online but it was all very low grade, basicly just turning the laptop on, using the camera that was in the laptop and using the lightning that's in the room and using the mics in the laptop for the audio. So that was my teaching setup since 2006 or 2007 through skype. In the beginning it was just like teaching people from all around the world. But in terms of more high quality teaching online, that started definitely because of the pandemic.
Don't you think working online is more intense than being physically together and working with someone in the same room? You have to be more focused I guess to be less distracted?
Definitely. My dad asked me at the beginning "how are you doing with money?". I said "I'm fine, I'm just working four times as hard for it". I've been working now thankfully for 18 years now on a high level of musicianship like touring with amazing musicians. It's been a long time. And you get to that point where you're just like "ok it's another gig and another flight to another country, another concert, cool, got the money". I felt myself kinda getting a bit lazy. It it was almost like a wake up call! It was like "what if we just took everything away? What do you do now?". So luckily it wasn't "everything" away. It's not starting from scratch. So I still have the whole fan based. If I was a student and nobody knew who I was but I was really good, there's no way, you're not gonna make your name during the pandemic unless you're like playing the guitar and jumping off a building with parachute and doing flips. Nobody really cares about music anymore. They just care about the image. And people are satisfied right now just filming themselves practicing, not playing any music. Filming themselves, doing transcriptions and that's their art history. It's weird. It used to be like we were transcribed behind closed doors and them you get a gig and you learn how to improvise and then you record yourself on a gig or you get recorded by the audience. It's a weird culture of sub culture of jazz musicians now. Their whole thing is transcribing. That's all they do. You can have a channel now and your channel have more subscribers than the people that you're transcribing. That is the art now. No one wants to hear the original solo, they wanna hear the kid in his bedroom playing that solo.
Other than your own online students, you are also teaching at universities right?
Yeah, I teach at Manhattan School of Music, I teach at Temple University, Queens College I'm on the faculty and New School sometimes if they request me. The last semester I think they have very few students so I didn't get any request.
So you didn't have any fear at the beginning when the concerts were cancelled, because your teaching job was always there, was still going on?
Well let's see how long the schools can stay. But the thing with the teaching, it's only about 30% of my income. So that wouldn't have been even close to getting me buy for all the stuff that I'm doing at the moment. So it was still like I could've pay the rent and few other things but they would find me in my apartment with all my rent paid but I would be dead because I didn't have any food.
I think that could've been because you are drinking a lot of good wine instead of buying food.
Yeah I just did my taxes and saw all of the receipts, it was a lot of money that I've spent on wine. I could've, yeah they could've been a lot more nicer equipments in this room.
Your project "Standards From Film", what was the reason you started that project?
I did a workshop once in Poland, it was a week long and we had to do 3 different presentations. I did one on harmony. I did "Round Midnight" for that class because that was one of the tunes that right away comes to my mind. You just can't walk on stage and call to musicians to say "let's play Round Midnight". You have to at least have a few more sentences of dialogues before you start that song as far as what harmony is gonna be played. So then I went and showed like 4, 5 different versions of "Round Midnight" to the students. Because they were all just been reading out of the realbooks and I had been watching them that whole week and everybody has their phone on the music stand. Everybody's reading, no one's playing anything from the memory. So I did that to show them that you'll never find a version that's in any book. That version that's you're looking at, that doesn't actually exist. There's not one in history. But the ones that are in history, they're all different. So then I showed that. And that kind of started the idea and I said "so maybe I should do that again in another workshop sometime". Then later I was giving a workshop and I saw this kid playing "Stella by Starlight" and he was like comepletly lost. How can someone in his 4th year at college not know Stella by Starlight? Even if he kind of knew it but even he was playing the confident stuff that he was playing, was wrong. So after that workshop I went home and researched some different versions and I finally watched the movie "The Uninvited". And said "this movie is amazing". And also the version in the film even though it's like kind of classical sounding and a little bit corny sounding, the piano arrangement, the harmony was beautiful. And if I played it on the guitar with different voicings and stuff just the chords over there, it sounded great. And then I listened to Sinatra of course. I always thought that Sinatra's version is the original version for some reason. And then when I found out it was from a movie, I realized that it's the exact same harmony just in a different key. So, I did all those transcriptions and put it online with the history of the song, not because I love "Stella by Starlight", just because I was tired of hearing it. And because of all these terrible versions that you hear in schools and jam sessions, "Stella by Starlight" is such a bad tune now. So I thought it had to be beautiful. When Miles played, it was beautiful. It had to have that beautiful source so going back and finding that and bringing it back and showing people that "why people wanted to play it in the first place?". So that's where it started. I did it and suddenly it got all this attention on facebook and on instagram. People were like "do another one". And then I did "All the Things You Are" which is not from a movie, it's from a Broadway show. The third one I did was "There Will Never Be Another You". And that's from a film; "Iceland". And so while I was doing that one I was like "man this is really cool when it's from a film", the orchestration and everything. What if I did this, continued it as only songs from films? So then I just concentrated on that. Because I'm not like really a Broadway person. I've never been to a Broadway show. I was huge fan of movies. At the time I was really wanted to go back and check out all these movies that I hadn't seen. And they were on this list of classic cinema. I love orchestration, I love drama and a lot of these movies that these songs are from, are pretty dark like the real dramas. And a lot of them had really depressing stories, I love that stuff. It was really an attraction that I've got the idea "ok what if I teach harmony, cause that's the idea; history and harmony. So what if teach history and harmony of standards that I feel that everybody's just overlooking, they're playing all these songs without thinking about them. They are saying "ah! that's the song I need to know, I need to know this song and that song" But why? Why do you need to know that song and how did it become so popular to the point where you had to know it? The harmony part was taking the original version and analyzing how everyone treated it.
I think in your course, you are transcribing 4 or 5 different versions of the same song? So how do you choose the versions that you're gonna do of the same song?
I think the most I did was 12. "Like Someone in Love" cause that tune has so many variations. Some of them I do like 4 or 5 full versions of everything and then there'll be like another page to end or two pages of just four bars of a song that everyone plays differently. I have all the different versions right next to each other so people can see how different they are. I choose mainly based on who's playing it and what year sometimes it was recorded in succession of the song and how different it is from the original but not an arrangement. Not a reharmonization. So I'm not looking for reharmonization I'm just looking for people who were substituting chords. Those are two different things. You can completely come up with a new chord that has nothing to do with the original chord and that's cool but what most people are doing with the standards is they're doing the substitutions which to me means, you're taking the original harmony and just manipulating it a bit. Putting a different bass note under it or changing the fifth or the seventh or something. Really slight adjustments that can work with the melody and maybe take it to a different place, that kind of thing. But you can analyze it all by going back to the original and seeing how they're playing with these songs.
Which movies / songs you worked on?
The Mummy (1932) – Beautiful Love (Victor Young)
Iceland (1942) – There Will Never Be Another You (Harry Warren)
Belle of Yukon (1944) – Like Someone in Love (Jimmy Van Heusen)
The Uninvited (1944) – Stella by Starlight (Victor Young)
Laura (1944) – Laura (David Raksin)
Green Dolphin Street (1947) – On Green Dolphin Street (Bronislaw Kaper)
My Foolish Heart (1949) – My Foolish Heart (Victor Young)
A Life of Her Own (1950) – Invitation (Bronislaw Kaper)
Invitation (1952) – Invitation (Bronislaw Kaper)
Days of Wine and Roses (1962) – Days of Wine and Roses (Henry Mancini)
Ziegfeld Girl (1941) – You Stepped Out Of A Dream (Nacio Herb Brown)
The Sky's The Limit (1943) – My Shining Hour (Harold Arlen)
Thrill of A Romance (1945) – I Should Care (Axel Stordahl&Paul Weston)
Anchors Aweigh (1945) – I Fall in Love Too Easily (Jule Styne)
From film scores to all the different versions, everything is transcribed and written by me. Some of the films go all the way back to a novel. I chose the songs in this course depending on their popularity and being an iconic song, the songs that are really really really overplayed and a lot of people don't know why they're playing them.
So how about the "House Guest Series"? You are having a guest at your home every Sunday, playing duo with one musician and sometimes there is a question and answer part after the playing which I call the "story session" with some of these musicians. This is pretty amazing cause we can learn the real history and the real stories from these great musicians. It's kinda history of jazz lesson and the storytelling is so fun.
Well, I started doing that just to see how it would go. Just a kind of another challenge for myself. Beyond the music, what would happen if I did that, in the same room not on the zoom, with the people that I mostly already know. And in terms of question and answers, there are people who say "oh you didn't ask him so and so, you should've asked this and that" but I don't want to ask, I don't want people to ask me that why would I've asked this to someone else? Like Ben Monder told me about an interview like the first question someone asked him was so vast was such a big question that he just got up and said "I can't do this" and walked out.
What was the question?
Something like "what do you really think about music?" It was some kind of really ethereal question and he just finished playing a gig and he was super jetlagged and tired all he wanted to do was go back to hotel and sleep but he agreed to do this interview but the last thing he wanted to do was answering such a big question so he just got up and left. So with someone like Ben, if it comes up yeah you talk about it. He's an interesting person to talk to cause he doesn't just give up information, he will if it's in a natural way. Everyone is different you know. With some people I don't have to do anything. Like Mark Whitfield, he has so much energy, so much stories, so much experience that just let him go. You just let him run with whatever he wants to talk about it.
I learned a lot of new information from those interview sessions. Such as where Tower Records was mentioned, I don't remember with who but then later I watched the documentary "All Things Must Pass"and it was very very inspiring; the visionary approach of the owner, the democratic culture in the company, the ups and downs…
Yeah, on the West Coast there would be tons of musicians working there. When I first moved to New York I walked in the Tower Records and I saw people working there and I was like "why are you here? why are you working here?" and then I realized that people are not working maybe as much as you thought they were and if you gonna have a job why not work in a job where you have total access to everything that's been recorded. Tower Records was like a night out for musicians. Me and my friends we were like "let's go to Tower". Even if we have 20 minutes before the class "let's go to Tower to check out what's new".
For your online streaming from home, you've built quiet a studio at home with all the cameras and lightning and professional audio&video equipments. How did you decide on them? I mean you could've done it probably with less expanse and less professional equipments.
I told people at the beginning "Either I'm going to totally end up broke or this is going to, at least I'll make the money back. That was my goal, as long as I make the money back I'll be fine. So at this point, I've definitely made the money back and it's provided new income that wouldn't have been there otherwise. But it was a definite choice of taking that risk and thankfully I was able to do it, so every time I would buy something, it would kind of just lead to something else. Once I developed the "Standards from Film" course online. Like that thing that I did in the summer, it just started it so that gave me a good amount of income to kind of start something new. And that's when, I started investing in all the equipment and then I transferred everything to be on green screen for the "Standards from Film" course. And once I had all the setup, the cameras and everything I was like "I can just livestream now". So I started doing that and now it's not a course for any school in particular but a lot of schools ask me to do it so I started doing it for a couple of conservatories in Europe, in US. Between all of them, it was a good amount of like practice with the new format with all the green screen and everything and the microphones and the new cameras. So I'm excited to do it again in this summer, really much better than it was.
Actually it became a project so now you can sell it to anyone in any country.
Exactly, that's the point. Eventually I will prerecord them and be able to do them even when I'm travelling. Like I'll still do it live but I'll just be pushing play button and commentary things like that. And live Q&A. I won't have to be at home with all the setup. I don't think I will ever sell it in a downloadable format or anything like that. It will always be kind of a live presentation. I want to also keep evolving. I had already been thinking about, I had written to a couple of schools already before the pandemic so it was already on my mind but I wasn't gonna just do it on my own. Then when I had the whole summer shows get cancelled and no income, I was like "ok, I need to do this" so I got it together within a month basically. Programmed all those 9 classes to present online.
For the "House Guest Series" how did you choose the guests? How did you organize where to start and with whom to start?
I said "I'm gonna start with Peter Bernstein and Jon Cowherd", that was the initial idea. Somebody that I do play duo with a lot, who was Jon Cowherd and someone who I've always wanted to play duo with which is Peter Bernstein. That was the initial idea and I'll see how those two go. And then the first one was Peter, went so well that then I was like "let me just call Mike Stern". And he said "yes". So I said "If Mike Stern said yes then I can ask this person, that person etc". But some people said "no" very politely. It just kind of grew from there. Then close friends of mine who are great guitar players like Nir Felder, Mark Whitfield who I've known since I was in high school, we both play the same Marchione guitars. Then Kevin Hayes who plays in one of my albums. But in the first few episodes it was actually a little bit difficult because a lot of people were not in New York so I just booked them for further months. I started with people I knew first. Who do I know would be comfortable about coming to my house during the pandemic and play.
I think it was a good opportunity for musicians too who probably missed playing together during isolation
Yeah, people were happy to play, happy to make money. With the contributions, I pay the engineer and then whatever was left over, we split with the other musician.
How many people are working behind the scene during the livestreams?
Just one engineer. Making sure that nothing goes wrong. She's recording everything onto hard drive, she's organizing all the files. Recording all the files to logic. And if anything goes wrong while we're playing, she's there to fix it super fast which just happened a couple of times but I'm glad she was there.
Do you practice with the guests before the recording?
