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Home » Basketball » NBA: Wizards try to turn tables on Magic
NBA: Wizards try to turn tables on Magic
12/27/2020 Comments Off on NBA: Wizards try to turn tables on Magic
(REUTERS) – Bradley Beal has erupted for 70 points and Russell Westbrook has recorded a triple-double in back-to-back National Basketball Association (NBA) games for the Washington Wizards.
Two strong performances to be certain. Two losses in standings, however.
The Wizards aim to rebound from their fifth straight setback to the Orlando Magic dating to last season when the teams reconvene in Washington on Sunday (Dec 27).
Beal answered a 31-point performance in the season-opening loss to Philadelphia by scoring 39 points in Washington's 130-120 loss to Orlando on Saturday.
The Wizards, however, have not helped themselves from the free-throw line.
They made 16 of 23 shots from the charity stripe in a 113-107 setback to the 76ers and 15 of 28 in the loss to the Magic.
"We just gotta take those adverse times and learn how to deal with them and move on… We have a willing team who wants to learn, who wants to get better," Beal told The Athletic.
Westbrook collected 15 points, 15 rebounds and 12 assists to join Magic Johnson (twice), Jerry Lucas and Oscar Robertson as the lone players in NBA history to record a triple-double in each of his team's first two games of the season.
While that is some good company, Westbrook also shot six-of-19 from the field and misfired on all four of his three-point attempts on Saturday.
"This one's on me, (expletive) around, missing shots," Westbrook said.
Coach Scott Brooks said prior to Saturday's game that he was not sure if Westbrook would suit up in the second half of back-to-back contests this season.
Davis Bertans was limited to 20 minutes on Saturday, scoring just nine points on three of 11 shooting from the floor – including two of 10 from three-point range.
While Washington is off to a sluggish start, Orlando has won its first two games of the season for the first time since 2012-13.
Magic coach Steve Clifford was quick to dismiss the notion that his team would get high on itself for the fast start.
Instead, Clifford focused on playing on back-to-back nights against the same opponent.
"It's such a different dynamic for the NBA. There are years that you might play the same team two nights in a row, but it might be us here and then tomorrow night we both go to Orlando and play," he said.
"This is totally different. It's nice that we don't have to travel. But it's always nice when you play those to win both of them, so this will be a really good challenge for our team."
Terrence Ross scored 25 points off the bench to pace Orlando on Saturday.
Nikola Vucevic collected 22 points and 17 rebounds, and Markelle Fultz added 21 points in the win.
Fultz admitted that the quick pace the Magic are using this season is right up his alley.
"I love it. That's what (the coaches have) been trying to get us to do," he said in a post-game interview with Fox Sports.
"It started in training camp. I think it's going to be good for everybody. When we are able to get out and run, you get options ahead of the ball. It's hard to guard."
basketNBARussell Westbrook
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Green party resolution
It would appear that the Green Party (as in a majority of the Arcata, California city Council?) has begun actively pursuing its "watermelon" (stressing the red over the green) agenda in support of those who machine gun travelers at the Rome airport, slaughter Olympic athletes, blow up crowded pizza parlors and murder wheelchair-bound Americans. These socialists have entered the lists against a fellow socialist state (Israel) in favor of the erstwhile (Jodanian) Palestinian effort to recover what was lost in an aggressive war designed to eradicate the Israeli state to wit: "RESOLUTION Adopted by the Green Party of the United States, November 21, 2005: 1. The Green Party of the United States (GPUS) publicly calls for divestment from and boycott of the State of Israel until such time as the full individual and collective rights of the Palestinian people are realized. To maximize the effect of the Green Party's support for divestment and boycott of Israel: 2. The party calls on all civil society institutions and organizations around the world to implement a comprehensive divestment and boycott program. Further, the party calls on all governments to support this program and to implement state level boycotts. 3. The party urges the Campus Greens network to work in cooperation with other campus organizations to achieve institutional participation in this effort.
Since the demise of the Soviet State the collectivists have redirected their efforts toward other anti liberty groups such as the environmentalists and militant feminists. Leonidas' evidence for this is in the activities of Mrs. Leonidas' Swedish schoolchum who has ended her vacation trips to the Black Sea resorts and now chairs several groups advocating additional "aggression " taxes on males in Sweden and ADDITIONAL restrictions on the speech of those who disagree with the enviromental wackos in that unfortunate nation.
In California:
The best argument against democracy is a five minute conversation with the average voter.
Designed "intelligence"
Several years ago some of our collectivist "leaders" were calling for the abolition of the Central Intelligence Agency. With the recent performance of that agency, they may be on to something. Not only was the "intelligence" prior to the Iraq operation less than up to date, but we are now witnessing the total politicization of the agency.
"Well, it's pretty much all over for America. Valerie Plame, the "glamorous secret agent" who has been the linchpin of U.S. national security, "will retire next month from the CIA after 20 years tracking proliferators of weapons of mass destruction," the New York Post reports. "She remained at the CIA for the past year in order to be eligible for a full government pension." Or at least that's her cover story." <http://www.nypost.com/news/nationalnews/58558.htm>
"Al Qaida leaders Bin Laden and al-Zarqawi haven't been found 'primarily because they don't want us to find them and they're going to great lengths to make sure we don't find them,' [CIA director Porter] Goss said in the interview broadcast Tuesday on ABC's 'Good Morning America.' "--Associated Press, Nov. 29
Illegal Immigration?
With all the recent hand wringing over the U.S. being over-run with illegal immigrants, it is useful to review the facts. Several million illegal immigrants are living in the country at present. Why have they come? It is obvious that their desire for a better life is a motivating factor. Those willing to work can find willing employers for their limited skills for wages which, although low by U.S. standards are considerably higher than in their home countries. Those unwilling or unable to work can often find alternatives available from government programs. They routinely work for wages that most native residents will not accept therefore the jobs go begging. Why? The illegal immigrants are competing with unskilled native American workers in a market that is not free. Legal U.S. residents are eligible for a plethora of government programs that make low wage employment an undesirable option. These programs are: welfare, unemployment insurance, minimum wage laws and medicaid to name but a few.
The cost to employers of raising wages to attract those who are eligible for the government programs would force them to raise the prices they must charge for their goods and services and thus make them less competitive. Employers will always attempt to keep their costs as low as possible in order to compete. In this case the employers are competing with the government i.e. the taxpayers. This competition is unlikely to end as there is no political will to reform the welfare state. Indeed, the welfare state appears to be expanding at the behest of the majority in both of the major political parties.
One of the alternatives propounded by many of those on the right and left of the political spectrum is to divert more resources to "security" measures such as a militarized border and increased enforcement of the immigration laws. All of these options were tried by the Roman empire unsuccessfuly and led eventually its descent into chaos. The Roman system of welfare (bread and circuses), once the provinces had been bled of tribute, led to the need to allow more barbarians into the empire to settle the land and produce the food as well as fill the ranks of the legions. The barbarians eventually assumed control of the military and dictated the succession to the imperial throne. This signaled the end of the empire.
A study of history reveals the life cycle of societies based on liberty and self government to average about 200 years. Our "constitutional" government is now 214 years old and showing signs of what Alexis DeToqueville described as "the citizens voting themselves largess from the public treasury". Can the process be turned around or even arrested? Stay tuned.
The Real Cuba III
After a week at the Marina Hemmingway we obtained a "Despacho" (cruising permit) to continue sailing eastward along the Cuban north coast with stops at various anchorages. Most countries require "despachos" to keep track of foreign cruising boats along their coasts and this includes the U.S. We left for the first leg late in the afternoon to take advantage of the lighter trade winds which blow from the east during the night. The distance to Varadero was 65 nautical miles. We were constantly shadowed by a mysterious darkened motor launch and entered Marina Chapelin the next day about noon after being escorted in by a motor launch sent out by the marina. The employees of the marina were extremely helpful and friendly even to inviting us to a "night club" performance at one of the nearby tourist hotels as well as a Cuban ice cream parlor. Afterwards we decided to dine out and got in the long line at the only restaurant that was open. After several minutes the management discovering that we were foreigners escorted us past the line of waiting Cubans to a table. We were embarrassed by this treatment in the "workers paradise" but no one seemed disturbed.
We continued eastward anchoring at several beautiful coves and arrived at Puerto Padre, anchoring near the commercial dock to check in. We noticed that the local ferry was traveling more than a mile from its route in order for the passengers to view the "strange blue sail boat" flying the U.S. flag and its Canadian companion. No one had seen a U.S. flag vessel in Puerto Padre in living memory.
The bus trip to Puerto Padre was about 30 min. and gave us the opportunity to meet many friendly and curious Cubans including one old man who refused to believe that I was in fact an American. I produced my Los Angeles County Sheriff retirement badge and ID and he simply shook his head and walked away muttering "why would you want to visit Cuba?" to which I replied: "to meet charming people such as you and your grandson".
We continued eastward to the village where we intended to turn northward to sail to the Bahamas. I rowed the local commissar and a soldier out to the anchored boat to examine our paper work. Upon coming aboard he insisted that I take down the American flag which flew from the staff on the stern. I refused and indicated the Cuban courtesy flag that was flying from the ensign halyard on the starboard spreader. He examined all the papers and found them in order but again ordered me to take down the American flag. I refused and at this time the soldier interrupted stating that it was the ships flag and displaying it was indeed proper. This seemed to settle the issue and they returned ashore. The next morning at dawn we weighed anchor, waived farewell to the local guard tower and sailed the 70 miles to the Bahamas. This last out of the way village was the only occasion where the official representative was less than friendly. For the most part the officials bent over backwards to be helpful. In one anchorage the crew of one patrol boat gave us gifts of fish and fruit.
