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Eric Fischl On The Importance Of Community
Eric Fischl and his painting Sign of the Times. Image courtesy of Maryam Eisler
Internationally acclaimed American painter, Eric Fischl is not only creating some of the most iconic and of-the-moment works of art, but he is also developing and nurturing a cultural community in Sag Harbor. Here, Fischl speaks to LUX's Chief Contributing Editor, Maryam Eisler, about the importance of community and its effect on his own oeuvre
Maryam Eisler: The support that you have given your immediate cultural community (Sag Harbor) is notable. How and why did you and April (Gornik) decide to take such active roles in the town's cultural initiatives? Was it a Covid decision or did the idea burgeon before?
Eric Fischl: It started prior to Covid. My wife April and I were working with a group of people to buy the cinema back in 2014. We went through some very difficult negotiations, and then there was a fire that destroyed the cinema, which made it even more urgent to buy the building because it had lost its landmark status. We had to raise 8 million dollars. The big money, believe it or not, came from successful visual artists, musicians, filmmakers … signalling to me that this was a place where the artists had a say: "We want to have an impact in determining the quality of life and culture in this town." Then The Church (visual arts centre) became available, and so we purchased that as well. Again, it was about trying to develop a centre of creativity for the community.
ME: Are you now able to see, feel and measure the impact of these initiatives on your immediate community?
EF: Yes. At The Church, we've been very conscientious of doing exhibitions which have both an international representation but a very local one too. We've certainly found that the local artists are not only grateful to be included in the larger conversation, but they are also stepping up their game to prove it. As far as the town is concerned, attendance at The Church is increasing, and people feel comfortable being there. In the summer, we have a kids camp, and the energy fits the profile of what a community centre should be all about. We're very excited about that. We're also in the process of fighting (and probably losing) a battle with big money developers who want to take over and determine the next life of Sag Harbor, without actually having any feel for the place.
Threading The Needle exhibition at The Church. Image courtesy of Maryam Eisler
ME: What are your thoughts regarding the artists' relationship with this town?
EF: This is the first time where I thought there's a real chance where the artists can actually gentrify their own place; there's a shared feeling that 'this is the kind of life and the kind of community we want to be a part of and want to nourish'. Developers use artists to attract investors, prices are pushed out of range, and the artists have to then move out. In this case, my hope is, at the very least, to establish artist residency programs that retain artistic presence, whilst enabling creatives to take part of the town's everyday life, bringing in fresh blood, energy and ideas.
ME: In your own practice, you seem to dig deep into the American psyche, sometimes with an added layer of nostalgia, but I now sense an additional connection with the current political climate.
EF: Well it's funny because on the one hand, the paintings have become very narrow in their focus, and local. Right now, various scenes are derived from this Halloween parade that takes place here called the 'Ragamuffin Parade' which I've photographed for many years. I've put together these weird scenes of costumed people, and in some, you feel the advent of Covid; some protagonists are in costume, some in medical masks, ironically. One scene looks like they're coming back from war, on crutches and canes, or they're just tired or something…
The Parade Returns, 2022 by Eric Fischl
ME: You have said in the past that the point of painting is to try and find the hidden truth so are you trying to do exactly that, at this difficult moment in time and history?
EF: These difficulties have just been compounding, and for us, here in America, the madness of the Trump administration and the way that it divided the country into such irresolvable anger, is something that hasn't left the scene, even since he was voted out of office – so, we Americans are dealing with a constant pressure.
ME: Is there a permanent sense of malaise?
EF: Yes. How do you and can you get back from where we are now? To which you add a pandemic, further isolating and terrifying us all. That fear and isolation combined with the political anger has just presented an extremely tough time for us all.
The Church, Sag Harbor. Image courtesy of Maryam Eisler
ME: How do you reconcile your mission regarding your community work with your own art practice?
EF: I have to say that in our vision of implementing The Church, I didn't quite realise how much positivity and hope people attach to the notion of community, its nurturing side, its playful side, its creative side. I'm personally not entirely capable of doing that within my own work; my work deals with more existential conditions, of missed connections and unsatisfied desires.
Studio wall. Image courtesy of Maryam Eisler
ME: And you're still working through this? It seems to be a continuous process.
EF: Yes. I don't know whether the goal in life is to work through it so that you are freed from it, or whether you just go deeper and deeper into it, because there's a profound truth to the nature of life that lies within the process. How do you come to terms with it? I think I should write a piece for our local newspaper. At first, I was thinking about art as an expression of love, a desire to connect, a willingness to explore areas of our being that we don't necessarily get to openly share… to try and work through stuff that way. That in itself is an act of love. Then you have a belief in your community, a belief in your society, a belief in being human. But it's a complicated thing, because some people can actually handle a direct exchange of love. I can't. I think most artists can't. We have to triangulate.
The studio floor. Image courtesy of Maryam Eisler
ME: You've often said that you speak to a painting and that it speaks back to you. Do you paint with an end game in mind or is it an ever- evolving dialogue, until you know it's ready for the world?
EF: You keep talking to the painting till it begins to talk back to you, and if it doesn't talk back to you, then you haven't found the point of the painting, and so you should just destroy it. But when it does talk back, you have to start listening to it, and it then tells you how to finish it.
Painting in front is titled Old Dog, behind is Ragamuffin Parade, both by Eric Fischl. Image courtesy of Maryam Eisler
ME: Talk to me about the old dog and the girl in this painting.
EF: Well, I was riding my bicycle and I saw this old dog in the water. It seemed happy. I was transfixed by it. The painting is about a moment between the old dog and a young girl. You can't quite tell what her age is as you see her from behind, dressed in a sort of fancy-ish outfit, not exactly a summertime thing, a just-got-out-for-a-walk kind of thing. They're just talking to each other, and the space has become dynamic between them, so maybe on some simple level, the painting is about age and youth, who knows…
ME: I love the idea that photography plays a role in your painting, a starting point at least. I also find your embrace of technology in general fascinating when it comes to your art practice. Can you tell me more about that?
EF: Yes well, I certainly don't consider myself a photographer. It's just a tool. The reason photography works for me is because everything is in motion, everybody is slightly turning, slightly blinking, slightly opening their mouths, slightly shifting a shoulder… whatever it is, a photograph lives life instantaneously. And if you're creating narratives, you need animation, a moment where something is begging to happen, and photography allows you to capture exactly that. It's become a huge tool that I'm dependent on.
It's a blue which is typical of his work. Image courtesy of Maryam Eisler
As for technology, it's not that I go out and embrace technology; it sort of shows up and then there's curiosity about it, and if I manage to connect it to my body of work in some way, I do. It took a while to get the feel of the hard surface of the iPad and drawing on it, but there came a point where it became a fun sketch tool. The same goes with the VR paintings I make with Tilt Brush. There's this strangeness that is both curious and entertaining with this new technology that forces me to figure out a new language of painting "effects" that is not too dissimilar to my other work – just a little more exaggerated and strange.
Deep in thought…Image courtesy of Maryam Eisler
ME: I'm interested in space and place. Do you have a sense of dialogue with or responsibility towards the artistic legacy of this area? Do you feel that you are continuing a practice that is indigenous to this particular geography?
EF: Yes, I grew up on Long Island so there's a familiarity. I'm definitely out here to experience the art, not to play around or eat ice cream! It turns out that there is quite a history of American art which is connected directly to this landscape- the abstract expressionists for example. A lot of it is directly connected to the quality of light, unique to this place. It has to do with the flatness and thinness of the land and having bodies of water on all sides, creating this kind of refraction, a full-spectrum light, different from most other places. But I don't paint from life, so other than enjoying the light and being wowed by it, that is not why I'm here. That would be the safe answer. Let's not forget that we are also only two hours away from the city. This is also where the money is, where our friends are … these would be the more honest reasons to cite for why I and most other artists are out here.
Sculptures greeting you as you approach Eric Fischl's house/studio. Image courtesy of Maryam Eisler
ME: A much lesser poetic explanation than I would have hoped for, perhaps!
EF: Exactly. Everyone wants it to be because of some kind of inspiring thing, but you know, this is also the first time I've referenced this particular location in my work. In the past, I was painting as if I lived elsewhere. A lot of people in fact thought that I lived in California.
ME: As you approach your property, the first thing you see, is this sculptural grouping of human figures amidst the tall grass, as if spying on you, magical and awe – inspiring.
EF: Well, thank you for feeling that way. I make sculptures from time to time; they're not a particular focus of mine. I enjoy doing them when I need a break from painting or other things. The reason I connect to the sculptural form is because it comes from a different part of my body and brain, and that's of interest to me. There are memories and knowledge that your hands have stored that you cannot access from your eyes. It's the touch itself that triggers feelings; memory that creates experience.
Entrance of the studio with Eric Fischl's sculpture. Image courtesy of Maryam Eisler
ME: So, is your own hand at play when it comes to sculptures, in the same way as it is with your paintings? It seems that your own physicality has presence in all your art forms- a rare practice these days.
EF: Yes. When I start any new work, I don't know what I'm looking for so how can I possibly get other people to do it for me? There is also a great amount of pleasure and satisfaction in the act of making art, even when it is frustrating. The difference between painting and sculpture for me is that you mainly commit to whatever you're sculpting way sooner in the process than you do with painting, because with sculpture you know that you're making an armature, and so it gets hard to take that down or move it around. With a painting, on the other hand, you can paint over it, paint it out, or start all over again; so, you can spend more time in the discovery phase.
Image courtesy of Maryam Eisler
The other aspect of my practice has been about trying to reassert the body back into painting and sculpture. If you take Rodin for example, he was someone that absolutely believed in the ability of the body to express itself, no matter how painful or how dramatic or how erotic and lustful an experience, and that this body was able to express all these feelings and states of mind. That began to go away with modernism. The next sculptor of great impact was Giacometti. His position was different from Rodin's. With him, the body was no longer able to express itself, but be expressed upon. For him, the body was more or less frozen with the anxiety that is eating away at it. So, we went from being able to express pain, joy, eroticism and anxiety to not being able to express anything at all, rather opting to internalise it all whilst allowing it to destroy us.
Studio interior. Image courtesy of Maryam Eisler
And then the body disappears for a while and when it reappears, it comes back as reproduction, body casting, silk screens, one step removed from the animation of the actual body itself. It becomes something that takes on a literal quality because when you're casting somebody, you're dealing with the specificity and limitations of individuals; height, weight and shape. The imaginative and distorting part of emotional expression disappears. Artists today prefer the representation of our bodies to be dolls and mannequins – both surrogate forms. As for me, I'm trying to find ways of keeping the physicality of the body in the forefront of our experience of our lives. In doing so, it becomes about truth, about who we are. We're all in this container, trying to figure out the interface between our interior world and the exterior world, through this thing called skin.
As an artist, I strive to get comfortable with my need to answer these existential questions with my inability to resolve them. I see my role as an artist to witness and to record, creatively and imaginatively, the experience of life's journey.
Eric Fischl's exhibition 'Towards the End of an Astonishing Beauty: An Elegy to Sag Harbor, and Thus America' opens at Skarstedt, New York, on September 14 2022
An Interview With KAWS
Mickalene Thomas and Steve Lazarides on art gamechangers
Chris Gorell Barnes on investing sustainably in the oceans
Science And Luxury Meet In The Seychelles


