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Q: PhoneGap Ajax Upload File I am trying to run this PhoneGap example for uploading images from the device to the server.
    // Wait for PhoneGap to load
    //
    document.addEventListener("deviceready", onDeviceReady, false);

    // PhoneGap is ready
    //
    function onDeviceReady() {

        // Retrieve image file location from specified source
        navigator.camera.getPicture(uploadPhoto,
                                    function(message) { alert('get picture failed'); },
                                    { quality: 50,
                                    destinationType: navigator.camera.DestinationType.FILE_URI,
                                    sourceType: navigator.camera.PictureSourceType.PHOTOLIBRARY }
                                    );

    }

    function uploadPhoto(imageURI) {
        var options = new FileUploadOptions();
        options.fileKey="file";
        options.fileName=imageURI.substr(imageURI.lastIndexOf('/')+1);
        options.mimeType="image/jpeg";

        var params = new Object();
        params.value1 = "test";
        params.value2 = "param";

        options.params = params;

        var ft = new FileTransfer();
        ft.upload(imageURI, "http://some.server.com/upload.php", win, fail, options);
    }

    function win(r) {
        alert("Code = " + r.responseCode);
        alert("Response = " + r.response);
        console.log("Sent = " + r.bytesSent);
    }

    function fail(error) {
        alert("An error has occurred: Code = " + error.code);
        alert("upload error source " + error.source);
        alert("upload error target " + error.target);
    }

In my case, unlike the example mentioned above, I am not using a php file which posting data into the database, but using a secure url to post it directly via HTML.
Something which will look on a desktop version like that:
<form action="https://mySecureUrl.com/?filename=myImage" method="post" enctype="multipart/form-data">
<input type="file" name="myfile"><br>
<input type="submit" value="Upload File to Server">
</form>

Now I am trying to apply the same method using PhoneGap FileTransfer() and I get error code 3.
var ft = new FileTransfer();
ft.upload(imageURI, encodeURI("https://mySecureUrl.com/?filename=myImage.jpg"), win, fail, options);

*

*Is it possible to post file like in this method on PhoneGap? How?

*If not, what is the php solution for that?

A: The fileKey under options is the name which the server is going to look for. In the HTML you have the name set to "myfile" and in the javascript you have "file".
<input type="file" name="myfile">

options.fileKey="file";

options.fileKey and attribute name are the same thing, so make sure your PHP is looking in the $_FILES array for "file"


A classic example of this dark clear brew with a smooth, dry character and full bodied flavour. English brewers have perfected Best Bitter over the centuries making it famous throughout the world. Best served at room temperature. O.G. 1036-1040. (40pts).
A British pale ale originally made for the Indian Empire. Lots of hop character, with a smooth well balanced body. (40pts).


Don't Stress Over The Next Hurricane!
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Electronic Edition
Stories Photos Classifieds Everything
Monett Times
Dining for Diabetes 18th annual fundraiser is Friday, Jan. 10. The dinner is Jan. 25 at Monett High School. Cost is $25. Tickets may be ordered by calling 417-354-1280.
The 91st annual Barry County Soils and Crops Conference will be held at 6 p.m. on Jan. 23 at the First Christian Church, 905 Old Exeter Rd. in Cassville. Topics will include retaining cattle ownership for profits vs. sale to feed lots, how to read your hay test, and fertilizing fields with potassium and sulfur to enhance fertility. Cost is $5 in advance. Registration may be made by contacting the Barry County Extension office at 417-847-3161.
Trinity Lutheran School in Freistatt will host a chili cook-off on Jan. 26 in the school fellowship hall. Contestants are welcome. Donations should be dropped off by 8:45 a.m. the day of the contest. Proceeds will support the eighth grade class trip to Tulsa.
The University of Missouri Extension Service will host a three-hour calving clinic at 9 a.m. and 2 p.m. on Jan. 14 at the Southwest Research Center, southwest of Mt. Vernon. Registration is $45 and limited space is available. For information, people may call 417-466-2148. No registration the day of the clinic.
The Southwest Missouri Solid Waste Management District N executive board will meet at 11:50 a.m. on Jan. 14 at Angus Branch Steakhouse in Monett.
The Methodist Men's Group will meet for breakfast at 7 p.m. on Jan. 17 at Angus Branch Steakhouse in Monett.
The Purdy Special Road District commissioners will meet at 10 a.m. on Jan. 13 at the road district barn, 200 S. Ninth St., south of the city cemetery.
The Corsicana Special Road District commissioners will meet at 4 p.m. on Jan. 14 at Garry Bartkoski's shop, 5086 Farm Road 2057, east of Pulaskifield.
Former employees and retirees of the Missouri Rehabilitation Center will meet for lunch at 11:30 a.m. on Jan. 15 at Angus Branch Steakhouse in Monett.
The Lawrence County WIC program will hold a "Mommy and Me" support group meeting for mothers at 4 p.m. on Jan. 15 at the WIC office, 203 S. Washington Ave. In Aurora.
The next regular Monett Lions Club meeting will be at 6:30 p.m., Jan. 14 at Angus Branch Steakhouse. District Governor Toni Morris will present program.
Next week at the Monett Senior Center, 405 Dairy, meals will be meatballs with gravy on Jan. 13, ham and beans on Jan. 14, oven fried chicken on Jan. 15, baked lasagna on Jan. 16 and roast beef for the birthday lunch on Jan. 17. The board will meet at 9 a.m. on Monday. Susan Rauch will speak on a health topic at 11 a.m. on Jan. 13.
The Missouri Southern State University Choral Society welcomes singers from the area to join for the spring semester. The chorus will meet from 7 to 9 p.m. on Jan. 13 in room 208 of the Music Building at MSSU in Joplin. Cost is $30. Dr. Susan Smith is conductor.
Next week at the Pierce City Senior Center, 104 N. Locust, meals will be roast beef on Jan. 14 and ham and beans on Jan. 17. Arthritis exercise is offered Tuesday and Friday mornings.
The McDowell Golden Jubilee will continue live performances of old-time music at the old McDowell School, south of Pleasant Ridge on Highway VV, south of Highway Z today, Jan. 11. Fans of old-time music and performers are welcome. Concessions will be available.
The American Job Center, 100 S. Maple in Monett, will offer a free workshops in January. Testing for the National Career Readiness Certificate, a four-hour exam, is offered at 9 a.m. on Jan. 17. Skills to Pay the Bills is offered 1:30 to 3:30 p.m. on Jan. 14. Pre-registration is needed by calling 235-7877.
Community Blood Center of the Ozarks will hold a blood drive from 9 a.m. to 2:30 p.m. on Friday, Jan. 17, at the Scott Regional Technology Center in Monett.
The Lawrence County Commission will hold its annual hearing on the county's budget for 2020 at 10 a.m. on Thursday, Jan. 16, in the second floor courtroom of the historic County Courthouse in Mt. Vernon.
Monett Special Road District commissioners will meet at 5:15 p.m. on Tuesday, Jan. 14, at the road district barn, 220 S. Eisenhower, west of the city wastewater treatment plant.
A program on bird watching will be offered from 2:30 to 4 p.m. on Jan. 13 at the Mt. Vernon Senior Center, 425 N. Main St., north of the square in the Spirit of 76 Park. Birding guide Stephanie Fernandez will present the program. Cost is $10, payable at the class.
Next week at the Monett Branch Library, Sixth and Bond, a crochet and knitting class will be offered at 1 p.m. on Jan 14. Home school day is 2 p.m. on Jan. 17. Story time is offered at 4:15 p.m. on Jan. 14 and 10:30 a.m. on Jan. 15
© 2020 Monett Timess, a division of Rust Publishing MOARCASS, L.L.C. All rights reserved.

