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High Noon (1952) Fred Zinnemann
Aug7 by John Greco
"This is just a dirty little town in the middle of nowhere. Nothing that happens here is really important."– The Judge
First a confession! Dave over at the excellent Goodfella's Movie Blog is in the middle of a year-by-year countdown of the best movie of each year. If you have yet to visit his site please do, you won't be sorry. Now that's not the confession, so what is, you ask? Well, in my comments at Dave's blog for the 1952 best film selection, I stated that I was not a big fan of Fred Zinnemann's "High Noon"; subsequently I did not include it in my own list of favorite films for that year. Recently, TCM ran the film again, and unlike the many times it has been aired before, I did not ignore, but decided to revisit it for the first time in many years. So here is my big confession, truth be told, I was wrong, "High Noon" is one of the great films of 1952 and one of the great westerns of all time! Now this won't come as a shock to many of you who even without my proclamation already knew "High Noon" was a great movie. Frankly, I am just catching up.
Now that I got that weight off my chest, I can move on…
John Wayne proclaimed his dislike for this movie, seeing it as a parable for the blacklisting and anti-communist furor that was taking hold in the early 1950's. He found it disgraceful that Marshal Will Kane (Gary Cooper) tosses his badge into the dirt at the end of the film. Seven years later, Wayne and Howard Hawks would made "Rio Bravo" as a response to the radical "High Noon." As late as 1971, Wayne, in a Playboy magazine interview, called "High Noon", "the most un-American thing I've ever seen in my whole life." If Wayne disliked what the film stood for, Hawks abhorred it, insulting his sense of professionalism. He therefore made a film where the sheriff refuses help from the town's citizens, instead accepting help from only other "outsiders" like the young gunslinger and the town drunk. Whereas, Will Kane, in "High Noon", was an accepted member of the town's social circle with friends. John T. Chance, in "Rio Bravo" separates himself from the town, he is a professional lawman, an outsider and not part of the town's citizenship.
Ironically, over the years, people and even countries, from both sides of the political spectrum have come to find their own personal values in this film. The former Soviet Union accused the film of being "a glorification of the individual." Pro-McCarthyites saw the film as communist propaganda and anti-American. Yet President Ronald Reagan loved the film for it lead character's "strong sense of and dedication to duty and law." Both Presidents Eisenhower and Clinton loved the movie. Clinton ran the film no less than 17 times while in office! He even recommended it to then incoming President Bush. So how can one film be interpreted and satisfying on both sides of the political fence? Possibly, because, no matter where you stand politically, the film has come to symbolize the courage and perseverance an individual needs during hard and difficult times. Here was one man who stood up for what he believed in, despite the abandonment, the lack of conviction and courage from the community he helped build and protect. Perhaps the Soviet Union was right, "High Noon" is the glorification of the individual, how American!
Even before the film was completed, staunch conservatives were attacking it. The film was made during the height of the anti-communist witch-hunts. The House of Un-American Activities (HUAC) was finding communist everywhere including in your toaster! Hollywood was under siege, forced by Congress to rid itself of any writer, actor, director who even smelled of leftist leanings. Socially conscience filmmakers were driven out of the country, Jules Dassin, Joseph Losey to name two, while others were put in jail (the Hollywood 10). Still, more lost their livelihood and had to retreat to theater or get out of the business all together. Screenwriter Carl Forman, a known left-winger, was eventually fired by producer Stanley Kramer who was under pressure to do so. There is plenty of irony when you consider that star Gary Cooper was conservative, as was composer Dimitri Tiomkin, both card-carrying members of the Motion Picture Alliance for the Preservation of American Ideals, an anti-communist group that worked with the HUAC in "cleaning up" Hollywood. Additionally, Tex Ritter who sang the title song shared similar sentiments. Lloyd Bridges and cinematographer Floyd Crosby (father of rock singer David Crosby) were "gray listed" for working in the film. producer Stanley Kramer and director Fred Zinnemann had liberal views and while not blacklisted were considered sympathizers.