An hour before, we just agree on which songs we're gonna play. They usually get here 3.30 am 4 o'clock, we go live at 6 am, the engineer shows up at 5.
How did you convince your neighbours?
My neighbours luckily they grew up in West Village of New York City in the 70's so they're basically kinda hippies. They always loved the music even before pandemic. I was bumping them in the elevator and they were like "we love the music". The guy already knew most of the songs that we play with my students and they love jazz. I've been to their place for dinner, they bring food over sometimes. We drink wine on the rooftop, they're really cool. The couple on the other side of me, I talked to them and " as long as there's no bass no drums nothing super loud, it's ok". There's this new neighbour who was just moving in when Oz Noy was coming as a guest so I opened the door and explained to her and she said "oh yeah cool".
Your house is always like the way as we see it in the videos now? With all these setup?
Yeah, it's kind of a little bit of a nightmare with all the cables, all the stands the legs come out pretty wide and I'm constantly stepping over cables, I'll trip over something. Somebody else comes and they trip over something. So it's tricky to get in and out of the apartment.
When are you planning to give a break to the series?
Well it's gonna stop during the summer but I'll do restreams, maybe one special stream here and there. I live on the top floor so it gets super hot, like right now this is all natural sunlight. At 6 o'clock right now when the sun really heats up so I would have to have the AC on all day with the curtains closed but then turning the AC off and playing for an hour by the end of it, it's gonna be a sauna. So in July there's no way I can do it but maybe up until the end of May for sure. There are 3 guests for May; Rez Abbasi, Chico Pinheiro and Miles Okazaki.
In one of those interviews, you mentioned that when you were playing with Aaron Parks there were the youtube copyright restrictions issues, something like that even if you've played your own compositions?
Yeah, we played "Peaceful Warrior" by Aaron Parks and "Praise". It means that you can't make money from the video. So if I monetize the video, Blue Note would make the money. If you got a 100.000 views which no one ever does unless you're not doing cat videos or something like that or unless you're not talking about "the one scale you need to play jazz", then you can get a 100.000 views. For real music, no one's gonna make that playing jazz unless it takes over a year. But once you make a 100.000 views, you get 125 dollars from youtube. But if you have 3.000.000 views for your cat video then you can make 30.000 dollars.
Are you happy with those "House Guest Series" contributions?
Yeah, it funds it. It's nice to be able to pay people that I really love the way they play. Peter Bernstein, Ben Monder, Adam Rogers, those streams did really well. But someone like Adam Rogers we get like 10.000-11.000 views after 3 days, it's only about 1% of people who gave money and it's still better than any gig you can play in NY. So we'll see what happens, I definitely will do more of it, I just don't think it's gonna be every week. Maybe in the future a special once a month kind of thing. When it's every week which is already happened, people are not prioritizing it so the views go down and the contributions have gone down. But it's also like the weather is nice right now and people are out at 6 pm which is our live streaming time. People are in the park.
But they can watch it later? The streams are there for 3 days right?
Yes they can watch it later but people watching it live, that's when they send money. For just me to put it on a stream costs me around 450 dollars so I have to make at least that.
You said in one of those streams that there is no use of making an album right now if you cannot go on tour and promote it during these pandemic days. So how do you compose? Depending on a deadline or you're writing songs when the inspiration comes and then collect them later and fine tune them when the recording day comes for an album?
Lately has been if I write music, I just sit down decide I'm gonna do it. Otherwise I get too busy doing other stuff. So I need that kind of deadline sometimes. "Ok there's a record day here so I need to sit down and write the music". I used to think that that was not the best way to write but then when the more I researched a lot of my favorite albums, especially a lot of my favorite bands, that was exactly how they wrote. They were like "ok we've been touring for 6 months, we're gonna take a month off, go in to the studio and write everything for the new album". And then some of the most amazing music they ever wrote came out of that one month where they just sat down and did nothing except play everyday and write music. And then I started feeling a little bit better about that approach. Cause I was like, maybe I should be writing in a hotel room and call it like "Sunset in Vienna". But the more and more I see that people are not really writing like that most of the time.
So do you have any similar plans in the near future?
I have all the new music. The new album was sort of being put together just before the pandemic hit. I had about 75% of the music and I finished a lot of it in May so now it's about 90% ready so then that last 10% will get written once I have the date. I'll organize it and start to sit down and really think about and make it a priority. Unless I could sell people physical copies, for me it's too big of an investment. Cause I pay for my own records except for, it's just confirmed, you're the first one I'm telling it, I am doing a new Criss Cross record. You know the owner died last year so his son also named Gerry Teekens has promised his dad on his death bed that him and his sister will gonna continue the label. So they reprinted a lot of releases, crazy amount of new prints. And they also printed in vinyl. And they booked 4 sessions so I'm one of them. I'm gonna do a record with Aaron Parks, Matt Brewer and Marcus Gilmore. And it's gonna be the "Standards from Film" which I wasn't even thinking about doing. So it's just kind of fell in my lap and I asked him a few questions, maybe I could do original music and the budget wasn't there so I decided on that. It's gonna be recorded in July and released in November I think.
Great news. How about the 2021 concerts? You've told you're gonna have one in Houston in the upcoming months?
Yeah, I'm playing in Houston Jazz Festival in September. Also with Jimmy Greene. We were supposed to do Detroit Jazz Festival this past September so that got moved to this September. So I think we're doing that. I've got a call for a couple of things like Arkansas, Memphis Tennessee, Finland. Going to Helsinki for working with the Sibelius Academy. And then I'll see what else comes up. I have something else in December but it's slowly coming. I think no one's gonna be doing anything for this summer, I think it's too late now for festival bookings for this summer. I think in 2022 there will be big festivals with a lot of people where you actually making money again. Until then, it's gonna be smaller budgets, less bands, mostly livestreamed, small audiences just to have something going on.
You said that when you first came to NY, you gave your recordings to Peter Bernstein. Do young musicians do the same to you now?
Yeah. No it was before I came to NY. Well yes, people do it all the time but now they're sending links. But the thing is I don't meet them in person but Peter, I met him in person I saw his shows, I talked about music with him, we had a conversation. I did all that stuff before I gave him my cd. It wasn't a cd actually, I think I've sent him my audition tape for New School. But now it's different, kids at 17 have a cd now even though they've never been on the road or played with anyone. It's so easy to record now.
So what do you do when somebody gives you a link?
I usually don't listen to it to be honest. My thing is that if they really want me to hear them, they'll take a lesson or keep writing me, I'll hear them if they can really play. But it's that thing now that people just record something in their room on their phone and send it to you because they can. It's not the same as "hey I went in to studio and played with Eric Harland and with this guy and that guy and we recorded this thing and it's high quality audio, would you guys check it out" it's a little bit different. And so back then not many people were doing that and now it's like I get that everyday. And most of them are like people in their room transcribing. They want you to give a critic on them on someone else's solo.
How do you think the new online listening medias like spotify, bandcamp, youtube etc changed our way of listening? Not buying records? The speed and capability to reach a song in seconds from an online platform.
I have my own views about Spotify as an artist and I have views about as a listener and I have views about a student listening. It's all different opinion. As an artist I've chosen not to put my music on Spotify.
But you have your latest album there?
It's not my album, it's Criss Cross' album. Anything that I would pay for myself I wouldn't put on there. It's not the fact that I need to make money of my albums which I kind of do but I need to make the money back, at least to be able to make a tour and sell it live. But beyond that, it's not the fact that "oh I'm not making money out of this". It's that somebody is, but it's not me. Somebody that didn't invest one cent in the music as they're making money of of it. Ok they invested in the platform to play that music. You know I've talked with people about this, they say that "yeah I've discovered new people on Spotify, this and that" and then I ask them "did you ever go and buy that person's music or go see them live?" and almost 100% of the time the answer is "no". I used to drive to other cities looking for music. Go to Tower Records Austin Texas, go to Tower Records in Boston, Tower Records in Chicago. Looking for albums I couldn't find in Texas and people all they have to do is put on your name and google now. And people now they want you to do everything for them. People write me on my website ask me where can they buy my music? It's kinda crazy. They're on the site that sells my music.
Your music is also available on Apple music right?
No, it's on iTunes. iTunes store and Apple music are two completely different things. They're not related in any way. iTunes store is where you buy music, Apple music is where you buy subscription for what music they offer on Apple music, what music they have the rights to stream. iTunes is everything. But if you get a few downloads on iTunes today, you have to go on to your preferences and turn on iTunes store. It's no longer on, only Apple music is on and you have to subscribe to it to get it play. iTunes music is the program that runs all the music, you can either put it in from Apple music or iTunes store. But iTunes as an Apple app now on new computers, it won't allow you to look at Apple store unless you're going to the preferences and turn it on. They're already setting you up to the only thing, that's Apple music. Even though Apple sells, they make money from iTunes store but they make way way way more money from Apple music so they kind of just have abandoned the iTunes store. They don't promote it at all. They just promote the subscription. So you still can buy my music on iTunes store but you have to make sure you can see what's in iTunes store which is turning on from the preferences.
The reason they're doing it is because they make more money from the subscriptions than album selling?
Yeah for sure. They get 10 dollars from every person that exists that has an Apple. Everyone who has an Apple computer sends Apple 10 dollar a month. So very few people buy one album a month form iTunes store. So if you look for my music on Apple music it won't show up, if you look forward in iTunes store it shows up. But then you have to buy it. So now it's easier. You can find my music on my website, on iTunes store, on bandcamp, on Amazon. So it's pretty easy but just getting people to type your name into google, now is almost impossible. People have gotten to that point now. You have to basically send them a link with your name already in google for them to be able to find something. People are expecting you to do everything for them.
What do you think will happen after pandemic? Will online concerts and online teaching be more frequent than before?
It will never go back to where it was. For me and for a lot of people they're gonna have another source of providing content to people which is like all the online stuff. So during the pandemic, anyone who didn't have their online stuff together, got it together. Out of necessity. A lot of people have invested. I did, Kendrick Scott did, I saw a lot of people doing, like completely changed their home set up, really heavily invested into the future. So a lot more online courses teaching, a lot more livestreaming in conjunction with actual live performances. The trick is all the live venues now are livestreaming. So Smalls has always been doing it. Now it's always an issue. Why aren't we making more money if you livestream and charging people from all over the world for subscriptions which we have no idea how many people are subscribing. And we would get a little bit of money at the end of the year from those subscriptions but it's very low. So people were always a little suspicious about that. So Smalls has been doing that for years. But what's really unknown is what are venues like Criss's Jazz Cafe in Philadelphia or the Village Vanguard or these kind of places that could be pulling like 10 grand at night from livestreams and paying the band 400 bucks or 800 bucks and they're gonna have people in the clubs where they make money from the club, the bar, the food and they're charging tickets online. And you don't really know as a band how much money is getting in. That's what's gonna be tricky. Of course these clubs lost a lot of money so they need to make that back. But once they do, it's like anything else you know. It's like the city that charge the tolls for new bridges "oh the tolls go for the payment of the bridge". And once the bridge is paid for, the tolls double. So the tolls only supposed to pay the bridge so "oh no now we're maintaining the bridge that costs like millions and millions". So there will be a lot more opportunities for clubs to make income. We'll see how it trickles down to the scene. Now doing livestreams myself, realizing that with an audience the amount of income could be there, it's pretty amazing. It would be nice that if we played at Smalls or played at Dizzy's or somewhere else and they're livestreaming and charging 10 dollars per person that would be an opportunity to make more money. It would be nice. It's just gonna be a new scene. I think that whole thing of wearing masks and play that's gonna stay. That's already been in Asia. If you travel to Asia, in the trains and in airplanes everyone's wearing a mask. The world is gonna be different. There's all this new technology, zoom and all of the stuff. I think, educationally it's gonna be a whole new world. I could teach at Manhattan School of Music and teach at Amsterdam Conservatory, teach at Sibelius Academy in Finland. All at the same time without travelling. That's great. And we'll be able to travel. I think it's gonna be for certain people that really kind of be able to adapt to it, learn new things to do, I think they're in a much better place. I think I'll be in a much better place to survive as a musician after all of this.
I also think that things are gonna be different. Most of the companies turned online during this year. It's an opportunity for them for not to pay huge rents for their offices so they've decided to invest this money more on the employees. And I see that people are working more intensely – because it's online so you have to focus more and more – but also working more happily than ever right now from home because time is money and now people have become experienced in time management.
Yeah a lot of people said this. Everyone that I know, at least in this building cause I see them all the time, none of them are happy about going back to a building to work, they're like "we like working at home". I think a lot of business will totally rethink how they approach and run everything. As I said things are gonna be different and probably more people will be inspired and things will be better overall. Sometimes it takes something like this for a big change. It's like any situation from the past like after World War II, there's this whole spark of creativity and economy blooming and everything. After something like this, people hopefully will recover and there's gonna be so much new technology and new ideas out there where people were forced to come up with. It's just gonna change the world and there's no way it's gonna go back the way it was. After the Spanish Flu there were the 1920's and everybody talks about how great the 1920's were and after covid there will be 2020's which everybody will talk about, hopefully.
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Geografia
 Crump – comune nella Contea di Hardin, Stato del Tennessee, Stati Uniti d'America