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PETA Warns Louis Vuitton of Potential Consumer Fraud Lawsuit
Paris – This morning, PETA fired off a letter demanding that Louis Vuitton Chair and CEO Michael Burke immediately stop making false claims about the treatment of animals killed for the company's products.
A PETA investigation into the largest ostrich slaughter companies in the world, including a then-supplier of ostrich leather to Louis Vuitton, revealed workers forcing terrified ostriches into stun boxes—causing many to fall—and then slitting their throats, as the ostriches next in line watched helplessly. Workers were also observed striking ostriches in the face during transport to slaughterhouses. For decades, PETA and its international affiliates have also exposed that animals on fur farms are electrocuted, bludgeoned, gassed, and often skinned alive. Yet despite the cruelty inherent in these industries, Burke recently claimed, "I can say 100 per cent hand on heart our animals are humanely farmed."
"There's no such thing as 'humanely' hitting an ostrich in the face or slitting her throat while other ostriches watch," says PETA Executive Vice President Tracy Reiman. "Louis Vuitton must stop lying to shoppers to sell bags and belts—or, better by far, join Calvin Klein, Victoria Beckham, Diane von Furstenberg, Vivienne Westwood, and Chanel in banning fur and exotic skins altogether."
PETA—whose motto reads, in part, that "animals are not ours to wear"—opposes speciesism, a human-supremacist worldview. For more information, visit PETA.org or follow the group on Twitter, Facebook, or Instagram.
PETA's letter to Burke follows.
Michael Burke, Chair and CEO
Dear Mr. Burke,
I am counsel to People for the Ethical Treatment of Animals (PETA), the largest animal rights group in the world with more than 6.5 million members and supporters, and am writing to demand that you immediately end your false representations that the animals used for Louis Vuitton products "are humanely farmed." Such representations are courting a consumer fraud action against your company.
Specifically, in comments to the Telegraph, you stated, "I can say 100 per cent hand on heart our animals are humanely farmed." Despite this assurance to consumers, there is no such thing as "humanely farmed" animals who are violently killed and skinned for Louis Vuitton products. As you no doubt know, PETA has exposed the cruelty of the exotic-skins industry, including within LVMH's supply chain. A PETA-affiliate exposé into Vietnam crocodile farms shows tens of thousands of crocodiles in small, concrete enclosures—some narrower than the length of their bodies. The investigator was told the animals were kept there for over a year. LVMH is a majority owner of Heng Long, which LVMH admitted sourced skins from these farms for years. Similarly, a PETA investigation into the largest ostrich slaughter companies in the world, including a supplier of ostrich leather to Louis Vuitton, revealed workers forcing terrified ostriches into stun boxes—causing many to fall—and then slitting their throats, as the ostriches next in line watched helplessly. Workers were also observed striking ostriches in the face during transport. For decades, PETA and its international affiliates have also exposed that animals on fur farms are electrocuted, bludgeoned, gassed, and often skinned alive.
As described in the attached report that was provided to LVMH in 2016, this cruelty is standard wherever animals are killed for human use. And PETA's investigations into the wool, down, and leather industries have revealed time and again that it is nothing but wishful thinking that certifications—which neither Louis Vuitton nor LVMH even require for all suppliers in their chain—somehow prevent egregious harm.
You can easily rectify this by removing all exotic skins from your offerings immediately, just as major designers, including Calvin Klein and Chanel, and retailers, such as Nordstrom and Selfridges, have already done. We hope you will recognize your untenable position and, at the least, immediately cease making this and any other false claims to misrepresent the suffering inherent in your company's supply chain.
Jared Goodman
Vice President and Deputy General Counsel for Animal Law