Mark Helprin makes an excellent point here on the view of the collectivists (left) with regard to the defense of the nation. "The nature of one's reaction to aggression against one's country will often be determined by whether one sees the polity primarily as individuals who must struggle with the imperfection of being bound into a collective, or as a collective that must overcome the circumstantial imperfection that it comprises individuals. For wildebeest thundering across a plain in Africa, it takes a village. The herd defends itself by sacrificing a minuscule proportion of its number and moving on. If the herd were to turn upon the jackals preying upon it, the jackals would be pulverized almost instantly. Nonetheless, if the price for the escape of ten thousand is the sacrifice of only a few, that is how it is done when the collective is paramount." The whole article is worth the read.
The Real Cuba II
Contrary to widely held belief, Cuba welcomes ALL foreign visitors warmly and they are free to travel wherever they wish. Travel to Cuba by those subject to U.S. law is not prohibited, however "trading" with Cuba is forbiden. This includes spending any money in that country. The U.S. does prosecute violators of this proscription, so U.S. tourists are non existent there.
Leonidas notified the Cuban port authority via side band radio from the Dry Tortugas of an e.t.a. of 72 hrs. for 1 U.S. and 1 Canadian sail boat and was instructed to enter at Marina Hemmingway 7 nautical miles west of Havana. Upon arrival, the harbor entrance was in the opinion of the two sailboat skippers unsafe due to adverse weather conditions and so advised the Cuban coast guard. A motor launch was sent out and led the two North American vessels safely inside where they tied up to the customs dock and cleared in the country. The officials were courteous but spoke no English. After completing the paper work the boats were led to a dock in the mostly empty marina. Our companion boat was Canadian and from this time forward we were officially "guests " of the Canadian couple on that boat.
The marina management brought welcoming gifts of Cuban rum and baskets of fruit for both vessels and insisted over our protests that we enjoy the free telephone service offered by the marina. During our stay we always placed the telephone on the dock when we wished to converse privately. This was especially true when we entertained the U.S. interests officer and his wife for dinner aboard. An interesting social event indeed.
The trip to Havana was a 30 minute bus ride from the stop in front of the Communist Party high school across from the marina. The Buses were usually crowded with people getting on and off mostly not depositing any fare in the crude wooden box provided. We had no Cuban coins but gave them 5 swedish kroners.
Havana is a charming city which has seen no paint on its buildings since 1960. We were warned to not expect to be able to obtain food in Havana and thus brought snacks from the boat. We attempted to hail several taxis but as we were obviously foreigners they were not allowed to pick us up. Only special tourist taxis authorized to transport those with hard currency are allowed to pick up foreigners. The few cafes that were open had long lines waiting to be served. The menus, though having several options listed, invariably offered only one item. Most of the locals recognizing us as foreigners were surprised to learn Leonidas spoke Spanish instead of Russian. This resulted in lots of smiles and good cheer.
A shop at the marina selling items such as imported beer and canned goods to foreigners for hard currency had some lettuce which they refused to sell us saying that the scale to weigh it was broken. I estimated that the weight was 1 kilo and offered to buy it for the price of 2 kilos and this was refused. We returned on each of the next 2 days to buy the lettuce which was beginning to wilt. On the 3rd day with the scale still not repaired I asked to negotiate with the manager. Two phone calls were made to Havana and the merchant finally got permission to sell the head of lettuce for the 2 kilo price. No tomatoes were available in spite of viewing fields of ripe tomatoes on the TV. I asked why, and was advised that the tomatoes were rotting in the fields as the Russians had failed to send the wood necessary to make shipping crates. An apparently insoluable problem to the party leaders. When I advised that I had seen tomatoes transported in California in dump trucks and other tublike containers the informant looked at me as if I were insane.
We remained at Marina Hemmingway for 7 days and obtained a "despacho" (permission) to continue cruising eastward to the resort of Varadero.
Continued in The Real Cuba III
The Real Cuba!
Recently we have witnessed several testimonies for and comparisons between some of the surviving socialist (communist) regimes and the western countries. Leonidas has visited at least a score of countries and found that the most fascinating such visit was to Cuba during the early 1990's aboard his 34' sail boat. A command of theSpanishh language was extremely useful in avoiding reliance on government "guides" and translators.
We found the Cuban people including the military to be extremely helpful and friendly. Every facet of life in Cuba is rigidly controlled and the citizens require ration books to purchase all food items even though the countryside is obviously suitable for agriculture. The country seems to be completely supplied with electrical power and a television set down to the smallest rural hut and we learned the reason for this. All tv broadcasting is superseded on a daily basis by Communist Party officials' (usually Castro) 2 to 4 hour speeches during prime time.
Due to the U.S. trade embargo the pre revolutionary (1959 and earlier) vehicles have not been replaced and consequently many classic old cars and trucks are seen on the streets in various states of repair. No proper replacement parts are available. The Cubans seem quite resourceful in keeping them running by fabricating parts and adapting parts from Russian and Eastern European cars.
Tourists are able to rent Japanese cars that display distinctive license plates enabling them, with the use of special permits to obtain gasoline which is in very short supply and extremely difficult for ordinary Cubans to buy. This situation may recently have changed, though I doubt it, with the help of Venezuelan dictator Hugo Chavez. Cuba has some oil fields along the north central coast but appears to have difficulty operating them. The Russian equipment in the fields is very poorly maintained and much crude oil is spilled and polluting the nearby streams and coast line. No one seems to be concerned with this situation. I suspect that environmentalists are not as influential in Cuba as in the "western world".
The Cuban people for the most part are very curious about North America and this suggests that the official portrayal of the U.S. as oppressive, bigoted and racist is not as widely accepted as their leaders would wish. The ordinary citizens for the most part do not have access to many basic items such as toilet paper, tooth brushes, matches, tooth paste, coffee etc. but are skilled at making substitutes. Communist Party officials and tourists with foreign hard currency are able to shop in special shops that deny access to ordinary citizens. The shops and stores allowing access to ordinary citizens are for the most part empty. When some items do appear in them long waiting lines are generated.
The begging and aggressive peddlers so pervasive in most of the other islands and countries in the region are totally absent in Cuba. The beaches, cayos and countryside are mostly unspoiled and definitely uncrowded. The beaches outside the tourist areas are closely watched from government guard towers and patrol boats, apparently to discourage emigration but we thoroughly enjoyed the friendly and charming people of Cuba both bureaucrats and others.
This is by no means an exhaustive account of the 5 week cruise along the northern Cuban coast. If an interest is shown Leonidas will add to it.
In the year 480 BC the Persian King Xerxes invaded Greece with his army of more than 100,000 men. The Greeks determined to resist the invasion and sent a detachment of hoplites (heavy armed infantry) to resist at the pass of Thermopylae. The Greek force was led by the Spartan King Leonidas and consisted of his 300 hoplite bodyguard and 1200 other infantryman from several Greek city states. Upon encountering the blocking force, the Persian king sent a herald to Leonidas stating "Deliver up your arms." Leonidas replied: "ΜΟΛΩΜ ΛΑΩΕ which romanized reads MOLON LABE" and translates: "Come and take them". After loosing several thousand of his best soldiers in the resulting next two days of fighting, the Persian king sent a further demand to the Greeks to surrender or he would have "the sun blocked out by the clouds of arrows" from his Persian archers. The Spartan reply: "Then we will fight in the shade"
Herodotus: http://en.wikipedia.org/wiki/Battle_of_Thermopylae

redpajama_set_name: RedPajamaCommonCrawl


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Victor Sloan: Drift
Place and Placenessness in Victor Sloan's Photographs of Craigavon
Dr Justin Carville
Vietnamese Boat People, Moyraverty Community Centre, Craigavon, giclée print, 60.96cm x 41.2cm, 1984
Chris, Drumgor, Craigavon, giclée print, 60.96cm x 41.2cm, 1985
Victor Sloan's photograph Central Way, Craigavon, 1981, depicts the combined visual markers of place and 'placelessness' that characterise the 1960s configuration of the New Town as a familiar, yet alien, built environment. The assembly of tarmacadam, concrete, stainless steel street-lighting and road signage that converge at the circular intersection are all motivated to facilitate the continuous flow of movement and mobility of the automobile. The looping form of the roundabout had become an increasingly standard system for managing the flow of traffic through high density urban and suburban developments throughout Britain and Northern Ireland during the 1960s, just at that period when Craigavon was beginning to be conceived in the minds of its planners as a linear city linking the towns of Portadown and Lurgan following the introduction of The New Towns Act (Northern Ireland) in 1965. Existing originally as a representation in the draftsman's sketches of the proposed new suburban environment imagined by urban planners and engineers, spaces such Central Way were designed to be easily and quickly passed through on the way to somewhere else. There were no foot-paths or pedestrian crossings to distract drivers or slow the flow of traffic, only road-signage designed to encourage the driver of the automobiles passing through to move-on swiftly without delaying to observe the terrain around them. The intersection of roads at roundabouts such as that represented in Sloan's photograph Central Way, facilitate the navigation of vehicles to any number of different places, but there is no time or space to dwell in this particular location.