Persone
 Benjamin Crump – avvocato statunitense
 Bruce Crump – batterista statunitense
 Casper Crump – attore danese
 Wesley Correa Crump – ex cestista portoricano

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The D-Day Myth Winston Churchill's Responsible for
tags: Winston Churchill, WWII, D Day
by Craig L. Symonds
Craig L. Symonds is Professor Emeritus at the U.S. Naval Academy where he taught for thirty years and served as History Department Chair; he is the author of more than twenty books including The Battle of Midway and Neptune. He last wrote for HNN in 2014.
Related Link What is There About D-Day that We Don't Know? By Craig L. Symonds
Like all iconic historical events from Lexington Green to the Alamo, and from the Little Big Horn to Pearl Harbor, the Allied invasion of Nazi-occupied France on June 6, 1944—the event almost universally known as D-Day—has become encumbered by a number of myths. One of them is that the Allies were able to bring ashore the hundreds of thousands of men, thousands of vehicles, and unprecedented amounts of supplies due in large part to the artificial harbors, known as Mulberries, that were erected off Omaha and Gold Beaches.
It is an appealing myth, for it emphasizes two very real aspects of the Anglo-American war effort: a willingness to experiment with new ideas of warfare, and the almost limitless industrial and mechanical capacity of the English-speaking allies.
Like many innovations during the war, this one originated in the fertile mind of the British prime minister, Winston Churchill. As early as 1942, he suggested the possibility of constructing artificial piers off invasion beaches. A popular story is that during a war conference in 1943 about the forthcoming invasion, British Vice Admiral John Hughes-Hallett, bemoaning the lack of a usable port, remarked, "Well, all I can say is, if we can't capture a port we must take one with us." The remark provoked general laughter around the table until someone said: Well, why not?
It was an enormous undertaking. One hundred and forty-nine giant concrete caissons called Phoenix units, each of them as large as a six-story office building, had to be constructed, towed across the Channel, and sunk in place. Since most of them had to be built in shipyards, they took up space desperately needed for ship construction and repair. Moreover, they collectively consumed more than half a million cubic yards of concrete, 30,000 tons of iron reinforcement bars, and fifteen million feet of steel tubing—all of this at a time when steel was in demand for a number of wartime projects.
Many of the operational commanders charged with conducting the landings were skeptical of the value of the artificial harbor, but no one wanted to get in the way of one of the prime minister's pet projects. The Allied naval commander of the landings, Admiral Sir Bertram Ramsay, described the component parts as "abortion-like," and even Hughes-Hallett, whose offhand remark had triggered the project, eventually came to see it as "wasteful and ridiculous excess."
Nevertheless, on June 7, the day after the initial landings, the Allies began to assemble the various elements of the artificial harbors off two of the five invasion beaches: Omaha and Gold. Besides the Phoenix units, there was a line of older ships towed into place and sunk offshore to create a breakwater called a Gooseberry. Inside the harbor formed by the giant Phoenix units were so-called Lobnitz piers that rose and fell with the tides and which allowed ships to offload in deep water onto steel piers connected to the beach by a floating roadway called a "whale." All in all, it was a marvel of creative engineering.
For years, western writers have credited this engineering triumph as a key factor in the Allied victory. No less an authority than Samuel Eliot Morison has written that the Mulberries "were absolutely essential for the success of Operation Overlord." Alas, a careful study of the details of the landings, and especially the sustained effort to support those landings with reinforcements and supplies, suggests otherwise.
For one thing, on June 19, the day after the artificial harbors were first opened to shipping, a ferocious Channel storm utterly wrecked the Mulberry off Omaha Beach, leaving only the British harbor at Gold Beach usable. That meant that the Americans at Omaha Beach had to depend entirely on reinforcements and supplies that were landed over the beach by Landing Ships (LSTs).
Interestingly, the number of men, vehicles, and supplies landed in that way exceeded the numbers achieved when the Mulberry was fully functioning. The pre-invasion goal at Omaha Beach had been to land 10,000 tons of supplies per day, a goal that was not reached on any day during the first two weeks (June 7-23). Even when the Mulberry was fully functioning, the amount of supplies brought ashore topped out at 8,876 tons on June 18, the day before the storm. The numbers dropped during the storm, but then, even though the Mulberry had been shattered beyond salvation, the numbers rose again. The Americans finally surpassed the 10,000-ton goal on Omaha Beach on June 24, when 22,630 men, 3,513 vehicles, and 10,974 tons of supplies were landed across the beach. From that point on, the LSTs sustained or improved on those numbers, even though the Mulberry had by then been scrapped.
What these statistics demonstrate is that while the Mulberry project was certainly a testament to Anglo-American, and especially British, imagination, creativity, and determination, it was not, after all, essential to the success of the D-Day landings.


