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Search - The Busby Berkeley Collection, Vol. 2 (Gold Diggers of 1937 / Gold Diggers in Paris / Hollywood Hotel / Varsity Show) on DVD
The Busby Berkeley Collection Vol 2
Gold Diggers of 1937 / Gold Diggers in Paris / Hollywood Hotel / Varsity Show
Actors: Mel Blanc, Bernice Hansen, Danny Webb, Rudy Vallee, Rosemary Lane
Directors: Ben Hardaway, Cal Dalton, Ray Enright, Roy Mack, Tex Avery
Genres: Comedy, Kids & Family, Science Fiction & Fantasy, Television, Musicals & Performing Arts, Animation
Studio: Warner Home Video Release Date: 09/16/2008
Creators: Earl Baldwin, Felix Ferry, James Seymour
Sub-Genres: Animation, Family Films, Animation, Television, Musicals, Animation
Studio: Warner Home Video
Format: DVD - Black and White
Screens: Black and White
Edition: Box set
MPAA Rating: NR (Not Rated)
Snap Case
Director: Lloyd Bacon
TCM Spotlight Esther Williams Vol 2
Thrill of a Romance / Fiesta / This Time for Keeps / Pagan Love Song / Million Dollar Mermaid / Easy to Love
Classic Musicals from the Dream Factory Vol 3
Hit the Deck/Deep in My Heart/Kismet/Nancy Goes to Rio/Two Weeks with Love/Broadway Melody of 1936/Broadway Melody of 1938/Born to Dance/Lady Be Good
UR 2008
Classic Musicals Collection - The Cole Porter Gift Set
High Society / Kiss Me Kate / Les Girls / Broadway Melody of 1940 / Silk Stockings
Directors: Charles Walters, Edward L. Cahn, George Cukor, George Sidney, James H. Smith
Astaire Rogers Collection Vol 2
Flying Down to Rio / The Gay Divorcee / Roberta / Carefree / The Story of Vernon and Irene Castle
Breakfast at Tiffany's - Anniversary Edition
Director: Blake Edwards
UR 2006 1hr 54min
The Big Bang Theory The Complete Third Season
Director: Mark Cendrowski
Director: Vincente Minnelli
Director: John Wayne
Full Screen Edition
Directors: Jerome Robbins, Robert Wise
The Big Bang Theory The Complete First Season
GI Blues
Director: Norman Taurog
PG 1960 1hr 43min
The Return of the Pink Panther
G 1999 1hr 53min
Director: Jerry Zucker
PG-13 2001 2hr 7min
Baby Einstein - Baby Mozart - Music Festival
A second helping of Berkeley is finally here
calvinnme | 05/31/2008
"These are some of Berkeley's post production code works. My memory fails me on the details of these films since TCM hasn't broadcast them on a regular basis for some time now. They're not quite up to the quality of Berkeley's work in the pre-code era, but I do remember them as quality musicals from the 1930's. If you enjoy musicals from that era you're sure to enjoy these. One important thing to note: This package, like the three disc Jazz Singer release from last fall, is advertised to include the two remaining excerpts from the lost 1929 film Gold Diggers of Broadway. However, the Jazz Singer did not have the "Tiptoe Through the Tulips" number, as it was advertised to have. This set should finally give us that last excerpt. The following is the press release about the set, since my memory fails me on the precise details of the films:
Gold Diggers of 1937 (1936)
Dick Powell plays an insurance agent with musical ambitions while Joan Blondell is a showgirl who becomes a secretary. But the plot is secondary as dance creator Busby Berkeley turns a garden party into a tap-happy romp, and Blondell leads leggy soldiers in a banner-waving, precision-formation rendition of "All's Fair in Love and War" that's Berkeley spectacle at its showy best. Berkeley received an Academy nod for Best Dance Direction.
1997 documentary Busby Berkeley: Going Through the Roof
Technicolor historical short The Romance of Louisiana
Classic cartoons Plenty of Money and You and Speaking of the Weather
Two excerpts from 1929's Gold Diggers of Broadway
Hollywood Hotel (1937)
The plot about a Hollywood newcomer (Dick Powell) caught between a spoiled star (Lola Lane) and her likeable look-alike (Lola's look-alike sister Rosemary Lane) is secondary to watching Busby Berkeley's ace direction. The film opens with the jubilant debut of Tinseltown's unofficial anthem Hooray for Hollywood. The jaunty "Let That Be a Lesson to You" shows off Berkeley's mastery of editing and camera angles. Benny Goodman and his Orchestra is also featured with Harry James on trumpet and Gene Krupa on drums are in the number "Sing, Sing, Sing".
Technicolor historical short The Romance of Robert Burns
Edgar Bergen/Charlie McCarthy comedy short Double Talk
Classic cartoon Porky's Five & Ten
Varsity Show (1937)
Broadway impresario Chuck Daly (Dick Powell) leads cast that includes film-debuting sisters Priscilla and Rosemary Lane and fluty-voiced comic character star Sterling Holloway, in this exuberant college musical. Oscar nominated for his dance direction in this film, Berkeley creates and directs a football-themed finale featuring high-style overhead shots, kinetic camerawork and hundreds of dancers on a 50 ft. by 60 ft. staircase.
Musical short Flowers from the Sky
Edgar Bergen/Charlie McCarthy comedy short A Neckin' Party
Classic cartoon Have You Got Any Castles
Gold Diggers in Paris (1938)
The Gold Diggers are headed for Paris, bringing their feathers, frills, and ballet shoes. A French diplomat has mistaken 43rd Street's Club Ballé for the American Academy Ballet, and the chorus isn't going to turn down a free trip to Paris over such a tiny misunderstanding. Rudy Vallee stars as the club's impresario and Busby Berkeley creates and directs the inventive musical numbers. Bridging the musical and comedy aspects of this film is an odd little group called the Schnickelfritz band.
Two Broadway Brevities musical shorts: The Candid Kid and Little Me
Classic cartoon Love and Curses
Now if only someone would put on DVD Berkeley's other works that hardly ever get shown: "In Caliente", "Palmy Days", "Flying High", "Wonder Bar", and "The Fashions of 1934". Believe me, there is a big market for these old musicals."
Mediocre films in neat package
Douglas M | 11/11/2008
"This collection, marketed under the name of Busby Berkeley, is not one of Warner Brother's better releases. The Berkeley name may draw the unfamiliar but it is misleading since in at least one of the films, he was brought in merely to stage the finale and as a director, except for a certain visual flair with the camera boom, there was nothing really to distinguish him from any other contract director of the time. The Warner's musicals weakened when the Hays Code censorship removed their sting in 1934. All these films are post code. Berkeley lost too since many of his best numbers revolved around sex. Also the budgets were curtailed.
The first film and maybe the best is "Golddiggers of 1937", a cynical and not very likeable farce set around insurance salesmen. Berkeley regulars, Dick Powell and Joan Blondell, married at the time, are the leads and since Blondell is neither a singer nor dancer of any note, if at all, there is a hole in the accompanying musical numbers. The climax is the battle of the sexes number "All's fair in love and war" and Berkeley's penchant for precision marching and formations is prevalent and dreary.
"Hollywood Hotel" directed entirely by Berkeley, is overlong but the musical numbers, particularly the title number and "Let that be a lesson to You" have real visual flair, infectious orchestrations and the vocals tossed around the cast and extras. They bounce and jump off the screen. Benny Goodman and Francis Langford bring a touch of class and Harry James can be seen in Goodman's band. The screenplay is a reasonably entertaining spoof on stardom with Lola Lane playing a temperamental star and Alan Mowbray giving an hilarious spoof of a ham actor. There are lots of then topical references to Hollywood, Ronald Reagan is visible as a radio announcer and starlet Carole Landis has a bit as a hat check girl. Louella Parsons, the famous and lethal gossip columnist appears, grinning her role and sure determined to convince that she was a nice person, which she wasn't!
The remaining films are busy musical comedies populated by second string musical performers. Here are some points to note:
* Rosemary Lane, with charm to spare, has a trained operetta voice which sounds dreadful with pop numbers
* Rudy Vallee plays a very sophisticated lead in "Goldiggers in Paris" and while he is more relaxed than usual, he is no substitute for the appealing and energetic Powell.
* Ted Healy, of 3 Stooges fame, has a really sleazy screen presence. He is horrible.
* "Varsity Show" suffers from an edited print. The film's continuity is adversely effected and at least 2 numbers from Powell and the Lane sisters are missing. This is a giant "college" musical and the finale, a tribute to Ivy league is fantastic, maybe the best number of all in the set.
The prints of the films are in great condition and the extras contain lots of pleasant cartoons, usually attached to songs from the films, all the theatrical trailers and some shorts, most of which are awful. "Goldiggers of '37" also contains the only remaining footage from "Goldiggers of Broadway", a lost 1929 early talkie and filmed in 2 strip technicolour. The footage will be of interest if you would like to see what a Broadway finale was like in the twenties, but otherwise, it is crude and stilted. A parade of performers appear, rushing on, doing their bit (maybe a dance or acrobatics or a chorus or 2), then rush off. Some are very good but the overall affect is merely busy and all the acts are anonymous.
The set is not really expensive and it has been nicely packaged but unless you are particularly interested in the music or a catalogue of Berkeley's work, I wouldn't bother."
Busby's Lesser Known Films
Samantha Kelley | USA | 09/23/2008
"It is so nice to see that some of the rarer films of early Hollywood are being released on DVD. This set features four never before released movies with some great musical numbers and some underrated stars.
Gold Diggers of 1937 doesn't have the best plot in the world, but it makes up for what it lacks with the great musical numbers. Dick Powell stars as an insurance salesman who can't seem to sell a policy. On a train he finds himself face to face with Joan Blondell; it is love at first sight. Love does wonders for him and he soon finds a client. Victor Moore might not be a great candidate for life insurance; he isn't very young and he isn't very healthy, but he is interested in a million dollar policy.
"Speaking of the Weather" is a catchy and sweet little tune played beautifully by Powell and Blondell, by this time married and in the throes of love. There is a great tap routine in the second rendition of the song. "All is Fair in Love and War," the big finale, features a bevy of beautiful girls rocking in rocking chairs and bombing their beaus from across a largely black screen. It isn't as impressive as one might expect. The blank background seems a little too simple as the song isn't so great. Still, since Busby Berkeley had a hand in it, it comes off better than it would have without his guidance.
Also included on this DVD are two clips from the lost film Gold Diggers of Broadway, a film considered to be the first of the Gold Diggers movies. It was filmed in two strip technicolor, so it is a curiosity to early film lovers. "Tiptoe Through the Tulips" is a straightforward musical number, but the grand finale is quite impressive with a gorgeous skyscraper background and intricate dance routines. Unfortunately, not all of the film from this scene has been salvaged so for the very end we can only hear what is going on.
Gold Diggers in Paris follows the exploits of the Club Balle, which features plenty of beautiful hoofers and swinging musical acts. It is a real slice of America and a swell place to be. Maurice Giraud (Hugh Herbert) is a representative of France sent to the United States to enlist the American Ballet Company to perform at the Paris Exposition. Unfortuantely, his cab driver cannot understand his awful accent, so he takes him to Club Balle. He is none the wiser and hires the troupe, who accepts because of their desperate need for money. Off to Paris they go, but with the real (and angry) Ballet Company behind them.
