One of the greatest criticisms of mainstream and academic history is that it focuses on, and thus legitimizes "dominant" narratives from the perspective of societies most powerful figures such as politicians, business leaders, and so on. A lot of this has to do with the materials that historians have traditionally used to craft their stories: written and printed documents.
To correct this imbalance social historians began employing different sources and methods, most notably oral history, to help preserve and interpret the perspectives of society's more marginalized and oft-forgotten members such as ethnic minorities, working-class families, and women.
The Whistler Museum is fortunate to hold in its archives dozens of oral history interviews and written correspondence conducted since the early 1980s that tell important and insightful aspects of our valley's history that would have otherwise been lost with the passage of time.
Between 1948 and 1956 Olie and Eleanor Kitteringham, along with their children Ron, Jim, and Linda (born Valentine's Day, 1949), called Parkhurst their home. Thanks to a 1989 letter written to the Whistler Museum by Eleanor entitled "Our Family Life at Parkhurst" we have insights into the tight-knit community.
Eleanor's recollections are full of details about the seemingly endless work it took to raise a family in this remote mountain outpost, but she clearly looked back fondly upon those trying years.
Surviving three changes in ownership and one full-fledged fire, a lumber mill operated more or less continuously from 1923 to 1966 at the Parkhurst site (named after the original landowners) on the north-east shore of Green Lake. Afterwards, the remaining structures were occupied by ski bums during Whistler's squatting heyday, and the collapsed remains of a dozen or so houses (along with a few decaying vehicles and the squatters' garbage heap of broken bottles, rusty tin cans and the like) can still be found on the largely grown-over site.
I always said to the family, if you are going to get sick it has to be on Wednesday, Friday or Sunday, that's the days the passenger train went on through from Lillooet to Squamish… (Once) Ron was delirious for 3 days with a very high temperature. My doctor book said it might be bronchial pneumonia, so I phoned the doctor [there was a hand-dial phone in the mill office] and asked that I have some Penicillin thrown off by the next freight train at our station – it worked.
We walked the tracks in the winter with [baby] Linda in a clothes basket tied onto a sled … We played canasta, drank homebrew. Pretty hard to have to wake the kids and walk the two miles back. Those nights were quite beautiful though, when you can touch the stars and everything sparkles and glistens and that "crunch" of dry snow.
Middle child Jim later settled in Emerald Estates – the only original Parkhurst resident to live in Whistler. He took his mother for a tour of the old mill site three decades after they lived there. By then most of the site had been flattened by neglect and and persistent winter snowpacks, but she could still identify the remains of the family chicken coop, rabbit pen, children's playhouse and the single-log wharf they swam from in the summers.
This entry was posted in Beyond Skiing, From the Archives, Pioneers and tagged forestry, Green Lake, logging, oral history, parkhurst, parkhurst mill, pge railway, pioneer, Whistler, women's history. Bookmark the permalink.


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Published in History - Modern
Crisis in Cambodia by Malcolm Scott
The true story of three western backpackers who were taken hostage in Cambodia in 1994. The Cambodian governments failed rescue attempt eventually led to tragedy and brought about the fall of Pol Pot's Khmer Rouge.
Published in Expat Life
Teaching English in Southeast Asia by Nathan Edgerton and Kyuran Jo
Are you a young professional interested in moving abroad to work? Are you farther along in your career but looking for a change of pace and lifestyle? This book is meant to show you that a year or more teaching abroad is well within your reach! With as little as one month of teacher training, you'll be a viable candidate for teaching jobs throughout Southeast Asia, which will allow you to earn enough to live comfortably in your home city and even to travel throughout the region in your time off.
Published in History - General
A Record of Cambodia by Zhou Daguan and Peter Harris
Only one person has given us a first-hand account of the civilization of Angkor. This is the Chinese envoy, Zhou Daguan, who visited Angkor in 1296-97 and wrote A Record of Cambodia: The Land and Its People after his return to China. To this day Zhou's description of the royal palace, sacred buildings, women, traders, slaves, hill people, animals, landscapes, and everyday life remains a unique portrait of thirteenth-century Angkor at a time when its splendors were still intact.
Cambodia's Neoliberal Order by Simon Springer
Neoliberal economics have emerged in the post-Cold War era as the predominant ideological tenet applied to the development of countries in the global south. For much of the global south, however, the promise that markets will bring increased standards of living and emancipation from tyranny has been an empty one. Instead, neoliberalisation has increased the gap between rich and poor and unleashed a firestorm of social ills.
Cambodia in Depth by Peace Corps
Cambodia is a history buff's dream, with rich stories of empire and tyranny over the past 1,000 years. There are a variety of books and websites (some of which are listed in the Resources for Further Information section) that provide excellent summaries of Cambodia's ancient and recent history. Wikipedia's site (http://en.wikipedia.org/wiki/Cambodia) provides a good overview. Cambodia is a successor state of the once-powerful Hindu and Buddhist Khmer Empire, which ruled most of the Indo-Chinese peninsula between the 11th and 14th centuries.
Published in Business & Economics
Cambodian Harvest by Rhonda Pooley
A single woman in her sixties travels to Cambodia to set up a dried fruit factory - a project to provide landmine survivors with an income and hope for the future. Overcoming official corruption, cultural prejudice and minimal financial support, her inspirational story will challenge everyone who thinks they are too broken or too old to make an impact for God in this world.
Published in Travel Guides
A Short Ride in the Jungle by Antonia Bolingbroke-Kent
The Ho Chi Minh Trail is one of the greatest feats of military engineering in history. But since the end of the Vietnam War much of this vast transport network has been reclaimed by jungle, while remaining sections are littered with a deadly legacy of unexploded bombs.
Observing Pol Pot at close quarters during the one and only official visit he ever made abroad, to China in 1975, Philip Short was struck by the Cambodian leader's charm and charisma. Yet Pol Pot's utopian experiments in social engineering would result in the death of one in every five Cambodians—more than a million people.
Inside Phnom Penh by Sonya Duck
Inside Phnom Penh will provide information to help save you time and money both before you depart and when you arrive. It is a practical guide for those people moving to Phnom Penh, Cambodia, with the aim of working in the Kingdom's capital, doing a sabbatical, volunteering, living and working location independent or simply traveling as a local as opposed to a tourist.
Published in Society
Human Trafficking in Cambodia by Chenda Keo
Reporting the findings of a comprehensive study of human trafficking in Cambodia, this book focuses on the characteristics and operations of the traffickers. It provides a theoretical framework that explains the emergence of the phenomenon, and the role of moral panic and western hegemony in the war on human trafficking.

redpajama_set_name: RedPajamaCommonCrawl


Desmopressin Acetate powder is a man-made analogue of vasopressin which is the body's natural anti-diuretic hormone released by the pituitary. It works by increasing water permeability in renal tubular cells, which decreases urine volume and increases urine concentration.
Desmopressin Acetate powder (DDAVP, Stimate, Minirin) is a medication prescribed for the management of thirst and urination following head trauma or surgery involving the pituitary gland, and the treatment of diabetes insipidus.
Biological Half-Life Following an intranasal dose of 1.66 mcg of desmopressin, the median apparent terminal half-life was 2.8 hours. Terminal half-life significantly increased from 3 hours in normal healthy patients to 9 hours in patients with severe renal impairment. The oral terminal half life of desmopressin ranges from 2 to 3.11 hours.
Color White or almost white, fluffy powder.
Application A medication used to treat diabetes insipidus, bedwetting, hemophilia A, von Willebrand disease, and high blood urea levels.


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Gripped by drought, California could face epic fire season
Written by Marc Albert
Standing on the dried out bed of what should be Lake Mendocino, Gov. Gavin Newsom declared a drought emergency for Mendocino and Sonoma counties April 21More than half of California has slipped into extreme drought, according to the federal drought monitor. And with summer-like heat arriving sooner and lingering longer, California may be facing a dry season for the record books.
Two years of below-average rainfall have drained California of the deluges of the 2016-2017 winter.
UCLA Climate Scientist Daniel Swain, also associated with the National Center for Atmospheric Research and the Nature Conservancy, says conditions in Northern California today are nearing where they were at the peak of the drought between 2013 and 2016. And that the state is drying out even faster now.
"Water scarcity, in some respects, is already sort of getting to where we were at the peak of the last drought, but there was quite a long build up to that one."
All of California is considered in drought, with nearly 98 percent of the state in severe, extreme or exceptional drought. That compares with just a fifth of the state a year ago, according to the drought monitor.
While sub-par winters are far from an anomaly in the state, Swain says in recent years summer heat has been arriving earlier, and lingering longer, than historically. That added strain on shrubs and trees could present major challenges to firefighters and those depending on them in the months ahead.
"There's essentially a year or more of missing precipitation over the past two years in Northern California and it's also been much warmer than usual which means there has been more evaporation and that there's even less water available than there would have been with the same precipitation deficit, but with cooler temperatures."
Swain says while the rainfall of the last prodigious winter, in 2016 and 2017, may have filled reservoirs, the rain and snow failed to appreciably recharge groundwater aquifers. Or fully revive stressed trees or aid soil moisture.
A drought emergency has been declared for Mendocino and Sonoma counties. And Swain noted renewed discussion of a temporary pipeline over the Richmond-San Rafael Bridge, enabling the Marin Municipal Water District to draw water from its East Bay counterpart.