Central Way, Craigavon, giclée print, 60.96cm x 41.2cm, 1981
Spaces such as Central Way are what the human geographer Edward Relph observes as "the casual eradication of distinctive places and the making of standardized landscapes" that encourage a sense of 'placenessness'. More recently the French anthropologist Marc Augé has used the term 'non-place' to describe such spaces of transience and circulation, but Relph's concept of 'placelessness' refers not only to the physical spaces themselves, but also to their broader impact on human experience of belonging and attachment to place. The effect of spaces such as Central Way extend beyond their own particular configuration of the built environment, and reflect for Relph the condition of the experience of place in the last quarter of the twentieth century. The everywhere of intersecting roads "imposed on the landscape rather than developing with it, are not only features of placenessness in their own right", he observes, "but, by making possible the mass movement of people with all their fashions and habits, have encouraged the spread of placenessness well beyond their immediate impacts". For Relph, therefore, 'placenessness' involves not only "a weakening of the identity of places to the point where they not only look alike and feel alike", but also offer people the limited "same bland possibilities for experience".
Central Way, like the many other roundabouts and labyrinthine road networks that cut their way through Craigavon, was designed as a space to be experienced only through the windscreen and wing and rear-view mirror of the automobile. Coming into sight through one rectangular frame as the car approached the roundabout, it receded from view in the other as the driver passed through on their journey to somewhere else. It was a landscape designed with the specific purpose of dissolving in the motorists gaze. As a planned environment it is a space that generates a sense of what Relph identifies as 'incidental outsideness', an attitude that arises in relation to places that are mere backdrops to other social activities and are detached from the need to form a bond to place. Sloan's photograph, however, provides an alternative perspective to the automobile driver's mundane, uniform visual experiences of Central Way. The banal emptiness of this circuitous space from any distinctive markers of place is clearly conveyed in the photograph, as is the sense of the roundabouts isolation from the numerous locations that it connects the commuter to as they pass through it on their way to some other place. However, the vantage point and angle of vision adopted by Sloan in his photograph of Central Way, makes the viewer aware that the photographer was situated in this space rather than passing through it or standing outside of it. The elevated vantage point, to the left of the road, slightly de-centres the rational configuration of the straight, asphalt traffic lanes carved into the landscape, and ruptures the smooth completion of the circular formation of the roundabout. The foliage of bushes, and branches of trees in the foreground, also interrupts the normative organization of the pictorial space of the photograph which would allow the viewer unfettered visual access of the space contained within the frame of the image. Society has become accustomed to photography's technical inscription of linear perspective in which the frame of the camera's viewfinder is the window through which the world is rationally transferred onto the flat, two-dimensional plane of the photograph. In this technical configuration of the cultural conventions of the two-dimensional representation of three-dimensional space, the viewer is fixed in relation to the photograph. In the words of Christian Metz, "the spectator can do no other than identify with the camera". By photographing Central Way from this slightly elevated, de-decentred perspective, and allowing the environment to encroach into the frame of the image, Sloan brings the viewer with him into the planned landscape of the roundabout, providing an opportunity to experience the world depicted in the photograph not as some objective space detached from experience, but as a lived environment, a space vying for attention between the social forces of place and 'placelessness'.
As a photographer and artist, or more properly an artist who uses the medium of photography in his reaction to the subject he takes a photograph of, before reacting to the resulting photographic print, Sloan has had a long, and sometimes unsettled, relationship with Craigavon. It is a relationship that could have easily generated an overly sympathetic view of the plight of Craigavon's inhabitants in the early decades of its development, or at the opposite end of the spectrum, a cynical and detached documentation of the New City's isolated environments of shopping centres, housing estates and community centres. The sensitivity towards those communities living in Craigavon is evident in Sloan's photographs, as is the innate sense of alienation arising out of the disconnect between the city's architectural forms, configurations of 'community centres' and the lives of those who inhabit the environments planned remotely by urban planners. To categorize Sloan's photographs of Craigavon through such polarised perspectives, however, would be to over simplify what is a much more nuanced approach taken by him through the medium of photography towards representing the architectural and social peculiarities of the area over a period of three decades. During that time, he has produced a series of visual statements on the current state of affairs of this planned development at particular moments when relations between the alienating spaces of the New City and the community animated the struggles between place and 'placelessness'. In series such Craigavon and Vietnamese Boat People during the 1980s, Fireworks Craigavon in the 1990s, in individual works such Stay Out, Craigavon, 1991, and his most recent large scale colour works of Craigavon's shopping and community centres such as Moyraverty Community Centre, 2014, Sloan has not so much provided testimony to the areas changing social configurations as place, rather he has issued a set of visual declarations on the relationship between the built environment and the community. In a number of respects this durational engagement with Craigavon as a photographer and artist has ensured that Sloan has kept true to his word. In an early text and image piece published in Circa with the writer and historian Gerry Burns titled 'Craigavon – The Heart is Missing', he commented that he would "continue to work on the project as long as he lives in the area". Despite the early reservations expressed in the article that the buildings erected for the community of Craigavon bore "no relationship to the lives of the people who live here", his photographs are no less attuned to the attempts by the community to establish as sense of belonging amidst the socially constructed places of poorly designed housing, leisure and consumer spaces. His personal vision of the area is an inescapably human geographical imagining of place through the photographic image.
Vietnamese Boat People, Moyraverty Community Centre III, Craigavon, giclée print, 60.96cm x 41.2cm, 1981
Vietnamese Boat People, Moyraverty Community Centre I, Craigavon, giclée print, 60.96cm x 41.2cm, 1981
Perhaps unwittingly, or perhaps intentionally, Sloan has become something of a visual chronicler of Craigavon. However, his account of the transformation of the city is not one that allows for a transparent reading of his visual statements. Sloan's various series and individual images of Craigavon require the viewer pay attention to the photograph, to concentrate on its surface as well as its pictorial illusion of depth. His photographs reveal a series of relations – the photographer and the place; the artist and the photograph; the photograph and the viewer – which unsettles some of the complacency that resides in looking at photographs. Photographs are violent observed Roland Barthes, not because they show "violet things, but because on each occasion it fills the sight by force, and because in it nothing can be refused or transformed". In most contexts photographs coerce the viewer to look straight through their surface directly to the object contained within the pictorial frame of the image. They compel the viewer to rush to interpretation; 'this is a house'; 'here is my car'; 'there is the park'; 'that was at the party'. Such common interpretations of photographs are more than a prescribed lexicon for responding to the experience of looking at the transparent surface of the photograph as if it wasn't there, it is a condition of the relationship we have with photographs. These responses oscillate between presence and absence – the object is both 'here' in the photograph and 'there' in reality – and spatial and temporal distance; what is photographed is in 'another time' and 'another place'. Photography is madness, observed Barthes, precisely because of such vacillating responses to the experience of looking at photographs. Amongst such delusions is the anticipation that although the photograph reinforces the viewers separation from the time and place of the object photographed, this separation may be overcome by the representation of the place as a photograph, that photography might provide access to that 'other time' and 'other place' which the photograph strives to separates us from.
Sloan's photographs intervene into these complacent responses we have with photographs, precisely through making the relations between the photographer and the place; the artist and the photograph; and the photograph and the viewer, visible. Instead of simply being allowed to look through the photograph to quickly access what is transparently represented within its frame, as if the photograph itself didn't exist, his photographs require an acknowledgment of their conventional and material presence as images of place. The more conventional documentary work from the early and mid 1980s – a period when Sloan's fascination with the forms and designs of Craigavon's shopping centre, Marlborough House (Craigavon Housing Executive Office) and civic centre as an artist were tempered with his social awareness of their alienating affect on the community – are taken from vantage points that reveal the photographers relationship to place. Photographs such as Shopping Centre, (Children Playing), Craigavon, 1985, Bus Stop, Ridgeway, Craigavon, 1982 and Ridgeway, Craigavon, 1982, are taken from vantage points and framed by the camera's viewfinder in ways that draw attention to the photographer's conscious organization of pictorial space to illuminate the architectural forms of buildings, boarded up windows, street lighting and signage. These conventions of vantage point, framing and angle of vision, are not employed to produce sterile compositions that reinforce a sense of distance from the built environment, nor are they to establish a separation between viewer and image. They are mobilised instead to draw the viewer into the space of the photograph by revealing the photographer's self-conscious juxtaposition of squares and rectangles, the rectilinear lines of modern European designed housing and the rolling forms of green spaces. An errant form of vernacular modernism, there is an awareness of the photographer's positioning himself in relation to place to draw attention to the 'photographic-ness' of his visual statements of the environment.
Bus Stop, Ridgeway, Craigavon, giclée print, 60.96cm x 41.2cm, 1981
These are not simple formal exercises, however, the particular framing of this built environment by Sloan through the camera's viewfinder subtly teases out the alienation of the environment to the community. This combination of the forms of the built environment and their alienating affects, were identified by Sloan early on in his documentation of Craigavon during the 1980s. Commenting on this early engagement with the area he observed "One could be forgiven for thinking that no overall view was ever taken of Craigavon's development. Some of the buildings are interesting enough, as far as shape and design go ... I suppose you could say that Craigavon fascinates me, insofar as it represents a supposedly planned environment which has gone almost totally wrong. People want a structure and meaning in their environment that will reflect, and in part create, structure in their lives. Craigavon has completely failed to provide them with this". The slightly awkward juxtaposition of the lamppost and commuters waiting at the bus stop in photograph Bus Stop, Ridgeway, Craigavon, and the flash-lighting in Shopping Centre, (Children Playing), convey the detachment of everyday life from place. The pictorial organization of body and spaces are inelegantly coalesced within the frame of the photograph in a visual articulation of the alienating relations between place and community.