redpajama_set_name: RedPajamaCommonCrawl


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"Who is it in the press that calls on me?
I hear a tongue shriller than all the music
Cry "Caesar!" Speak, Caesar is turn'd to hear."
"Beware the Ides of March."
- Julius Caesar Act 1, scene 2
CSBS Comments on Legislative Efforts on Data Privacy and Security
CSBS Data Corner: State-Chartered Banks' Share of Agriculture Financing Ticks Upward
2018 Community Bank Survey Results Video
CSBS sent the following to the Honorable Mike Crapo, chairman, Senate Committee on Banking, and the Honorable Sherrod Brown, ranking member, Senate Committee on Banking. You can find the full letter here.
For many years, states have been at the forefront in advancing data privacy and security for the protection of consumers residing in their states. Accordingly, we believe any federal proposal relating to the collection, use and protection of consumer data must preserve the role for state leadership in the areas of data privacy, security and control.
Federal Law Appropriately Establishes a Federal Floor in the Areas of Data Privacy, Security and Control
Data privacy and security is a dynamic field with novel risks emerging on a constant basis. It is critical that state regulators and state law enforcement agencies retain the ability to protect consumers in their states.
In enacting federal privacy laws, Congress has traditionally recognized the important role filled by the states in setting data breach standards.
For example, Title V of the Gramm-Leach-Bliley Act (GLB) requires financial institutions to implement a risk-based response program to address instances of unauthorized access to consumer information systems. 1 Importantly, Section 507 of GLB establishes a floor for data breach and data security laws and expressly reserves the right of states to enact more stringent data breach and privacy laws for the protection of their citizens. 2
Section 507 was enacted to ensure states retain flexibility to develop regulatory approaches to protecting consumer information that fairly balance the needs of business with the level of privacy protection desired by the consumers residing in their state. Accordingly, federal consumer privacy standards have operated concurrently with more stringent state data breach and privacy laws for close to two decades.
The rapid evolution and proliferation of online financial services since the enactment of GLB has made it more crucial states be permitted to serve their constitutional role as "laboratories of democracy" in calibrating the appropriate level of protection for consumer data over and above baseline national standards.
In enacting federal credit reporting laws, Congress has likewise recognized the important role served by states in advancing the rights of consumers with respect to the collection, use and dissemination of consumer information by credit reporting agencies. As with federal privacy laws, the Fair Credit Reporting Act (FCRA) 3 likewise establishes a federal floor which allows for state laws to impose more stringent requirements with respect to the collecting, distribution, or use of any information on consumers or for the prevention or mitigation of identity theft. 4
Although, over two decades ago, legislation was introduced to preempt all state laws regulating credit reporting agencies, fortunately, this initiative failed. 5 Had the initiative succeeded, critical state reforms related to credit reporting would never have been established: consumers would not have nationwide free credit reports, consumers would not have access to their credit score, consumers would have not had data breach notices, and, at least until 2018, consumers would not have the free nationwide credit freezes.
The critical lesson here is that, while Congress often waits to enact critical consumer protections until widespread consumer harm is realized, a federal floor embraces the inherent nimbleness of state law by allowing states to experiment with innovative approaches to advancing the ability of consumers to control the use of their information as novel threats emerge.
For this reason, CSBS would strongly oppose any federal proposal which seeks to preempt states from playing a leading role in advancing consumers protections in the areas of data privacy, security, and control.
Recent State Actions Demonstrates State Leadership in the Areas of Data Privacy, Security and Control
Recent actions by state legislators and state regulators bear out the critical role served by the states in the areas of data security, privacy and control. Each of the initiatives highlighted below are examples of states responding to emerging threats to data privacy, security and control in areas where Congress and federal regulators have failed to or lack the authority to act.
In 2016, the New York Department of Financial Services (NYDFS) proposed a comprehensive cybersecurity regulation for financial institutions. 6 This regulation—the first of its kind in the nation—is designed to protect the cybersecurity of banks, insurance companies, and other financial institutions regulated by NYDFS. The regulation requires regulated companies to establish cybersecurity programs and policies, conduct annual cybersecurity assessments, and take other specific steps to secure information and network.
By taking a risk-based approach focused on highly sensitive information, the NYDFS regulation provides an incentive for companies to more effectively allocate their cybersecurity resources. The NYDFS cybersecurity regulation is just one example where the states are taking decisive action to protect consumers and our financial system in an area of data security where the federal government has yet to act.
In 2018, California enacted the California Consumer Privacy Act (CCPA) to enhance consumers' rights to control the use, including the sale, of their personal information. 7 The CCPA (which like the NYDFS cybersecurity regulation is the first law of its kind in the nation) requires companies with California residents as customers to abide by heightened disclosure standards and gives consumers considerable control over how their personal data is used. 8 The CCPA is another example of states taking the lead to develop robust, innovative solutions to ensure consumers retain control over the use and dissemination of their information.
There is an abundance of other recent examples of states taking a leadership role by enacting state laws that enhance consumer protections in the areas of data privacy, security and control. In 2018, Colorado enacted data security standards requiring companies to maintain reasonable security practices and appropriately dispose of documents containing consumers' personal information and ensure data is protected when transferred to third parties. 9
Vermont enacted a law regulating data brokers in 2018 which requires data brokers which buy and sell consumer information to register with the state's attorney general, to make annual disclosures regarding privacy practices and data breaches, and to maintain a comprehensive information security program. 10
Finally, in 2017, New Jersey enacted a law that limits a merchant's ability to collect information about shoppers and pass that data onto third parties. 11 These are important initiatives that demonstrate the critical role of preserving the role of states in experimenting with expanded consumer protections in the areas of data privacy, security, and control.
In addition to the above-mentioned state laws, state regulators have also been active in responding to incidents that reveal weaknesses in data security practices by existing companies.
For instance, in 2018, after the large-scale data breach at Equifax was made public, eight state financial regulators entered into a consent order with Equifax to address serious deficiencies the company's cybersecurity program that results in the breach. 12 The consent order arose from a joint examination these regulators performed of the company. The order, which applied to Equifax's operations nationwide, directed Equifax to undertake a restructuring of its risk management processes, strengthen internal controls, and enhanced Board oversight of its information security program.
Thus, as with state law, the corrective actions required of Equifax demonstrates just how critical it is to preserve the ability of state regulators to take swift action when material weaknesses and emerging threats come to light.
Federal Law Must Continue to Establish a Federal Floor, Not a Ceiling, in the Areas of Data Privacy, Security and Control
For the reasons discussed above, state regulators believe it is incredibly important for federal law to continue to establish a floor for consumer protection in the areas of data privacy, security and control and, thereby, leave room for states to establish more stringent consumer protections and to act quickly as novel threats emerge. Conversely, we would strongly oppose any federal proposal that would preempt the state's authority to enact more stringent standards and enforce those standards.
State regulators stand ready to work with Congress concerning where uniformity in the areas of data privacy, security and control can be achieved while preserving the ability of states to take a leadership role in standard-setting, oversight and enforcement. Relatedly, given the experience of state regulators discussed above, any federal proposal which directs federal agencies to promulgate federal standards in the areas of data security, privacy and control should provide for a role for state regulators in the development and promulgation of those standards.
Finally, if greater uniformity in data privacy, security and control is a goal, Congress should consider adopting an amendment to the Bank Service Company Act (BSCA) which would enable the sharing of examination reports and supervisory information between state and federal regulators of bank service companies and third-party service providers. Bi-partisan legislation amending the BSCA to encourage information sharing between state and federal regulators passed the House Financial Services Committee in the previous Congress by a unanimous vote of 56-0. 13
CSBS appreciates the opportunity to comment in response to your request for feedback on the collection, use and protection of sensitive information by financial regulators and private companies.
As discussed above, data security, privacy and control are an evolving area in which threats emerge and change with great frequency, and states—due to their greater flexibility and nimbleness—have been very active in leading efforts to enhance consumer protections in this area and responding to threats to consumer protections as they emerge.
Accordingly, as your offices consider what, if any, federal solutions may be appropriate in this area, CSBS urges you to bear in mind that any long-term, viable solution should preserve the ability of states to act, as they have so often, as leaders and first-responders in the areas of data security, privacy and control.
By Brennan Zubrick
CSBS Senior Director, Analytics
This edition of the CSBS Data Corner shows the percent of agricultural loans made by state-chartered banks as a percent of all agricultural loans (non-seasonally adjusted) made by banks and how that share has changed over time. State-chartered banks are an important source of agricultural financing to farmers – and have taken on a larger share of total agricultural financing over time. In the most recent quarter (Q4 2018), state-chartered banks provided the third-highest share of agricultural loans in the history of the Call Report data (67.8%). Agricultural loans consist of two data elements from the Call Report data: Real Estate Loans Secured by Farmland and Loans to Finance Agricultural Production and Other Loans to Farmers.
Source: Bank Call Report, CSBS
Helping or Hurting Community Banks? A proposal by federal regulators to implement a Community Bank Leverage Ratio is receiving pushback, reported American Banker (subscription required). At issue is whether a prospective capital framework would simplify regulatory compliance or create more hoops for smaller banks to jump through. The article cites a comment letter from CSBS, saying "the proposal is 'a fundamental obstacle to achieving the regulatory relief intended' because of how the agencies establish a new 'prompt correction action framework.'" You can read CSBS' rationale in a formal comment letter here.
Whipping Wells. Congress renewed its criticisms about Wells Fargo in congressional hearings this week, focusing on company actions to address sales practices that had led to creation of fake accounts of which consumers were unaware. Multiple reports from American Banker, Politico Pro, Reuters and others recounted the tense House Financial Services hearing with Wells CEO Tim Sloan. "More than two years after Wells Fargo's consumer scandals first started coming to light," American Banker summarized, "the congressional backlash facing the bank remains just as fierce, uniting both Democrats and Republicans." At the hearing. committee Chairwoman Maxine Waters (D-CA) described the company as too big to manage and urged its break up. Sloan responded by saying that the company has taken action to correct its sales practices. You can read Sloan's testimony here.
Modernizing CRA. In a speech this week, Federal Reserve Governor Lael Brainard discussed how enforcement of the Community Reinvestment Act could be updated. As Politico Pro reported, "A major debate around reform of the CRA...is how to define a bank's community, or 'assessment area,' which is currently driven by the location of a bank's branches and ATMs. On that front, "Brainard suggested the definition 'could be flexible enough to allow banks that conduct most or all of their retail activity online to identify states in which they have significant levels of deposits, lending or other banking activity.' She also said agencies have been considering 'a possible approach' where banks have different assessment areas for their retail activities and for their community development activities. 'This would retain the law's focus on the credit needs of a bank's local community by evaluating the retail lending and services it offers in the county or geographic area' around its branches and ATMs, she said." You can read the full text of Brainard's speech here.