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AOL takes to the circus
AOL Time Warner's America Online says it has partnered with ticket agency Ticketmaster and circus producer Ringling Bros. and Barnum & Bailey to give away a million tickets to online fans. The online portal is offering people a chance to pick up a free ticket when they buy tickets to the circus, affectionately known as "The Greatest Show on Earth," from Dec. 3 through Dec. 5. But freebie-seekers must preregister on AOL's Box Office, an event site launched earlier this year, to get a promotion password. Through its Web site, Ticketmaster is offering Web surfers a similar deal from Dec. 6 through Dec. 13. Terms of the deal were not disclosed.
Stefanie Olsen
January 2, 2002 4:43 PM PST
Discuss: AOL takes to the circus


2. One who is so totally a douchebag, that they can do nothing but perform every task as a douchebag.
T-Bag, D-Cup, Ted, Laura, Melody and Madison and Wilhelmina all display the characteristics of a doucheaholic, but each redefine the term. Overly confident and self-loving, muscle man T-Bag is the ultimate doucheaholic who is absolutely consumed with loving himself and his physique. D-Cup is a low-life who has no concern over anyones feelings and is on a constant manhunt for the hottest guy in the room. Ted is an a-hole who aims to embarrass others and is a considered a "douche rocket"—landing right at the top of the doucheaholic hierarchy. Laura, a "Douche in Sheep's clothing"—is defined as a Doucheaburbanite as she is in denial that she is a total douche as she suppresses her douchebaggery to appear like a classy housewife and mother of three. Predouchelescents, Melodie and Madison, are tweens that display the beginning stages of traits, interests and psychologies common to the fully matured adult Douchebag—or a.k.a. tween douches. And Wilhelmina is a Gourmandouche, a douche considered a connoisseur of fine cuisine—a.k.a. a foodie douche. All of these hilarious, colorful and animated characters display various versions of, according to the doucheaholics.com Douchepedia, Douchery—the act or art of bing a douche.
'Doucheaholics', the new comedic web or digital series, which will be available on iTunes April 24th and Amazon on May 1st, comes to you from co-creators, producers and actors Sean McCarthy and Elizabeth Mitchell, who are part of Guerrilla Wanderers Films. Both star in the series, as well as wrote, directed and produced the television project.
At the Guerrilla Wanderers Films production studio, Cindy Maram, Dig In Magazine's Editor-in-Chief, caught up with both McCarthy and Mitchell, the creative team behind the smart comedic TV series 'Doucheaholics' to learn more about the show, the filmmaking process and more.
Follow Dig In Magazine on Instagram @diginmag and watch our Instagram Story for a behind-the-scenes look at our visit to the Guerilla Wanderers Films studio and our exclusive 'Doucheaholics' interview with Sean and Elizabeth!
Bo Burnham interview for "Eighth Grade"


Viewing articles 41 to 80 of 217 total.
Bishop Richard J. Malone celebrated the 1,050th anniversary of Poland's Christianity during a Christ the King Eucharistic Celebration on Nov. 20. It commemorated Poland's acceptance of Christianity in the year 966, when Mieszko I, the first ruler of the Polish state, and much of his court were personally baptized on Holy Saturday of that year.
A discussion of Faithful Citizenship and public policy ahead of the upcoming election.
The WNY Catholic is sponsoring a pilgrimage to Fatima and Lourdes with Msgr. David Slubecky, Vicar General of the Diocese. He and Director of Communications, George Richert, also discuss an information night at St. Joseph Cathedral on October 19 at 7PM.
On the Feast of St. Francis of Assisi, Bishop Richard J. Malone called all creatures great and small to his front lawn on Saturday morning for a blessing of animals. The blessing of animals has become an annual custom in the Church, as a way to remember the love that St. Francis of Assisi had for Creation. See our new photo gallery here.
Special attention is given to pro-life causes during the month of October, as the Diocese of Buffalo celebrated Respect Life Sunday on Oct. 2 with Mass at St. Joseph Cathedral and the National Life Chain. See some of the sights of the day in our new photo gallery.
On this week's Podcast we talk about upcoming Open Houses at our Catholic Cemeteries with director, Carmen Colao.
It's back to school on this week's podcast with Sister Carol Cimino, diocesan superintendent of schools.
Continuing our series on the Works of Mercy in our diocese, this week we visit the St. Vincent de Paul Society.
On this week's podcast Cheryl Calire, director of Pro Life Activities for the diocese, talks about the dedication and blessing of the new Mother Theresa Home on the East Side of Buffalo.
This week we hear from the new managing editor of the Western New York Catholic, Patrick McPartland.
On this week's show we talk about Burgers, Brews and Blues, a fundraiser for the Sisters of St. Francis of the Neumann Communities on Tuesday August 14 at their St. Mary of the Angels center, 201 Reist St. in Williamsville.
About 200 pilgrims from the Diocese of Buffalo are currently attending World Youth Day 2016 in Krakow, Poland, and so are we. Staff reporter Patrick J. Buechi is documenting the journey of these local Catholics, and you can see it for yourself in our new photo gallery.
This week we talk about Healthy Baby Festivals sponsored by the Catholic Charities WIC program.
In this week's podcast, we hear about the latest happenings at Christ the King Seminary with President-Rector, Father Joseph Gatto.
George Richert, the new director of Communications for the Diocese of Buffalo, makes his first appearance on "Western New York Catholic Weekly," the newsradio show of the Diocese of Buffalo.
You've probably read the stories of the three men ordained to the priesthood on Saturday, but did you see how happy they were on that day? Check it out yourself in our exclusive photo gallery of Ordination 2016.
Many people were joyfully participating in this past weekend's Corpus Christi Procession and Mass, held at the namesake church in Buffalo. See what all the hub bub was about in our latest photo gallery.


Last year for St. Patty's Day I made the Momofuku Grasshopper pie and two years ago I made these Guinness cupcakes with Bailey's frosting;. I thought it was about time to bring out the Bailey's again this time as the star in the form of cheesecake rather than frosting.
I was pleasantly surprised at how perfect these bars came out. The creamy Bailey's filling is a nice complement to the chocolatey Oreo crust. There's only half a tablespoon of Bailey's per bar, but if you were really concerned about the alcohol, I think you could use the Bailey's flavored coffee creamer as a substitute. Not as good if you ask me, but whatever works for you.
I had to tell Dustin he couldn't have two in a night (for health purposes) because they were that good!
Preheat the oven to 350º. Line a 9″x9″ baking pan with aluminum foil, leave some hanging over the edge to act as a handle.
Pulse the Oreos in a food processor until the cookies resemble fine crumbs.
Mix in a medium-sized bowl with the melted butter.
Gently press the Oreos into the baking sheet.
Allow to cool while making the filling.
Mix the cream cheese in the bowl of a stand mixer until smooth.
Add in the sugar, milk, and Bailey's and mix.
Add in the flour and vanilla extract and mix.
Spread the cream cheese mixture on top of the crust (you will have a little bit left over).
Allow to cool at room temperature for about an hour.
Cover with aluminum foil and allow to sit in the refrigerator overnight before slicing.


If you want a flat belly, then get a good night's sleep. Research shows that sleep deprivation can slow down your metabolism and play havoc with your natural body clock. Result weight gain, which makes your belly fat.
Think about it, when you are short on sleep, you will chuck in more coffee to stay alert (sugar); skip exercising because you are tired; order from the restaurant (tired to cook); and then with a heavy tummy, have trouble sleeping for the second night in a row.
Ever tried to make an important decision when drunk? Well, lack of sleep puts your frontal lobe of the brain in sort of a drunken stupor. The result: dulled decision making and impulse control.
Lack of sleep also powers up the reward centre in the brain to make you feel good. So the second serving of ice cream or another bag of chips doesn't seem like a bad choice.
Science has proof of this. In a study, featured on the American Journal of Clinical Nutrition, found that late night snacking (due to sleeplessness) mostly included high carb and sugary snacks.
A University of Chicago study finds that people low on sleep tend to eat high-fat meals. Another study finds that portion control is a big problem for people deprived of 8 hours of sleep.
The sleep-deprived brain may also make you crave for high energy and carb loaded foods. In other words, junk food.
Less sleep = increased levels of ghrelin (hunger) and low leptin (fullness) levels.
That is the worst possible equation for your body. Ghrelin sends signals to the brain that translates to 'I'm hungry, where's food'. Leptin, on the other hand, tells you to stop eating.
Skewed levels due to less sleep mean weight gain and obesity too.
Oh! Don't forget the high levels of stress hormone cortisol from sleep deprivation. Which means all that you eat in your groggy state gets stored as fat.
A study by the University of Chicago finds that lack of sleep may make insulin's action blunt too. Insulin helps you use up extra sugar and energy.
Lack of sleep makes you eat more and doesn't signal your brain about fullness. The stress hormone saves everything you eat as fat and renders insulin's action ineffective.
Want to lose weight? Then sleep well.
Here are some practical tips to try for getting a good night's sleep and a flat tummy too.
Turn the lights down in the house as you approach bedtime.
Along with a good night's sleep of 8 hours, a good diet and exercise plan will also help. We give you a first-time free consultation from one of our experienced nutritionists to help you out. Avail by clicking on the link.


Designed by Tree of Life this elegant gift box contains raisins, almonds, chocolate coated cashews and 9 assorted chocolates- 2 almond dates, 2 coconut filling, 2 caramel filling and 3 blackcurrant chocolates. Branding can be customized for Corporate Bulk Orders.
Use 1189 points to purchase this product!