Sloan's series of toned photographs marked with oil pastels bring to the surface relations between artist and photograph, and photograph and viewer that similarly question the normative responses to photographs of place. In his discussion of 'insideness' and 'outsideness' in experiences of place and 'placenessness', Relph identifies the visual arts, literature and poetry as modes of imaginative geographies of place that can provide what he terms as 'vicarious insideness'; a deep seated engagement with place experienced second hand through various modes of representation. The anticipation that photography might ameliorate the sense of separation between viewer and the place represented in the photograph is an exemplary instance of the image providing vicarious experiences of place and belonging. If we are to take Barthes at his word, the brute opticality of the photograph – its violent saturation of the eye – has the potential to transport the viewer to the place contained within its frame unfettered by any obstacles. However, Sloan's intuitive marking of the photographic print, the red squiggled lines in images such as Funfair, City Centre Craigavon, 1984 and circles in Community Minibus with Senior Citizens, Brownlow, Craigavon, 1984, interrupts the unrestricted access to the world viewed in the photograph. Although Sloan's use of oil pastels and his subtractive and additive markings on the surface of the photographic print are very much in the realm of his reaction to the photographic print, it is a process that intervenes into the relations between viewer and image; it generates an alternative geographical imagining of place. Writing on Sloan's use of toners, bleach, paint and scalpel to mark the surface of photographic print, Brian McAvera has commented that; "The manipulated image is the method by which he bypasses the soiled coinage of photographic 'honesty', 'truth' and 'authenticity'. In the image Road, Rathmore, Craigavon, 1985, something more nuanced is taking place than rupturing the photographic codification of realism. The conventional practice of looking at the photograph would be to follow the perspectival lines up to the graffiti across the road and into the disappearing horizon. The red circles marked by oil pastels in the right-hand foreground, indicating bullet holes, force the viewer to check themselves, it transforms the normative expectations of photography's power to ameliorate the separation between viewer and place. Such images constantly distract the viewer, pulling them toward the slightest of details that charge the experience of place with unseen political tension.
Sloan's recent large-scale colour photographic prints such as Moyraverty Shopping Centre, Craigavon, 2014 and Shopping Centre, Craigavon, 2014, are both a continuation of his fascination with the disconnect between planned development and community, and mark a return to his original engagement with its architecture as a sort disjointed exhibit of objects in a museum. However, there is a sense now that such structures, individual in their own way, are points of intersection that bind Craigavon together as place. They stand as architectural monuments to a modern vision of community that was yoked constantly between place and 'placenessness'. Indeed there is a feeling of redemption in Sloan's most recent work on the tensions between place and 'placenessness', one in which he photograph might just ameliorate the sense of separation between viewer and the place depicted in the photograph.
Ka Fue Lay from Victor Sloan on Vimeo.
Sloan's video Ka Fue Lay, shot in 2014, depicts one of the many Vietnamese migrants who arrived in Craigavon in the 1980s. Sloan's series Vietnamese Boat People, perhaps more than other work on Craigavon, reflected the alienating effects of the area and the struggles to establish an authentic sense of belonging and community in spite of the disconnect between the built environment and the people who lived there. In the video, Ka Fue Lay looks through a series of photographs of friends and family which are shown to the viewer. Hands hold the photographs, fingers point to individuals, stories are told. Although Ka Fue Lay's voice moves between identifying individuals, places and stories of life in another time and another place, the photograph is visible at all times. It is a material presence and a vehicle to express a sense of attachment to place. When Barthes wrote of his search for an authentic experience of memory, he encountered it while sifting through photographs; holding the material object in his hands, moving one photograph in his grasp to the next, he encountered an authentic sense of attachment to the person in the photograph. In Sloan's video, this sifting through photographs is combined with what Martha Langford identifies as an "oral-photographic performance". For Langford "The accumulation of photographic moments does not replace memory; rather, it overburdens recall with visual data that explodes in the retelling". Ka Fue Lay's stories told through the material touch of the photograph generate a recitation of another time and another place, bodies and places are coalesced within the pictorial frame of the photograph in expressions of belonging and attachment to this seemingly alienating environment. Despite the sense of placenessness associated with Craigavon to the outsider passing through on their way to some other place, Craigavon, it would seem, is redeemed.
Justin Carville, 2014
Justin Carville is a lecturer in the history and theory of photography at the Institute of Art, Design and Technology, Dun Laoghaire, Ireland. He is the author of Photography and Ireland, publishes by Reaktion Books. He has also written extensively on the subject of photography for journals including Photography and Culture, Source and The Journal of Popular Visual Culture.
Victor Sloan/ Drift
Ken Grant
Pinebank Community Centre, (Slide),Craigavon, giclée print, 60.96cm x 41.2cm,1981
It looks like we're not quite through the winter. Long after trees have shed their leaves, three children sit atop a playground slide. At its foot, a friend waits, with her hands hitched to her waist, whilst another -at the edge of the drama- runs through the dappled shadow towards the fun. To the left of the picture, a younger child is cupped on an elder's lap, intensely watching the joy she will grow into. A sharp patch of light nips the child's young face, bringing it into bright and uncomplicated life. Children live in the moment, perhaps they don't notice the cold, their world is a playground and home is a breath-heavy drama from one dash to the next. No matter where they land, they get to their feet. All is ideal, with everything to hope for. Prospects are good.
To those settling in Craigavon a decade or so after the original planning had begun in the mid-1960s, the emphasis of play and recreation amongst the clean designs of connecting pathways and traffic-free routes might have seemed an ideal relocation. Conceived as a mix of homes and parkland- with countryside never too far from the doorstep- the distinctive design and the promise of a semirural ideal must have been a convincing prospect. Perhaps the area was understood as a new frontier – or as a self-contained island, pleasantly adrift from the urban tensions and territorial division that urban Belfast would continue to endure.
Those taking on this new start would be joined, in September 1979, by a group of Vietnamese families, who had themselves made their own life-changing slow journey from their home country and its austerity. They would travel by boat and eventually be picked up by larger ships before reaching the UK -where a welcome invitation to the newly established ideal of Craigavon was offered. As the families established themselves, Victor Sloan was on hand to photograph family groups at their homes and again at the local leisure centre. A forthright flashlight subdues the brown and yellowness of a dull interior, the civic colours of the late 1970s. They are new arrivals, standing isolated and different -but children all the same -and they seem happy enough to respond warmly to the photographer's engagement and the possibilities of making a new world. The aspiration to start again must have felt a common one, shared by those many families who had decided to take part in this new and untested phase of Ulster's development.
Victor Sloan's earliest photographs of Craigavon tend to speak to the dominant photographic forms of the day. Often wide and inclusive, they are free of the layered, abrasive reworking of the print surface that he would later become more widely known for. Instead, they seem carefully populated and precisely seen black and white frames, made with a warmth and sensitivity that manifests itself as a gentle, respectful humanism. They are dexterous frames, pictures that place children -and the new population- against the structures and skies to which they have been prescribed.
As a photographer, it might have been enough to dwell on the confusing road systems, endless roundabouts and sterile planning ideals that proposed the car over anything that might encourage community interaction. Although the work Sloan made at that time moves beyond such understandable preoccupations, the asphalt rings of new traffic systems would appear now and then, as circular grassed mounds flanked by newly planted saplings. Low-rise, uniform housing estates and quiet, rain-washed roads seem dormant–almost as if waiting for the car-less population to catch up. Elsewhere, there is a strong sense of how families engage with the new clean-lined pathways. Long before desire lines will be established (-those pressed down vernacular trails that wear away the grasslands in spite of planners wishes), locals would have to negotiate new and confusing link bridges and walkways. Victor Sloan articulates this: In a picture that shows a handful of young people whose paths may never cross, he frames shadow, bollards and litter –organizing the straight lines of roofing and flagstones into a picture that is nearly an architectural study, save for the un-tethered dog that goes one way and a child, lagging behind as it tries to keep close to the pack, which goes the other.
The early photographs relate the sense of coming to terms with a new terrain. Moving from one section to another with a young family in tow would always prove taxing to those learning to navigate by the north star of a shopping 'super-mall' –that dead centre that seems to mark the soulless heart around which new town models are most often constructed. There's a sense of the wider farmland and space that marks the edges of the development, but also a suspicion that, whilst it's there, whilst it's almost close enough to touch, lived experience might mean that it is less easy to ever truly reach. Waiting at a bus stop in front of a low modern estate, low enough to be held by the weight of the sky, high enough to obscure the view of any wider nourishing landscape, a photograph of a group of residents -waiting to move on with their day- is a gentle picture. It seems about little more than a nod to a patient limbo. Yet beyond this, it remains a picture that perfectly acknowledges the quiet and dignified effort of modest travel through an obstructive landscape. Such brief moments of strangers passing give the ordered topography of a new landscape its pulse. In light and dark, the photographs offer precise accounts of the structure of Craigavon, yet often with the trace of youthful inquisitiveness and, eventually, the more growing marks of anger that so often accompany troubled adolescence.