The plot is simple, three men ride into the town of Hadleyville, one is Ben Miller, brother of recently released ex-convict Frank Miller, who is arriving on the noon train. Five years ago, Marshal Will Kane sent Miller to prison. Originally, Miller was sentenced to death until the courts changed his sentence to life in prison. Eventually he was released after serving only five years. At the time of his sentencing Miller swore vengeance and now he has come back to collect. This same day, Will Kane is retiring as Marshal and marrying his young sweetheart Amy (Grace Kelly). Right after the ceremony, word arrives that Miller is out of prison and coming to town, to kill Kane. His neighbors tell him it is best if he and his wife leave and disappear. They hustle the couple quickly out of town; however, once on the trail Kane has second thoughts. His wife tells him it is crazy to return, Kane says he has never run from anyone before; he has to go back. When he seeks help from the town people, they refuse. Some resented Kane's tactics while he was Marshal. Others say since Will is no longer Marshal, why should they risk their lives. Some thought life was better years ago when Frank Miller was here and the town was wide open. Kane's Deputy Marshal Harvey Pell (Lloyd Bridges) quits, blaming Will for not speaking up for him so he could inherit the Marshal's job upon his retirement. Even the judge who sentenced Miller is packing and leaving town, urging Kane to reconsider and leave too. "The man is crazy", he says.
Approximately 1 hour and 11 minutes into the film, director Zinnemann and his editors, create a mosaic of tension, and a class in film editing. It starts with Kane sitting at his desk writing out his last will and testament, Dimitri Tiomkin's music begins a tense pounding. Kane looks up at the clock, in extreme close up we see the swinging of the pendulum, the camera moves upward toward the hands of the clock, which reads 11:58. We cut to the outlaws waiting at the train station, then to a low angle shot of the tracks. Next, we see the interior of the church, close-ups of the solemn parishioners. Zinnemann cuts to the saloon, its customers. Back to the pendulum swinging, Will Kane at his desk, a long shot of the exterior of the town, cut to another angle of the town. Back to the railroad tracks, the killers waiting. By this point, the pace of the cuts have accelerated. Zinnemann cuts to a close up of the previous Marshal sitting in his chair, a friend cowering in his home, a close-up of Helen (Katy Jurado) the saloon owner, and then a close up of Amy. Back to the swinging pendulum, and then the clock, as it is about to strike noon. Quick cuts to the killers, Amy and then, the sudden sound of the train's whistle. It's high noon. The camera is back on the tracks and far off we see the smoke puffing from the train engine, the music stops, the quietness is startling; we are back looking at Kane.
Kane comes outside on to the street, he sees Amy and Helen on a buckboard riding toward the train station. Zinnemann now gives us a shot the Marshal in close up. As he looks around Zinnemann's camera begins to pull back. A crane shot, the camera moves back and up high over the entire town. The streets are empty except for the Marshal.
In the final sequence, we see Kane marching toward his confrontation with the band of four who are walking toward him from the other end of town. The gun battle ends as we expect with Kane the victor but only after he gets some unexpected help from his Quaker wife, who came back from the train when she heard the first gunshots, and shoots one of the outlaws in the back just as he was about to kill Will.
The town's citizens come out of hiding surrounding Kane and his wife. He looks at them in disgust, takes off his badge and tosses it into the dirt. The Marshal and his wife climb up on the buckboard and ride off.
"High Noon" is less than 90 minutes long and takes place in almost real time starting with the three men riding into town and the wedding of Kane and his young bride. Time is a recurring motif in the film. We constantly have shot of clocks, men looking at watches as the minutes tick away toward the arrival of the noon train and Frank Miller. The film is unconventional in many ways. Unlike most westerns, there is little action here, except for a fight between Kane and his former deputy Harvey and the climatic ending. At one point, the Marshal openly admits to Harvey that he is afraid. There is also no talk of the west being the opening of a new frontier or the beginning of a new community, themes common at the time to western film mythology. "High Noon" is nothing a typical western is suppose to be, it is the antithesis of John Ford's more romanticized version of west. No wonder The Duke hated it.