redpajama_set_name: RedPajamaCommonCrawl


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Flaming June - 'The Women's Battalion'
In the last few years, political protest songs and groups have been gaining new momentum. We have seen unification in The Women's March of 2017, a worldwide protest after the inauguration of President Donald Trump, and we have witnessed courage and strength through the #Metoo and #TimesUp movements. Along with these movements, groups like Emma's Revolution in the U.S. are gaining new fans. The UK indie folk protest group, Flaming June, is also on the rise. Flaming June writes and performs material focused to women's rights, social justice and political protest. They just released their 9th EP 'The Firework Maker's Daughter.' Their single off the EP, "The Women's Battalion" is a great way to participate in the music and the movement. The Women's Battalion was written to commemorate 100 years since women in the UK first won the vote in 1918 and to salute those still marching. The title of the song refers to a battalion signifying a large group of people taking up a common cause and in some cases willing to go to battle for it. Without a doubt, women worldwide know this calling and will relate to the song's music and message.
"The Women's Battalion" starts with a jubilant declaration of spirit featuring Louise Eatock strumming acoustic guitar, Alex Herring playing passionate violin and Andy Fraser providing exciting hand percussion. The infectious high-energy vibe has an ancient-roots dance-like feel where you can almost picture women rallying in the streets; kudos to Andy for his top-notch drumming skills. Listeners will be swept away by the violin's melodic lines that draw you in and keep the mix engaging. Louise enters singing, "A hundred years since the vote was won…and years before the battle begun. Hunger strikes and prison gates. The Tide is turning. England shakes." Louise knows how to sing a story and hold your attention from beginning to end.
The arrangement of the song offers up a great instrumental solo section as well as an interesting bridge that paints the story. During the solo section, violinist Alex Herring offers layers of tasteful violin melodies that reveal her talent as a folk instrumentalist. The chorus of The Women's Batallion is highly catchy and well-written. The bridge section is a call to action accentuated by marching drums and a thinning of the mix allowing for Louise to grab the spotlight. "Left Right. Left Right. With a fire in their hearts. Here they come, through thick and thin, never give in."
Flaming June is no stranger to success. They have been on the BBC 6 Music airplay (Rumpelstiltskin), won a FATEA award (Nerves of Steel) and received praise from prestigious author of The Vagina Monologues – Eve Ensler (In Pursuit of HappinFolloess). They supported Big Country, Eliza Carthy, The Men They Couldn't Hang and played Standon Calling, Ely Folk Festival amongst others. "The Woman's Battalion" will surely keep their success marching forward like the music and the message they deliver.
Flaming June has a fire in their hearts that lights up "The Women's Battalion" with soul and substance. Listener's will surely join their musical march and feel the passion in their boots. There is a hunger for women's protest music and Flaming June is offering a feast.
For more information on Flaming June, please visit their website.
#FlamingJune #TheFireworkMakersDaughter #TheWomensBattalion #IndieMusicReviews
Wachman - 'All I Need'
Echoheart - 'Void'