Shopping Centre,(Punk), Craigavon, giclée print, 60.96cm x 41.2cm, 1985
Outside of Craigavon throughout the 1980s, tensions were apparent across the UK and Ireland. Hunger strikes would see 10 men die in protests a whole world -or just a few miles- away in Belfast. All lives have soundtracks and the second wave of punk, with its more politicized targeting of the Thatcher government- would become acutely focused around adjacent unrest, social opportunities and the declining models of youth training and employment. We might remember how some of the key industries had earlier relocated to serve as local and sustained employment initiatives for these remote new towns across the UK and Europe- and we may recall how many would become unviable and eventually pull out. Craigavon's own example, Goodyear, would close in 1983. Coupled with the unsettling tinder of Ulster's Troubles, as they permeated and influenced daily experiences, the ideal of a new and uncomplicated start -of a new life of nourishment and opportunity- would remain an ideal forged by planners and architects -rather than something experienced without complication. Against such an economic terrain, Sloan's photograph of the young punk with the hand painted leather jacket perhaps really did believe he was living out the Partisans song '17 years of hell' - whilst he stands facing a watchful policeman… each playing their part in the flash-lit carnival that would interrupt another Craigavon night.
Victor Sloan's own children occasionally appear, as he follows the events that include trips to the shops or mark another Halloween. There is a sense of the seasons turning and rituals punctuating the darker nights. His flashlight reaches scrambling kids as they move through the unrefined grass banks at the edge of a newly established estate. Quite naturally, for a father whose path and time might be shaped by the demands of those he cares for, some pictures betray something of the mundane routines and sparks of exhilaration that parenthood presents to us -none more so, perhaps than in a photograph taken outside the large shopping centre, with it's clean ceramic tiling and a welcoming logo -so familiar across so many new towns that it somehow means nothing. Ahead of passing shoppers and an entwined waiting couple, three acrobatic children spin head over heels on a tubular safety barrier, like hanging bats on a steel branch. They are protected by duffle coats and fearless, too slight to ever hit the ground. Somehow in this experimental landscape of Craigavon, with flat roofs that will eventually collect rain and need to be adapted and redesigned by resourceful inhabitants, Victor Sloan records the immersion of youth and the quiet integrity of those now navigating their new land.
As Sloan's working process evolved, so did its form and, as with the territory he would draw source material from, complications arose. The structural pins of the council offices, once photographed from a discreet distance as a topographical study to mark the establishing of local authorities, would eventually return in the work, its Meccano-like frame now held in a tight cold-blue composition. As just one element in a compressed assemblage of caravans, passing traffic and foliage, it is part of a stifling, boxed-in geometry. Against the blue wash of the print, red pastel mark-making pronounces itself. Whether an echo of the notations of architects, or scrutineers–or whether a natural borrowing from the graffiti that increasingly marked the roadways and walls in this new land, the red markings seem troubling additions. Sloan also exploits photography's privileged rendering of scale and perspective. In one of the most curious of these works a handful of people seem to huddle close together in some intimate parliament. They seem so closely engaged, yet so helplessly exposed by the rising slope that conspires to place them, doll-like, atop a paint-daubed wooden shed…weathered forms, ragged against the waning daylight.
Victor Sloan's revisiting of the earlier material overwrites a less complicated time and Drift as an exhibition privileges us with this knowledge and context. In a photograph of a play area, now closely cropped and congested, a child is neck deep in the sandy soil of a play pit, head and limbs now ringed by the marks of some more knowing deliberation. Against a roadside junction box, hand-painted with the logos of paramilitary groups, small red circles seem to mark where something troubling may have come to rest. In another picture, the red line draws out an individual from a softly focused crowd at night, as they stand a few steps from what maybe a police jeep. Pastel marks alert us to the places where danger may lie, where evidence was found or innocence lost.
Bus Stop, Craigavon, silver gelatin print, toner and oil pastel, 24cms x 25cms, 1985
The Craigavon photographs mark a moment of departure on so many levels. To those seeking a new beginning, to those escaping a past…the work Sloan made over that time follows an era of optimism, through uncertainty and ultimately to the onset of tensions that would lap at the tarmac shores of this newly built island. Whether it would ultimately be understood as the Promised Land or as another jigsaw piece in a region that comprised the Murder Triangle, will be answered in time. New beginnings, it would seem, are not exempt from older reckonings…
Pinebank Community Centre, Craigavon, giclée print on dibond,106.68cm x 55.8cm, 2014
In recent months, Victor Sloan has return to photograph Craigavon. The brick and tile shopping centre and wider precincts seem to have weathered but are mostly intact. Commerce and livelihoods have survived the many storms that would blow across the decades. Yet now, the buildings seem subdued in these quiet, colour photographs–perhaps even looking somewhat smaller than we might have believed them to be in the wide-eyed early frames Sloan made nearly 40 years ago. After the first swells of a new tide have stilled, after the children had themselves moved further along on that universal journey from innocence to parenthood, Craigavon is no longer a new start but instead a complex and sprawling conurbation. Now it has its own history and deeper shadows. Victor Sloan seems conscious of this – why else might he take a photograph of an overgrown, abandoned playground, a picture that can only be a counterpoint for a much louder moment, one made early in his long engagement with Craigavon, when he saw children run joyful and free, on a more cared for, open ground?
Pinebank Community Centre, (Sandpit), Craigavon, giclée print, 50.8cm x 35.56cm, 1984
Legahory Shopping Centre, Craigavon, giclée print, 50.8cm x 35.56cm, 1982
Shopping Centre, (Children Playing),Craigavon, giclée print, 50.8cm x 35.56cm, 1985
Ridgeway, Craigavon, giclée print, 50.8cm x 35.56cm,1982
Lake Road, Craigavon, giclée print, 50.8cm x 35.56cm, 1984
Hospital, Craigavon, giclée print, 50.8cm x 35.56cm,1987
Shopping Centre, (Sign), Craigavon, giclée print, 50.8cm x 35.56cm,1982
Building the Civic Centre,Craigavon, giclée print, 50.8cm x 35.56cm,1982
Statue Unveiling, silver gelatin print, toners and oil pastel, 26cms x 26cms, 1985
Ka Fue Lay, giclée print on dibond, 29.7cm x 42cm, 1984
Moyraverty Community Centre, Craigavon, 182.88cm x 95.67cm, giclée print on dibond, 2014
Moyraverty Shopping Centre, Craigavon, giclée print on dibond, 106.68cm x 55.8cm, 2014
Cafe, Moyraverty Community Centre, Craigavon, giclée print on dibond, 106.68cm x 55.8cm, 2014
Shopping Centre, Craigavon, giclée print on dibond,106.68cm x 55.8cm, 2014
DRIFT: Victor Sloan was exhibited at the F E McWilliam Gallery and Studio, 6 December - 28 February 2015,


I finally got my hands on a Raspberry Pi this Christmas, long overdue I appreciate. I'd done a fair amount of industrial work with the Arduino and got on very well with it. The slightly higher level and versatility of the Raspberry Pi is pretty exciting.
I've talked to a lot of people who bought one in the early days, and very few people have actually done anything interesting with them. I'd like to try and break that mould, so I've put down a few ideas here.
Ale is good, brewing sounds fun, but given the numerous brewing failures of a good friend in the past, I suspect temperature controlling the brewing process is more important than he realised. The concept here is dead simple: place a brewing vessel inside a fridge, alongside a 100W lightbulb. Use a Raspberry Pi to turn on either the fridge or the light to cool or heat the beer. I've recently been tipped off about the Belkin Wemo switchable power outlet which should reduce the hacking time (I don't fancy spending a week hacking up a 13A switching board). Pretty neat project, especially if I can get some beer out of it.
It'd be fun to rig up a webcam or even a half decent digital camera via the Pi's USB and do periodic photographs in order to make a stop motion video. From the apartment I've got a great view of the Liverpool 360 wheel and part of the Albert Docks so it could make for quite a spectacular video. Anyone got an old digicam up for grabs?
I had a lot of fun in the past running motion detection algorithms on webcams in order to try and detect intruders - although I mostly ended up incriminating the milkman, various types of moth and occasional drunk students. This was all through a desktop PC but it would be much cooler to do the video processing on the Pi, making a very portable motion detection module. Coupled with a GPS and GPRS unit it would be a nifty security gadget. It could probably be integrated into car dashboards or bumpers - maybe catching tailgating Range Rovers is the key?
The final interesting project I had in mind was to do with monitoring pollutants, radiation, or some other interesting air quality metric. Again, this would get particularly useful with the addition of a GPS module as it would be dead portable and easy to deploy. Given the low cost of producing such a gadget, it wouldn't be infeasible to have a whole network of such devices, and analysing the composite data could be informative. I wonder if it would be possible to derive the source of pollutants based on enough measurement locations mixed in with local wind speed and direction data?
I'd be interested to hear your project ideas. The Raspberry Pi does seem wonderfully versatile, it'd be a shame if mine joined the many other Pis gathering dust!


The Jacksonville Bar Association hosts lunch with the judges.
The 1st District Court of Appeal, based in Tallahassee, convened in Jacksonville last week to hear oral arguments in three cases on appeal from the 4th Judicial Circuit.
On Wednesday, the four visiting judges took some time away from the bench to meet Jacksonville Bar Association members for a "sidebar luncheon" at the Duval County Courthouse.
The event has become a tradition over the past several years, said Diana Johnson and William Graessle, co-chairs of The JBA Appellate Practice Committee.
In addition to offering CLE credit, it's an opportunity for lawyers to meet and talk to the appellate judges, said Graessle.