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Hiram Lodge No. 103 A.F. & A.M.Westernport, Maryland
Lodge Happenings
Hiram Lodge No. 103 History
Distinguished Members
Cornerstone Ceremonies
Past Masters (Coming Soon)
Worshipful Master William (Thad) Wilson and the officers and members of Hiram Lodge No.103 AF&AM welcome you to our website. An active and growing lodge located in Westernport, Allegany County, Maryland, we have been a part of our community since the Lodge received its charter on May 14, 1856.
To learn more about Freemasonry, click the button below to visit the Grand Lodge Of Maryland's website.
Grand Lodge of Maryland
2019 Line Officers (pictured left-right):
Front Row:
Bro. Robert Allan Wiltison, P.M. - Treasurer
Bro. John Thomas Wilson, P.M. - Senior Warden
M.W.G.M. Richard P. Naegele
Worshipful Master William Thaddeus Wilson
Bro. Jonathan Michael Dowden - Junior Warden
Bro. Timothy Francis Kady, Jr., P.M. - Secretary
Bro. Aaron Van Hook Lea, P.M. - Chaplain
Back Row:
Bro. James Allen McClintock - Senior Deacon
Br. James Vernon Newlon - Junior Deacon
Bro. William Leroy Morton - Junior Steward
Bro. John Steven Morton - Senior Steward
Bro. Joshua Franklin Placka - Tyler
Bro. Merrill Brunson - Grand Inspector
Hiram Lodge No. 103 was honored to have Most Worshipful Grand Master Richard P. Naegele and his Grand Line of Officers present, despite a snowstorm, to officiate over the 163rd Installation Officers on January 13, 2019. This marks the first time in the 163-year history of Hiram Lodge that the Grand Lodge of Maryland has presided over our installation.
Where and When We Meet:
Hiram Lodge No. 103 holds regular meetings on the first and third Tuesdays of each month, with a break for the summer. All Masons are welcome to attend these meetings. Check our Lodge Happenings Page for upcoming events.
We are located on the second floor at 70 Main Street in Westernport, MD.
Find us on Facebook - Click the icon below:
The members of Hiram Lodge No. 103 A.F. and A.M. would like to express our deepest gratitude to all individuals who have in any way contributed to the content that we are proud to share on this website. Many thanks to all who have contributed in so many ways - pictures, information, letters, programs from ceremonies, time, and any form of support of this website. If you have content that you would like to be shared on our website, please contact one of our members. We are proud of our history and are pleased to be able to share our accomplishments, past, present and future. Thank you ALL!


Many Veterans qualify for cost-free health care services based on a compensable service-connected condition or other qualifying factors.
Some Veterans may be required to pay a copay for treatment of their nonservice-connection conditions. While some Veterans qualify for free health care based on certain eligibilities, most Veterans will be required to complete a financial assessment at the time of enrollment to determine whether they are eligible for enrollment and for free health care services. If the Veteran's gross household (including spouse and dependents, if applicable) income exceeds the VA income limits, the Veteran may be required to pay a copay for health care services.
Providing health insurance information may reduce or eliminate copays. Veterans with health insurance may choose to use their private health insurance to supplement their VA benefits. Payments from private health insurance usually cover copay expenses for VA health care. Having private health insurance does not affect eligibility for VA health care.


Other personal working around or on construction projects.
Notes: This is a 10-hour course held over two days.
By Signing up for this class you are committing to attend BOTH DAYS.
YOU MUST ATTEND BOTH DAYS TO RECEIVE AN OSHA CARD. The 10-hour OSHA course is taught over two (2) days and you must ATTEND BOTH DAYS TO RECEIVE AN OSHA CARD on the second day. You MUST register for both days.
Please limit attendees to five/company.
NOTE: We do not have the manpower to make changes to your schedule or to track "wait lists" this year.
If a class is full, please go to the class and check in with the monitor at class time. The monitor will add folks on a first-come, first-served basis as space permits. Please, do not be late for your class (your spot will be filled) and please DON'T be a "No Show." If your class is at AGC, ITD, Tates Rents, or Suez (previously United Water), please go to those locations to see if you can attend.
Also, please make sure you print your classes after you register. A confirmation email will be sent to the email address you provide during account registration. In order to check your class schedule, log in using your username and password and navigate to My Classes. If you cannot remember your classes, please come to the registration desk for your packet on January 22, 2019 at the BSU Student Union Building.


text:
An African Edge
New 'Stay at home' channel helps you cope while on lockdown
Home Deezer New 'Stay at home' channel helps you cope while on lockdown
By Deezer News 30th March 2020
Johannesburg, March 30th, 2020: Right now, a lot of us are locked away at home with our families. We can't leave the house and welcome ways to keep entertained. Deezer wants to help!
We're rearranging our service to give you and the family all the lockdown tunes and shows you need, in one convenient place. Introducing our brand new channel 'Stay at home'. It's packed with playlists and radio content. We've designed it specifically to serve your needs while on lockdown or practicing social distancing.
Here's a flavour of what you can expect from our brand new music playlists:
The great indoors: tunes to help with your home routine. Whether it's working, studying, cooking, exercise or cleaning
Your music therapy: helping you to stay relaxed, keep calm or feel good and positive
Keep the kids upbeat: making sure your kids stay entertained at home
But what if you're one of the people who likes to keep a close eye on the news? We've got you covered. You can find plenty of radio stations in our new channel to keep you up to date.
"What we're seeing around the world is unprecedented. Everybody's doing their part and it looks like we're all going to be locked down for a while. Deezer wants to help music and podcast fans around the world weather the storm. We've adapted our product so that you can find the right content. It may be music, podcasts or radio shows, we've got you covered so that you and your family can focus on the things that matter." said Frédéric Antelme, Deezer's VP Content & Productions.
Check out the Stay at home channel on Deezer here. Remember, it only takes five minutes of joyful music to make you feel happy.* And it might just brighten up your day!
* Research commissioned by Deezer and conducted by the British Academy of Sound Therapy (BAST) to find the exact dose of tunes you need for a healthy body and mind. The experiment studied 7,500 people across the world and analysed how different music styles affect mental and physical well-being.
About Deezer
Deezer connects 16 million monthly active users around the world to 53 million tracks. Available in over 180 countries worldwide, Deezer gives instant access to one of the largest and most diverse global music streaming catalogue on any device. Deezer is the only music streaming service with Flow, the unique mix of all your old favorites and new recommendations in one ever-changing stream. Based on an intuitive, proprietary algorithm and created by people who love music, it's the only place to hear all your music back-to-back with fresh discoveries tailored to you. Deezer is available on your favourite device, including smartphone, tablet, PC, laptop, home sound system, connected car or smart TV.
Making music happen since 2007, Deezer is a privately held company, headquartered in Paris with offices in London, Berlin, Miami and around the world. Deezer is available as a free download for iPhone, iPad, Android and Windows devices or on the web at deezer.com. For the latest news on Deezer go to Deezer.com/company/press
channelDeezerkeep the kids upbeatmusicnew musicplaylistpodcast fansStay at homestay entertainedthe great indoorsyour music therapy
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text:
Juan-les-Pins – miasto uzdrowiskowe w południowo-wschodniej części Francji w Alpach Nadmorskich.