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Jewellery & WatchesVacation & Travel Design & DecorReal EstateJet SetArt
Cannes - The Place for Wealthy
Everyone heard of Cannes. And the most famous city of the French Riviera is associated with different events and people from person to person. But Cannes, first of all, is the perfect place forvery wealthy people and celebrities. And anyone wants to live as beautiful and luxury as possible.
Enjoy some statistic data for introduction. So, Cannes is a small town on the Mediterranean shore of France, near to the Napoule, with the population of residents of approximately 70 thousand people. The Mediterranean climate is here in the town and its suburbs, with typical soft moderate temperature regime within a year; and the indicators of average temperature is the evidence for that, with 10 degrees in winter, and 13 degrees in spring, while in summer the temperature is 21 degrees, and 16 degrees in the autumn. The town now is spread for 9 kilometers along the sea shore, including the popular La Croisette Quay, Antibes Street, Walk of Freedom and the Festival Palace, the place to hold the legendary Cannes Festival, being the most prestigious Cinema Festival in the world.
We are glad to make a short excursion to the past to let you know how come that a small town in France gained the reputation of the main resort at Cote d'-Azur. The first settlement was founded here in the year 42 A.D. when the Romans set the dwelling called Aegtina here. The town was renamed approximately thousand years ago for Cannes, and as experts state the word «Cannes» comes from the plant growing here in the reed. During the middle Ages these lands were possessed by one of the monasteries, and Cannes was the ordinary fishing village (!). The situation was like that till XIX century when the moderate and comfortable climate and beauty of the shore attracted the attention of people.
The actual «founder» of the modern Cannes is the English lord Brougham who incidentally visited this place in 1834. He liked the place so much that he constructed the residence here and lived there. When he died, the high society of the entire Europe came to say good bye to him, the lord was the former chancellor of Great Britain. The European aristocrats appreciated the beauty of the last shelter of Brougham and that was like a triggering point to invest into the lands in Cannes and build their villas there. And when the country road along the sea shore turned into the three-kilometer luxury La Croisette Quay two centuries ago with the plenty of hotels, cafes and stores, Cannes was titled as one of the best resorts. Tourists first arriving to Cannes face hotels, which are over 100 and a lot more tour residences. The range of hotel services does impress. You have a room subject to your taste and budget. The luxury place at Cote d'-Azur cannot do without four-star and five-star hotels, though there are cheaper rooms also for any class of people.
Cannes has been the elite resort for every time in the back, and here you enjoy the atmosphere of well-fed luxury and if you like the active rest for the youth, including extreme kind of relaxation, you feel hard to find something to satisfy the tastes and preferences. Cannes is the place to relax, not the place to feel the extreme scent of freedom and permissiveness. Nevertheless, Cannes helps to experience bright and strong feeling as well, offering a plenty of gambling joints where the access is available for men in smoking and ladies should wear evening dresses to play there. La Croisette Casino is famous in the sphere of games that is situated in the Festival Palace. This Casino Houses has about three hundred game machines, Moreover, those who prefer cards and roulette, find something interesting for them also, winning and losing money.
The Cannes Film Festival is the most legendary event that is held in the Festival Palace. If you arrive to the town in May, you will see the celebrities and famous people all over the town not only on the red carpet. Cannes is the place where people are accustomed to celebrities and they do no express their love and obtrusive wish to talk to them, that it is easy for stars to walk in the streets freely. Apart from Cannes Film Festival a range of congresses and sessions are held in Cannes yielding to only Paris in the national scale. There is the Walk of Fame in Cannes created like that in Hollywood, and also the charming square to honor Prosper Merimee who lived and died here.
Those who appreciate the luxury and beautiful things will get lost in Cannes with the abundance of splendor. The most luxury boutiques with designer clothes and shoes, with fur items, with elite jewelry and perfume products, and all other things that would refer to the category of exclusive, prestigious and extremely expensive stuff may be acquired here, in Antibe Street, that goes straight throughout the town parallel too the se ashore and reaching the legendary La Croisette Quay.
It is useless to say something about La Croisette Quay. All the lavish boutiques and stores, the most prestigious hotels and expensive restaurants and cafes, located in the most elegant building of the town, presenting the most varied menus and wine cards, plus 8 kilometer of sand beaches and dams with thousands of yachts and boats, and you will have the entire picture of what La Croisette Quay is.
And who cares that people want to live a wealthy and beautiful life there?
Rare Coins – Most Known in Europe
Tie Clips – Luxury Accessory For Comfort
Warren Edward Buffett –Tight-fisted or Generous?
Jewelry for Kids – Tribute to Adult Trends or Just Junior Style
< Hanging Gardens of Babylon - the Gift for Love
Most Expensive Cities in the World >


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Jasna Popovic: "Serbia Around the Piano World"
Renowned Serbian pianist Jasna Popovic leads a group of talented musicians on a journey through the sounds of contemporary music from around the world, combined with Serbian traditional and jazz music.
Jasna Popovic
Petar Krstajic
Recent Broadcasts
Jovino Santos Neto
Three-time Latin Grammy® nominee Jovino Santos Neto, a master pianist, composer, and arranger, is among the top Brazilian musicians working today. Currently based in Seattle, Washington, he has been closely affiliated with Brazilian master Hermeto Pascoal throughout his career. Neto's personal style is a creative blend of energetic grooves, deep harmonies, improvisation, lyrical melodies, and great ensemble playing, always inspired and informed by the colorful richness of Brazilian music.
Featured Artist(s)
Yanga
Yanga (American Musicians Abroad Project), is a manifestation of Colombia's ever expanding musical influence. Sprouting their own distinct branch on the tree of Caribbean music and culture, Yanga cultivates a new sound rooted in the traditional rhythms of the Caribbean coast of Colombia.
NSO Summer Music Institute Orchestra
IN THE CONCERT HALL
The NSO Summer Music Institute Orchestra performs Mahler's Symphony No. 4 in the Concert Hall. Come hear the students in their first concert of the Summer Music Institute.
WNO Opera Institute
This performance starts at 5:45 PM
WNO Opera Institute at American University is a three-week summer program that brings dedicated young singers together to explore opera in a professional and nurturing environment.
IN THE TERRACE THEATER
D.C.-based musician Cheick Hamala Diabate has long explored the connection between America's traditions and his own griot roots. Like many American string players, including Bela Fleck with whom Diabate has collaborated and performed, Diabate noticed the eerie resemblance of his trusty n'goni and the banjo. In 2007, Diabate's collaboration with banjo player Bob Carlin, "From Mali to America" (5-String Productions), led to a Grammy® nomination for Best Traditional World Music Album.
Free general admission tickets will be distributed in the States Gallery starting at approximately 5 p.m., up to two tickets per person.
Digital Stage: Extraordinary performances On Demand
Millennium Stage Schedule
Millennium Stage Archive
Millennium Stage Calendar
Perform on Millennium Stage
Are you interested in performing on Millennium Stage, or do you have a program you'd like to recommend? In order to be considered, please submit any recent videos of live performance within the last two years, website, Facebook page, or other pertinent information to MillenniumStage@kennedy-center.org.