A fun film filled with entertaining moments but nothing too substantial, Gold Diggers in Paris has a lesser known cast that does the job. Rudy Vallee is a wooden actor, but his voice is undeniably good. Rosemary Lane's beauty and skilled vocals make her a good match for him. Also featured are many of the Warner Brothers stock cast including Allen Jenkins and Mabel Todd who evoke a lot of laughter.
In Hollywood Hotel, Ronnie Bowers (Powell) is a saxophone player in Benny Goodman's band, but Hollywood is calling. He has just been signed to a short term trial contract there, so off he goes to a world of luxury and extravagance. He checks in at the Hollywood Hotel where the famous Mona Marshall (Lola Lane) is staying. He is even selected to escort her to a premiere, but trouble arises when Mona's temperament prevents her from attending. At the last minute, a lookalike named Virginia (Lane) steps in and no one is the wiser. Ronnie quickly falls for his date, unaware that she is simply a waitress with a beautiful voice. And is Mona mad when she finds out her doppleganger is running around town!
The story is silly and the music isn't overly memorable, but there is something about this film that is truly enjoyable. The sets are fabulous and so very art deco. The cast abounds with notable faces from gossip columnist Louella Parsons to vaudeville talent Ted Healy to big band icon Benny Goodman to fast talking Glenda Farrell. Songs like "I'm a Fish Out of Water" and "I've Hitched My Wagon to a Star" are sweet and light, just like the film. "Horray for Hollywood" is the obvious standout, a good commentary on the ways of Hollywood.
Hollywood Hotel began as a radio show. In the mid 1930s, Parsons used her influence on many top notch stars and coerced them to appear on the radio program. Powell was the master of ceremonies and all of the action took place in the Orchid Room which is also featured here. In reality, no such place existed, but Hollywood constantly got calls from tourists hoping to reserve seating there. Unfortunately, only four episodes are known to exist today and of those four only two are in circulation among collectors. This film is not an accurate representative of the radio show, but it is the closest that most people will get to it.
Varsity Show concerns college life. Winfield College is putting on their annual production, but this year their director is really bringing them down. Instead of a fun, modern show, he is forcing them to perform in a play with no laughs and outdated music. A group of kids decide to enlist the help of a former student who has made it big on the Great White Way. Chuck Daly (Dick Powell) has fallen on hard times, and his partner (Ted Healy) forces him to accept the $1000 offered him to fix the college musical. Once there, he realizes usurping the faculty will be much harder than he expected. But that suits him just fine; there is a pretty girl (Rosemary Lane) occupying his time.
Powell and Lane do not have great chemistry together so the love story is quite thin. The plot leaves something to be desired as well, but it isn't the story that makes this film enjoyable; it's the music. The romantic melody "You've Got Something There" is staged simply, but with the lovely lyrics, this is appropriate. "We're Working Our Way Through College" is done simply as well, although the moving camera makes it seem more complex than it actually is. The song is peppy and funny, the perfect college song. "Have You Got Any Castles, Baby" is a very dancable tune which was made into a Merry Melodies short included on this disk. The real showstopper of the film, though, is the grand finale which features several different school songs the formations of the college letters. This number is simultaneously impressive and timeless.
Unfortunately, this print is considerably shorter than the original film which runs for two hours. Perhaps this version of the film was too deteriorated to be considered appropriate for release. There are several spots in this film that appear to have been neglected, so the film quality is not entirely consistent. Still, it is in much better condition than some films of the early 30s, so perhaps it is best not to complain too much. After all, it could be worse; at least the film is available now for viewing. This DVD features Have You Got Any Castles, Baby?, a cute Merry Melodies short with several movie references. Unfortunately, some of these cartoons come with a warning about their "racist" content that you cannot fast forward through. Who decided it was mandatory to get a public service announcement everytime you wanted to see this toon?"
Busby Berkeley on a Budget!
Robert Badgley | London,Ontario,Canada | 09/28/2008
"I wasn't expecting the release of this set and was taken by surprise by Volume#2 of four more movies from Busbys' Warner period.These movies however are not,for the most part, the Busby we would like to remember.This is basically Busby,on a budget!The extravagance,endless money,time and the "do whatever it takes to make it work" ethic he worked with in years past, had now pretty much dried up.He was now just another director that had to bring his movie in on time and within the usual financial constrictions.
Let's look at each film.And these tell the tale,in spades...in the plots and the execution.
"Varsity Show"-1937
Dick Powell stars as a Broadway producer down on his luck with a string of flops.His old alma mater comes a calling asking for his help to put on a show there.Dick butts heads with the college staff and ends up leaving.The hepped up collegians follow him to New York and stage a sit-in in the last theatre Dick played out of.As each contingent of police,national guard and finally the mayor arrive to oust the students,each becomes an audience member to their show and the finale to the movie.The number is replete with reverse shots and cuts and over all nothing too memorable Berkeley wise.Dick Powell seems to just glide through this picture without his typical energy.His manager Ted Healy,as in all the pictures he is in in this set,goes around with a look on his face that suggests there is something rotten in the air.There is a talented Black act included here called Buck and Bubbles,a song and dance duo.Jack Bubbles' work dates back years and he was quite a famous dancer in Vaudeville.In fact he would teach a very young Fred Astaire some dance moves!Watch for Ed Brophy as the apoplectic theatre owner.Buster Keaton fans will remember Brophy in "The Camerman" in that dressing room sequence.
Golddiggers in Paris-1938
This pic stars Rudy Vallee who runs the Bali Nightclub,which is not doing so well.Hugh Herbert is a French diplomat who comes to the States and mistakingly takes Vallees' club dancers to Paris under the impression they are the Amercian Ballet Academy.When they arrive in Paris they are eventually found out and are pursued by the authorities.There are alot more twists and turns in this picture with an ex-wife and a "killer" of a patron to the Ballet company(Ed Brophy),which make it a bit more enjoyable than most of the other entries in this box set.The musical finale is really nothing of import and is again definitely not Berkeley quality.Watch for a brief glimpse of a Black doorman who is none other than Eddie"Rochester" Anderson,who many recall as Jack Benny's lovable valet.Also a wonderful musical addition is the appearance of the novelty "Schnickelfritz Band".These five guys were the forerunners to Spike Jones and they are seen to great effect in this movie.In fact it was Vallee who saw them play and brought them out to Hollywood especially for this picture.Vallee sings very well and does some wonderful musical imitations,which he was well known for.
Hollywood Hotel-1937
This movie is the one whose plot is practically non existant.Dick Powell is a sax player off to seek his fame and fortune in Hollywood.It doesn't take long before he loses his contract and is forced to get a job in a drive in.The drive in is run by none other than Edgar Kennedy,old Laurel and Hardy's nemesis in many of their films,who shows off his "slow burn" to great effect.There is a singing/staged number that occurs here"Let that be a lesson to You",that enables Powell to get re-signed to the picture studio.There is a plot twist involving the mix up of a spoiled star and her indentical lool alike,but sadly overall the story is totally uninspiring.Hugh Herbert plays the spoiled stars' befuddled(as usual for his charcater)father who goes "woo-wooing" his way throughout the picture.Sour puss Ted Healy is again there as Dicks' manager.Watch for famous gossip columnist Louella Parsons in the picture...enough said.
By far the BEST thing about this picture is the appearance of the Benny Goodman Band,in its' prime.The highlights are the band playing the 2nd portion of "Sing,Sing,Sing" and a number with only the Benny Goodman quartet featuring Goodman,Krupa,Teddy Powell and Lionel Hampton.To watch frenetic Gene Krupa on the skins with trumpet wonderkind Harry James standing beside him gives one goose pimples;they are so extraordinarily good!And the quality of the transfer makes it all the more exciting.
Golddiggers of 1937-1937
This by far the best of the set.The plot however is a very cynical one.In the past the term "gold digging" was usually used in a broader sense,looking for better times and circumstance.This time around it's a group of money grubing ladies out to get any guy with some kind of income they can can get,and the richer the better.Victor Moore stars as the head of a company who is a hypocondriac.His two assistants wrangle him into buying a million dollar insurance policy from a reluctant and novice Dick Powell.It's now up to Powell to keep Moore alive as long as he can(his meal ticket for an assured income) as opposed to Moores' conniving assistants who would prefer him six feet under to collect on his policy.Moore's company usually puts on an annual play but due to his assitants' bad investments they are broke,unbeknownst to him.Moore plays his befuddled character to a tee and Powell gives lots of energy to his part.In the end the show goes on due to Powell's usual diligence in these matters.And this finale is the best one in the box set and the most typical of what we think of when we think of Busby Berkeley."All's Fair in Love and War" is the big number and it's on the grand scale with all those high shots we're used to seeing.Joan Blondell(his wife in real life)is Powells' love interest here,but with not much to do.
To wrap this all up,most of the musical numbers in the movies in this set could have been directed by anyone,with the exception of "Gold diggers of
1937".This is the only movie out of the four with that typical Berkeley finale flair.But you'll notice I only said "finale".In his heyday he'd have four or five big numbers in a picture,which shows the changes that had occured in a few short years within the studio,limiting what he could do.However all these films are transferred wonderfully and all have accompanying shorts and cartoons from the same year the main picture is from,which are nice to have.
As I said this isn't typical classic Berkeley so don't go looking for him to any great extent here.There are some great non-Berkeley musical moments that come from other acts throughout these films as I have noted which will surprise and delight many.So even though the films themselves deserve maybe a three star rating entertainment wise,I am giving it a four star rating for what musical kicks do occur,for the transfers and for their historical importance overall."
4 DVDs in a Box; Can I Get an Insert?
Paul Bilpuch | 12/08/2009
"Real movie fans appreciate the effort put into restoration of classic films, even the lesser glowing gems. Warner Brothers was right on the mark with remastering, inclusion of classic cartoons and historical shorts. The failure of this set is that it is literally four DVDs in a box; not one liner note is present. Where are the essays, historical facts about the films, pictures? I'm sure that plenty of film critics, historians and others on the film industry have lots to sa about the era, films, songs, choreography and even teh effects of the Hayes Code on these types of musicals. Another sad example of film companies lazy way of going half-way to provide us part of their best."