Additionally, much was made at the time of the age difference between Cooper, who was fifty-one, and looked a lot older (he was ill), and the young and beautiful Grace Kelly who was about twenty-three.
Cooper gives an impressive performance as Kane. Looking visually worried, sweat on his face, bound by a sense of honor, he finds himself standing alone amongst the town people he swore to protect. Like John Wayne, Gary Cooper is one of cinema's iconic western heroes, having appeared in "The Virginia", "The Plainsman", "The Westerner", "Vera Cruz" and "Man of the West" among others.
"High Noon" is one of the most beautifully framed and photographed films, brilliantly shot with deep rich blacks. I was truly impressed by the framing of many of the images that could have easily been plucked from the film and work elegantly as black and white still photographs. The man responsible was Floyd Crosby, who surprisingly did not even receive a nomination for Best B&W Cinematography that year. The music by Dimitri Tiomkin has become as iconic as Cooper's image walking down the empty streets of the town. The haunting title song with the word's "do not forsake me oh my darling", a constant reminder that Kane has been abandoned by everyone. Tiomkin by the way would score Hawks "Rio Bravo." The film also has some great character actors including Lee Van Cleef as one of the killer's, Lon Chaney Jr. as the former sheriff, Harry Morgan as a so called friend of Kane's, Katy Jurado as the saloon owner and former lover to both Will Kane and Frank Miller. Most recently, she had hooked up with the young immature deputy played by Lloyd Bridges. Other well known charcter actors include Thomas Mitchell, Jack Elam Otto Kruger and Harry Morgan.
The film's political overtones are still there, a reminder of uglier times. Though they have faded from memory of some, younger viewers may even be unaware of any political overtones; just read the comments on IMDB. Still the film resonates with many in the audience today. The politics of prisoners receiving early releases, their sentences being reduced is as timely today with audiences as it is portrayed in the film. Note the discussion about this topic in the church when Will seeks help from the churchgoers. One of the town people speak out saying Miller's release from prison is not their fight, it is the responsibility of those northern politicians, who released him from prison. In the final analysis, "High Noon" does not fit snugly into any one philosophy. It does not take a straight liberal or a conservative stance. Viewers looking for a particular ideology that fits neatly into their vision will be disappointed. Politically, there is no comfort food here such as conservatives find when they watch FOX news or liberals find watching MSNBC.
This entry was posted in 1950's, Film Reviews, Fred Zinnemann, Gary Cooper, Grace Kelly, Twenty Four Frames Favorite Films and tagged Fred Zinnemann, Gary Cooper, Grace Kelly, High Noon, Katy Jurado, Lee Van Cleef, Lloyd Bridges, Lon Chaney Jr., Western.
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21 comments on "High Noon (1952) Fred Zinnemann"
fanny breteau says:
dear. that's because of that film i decided my alias would be "Kane"
Amazing, John simply amazing. You revisit a film that you have misgivings for, and the result is the greatest review you have ever written–or at least the greatest I have seen from you! And well you should have looked on it again as it is one of the two greatest westerns in the history of the cinema (the other is John Ford's THE SEARCHERS) So magnanimous of Howard Hawks to attack this film, especially as in his heralded career he never made a film as great as HIGH NOON. Ed Howard may come over from ONLY THE CINEMA (I like Ed a lot, and I'm only posing friendly cinematic divergence here) singing the praises of RIO BRAVO and RED RIVER, but truth is, neither of those is as perfect as HIGH NOON, nor as emotionally engaging, nor as tense, nor as perpendicular. And its denouement is unforgettable. Gary Cooper gave the greatest performance of his career here, and all the support (including Katy Jurado) is magnificent. Those who owned the Criterion laserdisc may recall the superlative scholarly commentary track by Professor Howard Suber, which was one of the finest ever recorded. Of course, some have objected to the time frame, calling it too pat, but these are the same people who deride the traditionalist approach, and complain the film plays it safe. I'd rather have as film that narratively enthralls, grips, rivets, and stirs the emotions than a convoluted abstract treatise any day, even if there is a place for the latter, when it duplicates the resonance at least in some measure as HIGH NOON does.