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Price wars and discounters hit overall retail sales
Retailer price wars coupled with the ongoing impact of the hard discounters saw overall UK retail sales slip back for the first time in two years, according to the latest British Retail Consortium /KPMG figures.
Drinkaware launches mobile app to help people cut down on drinking
Drinkaware has launched a mobile app which tracks alcohol consumption, calculates units and calories and helps users set goals to cut down their drinking.
Warner Edwards Distillery launches rhubarb gin
Northamptonshire's Warner Edwards Distillery has added a rhubarb gin to its portfolio.
Bacardi produces cult graphic novel to tell its story of Cuban history
Bacardi has teamed up with cult writer Warren Ellis and artist Michael Allred to produce its very own graphic novel - The Spirit of Bacardi - that tells the stories behind the famous rum, the Bacardi family and its origins in Cuba.
Parliamentary group calls for tobacco-style health warnings on alcohol
A group of MPs has called for cigarette-like health warnings on all alcoholic drinks, as well as a lower drink driving limit.
Harpers.co.uk introduces new dedicated finance section
Today Harpers.co.uk introduces a new section of the website that hopes to keep you up to speed with all the latest breaking financial stories affecting the global wine and spirits industry.
Discover new wine producing areas at September's Emerging Regions Tasting
The Emerging Regions Tasting, to be held on September 3, 2014 in London, is geared to help raise awareness around emerging region producers and promises to offer buyers the opportunity to unearth some wines that have yet to be discovered in the UK.
Coe Vintners launches interactive digital wine brochure
Coe Vintners has launched its first digital wine and spirits brochure, allowing customers to interact with images, maps and information on wines as opposed to more traditional lists.
Wine & Spirit Education Trust boosts student numbers by 16%
The Wine & Spirit Education Trust attracted 16% more students in the past year as the importance of education in the wine industry globally continues to grow.
California's wine industry prepares for 'lighter' crop
California is preparing itself for a smaller harvest than 2013 - which was a bumper crop at 4 million tonnes - with some varieties looking to be down by around one third.
Halewood International is always on the look out for the next "Crabbie's" says Richard Clark
Richard Clark, director of innovation at Halewood International, says the company is always on the lookout for the next Crabbie's, as it looks to drive innovation across all the drinks categories in its portfolio.
Final week to enter Harpers Global Design Awards
There is now a week to go to get your entries or nominations in for the 2014 Harpers Global Design Awards asa we look to celebrate the very best creative minds and talents in the drinks industry.
Three quarters of British adults have shopped online in 2014, says ONS
The Week That Was: top news, Q&As and opinion on Harpers.co.uk
In case you missed some of the headlines this week on harpers.co.uk, we have done a review of the top online news, financial news for the drinks trade, Q&As, and opinion stories.
On-trade losing thousands of pounds in wine sales says new Harpers consumer report
The UK on-trade is potentially losing out on thousands of pounds of trade a day because of its inability to sell wine effectively, according to a new exclusive report publsihed today by Harpers Wine & Spirit.
Californian wineries look to make use of a trade loophole and build exports to Cuba
From this side of the Atlantic relations between Cuba and the United States would hardly be described as friendly. But, as Katherine Canfield, explains there is far more bridge building going on than you might think. Here she looks at how the Californian wine industry is looking to promote its wines to the Cuban wine trade.
Tim Atkin: why the Chinese wine market is so hard to predict
First time visitors to Beijing are often struck by the pollution that seems to blanket the city on a daily basis, reducing visibility and filling lungs with undesirable gunk. It's a symbol of China's rush towards industrialisation, as well as the lack of environmental checks and controls. But it's tempting to see it as a metaphor, too, not least for the wine industry. Trying to understand what is going on in China can feel like staring into a Stygian fug at times.
Wine not expected to be affected by Russian sanctions
The rising political tensions between the EU and Russia and the subsequent sanctions against the country may not have an impact on EU wine imports.
Pinot Grigio shortage could see consumers opt for other white wines
Pinot Grigio is in short supply on the bulk market around the globe, which is starting to push up prices.
Tour de France helps Cono Sur wine double sales to £14m
Concha y Toro wine brand Cono Sur is toasting a £7m boost to sales - growth of 100% - which has catapulted it into fourth position in the Chilean brand leader board in the UK off-trade.