The independent bookstore sells a mix of classic and unconventional titles and hosts regular author readings.
Hours: Mon.-Wed. 10 a.m.-8 p.m.; Thur.-Sat. 10 a.m.-10 p.m.; Sun. 10 a.m.-6 p.m.
Edan Lepucki's debut novel California gets an unlikely boost from Stephen Colbert.
Finally, an unconventional-childhood memoir worth reading.
With Fight Song, San Francisco's Joshua Mohr enters uncharted territory: the suburbs.
The top ten bestsellers at Bay Area bookstores.
Oakland is the setting for short stories about undocumented immigrants and hustlers.


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Biennial Ownership Reports Are Due by June 1, 2010 for Noncommercial Educational Radio Stations in Michigan and Ohio, and for Noncommercial Educational Television Stations in AZ, DC, ID, MD, NV, NM, UT, VA, WV and WY
The staggered deadlines for filing Biennial Ownership Reports by noncommercial educational radio and television stations remain in effect and are tied to their respective anniversary renewal filing deadlines.
Noncommercial educational radio stations licensed to communities in Michigan and Ohio, and noncommercial educational television stations licensed to communities in Arizona, the District of Columbia, Idaho, Maryland, Nevada, New Mexico, Utah, Virginia, West Virginia, and Wyoming, must file their Biennial Ownership Reports by June 1, 2010.
Last year, the FCC issued a Further Notice of Proposed Rulemaking seeking comments on, among other things, whether the Commission should adopt a single national filing deadline for all noncommercial educational radio and television broadcast stations like the one that the FCC has established for all commercial radio and television stations. That proceeding remains pending without decision. As a result, noncommercial educational radio and television stations continue to be required to file their biennial ownership reports every two years by the anniversary date of the station's license renewal filing.
A PDF version of this article can be found at Biennial Ownership Reports Are Due by June 1, 2010 for Noncommercial Educational Radio Stations in Michigan and Ohio, and for Noncommercial Educational Television Stations in Arizona, the District of Columbia, Idaho, Maryland, Nevada, New Mexico, Utah, Virginia, West Virginia and Wyoming.
Posted in: Direct to Topics, Ownership Law & Regulation, Radio and Television

redpajama_set_name: RedPajamaCommonCrawl


Last month was certainly a frosty one as we cuddled up to our laptops and spent the whole month coding. Today, we take a look at the coolest repos on GitHub for February 2019 with a focus on server security, machine learning tools, and a few ways to help beginners get a hang of this whole developing thing.
GitHub made a big announcement that took the developer community by storm: GitHub Free now includes unlimited private repositories. Let's have a quick look at the announcement and the community's feedback.
Did 2018 close on a high note? For GitHub and fans of open source, it sure did! We've gone through GitHub's trending list to find some of the coolest projects to showcase for December 2018.
With just a few days left in 2018, GitHub released their State of the Octoverse. 2018 was their busiest year yet! Was 2018 the banner year for open source? Here's hoping that 2019 continues to bring forth more great open source projects and contributions.
The weather may be getting colder, so it's a good time to warm up with some of GitHub's hottest repos. We've gone through GitHub's trending list to find some of the coziest and fieriest projects to showcase for November 2018.
GitHub Desktop 1.5 is live and it highlights the completion of merge collaboration cycle. Merge conflicts can be intimidating for new developers, especially those working in teams but that's no longer the case! Let's have a closer look at this release.
Cozy up with our monthly GitHub trending repo picks. We chose our top five repos from the GitHub trending list to highlight. These repos are just like scarecrows – they're outstanding in their field!
GitHub's expansion continues with the announcement of GitHub Actions. Move beyond just code storage and into code testing as GitHub helps automate your workflow. The new feature is in beta, so in the meantime, what is the competition doing?


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Catering workers serving American, Delta, United Airlines testify on unaffordable health care, low wages before House Subcommittee on Aviation
UNITE HERE-represented catering workers call on members of Congress to demand the airlines take responsibility for the crisis of poverty in kitchens at airport hubs across the country.
WASHINGTON, D.C.—Today, UNITE HERE union leaders in the airline catering industry testified before the House Subcommittee on Aviation in a hearing on Oversight of Working Conditions for Airline Ground Workers, focusing on their personal experiences of a "crisis of unaffordable health care" in the industry. In addition to oral testimony from a UNITE HERE affiliate leader, written testimony from workers who service American, Delta, and United Airlines flights at their hubs in Denver, Detroit, Miami, Minneapolis, New York, and Washington, D.C. supplied their written testimony.
Airline catering workers from the Washington, D.C. area, as well as several of their coworkers from other kitchens, traveled to Capitol Hill to attend the hearing in person.
"I traveled from Detroit to Washington, D.C. this week to fight for my daughter, Ariana," says Shandolyn Lewis, an airline catering worker at Detroit Metro Airport, a Delta Air Lines hub, who traveled to Washington, D.C. to attend the hearing in person. "She is now 13 years old and needs regular medical care.
"Members of Congress need to know what's happening in the airline industry, and how people like me are struggling to afford to take our children to the doctor."
Airline catering workers prepare, pack, and deliver food and beverages served aboard United, Delta and American flights. Predominantly people of color and immigrants, catering workers earn some of the lowest wages in the airline industry, and many are unable to afford employer health care coverage because it is prohibitively expensive.
"There is a crisis of poverty and a healthcare crisis that's hurting airline catering workers," says UNITE HERE witness Marlene Patrick Cooper, President of UNITE HERE Local 23, which represents catering workers, including in the south (read Marlene's full testimony here).
"We are calling on American, Delta and United Airlines to take responsibility and show leadership to transform the entire industry. This year, the airlines can—and must—do right by airline catering workers and ensure that one job is enough to live with dignity."
According to a survey of 2,240 out of approximately 14,000 airline catering workers that UNITE HERE conducted in 2018, nearly 1 in 3 workers depend on government care for either themselves or their children, 25% reported being uninsured, and 26% reported skipping or delaying doctor or hospital care, prescriptions, or other necessary medical treatment for themselves or their families in the past 12 months because of the cost their families would have to pay.
In June, more than 15,000 airline catering workers voted to authorize a strike if released by the National Mediation Board. UNITE HERE members in cities across the country have participated in airport protest actions, including a national mobilization on November 26 that saw 200 people participate in civil disobedience at seven airports.
Contact: Diana Hussein, [email protected], 313-460-3119
Sign the Petition to Put the Fair Overtime Law on the Ballot!
Following Update
Airline Catering Workers in Euless File Signatures to Put Fair Overtime Law on the Ballot
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Irrespective what role you have as an employee, whether as an entry level junior or a senior executive, everyone has the opportunity to positively have personal influence and impact on others through their words, actions, skills and demeanour.
I'm an expert in my field. Surely that's enough for me to build a resilient career?
For knowledge intensive jobs or specialists who rely on a specific, but limited set of technology skills or functional expertise, the ability to influence others should not be played down.
The key is to recognise the importance of personal influence then invest the time and effort in developing these skills.
In the real world of workplace 'politics', given that you are functionally and technically proficient, it is your engagement with others that may make all the difference in helping you avoid being seen as a person who may have limited potential to make a valuable contribution outside of your core skill set..
Consider the following hypothetical scenario: Two managers are discussing what influence their staff may have in a range of situations.
Can you recognise these, or similar attributes in any of your colleagues at work, or even in yourself?
While you may not be able to control those demands placed on you, what you can control are your responses. At the core of creating a positive influence, lies your ability to deliberately determine your approach and response to demands placed on you by others or the situation at hand.
You have the ability to control your response to situations, and it is how you shape your response that will determine your ability to influence others. Formulate and direct your responses wisely.
In what way is the reply or response I am about to give, likely to help me have a positive influence and get to where I want to be?