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Moby-Dick and the Virtues of Straight Talk
The Left's relativism and postmodern sensibility have been turned on them. After decades of preaching about the bias implicit in every source and message, we found our ideology successful beyond our dreams, to our horror. Fox News railed against the mainstream media's bias and asserted the legitimacy of their abject partisan nonsense—and it was only the gateway drug to Breitbart and InfoWars and all their despicable brethren. It turns out there is such a thing as truth and objectivity, and the surging subscription rates at the New York Times post-election show how keenly we on the Left have come to appreciate the importance of affirming that.
The fractured and competing narrative voices of contemporary novels are legitimate in their own right. We all see the world differently—just ask any pair of siblings about an event from their childhood, or last week even. Our minds are entire universes but parallel ones, or rather oblique ones, where the overlap in consciousness and perception is always partial. The stream of news, flowing into our heads from radically different sources, only mirrors the stream of perception in general. And the differential in those streams of perception are nothing compared to the terrible, beautiful, radical difference of our minds.
But despite the honesty of the postmodern project, I can't help but wonder if the annus horribilis of 2016 will yield an artistic return to simpler narratives and affirmations of objective reality. I find myself shying away from the flip, jaded voices of new fiction and turning toward what feels like the solid ground of classics. Moby-Dick, my most recent read, is the most postmodern of non-postmodern novels (some refer to it as "pre-postmodern") for its humor, pastiche nature, variety of mental states, and debatable realism, and yet it feels sturdy and reliable and rich. Those ropes and winches and anchors attach us to a real experience and provide an escape from the paranoid fantasies of a new type of Other. What are the limits of empathy for the Other when those Others are chanting "Lock her up" and saluting like Nazi sympathizers and asserting that Obama is a Muslim ("and no one will convince me otherwise!") or a one-time male prostitute in Southeast Asia?
If bringing to life the variety of experiences in the world and learning to inhabit the consciousness of others was one of the artistic tasks of the late twentieth century, then perhaps rediscovering our connection to reality and objectivity—without retreating into a simplistic reductionism—will be the artistic task of the decades to come. Relying on satire won't do; for all its brilliance it alienates the Other in a way we can't afford. Because artists are artists, it probably won't take any form we can predict. But a turn must be coming.
There can hardly be a more important mission at this moment. A few days ago a man of right-wing persuasion burst into a DC pizza parlor with his gun blazing because he read on a website that Hillary Clinton was running a child sex ring from its premises. I couldn't help but be reminded of Voltaire's warning: "Those who can make you believe absurdities, can make you commit atrocities." Finding a path back to a shared rationality is critical to preventing more.
The Whispering Enemy
In 1944 Budapest, a woman walked down the street disguised as a peasant. She was part of a wealthy Jewish family that was now hiding from the Nazis. On the street she was recognized by an acquaintance she and her husband had socialized with at glitzy government affairs. Upon being asked if there was anything she could do to help the family, the acquaintance brushed the woman off. And as they parted, she whispered to the Jewish woman, "Now it's our turn."
The incident is recorded in Marianne Szegedy-Maszak's family memoir I Kiss Your Hand Many Times. Among the many horrible stories recounted from her family's past, I found this one the most distressing. It is a reminder of the fissures that lie beneath the surface of even well-functioning communities.
These fissures were evident in the Rwandan genocide as well. Hutu villagers who had lived and worked peacefully beside their Tutsi neighbors for years turned on them and literally hacked them to death with machetes—hard, vigorous work to hack to death 1 million people over three months. Many of these Hutus were compelled by the military hierarchy to do so on pain of death themselves, but some took to it with enthusiasm after being exposed to a wave of hate radio in the preceding months. Radio was an influential medium in Rwanda, and hosts called the Tutsis "cockroaches" and proclaimed God required them to rid the earth of the Tutsi evil.
The role of local newspapers in Nazi Germany was similar: to inflame or unleash hatred among the citizenry. A book I worked on once on this very topic told of a old Christian woman who had gone to the funeral of her best friend, a Jewish neighbor. Another neighbor wrote a letter to their local newspaper denouncing the woman's attendance at the funeral of a Jew. To which the Christian best friend responded, in perhaps my favorite historical quotation, "Are you drunk?"
These are the moments that come to mind as I begin to process the political events of the last months. One moment of the campaign coverage stands out to me: a video of one of Donald Trump's many campaign rallies. The rally has ended and attendees are leaving the auditorium. One reporter's camera is rolling as an older man in jeans and a red cap walks by. He looks to be in his 60s, maybe 70s. His hair is white, but he has one of those good, solid midwestern faces: nice-looking, like someone who'd be a fantastic grandpa. But he turns to the journalists gathered there and launches into a vile, hateful tirade against the journalists. Letting out an intense emotional hatred for people who had done, essentially, nothing at all to him.
One reason this election season has been so depressing is that it revealed the veiled hatred so many of us have toward one another. Tee-shirts that read "One rope, one tree, one journalist, some assembly required." Statements about "draining the swamp" that are all too reminiscent of previous references to "vermin" and "cockroaches." People writing that Hillary Clinton is "evil, EVIL—she wants to destroy America," inflamed by the emergence of a powerful alt-right media. A Republican official stating that if Trump doesn't win, he's going to pick up his musket. To do what with, exactly? He won't say explicitly, but what do muskets do other than kill?
Some black writers have commented that what white liberals are feeling today is what other minorities feel all the time. And I know that liberals have indulged in hateful rhetoric not just toward the candidate but toward fellow citizens. I appreciate that we have been sheltered, and also that these trends have not yet consumed us. But at one time the neighbors of Rwanda greeted each other warmly each morning. And Hungarian acquaintances dined in shared luxury. And a German woman and her Jewish best friend laughed and chatted as they hung the laundry together in a land not yet torn by war.
Curtis Hanson, who passed away this week, made the type of movies that are becoming more rare these days: neither genre nor totally arty. There was L.A. Confidential, which launched the career of Russell Crowe and put Guy Pearce on the map; 8 Mile, which convincingly portrayed Eminen's early life; Wonder Boys, with Michael Douglas playing a rumpled professor; The Hand That Rocks the Cradle, one of the best thrillers ever made; and The River Wild, a thriller set on a whitewater rafting trip. I'd watch any one of these movies again in a heartbeat.
L.A. Confidential and the thrillers come closest to genre, but not in any kind of cliched way. I always think of The Hand That Rocks the Cradle (1992) in tandem with Fatal Attraction (1987)—two movies made within a few years of each other whose villains are disturbed women in the throes of a personal crisis, wreaking incredible evil but retaining their complexity and even a touch of sympathy.
But in some ways Wonder Boys is my favorite. It's lovable for its appealing mess of a main character and also for its . . . I don't know, mildness is actually the word I think of. It's not intense or a rush or hilariously funny or spectacular or sexy. It's just a story, one that offers the lovely and increasingly rare allure of the mid-range. Though I haven't seen it yet, this is the kind of movie I imagine Florence Foster Jenkins to be. Mild, funny, charming, and not without depth.
I also appreciate that that he adapted Jennifer Weiner's In Her Shoes, a lovely film based on the novel by the quintessential "woman's author." That Hanson saw past the cultural framing of Jennifer Weiner's work as maudlin and feminine, that he saw it as art worthy of cinematic treatment, is one of the most admirable traits of Hanson's career.
Suspicious Reading
A lot of talk about literature and culture is knee-jerk. From grad schools to websites, we've learned to take an almost hostile view toward items of popular culture, especially if the cultural product is American and middle-brow (and, I would argue, feminine). We think we have a superior view of a book or movie and can see (unlike the masses) how reactionary it really is.
This viewpoint is the foundation of critique. It is the approach that sees art as disguised ideological messages or conundrums that even the author is likely to be unaware of. Reading becomes an exercise in unpacking the harmful dominant messages that the seemingly innocent text is foisting on us.
There's a lot of merit to that approach. As a feminist critic myself, I do critique all the time. And I still remember with admiration one of the first pieces of critique I read, Terry Eagleton's analysis of The Mill on the Floss. But it's become a really unthinking and reflexive mindset—horribly superficial and self-satisfied. So it was with great pleasure that I read Rita Felski's The Limits of Critique, which takes apart pretty thoroughly critique's death grip on our critical faculties.
Felski's argumentation is too varied to convey here, but to give a taste of it: She discusses Eve Sedgwick, the queer theorist who has begun to question the hegemony of critique: "Sedgwick wonders at the ease with which suspicious reading has settled into a mandatory method rather than one approach among others. Increasingly prescriptive as well as excruciatingly predictable, its effects can be stultifying, pushing all thought down predetermined paths."
"Pushing all thought down predetermined paths" says it well. How many people's response to, say, Twilight is immediately (and predictably and stultifyingly), "It dresses up stalking as romance." Well, it really doesn't, but of all the narratives we've been taught to be suspicious of, romantic ones top the list. Romantic narrative is nearly always interpreted as being bad for women, despite the fact that women seem to love it (a love that is then framed as stupidity or naivete or lack of self-esteem). This kind of interpretation amounts to scanning the horizon for key words or key situations that the critic then gloms onto and pastes a label on. What it's missing is thoughtfulness and an attention to evidence.
Felski's book is academic (which means, among other things, it's way too long and jargony), but it's a good documentation of our efforts to break through the cage of critique and interact more freely—and intelligently—with art.
Southside with You
Southside with You has an unlikely inspiration: the first date between Barack Obama and Michelle Robinson, in Chicago in 1989. Barack and Michelle would marry three years later, but Michelle was resistant to the young law student at first. She was his liaison for his law internship at her firm that summer, and she was wary of how the firm would view any attachment between them—and of his smooth confidence.
The movie takes place over one entire day. Barack asked Michelle to go to a community meeting with him, but after he picks her up, he sheepishly announces the meeting isn't for another few hours. They go to a museum, then lunch in a park, then the meeting, then a movie, and finally the drive home.
This is the first thing I like about the film: its unusual structure. Each event has its own atmosphere: the feel of the streets at morning or night, the changing light and sky. And each event moves their relationship forward, though not always in a straight line. Also, I suspect that most couples have a day like this—a moment early in their relationship where they spent all day long together and that remains memorable because of what was revealed over the course of that many hours together. There have been apt comparisons to Before Sunrise, but I think this film is actually better because more happens. Before Sunrise is a bit of a slice of life, but Southside with You is that plus more.
For one, it's funny. Michelle comes from an accomplished family, and when Barack pulls up in his disintegrating yellow Datsun, Michelle climbs in and finds a rusted hole where her feet should go. Tika Sumpter plays Michelle, and her wry disapproval of Barack is played a little too often—the script's fault more than Sumpter's, I think. But still—funny.
The acting would be virtue number two. Sumpter is a good, solid Michelle: grounded, smart, independent, and lively. But Parker Sawyers is a brilliant Barack Obama. There were times when I had to remind myself that it was an actor and not really Obama on screen. He was the closest to the real subject that I've seen in any biopic. But it's more than just mimicry. Sawyers creates a plausible version of his subject as a young man on the brink of his future. Michelle can see, and we can too, that he could almost go either way. He's so adored by those around him (the folks at the community meeting, for example, not to mention the partners at the law firm), and he's just on that edge between confident and arrogant.
Here's where the day-long format works to advantage. The film provides opportunities for Michelle to see past what might look like overweening cockiness. She's annoyed that he misled her about when the meeting started, but they go to the Art Institute of Chicago, and their mutual absorption in the art brings them back together. They go to the meeting, and the neighborhood's almost cloying love for him makes her roll her eyes; but that's countered by the realization of his obvious investment in these people's lives and community.
Obama's speech at the community meeting was one of the weaker moments of the movie, but only because of the frequent cuts to members of the audience looking skeptical and then eventually nodding sagely. The director could have used a lighter hand here. But the speech itself was everything it should have been, showing his incredible oratory and his unshakable belief in the power of pragmatic, incremental change. While the community's appeal for a recreation center has been turned down, Obama urges them to take "no" as "on"—as in "carry on." The no is just a first step. Then you figure out why they said no and what you can do to address that before trying again.
This principle comes in handy when they go to see Do the Right Thing and Michelle's worst nightmare comes true. They are spotted together by a senior partner. They muddle through, but Michelle gets in the car with a declaration: "now this [meaning them] will never happen." Now he is driving her home and they are subdued. But if we think he's leaving it at that, we don't know Barack Obama. He pulls the car aside at a Baskin-Robbins. Earlier in the day he had bought her a piece of pie, but she turned him down: "I'm more an ice cream kind of girl." As he said at the meeting, figure out someone's objection and then address it. The sweetness of the gesture and his determination, which is insistent but also gentle and respectful, creates an opening for them.
The give and take between them is so key. They are both brilliant and accomplished, but otherwise quite different. She has the most solid of loving families, and he was essentially abandoned by his parents. She is cautious, and he is daring. He challenges her to be less fearful. She challenges him to forgive his parents. Parker Sawyers' understated portrayal of Barack's pain in this regard is just beautifully done. The director, Richard Tanne, never lets the characters slip into caricatures or types. She's serious but not prissy. He's smooth but also soulful.
Likewise the film itself is never a caricature or a type. It has its own unusual rhythm and feel. Quiet and leisurely in a way, it's never political or obvious. But I found it quite extraordinary. Not perfect, but beautiful.
Hillbilly Elegy, by J.D. Vance
Recently Robert Reich shared a link to an interview on The American Conservative website with the writer J.D. Vance. Vance grew up in Appalachia in poverty and has just published a book about Appalachia called Hillbilly Elegy: A Memoir of a Family and a Culture in Crisis. The topic at hand in the interview was why poor whites support Trump, but Vance discusses much more than that.