Company upgrading to ARISg 7x to meet E2B R3 requirements.
Co-led Program Management Office with direct responsibilities of managing the integrated project plan and project issues/risks/actions. Led Core Applications work stream to manage agXchange and ARISg upgrades, develop E2B R3 compliant business processes, perform impact analysis for configurations and customizations, manage development deliverables from internal client and Aris Global teams, led business testing and business deployment activities.
Company implementing ARISg needs support to manage business activities including distribution rules (approximately 750 rules for 80+ contacts), CPD and Protocol Library setup.
Managed business workstream including training, developed strategy and design to build ~750 rules (conditions) for ~80 recipients (authorities + license partners), authored requirements, managed and performed User Acceptance Testing to confirm development.
Company acquisition required data migration of 50,000+ cases and 40,000 case receipts in to the acquiring company's global safety database.
Prudentia defined mappings, developed source to target migration code, authored validation documents and executed the migration and test scripts. Prudentia also led the decommissioning of the legacy safety database post-migration.
Company with multiple vendors using different applications to capture AE data at source. Each vendor application had different set of fields and attributes to capture AE data.
Prudentia supported definition and development of standard AE data capture fields and values supported by standard E2B as well as.
E2B+ tags. Prudentia developed the E2B+ profiles in Argus for importing cases from each vendor. Prudentia defined the business process to auto-import initials and manually process follow-ups in Argus.
Company needs to manage growing CT case volume without significantly increasing operational costs.
Developed a plan and expertise to implement an efficient solution utilizing E2B transfer from clinical EDC system into ARISg. Although E2B is standard for exchanging data between Safety Databases, challenges exist with EDC integration. Prudentia supported the client with addressing challenges such as event level vs. case level, E2B+, MedDRA coding, follow-up processing.
Company needs support with increasing demands from user community around Reporting and Configuration. while in-house support team works on recent inspection CAPAs and ARISg upgrade.
Quickly provided cost-efficient resourcing with ARISg experience to manage configurations, master data maintenance and reporting requirements.
Company running Argus 4.2x had limited ability to allow business users to get timely information from SDB without data management team.
Designed a BI architecture to enable ready access to safety information.
Company using ARISg hosted by CRO needed access to data. Reports were limited to QBEs and SQL Plus Excel spreadsheets (BO Universe and custom reports not available).
Prudentia offered a solution to query ARISg and launch custom reports. PV TREND™ developed within 6 months with 5 out of the box reports and capability for end users to "paint" their own reports.
Company needs to separate into two companies (innovation and generic). PV systems and processes are part of the separation.
Developed and implemented a plan to clone the ARISg suite of applications from one company to the other. Clone includes data separation, configuration modifications, and knowledge transfer to new organization.
Company needed to reassess current Safety BPO partner & determine other options for future growth (territories, products, trials) & viability of partner.
evaluated partner's services, issued RFP, selected new vendor, and led migration to new vendor.
Copyright © 2019 Prudentia Group, All Rights Reserved.


Former World No. 4 has revealed she suffered physical abuse from her father.
Tennis TENNIS Australia has revealed officials made police complaints about Jelena Dokic's welfare, which were not fully investigated.


The highly recommended companies Seagrapes International and TLC Aviation can supply Superyachts and private aircraft with all their fueling requirements. Reliable first class bunkering , oil products and on site coordination, with no added agency fees!
Delta Petroleum's secured terminal at Galisbay - on the north eastern shore of Marigot Bay – offers European quality ULSD via ex-pipes at a rate of 600 lpm, to mega yachts up to 120m LOA and 5.5m draft.


Synopsis : Investigating whether the lack of wheelchair-accessible taxicabs in New York City violates parts of the Americans With Disabilities Act.
New York Civil Rights Violation Lawyer Investigates NYC Taxi of Tomorrow - Not as Wheelchair Accessible as Promised.
After a search that took nearly three years, the Taxi and Limousine Commission chose a taxi design that is not wheelchair accessible.
The United States attorney's office in Manhattan and New York civil rights violation lawyer David Perecman are investigating whether the lack of wheelchair-accessible taxicabs in New York City violates parts of the Americans With Disabilities Act.
After a lengthy search for a "Taxi of Tomorrow", the Taxi and Limousine Commission, which regulates which vehicles can be used as taxicabs, chose a Nissan model that is not wheelchair accessible.
Federal lawyers and New York civil rights violation lawyer Perecman are conducting an evaluation of whether this complies with the disabilities act, which prohibits local governments, or private groups that provide public transportation services, from discriminating against the disabled.
"This is a disappointing turn of events in New York," civil rights violation lawyer Perecman said. The city had the unique opportunity to set a standard for accessibility for taxis across the country. So, instead of helping New York become the first city in the world to have a fully accessible taxi fleet, the Taxi and Limousine Commission may find itself fighting a civil suit for having violated civil rights."
New York civil rights violation lawyer Perecman founder of The Perecman Firm, one of New York's civil rights violation law firms, understands that taxicab owners are not required by New York City to operate vehicles that are accessible to the disabled. The TLC also says that they have already gone beyond what is required of them for accessibility standards.
The city says that it does issue medallions for wheelchair-accessible taxicabs, and that taxi officials were planning a program to arrange cab rides by telephone for the disabled.
According to the New York Post, only 240 of the nearly 13,500 cabs in the city are wheelchair-accessible.
Sadly, one of the initial goals of the Taxi of Tomorrow program was "universal accessibility for persons with disabilities." Other goals were better fuel efficiency, more passenger space and design "iconic to New York City."
New York civil rights violation lawyer Perecman agrees with State Assemblyman Micah Z. Kellner who said the new taxi should be an "icon of inclusiveness."
"New York City welcomes all people and we should have a taxi that welcomes all to ride in it, " added New York civil rights lawyer Perecman.
In New York, civil rights violation lawyer Perecman points out, if a person wishes to ride in a city taxi, it is a civil rights violation for a taxi cab driver to refuse a passenger based on disability.
About David Perecman and The Perecman Firm, PLLC: For the past 30 years, the New York false arrest, excessive force by police, police negligence, and civil rights violation attorneys at The Perecman Firm, PLLC have handled all types of cases including civil rights violations. David Perecman, founder of the Firm, is a Board Director and the past Secretary and Treasurer of the New York State Trial Lawyers Association (NYSTLA) and a chair of its Labor Law Committee. Mr. Perecman's achievements have brought him recognition as an Honoree in the National Law Journal's Hall of Fame, in New York Magazine's "The Best Lawyers in America" and The New York Times Magazine "New York Super Lawyers, Metro Edition" for the years 2007-2010.
The Firm has recovered millions of dollars for its clients. Among the more recent victories, Mr. Perecman won a $15 million verdict for a construction accident, a $5.35 million dollar verdict*for an automobile accident, and a $40 million dollar structured settlement for medical malpractice****.