I enjoyed your enthralling historical context, and am relieved that you have now seen this as the masterpiece of American cinema it is.
Shame on John Wayne.
Sam – I have always liked Hawks work and I like "Rio Bravo" which has been a favorite however, I do agree "High Noon" is a better, more thoughtful and complex film. It was either Hawks or Wayne who commented on Cooper's character admitting to being afraid finding it weak. Well to me, that seems like common sense. His fear did not stop him from doing what he felt was right, but he was afraid. You're going into battle, there should be some trepidation on your part otherwise you're heading into it without thinking. Wayne never seems in doubt of the outcome in "Rio Bravo."
Overall, "High Noon"is tense and there is never a relaxing moment. It is just a continuous build up until the final shootout. Zinnemann never lets anything distract you from what is happening. The film is so tightly made and finely edited that there is not a moment wasted. My biggest problem with "Rio Bravo" is the Rick Nelson. He was not much of an actor and unconvincing as a gunslinger. I know Hawks used him for commercial reasons to draw in the younger audience of the time. Unfortunately, it hurts the film. However, I like seeing Nelson and Dean Martin sing together though it is irrelevant to the rest of the film.
This film is definitely now in my pantheon.
Samuel Wilson says:
To open up the context a bit, Hawks's gripe against High Noon reminded me of his pal Ernest Hemingway's complaints about James Jones's novel From Here to Eternity, coincidentally also directed on screen by Zinnemann. Hemingway's language was much nastier (you'll find it in his Selected Letters) but it seemed to boil down to upholding some ideal of male conduct not unlike Hawks's "professionalism." Hemingway and Hawks seemed unduly hostile to any confession of male weakness even while the protagonist of High Noon, especially, remains an exemplary hero. For people who probably saw themselves as hard-boiled realists, Hawks and Hemingway became hard-shelled idealists in an unpleasant way in their later lives.
As for High Noon specifically, Foreman's script appeals to an ideal of solidarity that must have been alien to Hawks's worldview. Wayne, I suspect, was either influenced by Hawks or simply inclined to impugn the motives of politically-suspect creators. How one responds comparatively to both High Noon and Rio Bravo does depend on one's views on society, though that's more likely to influence one's view of the Zinnemann rather than the Hawks, which is a fine adventure film regardless of its inferred agenda. To me it seems appropriate for a lawman to seek assistance from his community, while the "professionalists" have the burden of showing why this is somehow wrong.
Judging aesthetically, I find that High Noon has a deeper emotional range than Rio Bravo precisely because it indulges in feelings that Hawks wants to suppress. On the other hand, the relative hard-boiledness of Rio Bravo sometimes rings more true; Hawks's ideal of professionalism is rooted in something real. I like High Noon better as a total film, more concise with a unifying musical concept. I like the odd notes it strikes, like when the title music keeps playing for a few title cards over the outlaws riding after Tex Ritter has finished singing. That sort of sets up the fact that the movie isn't going to operate on conventional movie time. The whole film must have seemed revolutionary in 1952, and its virtues persist today, except for people who might for some reason still be offended by them.
Samuel – Good point on the Hemingway attack on James Jones' From Here to Eternity. Hemingway and Hawks definitely come from the same "hard-boiled" old school where men are machismo driven and showing any sign of weakness is unacceptable and in the case of Hawks and Wayne, practically un-American.
I agree with your statement, "How one responds comparatively to both High Noon and Rio Bravo does depend on one's views on society" though "High Noon" seems to be able to find virtues from both sides of the politcial table, whereas "Rio Bravo", is not so much political as it is an old style macho tale.
Well, since Ed hasn't wandered over to defend Rio Bravo, I suppose I'll shoulder the load! 🙂
I like High Noon, unlike a lot of people who I have known over the years who act like love of High Noon and Rio Brave are mutually exclusive. They most certainly are not. I think High Noon is a good western, while as I said in my review, I consider Rio Bravo to be in the top two or three best westerns ever made.