Vance talks about the challenges facing the type of poor white communities that support Trump. Poor whites are one of the few demographics that you can still mock with impunity. Multiple social crises plague these communities—drug addiction, loss of jobs, family violence. And poor rural whites often like Trump because Trump sounds like them: he's not political or careful. Trump "actively fights elite sensibilities" and spurns the condescension that has been poured on them for decades.
Vance also talks about the virtues of these communities—about his grandmother and others in his community who were admirable and decent and interesting. He notes that the Scots-Irish culture of honor is deeply rooted there. These people aren't stereotypes or cartoons; they are individuals who are persevering amid terrible circumstances and who have rich, worthwhile lives.
Where he falters, I think, is when it comes to politics. There's a strain of criticism in recent years toward liberals who think of themselves as such humanitarians but are revealed to be prejudiced jerks. The 1997 film Waco: The Rules of Engagement is a case in point. The filmmaker toured the country taking down prosperous liberals who sneered at southern idiots who joined David Koresh's cult. The novel The Emperor of Ocean Park by Stephen L. Carter skewered white progressives for their hypocrisy and hidden racism. Vance has a bit of this. While Republicans put too much emphasis on personal responsibility and values, ignoring the role of economic hardship and throwing up their hands at the cultural problems, he takes liberals to task for dismissing the agency and dignity of poor whites.
These are not equivalent faults, however. Vance tips his hat at Ta-Nehisi Coates and admits, "Too many conservatives look at that situation, say 'well that's a cultural problem, nothing we can do,' and then move on. They're right that it's a cultural problem: I learned domestic strife from my mother, and she learned it from her parents. But to speak 'culture' and then move on is a total cop-out. There are public policy solutions to draw from experiences like this: How could my school have better prepared me for domestic life? How could child welfare services have given me more opportunities to spend time with my Mamaw and my aunt, rather than threatening me–as they did–with the promise of foster care if I kept talking? These are tough, tough problems, but they're not totally immune to policy interventions."
As for liberals, he offers: "Neither are they entirely addressable by government. It's just complicated." Liberals tend to look to economic solutions: to provide financial support and to throw money at schools. He warns that you can throw money at school, but that won't solve problems if the entire culture is permeated with family violence and drug addiction. In addition, liberal handouts are insulting to a people for whom honor and dignity are so important.
The longer I thought about this, the angrier it made me. It's unfortunate that "handouts" are humiliating to receive, but financial help is better than no help. Schools absolutely cannot make up for toxic home environments, but they can at least provide basic skills and a safe haven and maybe even decent air conditioning and heat and plumbing–and yes, even life skills to avoid repeating the mistakes of past generations. A culture of honor, even if it has roots in "Scots-Irish" heritage rather than ghetto street values, is nothing to be admired, especially if it results in scapegoating and short-term emotional payoff at the expense of long-term well-being.
It's also unfortunate that poor whites respond to these challenges by scapegoating foreigners and Muslims and progressives, who are actually the only ones attempting to understand and address their problems. Vance claims that neither party has done anything to help these communities, but that's patently untrue. It is consistently liberals who try to implement policies to help people help themselves: addiction counseling in jail, early childhood intervention programs, vocational training, safe lead paint removal. Vance claims that poor whites are humiliated by the "Bush/Obama" foreign policy and military failures, that they join the military in disproportionate numbers but that their experience in the army leaves them nothing to be proud of. Well, I'm sorry that we can't conjure up a just war so that people can feel good about their military service; that's a ridiculous thing to expect. And the military failures are, again, not equally the fault of Republicans and Democrats. One party got the US into an untenable fight, and another party recognized it and got us out.
Vance says early on in the interview: "We need to judge less and understand more." That is precisely the liberal ethic, one that is broadly mocked by conservatives. Liberals are both more idealistic and more pragmatic than conservatives: We believe that we can observe reality, try out practical measures, and see what works. The point is not that culture isn't important–it's everything. But you can't wave a magic wand and change culture. So instead you chip away at the things that might affect culture, things that you might have a chance at influencing: jobs, health care, drug addiction, law enforcement reform. And you, ideally, don't let ideological biases get in the way.
I see ideological biases in conservatives when it comes to issues like legalizing pot or providing easy access to contraception. Vance sees ideological bias in liberals when they fail to admit that troubled communities are characterized by both poverty and single-mother households. He sees this as a turning away from facts and reality–his only example. But liberals de-emphasize single-mother households for a good reason: they are a symptom, not a cause. And in any case, single mothers aren't the problem; absent fathers are the problem. In communities like these, mothers stay and fathers don't. If you don't think women should have children unless they're married, please remember that a marriage license does not create commitment; rather commitment creates a marriage license, or at least something equivalent. Simply bemoaning a culture of single motherhood doesn't help anything. But supporting access to birth control and women's choice does.
I also see ideological bias in statements like these: Vance says, "My biggest fear with Trump is that, because of the failures of the Republican and Democratic elites, the bar for the white working class is too low. They're willing to listen to Trump about rapist immigrants and banning all Muslims because other parts of his message are clearly legitimate." I find this statement absurd: that Trump's hostility to immigrants and Muslims is somehow tangential to his appeal. As Vance himself acknowledges just a sentence or two later: "A lot of people think Trump is just the first to appeal to the racism and xenophobia that were already there, but I think he's making the problem worse." There we can agree.
Vance sees Democrats and Republicans as failing equally when it comes to addressing his native culture. But it takes some fast dancing to make this stick. He seems to have evangelical Christian beliefs, so maybe he has a religious and cultural attachment to conservatism that makes it hard for him to own up to the unequal failures of the two parties. Because, trying to understand? Liberal. Trying to help? Liberal. Avoiding mocking vulnerable demographics? Liberal. And arguing that poor whites can be excused for making bad decisions regarding politics because they feel condescended to? That's a much greater insult to their agency and dignity than anything liberals have offered.
Moby Dick: A Sample (1)
The whole thing is so nice—the alliteration, the ease of it—but that last line takes it to another level:
"In summer time, the town is sweet to see; full of fine maples—long avenues of green and gold. And in August, high in air, the beautiful and bountiful horse-chestnuts, candelabra-wise, proffer the passer-by their tapering upright cones of congregated blossoms. So omnipotent is art; which in many a district of New Bedford has superinduced bright terraces of flowers upon the barren refuse rocks thrown aside at creation's final day."
Melville's Crazy Genius
I started reading Moby Dick for the first time about two weeks ago. Somehow I was surprised to find it a work of literary genius, despite EVERYONE saying it was a work of literary genius for literally the last hundred-plus years.
I always imagined Melville's prose to be staid and stately. What I found is that it's is much more like Tristam Shandy than The Scarlet Letter. Dude is ALL over the place, in the best way possible. In lesser hands his style might be chaotic or confused, but every piece of it is brilliant by itself and works brilliantly as a whole.
Example: After a normal chapter of exposition, Melville opens the next chapter like a play. The chapter is written like a script, where one by one sailors (or groups of sailors) say their piece, like this:
PORTUGUESE SAILOR.
How the sea rolls swashing 'gainst the side! Stand by for reefing, hearties! the winds are just crossing swords, pell-mell they'll go lunging presently.
DANISH SAILOR.
Crack, crack, old ship! so long as thou crackest, thou holdest! Well done! The mate there holds ye to it stiffly. He's no more afraid than the isle fort at Cattegat, put there to fight the Baltic with storm-lashed guns, on which the sea-salt cakes!
4TH NANTUCKET SAILOR.
He has his orders, mind ye that. I heard old Ahab tell him he must always kill a squall, something as they burst a waterspout with a pistol—fire your ship right into it!
ENGLISH SAILOR.
Blood! but that old man's a grand old cove! We are the lads to hunt him up his whale!
Aye! aye!
This particular bit of dialogue may not convince a reader that Melville's a genius, but here's a little further on. Two soldiers have gotten into an argument and are about to fight. The other soldiers have made a circle around them, egging them on:
BELFAST SAILOR.
A row! arrah a row! The Virgin be blessed, a row! Plunge in with ye!
Fair play! Snatch the Spaniard's knife! A ring, a ring!
OLD MANX SAILOR. Ready formed. There! the ringed horizon. In that ring Cain struck Abel. Sweet work, right work! No? Why then, God, mad'st thou the ring?
So a fight commences in a ring of onlookers, and Melville writes, "In that ring Cain struck Abel. Sweet work, right work? No? Why then, God, mad'st thou the ring?" Has there ever been a more perfect literary union of philosophy, context, and character than that?
And then Melville finishes off the chapter with this final soliloquy in the voice of a black boy sitting by himself in the ship, having overheard the dangerous plans to pursue the White Whale. I can't begin to parse the racial currents in this novel, but it's hard to think of another great writer of his era sending this raucous chapter by plummeting to the lowest member of the crew—a child no less, and a black one—so poignantly taking up his consciousness, and in one moment showing the cost to the powerless of the foolishness of the powerful:
PIP (shrinking under the windlass). [...] Blang-whang! God! Duck lower, Pip, here comes the royal yard! [...] But there they go, all cursing, and here I don't. Fine prospects to 'em; they're on the road to heaven. Hold on hard! Jimmini, what a squall! But those chaps there are worse yet—they are your white squalls, they. White squalls? white whale, shirr! shirr! Here have I heard all their chat just now [...] it makes me jingle all over like my tambourine—that anaconda of an old man swore 'em in to hunt him! Oh, thou big white God aloft there somewhere in yon darkness, have mercy on this small black boy down here; preserve him from all men that have no bowels to feel fear!
The Review of Pond
Cover of the original Irish printing of Pond.
The New York Times review of the book Pond is written by Meghan O'Rourke, and it joins one of a handful of reviews that have lodged themselves permanently in my memory.
The book sounds unusual and wonderful (the review is here). O'Rourke quotes the author from an interview last year: "In solitude you don't need to make an impression on the world, so the world has some opportunity to make an impression on you." That's pretty great and conveys Bennett's Wordsworthian message: that getting and spending we've laid waste our power and alienated ourselves from not just the natural world but the miracle of life itself.
But I want to talk about not just this novel but the art form of the review. A good review parses the strengths and weaknesses of an artwork but also conveys something of its particular genius. When Star Wars first came out in the 1977, I was in middle school and saw it ten times in the theater—the most I've seen any movie (of course, no cable or VCRs in those days). After decades of cultural saturation, it's impossible to convey how fresh and magical that movie was. I can barely catch a glimpse of the feeling myself.
The truth is, when I want to remember how Star Wars felt, what I cast back to is the Time magazine review of it that came out before its release. It was a multi-page spread with photos, longer than any review I'd ever seen, and the writer was ecstatic. Literally "ex stasis"—out of the norm. It's here if you can get past the login wall. The images and lines from the movie have become common cultural property, but when I think of the Time review, I have a purer memory of the magic it elicited. Weirdly, the article doesn't seem to have a byline; so thank you, unknown reviewer.
(On a related note, if you get to the issue in Time's archives, you can also enjoy the ads for cigarettes, station wagons, and men's sportswear. Oh, 70s, you were the worst.)
Wisdom from Moby-Dick on This Year's Election
"For be a man's intellectual superiority what it will, it can never assume the practical, available supremacy over other men, without the aid of some sort of external arts and entrenchments, always, in themselves, more or less paltry and base.
This it is, that for ever keeps God's true princes of the Empire from the world's hustings; and leaves the highest honours that this air can give, to those men who become famous more through their infinite inferiority to the choice hidden handful of the Divine Inert, than through their undoubted superiority over the dead level of the mass.
Such large virtue lurks in these small things when extreme political superstitions invest them, that in some royal instances even to idiot imbecility they have imparted potency."
"A God in Ruins" by Kate Atkinson
(Eventually, spoilers.)
Kate Atkinson's latest novel, A God in Ruins, arrived to great acclaim. Having read several of her mysteries along with her literary novel Life after Life, I was intrigued. Life after Life was cool: the story of a woman's repeated attempts at survival, as the universe puts her through a series of do-overs in which she gets to avoid the mistakes that killed her in previous lives.
A God in Ruins follows the (single) life of another character from Life after Life, a young Englishman named Teddy who becomes a fighter pilot in World War II. For most of the novel you flit back and forth in his life, from his courtship of his wife, who is bright and clever but whom he doesn't quite fully connect with, to their difficulties with their daughter, who grows up to be a bit of a mess and incessantly hostile to her bewildered father. There are lots of scenes from the war as Teddy grows into his command and guides his team on missions.
There's no doubt that A God in Ruins is an excellent, traditional literary novel. It's written in the style of everyday realism and puts the reader right in the middle of its historical era with great period detail and psychological insight. For me the traditional realism kept it from being anything more than a very good historical novel, and the jumping around from youth to old age to middle age and so on is a trick I tired of the very first time I saw it used in a novel; it's such an automatic generator of pathos (here's the person in the throes of youth, and oh look, here they are as an old person whose dreams never came true) that it feels like a cheap shortcut. I've read the carefully observed period novel a hundred times, so, while I enjoyed the story, a tiny bit of me was thinking, "Why am I reading this?"
Then the ending comes and there's a twist. No doubt this twist makes the whole novel even more moving for those who liked it. It's a good one and it's effective, but here's the problem: It is the exact same twist that appeared in a very famous novel from about ten or twenty years ago that was highly acclaimed, in part because of this very twist, which was a first at the time. This older novel was a phenomenon: the book equivalent of a celebrity among those who read fiction. It took place in the same time period, featured a young man thrust into war, followed a fairly traditional line of realism in its narration (with some notable, incredible expansions of the form), had great psychological acuity, and ended, in the very last pages like Atkinson's novel, with this same revelation. Kate Atkinson, in a postscript to A God in Ruins, goes into unusual detail about the process of writing the novel. She talks about the twist and how it fits into literary theory and also about all the authors she borrowed from in terms of writing about the war. But she never mentions this other author, the one who famously created this very original twist.