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December 2, 2006 | Music News
I'M NOW SANE, NO MORE STREET FIGHTS –JOGODO MASTER
His story is a good illustration of how one can rise from grass to grace.His name is Friday Obianu. The name may not ring a bell, but once Jogodo Master is mentioned (a name he got from one of his tracks), that, of course, will elicit a huge ahaaa!
Jogodo has risen to a great height in the world music. Though from the ghetto, his songs, especially Jogodo, has become so popular that it is often played at parties and other social functions.
With his fame, it is not a surprise that he is one of the stars invited to play at shows. He was at the I Believe concert held in Kaduna penultimate Sunday where Spectacles ran into him and had a chat with him.
Born and bred in the heart of Ajegunle, a slum suburban of the city of Lagos, Jogodo has always loved music. He grew up to have a passion for music and it, therefore, didn't come as a surprise to many that he is one of the stars to emerge from Ajegunle.
Jogodo grew up in a family where it was very unusual to eat three square meals a day. He disclosed to Spectacles that he and his family experienced poverty in the true sense of the word.
He said, "Things were very hard in our family. Life was not easy generally, and it was worsened by the fact that we lived in Ajegunle. That place is a den of criminals. We have pickpockets, robbers and all kinds of people in that area and they do such things because life is very difficult."
He could have joined the rest of his mates to eke out a living the fast way. The thought may even have entered his head; but once he remembered the kind of father he had, he had to change his mind.
"My father was very strict. We come from a highly disciplined home. If we see food, we eat; if we don't see food, we stay and wait till the next one comes."
Little Friday could not steal like some of his mates and could not easily find a job, no matter how lowly.
To get to his current level of attainment was not rosy. He was scorned, ridiculed and laughed at, yet he held on to his passion of becoming somebody in life with his music.
Jogodo said, "People thought I would be frustrated. They kept laughing at me, saying I was going to be frustrated as long as I was bent on playing music. But I remained focused. I knew my time would come because my hands are clean."
His time eventually came with his first outing, Jogodo. It became an instant hit and just immediately, his fortunes changed. He moved out from the slums of Ajegunle to a better environment. But he is still aiming at living in the highbrow part of Lagos.
"I am re-packaging myself. I really suffered. I think now is the time for me to eat the fruit of my labours. I intend building my house in VGC. God being my helper, I will achieve that."
One can only imagine how this guy who was so much involved in street fighting transformed into a mega star.
"I loved fighting a lot. I was very stubborn. Life on the streets made me so. But now, things are no longer the same. I am sane and I have put all those things behind me."
One who never imagined that he would leave the slums of Ajegunle, let alone Nigeria, now gallivants all over the globe just at the snap of his fingers.
"My music has taken me to London, Holland and Italy. These are places I never knew existed, let alone dream of going there. I thank God for everything. You can imagine that people have been releasing albums for years, yet they remain unknown; but immediately I came out, I was a success. It is just God's favour."
But even as his fortunes have changed, there are some other things that did not change, especially his love for his wife. Many would have used the opportunity their status provided to engage in promiscuity, but not Jogodo. His wife, Ejiro, remains the only one, and there is a reason for that.
"If I leave her or start misbehaving, God will punish me. This was a woman who stood by me when I had nothing. She and I were struggling to see things turn out to be good. She is the mother of my life, there is no way I will leave her."
And to his ghetto pals, his advice, "Whatever you are doing, put God first. There is nothing like juju or babalawo, such things don't work. With strong ability and determination, you too can make it."


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Thanks to KC Penny Pinchin Mama for this great freebie.