My gripe with High Noon has nothing to do with politics, and neither did Hawks' when you hear what he has to say about it. Everyone automatically assumes that Rio Bravo was meant as a conservative response to High Noon (and maybe it truly was), but nothing in Hawks' comments say this. His main problem with the film and Will Kane is the same reason I didn't relate to him — the going around begging for help. It felt very phony to me, as it did to Hawks. I don't think Hawks had anything against male characters showing weakness — for all of Chance's go-it-alone attitude in Rio Bravo, he depends on Dude and Colorado to get him out of some very tight spots and realizes that he can't survive without them. And he was far from portraying Tom Dunson as a flawless man. Where I do agree with Samuel, is that Hawks did approach things from a more hard-boiled viewpoint, to where acting professional was equated with being manly. Still, I don't think that he ignored pointing out any weaknesses in characters. And I also agree with the "Quaker wife saving his guts" complaint that Hawks would repeat.
The movies do two completely different things in my opinion. As Sam points out, High Noon may indeed be more tense or emotionally engaging, but I have never been able to relate to any of it. Maybe I sound too much like Howard Hawks, but the begging for help in doing YOUR OWN JOB starts to wear on me after a while. With Rio Bravo, the tensity isn't what is appealing to me — I'm just drawn to the camaraderie, friendships and loyalty that Hawks is brilliant in creating. That's the draw for me. I'm not concerned about edge-of-your-seat excitement, I'm interested in seeing how the ties between Chance, Dude, Stumpy, etc. play out.
The politics of either film have absolutely zero appeal to me — I just judge them on how much I enjoy them and how well made I think they are. In this sense, personal taste will have to leave us all agreeing to disagree, as I don't even consider the two to be on the same level… that's how much better I find Rio Bravo.
Maybe I'll revisit High Noon at some point in the future and have an epiphany as John has. Still, I think that this is another superlative review, John, and if the High Noon vs. Rio Bravo debate is hijacking the focus of the thread, just say so. But I do think it's an interesting debate.
First let me say, I love this debate! The passion shown by all for these two films I believe speaks volumes for the quality of both works. "Rio Bravo" has always been in my top ten favorite westerns films list and after this most recent viewing of "High Noon", I find the two sharing the same space. I do believe from an artistic point of view "High Noon" is a better made film (the editing is superlative) however, that is not saying "Rio Bravo" is not a masterful film in its own right.
I don't believe if you like one of the films you must hate the other, the debate between the two rages on because Hawks made his film as a response to "High Noon", whether it was political or not, subsequently tying the two films together. Additionally, "High Noon" has always been surrounded by political baggage and as I said in my review, folks from both sides of the political spectrum have amazingly found points in the film that suit their respective agenda. However, the politics of the film is just one layer and you can obviously enjoy either film without muddying the waters with political rhetoric.
Dave, I respect your opinions and as you say personal taste always plays a part in what one likes and dislikes. And we certainly can agree to disagree.
There has been some great dialogue here and I appreciate everyone's passionate input. I would love to here some thoughts from Ed on this, as he is a well respected blogger and a mighty Hawks admirer.
To clarify my own position, I don't believe that Howard Hawks's attitude toward High Noon was political, though I suspect Wayne's may have been. I don't know whether Hawks was conservative or liberal, Democrat or Republican. To the extent that my response to Hawks is political, it's in my belief that it should never be solely the delegated official's own job to keep the peace in a community. There is such a thing as a posse, at least in westerns, and it's within a lawman's rights to try to call one into being in a crisis. Having said that, I don't think that the approach taken in Rio Bravo is "wrong," but I object to the claim that Will Kane's approach is wrong. If the objection to High Noon is aesthetic, however, then I defer to each person's sensibility. The difference between the two films is not so great, in my view, to compel a vehement argument.
John – You're absolutely right that you can appreciate both films. I do, as everyone else in the thread seems to as well. It might sound like I'm ripping on High Noon by pointing out some flaws, but that's not really the case. It's just that in comparing it to Rio Bravo, I'm comparing it to a film that I would probably list among my 10 personal favorites of all time, so not many moves are going to stack up favorably against it!