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Home » Net Worth » Jason Boltus Net Worth 2018: What is this NFL football player worth?
Jason Boltus Net Worth 2018: What is this NFL football player worth?
Jason Boltus is a professional football player who plays Quarterback for the Free agent. Boltus was born on August 21, 1986, in Baldwinsville, New York. Boltus's height is 6 ft 3 in. This page looks closely at Jason Boltus's net worth.
Jason Boltus Career and Earnings/Salary
In high school, Jason Boltus played football for Charles W. Baker High School. Boltus played college football on the Hartwick College team.
In the past, Boltus played for the Hamilton Tiger-Cats, Spokane Shock, Omaha Nighthawks, Utah Blaze, Winnipeg Blue Bombers, Orlando Predators, Tampa Bay Storm, and Jacksonville Sharks. Some of the highlights of Jason Boltus's career include: National Arena League champion, AFL passing yards leader, Empire 8 Rookie of the Year, Eastern College Athletic Conference D-III Northwest Rookie of the Year, E8 Offensive Player of the Year, Gagliardi Trophy finalist, Melberger Award, ECAC D-III Northwest Player of the Year, All-ECAC D-III Northwest, Second-team Associated Press Little All-American, and National Collegiate Athletic Association D-III career total offense leader.
Boltus has coached for the Mount Dora H.S. as Quarterbacks, Ocoee High School as Offensive coordinator &amp, and Ocoee High School as Head coach.
Jason Boltus Net Worth 2018
NFL player salaries range significantly. At the lowest level, NFL rookies make $400,000-$600,000 annually. At the highest, players can bring in $50 million or more. The NFL salary cap is nearly $175 million.
Jason Boltus net worth: football salary distribution
So what is NFL football player Jason Boltus's net worth in 2018? Our estimate for Jason Boltus's net worth as of 2018 is:
Looking for other NFL football players? Check out these net worth articles: Jaiquawn Jarrett, Jake Leicht, Vinny Curry, Craphonso Thorpe, Ola Kimrin, Ron Smith, Rich Baldinger, Brandon Barden, Damone Johnson, Allen Nichols, and Jimmy Gaines.


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Thread starter frostytheplebe
frostytheplebe
Seventh Part of the Seal
I'm sorry for taking up space, but I have to give you guys a thumbs up on the in-game graphics. I am a big fan of the explosions. The cap ships begin having multiple fires break out, then a massive explosion smashes the ship in half then consumes the entire wrecked hull. Finally the shockwave gives your ship a jolt in the opposite direction.
I was actually able to time it perfectly so that the shockwave increased my burn for a second or two... SEETHER STYLE!
I love when that happens.
I bet that not being able to do Seether's trick in WC4 was frustrating for many players.
Dundradal
Frog Blast the Vent Core!
Sharpshooter said:
Although I wonder if you could somehow accomplish it in WCP. I'm not sure how the splash damage affects objects besides just damage. It would be a fun thing to test out.
Dundradal said:
I don't think so, since I don't think there's any splash damage in WCP, at least as far as I know...
If you're thinking about the camera shaking when you kill something, that's just the camera shaking; not any form of splash damage.
Haliwali
While we're on the topic of dying ships, you can fly into the hanger of the Fralthi II, shoot it from the inside, and fly out again when it dies sort of like Anakin in Ep. 1
Theoretical...yes but if that would be a good decision? Definitly not.
The hangar is very small and turning is difficult so most likely your best chance would be to get in there with a light fighter like the Arrow but then you would stay they for a long time to down a Fralthi II. Also the explosion would most likely be still quite heavy so that in a light protected Arrow you would most likely take a good amount of damage.
So feel free to try it but don't come back and say I haven't warned you ^_^
What I prefere more is to lock on the hangar itself. When the lock on is done I position myself so that I can fire the torpedos right down the runway.
gevatter Lars said:
I've already done it with the Thud. But your method is pretty fun too. Try it on the Bombing Run in the simulator with Torpedoes set for dual fire. KA-BOOM!
... as I recall most of the time when the Kilrathi did that to Confed carriers, it was a suicide attack... and honestly theres nothing cooler then slamming a heavily damaged fighter thats about to blow up anyway into a critical unit of an enemy capital ship, taking it down with you. But when you still have a fully functional fighter thats only taken minor damage... well you're a better man then me, i wouldn't be flying into a landing bay!
I can give it a try... but i don't recall there being any shockwave in WCP... if there was, it didn't really have the same effect.
There where shockwaves in WCP but only as a graphical effect. It didn't had any effect on your ship as far as I recall it.
As for flighing into a hangarbay...well I also won't do that. As said I prefere to let the torpedos or missiles to the damage.
One thing I love doing is turning off the music in the background and playing Bon Jovi- Lost Highway as I fly in and knock out a cruiser... I had to laugh because right as a cruiser blew up from my torpedo at the moment the cruiser lit up, the line "Its Independence day, on this lost highway." plays. Perfectly timed, though totally unintentional.