text:
Tennessee Criminal Law Review
published by Davis & Hoss, pc
The Supreme Court: Inmate not in custody for Miranda purposes
In 1966, the Supreme Court in the case of Miranda v. Arizona attempted to create explicit warnings that would remind suspects of their constitutional rights before police interrogation - specifically, the rights under the 5th and 6th amendments to remain silent and to have an attorney during a criminal proceeding. These "Miranda rights" are now ubiquitous in popular culture, and anyone who has ever watched any of the myriad of crime/lawyer dramas has heard them recited. What has not been as clear is exactly when the police are required to recite the warnings. The uncertainty surrounding Miranda was on display most recently in the Supreme Court case Howes v. Fields.
The trigger for the Miranda warnings is that there are required before a "custodial interrogation" can begin. At first glance, it would seem clear that a prisoner in jail is in "custody". However, in a 6-3 decision, the Court held in Howes v. Fields, that jailhouse questioning does not automatically require Miranda warnings. While already serving a jail sentence in a Michigan jail, the defendant in the case was removed from his cell and questioned by two armed sheriff's deputies about another crime for 5 to 7 hours. The questioning began in the evening at some point between 7:00 and 9:00. Testimony during the trial claimed that during the questioning he stated he no longer wanted to talk but never explicitly asked to return to his cell. At no time was he read Miranda warnings.
Despite these facts, the Court rejected a categorical rule that requires Miranda warnings be given to a suspect who is currently serving a jail sentence. Instead, they made clear that a determination of "custody" for Miranda purposes should include an inquiry into all of the circumstances. In Howes, the majority made much of the fact that the defendant was told multiple times that he could leave and return to his cell whenever he wanted. They also noted that he was offered food and water and was not restrained during the questioning.
The dissenting opinion argued that the inquiry should have focused on the overwhelming nature of the "police-dominated atmosphere". In many ways such an approach harkens back to the original Miranda decision where the Court sought to clearly limit overreaching by the police who at times utilized brutal interrogation tactics. The dissent also is clearly concerned that the holding in the case could be read to limit the requirement of Miranda warnings for suspects in jail.
This decision will cause further anxiety amongst court observers who already fear that the Court is moving towards a repeal of Miranda. Whatever your opinion, it certainly is surprising to hear the Supreme Court rule that jail inmates are not in "custody".
** The full opinion can be read here **
Posted by Jay Perry at 9:45 PM
Labels: Miranda, Supreme Court
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Count #42, count #116 – those are impressive numbers for Rutland County Audubon and National Audubon respectively as they represent the number of years the local and national Christmas Bird Count has taken place. This year's count will take place on Saturday, January 2. What better way than to kick off the new year than with a day of birding?
Field observers and feeder watchers are always needed (feeder watchers must live within the 15-mile count circle centered in Rutland).
Contact Roy Pilcher at 775-3461 or email birding@rutlandcountyaudubon.org for more details.