Atkinson's borrowing from and lack of acknowledgment of this other author (I'm trying not to say "rip-off") kind of tanked the novel for me. I don't even know if my snooty dismissal is fair. After all, 99.99999 percent of novels use the same forms and techniques as other novels, and that doesn't bother me. In fact, 99.99999 percent of everything is a rip-off of something else: clothes, verbal expressions, music, this blog post. Maybe it's just the fact that what Atkinson borrowed from was so singular. In clothes, if you design a wide-leg pants, no one's going to bat an eye; but if you design a short, square jacket made of pastel tweed with fringed edges, you're going to get called out for lifting it from Chanel.
In the end, what was well done in the novel felt not very special; and what was special felt like a rip-off. As much as I love realistic fiction of this type, it isn't where truly great writing is happening now. For that we have to look farther afield, for those authors who are expanding the form and pioneering new modes of expression (*cough*davidmitchell*cough*).
Spoily Note: The novel that first displayed this twist is Ian McEwan's Atonement. The novel traces the wartime journey of a couple who had been forced into dire circumstances because of a childish deception on the part of the woman's young sister. At the end of the novel, you find that most of the events of the novel never took place because the couple was killed early on in the aerial bombing of London. The young sister grew up to be a novelist and wrote the story that the reader has just finished as a way of imagining what their lives might have been if they had survived—and as an atonement for the irreparable harm that she caused them.
Two Notes on "The Witch"
Note 1: The movie The Witch has gotten crazy good reviews, and it is indeed a compelling, suspenseful movie. Superb acting, cinematography, symbolism, and more. It's uncomfortable viewing because it's so creepy but also because it's based on a colonial New England folk tale, which means that it's all about the dangers of women's sexuality and is obsessed with women's bodies. The movie adopts this point of view—that women are scary and not to be trusted—because it is retelling the folk tale as its 17th-century audience experienced it, not as we today might interpret it. It's absolutely brilliant at putting moviegoers inside the mindset and worldview of these Puritans. (I recommend this book for those interested in delving further into what it felt like to live back then.) But it's a weird sensation to be asked to give yourself over to a story that embraces that woman-fearing point of view so deliberately.
The reality of early colonial life: muddy and hungry.
One of the best scenes of the movie is when the oldest child of the family
fondly remembers the glass windows of their house in England.
It's also maddeningly objectifying. I'm of the opinion that there should be more nudity in film, but we need less of this type of nudity, which is focused on either the horrors of the aging female body or the delectability of the young female body. The opening shot is of the beautiful, angelic face of the prepubescent Thomasin:
And the minute you see that face in the first seconds of the movie, you know that you will end up here:
So inevitable, it's disappointing.
Note 2: The little twins Jonas and Mercy are the most hilarious, brilliant, hateful, lovable, scary characters in the movie and fully deserve the joint Oscars for supporting actors that I expect to see them win a year from now. I mean, just look at these two:
If they don't scare the bejeesus out of you, nothing else in this film will.
"The Sparrow" as Prejudice and Tract
Disliking a work of art is not a common occurrence for me. My response to art is usually either (a) positive or (b) indifferent. I may not like a book, but what do I care if someone else gets something out of it?
I think of this in relation to one of the questions that James Lipton puts to his guests on Inside the Actor's Studio: "What is your least favorite word?" The answer is usually something like "prejudice" or even "moist." But these words are not offensive; they're simply performing their humble duty of representation.
There is a type of word, however, that does not simply represent but acts. Some of these so-called speech acts are benign, like promises. But some words are weaponized. These are words whose only function is to, at the moment of expression, harm the hearer, usually by highlighting the hearer's membership in a vulnerable group (racial, sexual, etc.). These are words worth hating.
So it is with works of art. I guess it's not new to assert that some works of art are harmful; it's what Hitler said about "degenerate art" and Rudy Giuliani said about Beyoncé! It's just that I don't usually assert that. So Mary Doria Russell's The Sparrow sticks out.
The Sparrow was written in 1996 and became a kind of cult classic, beloved among progressive, brainy sci-fi fans. The novel is set in the mid-twenty-first century in a time of environmental degradation and social inequality. A group of disparate individuals is chosen to be the first team to seek out alien life on a promising far-off planet. Several years later, the team returns—with only one member remaining, a Jesuit priest who is highly traumatized and announces that everyone else is dead.
What happened on the planet is fed to readers over the course of the rest of the novel in flashbacks. As a novel, it has good points and bad: The writing is interesting, even if the characters all tend to have the same kind of voice. The reader learns the peril of even benign missions to other cultures. The great mystery of what happens to the Jesuit priest is a weak point since it can only be one of a handful of things, so drawing it out feels lame. In the afterword, Russell says that her intention was to take a character who believes in God's individual attention and put that character through a kind of personal Holocaust, in an effort to demonstrate that faith shouldn't be invested in God's intervention in our personal life but rather in God's moral precepts. In that same afterword, she touches on another theme, which is the source of my reaction to this book: the role of procreation in moral development.
The Sparrow is unique in that the villains of the novel are a class of individuals who are childless. And they aren't simply childless individuals who happen to be villains. They are villains because they are childless. As childless people, they are without any investment in the future. They live for aesthetic and sensual pleasures. They are entirely without conscience. They are self-absorbed, highly cultured, and utterly devoid of moral feeling. This was weird for me to read, as a childless person myself. Our culture (like most) has attitudes toward people without children, but those attitudes are usually off-hand and coded. No one comes out and says, "People without children are bad." No one except Mary Doria Russell, apparently.
The disturbing nature of this portrayal has two aspects. First, it's false. Fiction can be made up but it should still be true. There are people without children, without any "investment in the future," who nonetheless lead lives of generosity and, well, investment in the future. Teachers who are beloved by the young students. Citizens who fight for the environment. Albanian nuns who run orphanages in India. And there are likewise people with children who throw bags of trash out their car windows, sit around the house toking cigarettes and pouring secondhand smoke into their children's lungs, who take the small, vulnerable bodies of those very children and do unspeakable things to them. Russell is more like Ayn Rand than any other novelist I know in this regard: She creates an imaginary world that is intended to reflect on our world but that grossly misrepresents reality. It's a tract masquerading as a novel.
The second problem is that Russell picks on a vulnerable group. The idea of the childless as self-centered didn't come to her in a fit of inspiration; it's a stereotype—and an ugly one. Although people sometimes choose not to have children, many people want children and don't end up with them. Those people are reminded daily of what they're missing out on: personal experiences that can't be summarized in any blog post and also a certain societal status. And yet despite people's (in my opinion correct) feeling that those who don't have children are unfortunate, often the attitude is not sympathy but hostility.
A small example: A book club of mostly moms in my neighborhood read Eat Pray Love a few years ago. In this memoir, the childless and husbandless Elizabeth Gilbert travels the world to find herself after a painful divorce. She has beautiful experiences and profound revelations and ends up happy and invested in life. Do you think the reaction of the book club to this story was "Good for her! She found happiness despite her troubles!" Or "She's not lucky enough to have children, but I'm glad she at least had these fun times!" If you do, you don't know humans. No, it was, "Well, sure, if I didn't have children and responsibilities, I could traipse around the world as well." Huff, huff. It's as if the these moms considered themselves both (a) superior in fortune and happiness and (b) the only truly worthy recipients of sympathetic attention because of their burdens and responsibilities. Concomitantly, the childless woman is both (a) inferior in fortune and happiness and (b) unworthy of sympathy or good will. I don't want to exaggerate because Gilbert's book was a huge bestseller, so not everyone felt that way. But I bet that most of us recognize that uncharitable feeling, hopefully in others and not ourselves.
Another example: A good friend of mine was telling me about a teacher at her sons' elementary school that none of the parents liked. This teacher was perceived as not being very warm or accommodating. After a listing of the teacher's faults, she described how this group of moms all agreed that because the teacher didn't have kids of her own, she was not "kid-friendly." I—her childless friend—kept waiting for her to tell me how she spoke up and defended the teacher against this charge, but no. My friend's point was that it was true: This woman's faults were not due to her personality or lack of experience or any of the other factors that could influence her teaching style; they were due to her childlessness. Being childless made her a bad teacher.
This premise—that teachers without children are inferior teachers—is so ludicrously, obviously untrue that it's almost laughable. But social science has shown that, when analyzing a person's fault, humans are quick to attach the fault to the trait of the person that is most out of sync with the group identity. That is why when 20 Muslim men commit a horrific act of violence, we attribute it to their being Muslim and not their being men, despite the fact that being a man is far, far more closely correlated with violence than being Muslim is. This outlier-blaming seems to be a kind of value-neutral tendency among humans, something that comes to us instinctively. But there is almost always an element of bad faith as well, a kind of pleasure that humans get from reaffirmation of their own membership of a high-status group at the expense of a low-status group.
So Russell's novel combines three kinds of statements that should never be combined: (1) a lie (2) that is hostile (3) to a vulnerable subgroup. This is terrible thing to do. Years ago I saw a videotape of Jerry Falwell standing in his pulpit on Sunday morning and telling his parishioners, "Gay people will kill you as soon as look at you." That trifecta is the basis of every genocide in history and innumerable small acts of hatred as well, from "The Jews eat Christian children for Passover" to "Your Tutsis neighbors are responsible for killing the president and must be stopped." The publication of a novel with an offensive thesis is not the worst crime in the world. But The Sparrow should be recognized for what it is: an Ayn Rand novel in which the source of evil is not the charitable people of the world but the childless.
Catastrophe and the Artist-Centered Production
The shattering of media into small shards—blogs, podcasts, and nontraditional producers like Netflix—is a beautiful thing. The Portlandia model is creative talents writing, running, and starring in low-cost productions. My new fave in this model is Catastrophe, produced by Amazon. It's created by Sharon Horgan and Rob Delaney, about a couple who get pregnant after a one-night (well, one-week) stand and decide to stay together. So clever. So funny. Sweet. And so, so dedicated to avoiding clichés. Plus, Carrie Fisher as Rob's mom!
On the Theme of Naturalistic Acting . . .
One of my favorite movies for its acting is Once, the indie film of a few years ago that told the story of two musicians in Dublin. The scene in the piano store is one of my favorite scenes of all time. The song is beautiful, but I especially like the beginning of the scene where they're feeling their way through the song. It's cool to see how musicians might work and also to see the little flickers in Glen Hansard's eyes as he realizes Marketa Irglova might be something special, musically. Funny note: Until I went onto IMDb to look up the characters' names, I didn't realize that we never learn their names in the movie.
The movie Mr. Turner is Mike Leigh's twelfth film, but it feels like what all his films feel like: another installment in a great, lifelong project of documenting human life. Some films are historical (like Mr. Turner and Topsy-Turvy) and some are contemporary (like Secrets & Lies or Another Year). But every one seems devoted to reproducing social life rather than presenting a theme or even a story. A few of his movies have something like a theme or lesson: the durability of family in Life Is Sweet and All or Nothing, the need for openness in Secrets and Lies, or the delicate balancing of social generosity with personal happiness in Another Year and Happy-Go-Lucky. But mostly they feel like slices of life, and it's hard to even know why that is so satisfying to watch—but it is. Enormously satisfying and moving.
Mr. Turner portrays the later life of J. M. W. Turner, the English painter known for his impressionistic seascapes. He putters around his London townhouse, meets up with his father, checks out the latest academy exhibit. We have little way of knowing if what the movie portrays is what life was really like in late nineteenth-century England, but it feels like it, maybe more than any other historical movie I've seen. For about the first fifteen minutes of the movie I really couldn't understand what the characters were saying because they were talking in, again, what at least sounds like authentic nineteenth-century English. The language and the relationships aren't translated to our own time's vernacular; instead we are invited to observe their vernacular.
Timothy Spall won the best actor award at Cannes the year the movie came out, and he is utterly believable and immersed. He's also genius at portraying the way all of us are not just one person but many different social persons. He is thoughtless with the maid, free and affectionate with his father, a bit of a showman at the gallery, and all these personae feel like authentic aspects of the same man.
A scene from the movie.
A Turner painting in the movie.
Of course, being a film about Turner, the second most important star of the film is cinematographer Dick Pope, who was nominated for an Oscar for the film. Many outdoor scenes are reminiscent of Turner's own light-filled visuals, but it's not all gauzy light and beauty. There's intimate indoor lighting and neutral street scenes as well. Mike Leigh is also genius at mise en scene, specifically composition. So many shots were reminiscent of Vermeer and Dutch painting in general that my mind kept calling them out as I saw them. This provides the pleasure of recognition and also replicates the particular pleasure that Vermeer and Dutch painting provide.
There is a famous scene in the Italian neorealist film Umberto D of a maid going through her morning routine in silence: lighting the stove, grinding the coffee, and so on. It's a justly famous scene for just the same kind of simple observation of life that Mr. Turner includes. "Observation of life" sounds like a snore-fest, but it's actually fascinating—and nowhere more so than in a Mike Leigh film.