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Coronavirus: cancelling culture
Posted on March 22, 2020 by Jason Goroncy in Culture
The global coronavirus pandemic is escalating so rapidly that an observation made in the morning is likely to out of date by the afternoon. I don't think it's an exaggeration to say, however, that the material conditions of artists and arts workers nationally, and globally, are being destroyed by this pandemic. An industry that relies on people being able to gather is wholly vulnerable in a time when no one can gather. And yet people find a way: one of the few gladdening stories to emerge in recent days has been the knowledge that quarantined Italians are singing and playing music to each other from their balconies.
We gather even without being able to gather. Such feats of solidarity and creativity are essential during this crisis.
What does singing matter when so much is at stake? Who cares about art when people are dying? Art matters because it is one of the most ancient ways we have of forming community: telling stories, singing songs, and making sound and images, are acts that bond us together as human beings. More than this, these acts can teach us something about our place in a complex and fragile ecosystem, a web of life. In an essay for [The Monthly] last year, which detailed the long-term damage done to Australian arts by decades of funding cuts and political neglect, Alison Croggon wrote: "It feels fatuous to talk about Australian art and culture amid such overwhelming global crises – and yet it also feels impossible not to note this context." That observation is just as applicable now.
From Monday, March 16, "non-essential" outdoor gatherings of more than 500 people were temporarily banned by the federal government, and the list of cancelled arts events and festivals in Australia is growing rapidly. Sydney's annual Vivid Festival, scheduled for May, was cancelled last Sunday. Byron Bay's Bluesfest is cancelled for the first time in 30 years. Sydney Writers' Festival, scheduled for late April, was cancelled, after having only announced its full program last week. Arts venues in Victoria, including the National Gallery of Victoria and the Arts Centre Melbourne, have closed their doors. The Melbourne Comedy Festival is cancelled, and the Melbourne Theatre Company has cancelled all remaining performances of its current productions, as has the Sydney Theatre Company. Sydney Film Festival, scheduled for mid-June, was cancelled on Wednesday. Now that the ban has been extended to indoor gatherings of 100 people or more – as it needs to be, if we are to avoid the scale of public health disaster that has been taking place in Italy – that list of cancellations will only get longer. All but the smallest of arts companies will be prevented from public performance and exhibition under these rules, and even the smallest, as our public health emergency deepens, are cancelling their schedules, out of caution and social responsibility.
Hundreds of thousands of arts workers are going to lose, or have already lost, sources of income because of all this: actors, musicians, writers, comedians, visual artists, programmers, producers, event managers, copywriters, box-office staff, front-of-house staff, technicians, road crew, arts critics and arts journalists, and more. Not to mention those workers employed by hospitality and tourism businesses that rely on venue contracts, or festival visitors, to stay solvent.
The cancellations mentioned above are just the big-ticket, big city events and organisations. Along with them are ranged all the medium to small arts companies – particularly regional arts companies – and individual workers, who are already operating in conditions of precarity, pushed there by long-term funding cuts and widespread casual labour, both within the arts industry and outside of it. The website I Lost My Gig, where arts workers can self-report cancelled employment due to COVID-19, had, by Tuesday, already tallied $100 million dollars of lost income, and counted 380,000 affected workers. The gig economy now so prevalent across different employment sectors, from food delivery to tech, has been the default arts employment mode for a long time, but when there is so little funding available to bolster artists' wages or production costs, and when the industries that arts workers often turn to for a secondary or even primary income – low-paid industries like hospitality and retail, or tutoring – are also based on casual and contract labour, there is no financial buffer for people to rely on when the shock of a crisis looms. Australian arts has been in crisis for years, so what do you call a crisis on top of a crisis? A catastrophe?
Even in the best circumstances, the COVID-19 pandemic would have done enormous damage to Australian arts, but these are far from the best circumstances. As Croggon detailed in her essay last year, part of the long-term problem with Australian arts has been its two-tiered funding model, by which major companies receive the lion's share of Australia Council funding, while the scraps are left to small organisations and individual artists. Many receive no funding whatsoever. I want to stress that this is not the fault of the Australia Council, which after all must take direction from federal government. And governments both Coalition and Labor have shown a historic tendency to fiddle with the Council's make-up, its funding models, and the money available to it, as in 2015, when the then federal arts minister, George Brandis, under the prime ministership of Tony Abbott, took $104 million from the Australia Council's budget to divert into a new ministerial arts fund, Catalyst, while ring-fencing some major arts companies from the Australia Council's consequent funding cuts. The Catalyst fund, in turn, was axed in 2017, but the money taken has never been returned to the federal arts budget.