text:
Helping Young People & Families Succeed
2019 Bids for Kids
Planned Giving to YSB
Pumpkin Flotilla Festival
Continued Quality Improvement (CQI) Reports
Testimonials & Videos
Agency and Public Policies
Holiday Gift Giving Program
Foster Parents of the Quarter
YSB Services
Children First
Intact Family Services
Ladd After School Program
M.I.S.T.E.R. Program
Parenting Program
Outreach Counseling
Runaway and Homeless Youth
Redeploy Illinois
Solutions Counseling
Street Outreach/Transitional Living Program
Transitional Living Program
OFFICERS AND MEMBERS
Jeff DeMoss - President
Cherie Reynolds - Vice President
Brian Towne - Secretary/Treasurer
Katie Bagley
Steve Bouslog
Dr. Sandra Labak-Ivanauskas
William Pfalzgraf
Marty Ricconi
Evelyn White-Simmons
Board Minutes & Agenda's
January 16, 2020 (Minutes - Not Approved Yet)
January 16, 2020 (Agenda)
January 24, 2019 (Minutes)
March 21, 2019 (Minutes)
March 21, 2019 (Agenda)
May 16, 2019 (Minutes)
May 16, 2019 (Agenda)
July 18, 2019 (Minutes)
July 18, 2019 (Agenda)
September 19, 2019 (Minutes)
September 19, 2019 (Agenda)
November 21, 2019 (Minutes)
November 21, 2019 (Agenda)
October 19, 2017 (Minutes)
October 19, 2017 (Agenda)
GET TO KNOW YSB BOARD MEMBERS
Board Member since November 2018
YSB would like to welcome Dr. Sandra Labak-Ivanauskas to our Board of Directors.
Dr. Labak has lived in Somonauk, at Lake Holiday, since 1997. She has been married to her husband, Mr. Michael Ivanauskas, for 23 years. They have 1 daughter, Alison, who is currently attending Somonauk High School. Dr. Labak and her family were foster parents for YSB before she joined the board of directors, as she is very passionate about ensuring the safety of children. She is also very dedicated to seeing that children have appropriate access to education and social interaction.
Dr. Labak attended Holy Family Grade School and Boylan Central Catholic High School in Rockford. She later attained her Associates Degree with Honors from Rock Valley College. She then attained her Bachelor's degrees in Biological Science and Physiology, as well as a teacher's certificate in secondary education from Southern Illinois University. She Graduated from CCOM (The Chicago College of Osteopathic Medicine), now Midwestern University, in Downers Grove, IL in 1994. She became a NBOME (National Board of Osteopathic Medical Examiners) Diplomat in 1995 after completing an Osteopathic internship. She completed the remainder of her residency at the University of Illinois Christ Hospital in Oak Lawn in 1997, and became ABFM Board Certified that same year. Dr. Labak practiced in Rural Illinois at Dreyer Medical Group from 1997-2017. During her time at Dreyer Medical Group she served on the Chart Review Board, the QI committee and eventually became Medical Director of the ARCH unit at Hillside Nursing Home. She continued to work with the Extended Care team and maintained her rural practice until she signed on with MercyHealth Rockford in August of 2017. Dr. Labak is looking forward to helping develop the new Family Med Residency Program at MercyHealth as a member of the core faculty and will continue to serve as a Primary Care Physician in her current practice location in Belvidere.
Dr. Labak is very excited to help develop and implement new opportunities for children in northern Illinois, in whatever way that she can. She is currently acting as the chairman for our Fund Development committee.
She is also hoping to help make YSB more profitable, for the children's sakes. She says "I hope to help develop new and support current programs offered through YSB. I am also hopeful to help find new and exciting ways to help support these programs!"
Melissa Hulse
Board Member since September 2017
Melissa is a lifelong resident of Starved Rock Country who keeps the non-profit world very close to her heart alongside her work as a Real Estate Broker for Re/Max 1st Choice. She has loved being involved in various organizations including Ottawa Friendship House, Freezin' for a Reezin', ONYX, LaSalle Farm to Table Dinner and the Heart of Fashion Style Show, along with serving as a Reddick Public Library Board Trustee. She is grateful to spend time with her family and friends. She and Tim have two four-legged fur babies named Rocky and Maggie.
Her love of non-profits has greatly influenced her life. She states "I worked full-time at a not-for-profit for a number of years and I felt deeply rooted in that organization. When I left, I felt more comfortable being able to join another not-for-profit at some level. I feel like each of us are able to help others in some capacity and it is our duty to do so!"
Although Melissa is fairly new to the YSB Board, she has jumped right in and made herself a vibrant, active, positive member who is willing to give 100% to her involvement in the agency's mission. She understands all the effort that staff puts into working with local youth in need. "I appreciate the hard work and dedication that YSB staff put into day to day tasks and assignments, as well as with fundraising efforts. The Bids for Kids event held each Spring to support Youth Service Bureau of Illinois Valley is wonderful and I can't wait for next year's event!"
Melissa says, "Ideally, YSB would be an agency of the past…that our services were no longer needed because everybody has had their basic needs met, but sadly that isn't realistic." She would like to see staff continue to serve and educate those in need, and her goal is to educate the public on all that the agency does. "Our staff are pretty amazing! The amount of time and dedication put into their caseloads show by the successes that occur each and every day."
Thank you to Melissa and to every other person who helps YSB attain its mission of "helping young people and families succeed by serving them in their home, school and community." You are making the communities we live in a better place for everyone.
Cherie Reynolds
Board Member since January 2017
Say hello to this month's Board member profile, Cherie Reynolds!
Cherie proudly joined the YSB Board in January of 2017, though this is not her first experience in giving back to her community through volunteerism. She has worked with the Ottawa Chamber, Easter Seals, and even for YSB back in the mid 1980's, which was her first official interaction as a non-profit volunteer.
Cherie currently works as the Director of Development for OSF HealthCare Foundation in the I-80 Region. She serves the communities of Ottawa, Streator, and Mendota. She had previously worked for 20 years with Jim's Formal Wear/Mister Penguin.
She was born and raised in Ottawa. She and her husband, Bill, have a 25-year-old daughter. They enjoy their "empty nest" by spending time in their yard, which includes two fish ponds, a ton of plants and flowers, and a small garden. In Cherie's spare time, she enjoys baking, landscaping, reading, and a relaxing near her koi pond.
Cherie feels it is important to help those in need, and to spread the word to other people who may not be aware of what youth in crisis are going through. She attends fundraising and Ottawa Chamber Business After Hours events where she can showcase YSB and share our goals. She highlights the many ways her peers can give, whether through a donation of time and talent or through a traditional monetary gift.
Cherie states, "YSB, along with several other non-profit agencies locally have recently collaborated to help each other learn the services each provides and how we can help each other serve the community as a whole. The misconception is that non-profit agencies are in competition with each other, while the reality is, maybe we do not quite understand what each other offers. Working together to share with the community that we collaborate with each other to serve with the best care possible is my goal. A rising tide raises all ships!"
Thank you to Cherie and to every other person who helps YSB attain its mission of "helping young people and families succeed by serving them in their home, school and community."
If you have any thoughts or ideas to share with Cherie, please contact her at Cherie.R.Reynolds@osfhealthcare.org
Danielle Brown
Dani Brown was born and raised in Geneseo, IL. She attended Western Illinois University (WIU) for Broadcasting & Music Business. She moved to the LaSalle County area just over 2 years ago for her job as an on-air DJ at Studstill Media, which most people know as the radio stations Walls 102 and Q Hit Music, and she loves it! Her beautiful family consists of three dogs and a wonderful fiancé with their wedding coming in September!
Dani feels that being a part of the Youth Service Bureau of Illinois Valley Board has been enlightening. This experience has shown her how to effectively help people within our local communities. YSB has also introduced her to some amazing people who put extra effort and details into their work, which gives her the will and desire to be better in hers.
She also loves being able to interact and work with the other generous people on the Board. "Everyone who sits at our table has something special in them, and contribute amazing ideas that are heard. I love being a part of all the work being done here while also learning more about the surrounding communities."
Dani's future involves learning and growing with this community she now calls home. She looks forward to achieving YSB's goals, while contributing creative ideas and solutions to the process.
If anyone is interested in being a part of this amazing organization, please let us know! We love to meet new and inspiring people who want to make a significant impact in their community.
If you would have questions for Dani about YSB, please contact her at dani@studstillmedia.com
Jim Brusatte
Board Member since May 2011
Jim has been a positive presence at the Youth Service Bureau of Illinois Valley since his induction onto the Board in May of 2011. Over the years, he has volunteered for many YSB fundraisers and has gone beyond his role, even serving as Board President from 2015 to 2017.
He was born in 1952 in Joliet, Illinois. To prepare for his career as an Attorney and Judge, he studied at and received his B.A. (Bachelors of Art) at Drake University, and received his J.D. (Juris Doctor) at the University of Illinois. Throughout his storied career, he has had a private practice, has been a Guardian AdLitem, Public Defender and Country Attorney for LaSalle County, has been a Circuit Judge, and has even been a Volunteer Coordinator at Prairie State Legal Services.
Jim has been married to his wife, Roxanne, for 39 years. They have three sons: Stephen, Michael and Christopher; a granddaughter, Lola; and a grandson, Luca.
The YSB Board was the very first Board that Jim joined after his retirement. He states, "I volunteer a lot. I serve on numerous Boards. I have felt very proud to be a Board member of YSB the past six years. Our Board, along with the agency itself did a first class job in transitioning to the large agency we have become. I think our expanding allows us to help so many in need in diverse ways. The staff and administrative team have handled both good and tough times with aplomb. It was not always easy but issues were always addressed. "
His knowledge of the law and dealing with the youth in the area has made him an excellent and effective Board member. As a sitting Judge, YSB was the first place he would call if he needed help with a local youth due to the agency's knowledgeable, hardworking staff and excellent reputation. He also states, "I am proud of YSB's leadership and the tireless efforts of the staff. So many families have been helped by our work. It has been an honor to be a part of this organization."
Jim closes with this sentiment: "I want to thank each and every one of you. Keep up the good work and always remember you make a significant dent for the better."
John Armstrong Board Secretary/Treasurer
John was born and raised in Ottawa. After attending the University of Illinois, his banking career took him to Chicago. About six years ago, his family relocated back to Ottawa. John is currently Executive Vice President & Cashier at The First National Bank of Ottawa. His wife, Christine, (also a native Ottawan) and he have three boys; JC (7), Grady (5) and Levi (2).
John feels honored to serve on the YSB board as Secretary/Treasurer. YSB's mission of "helping young people and families succeed by serving them in their home, school and community" is crucial to the markets we serve. While this board is able to provide oversight and some direction, it is the hard work of the agency's staff that makes YSB successful.
Since John joined in 2015, there have been countless success stories of children and families who have benefited from the hard work of the agency. The annual fundraiser is always a great event that is able to promote YSB's mission and raise funds for the agency.
John states that "There are always challenges in our paths to deliver our services, from uncertainty of funding from the state and federal governments to the safety of our case workers out in the field. My goal is to continue to help guide management in the execution of YSB's mission in an efficient and safe manner."
Steve Bouslog Board Vice-President
Welcome to the 2nd installment of getting to know YSB's Board Members. This aims to give clients, staff, and all persons interested in YSB to see what kind of hard working, passionate people we have helping YSB to achieve our goals daily by following our mission. Youth Service Bureau of Illinois Valley serves 20 counties in northern and north central Illinois.
Steve and his wife, Carla, reside in Princeton. They have 4 children and 6 grandchildren…3 of which reside in Arizona (providing them with a great vacation spot!). Steve started his professional career as a high school teacher at Princeton High School. He spent 35 years at Citizens First National Bank/Heartland Bank & Trust. Three years ago he started an independent financial advisory firm affiliated with KB Elliott Financial Advisors and Kestra Investment Services.
Steve has tremendous respect for the mission of YSB, which is "helping young people and families succeed by serving them in their home, school and community", and honor in serving as a board member. He states that "I am routinely touched by efforts of YSB staff to improve the lives of children who find themselves at a critical point in their lives."
Originally, Steve served as a board member for the YSB Foundation, and served that Board as President for 3 years. He was a part of the Foundation Board when the first "Blue Tie Affair" occurred in 2013. Many dedicated hours from staff and volunteer workers led to great successes that first year and beyond.
His goal is to simply help YSB achieve its mission by approving sound policies and helping to maintain quality staff members.
Welcome to a new series in which YSB will showcase a Board member each month. This will give clients, staff, and all persons interested in YSB to see what kind of hard working, passionate people we have helping YSB to achieve our goals daily by following our mission of "helping young people and families succeed by serving them in their home, school and community." YSB serves 20 counties throughout northern and north central Illinois.
Marty Ricconi Board President Board Member since January 2015
Current Board president, Marty Ricconi, began his tenure with YSB in January of 2015 after spending his career as a Special Education teacher in the public school system. He also held the title of administrator for 33 years until he retired in 2008. During this time, he served 16 years as Executive Director of the LaSalle/Putnam County Educational Alliance for Special Education which worked with all schools in LaSalle County and many in Putnam County.
He and his wife, Mary, have lived in Streator for the past 32 years. Their family includes two sons and four grandchildren, all of whom reside in central Illinois.
In his time with the YSB Board, he has come to respect and appreciate every member of the board and all staff. In observance of their hard work, he states that "it is a great pleasure and honor to work with the dedicated staff and committed volunteer members of the YSB organizational Board. It allows me, in a small way, to assist in providing needed and worthwhile services to children in need throughout most of the northcentral and northwestern sections of Illinois."
Additionally, Marty has found great joy in learning of the successes of the dedicated Foster Parents of YSB, and seeing the accomplishments and successes children have made through the generous donations of time and money from our giving community members.
He would like to see YSB become a more visible and integral part of all of the communities we serve throughout the regions of Illinois which we serve, as it has been in Ottawa and the LaSalle and Bureau County areas for many, many years.
Finally, Marty would like to send out big THANK YOU to all Staff, community members and all who, through their direct work with children and/or their financial donations, have greatly helped to serve the children of YSB for more than 40 years of our existence.
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text:
Q: Composite variable as DV. Can I include part of it as independent variable? I am struggling to form a regression model as I have to explain financial performance of a company.
The problem is that I have a variable like Return on assets $\frac{ebit}{total assets}$ as a dependent variable and I would like to control for total assets. I understand that if I include "total assets" as Independent Variable, I will end up with a probably significant coefficient as there is obvious correlation between dependent Variable and Independent Variable. My questions is regarding the interpretation of other variable coefficients.
Are they ok or do they suffer from the inclusion of "total assets" into the model?
model example:
$\frac{Ebit}{total assets}=constant+b_1*total assets+b_2*AGE+e$
I see this kind of situation a lot in the paper, but it is not considered a problematic. I personally think that its important to control for "total assets" in this situation but does someone see a problem here?