The Mesa Verde National Park in South-Western Colorado is not only a stunning nature park, but also the largest archeological preserve in the USA and a UNESCO World Heritage Site!
Canyonlands National Park near Moab, Utah, features an incredible desert landscape of canyons, mesas, buttes, and rivers. It's a must-see for explorers, photographers, hikers, cyclists, four-wheelers and even river folk.
The Royal Gorge Bridge is a must-see Colorado attraction. Until 2001, it was the highest bridge in the world! But personally, we think it's worth a visit because of the stunning nature views all around.
Anastasia State Park offers a lovely quick nature getaway from the popular tourist destination St. Augustine. With a vast beach, intriguing wetlands, abundant wildlife and plants, it's an ideal Happy Place… just waiting for you.


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Q: Chrome installer error 0x80070057 I installed a fresh installation of XP SP3 on a hyper-v virtual machine. Nothing is installed besides Microsoft Security essentials.
If I try to install chrome with the alternate all users installer, I get this error:
Google update installation failed with error 0x80070057
I've tried a manual uninstall for chrome, cleaning the registry with ccleaner, running the installer as administrator, and starting from scratch by installing XP SP3 again.
Any ideas? I didn't encounter this issue a few months ago. Is there an older version of the alternative installer still available?

A: If it is not a permissions problem, I would take a look at it with something like Process Monitor setting a filter for chrome, and when you get the error, see exactly what operation failed.
Then, if it is something like a specific access denied, or file not found, or something similar, you can do more specific troubleshooting/repairs.