text:
Split Psyches, Severed Bodies
Posted by Just Another Film Buff under All Posts, Filmmakers, Kollywood | Tags: Anjathey, Chithiram Pesuthadi, Mysskin, Nandhalala, Yuddham Sei |
— Mysskin's cinema is physical. The fight scenes in his films occupy the extreme ends of a spectrum. They are either divided into the simplest of images – where the cause and effect of an action occupy different shots and we rarely see two bodies in interaction – or are presented in their entirely, prioritizing spatial continuity over fragmentation and highlighting corporeality of an action over its meaning. The frames are chopped; characters' heads cut off. In his world of action, hands and feet are all that matter. (Severing body parts is not an unusual act in this universe). People don't have time for patient phone calls. They keep running, falling and scuffling. So does the camera, which crouches when they crouch, which lurches when they lurch, which sits back when they sit and which trembles from afar when they do. Mysskin is impatient with two shots and his restless, gently swaying camera converts these expository moments into a survey of the set, a documentation of an ensemble performance.
— These films are tightly plotted, very convoluted affairs; their solution always at an arm's length. Instead of the clutter clearing up, it keeps growing knottier and knottier until cutting through is the only way out. These resolutions, themselves, come across as cathartic experiences. Characters barely know the trajectories of others and how they interfere with their own. Like mice in a maze, they keep holding on to their version of truth until they get the view from above. It is this partial concealment/ignorance of information through which the movies attain tragic proportions. Mysskin's men make grave choices and often the wrong one. They try to vindicate themselves, only to hurt themselves over and over and descend deeper into guilt that is predicated on an equivalence that recognizes one's own condition in another. They suffer, and come out as better men. Their redemption is possible because they suffer. Mysskin's pictures, likewise, are at their best when under generic constraints. Mysskin is at his most liberated when tethered.
— The men and women in these films find themselves in similar situations time and time again. Despite all their actions and choices, they seem to come back to where they started from. It is of little surprise that much of the acting in these movies consists of repeated gestures and words. Be it pacing up and down a hall, where we see them oscillating about like a human pendulum, or fighting a gang of armed men, each of whom comes forward individually – like ascending notes in a motif – for a showdown, invoking comparison to both the martial arts and dance choreography. Likewise, we see them getting stuck in language loops – repeated words and phrases – until they attain a rhythm that reveals more than the words themselves do. This inclination for repetition informs Mysskin's aesthetic as well, with some loopy, shrill, Bernard Herrmann-esque score (at least one of his lead men recalls Scottie Ferguson) and a number of repeating compositions.
— Mysskin is one of the few filmmakers in the country who can take melodrama head on without falling back. He is not a minimalist trying to sap out the excess from it, but a director working on a grand canvas, blowing up the form. Much like John Ford, with whom he shares an affinity for the sky and the heroes who adorn it, Mysskin uses music to enrich the gravity of a situation than substituting for it, to multiply emotions rather than adding them; instinctive rather than instructive, expressionistic rather than expressive. Mysskin earns his violins. At times, the deployment is incongruous (and prescient) with what we are seeing, but, in retrospect, is overwhelming. Like Ford, he has this uncanny ability to elevate commonplace gestures and glances to mythical levels. A Western by Mysskin wouldn't really be a surprise, given how his own filmmaking instincts and themes derive from Westerns, by way of Samurai movies: codes of honor, responsibility towards one's men.
— Although God is never quite absent from the films' worlds, His silence becomes too threatening. There is a myriad of God's eye compositions that seem to witness all sorts of activities with equanimity, without judgment. It is perhaps the worlds themselves that have fallen and it is probably up to the people who live in it to sort it all out. Mysskin's camera that keeps descending from the sky onto the ground, then, signals a universe where man has to take up the responsibility of God, in His silence. This goes well along with Mysskin's deep-rooted distrust of institutionalized justice and his muddled yet ultimately silly plea for vigilantism. (He is much more comfortable and intriguing when dealing with metaphysical ideas than sociopolitical particulars). The men in his films never seem to be able to fit into rigid establishments and find law and justice to be concepts often diverging from each other.
(Filmography: Chithiram Pesuthadi (2006), Anjathey (2008), Nandhalala (2010), Yuddham Sei (2011))
Posted by Just Another Film Buff under All Posts, Ellipsis, Kollywood | Tags: Anjathey, Ashwath Ram, Myshkin, Nandalala |
Nandalala (2010)
Tamil auteur Myshkin's third venture Nandalala (2010) has its opening credits rolling over an image that seems straight out of Solaris (1972): two weeds gently swayed by the water flowing over them. Likewise, in the film, Bhaskar (Myshkin) and Agilesh (Ashwath Ram) are two kindred fishes flowing upstream, possibly trying to undo their births into this brutal world, in search of their origin: their respective mothers. As is made explicit in a near-surreal night scene at the beginning, the fear of being abandoned – by mother, by the state and by God – forms the backbone of Myshkin's film. Walking along the margin of the highway like those reptilian critters we see, the duo comes across and strikes a rapport with a number of people almost all of whom live on the fringes of society. Bhaskar and Agilesh, themselves, are misfits who've broken away from the establishment – the asylum and the school. Those in the mainstream, on the other hand, are seen in the safety of their houses and cars. Paranoid, hateful, hypocritical and downright barbaric, they seem distrustful of everything that might distract them from their well laid plans. (That Myshkin casts himself in a starless film that he had to struggle to get funds for makes this a story of a marginalized filmmaker struggling with the industry as well). Social integration, however, is not what Nandalala aims for. For Myshkin, as is represented in the opening shot, it is the society that is constant flux around these central characters who find meaning in their relationship with each other rather than their position in the society. (The last scene is probably a little more cynical than it appears to be). Punctuated by Fordian skylines and generally jarring bird's eye view shots that desert the characters, Nandalala, over-scored, overacted, imprudently written and characteristically over-directed at times, nevertheless continues to refine and fortify Myshkin's cinema of physicality with its long shot filmmaking, chopped framing, brittle cutting and Mifune-esque performances.
(Image Courtesy: Tamil Torrents)
Fearless Casting…
Posted by Just Another Film Buff under All Posts, Kollywood, Review | Tags: Anjathey, Mysskin, Naren, Pandiyarajan, Prasanna |
After his previous winner "Chittiram Pesudhadi", Mysskin is back with "Anjaathey" starring Prasanna and Naren. With Prasanna in a never-seen-before role, the film was one of the films to be watched out for. So, here I am, writing my thoughts and opinions on the film.
The plot of the film is fairly simple. Krupa and Sathya are two friends who are headed towards different lives. By a small inciting incident blown over, their fates take a U-turn and their lives proceed unexpectedly, thanks to Daya. What follows is the realization of their lives by the friends and the moral questions that surround them. With the exception of the slightly overlong climax and about 2-3 overdone scenes containing stereotype situations (M. S. Bhaskar cursing his son, Sathya, for one), the flick boasts of uninterrupted and fast screenplay.
Naren is the pick of all the performances and is all set to set a firm foot in Kollywood. The scene where he realizes the rights and privileges of a policeman oozes with good performance. Prasanna's portrayal of an eccentric but meticulous baddie with his own set of idiosyncrasies is commendable but not very memorable. Though Pandiyarajan remains for almost the whole movie, he seems to be there only as a comic relief.
Not only Mysskin's name seems to be Russian, but his techniques too. The extreme close-ups and the montage flow of action in the film are reminiscent of the pre-war soviet cinema. The brilliant use of non-diegetic sound for almost the whole climax provides the grandeur a showdown must have. The cinematography of the film is a very strong point. However, the unrestrained use of free-cam becomes distracting at times. Also, the experimental rapid cutting during the early part of the film does no good to the film. Though the film is very racy through out, it is almost completely humourless. The film cries for relief in the first half with even the costumes and the lighting being dark. The dialogues would have been hard-hitting only if it were not mixed with English in a tasteless manner. The background score has aided the movie big time, except for some obvious emotional manipulation.
The film could have avoided the love track completely, but how else will the director push in one more song?. And where was Krupa's sanity and composure (that he maintains when he is with Daya) when he failed the IPS test?. All said, the film certainly tells us three things: 1. Naren is here to stay, 2. Mysskin is a bankable director and 3. Prasanna can do more than run around trees and can say more than "Kudunga aunty, naa bag-a thookittu varen…"!