Położenie
Juan-les-Pins znajduje się między Niceą a Cannes; nad Morzem Śródziemnym. Miasto dzieli około 13 kilometrów do portu lotniczego Corte d'Azur. Położone jest na zachód od miasta Antibes, na zachodnim zboczu pasma górskiego.

Historia
12 marca 1882 roku wieś została nazwana Juan-les-Pins. "Juan" pochodzi z języka oksytańskiego; w języku francuskim odpowiednikiem "Juan" jest "John". W 1883, zdecydowano się na budowę dworca kolejowego w Juan-les-Pins, w linii Paryż-Lyon-Morze Śródziemne (PLM), która przechodziła już przez miasto w 1863 roku.

Turystyka
Ze względu na swoje atrakcyjne położenie przy Morzu Śródziemnym, w miejscowości jest wiele atrakcji dla turystów. Oto niektóre z nich:

 Juan-les-Pins Mian Beach,
 Parc de la Pinède,
 Palais des Congrès Antibes Juan-les-Pins,
 Square Frnak Jay Gold.

Galeria

Miasta partnerskie
Lista miast partnerskich:

  Schwäbisch Gmünd, Niemcy
  Olimpia, Grecja
  Kinsale, Irlandia
  Desenzano del Garda, Włochy
  Aalborg, Dania
  Newport Beach, Stany Zjednoczone
  Eilat, Izrael

Zobacz też
 Antibes

Przypisy

Miejscowości w departamencie Alpy Nadmorskie
Antibes

redpajama_set_name: RedPajamaWikipedia


text:
Nature in Motion: Cycling Amid Kapadokya's Fairy Chimneys
Located in the Central Anatolian region of Türkiye, Kapadokya is a unique geographical region and international tourist destination known for its stunning, rugged landscape. In 2019, nearly 4 million international visitors visited Kapadokya to marvel at its geological beauty, its history, and awe-inspiring attractions. A steadily growing number of these travellers have been coming to experience Kapadokya's wonders in a new way - on bike! Many of these cyclists have found that the unbridled freedom one can find only on a bike makes cycling one of the best ways to kick-start any Kapadokya adventure.
Beginning one's Kapadokya bike adventure is easier than it has ever been. For international visitors, the fastest way to reach Kapadokya is by plane. The region is served by two airports, Kayseri Erkilet Airport (ASR) and Nevşehir Kapadokya Airport (NAV), both within about an hour from one of the region's town centres. Travelers can find multiple direct flights to both these airports flying out of Istanbul every day. Once in Kapadokya, there are many local companies that offer cycling tours to visitors. A range of different tours are available including road bike tours, single track mountain biking, and off-road adventure biking. Visitors are welcome to bring their own bikes; however, most local companies have high-quality bikes available for rent. Whatever one's level or preferred style, Kapadokya has splendid options available for every cyclist.
Stunning routes
The Kapadokya region offers a comprehensive array of entertaining routes for all types of cyclists. Due to the unique geography, Kapadokya is a true heaven for single track mountain biking. The diversity of topography allows for routes welcoming all levels from beginners to experienced mountain bikers. If speeding down rocky shutes is not for you, there are also many road bike routes which allow cyclists to cover a broader range of this legendary landscape. Meander through the winding Göreme valley, marvelling at the canyons, rock-cut houses, and churches, or even climb the shoulder of Erciyes volcano. Finally, if you are the type of cyclist that enjoys blazing one's one trail, Kapadokya offers many offbeat trails for adventure biking. Wheeling down dirt tracks and village roads against a backdrop of rocky fairy chimneys makes one feel as if they are visiting a fantasy world. No matter what your preference, Kapadokya has the bike route for you!
Visit the rock-carved hotels
Surely one of the most striking features of Kapadokya's landscape is the caves and hollows dotting the largest rock faces along its valleys and in its towns. These rock carvings accumulated over centuries, and were the primary dwellings for many of the region's inhabitants throughout history. Nowadays, while locals no longer live in cave dwellings, in the towns of Ürgüp and Göreme some of the central rock carvings have been updated and outfitted with every modern accommodation for tourists who would like to have an enchanting cave hotel experience. After a long day of cycling through arid valleys and across rocky outcrops, the cool, relaxing sanctuary of a cave hotel bedroom is what every cyclist needs. For those staying overnight in Kapadokya, this is an experience not to be missed.
Experience the local cuisine
Situated in Central Anatolia, the heartland of Türkiye, all the trappings of the country's famous cuisine can be found in Kapadokya. Mouth-watering mezes, sizzling kebabs, and rich desserts, like baklava, are readily available at the many restaurants in each town. The discerning tourist, however, would be delighted to try some of the region's specialties. One delectable example is testi kebab, a mix of vegetables and meat placed into a clay pot, sealed with bread dough, and then slow cooked to maximize the flavor of each ingredient. When served, the clay pot is broken before the diner offering an experience that is both memorable and delicious. Kapadokya is also one of Türkiye's largest wine-producing regions, with many wineries known for their high-quality products. One can taste the local wine for themselves before buying a bottle to take home as most wineries offer wine tasting options. With great restaurants, testi kebab, and famous local wines, Kapadokya has delicious dining and drink options to regenerate and relax any cyclist after a long day of riding.
Enjoy the unique scenery
As any traveler to Kapadokya knows, the scenery and landscape are unforgettable. Formed from volcanic ash and centuries of erosion, the windswept valleys of carved rock mesas and escarpments seem as if they've been transported here off the face of the moon. The fantasy-like landscape has inspired local folklore for years. Some rock formations, resembling chimneys, have been said to be the dwellings of magical fairies because of the curious nature of their formation. Today, this unusual natural beauty is the biggest draw to the area, as many come to the region to observe it in full from the bird's-eye view of a hot-air balloon. Kapadokya's hot-air balloons are world-famous and the vista is truly unbeatable. While visiting cyclists may not wish to venture into the sky, the view of nearly a hundred balloons dotting the skyline over this magnificent landscape as one speeds along on their morning ride is a sight to behold.
Cool off in one of the world's highest waterfalls: Kapuzbaşı Falls
Traveling south of Kapadokya's major towns, is quite a unique destination - Kapuzbaşı Falls, the world's second highest group of waterfalls. Coming from the Aladağlar (Anti-Taurus) mountain range, these waterfalls burst from the valley's slopes at a height of 2,000 meters above sea level. These 70-meter-high cascades offer a mountain oasis of greenery, the sound of rushing water, and relaxing hiking trails for any cyclist who has taken the longer road south.
In an area that is already established as one of the world's most sought-after travel destinations, travellers are finding new ways to rediscover Kapadokya's beauty. Experienced cyclists visiting Türkiye will be pleased to find that there is an abundance of routes for all types of bike trips, and plenty of wonderful accommodation and attractions along the way. Other visitors or beginner cyclists will also find plenty of options available with local tours, bikes for rent, and attractions available close to their hotels. This emerging trend makes this historical and beautiful region an even more irresistible place to plan one's next vacation. What are you waiting for? Plan your next bike adventure in Kapadokya today!