Johnson said interacting with the judges outside of the courtroom can help attorneys learn how to best present their cases to the court.
"We're always told to write to our audience. How do you know how to do that if you don't know the judges?" she said.
The panel comprised Judges Harvey Jay, Scott Makar, Lori Rowe and M. Kemmerly Thomas. They were joined by Jon Wheeler, clerk of the 1st District Court.
Topics for discussion ranged from technical matters to the judges' perceptions of how serving on the appellate bench differs from their previous roles.
On the subject of the legal system's ongoing transition from paper to electronic documents, it was a split decision from the bench.
Makar concurred, citing the ability to link to other documents, such as summaries, when he reads electronic briefs.
Rowe uses both formats, but prefers paper on the bench and "if an issue is thorny, I like to print it out and make my notes," she said.
On the subject of footnotes, Makar said attorneys should avoid using them because they can't be viewed on tablets or mobile devices.
"If it's important enough to put in your opinion, it's important enough to put in the body (of the document)," Rowe said.
For Thomas, she views footnotes as a way to assess an attorney's understanding of the nuances of a case and why it should be heard by the appellate court.
On the less technical level, the judges shared their experience in adjusting to serving on the appellate bench.
Thomas, who was in private practice as a board-certified workers' compensation defense attorney before she was appointed to the bench in June 2016, said she's had to adjust to the physical work environment.
"It's very quiet – a cerebral setting," she said, and added that it's a change not having to be concerned about billable hours.
Jay said he enjoys having the time to research legal issues and reflect, but as a former judge in the 4th Judicial Circuit, he sometimes misses the interaction with attorneys and juries.
The 1st Appellate District covers 32 counties of North Florida from Duval in the east to Escambia in the west and hears cases from the 1st, 2nd, 3rd, 4th, 8th and 14th circuits.
Wheeler said 19 percent of the cases filed with the court this year were from the 4th circuit.
He also said filings have been declining since 2009, when nearly 7,000 cases were presented to the 1st District. The projection for this year is about 6,000 cases will be filed.
Due to mediation and costs, "we're down 6 percent in filing this year and last year, but we've still got plenty of work," Wheeler said.


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Home / Rhino Store / Music / Vinyl / Hey Doll Baby (LP)
Hey Doll Baby (LP)
HEY DOLL BABY is a newly remastered 17-track compilation that collects some of the lesser-known, buried treasures in the Everly Brothers' rich catalog with songs assembled by Adria Petty, Tom Petty's daughter, who worked closely with both Everly families on the project, with help from Phil's widow Patti and son Jason, who provided track-by-track commentary for the liner notes, as well as Don Everly, prior to his passing last summer, and his widow Adela. HEY DOLL BABY holds the bittersweet distinction of being the final project Don worked on.
HEY DOLL BABY explores The Everly Brothers' legacy by not revisiting their greatest hits. Petty explains: "This compilation was curated with an eye towards celebrating the deeper rockabilly tracks and some great covers, with a small emphasis on hits. Whether you are new to The Everly Brothers or are among the diehard fans, this is sequenced for a great listening experience. Put this record on and get transported to another time and place. It will leave you feeling better."
HEY DOLL BABY delivers on that promise with the swinging rockabilly of "Baby What You Want Me To Do" and the pure pop bliss of "Made To Love," along with choice covers of Johnny Cash's "I Walk The Line" and Chuck Berry's "Maybellene." The collection features four of the Everly's original Cadence recordings including the title track and the Top 10 hits "('Til) I Kissed You" (#4), "When Will I Be Loved" (#7), and "Devoted To You" (#10). The set also includes the #1 smash, "Cathy's Clown," which was the Everly Brothers' first Warner Bros. single in 1960, and the best-selling song of their career.
In the album's liner notes, Jason Everly provides insight into each song on the album, beginning the title track, "Hey Doll Baby," which was the last song on The Everly Brothers' 1957 self-titled debut. He writes: "Its classic Appalachian harmony mixed with rhythm & blues would become part of the brothers' signature sound, and with each strum of their infectious guitars, it's like they're pushing the song into becoming actual rock 'n' roll."
HEY DOLL BABY
"Gone, Gone, Gone"
"Walk Right Back"
"('Til) I Kissed You"
"That's Just Too Much"
"Baby What You Want Me To Do"
"Cathy's Clown"
"So Sad (To Watch Good Love Go Bad)"
"Made To Love"
"Sigh, Cry, Almost Die"
"I Walk The Line"


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Talib Kweli Takes The Stage For CONTROL Fridays At Avalon Hollywood
Whether you've heard of his music alongside Mos Def as Black Star or as a solo act speaking words of wisdom through his lyricism and stage presence, Talib Kweli has always demanded the spotlight with the power of music. It's more than likely if you've dabbled in Hip Hop and Rap culture that you've stumbled across some of his tracks with the likes of Kendrick Lamar, Curren$y, Just Blaze, Pharrell Williams, DJ Shadow, Will. i. am and more. You've probably has his hit "Get By" that was produced by Kanye West on repeat at some point or another.
During times like these it would only seem fitting to get lost in the sounds and stories of Talib Kweli as his music reflects history in time and provides the platform to see to it that the voices for change get heard. This Friday, prepare as Talib Kweli will grace the stage for CONTROL Fridays at Avalon Hollywood alongside acts such as FKi 1st, Gravez, and Klatch.
This event is 19+ and you can purchase tickets here for Friday. For a discounted price use "avalonfam" upon check out.
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Jessika @jessygren
Born and raised in Los Angeles. I love music and everything about it. This is my way of sharing the tunes that make feel good and a way to be a part of something bigger than myself. TSS isn't just an outlet, but a family that lives and breathes music. A family that plays together, stays together. <3
Insomniac Announces Live Stream For The 20th Anniversary of EDC
Kick Off Your EDC Week With Alison Wonderland, Stööki Sound, & More At The Chelsea


There are two pubs and a local shop/P.O. within a 10 minute walk downhill and the lovely sandy beach next to the Gannel Estuary is only a 15-20 minute walk.
Crantock's beach offers holiday makers and families over a mile of sand and sand dunes, with plenty of rock pools and caves to explore at low tide and is popular for swimming, fishing, snorkelling, surfing, wind surfing and canoeing.
There are delightful walks across Cubert Common to Kelsey Head, Porth Joke and Pentire Point West and the holiday resort of Newquay is 4 miles with a wide selection of shops and tourist attractions including a zoo, aquarium and waterworld.
To the front of the property, a low walled garden has an open driveway with parking for one car and a gentle slope leads up to the front door which opens to a small lobby and from there into a central hallway.
The accommodation consists of an L shaped sitting/dining room with an ornamental stone fireplace and a large window overlooking the front garden, a small well equipped kitchen with fitted units and a quarry tiled floor, and an attractive double glazed conservatory, reached both from the kitchen and the living room, with a pine breakfast table and cane furniture.
There are two spacious bedrooms with a kingsize double and twin beds respectively, the former with a wash basin, and a bathroom W.C. with hand basin and additional shower cubicle completes the accommodation.
From the conservatory, a door leads out to a sheltered rear patio area and a securely hedged and gated south facing lawned garden with beautiful views towards Cubert, a view shared from all the rear windows.


Invite clients to Productive for free and collaborate with them on tasks. Clients have very limited, filtered access to your account.
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Click on your profile in the upper right corner and select Invite people option.
Select your client's company, put down e-mail addresses of all the people you want to collaborate with and click the Invite clients button.
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Enterprise Partners With Megadrive Autovermietung GmbH to Extend Car Hire Footprint in Europe to Austria, Hungary and Slovakia
Posted on April 17, 2013 by Web Desk
LONDON–(Marketwired – April 17, 2013) – Enterprise Rent-A-Car today announced the appointment of Megadrive Autovermietung GmbH as a new franchise partner, to extend the fast-growing network of Enterprise branches in Europe to include prime locations in Austria, Hungary and Slovakia including major airports and city locations. The locations are set to open later this year.
With Enterprise's combination of corporately owned markets and franchise partners, this latest appointment means that the flagship brand will soon be represented across 23 European countries. Together these countries account for over 90% of car hire demand in Europe.
Austria is a leading destination in Europe for leisure and business travellers, whilst Hungary and Slovakia are European growth stories, benefitting from a rise in tourism as well as an influx of external investment. These three markets deepen Enterprise's presence in central Europe, between the company's wholly-owned operations in the UK, Ireland, France, Spain and Germany and an expanding network of franchise relationships in Southern and Eastern Europe.
Established in 2008, Megadrive Autovermietung has 12 locations in Austria, two branches in Hungary and four branches in Slovakia. Together these branches provide on airport coverage across the countries' major airports, with additional branches in core city locations.
Commenting on the new agreement, Karlheinz Wiener, Managing Director for Megadrive said: "We are very proud to be chosen as Enterprise Rent-A-Car's partner in Austria, Hungary and Slovakia. Enterprise is renowned for its customer service ethos and its strong management. We believe that together we can provide a unique service level to customers in these three regions. Enterprise's entrepreneurial culture opens up the opportunity to develop this relationship further as new vistas arise, to help us both grow stronger through our partnership."