How Does Amazon Marketplace Fit Into Your DTC Strategy?
Amazon's market share and its offerings to eCommerce companies mean it can be either a tool or threat to brands. Direct-to-consumer brands, especially, must pay special attention to Amazon Marketplace's ability to reach consumers easily.
However, many brands will bristle at how much control Amazon exerts over its sales channel. Brands end up trading some aspect of the customer relationship for the access Amazon provides. The question is whether that balance fits into your brand's DTC strategy.
Amazon Marketplace lets vendors, both large and small, sell products alongside Amazon's own offerings. In short, Amazon Marketplace offers access to customers through an established platform — though, it should be noted, brands don't get the customer data nor do they fully own that customer relationship. Marketplace also offers the option for fulfillment, which Marketplace Pulse founder Juozas Kaziukenas says at least 60 percent of brands opt into.
Further, Amazon is so big that brands must decide to either join forces or compete with it. After all, Amazon is where the customers are. "As an Amazon seller, you become part of the Amazon experience that attracts a huge audience of loyal shoppers," Krista Fabregas writes at FitSmallBusiness. "Shoppers come in droves, drawn by Amazon's vast selection, competitive prices, excellent shipping, and sound reputation." Of course, Amazon does charge a commission for this opportunity — about 15 percent of every sale, on average.
And, as the saying goes, with great power comes great responsibility. Fabregas points out that brands on Amazon Marketplace are expected to maintain certain standards along the way — high-level customer service and tailored product pages, for instance. These efforts will help your brand, but do require investment.
It's important to remember that Amazon "owns" the customer relationships on the Marketplace, says market researcher Pamela N. Danziger.
Further, the branded experiences you create on your own sales channels don't translate to Amazon. "Taking advantage of Amazon's massive traffic is one way to get going quickly, but you might have to deal with limited brand recognition and compete in a cramped space where there are lots of similar products," Rob Starr writes at Small Business Trends.
Despite the limitations, the opportunity for growth is still there. Matthew Ferguson, director of strategy for the consultancy Rich Insight, writes that Amazon Marketplace could simply be another channel to your DTC strategy. The control is still there. "Being an Amazon seller allows you to control pricing and, therefore, margin," writes Ferguson.
"This can be very important for brands. You also have full control over stock range and depth. You are in control of the experience, the listings and the marketing." In this vein, you can treat Amazon Marketplace as another storefront for your brand.
Things get a little trickier, however, for brands that resell through other retail outlets. For one thing, price competition within this channel is intense. Your brand might end up competing with itself over price if you rely on other resell outlets. What's more, if you aren't the only seller of your products, it can be difficult to control your minimum advertised price. And in general, Amazon doesn't like for brands to act as both first-party sellers and third-party sellers.
Another option is to use Amazon Marketplace as a marketing tool to gain exposure. Scalefast founder Olivier Schott points out that Amazon is now more popular than Google as a product search engine.
Schott recommends using Amazon Marketplace for lead generation by listing only a few select products. Alternatively, you could use it as an inbound engine by taking advantage of search ads or the eCommerce giant's SEO superpowers.
Another way to leverage Amazon's marketing powers is to use the platform as a means of collecting and publicizing customer reviews. After all, Amazon provides a great channel for customers to leave feedback, says Duncan Jones of growth agency Webprofits. In turn, brands can use positive feedback on their own product pages (and negative feedback to improve processes and products).
Working with Amazon Marketplace can help push your DTC strategy forward.
It may not be the right fit for every brand, so it is important to address the pros and cons, particularly in the context of your future plans for growth.
"When determining your Amazon strategy, you want to consider how your products, margins, skillset and future growth will contribute to the Amazon selling route you choose," writes Jay Goldberg at Seller's Choice. For instance, Goldberg points out that Amazon Marketplace requires significantly more work than the retail route. You should be sure you have the skills (or a team with the skills) to handle merchandising, marketing, selling and customer service.
The risk is you could put a lot of effort into a program that may not pay off — particularly with the shift away from personal vendor managers toward the new automated Vendor Success Program. James Thomson, partner at Buy Box Experts, says that program features automated interactions and computer-based contract negotiation. This shift that may prove frustrating to vendors, Thomson writes, particularly when you want to focus on your customers and DTC strategy.
One deal-breaker may be if your brand is in direct competition with one of Amazon's private-label brands. The NYT's Julie Creswell points out that it may simply not be worth jostling for space against Amazon brands, which can be placed front-and-center for the customer. "Now, with its expansion into private label, Amazon has shifted away from being an impartial, may-the-best-product-win distribution partner to being a direct competitor to those other vendors," Creswell writes.
That said, Marketplace can still offer a fantastic channel for a host of eCommerce brands. As Mark Abadi points out at Business Insider points out, the program accounts for over half of all units sold on Amazon. In other words, the eCommerce giant is creating a universe big enough to accommodate its customers and its vendors.


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Publications on the Commons
8th National Symposium on Spanish as a Heritage Language
Thursday, May 13th–Saturday, May 15th, 2021
Heritage Language Challenges
Teaching and Learning in the SHL Classroom
Publishing in Spanish as a Heritage Language
Teaching Spanish Heritage Learners Online
Spanish Heritage Language Education and Social Justice
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Sample Presentation
Publishing in Spanish as a Heritage Language; Tips and insights from journal editors
Friday, May 14th, 1:30 PM – 2:50 PM EST
Panel organizer: Diego Pascual y Cabo (University of Florida)
Diego Pascual y Cabo, Assistant Professor of Hispanic Linguistics, Director of Spanish Heritage Language Program & Research Lab, University of Florida
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Diego Pascual y Cabo is Assistant Professor of Hispanic Linguistics and Director of the Spanish Heritage Language Program at the University of Florida.
His primary research interest is heritage speaker bilingualism, which he studies from a variety of perspectives: formal linguistic, socio-affective, and pedagogical. Over the past few years, his work on this topic has appeared in several edited volumes and scholarly journals, such as Applied Linguistics, Studies in Second Language Acquisition, Heritage Language Journal, Hispania, and Studies in Hispanic and Lusophone Linguistics (among others). Diego is the editor of "Advances in Spanish as a Heritage Language" (published in 2016), and coeditor–along with Dr. Julio Torres–of "Aproximaciones al español como lengua de herencia", which will be published in 2021.
As testimony of his professional commitment to our field, in 2014, he founded the Symposium on Spanish as a Heritage Language, which has since become an annual event bringing together researchers, scholars, and practitioners (K-12 and higher education) from all over North America. Since 2019, he has been Editor-in-Chief of the Spanish Heritage Language Journal.
Andrew Lynch, Associate Professor of Spanish and Latin American Studies, University of Miami and Editor in Chief, Heritage Language Journal
Andrew Lynch is a sociolinguist whose scholarship focuses on language in postmodernity, with emphasis on the situation of Spanish in the United States, the variation of Spanish in contact with other languages throughout the world, and heritage language studies. He also researches cultural and literary production among the US Latinx population. He is editor of The Routledge Handbook of Spanish in the Global City (2019) and co-author of El español en contacto con otras lenguas (Georgetown UP, 2009). His studies appear in volumes published by Georgetown UP, the University of North Carolina Press, John Benjamins, Routledge, Springer, and Instituto Cervantes, among others, and in journals such as Hispania, Studies in Hispanic & Lusophone Linguistics, Language Sciences, Language and Linguistics Compass, and Foreign Language Annals. He serves as Editor-in-Chief of the Heritage Language Journal.
Elena Foulis, Senior Lecturer and Heritage Language Program Coordinator, The Ohio State University
Dr. Elena Foulis  is a student-centered educator with over 15 years of experience in higher education. She holds B.A and M.A degrees in Spanish and Latin American Literature and a Ph.D. in Comparative Literature and Cultural Studies. Her research and teaching interests include U.S. Latina/o literature, Spanish for Heritage Learners, and Oral History. Foulis is an engaged scholar and is committed to reaching non-academic and academic audiences through her writing, presentations, and public humanities projects. Her e-books,  Latin@ Stories Across Ohio  and  Mi idioma, mi comunidad: español para bilingüe, have given her students key resources for understanding our Latina/o community's rich heritage, and the complexity and diversity, and sometimes, structural and systematic inequalities that this community faces. She is also host and producer for the  Ohio Habla  podcast.
Josh Prada, Assistant Professor, Indiana University-Purdue University Indianapolis
Josh Prada (MA, Birkbeck, University of London; PhD, Texas Tech University) is assistant professor of Spanish applied linguistics at Indiana University School of Liberal Arts at IUPUI. His work is in the interdisciplinary field of bi/multilingualism, with an emphasis on community/heritage/minoritized language speakers and translanguaging. Josh's research program centers the application of critical and transdisciplinary lenses to advance how we research, educate, and think about multilingualism, and ultimately, about how we act as multilingual citizens in our superdiverse world. Josh has published on topics such as linguistic landscapes, multilingualism and emotions, social cognition, service-learning, program development, and teacher education. Josh is Associate Editor of the  Spanish as a Heritage Language Journal  (University of Florida Press), and Reviews Editor of the  International Journal of Bilingual Education and Bilingualism  (Taylor & Francis).
Damián Vergara Wilson, Associate Professor of Spanish, University of New Mexico
Damián Vergara Wilson is Associate Professor and Coordinator of the Spanish as a Heritage Language program at the University of New Mexico's Department of Spanish and Portuguese. His research areas include sociolinguistics, usage-based analysis of language and SHL. His recent work covers topics such as Perceptual Dialectology in New Mexico, Critical Language Awareness, and Ideologies in the SHL instructional context.
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text:
NGC 6079 je eliptična galaktika u zviježđu Zmaju.