Link to audio recording from The ethics of press and public photography session at National Photography Symposium 4 on Friday 27 April 2012.
This entry was posted in General posts on July 2, 2012 by admin.
Link to audio recording from Copyright discussion at National Photography Symposium 4 on Friday 27 April 2012.
This entry was posted in General posts on June 28, 2012 by admin.
Link to audio recording from Archives session at National Photography Symposium 4 on Friday 27 April 2012.
Speakers: Jem Southam, Pete James and Brigitte Lardinois.
This entry was posted in General posts on June 26, 2012 by admin.
In the work and the economy session at NPS4 we heard from Esther Teichman, Sara T'Rula and John Wright…. A heady mix of pondering on academic learning in photography, the pros and cons of self-motivated learning, and both of these relative to a commercial practice.
Esther Teichmann is a practitioner in her own right, she also works commercially in fashion, she used to intern with Rankin; she now lectures and tutors at London College of Communication.
Sara T'Rula has tracked an altogether less conventional route into photography. Having previously worked in Westminster with a background in politics and economics, she used experiences gained here in technology and online tools and approached The Photographers Gallery to offer them assistance with their well known project Street Photography Now.
John Wright, by his own admission plays no part in any academic, 'art' or exhibition-based photography. John is on the advisory board of the Young Photographer Alliance – an organisation that states on it's website to be 'Inspiring, educating and empowering the next generation of photographers. Formerly a "third-world reportage photographer" John has worked through the famous people making funny faces stage and now works as a successful fashion photographer.
I shan't at this point pretend that I write from an entirely neutral standpoint. I have a BA and MA in photography and am currently starting my lecturing career in what could be the most academic of all photography topics: critical and contextual studies. I try every day to help students see their work in relation to many of the ways in which to practice photography and I (try to) help them to inform their work with knowledge. That knowledge comes through research and through consideration to the communication of their subject matter, via whichever conduit of photographic practice that they choose. In this sense, I like to consider myself open-minded, but I'm happy for that to be judged!
Teichmann considered how her practice and lecturing might adapt to accommodate changes in the market. When there are structural shifts in the nature of teaching currently, how do we begin to support young emerging artists? The nature of academia itself, even aside from teaching, is of course not distinct from economic changes. Universities function as corporate institutions; they are businesses themselves, with a need to make money and to stay afloat in order to provide an education to their students.
Teichmann believes that current graduates are shifting their expectations relative to those of previous generations of graduating artists. Unlike the Hirsts; Emins and Hunters of the world who get picked up straight from their graduate shows, she believes that there is more humble nature to this generation of emerging practitioners. There is a need/an ability/an understanding, call it what you will, of the requirement to multitask. There is less preciousness around particular working practices, wherein graduates will practice in two, or three, different ways at the same time. It is no secret that the dissemination of work has been radically altered by changes in technology over the last decade or two. Work can now be seen more quickly, in many different places instantly, it can be altered, appropriated, ambushed! With this though also comes a need and an ability to control where and how work is seen; self-management, self-teaching and self-publishing are now on the rise. As a practitioner, taking your work into the world has changed. This is another market shift that may change the way in which students need to be educated…so how can teaching change to meet these shifts?
Through self-teaching, Sara T'Rula quietly tiptoed into a photography practice and career. A love of jazz and her own working practices aroused strong ideas around collaboration and she approached the Photographers Gallery to become their community manager, looking after the public and user interface for Street Photography Now. The Street Photography Now community continues independently from The Photographer's Gallery since the project finished; it is a self-initiated community, which is having a lasting and tangible affect on photography in its oeuvre. The group of practitioners itself is changing to suit the situation that it finds itself in. Again here we are reminded that this current generation of practitioners can be seen to self-govern, evolve, adapt and diversify. T'Rula is enthusiastic about participation and collaboration and is working towards an online presence for a participatory project at Format 2013. How exactly does an artist/photographer disseminate and contextualise work now – how can we focus on this as both practitioners and facilitators? T'Rula is also working with Ed Clarke using multimedia to try to make his work complicit with changing standards in viewing and accessibility – making work with the audience in mind is not a new thing in the art world, but assuming infinite audiences just may be.
He hit the ceiling doing celebrity shots, stating that one subject matter (celebs) limits creativity and so you can't photograph in any way that you want. John now makes fashion images and is wise to advise that you always know your future aims.
John Wright's advice in this sense was sound, but I felt that he lacked an appreciation of the more wide nature of photography outside of his own practice.
Photography is a vastly expanding oeuvre, it contains many ways of seeing and practicing, many messages and many styles; there are now many ways of being a photographer. Photography itself will continue to expand and contract, evolve and devolve, and as working practitioners in photography we will need to echo this shift in both the practice and concept of photography itself.
It was with the Q&A session at the end of this discussion that the issues raised around finance, education and exploitation really came to a head. We discussed the nature of the internship, about which Teichmann believes that there is an ethical split. The photographic industry is dependant on unpaid work placements, but they don't happen in other industries to the same degree. Ultimately, she believes that internships need to be evaluated by the individual. Those who offer internships are actually showing a spirit of generosity by taking you under their wing in terms of mentorship and support, which can be invaluable for learning. In a sense John Wright agrees when he says that an internship can provide a free education, but if you take nothing from it, leave. He believes that you must take opportunities when they arise as they won't always come to you, you must be specific and find the opportunities that expose you to the skills that you need to learn.
It was through the conversation around an academic education in photography that things became most argumentative. Are undergraduate course worthy of the £9000 fees? What do they offer? Is it a relevant education?
Esther Teichmann thinks UK offers exceptional photography education; John Wright does not. She believes that the theoretical component of UK courses is strong, widely respected and supported. Most importantly, university can become a great place to create a network of academic experience – writers, curators, managers, etc and this nepotism is vital to forging your career.
T'Rula regards art networks as imperative for the development of relationships and that in this sense, education and commercial are both valuable places to make contacts in the industry.
In some countries in Europe, academic courses are run in a quantity that echoes the proportion of that business type in the economy.
To go to university is socially progressive. It is not necessarily for training as a vocational photographer, but for providing an education about photography.
Universities send out students who are ill equipped to be photographers.
In the UK, academic courses can be run simply if there are enough students on them.
Apparently there are more students studying photography in the UK than there are taxpaying photographers.
We need to re-think academic courses to accommodate self-promotion and technical skills. More practical inclusion may be required.
Where do galleries and photographic organizations stand through times of academic change?
Funded establishments will always be key to learning about photography.
University teaches student how to think and supports their skills. Thinking is a crucial part of learning how to operate as a person.
In a time of diversification, when you need to broaden your skills to narrow them in the future, how wide do you stay and for how long?
This entry was posted in General posts on June 12, 2012 by admin.


Marta-Saint Gratien-09/2015- Photo: Olivier Daaram Jollant © - From a recent photo session with Marta @Modenfer. Saint Gratien, Val d'Oise, France.- Extrait d'une séance photo récente avec Marta @Modenfer. Saint Gratien, Val d'Oise, France. + Photo & Reworked//Retravaillée: 09/2015 © Olivier Daaram Jollant 2015. Tous droits réservés. Ne pas utiliser ou reproduire sans permission écrite // All rights reserved. Not to be used or reproduced without written permission.
Marta-01/2015- Photo: Olivier Daaram Jollant ©- Close up on her: From a recent outdoor photo-session with Marta @ Modenfer- Gros plan sur elle: Image extraite d'une séance de mode en extérieur avec Marta @ ModenferPhoto: 11-2014, Reworked: 01-2015- Photo & Post production: Olivier Daaram Jollant- Model, Make up, Hairdressing, Styling: Marta Modenfer© Olivier Daaram Jollant 2015. All rights reserved. Not to be used or reproduced without written permission.