A: I managed to sidestep the error by using the MSI installer.
https://www.google.com/intl/en/chrome/business/browser/

redpajama_set_name: RedPajamaStackExchange


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Thomas Hart Benton was born in Neosho, Missouri, into family of politicians. His mother encouraged his art, but his father was determined that Thomas become a lawyer or politician. He eventually studied art in Paris, France.


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Perpetual KYC Solutions: Importance of IDV in the Telecom Sector to Fight Fraud
By mojae jalooti October 10, 2022 Business 0 Comments
Digitalization has resulted in a large amount of information sharing through online platforms. Consumers want various options that allow auto-fill for their Personally Identifiable Information (PII) in digital applications. Clients also want their electronic devices to execute daily chores, for example, replying to emails.
At the same time, the telecom sector faces challenges due to digital scams, for instance, SIM swaps and data privacy violations. Both of the problems occur as a result of outdated perpetual KYC checks. Although there has been progressing in the remote availability of digital services, telecom organizations are still experiencing obstacles of identity theft and money laundering.
Digital Scams Directed Towards the Telecom Sector
Electronic devices help make digital payment transactions. Consumers must be familiar that the transfer procedure of sensitive information is always susceptible to digital fraud. Any shortcomings in a digital network can allow criminals to take advantage of electronic devices. Their chief purpose is to perform identity theft, financial transaction crime, and account hacking. In accordance with the Communications Fraud Control Association (CFCA), a telecom organization called Telefonica Group, with around $50 billion financial worth in 2020, experienced a monetary loss of more than $900 million as a result of cyberattacks.
Criminals used manipulative techniques, for instance, SIM farms to exploit free services in the telecom sectors. As a consequence of such approaches, hackers transferred payments and disseminated messages to hundreds of victims. The ultimate objective was to gather clients' Personally Identifiable Information (PII). In this regard, fraudsters used sensitive data for SIM swaps, a type of ID theft. The goal was also to gain access to clients' social media platforms, bank details, and digital wallets by getting hands-on OTPs (One-Time Passwords).
The SIM Swap Heist Case
A notorious gang recently took advantage of one of the famous names in the telecom sector, T-Mobile. Hackers used SIM swap fraud and code scams against the industry. Both SIM swap techniques and phishing SMS approach target the telecom industries. Recently, an incident emerged in the form of multiple messages that helped deceptive financial aid programs for Ukraine. Phishing fraud was common during the pandemic when fake vaccination certificates were used to access victims' financial details.
These types of cases make it extremely difficult for global regulatory agencies to monitor the telecom sector. While SIM swap is easier to perform for criminals, it has a severe bad impact on telcos and their users. In light of poor Perpetual KYC attestation measures, the industry will keep facing more criminal cases in the times ahead. Regulations for telecom organizations must comprise guidelines for displaying proof of identity while acquiring a SIM card.
Recognizing & Combating Fraud
SIM swap incidences happen when a client's crucial data transfers to the SIM card of a cybercriminal through sophisticated hacking approaches. This kind of scam conveniently exposes the clients' personal data. It also increases the risk of criminals acquiring access to other significant information through Time Passwords (OTPs) in SIM cards. This data can involve email data and other financial details. Telecom industries must apply a Risk-Based Approach (RBA) to catch and deal with such scamming activities.
When the telecom sector gave its clients the option of zero rate calls, it became apparent the industry needed the latest security protocols, such as the Perpetual KYC verification system. Telecom industries must actively fight scams while guaranteeing a pragmatic service policy. There must be protocols to observe customers' usage of telecom solutions and observation of networks. In this scenario, telecommunication industries can detect and reduce suspicious activities through a powerful Perpetual KYC system.
The Role of IMEI (International Mobile Equipment Identity) in Reducing Fraud Cases
There are now advanced services accessible in the market, such as Perpetual KYC solutions for the telecom organization to observe fraudulent activities and catch SIM swap fraud by smartphone devices. The telecom sector, which detects deception in digital service clients, can efficiently fight scam attempts. It smoothly occurs by monitoring suspicious transactions in vast volumes of digital traffic. IMEIs also support detecting scamming activities by displaying comparably more data usage as compared to other electronic devices. Consequently, implementing Perpetual KYC is significant together with IMEIs to reduce fraud cases.
The telecommunication industry faces multiple challenges because of cyberattacks and experiences difficulty in reducing sophisticated ID fraud incidences. On account of such reasons, the privacy of digital profiles and online wallets will be violated. The reputation, and reliability of KYC service providers, are at risk.
For the telecom sector, Perpetual KYC services are a progressive approach because they enable mobile service providers to authenticate customers' profiles during the client enrollment process. Supported by multiple AI & ML models, the Perpetual KYC solutions can instantly verify identities with higher accuracy rates. Consequently, telecom industry service suppliers can readily implement a risk-based approach regarding highly-risky clients.
1 Digital Scams Directed Towards the Telecom Sector
1.1 The SIM Swap Heist Case
2 Recognizing & Combating Fraud
2.1 The Role of IMEI (International Mobile Equipment Identity) in Reducing Fraud Cases
3 The Final Verdict
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Ottawa, ON, June 19, 2012 — FileTrek, a solution provider of robust tracking and secure file sharing solutions, announced today the hiring of Karl Galbraith as Vice President of Engineering. With over 25 years of experience successfully delivering commercial and in-house software products to Fortune 500 and start up environments, Galbraith will be responsible for the development, planning, execution, and operation of all FileTrek solutions.
Prior to joining FileTrek, Karl spent five years with the Canadian Bank Note Corporation, where he oversaw Corporate Information Systems technology and new product development. He also leveraged his corporate experience into co-founder, executive and technical leadership roles at local Ottawa startups including Electronic Courthouse, Accentus (acquired by High Road Capital Partners), and Gridiron Software (now Filetrek), specializing in Enterprise and Web-based technology with a focus on Secure Track and Trace solutions. Karl holds a Bachelor of Science degree in Electrical Engineering from Queen's University, Kingston, Ontario.
FileTrek Inc. is privately held with offices in Los Angeles, California and Ottawa, Canada. FileTrek is a software provider of mobile content management and tracking solutions for complete visibility of sharing, syncing and versioning activities on the desktop and in the cloud. FileTrek solves the modern dilemma of data sprawl, empowers IT professionals, and improves efficiencies in companies of all sizes.


As a thriving part of the Greater Montréal Area, Brossard has something for everyone. Located just across the St. Lawrence River about a half-hour from our Montreal office, Brossard is a destination for young families. Mommy makeovers are popular among our Brossard patients.
The welcoming atmosphere of the enclave offers a quality of life that is as much urban as it is suburban. A population of more than 80,000 rounds out this cultural hub, making it a populous region bursting with diversity and flavour.
The needs of every Brossard resident differ, but with 46 kilometres of multi-use trails, parks, and access to the St. Lawrence River, it's safe to assume that enjoying the great outdoors plays a large role in their lives. As a Brossard resident, you understand just how special your municipality is. The value of educational institutions like the Brossard Georgette-Lepage library and entertainment complexes like Quartier Dix30is part of what creates the perfect balance of entertainment, fine dining, local flair, and culture – which is what Brossard offers.
Choosing a plastic surgeon shouldn't be based only on geography. Dr. Omar Fouda Neel, FRCSC, FACS, is one of the premier aesthetic and cosmetic surgeons in Québec. He uses advanced medical knowledge and training to create ideal and innovative solutions for each of his patients. No one has the same cosmetic surgerygoals, which is why Dr. Fouda Neel feels it is important to understand each patient's needs. As a board-certified surgeon, Dr. Fouda Neel can help you find the balance you are looking for. Besides facial rejuvenation procedures such as facelift, blepharoplasty, and chin surgery, the McGill University-educated Dr. Fouda Neel offers a complex menu of aesthetic and cosmetic techniques to give you your best look yet.
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Home Sports 57's miss chance to reach .500 mark
57's miss chance to reach .500 mark
By Steven Mah -
The Swift Current 57's four-game winning streak was halted on Tuesday when they allowed eight consecutive runs in an 8-6 loss to the host Yorkton Cardinals.
The 57's held an early 4-0 lead, allowed eight consecutive runs, and then fell short in a late comeback attempt.
One night after the 57's defeated the host Cardinals 12-1, four batters were hit by pitches on each team. The 57's were held to seven hits, but combined with nine walks they scored six runs after leaving 13 runners on base.
The 57's opened the scoring in the second inning when Dauson Tate singled home Jered Binsfield from second.
The 57's loaded the bases in the third inning and Tate was hit by a pitch to bring home Bo McClintock for a second run. Jerad Dokey followed with a walk to plate Ben Komonosky. Will Baker walked next to score Ethan Hunter to finish off a three-run inning for a 4-0 lead.
The Cardinals loaded the bases in the bottom of the inning and scored when Jayse Wilson was hit by a pitch. Griffey Halle also singled home a pair of runners to make it 4-3 after four innings.
The Cardinals took the lead with two runs in the fifth inning, including a home run from Dillon Champagne. Yorkton added another run in the seventh inning to make it 6-4 and then sealed things with a two-run eighth inning as well.
The 57's attempted another late comeback in the ninth inning when Dokey singled home Binsfield and Hunter scored on an ensuing error but they were unable to get any closer than two runs.
Newcomer Jack Ferguson allowed one hit, three walks and three runs while striking out three over 3.2 innings in the start for the 57's.
The 57's were unable to reach the .500 mark in the Western Major Baseball League as they dropped to 7-9, while Yorkton improved to 4-10.
The 57's will host the Edmonton Prospects on Wednesday in a rematch of the 2017 WMBL championship series.
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Steven Mah
Steven Mah is a Sports Reporter at the Swift Current Southwest Booster. See news happening? You can reach Steven at 306-770-2225 or boostersports@swbooster.com or on Twitter @swbooster.
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