Izvori

Vanjske poveznice

  Hartmut Frommert: Revidirani Novi opći katalog
  Izvangalaktička baza podataka NASA-e i IPAC-a
  Astronomska baza podataka SIMBAD
   VizieR
 DSS-ova slika NGC 6079
  Auke Slotegraaf: NGC 6079 Deep Sky Observer's Companion
  NGC 6079 DSO-tražilica
  Courtney Seligman: Objekti Novog općeg kataloga: NGC 6050 - 6099

6079


text:
Новобиржевой Гостиный двор — историческое здание в Санкт-Петербурге, на Васильевском острове. Построен в 1800 — 1815 годах по проекту Кваренги в стиле классицизма. Является памятником истории культуры Российской Федерации. В настоящее время здание принадлежит Санкт-Петербургскому государственному университету.

Основные сведения
Здание Новобиржевого Гостиного двора построено в виде замкнутого четырехугольника с большим внутренним двором. Нижний этаж представляет открытую аркаду. Стены обработаны рустом, завершены карнизом.

Располагается здание на Менделеевской линии Васильевского строва, на участке между Биржевым проездом и Тифлисской улицей. Напротив Новобиржевого двора находится пл. Академика Сахарова. Левее площади Сахарова (по четной стороне Менделеевской линии) располагается Здание Двенадцати коллегий — главное здание Санкт-Петербургского университета.

Левый сосед здания Новобиржевого Гостиного двора (по нечетной стороне) — НИИ акушерства, гинекологии и репродуктологии имени Д. О. Отта. Справа находится Библиотека Российской академии наук (Биржевой переулок, д. № 1). Задний фасад здания выходит на Тифлисский переулок.

История
Император Пётр I видел центром нового города, Санкт-Петербурга именно Васильевский остров. При нём остров становится пристанищем для зданий научной элиты страны: возникают Петербургская Академия Наук и Академический университет; на Васильевском острове строится здание Двенадцати коллегий, планировалось размещение на Васильевском Правительствующего Сената и Святейшего Синода.

В этих условиях необходимо было разместить на Васильевском острове и центр экономики и торговли. В 1722—1737 годах Васильевский остров стал застраиваться по проекту Д. Трезини. Тогда же появился и Старый Гостиный двор, складские здания которого тянулись от Стрелки Васильевского острова до здания Двенадцати коллегий. К настоящему времени от этих построек уцелело лишь здание на Тифлисской улице, 1 — здание библиотечного фонда Библиотеки РАН.

К концу XVIII века торговые здания на Васильевском острове, включая здания старой Биржи и Таможни, устарели. Появилась необходимость в новых постройках. При Павле I (1797 год) появляется новый план застройки Стрелки Васильевского острова. В числе новых зданий планировалось возвести здания Гостиного двора и Новой Биржи. В 1800 году постройка здания по проекту архитектора Джакомо Кваренги началась.

При строительстве зодчий использовал типовой прием проектирования торговых зданий XVIII-XIX веков — сблокированные лавки, объединенные снаружи галереей в виде открытой сводчатой аркады (по такому же принципу построены и другие Гостиные дворы в городе). Новобиржевой Гостиный двор имеет просторный внутренний дворик-атриум и представляет собой неправильный замкнутый четырёхугольник, напоминающий трапецию. По всему периметру первого этажа здания проходит открытая сквозная обходная галерея, которая отделана под рустовку — характерный прием отделки фасадов итальянских палаццо эпохи Ренессанса. Стены нижнего этажа завершены карнизом. Полуциркульные окна второго этажа вписаны в гладкую поверхность арочных ниш. Галереи второго этажа обращены во двор.

Из-за участия России в Наполеоновских войнах строительство Гостиного двора шло медленными темпами, а впоследствии и вовсе застопорилось. Во второй половине 1800-х годов, когда Жан Тома де Томон начал строительство здания Новой Биржи, постройка и вовсе была разобрана. Возобновление и окончание постройки Гостиного двора относится к 1815 году.

В XIX — начале XX века Новобиржевой Гостиный двор использовался в основном для торгово-технических целей, преимущественно в качестве складского помещения. В начале XX века в здании Новобиржевого Гостиного двора размещались склады товаров Козухиной артели и контора Гленовой артели.

После революции до начала 1930-х годов в здании располагались склады ленинградской милиции. В начале 1930-х рассматривался проект передачи здания Академии Наук, но в 1934 году АН была переведена в Москву. Тогда здание было передано историческому факультету Ленинградского университета, начавшему работу 1 сентября 1934 года.

В 1936 году здание перестраивалось. По проекту В. Н. Пилявского, Я. Я. Кетчера и А. А. Заварзина был надстроен третий этаж с небольшими квадратными окнами, верхний ярус дворовой аркады был разобран, а нижний был включен в объём здания с остеклением проемов и устройством плоской крыши-террасы. Интерьеры были кардинально изменены. Центральную часть первого этажа занял вестибюль с гардеробом, перекрытый крестовыми сводами с подпружными арками, опирающимися на столбы. Также появилась двухэтажная аудитория-лекторий на 400 мест, расположенных амфитеатром.

До войны в здании Новобиржевого Гостиного двора помимо исторического размещались также филологический и географический факультеты (1930-е), а также военная кафедра. Во время войны в здании располагался госпиталь. После войны здание некоторое время занимал политико-экономический факультет (1960-е), в 1940 году был основан философский факультет, который также располагается в Новобиржевом Гостином дворе. В здании располагается и Медицинский колледж СПбГУ. До 2009 года в здании также находилась университетская поликлиника.

Новобиржевой Гостиный двор на Васильевском острове охраняется государством как памятник архитектуры федерального значения и служит ярким примером русской классицистической архитектуры начала XIX века.

Примечания

Литература

Здания и сооружения, заложенные в 1800 году
Здания и сооружения, построенные в 1815 году в России
Здания и сооружения, построенные в 1815 году в Санкт-Петербурге
Здания и сооружения Василеостровского района
Архитектура классицизма
Гостиные дворы


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Evoke KYNE expands specialty teams with 20 new hires and promotions
by Bulldog Reporter | Jan 29, 2021
Evoke KYNE, an award-winning health communications agency, today announced the continued expansion of the firm's in-house specialty Creative, Digital & Social and Earned Media teams in support of double-digit revenue growth in 2020. The nearly 20 new hires and promotions in recent months across the specialty teams reflect the agency's commitment to delivering integrated and tailored programs to meet each client's goals, and ultimately creating the greatest impact in health and wellness.
"By expanding our in-house digital and social, creative and earned media expertise, we've been able to surpass previous business expectations, bringing more meaningful and impactful campaigns to life and differentiating ourselves within the marketplace," said Maryellen Royle, Partner and Global Head of Operations, Evoke KYNE. "In 2021 we will continue to staff up with an eye toward global expansion of our specialty functions to deliver a truly customized offering to each client team across our business."
Notable new hires and promotions include:
EK Earned Media, which specializes in building third-party credibility through editorial coverage, has grown by more than 60 percent with several new hires including Ned Berkowitz as Vice President, Media Relations; as well as promotions including Jessica Ross to Director, Media Relations.
EK Creative, which uses creative and visual storytelling to bring campaigns and programs to life, has doubled in size with several new hires including Marina Linderman to Senior Art Director.
EK Digital & Social, which builds dynamic and measurable programs across channels and mediums, has grown by more than 50 percent globally with the appointments of Patrick Fennelly to Director, Digital Strategist; Maria Ioannides to Director, Social Media; Chuniq Inpower to Senior Manager, Digital Strategy; and the promotion of Shayla Wilson to Director, Digital Strategy.
Additional hires and promotions among the teams are planned for 2021. This ongoing growth is a reflection of the company's leadership in the industry, illustrated by the agency recently being named a PRWeek Best Places to Work 2020 and finalist for US PRWeek Awards 2021 Outstanding Midsize Agency.