Again, it's not the fault of major arts companies that the arts sector in Australia is so inequitably funded. Every arts company, large or small, is vulnerable in this crisis. But when small organisations and individual artists have no monies whatsoever to spare, the result is likely to be permanent wipe-out for them, in a sector that has already felt the damage – especially the cultural damage – of an economic landscape in which sustaining a long-term arts practice at a small scale, or on a not-for-profit basis, is already close to impossible. My fear is that a federal arts stimulus package – should there even be one – will reinforce this unevenness of funding. And funding matters so much in the Australian context in part because we have nothing like the scale of private philanthropy that bolsters arts organisations in, say, the United States. Now is the time, more than ever, for all arts organisations and arts workers to argue for a significant, widespread and equitably distributed stimulus package.
The virtual roundtable convened by the federal government on Tuesday, and hosted by Arts Minister Paul Fletcher, "provided", in the bloodless words of the minister's press release, "an opportunity for Minister Fletcher to hear directly from the arts organisations on the ways they are responding to the challenges they are facing as a result of COVID-19, as well as their suggestions for support measures". But no support measures specific to the arts have actually been announced. Instead, the minister referred back to the assistance measures outlined in last week's general stimulus package, through which small to medium businesses can apply for up to $25,000 to cover the cost of employee's wages. This will do nothing to assist casual employees or contract workers in the arts, and $25,000 will hardly be sufficient to make up for the cash-flow shortfall to small arts companies, whose entire operating budgets are now in jeopardy. Nor should writers be forgotten here, though they are often left out of such discussions because their work is done alone, as if this magically protects them from the labour conditions that affect the arts industry as a whole. There are plenty of writers now wondering if their scheduled books will be published, their newly published books bought, their teaching gigs scrapped, and so on. The cancellation of writers' festivals, book launches and book tours will have a deleterious effect on authors, who depend on the publicity generated by these events to boost their sales.
In an article for The Conversation on Tuesday, arts writer and Monash University lecturer Ben Eltham outlined some ideas for how an arts stimulus might be put into effect, including by making payments to artist sole traders through the Australian Tax Office. This is the crux of the matter: money needs to go directly to arts workers themselves. It's no solution if the federal government's best suggestion, as it has been so far, is to direct all affected casual workers – in the arts sector or otherwise – to Centrelink, there to await the slow administration of a manifestly inadequate unemployment allowance, or a short-term sickness benefit. Forgive me if I have little faith in the Morrison government's willingness to help arts workers to any degree, when the same government, in December, abolished the federal arts ministry.
In a situation where the global spread of COVID-19 underlines, once again, that an economic system based entirely on profit-making and commodity production will quickly spiral into crisis when things cannot be bought and sold, art matters precisely because the value it creates is never wholly measurable in terms of profit. Art matters now because it demonstrates, as it always has, that there are ways of being in the world, and things we can make in the world, that might be an alternative to commodity production. Meanwhile, we live inside of capitalism – this enormous global commodity system, its parts intermeshed – which means that arts workers, along with everyone else, have got to sell something to survive: their labour or art, or both. And all of a sudden there is precious little to sell. May this crisis make us think more deeply, more urgently, about the need to organise together; about the fact that when workers, including arts workers, bear all the risk in a labour market, we are all acutely vulnerable when the risks multiply. This vulnerability is not inevitable, just the way things are; it is the result of politics. I think again of Bertolt Brecht, and the motto he appended to a section of his Svendborg Poems cycle, in 1939:
In the dark times
Will there also be singing?
Yes, there will also be singing.
About the dark times.
Reposted from The Monthly.
Image from Italy Magazine.
℘℘℘℘
Anwen Crawford is The Monthly's music critic.
Published by Jason Goroncy
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3 thoughts on "Coronavirus: cancelling culture"
Neil Tolliday says:
Thankyou, Jason. Neil
On Sun, Mar 22, 2020 at 9:00 AM Art/s and Theology Australia wrote:
> Jason Goroncy posted: " The global coronavirus pandemic is escalating so > rapidly that an observation made in the morning is likely to out of date by > the afternoon. I don't think it's an exaggeration to say, however, that the > material conditions of artists and arts workers nati" > Respond to this post by replying above this line > New post on *Art/s and Theology Australia* > Coronavirus: cancelling > culture > by Jason > Goroncy > > The global coronavirus pandemic is escalating so rapidly that an > observation made in the morning is likely to out of date by the afternoon. > I don't think it's an exaggeration to say, however, that the material > conditions of artists and arts workers nationally, and globally, are being > destroyed by this pandemic. An industry that relies on people being able to > gather is wholly vulnerable in a time when no one can gather. And yet > people find a way: one of the few gladdening stories to emerge in recent > days has been the knowledge that quarantined Italians are singing > and playing music to each > other from their balconies. > > We gather even without being able to gather. Such feats of solidarity and > creativity are essential during this crisis. > > What does singing matter when so much is at stake? Who cares about art > when people are dying? Art matters because it is one of the most ancient > ways we have of forming community: telling stories, singing songs, and > making sound and images, are acts that bond us together as human beings. > More than this, these acts can teach us something about our place in a > complex and fragile ecosystem, a web of life. In an essay > > for [*The Monthly*] last year, which detailed the long-term damage done > to Australian arts by decades of funding cuts and political neglect, Alis
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Papercutting