A: I'm not certain—so don't take me at 100% here—but it doesn't feel right to me. Predicting y/x by x itself is strange. Of course you are going to get a significant prediction, because x is used to calculate the DV. I generated some random data (assuming no relationship between any of the variables)...
set.seed(1839) # setting seed for replicability
ebit <- sample(1:7, 200, T) # creating ebit scores
assets <- sample(1:7, 200, T) # creating assets scores
age <- sample(1:7, 200, T) # creating age scores
data <- data.frame(roa=ebit/assets, ebit, assets, age) # making dataset

and ran the models:
summary(lm(roa~assets+age, data)) # running roa as DV

Call:
lm(formula = roa ~ assets + age, data = data)

Residuals:
    Min      1Q  Median      3Q     Max
-1.8400 -0.6483 -0.0154  0.4882  4.3598

Coefficients:
            Estimate Std. Error t value Pr(>|t|)
(Intercept)  3.32694    0.22118  15.042   <2e-16 ***
assets      -0.44517    0.03770 -11.807   <2e-16 ***
age         -0.04832    0.03768  -1.282    0.201
---
Signif. codes:  0 '***' 0.001 '**' 0.01 '*' 0.05 '.' 0.1 ' ' 1

Residual standard error: 1.025 on 197 degrees of freedom
Multiple R-squared:  0.4189,    Adjusted R-squared:  0.413
F-statistic:    71 on 2 and 197 DF,  p-value: < 2.2e-16

And
summary(lm(ebit~assets+age, data)) # running ebit as DV

Call:
lm(formula = ebit ~ assets + age, data = data)

Residuals:
    Min      1Q  Median      3Q     Max
-3.0695 -1.7712  0.1377  1.4421  3.5400

Coefficients:
            Estimate Std. Error t value Pr(>|t|)
(Intercept)  3.35110    0.43397   7.722 5.66e-13 ***
assets       0.04386    0.07398   0.593    0.554
age          0.06503    0.07393   0.880    0.380
---
Signif. codes:  0 '***' 0.001 '**' 0.01 '*' 0.05 '.' 0.1 ' ' 1

Residual standard error: 2.011 on 197 degrees of freedom
Multiple R-squared:  0.005828,  Adjusted R-squared:  -0.004265
F-statistic: 0.5774 on 2 and 197 DF,  p-value: 0.5623

The effect of assets on roa makes sense in the first model. All it says is: As the denominator gets higher, the value of the quotient gets lower. How does that help you? The second model is more straightforward: It is the effect of assets and age on ebit simultaneously.

redpajama_set_name: RedPajamaStackExchange


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Product details: 1.This is " DIY Unfinished Cross Stitch Set ",need to be finished by yourself.
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4.14CT, small grid, two strands of thread embroidery, crochet a line.
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text:
An East Coast Christmas – 2017 National Tour
The Barra MacNeil's national Christmas tour makes its way from coast to coast again this year, starting on Vancouver Island (BC) November 20th, followed by a long string of additional concert dates in British Columbia, Alberta, Saskatchewan, Manitoba, Ontario, New Brunswick, PEI and Nova Scotia; finishing up in Glace Bay (NS) at the Savoy Theatre on Saturday, December 23.
An East Coast Christmas with the Barra MacNeils, features the five Sydney Mines musical siblings with a new show full of seasonal favourites, original tunes, songs, stories and dance – all with their unique Celtic spin. A family tradition for many, the show is a perfect way to celebrate the musical magic that the holidays can bring.
"We are thrilled to be coming back to so many cities and towns across Canada to do our Christmas show," says Stewart MacNeil. "It is our favourite time of the year and we love to celebrate with our fans."
One of the highlights of the tour will be a special return to Roy Thompson Hall in Toronto on Dec. 21st as well as the now annual tradition of multiple dates at The Rebecca Cohn in Halifax, NS. The multi-award-winning group is currently working on a new album – due for release in the spring. The release entitled On the Bright Side will feature new recordings of both original and traditional music with the first single out in early December just in time for their tour. A limited release 3-song sampler will be available ONLY at their live shows on the Christmas tour.
The Barra MacNeils are widely regarded as one of the greatest live concert acts in the Celtic world. Their live performance offers a depth of talent that includes multiple lead vocalists, beautiful sibling harmonies, top-drawer instrumental talent on a wide variety of acoustic, stringed, percussion and wind instruments blended with dancing, storytelling, humour and Gaelic songs. It is family entertainment at the highest level.
See all tour dates here


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Celebrate creepy crawly insects, and add a little beauty of darkness to your decor with these framed insects.
Bug in a frame - 14-30cm approx depending on bug.
Framed insect - bug / insect / beetle : Six things shop gifts, gift, home wares.


When it comes to navigating channels, how do you know which way to go? – watch our video to find out.
The safe side to pass a lateral marker is determined by your direction of travel.
Heading upstream means in a direction away from the sea.
Heading downstream means in a direction towards the sea.
Keep GREEN starboard markers on your PORT (left) side when going downstream.
Keep RED port markers on your STARBOARD (right) side when going downstream.
Remember: Green to green when going upstream.
Green to red when seas are ahead.
Direction of travel (buoyage) is shown on charts by this symbol.
Do you know which navigation lights you need for your powered vessel? – watch our video to find out.
Power boats underway must show starboard light, must show port light.
Powerboats under 12 meters must show an all-round white light or stern and masthead light.
12m+ Powerboats over 12 meters must show a stern and masthead light.
What's the difference between beam and draft? – watch our video to find out.
Ahoy! Time to brush up on your basic boating terms – watch our video to find out.
Watch the 348m cruise ship berth in Brisbane breaking the record as the longest ship to visit a Queensland Port!
PLEASE NOTE: There is no dialogue in this video, so no transcript or captions are provided.
Simulations carried out at Maritime Safety Queensland's "Smartship Australia" simulator established the safe operating parameters for the "Ovation of the Seas" during its visit to Brisbane and played a pivotal role in ensuring that the ship could enter, berth at and depart the port safely.
This video combines footage of the arrival of the cruise ship with the simulations to illustrate the role of Smartship Australia in planning for the ship's arrival and berthing.
Attention all boaties – do you know your Colregs?
How well do you remember the Collision Regulations? – watch our video to find out.
Luan - It's an international set of rules that apply to all vessels in all waterways.
Which side must vessels take in rivers and channels?
Which side must a vessel take when approaching another vessel head-on?
Who gives way when powered vessels cross?
What is the correct side on which to overtake another vessel?
Who give way when power boats and sail boats cross?
What rule applies when crossing a large ship?
What rule applies when sailing boats cross?
Above all, the first rule is to avoid collisions!
Luan - Every vessel whether it be commercial or recreational is all operating under the same system to avoid colliding with each other.
Aiden and Chloe know the lifejacket rules, and as Aidan says "if you're not wearing it, it can't save you" - watch our video to find out more.
Phil - Hi, I'm Phil from Maritime Safety Queensland, today we are down here to talk about lifejackets, more importantly, lifejackets on children.
Children under 12 years of age in an open boat less than 4.8m in length must wear a lifejacket at all times when you are underway in the vessel.
When buying a lifejacket for your children or yourself, the best thing you can do is put on the lifejacket and go and jump in a swimming pool or in a small shallow area, where you can get the understanding of how that lifejacket is going to behave on you when you're in the water.
Do yourself a favour, take off the lifejacket whilst you're in the water and try and put it back on again and try and get your children to do this as well. Have fun in your lifejacket, so they can understand how they're going to behave, react and what if feels like to be wearing that lifejacket for a long period of time.
This is an adult sized jacket we have fitted to Chloe today, it looks nice cause it's nice and pink and matches her shirt but it just doesn't fit. As you can see once Chloe puts her hands in the air to reach up for Mum or Dad to help her out of the water the first thing that's going to happen is she's going to slip straight out of that lifejacket. We can't stress how important it is, especially for the children, to use crotch straps and lifejackets that fit correctly.
No one plans to experience a marine incident when boating but letting us know could prevent the same thing from happening to others. Marine Incident Reporting could save a life – watch our video to find out more.
Luan - My name's Luan Baldwin from Maritime Safety Queensland and I'm a Senior Investigator based here in Brisbane.
It's very important to report marine incidents, aside from the fact that it's a legislative requirement, MSQ as the regulator really need to have that information so that they can make decisions on marinas and aids to navigation. Maybe there's changes to the education or the enforcement, compliance enforcement, section. We really need to have that information.
Which incidents must be reported?
Some of the more serious marine incidents involve the safety of people and life at sea. So, essentially, loss of person from a ship, or abandoning a ship which involves people in the water, collisions between vessels, running aground and being stranded, or even damage to infrastructure that can't be seen 'til later on.Serious marine incidents should be reported directly to a Shipping Inspector so that could be Maritime Safety Queensland Officers,Queensland Boating and Fisheries Patrol Officers or the Water Police.
Dale - My name is Dale Kersnovske and I'm an Administration Officer at Maritime Safety Queensland, Brisbane. It's always that age old thing, ya know, it'll never happen to me and then if it does and you follow the right procedures than that can certainly help others in the future.
Luan - Cause your dangerous situation might provide learnings to prevent that from happening to someone else.
Dale - In reporting your incident you may save someone else's life.
The summer boating season is underway. One important part of making sure you and your passengers are safe on the water is to ensure your boat is ready and able to make a safe journey. Watch this video for some key information on maintaining your vessel.
Anthony - So, G'day, we are here at Nautique Central in Southport. I'm with Ben Kirby who is the workshop manager and head mechanic and Anthony is my name from Maritime Safety Queensland. We're going to talk today a little bit about inboard petrol engines and the management of those safely.
It's your boat not your car.
Anthony - Ben, you've seen a lot in your career as a marine mechanic on inboard petrol engines, could you share some of the stories that you have with us.
Ben - Sure Anthony, One of the most common things that we see in the workshop is with the 12 volt system. Customers going and trying to save a few dollars and put an automotive starter motor or alternator and things on their engines. Quite often they're not ignition protected system so you do introduce fuel into the bilge and they have the potential to ignite that fuel, where a marine specified starter motor or alternator won't have that.
Another real common one we see is people putting their own dual battery systems into boats, not protecting those batteries properly, switching systems, bringing over things from the four wheel drive market into the boat which aren't always spec'd (sic) for marine use. Not fusing cables properly and things like that, that's a common one.
Another thing that we see all too often now is people using ethanol in open fuel breather boats. So, big problem with ethanol on some of the older boats especially carburetted boats is it can actually attack some of the rubbers in the fuel pump diaphragms and things like that.
Anthony - All this leads to a good maintenance regime and getting to know your local marine mechanic and getting a relationship happening where you can do some sort of maintenance plan. You'd agree?
Ben – Absolutely. I believe, you know, that most boats, ski boats, wakeboard boats should be serviced every 50 hours. Twelve month interval absolutely before you take it out for a service get it in, get your fuel tank checked, get your service done. A lot of guys doing it themselves aren't pulling the floors up, aren't having a look at these fuel tanks, mounting for fuel tanks, conditions of fuel lines, conditions of carburettors and things like that. It's critical stuff. We've seen more and more of these fires every year and less and less of these older boats coming through our shop. So, you really need to get on top of that if you're an owner.
Have fun, stay safe this summer.
Anthony - So, today we've discussed safe operation of inboard petrol engines particularly in wake boats. We've also talked a little bit about some do it yourself risks and why you should get a really good relationship struck up with a marine mechanic and be proactive about maintenance and a maintenance regime.
So, I thank you very much for your time Ben.
Ben – You're welcome Anthony, happy to help.
Anthony – And, we will see you again soon.