Peter A. Smith, vice president of global franchising, Enterprise, said: "We are delighted to find such a strong appetite for partnership in Europe. It is only through the support of strong, independent, owner-managed businesses such as Megadrive that we will succeed in growing our footprint across the continent. We already have franchise partners in place that, together with our corporately owned network, account for approximately 90 percent of the European car rental market, and we owe this achievement to the deep market and cultural knowledge of our franchise partners, and the dedication which their employees bring to serve their customers, each and every day. Working with the management and staff of Megadrive has helped us to heighten our knowledge of what European travellers want in these very diverse markets, so that we can bring new choice to meet their requirements."
Enterprise Rent-A-Car is part of St. Louis-based Enterprise Holdings, the largest car rental service provider in the world. Enterprise operates wholly-owned operations across the UK, Germany, Ireland, France, Spain, the United States and Canada, with over 7000 offices and almost 75,000 employees worldwide.
Enterprise also has rapidly expanding operations at airports and transport hubs across the globe through franchise and partnership agreements with independent local providers. This includes Portugal, Italy, Greece, Austria, Hungary, Slovakia, Brazil and China.
Enterprise Holdings also operates the National Car Rental and Alamo Rent A Car brands in the Americas, and together with its affiliate Enterprise Fleet Management, offers a total transportation solution. Combined, Enterprise Holdings and Enterprise Fleet Management — which includes extensive car rental and car sharing services, commercial truck rental, corporate fleet management, and retail car sales — accounted for $15.4 billion in revenue and operated 1.3 million vehicles throughout the world in fiscal 2012. Operating through its regional subsidiaries, Enterprise Holdings is the largest car rental company in the world as measured by revenue, fleet, and employees. Enterprise Holdings' annual revenues also place it near the top of the travel industry, exceeding all other rental car companies, and most airlines, cruise lines, hotels, tour operators and online travel agencies.
[This news release and other Enterprise Rent-A-Car announcements are available at the Enterprise Holdings press room]
Megadrive Autovermietung GmbH, was established in October 2008 by CarPartner Leasing GmbH Austria. Together with his skilled and experienced team, Mr. Karlheinz Wiener, Managing Director since day one, has met the expectations of national and international customers consistently over many years, maintaining an exceptionally high quality offering as well as excellent customer service.
Spencer King
spencer.king@erac.com


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TradeCrowd: An Overview and Review
More and more social trading platforms are being launched all the time with the industry looking to cash in on the increasing interest in social trading. The TradeCrowd platform has a number of features which differentiate the product from some of the other social trading products currently available.
TradeCrowd works in a similar way to many of the other more established social trading networks, with users being able to automatically copy the trades of the platforms top performing traders. However, the platform also allows individuals to engage in something which is known as contra copy trading. If an individual decides to contra copy a trader on the network they will automatically place trades in the opposite direction. This essentially gives the users of the network a chance to make money by doing the opposite of what the worst traders on the platform are doing. This quite a unique feature and does help TradeCrowd differentiate itself from other social trading platforms which only allow for standard copy trading. In addition to being able to follow specific traders, users of the social trading network are able to follow what's happening in certain markets, with each instrument available on the platform having its own page. The page features a news feed which updates with Tweets, News, and information on who on the platform is opening positions in the particular instrument. This will surely useful tool for those who wish to keep with all the latest developments in the FX markets.
The TradeCrowd social trading network is very crisp and clean, with a user friendly interface and those who have used social trading products before should be familiar with how the platform is set out. The platform will also available in the form of a mobile application allowing users to trade while on the move. In addition to being able to trade all the standard FX pairings, the TradeCrowd platform also allows users to trade a number of other markets with Commodity, Indices and Stock CFD's all being available on the social trading network. This should appeal to those who wish to trade more than just FX pairings. Increasingly traders are demanding the ability to trade a wider array of instruments from a single social trading platform and it should be interesting to see whether this becomes a key selling point of the TradeCrowd platform.
As TradeCrowd is a partnered with TradeNext Ltd, which means that all trades placed on the platform are placed with the FCA regulated brokerage. While users are unable to choose from a selection of brokerages, they are not faced with any commission or additional charges to pay. Unlike with other social trading products there doesn't appear to be any rebate or reward program to reward those build up a following on the platform. Though I have been informed that the firm is currently working on such a program, which they hope to launch soon. Until the scheme is launched it will be interesting to see whether top quality traders will be attracted to the platform.
TradeCrowd joins the growing list of social trading offerings available to retail traders. The TradeCrowd platform is crisply presented and easy to use and it is likely that many will also be interested in the ability to contra copy and trade range of markets from one social trading platform.


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How to Care for Your Parent Without Losing Your Job
When Mom has a medical emergency and you work full time, spring into action and stay flexible
By Richard EisenbergMoney & Work EditorFebruary 17, 2012
By Richard Eisenberg
Credit: Stockbyte | Thinkstock
Over the past few weeks, my sister, Robin, and I have had to put our work aside repeatedly to deal with our parents' urgent medical issues. It has been extraordinarily stressful for both of us and, I'm sure, no picnic for our employers.
Here's what went down: Our 89-year-old father had a kidney removed, which led to nine days in a rehabilitation center. During the same period, a medication mistake caused our 84-year-old mother, who suffers from Alzheimer's and epilepsy, to be confused, angry and depressed as well as unable to perform daily functions. After my father left rehab, my mother entered the hospital for observation and to get back on her proper medications. On top of all this, my mother recently suffered a badly bruised leg, requiring constant wound care and doctor appointments.
As a result of this avalanche of medical emergencies, Robin and I had to take turns managing our parents' care while still getting our jobs done. Robin, who lives roughly two hours from our parents, works in a Philadelphia suburb as director of learning and development at Pearson VUE, a global computer-based testing company. I'm the editor of Next Avenue's Money & Security and Work & Purpose channels, with a home office in New Jersey, about a half-hour from our parents.
Millions of other Americans face similar challenges. As President Barack Obama's 2013 budget noted: "Too many American workers must make the painful choice between the care of their families and the paycheck they desperately need."
Low-wage workers have it especially rough. They often have inflexible work schedules or schedules that are so unpredictable that it's all but impossible for them to plan for caregiving.
Since you may find yourself trying to take on emergency caregiving duties while remaining employed, I thought I'd offer a few tips, based on how my sister and I have done it, as well as what a noted caregiving expert recommends.
Talk Candidly With Your Boss
As soon as Robin and I knew we'd need to take off hours and sometimes days, we let our bosses know. That helped us begin coordinating our plans and gave our employers an idea of what we were facing. Fortunately, our bosses were incredibly understanding.
Not every employer is as sympathetic as ours were, though. Just last week, experts told the U.S. Equal Employment Opportunity Commission at a public meeting about workplace discrimination that unlawful employment discrimination based on caregiving responsibilities has become a widespread problem.
Use the Family and Medical Leave Act if You Can
Robin was fortunate to work for a company where she could take advantage of the Family and Medical Leave Act of 1993, which can be a godsend for caregivers. (I started my job too recently to qualify.)
Under this law, if you've worked for an employer with 50 or more employees for at least 1,250 hours of the past 12 months (that works out to about 31 weeks), you're entitled to up to 12 weeks of unpaid leave for a variety of reasons, including caring for a parent with a serious health condition. (A few states, such as California and New Jersey, have versions of the law that actually guarantee paid family leave.)
Of course, since this is a federal law, the rules are complicated. But many medical woes of people in their 70s, 80s, and 90s qualify. One example of a "serious health condition" is inpatient care (translation: an overnight stay) in a hospital, and that extends to any period of incapacity or subsequent treatment in connection with the care. Another is continuing treatment by a health care provider that includes a period of incapacity lasting more than three days and any subsequent treatment relating to the condition.
The law allows intermittent leave, so you don't have to take the days off consecutively. That means you may be able take your parent to periodic doctor appointments or weekly chemo or radiation treatments, if necessary.
If possible, you should discuss a planned leave with your human resources department 30 days in advance. Of course, if an emergency arises, you'll need to act more quickly.
Push Your Parent's Doctor's Office
No surprise that using the family leave law means dealing with mounds of government paperwork. You'll need written certification from your parent's physician that the condition meets the tests to let you take an unpaid leave. Otherwise, the law won't let your manager approve it.
Some doctor's offices are better at expediting family leave forms than others. "The office handling Dad's kidney surgery was terrific," Robin says. "But when I wanted another doctor's office to handle paperwork for a caregiving leave a few years ago, it lost the form twice."
So you may need to hound your parent's doctor's office — as if you'll have the time or patience for that when your parents are in dire straits.
Ask if Your Employer Has Other Caregiving Benefits
Robin learned that Pearson also has a generous Parental and Serious Illness Leave policy, allowing two weeks' paid time off to care for a family member.
Check with your manager or human resources department to see whether your employer offers caregiving benefits aside from the federal law's unpaid family leave. For instance, there may be an Employee Assistance Program that can help you find a caregiving agency near your parents. Sherri Snelling, who blogs about caregiving at Caregivingclub.com, says about 11 percent of employers offer some type of elder care or caregiving support through employee assistance and work-life programs.
Change Your Work Hours Temporarily
This was my strategy. Normally, I work fairly regular weekday hours. But when my parents needed me, I began editing for the site around 6 a.m., so I could head to the hospital by 9 a.m. Then I returned to my computer at night, after visiting hours ended at the hospital and the rehab center. When possible, I also sneaked in some editing while visiting my parents.
If your employer offers flexible work schedules or telecommuting (as about one-quarter of companies do), talk with your manager about using one of these options temporarily.