text:
Mainstream is restrictive
Kate Murray
As shown here, the more diverse your characters are the easier they are to recognize, even when drawn as badly as possible
Kate Murray, Visual Editor
saves the day with the help of a foxy young lady? Or maybe there are multiple white dudes. And they're all straight. Most of them are middle class, but wait this one's rich! How's that for diversity? One lady and two economic classes!
"What movie are you talking about?" you might ask. Well that's the point, I don't know. Maybe it's the Avengers. Maybe it's a Bond movie. Or Guardians of the Galaxy. Heck, maybe it's even Star Wars, except that's not new. And of course I love all these movies to death, but mainstream media is so reluctant to show diversity that things produced by it tend to blend together somewhat.
Meanwhile if I say, "Have you read that webcomic with the goth girl and the narcoleptic girl and that angry mutant alien and the villain is a batterwitch?" you would be able to find which one I was talking about, even if you haven't read Homestuck. And that's not even half of the diversity Homestuck has. There are characters with depression, and blind characters, and bipolar characters, and a paralyzed character, and a supervillain with a learning disability, and an amputee, and gay characters and bi characters. In fact the bi characters outnumber the straight characters by nearly six to one.
So why can't mainstream media have that much representation of minorities? Well Homestuck has over 9000 pages so maybe it's really hard to write and the author is just really dedicated.
But oh wait! The podcast Welcome to Night Vale has only one specified romantic relationship and it's between a racially ambiguous man and a hispanic man. And Agents of the Realms has seven characters currently introduced and two of them are white. And six of them are girls. And Nimona has a chubby girl as the protagonist and a dark skinned lady scientist as the go-to person for all strange science questions. And Mirror is based off of vaguely Tibetan geography and culture, and most of the characters are girls. Paranatural is one of the lesser examples of webcomic representation and even there most of the characters in charge of anything are girls or women, many of them dark-skinned, one who wears a hijab, and one woman who is blind.
So the answer is mainstream media doesn't have the representation of webcomics and podcasts and other non-mainstream media because it doesn't want to be diverse. It's getting better, as one can see from the new Annie and the confirmed Black Panther movie, but, compared with non mainstream stuff, those are just tokens to say "look! We love diversity, we've got three movies with diversity!"
So let your inner hipster loose. Ditch the mainstream media and find all the wonders offered by the more hidden venues.
Kate Murray, Copy Editor
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text:
Lit., music
The Sarah Records Story
Clare Wadd and Matt Haynes started Sarah Records around the time that The Smiths called it quits in 1987. A year later Moz gave us Viva Hate and Marr found his way back to music with Electronic, but the death of the most important English band of their generation, along with the release of the famous c86 album, helped nurture the seeds of the new generation of indie pop. With releases by bands like Another Sunny Day, The Field Mice, and Heavenly, Sarah Records was the vanguard for British Indie in the late 1980's until the founders announced the label's demise in 1995 by taking ads out in England's most prominent music magazines (see image above).
Canadian music writer Michael White has begun writing a book about the history of the label. After successfully meeting his goal in an online fundraising campaign, White is hard at work on the book but took a few minutes to let us know a bit more about the project
So I guess my first question is why are you writing the history of Sarah Records?
Primarily because it's a book I've wanted to read for a long time and thought might otherwise never be written. Although, that said, I wouldn't go to the effort if I didn't think there was an audience for it. Actually, my sense of a growing interest in Sarah is what finally spurred me to start writing it after thinking about it for a long time — I began to worry that if I didn't claim the project for myself, someone else would. And if that person didn't do it well, I'd regret it forever.
That's another reason why I'm writing it: I've almost never been satisfied with how Sarah or this type of music — whatever you want to call it: indie-pop, C86, twee — has been written about. The UK music press was mostly dismissive or outright hostile toward it when it was new. But how it's been written about retrospectively is possibly even more disappointing to me, because it almost always lacks the sort of detail and context afforded to almost any other music considered worthy of biography. The people who have written about it in recent years, most of them experienced it when it was happening — they were there! But they don't realize that many — if not most — of the people reading about '80s and '90s indie music now are coming to it late, or they lived in another part of the world, and it was at a time when the internet didn't exist. Sarah shut down just as the 'net was emerging, and because it didn't receive very much press coverage, it's very poorly documented. The result, in my experience, is that people who love Sarah — particularly people in their twenties, who are used to being able to find out everything they want to know about a band with one Google search — are completely obsessed and frustrated. They want to know everything! Hopefully this book will finally give them what they want.
How are you presenting the book? Is it an oral history, written history or something else?
It's going to be a written history, but fragmented. To write about it as a chronological narrative wouldn't be practical, firstly because it would take forever to write — hundreds of people were involved in various ways. And secondly because the Sarah story — and this isn't meant as a criticism — isn't consistently compelling. There wasn't a whole lot of drama going on like there always seemed to be with, say, Creation or Factory; there weren't any megalomaniacs or breakdowns or disasters — at least not that I've learned about yet. So I'm isolating the people and things that were interesting and giving them their own chapters. For instance, there'll be chapters dedicated to the most popular and prolific Sarah bands — like the Field Mice and Blueboy — and also a chapter about the UK indie-pop scene that predated Sarah and essentially brought it into being, and a chapter about Sarah's enduring and disproportionate popularity in places like Indonesia.
Who are some of the current bands you think were most influenced by Sarah Records?
I personally find it difficult to definitively pinpoint Sarah's influence simply from listening to a new band's music. Usually I find out it's influenced a band when I read an interview. For instance, the Drums and the Pains of Being Pure at Heart have been very vocal about their love for Sarah, but I don't think they sound like any particular band on the label. This is a nebulous thing to say, but I think it's more to do with a feeling; they're bands that love melody, and they share a sensibility that values romance and vulnerability. I don't know for certain, but I suspect Belle & Sebastian and the Clientele must be Sarah fans as well, and several of the bands on Slumberland. Those are relatively high-profile examples though. It might be that the majority of Sarah's influence can be found in under-the-radar bedroom projects whose music you'll never hear unless you stumble onto the right Bandcamp or MySpace page, or you take a chance on some privately pressed 7-inch single in a local record store.
When did you first become aware of the label?
I was lucky. In early 1987, when I was 17, a bookstore in my hometown began stocking Melody Maker, and for the next eight years I didn't miss a single issue. The early Sarah releases were reviewed on the Singles page, and although the reviews were all negative — because anything perceived as being associated with C86 was subject to a huge backlash at the time — I knew from the way they were described that I'd like them. Someone had taped the C86 album for me the previous year and I was obsessed with it, so I was on the lookout for anything similar. Eventually I found the Field Mice's Emma's House EP, and then I sent away for Shadow Factory, and I was on my way.
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C86Michael WhiteSarah Records