text:
Salvador Dali versus The Matrix
Aug26 by Jon Rappoport
The critics would have declared Dali a mental patient if he hadn't had such formidable classical painting skills.
He placed his repeating images (the notorious melting watch, the face and body of his wife, the ornate and fierce skeletal structures of unknown creatures) on the canvas as if they had as much right to be there as any familiar object.
This was quite troubling to many people. If an immense jawbone that was also a rib or a forked femur could rival a perfectly rendered lamp or couch or book (on the same canvas), where were all the safe and easy accoutrements and assurances of modern comfortable living?
Where was the pleasantly mesmerizing effect of a predictable existence?
Where was a protective class structure?
To make it worse, Dali invented vast comedies. But the overall joke turned, as the viewer's eye moved, into a nightmare, into an entrancing interlude of music, a memory of something that had never happened, a gang of genies coming out of corked bottles.
What was the man doing? Was he making fun of the audience? Was he simply showing off? Was he inventing waking dreams? Was he, God forbid, actually imagining something entirely new that resisted classification?
Dali's greatest paintings were undeniable symphonies, and mere acknowledgment of his talent would not explain how he composed the movements.
Words failed viewers and critics and colleagues and enemies.
But they didn't fail Dali. He took every occasion to explain his work. However, his explications were handed out in a way that made it plain he was telling tall tales—interesting, hilarious, and preposterous tall tales.
Every interview and press conference he gave, gave birth to more attacks on him. Was he inviting scorn? Was he really above it all? Was he toying with the press like some perverse Olympian?
Media analysts flocked to make him persona non grata, but what was the persona they were exiling? They had no idea then, and they have no idea now.
It comes back to this: when you invent something truly novel, you know that you are going to stir the forces trapped within others that aspire to do the very same thing. You know that others are going to begin by denying that anything truly NEW even exists. That DOES make it a comedy, whether you want to admit it or not.
It is possible that every statement ever uttered in public by Dali was a lie. A fabrication. An invention dedicated to constructing a massive (and contradictory) persona.
Commentators who try to take on Dali's life usually center on the early death of his young brother as the core explanation for Dali's "basic confusion"—which resulted in his bizarre approach to his own fame.
However, these days, with good reason, we might more correctly say that Dali was playing the media game on his own terms, after realizing that no reporter wanted the real Dali (whatever that might mean)—some fiction was being asked for, and the artist was merely being accommodating.
He was creating a self that matched his paintings.
It is generally acknowledged that no artist of the 20th century was superior to Dali in the ability to render realistic detail.
But of course Dali's work was not about realism.
The most complex paintings—see, for example, Christopher Columbus Discovering America and The Hallucinogenic Toreador—brilliantly orchestrated the interpenetration of various solidities of realities, more or less occupying the same space.
I'm sure that if Dali were living today, he would execute a brain-bending UFO landing on the front lawn of the White House. Such a painting would envelop the viewer with several simultaneous dimensions colliding outside the president's mansion.
At some point in his career, Dali saw (decided) there was no limit to what he could assemble in the same space—and there was no limit to the number of spaces he could corral on the same canvas. A painting could become a science-fiction novel reaching into several pasts and futures. The protagonist (the viewer) could find himself in such a simultaneity.
Critics have attacked the paintings relentlessly. They hate the dissonance. It's a sign that Dali could give full play to his imagination—a sin of the first order. They resent Dali's mordant wit, and rankle at the idea that Dali could carry out monstrous jokes—in such fierce extended detail—on any given canvas.
But above all, the sheer imagination harpoons the critics. How dare a painter turn reality upside down so blatantly, while rubbing their faces in the detail.
The cherry on the cake was: for every attack the critics launched at Dali the man (they really had no idea who he was), Dali would come back at them with yet another elaborate piece of fiction about himself. It was unfair. The critics were "devoted to the truth." The painter was free to invent himself over and over as many times as he fancied.
Dali was holding up a mirror. He was saying, "You people are like me. We're all doing fiction. I'm much better at it. In the process, I get at a much deeper truth."
Dali was the hallucinogenic toreador. He was holding off and skirting the charges of the critics and the historians. They rushed at him. He moved with his cape—and danced out of the way.
The principles of organized society dictate that a person must be who he is, even if that is a cartoon of a cartoon. A person must be one recognizable caricature forever, must be IDed, must have one basic function. Must—as a civilization goes down the trail of decline—be watched and taped and profiled.
When a person shows up who is many different things, who can invent himself at the drop of hat, who seems to stand in 14 different places at the same time, the Order trembles.
(Fake) reality declares: what you said yesterday must synchronize absolutely with what you say today.
This rule ("being the only thing you are") guarantees that human beings will resonate with the premise that we all live and think and work in one continuum of space and time. One. Only one. Forever.
That's the biggest joke of all. The big lie.
Whatever he was, however despicable he may have been in certain respects, Dali broke that egg. Broke the cardinal rule.
He reveled in doing it. He made people wait for an answer about himself, and the answer never came. Instead, he gave them a hundred answers, improvised like odd-shaped and meticulous reveries.
He threw people back on their own resources, and those resources proved to be severely limited.
How harsh for conventional critics to discover that nothing in Dali's education produced an explanation for his ability to render an object so perfectly on the canvas. It was almost as if, deciding that he would present competing circumstances inside one painting, he perversely ENABLED himself to do the job with such exacting skill, "making subversive photographs come to life."
That was too much.
But there the paintings are.
Imagination realized.
Suck on that lemon.
Like it or not, Dali paved the way for many others. He opened doors and windows.
And the pressure has been building. The growing failure of major institutions (organized religion, psychology, education, government) to keep the cork in the bottle signals a prison break in progress.
More people understand that the veil is not really a veil of tears. It's a curtain madly drawn across the creative force.
The pot is boiling. People want out.
Somewhere along the line we have to give the green light to our own creative power. That is the first great day. That's the dawn of no coerced boundaries. Everything we've been taught tells us that a life lived entirely from creative power is impossible. It's weird. It's crazy. It's meaningless. We don't have it within us. We should maintain silence and propriety in the face of greater official power and wisdom. We must abide by the rules. We must, at best, "surrender to the universe."
But what if, when we come around the far turn, we see that the universe is us? Is simply one part of imagination? Is a twinkling rendition installed to keep us titillated with dreams that would forever drift out of reach?
Twenty years ago, I had a conversation with Jack True that touched on Dali. Jack was, in my estimation, the most innovative and gifted hypnotherapist on the planet. He was constantly inventing ways to wake people up from what he called "their core trance."
Here is a fragment from that conversation.
Q: You wanted to say something about Dali?
A: Just that I admire him for his conviction.
Q: His conviction about what?
A: The creative act. To have executed all those paintings with as much detail—-and at the same time to bring into being situations that never existed before, there on the canvas—he shook up the world. He really did. And he satisfied all the conditions for the "common man."
Q: What does that mean?
A: The "common man" wants his art to "look real." Well, Dali gave the common man that in spades. To a T. Except what looked perfectly real was perfectly wild, way beyond the rules of time and space. That's what shook up the world. Dali was working with grand gestures in grand multiple spaces.
Space really is the issue. To give the viewer the feeling that space can extend in enormous ways and impart a sense of high passion, as opposed to dead territory…Dali worked with exceedingly high intensity. And he wasn't asking for acceptance. He was ramming his vision down the throats of the public. He was turning the screw.
Q: You think he had a major effect on the consciousness of the planet.
A: People were forced to re-think assumptions. They were forced to admit that there might be some very fantastic things floating around in their own consciousness. They may have hated Dali's work, but they had to feel that their own minds and imaginations were much bigger than they supposed.
Q: So who was Dali?
A: Only he knows that. He was a very slippery fellow in public. He thought of every public appearance as a stage play, and he was the star. He changed roles all the time. And he did that while pretending that he was a model of consistency. Everything he did was against the grain.
Q: He took delight in exploding conventional notions of physics.
A: I think he believed that every particle of matter was a separate dream.
Q: That's an interesting statement.
A: He knew that matter and energy were born out of dreams, visions, that they were products of imagination. This gave him enormous leverage.
Q: In his various portrayals of himself, there was a common thread. He presented himself as a kind of magician.
A: He liked to present himself as a Svengali.
Q: He gave many people the idea that someone who relies on his imagination is weird.
A: Well, you can't avoid that. People will always think that way, even if you wear a three-piece suit.
Q: Why is there such a fear of imagination?
A: Because people know they have it and they also know they don't use it. So they feel guilt. And that translates into fear and resentment, which are central parts of life on planet Earth.
JACK TRUE, the most creative hypnotherapist on the face of the planet, is featured in THE MATRIX REVEALED. Jack's anti-Matrix understanding of the mind and how to liberate it is unparalleled. His insights are unique, staggering. 43 interviews, 320 pages. That is just a fraction of what THE MATRIX REVEALED has to offer.
← Dispensing with the Earth-culture context
The invention of meaning →
5 comments on "Salvador Dali versus The Matrix"
johnbarleycorn12 says:
Reblogged this on John Barleycorn.
sAlLy D versus The Meathead
In a television studio in Figueres, Catalonia Spain, Senor Salvador Domingo Felipe Jacinto Dalí i Domènech, Marqués de Dalí de Pubol awaits the interview of the Arts reporter Dudley Meathead for BBC News, Spain.
MH: "So Mister Dali, how are you feeling today"
Sally d: "ah iz good…jew got anyting to drink meh?"
MH: "Ah.. you mean water?…Coffee?
Sally d: "nooh puto-cono…jew got any wine?…tequila?…jew gotta be gracious bozo"
MH: "sorry Mister Dali…
Sally d: "Stop callin me dat"
MH: "Stop calling you that?"
Sally d: Gjess…
MH: Gjess?
Sally: "Jew makin funamee? Mierda, mierda, mierda…fucking puto-cono. Gjess…are you goink to aska queskeoin"
MH: "Queskeoin?…You mean question?"
Sally d: "Okay puto fuck, go getme a drink meh, and den com back an ass-me-a-queskeoin"
MH: "Yes, Mist….sorry"
*Dudley rises from his chair and scuffles off stage…
Voices in the dark, whispering in the background "He does'nt know how to speak english…is he getting mad?…He's getting mad! It he allowed to smoke in the studio?"
Scuffling, Meathead returns with a glass of wine, puts it in front of Senor Dali, and quietly sits adjusting his microphone and tie while Senor Dali stares in disdain.
The great master looks around for a moment and then finally butts out his cigarette on the studio set.
He takes another cigarette out of a cigarette case shaped like the voluptuous figure of Mae West, and puts it in a rather long cigarette holder in his mouth and then lits the cigarette.
Twirling his infamous moustache he says…*
Sally d: "Jew reddy meh?….white wine!… I fuckin hate white wine cono…white wine is for pussies..real meh drink dee bulls blood. Jew gotta a queskeoin?"
MH: "Ah yes…Ah queskeoin.. ah, question…yes. Mister, um… what is the most important thing to you in life?"
Sally d: Oh my fuc..okay we go dare. Important ting in life…ookaay."
*An awkward long pause, Sally d looking up to the studio ceiling with his right hand twirling his moustache. He takes a drink from the wine goblet and looks at MH and spits the wine out and says…*
Sally d: "Querencia!"
MH: "Querencia?
Sally d: "Querencia! Querencia…gjess querencia…you very stewpid meh for dis job, jew holed. Gjess, Querencia! To deesire, to emagine, to find des place inside jew and to live dare forever and ever, it iz jewer real home."
*Senor Dali coughs, sits up straight, adjusts his clothes and with both hands twirls the ends of his moustache and in a perfect english accent says…*
"Querencia is a metaphysical term, which describes a place where one feels safe, a place from which one's strength of character is drawn, a place where one feels at home… a bull may stake out his 'Querencia' before the charge."
*Senor Dali rises from his chair, turns his back to Dudley Meathead and states while walking away from the interviewer.*
"..I gotta go cono…mamma waits for me…and mamma doh like to wait. Layder fool. Ness time getzsome good wine. Cheep puto! Blood red wine"
From Québec says:
Salvator Dali my preferred painters of all times.
I've always liked to mix perfect skills painting of reality with surreal (imagined) reality.
At sixteen, I did my first painting. A fashion show on the ocean. Mannequins walking in high heels on the waves, with seagulls around them. I was satisfied of the result. I didn't know Salvator Dali at that time. The following year I entered art school. I focused on acquiring "skills". I wanted to be able to draw with the precision of a camera. So I did portraits for about a year till they look like real living people.
Then I started adding surrealist context juxtapose with reality and found my style. Later, I discovered Salvator Dali and immediately adored his paintings. I felt like I had found a soul mate…lol
A few years later, I got interested in astrology. I started to study famous painter's natal charts. Dali, had an amazing chart that describes his personality so perfectly well. His passion for arts, his tremendous imagination, his love for precise painting skills. Dali liked to provoke and to intrigue people. He wanted to shake them up, wake them up. He couldn't care less of what they were thinking about him. Stubborn like a Taurus (4 planets in Taurus), he never would have changed anything in his way of paintings to please the public.
Dali was mysterious in his own way. With Neptune in Cancer (his Ascendant), it's impossible to know who Salvator Dali really was. He probably didn't even know himself. Neptune is the planet of inspiration, but also the planet of illusion. It's a mysterious and fascinating planet. It works and operate a bit like a magician. It confuses you and make you think.
I should know, I have Neptune in conjunction with my Sun in Libra (another zodiac sign ruled by Venus). So if sometime I confuse you with my way of explaining things, don't blame me… blame Neptune…lol
Tommy Wright says:
Brilliant, Jon. Absolutely brilliant. You do outstanding work. This is a most insightful piece that goes to the heart of everything.
Everyone, everywhere, should hear your message, and the world would change for the better. Thanks for this. You made my day… again.
dave ruzicka says:
i had the great fortune to stand in front of the surreastic torreador and yes everything you thought you knew about reality just goes away and your never the same again! just mind blowing! there just aren't enough words to describe it!