text:
Media Psychology
The study of Media psychology emerged as an academic and professional discipline due to a social and commercial demand for the application of psychological theory and research into the impact of media and emerging media technologies both academic and non-academic settings. Psychology is fundamental to understanding the impact on individuals and groups of the integration of media technologies in our society.
This field encompasses the full range of human experience of media—including affect, cognition, and behavior—in activities, events, theories, and practices. Media include all forms of mediated communication, such as pictures, sound, graphics, content and emerging technologies.
The emerging field represented a significant opportunity to use media in new and creative ways by understanding how psychology and media work together. Psychological theories can be applied to emerging social media, e-Learning, and digital technologies in pioneering ways.
Media psychology draws from multiples disciplines such as sociology, anthropology, neuroscience, political science, rhetorics, computer science, communications, and international relations.
The APA's first book devoted to the then-emerging field of media psychology was Perspectives on Psychology and the Media, edited by Sam Kirschner and Diana Kirschner. The APA Media Psychology Division 46 of the American Psychological Association now defines its purpose as focusing on the roles psychologists play in various aspects of the media, including traditional and new technologies.
Media psychology applies the theories of psychology to mediated communication and experience. It promotes research into the impact of media on human behavior and understanding media use, production, and distribution; to enrich the teaching, training, and practice of media psychology; to encourage the use of psychological theory and expertise to the development of media across a wide array of applications from business and entertainment to education and healthcare.
Read Also: Professional Media Translation Service
Media psychology also promotes a better understanding of psychology and psychological research disseminated through media channels. Media psychology is not a clinical degree; however media psychology is relevant to clinicians who employ technology to expand the availability of therapeutic resources.
The 1998 APA Media Psychology Division 46 Task Force Report prepared by Bernard Luskin and Lilli Friedland on Psychology and New Technologies broadened the definition of media psychology, set the stage for media psychology to become a more widely researched area and led to the establishment of new university programs in media psychology.
For example, Fielding Graduate University, offers a PhD and MA in Media Psychology, the Massachusetts School of Professional Psychology offers an intensive online MA degree in Media Psychology, and the Touro University Worldwide MA degree program in Media and Communications Psychology.
It is now being widely recognized that all media affecting human behavior does so through communication and media and communications psychology have become blended areas of research leading to increasingly valuable insights.
onX � e a p� 0� the basic reproductive rate is greater than one—the standard in epidemiology for qualifying something as an epidemic), the number of infected users grows according to an exponential curve.
Of course, the marketing campaign may be successful even if the message spreads more slowly, if this user-to-user sharing is sustained by other forms of marketing communications, such as public relations or advertising.
Bob Gerstley was among the first to write about algorithms designed to identify people with high Social Networking Potential. Gerstley employed SNP algorithms in quantitative marketing research.
In 2004, the concept of the alpha user was coined to indicate that it had now become possible to identify the focal members of any viral campaign, the "hubs" who were most influential. Alpha users could be targeted for advertising purposes most accurately in mobile phone networks, as mobile phones are so personal.
Are you looking for Media Industry Translation? We are here for your assistance.


Donald Trump doesn't want to see any more BMWs or Mercedes on Fifth Avenue in New York. To that end, he has made different, partly contradictory threats and offers in the trade conflict with the EU. Will it work for him?
New York City's Fifth Avenue is known the world over for luxury brands for the rich and the famous, among them the latest high-end vehicles of BMW and Mercedes. But if President Trump has his way, the popular German cars soon won't be driving down the famous avenue anymore.
It all started during Trump's election campaign in 2015 and 2016. Back then, he promised to strengthen the domestic economy by creating jobs and boosting local production. The importation of foreign goods, particularly German luxury cars, has been a thorn in his side ever since. Seeing those cars drive by Trump Tower, which is located on Fifth Avenue, was apparently the epitome of everything he does not want.
Looking for evidence? In April 2018, Trump reportedly told French President Emmanuel Macron that he will continue the trade war until the day comes when no more Mercedes Benz or BMWs drive by on Fifth Avenue. So how exactly does he intend to achieve his goal?
When EU carmakers suddenly have to pay between 20 and 25 percent on cars they intend to sell in the US, new Mercedes and BMWs will soon vanish from 5th Avenue. That's what Trump must have had in mind when he threatened to impose those tariffs last month.
At first glance this looks logical, says automobile analyst Efraim Levy. "That would raise prices for consumers, and it also puts jobs at risk as well as the volume," he told DW. "Because when the price rises for the consumer, they are going to buy fewer vehicles. That will pinch the profit of automakers throughout the world."
But does that mean BMW and Mercedes owners would switch to US brands? "For 20 years I've always been using Mercedes Benz," a Benz-fan in Manhattan said. He'd pay more if push comes to shove. Similarly, a young BMW owner on 5th Avenue said he would remain faithful to his brand. "I wouldn't consider buying an American car because I don't really like them," he said. He'd rather buy a cheaper model of a German car.
In summary, Trump's threats hitherto haven't swayed customers. Mercedes and BMW's stable sales figures in the US confirm this sentiment. "I think a lot of people are just waiting until it actually happens," analyst Levy said. "If you've seen Trump's negotiation tactics, he threatens big time and then comes way back to the middle or less." So even if he follows though with his threat, he won't get rid of all the BMWs and Mercedes on Fifth Avenue.
New jobs at US carmakers: Few.
Will these iconic brands disappear from American streets and highways?
It sounds like the complete opposite of Trump's prior threat. Even if this, for one thing, looks like the better option for the EU compared to scenario 1, the US still wins out in this instance.
Thus far, the US has had to pay a 10 percent tariff on car imports from the EU, whereas cars exported from the EU to the US only incur a 2.5 percent import tariff. So what would such a zero customs treaty mean? American cars could become 10 percent cheaper in the EU. But does that mean Europeans would buy cars from the US en masse? Probably not. At the same time, the EU can put Mercedes and BMWs on Fifth Avenue for free.
Read more: Does the world still love German cars?
But exactly how big of an incentive is the deal for the EU? One thing Trump shouldn't forget is that the majority of German cars designated for the US market are made in the US already. Therefore, they do exactly what Trump actually wants: create jobs. BMW's largest factory is located in South Carolina; Mercedes employs 24,000 people directly and a further 150,000 indirectly through its supply chain.
Moreover, many German cars made in the US don't even stay there. BMW, for instance, exports more than 70 percent of its annual US output to other countries. One of the biggest buyers is — surprise, surprise — China, the country with which Trump has escalted trade tensions to the brink of a trade war.Counter tariffs from China thus also affect European carmakers, despite the absence of a trade conflict between the EU and China.
German carmakers in the US could draw two conclusions out of this situation. For one, they leave cars produced in the US on-site. That would mean more BMWs and Mercedes on 5th Avenue. Alternatively, they could manufacture for the Chinese market directly in China, a move that would kill thousands of US jobs.
Mercedes and BMW on 5th Avenue: more than before.
So, no matter what Trump does, he won't get rid of BMWs and Mercedes from Fifth Avenue. After all, they're just as big a part of the famous street as Trump Tower.
Car Import Ban: Will US citizens lose out?
Leading German car executives have been invited to Washington for talks with the US government. The auto pow wow offers carmakers the chance to speak their mind, but what they don't say might carry the most weight.


text:
Q: Run script after additional page content is loaded via Ajax I have a script that replaces text node content. It works great on initial page load, but when I navigate to another tab that opens up more content that needs to be replaced, it does not work. I need to figure out a way to re-run the script function to replace text after clicking on the new tab and loading that extra content. Preferably, I would also need to wait for the new content to load before running the function or else it will not replace node content everywhere needed.
Here is the replace script finalized here: Replace non-code text on webpage
var getTextNodesIn = function(el) {
    return $(el)
    .find(":not(iframe, script, style)")
    .andSelf()
    .contents()
    .filter(function() {
        return this.nodeType == 3;
    });
};

function changeText() {
    var re = new RegExp(/^\$(\d+)/);
    getTextNodesIn($('div')).each(function() {
        if (re.test($(this).text().trim()) === true) {
            var txt = $(this).text().trim();
            txt = txt.replace(re,"%$1");
            $(this).replaceWith(txt);
        }
    });
}

$(document).ready(function() {
    changeText();
});

The button HTML that is clicked to load new tab content looks like this:
<a href="#" id="m_id0:Form_id45" name="m_id0:Form_id45" onclick="getTabSwitchId('78396'); if(!verifyRChange()) return false; saveTextBeforeReset();if(window != window.top){var f = document.getElementById('m_id0:Form');f.action += (f.action.indexOf('?') == -1 ? '?' : '&');};A4J.AJAX.Submit('m_id0:Form',event,{'similarityGroupingId':'m_id0:Form_id45','oncomplete':function(request,event,data){checkRequired('','Tab 1');},'parameters':{'tabId':'78396','appID':'54362','id':'534','m_id0:Form_id45':'m_id0:Form_id45'} ,'status':'m_id0:Form:m_id21:5:tabSwitch'} );return false;">Second Tab