Consider Hiring a Geriatric Care Manager
This kind of professional "can assess your caregiving situation, provide you with a care plan, and even help assist with coordinating home and community-based services your loved one may need," Snelling says. Visit the website of the National Association of Professional Geriatric Care Managers, to find local pros who can help your parents and — just as important — enable you to get back to your job.
Richard Eisenberg is the Senior Web Editor of the Money & Security and Work & Purpose channels of Next Avenue and Managing Editor for the site. He is the author of How to Avoid a Mid-Life Financial Crisis and has been a personal finance editor at Money, Yahoo, Good Housekeeping, and CBS MoneyWatch.@richeis315
Next Avenue Editors Also Recommend:
Dividing Caregiving Costs Without Splitting the Family
Is Caregiving Making You Sick?
Checklist for Helping Parents with Finances
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Most character-based objections to consequentialism start from the assumption that a consequentialist agent would make decisions by making explicit "expected value" (EV) calcuations. Most consequentialists respond by pointing out that the bad consequences of fallible humans attempting to implement such a decision procedure ensures that consequentialism would actually recommend against such an "unfortunate" mindset. But this response doesn't address whether the EV decision procedure is, even if not consequentialist-recommended, nonetheless the consequentialism-exemplifying or fitting mindset. This then leaves us vulnerable to the Strongest Self-Effacingness Objection. So, to address this deeper problem, we need to show that the EV decision procedure is not even rationally fitting, according to consequentialism.
First consider why one might initially think that the (fitting) consequentialist agent would use EV. Presumably the thought is something like this: There's an isomorphism of sorts between moral facts and fitting mindsets (e.g., it's fitting to desire just what's good/desirable); the facts about what one ought (rationally) to do, according to consequentialism, are settled by the expected values of one's options; so it's rationally fitting to choose what to do by calculating the expected values of one's options.
I think that this rests on an overly simple view of the isomorphism between the moral facts and fitting mindsets. It's true that there's a straightforward isomorphism between the goods posited by a theory and what desires, or ultimate ends, are thereby shown to be fitting. But what about our capacities for "instrumental rationality", which take our ultimate desires as inputs, and -- guided by our available evidence -- yield concrete intentions or actions as outputs? Why think that our moral theories have any particular implications for these operations? On the contrary, I propose that we can give an independent (morally neutral) account of "instrumental rationality", with the upshot that fitting consequentialists aren't saddled with the EV decision procedure after all.
The crucial observation underlying the above list is that "executive oversight" is an especially scarce resource in our cognitive economy, rendering conscious deliberation too slow to serve as our "default" mode of decision-making in normal circumstances. (There are also more principled philosophical obstacles, e.g. the regress problem inherent in "deliberating whether to deliberate", etc.) Instead, an instrumentally rational (normally competent) human-like agent must by default be guided by generally reliable sub-personal "predispositions" to act directly upon registering pertinent information, only triggering conscious deliberative oversight in those odd circumstances when one's sub-personal mechanisms aren't up to the task.
On this view, the fitting (human, non-ideal) agent rarely acts upon explicit deliberation at all, let alone explicit EV calculations. This is so even when we plug in impartial consequentialist values as the "ultimate goals" at which this instrumentally rational agent aims. Furthermore, even when conscious deliberation is triggered, the evidence that we are unreliable at EV calculations precludes us from accepting their verdicts too hastily and uncritically (especially when the verdicts are at odds with more reliable rules of thumb, e.g. against torture, harming innocents, etc.).
Question: My above distinction between "morally neutral" instrumental rationality and "morally determined" ultimate ends seems well-suited to consequentialist theories. But does this approach seem appropriate for deontological theories also? Should fitting deontologists be understood as simply having certain constraints ("don't lie", etc.) among their ultimate ends? Or are deontological constraints better understood as mirrored in the "decision procedure" that converts the agent's aims into actions -- providing, in effect, an alternative to standard "instrumental rationality"?
here. Double effect type reasoning also seems popular.


MBR destroyed by wrath of God?
Anyone heading for Coed-y-Brenin this weekend, who happens to have a spare pontoon bridge lying around, is encouraged to bring it.
A three hour storm last week described by trail builder Dafydd Davis as "absolutely F****ng biblical" saw river levels rise 35 feet in the gorges around Coed-y-Brenin in a couple of hours.
When the waters subsided "fridge freezer" sized riverbed boulders where found sitting 25 feet above normal water level, while several static caravans, Land Rovers and tractors had been swept away and obliterated along with countless unlucky livestock. The water also completely erased any trace of two key bridges on the MBR trail – one of which was 500 years old – which means the trail is temporarily closed until they can work out how to re-route it.
Luckily the bridges on the Karrimor held out even though they were both under water at the height of the storm. Dafydd was also delighted to report that his singletrack trails had remained totally unscathed despite unbelievable rainfall intensity.


text:
Home Read Crowdfunding Analysis Time – Shantae Half-Genie Hero
Crowdfunding Analysis Time – Shantae Half-Genie Hero
Josh Griffiths
Shantae: Half-Genie Hero is our latest episode of CAT, and one of the harder ones to write. That's not because HGH's Kickstarter campaign was particularly bad, or particularly brilliant either. There's just not much to say about the campaign, good or bad. I only chose it because I wanted the increased views from a popular campaign thought it deserved talking about.
You can hear the specifics in the video, as I don't even have much to write about it either.
Well, that's not entirely true. The dominating discussion around Half-Genie Hero likely won't be Half-Genie Hero at all, rather The Pirate's Curse. As explained in the video, Shantae is a franchise, not a one off. The previous game in the series – Shantae and the Pirate's Curse – was announced a year before the Kickstarter for Half-Genie Hero, and was released a year after its success. An HD remake of the second game in the franchise was also released that year. The question of whether or not this Kickstarter was even necessary hangs over the campaign like a fart in an elevator. No one wants to talk about it, but everyone's thinking about it one way or another.
How does a company (developer WayForward in this case) spend 20 years making licensed videogames – which despite their putrid reputation in gaming circles actually are lucrative – and still struggle to release games? How does a company release eight such games in one year and not have enough money to release a single game? Why does a company need to launch a Kickstarter campaign for a game in which they're releasing two games in the very franchise they're Kickstarting?
Perhaps I was too kind on developer WayForward in this episode. Perhaps I was too kind to the AAA games publishers. Either way, I attempted to answer these questions in this episode of Crowdfunding Analysis Time Yes We're Still Working On a New Title, Thank You.
How about CATYWSWOANTTY?
Josh Griffiths is a writer and amateur historian. He has a passion for 3D platformers, narrative-driven games, and books. Josh is also Cliqist's video producer. He's currently working on his first novel, and will be doing so on and off for the next decade.
@Josh_BadWriter
Programming student. I make YouTube videos about Korea and video games. Being a dog owner is 90% of my personality.
Big companies monopolizing their industries is always bad. I've complained about Embracer and Microsoft buying up t… https://t.co/04RzMVADAl - 4 days ago
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Josh@Cliqist.com
Shantae Half-Genie Hero
wayforward
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Owasso Urgent Care | Don't You Always Find Results With Us?
Are you looking for some speedy recovery and some quick rejuvenation of your body in working with a great medical facility like a Owasso Urgent Care center? Would it make you smile a lot to know that even after you just got into an accident and it's one in the morning and you're worried that there is no medical facility open can take care of you, that you can just go to and Owasso Urgent Care center that is totally open all the time? What would you give in order to be able to get the guaranteed service that is organizations provide that has been super essential to your needs in super essential your well-being? Well when it comes to finding an awesome Owasso Urgent Care center, you deftly get in touch with AMC urgent care. They have been the standard as far as these organizations go in the area and that's why I highly encourage that you work with them today and have them give you the treatment that you definitely deserve.
Because whether you deserve it or not, they're able to give you that fantastic or longing for. No longer will you be in situations working with an odd or uncomfortable urgent care center that's just trying to get you out as soon as possible they give you that dedicated time and attention to stop the bleeding literally and figuratively with your pain and get you onto the road to recovery and give you those next steps of what you need to. They are in the business of making sure this is possible for every single human being and that's why they been in the master system in order to get you in the door and get you out with happiness. I also understand against those other urgent care centers that really just don't prioritize us to the extent that these guys do.
And when it comes to providing awesome customer service, it's not just about the speed but it's also about the quality which I very talked about his super awesome, but it's also about the availability of working with them. I mean for some medical organizations, is just super inconvenient to try and do anything with. But with this AMC urgent care center, they are 24 hour in seven days a week facility. So no matter what accident you may have for what situation you're dealing with, they're able to give you that kind of coverage that the same even at 10 AM than it is at 4 PM or it is at 4 AM. The coverage does not change no matter what time it is and that should give you a lot of society to know that this one organization to give you those benefits every single time.
And since they are open for so many hours of the day and so many days of the week, they also provide you with no appointments needed. You could just walk in and get that urgent care at a real urgent speed. And then when it comes to payment and working with insurance companies, and all the options in the world satisfied.


Kanye West threw fans for a loop last night, when he opened his Saint Pablo tour with not just a traditional floor stage, but with a brand new set design that only big-name artists like Yeezy could pull off.
In Indianapolis, IN last night, the rapper kicked things off by entering on a floating stage that hovered above the audience's heads. The concert soon turned into a rock show-worthy mosh pit, as the open floor gave Kanye's excited young fans who got general admission plenty of space to push and shove.