The title might give you some ideas, it might not. When writing about the topic the weird and wonderful there are many things that are possible. In this short read the topic is simpler than most topics I write about. Everyday you get up, get ready and you do what you have to do which is followed by going home and finishing the day. Nothing interesting there it seems.
Thing is, life is filled with interesting phenomena. In the routine of going through activities and tasks certain things are not perceived. In going through the motions it is easy to forget how little things are ignored. When I write with my pen to form letters, words, sentences and punctuation I am creating a river of ink imprinted on paper. This ink comes from something and a mechanism allows ink to flow but I usually will not think about it while writing.
When I read books about philosophy, poetry, literature and art there was always one thing that stood out. To develop an understanding of your environment that might inspire you or gives you insight you have to "wonder why?" This can only be done when the someone starts to perceive and thinks about the impression of that perception.
One of the most convincing forms of expressing the momentarily weird and wonderful is the haiku poem.
The haiku is about this particular text. It can be interpreted in many ways depending on your perspective. The thing I like about haikus the most is that in their 5-7-5 syllable structure they can express many things in very few words. A haiku in its shortness requires the writer to really think about what impression the perception left. Lately I have been reading haikus again as I admire what seventeen syllables can enable a writer to express.
The weird and wonderful that makes people "wonder why?" is sometimes the exact thing that makes people aware. It can be anything, something pleasant, positive, unpleasant or negative. What would life be without electricity? How would coffee with fresh whip cream taste? Is sugar sweeter than honey?


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