Is there something that can be used in that code to listen to and run changeText() function when the new content is loaded? Note that I probably would not want to use any Ids from the button because this has to apply to multiple buttons that may have different Ids.
Also, it does not even have to be a change specific to the button, just anything that would trigger the function if the HTML changes. For example, I tried the following option but it caused "Maximum call stack size exceeded" error and well as other issues because it does not wait for all the changes to complete.
$(document).bind("DOMSubtreeModified",function(){
    changeText();
});

A: I think I solved the problem with this piece of magic: https://stackoverflow.com/a/27363569
(function() {
    var origOpen = XMLHttpRequest.prototype.open;
    XMLHttpRequest.prototype.open = function() {
        console.log('request started!');
        this.addEventListener('load', function() {
            console.log('request completed!');
            console.log(this.readyState); //will always be 4 (ajax is completed successfully)
            console.log(this.responseText); //whatever the response was
        });
        origOpen.apply(this, arguments);
    };
})();

Note that I couldn't simply use the following because my page is not using $.ajax() or any jQuery ajax method for actually loading content. But it's a nice quick solution for anyone that is.
$(document).ajaxComplete(function() {
  alert("ALL current AJAX calls have completed");
});

redpajama_set_name: RedPajamaStackExchange


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Pamela Carter Joern is the author of three works of fiction: In Reach, The Plain Sense of Things, and The Floor of the Sky. She participated in the summer 2014 writing workshop, Apart and Yet a Part, and the summer 2007 writing workshop, Believing in Writing. Her latest release, In Reach, recently won a Nebraska Book Award.
You won the Nebraska Book Award for your short story collection, In Reach. Congratulations. What's that like?
It's thrilling, of course. When you're sitting alone writing, you never know if the work will be ignored or appreciated. Stories are hard to place because fewer readers enjoy them. An award like this means someone has paid attention. That's very gratifying.
Has recognition of this sort (you've won a Nebraska award twice now) affected how you write, or how you think about writing?
I wouldn't say it has affected how I write, but it has reinforced my courage to keep writing.
President Obama recently interviewed Marilynne Robinson. That had to be quite a heady moment for her, even with a Pulitzer Prize under her belt. What would be the highest compliment to your writing that you can imagine?
Who wouldn't like to meet President Obama? Or win a Pulitzer? I can't say I've spent much time dreaming toward these ends. I have very young grandchildren. Someday, I would love it if they picked up my books and found them true and engaging. If they learned something about what it is to be human, if the books led them toward compassion and empathy, I would be ecstatic.
What are some of the perils of writing short stories? What are the charms?
I would say the perils are also the charms. The main thing is, short stories are short. You don't have the luxury of developing long backstories or complicated twists of plot or multiple character viewpoints. You can't hide mistakes. However, what I love about writing stories is that we (both the writer and readers) are dropped into a life at a pivotal moment, a small moment usually, the kind of moment that we generally recognize as significant only in retrospect. I think writing stories has helped me to be more aware of the meaning residing in the ordinary. I hope reading my stories does the same thing.
What is it about writing that keeps bringing you back to the page day after day?
Discovery. I know that's a writer's cliché, but it's also true. I write to deepen my understanding and my compassion. I love the flow of words on a page. Even after all this time, I'm surprised when something unexpected occurs. I know the fallacy of waiting for inspiration, and yet I fall into that trap. I wait, thinking I don't know what to write about. Eventually, not writing is more painful than writing, so I sit with the empty page, and then clues start to unfold. I wish I could circumvent the painful emptiness stage of this process, but it doesn't work that way for me. There's empty; then there's the story revealed. And for me, that is enough.
Congratulations on your award. I remember back to 2007 with both of us struggling to write. Thanks for your beautiful statements about the writing process. Keep discovering…….


Clashes between police and protesters erupt hours before official report on rights abuses during months of turmoil.
Manama, Bahrain - The Bahraini government hopes this week will be a chance to turn the page on months of popular protests.
In a sign of how deeply divided the country remains, police clashed with protesters during a funeral march on Tuesday afternoon, just hours before an official commission was set to release its report into alleged human rights abuses committed during months of protests.
Bahrain's king, Hamad bin Isa Al Khalifa, established a five-member commission in June to investigate "whether the events of February and March 2011 (and thereafter) involved violations of international human rights law and norms".
At least 35 people have been killed in this year's violence, with hundreds more wounded and detained. The commission's final report, originally scheduled for release in late October, was scheduled to be published on Wednesday.
The government is hoping to capitalise on the report to improve its image. Journalists have recently been welcomed back into the country after months of restrictions, and the government announced on Monday that all forms of torture would be illegal, with more stringent penalties for those who commit them.
Nabeel Rajab, the president of the Bahrain Centre for Human Rights, praised the government's move to ban torture, but argued that the report would limit itself to a handful of low-level targets.
A coalition of Bahraini human rights activists released their own investigation on Tuesday that cited more than 1,300 instances of torture, far more than the 300 reportedly identified by the official report.
Opposition leaders have called for protests to coincide with the report's release on Wednesday. Many have said the report will not lead to political reconciliation unless it faults senior officials the government follows it with a major concession, such as a general amnesty.
On Tuesday, hundreds of police roamed through Sitra, a predominantly Shia village south of the capital. They used tear gas against protesters, some of whom built makeshift roadblocks and threw rocks and petrol bombs at the police.
The demonstrators were mourning the death of Ali al-Badah, a 16-year-old who was run over by police vehicles on Saturday in Juffair, a suburb of Manama. The boy's uncle told the Associated Press that security forces blocked relatives and medical personnel from reaching him.
Bahrain's interior ministry said that the boy's death was an accident, and blamed it on an "oil spill" left by "rioters".
Critics say many Bahrainis do not trust the official report because of statements made by Cherif Bassiouni, the Egyptian judge who chairs the commission.
Bassiouni said in August there was no evidence of routine torture in Bahrain. He backtracked on these comments earlier this month, telling the Egyptian daily Al-Masry Al-Youm that it was, in fact, a "systematic policy".
"They don't trust the report. This is a commission appointed by the king," said Yousif al-Muhafdah, a human rights activist. "The people in Bahrain are disappointed with Bassiouni and his commission."
Bahrain's main opposition parties, particularly Al Wefaq, have been more reluctant to criticise the government during this year's protests. Observers believe response to Wednesday's report will likely be cautious as well.
Ali al-Aswad, a former Al Wefaq parliamentary member, said he was confident that the report would include a thorough accounting of human rights abuses.
"In this area, we have clear information that the report will do a good job," said Aswad, who added that he still does not "expect anything towards political reconciliation".
The government hopes that the report will bring opposition parties back into politics; all of Al Wefaq's 18 parliamentarians, including al-Aswad, resigned their seats in protest earlier this year.
The report will be closely watched by international human rights organisations, several of which are sending analysts to Bahrain this week.
"We'll be looking at the whole issue of impunity, proper investigations," said Said Boumedouha, a researcher with Amnesty International. "They need to bring those responsible for torture, for the deaths of civilians in custody, to justice."
Boumedouha said that the members of the commission are generally well-regarded. "Their reputations are on the line, too," he said.
The US state department has delayed a proposed $53m arms sale to Bahrain until after the report is released.
The US has been one of the largest arms suppliers to Bahrain, according to an Amnesty International report released last month. It also maintains a large naval base in the kingdom.
The state department declined to comment on the report before it was released.
The uprising in Bahrain began in mid-February, when protesters demanding political reforms took over Pearl Roundabout in downtown Manama.
They were initially met with a brutal crackdown, as security forces used live ammunition to clear the square. Bahrain's king apologised for the violence and protesters were allowed to return, though they continued to face intermittent police action.
The opposition struggled to unify around a coherent set of demands; some protesters wanted a constitutional monarchy while others pushed for the complete ouster of the ruling Al Khalifa dynasty.
Most of the demonstrators were Shia, angry at what they perceive as decades of discrimination by a Sunni-led government.


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