Of all the 28 fun ways to face off in #12Switch, which is your favourite?
1-2 Switch is a totally bizarre party game that made me laugh much harder than similar collections like Wario Ware or Mario Party, but I'm still not sure if I was laughing at it or with it. The assortment of 28 diverse mini-games seems to exist to show off the fidelity of the sensors on the Joy-Con controllers, and they do, but the remarkably unique games lack any real depth.
1Even when you do have an understanding of how different games work, some, like the baseball mini-game, are confusing. You know one of you has to bat and one of you has to pitch, but it doesn't tell you what sounds to listen for to swing and hit the virtual ball at the right time, plus you can actually get caught out, which seems like it might happen at random. When you're the batter, a virtual player on a non-existent field can 'catch' the ball you hit, and I was never able to tell the physical difference between a successful swing and a losing one. It never communicated that with me.
Even when you do have an understanding of how different games work, some, like the baseball mini-game, are confusing. You know one of you has to bat and one of you has to pitch, but it doesn't tell you what sounds to listen for to swing and hit the virtual ball at the right time, plus you can actually get caught out, which seems like it might happen at random. When you're the batter, a virtual player on a non-existent field can 'catch' the ball you hit, and I was never able to tell the physical difference between a successful swing and a losing one. It never communicated that with me.
Baby is one of the most off-putting mini-games I've ever played.
Other games like Gorilla, Baby, and Zen serve very little appeal beyond the novelty of how odd they are. Gorilla has you pound your chest to a simple beat – something you could do without a Joy-Con if you really wanted – but you probably don't. Baby has you take the console out of the dock and hold it like a baby, rocking it slowly until it stops crying, and then setting it down without waking it up. And it does seem to genuinely be the audio of a baby crying, which automatically makes it one of the most off-putting mini-games I think I've ever played. Zen has you sit perfectly still or hold a particular pose, or just put the Joy-Con down – the Switch largely can't tell the difference.
After writing this review, I felt I should preface it by saying up front that my rating is based mostly on price. As a game itself, it is definitely unique and fun. At $20-$30, I would have given it 5 stars for being cool, quirky, and showing off the system. At $50, it feels overpriced.I had been a huge proponent for this not being a pack-in title, but after playing it.... it should have been a pack in title.It tells the story of the system.... take it anywhere you want, hand a joy-con to a friend, and play with the goal being fun more than the highest quality graphical output. Additionally, in the same way that Wii Sports introduced us to motion controls and NintendoLand introduced us to the novelty of having a second screen; this title serves to show off all the cool little things the joy-cons can do (really refined motion control, IR, HD rumble).It can be fun, but it lacks depth in the same way Wii Sports and NintendoLand did. The mini-games are enjoyable and we'll likely get good use out of them when we have people over. But there isn't much more to the game than playing a mini-game, laughing a little, and moving on to the next mini-game. Some are better than others. I was hoping this was a more robust title like Wii Party U, which had a lot of different game modes. It isn't.Ultimately, if you would have paid $50 for Wii Sports or NintendoLand then this is a title you should pick up. For others, I think you would be better off waiting until the price comes down.
It is a good unique party game. It makes good use of the joy cons and it gives you a feel of the abilities of the switch such as using the kickstand. The only problem is what others have said is for $50 it is really short. I think they should have included this as a built in game.
Fun game to play with a group of people! Really should have been included with the Switch itself though, or at least priced at $20 or less.


2. What is involved if I wish to obtain a Building Permit?
3. What does the Building Official consider when evaluating my Building Permit application?
4. What kind of inspections may be performed on my building project?
5. Which permits are required by the Fire Commissioner's Office?
6. What do I do if I want to apply for an exception to the Zoning regulations on my building?
7. Where can I obtain a Building Permit Application?
8. What other types of permits are issued by the City of Williams Lake Building Inspection Department?