Samuel – I agree. I don't mean it to be a vehement argument, which is how I was afraid my response would be taken. It's not meant that way, just a friendly debate among movie fans. I was just responding for why Rio Bravo appeals to me so much, whereas I appreciate High Noon mainly just on the superlative production.
From what I've read concerning the films, I don't think there is any doubt that there were political motivations on Wayne's part. Whether that was the case for Hawks seems less clear — the impression that I have gotten on the topic is that it was more that High Noon offended Hawks' beliefs concerning "professionalism" rather than a political ideology.
You're right about the posse. And I agree that it should not always be a delegated official's job to solely keep the peace. What felt phony to me was not so much the attempt to raise a posse. But the way it played to me, and I would assume Hawks, was shying away from responsibility, as if everybody has the obligation to assume the same risks as a sheriff, whose job it is to handle such work. Obviously, it didn't play like that to others, so I suppose I'm in the minority. Then the Gracy Kelly bailout just felt… awkward.
I don't know that I'd go so far as Will Kane's approach is "wrong," it just doesn't resonate with me like Chance's. Again personal taste — I won't argue with anyone's love of this film. I'll readily admit that it truly is suspenseful and it looks outstanding. I just don't hold it in quite as high esteem as most others.
Again, this is a most interesting debate and all three of you guys (John, Sam, Samuel) are my favorites among movie bloggers, so it's nice to engage in it with you all.
cantueso says:
As to the Mayor asking for help and not getting any: I think it is now worse, not because of cowardice, but because of a general feeling that one cannot really know what is going on.
It is maybe some sort of politeness plus awareness of 10000000 conflicting voices and interests.
The plot summary is very well written. I have seen the film three times. Problem: I do not watch TV and have not seen almost any other films, but want to write a post about this one….
Thank you for your comments Cantueso. They are appreciated.
m2c says:
nice review, and critique of a classic film.
the good guy wears a black hat. classic.
in the end, he is all alone.
he must choose what to do, with help from no one.
m2c – thanks! Yeah, sometimes you must stand alone.
My Life in Movies » Blog Archive » High Noon & From Here to Eternity (Zinneman, 1952-53) says:
[…] As noted above, I'd regard both films as deserving their classic status. High Noon is arguably the more groundbreaking of the two, defying expectations within the Western genre at the time, but the somewhat lumbering From Here to Eternity did surprise me with its depth and complexity. Top 100? Maybe, maybe not. But definitely worth seeing. References for High Noon: Commentary by Ted Goranson Entry @ Film Reference Twenty Four Frames Review […]
Geren N says:
Seeing this 59 years after it was made I jumped to a political analysis that is apparently quite different from the conservative complaints of in the '50's. Kane's situation struck me as Chamberlain in Munich except of course Kane decides that he has to stand and fight. Kane's community enumerates all the reasons that they should avoid fighting Frank Miller all of which were advanced for tolerating the 3rd Reich. I can see why conservatives in the 50's would not jump to that analysis because when you do you next start to figure out which character or characters represent America 1938 version. Was it the character with the excuse of too dangerous, too expensive, you are not the right religion, its your fight not mine I just do not like you or perhaps all of them that represented America? The soft way out is to say that it is Grace Kelly, the character in white with a high minded moral objection to violence but who in the end comes back to save Kane.
Clearly the 'political message' quite malleable and can be turned many ways. It is an intense story of life in a violent time of a hero struggling with the world. I agree that the cinematography and the score contribute greatly to convey the tension and pain of the story,
If Howard Hawks had trouble with Will Kane I would like to see his brief on Achilles the skulking bisexual Greek hero.
Katy Jurardo's character, Helen Ramirez, I found very interesting. Mrs. Ramirez a single Mexican woman with serial lovers might be judged now in 2011 as a successful business woman with a private life no messier than your next door neighbor. In the 1950's and the 1880's she would have felt and been regarded as very alien and was always at risk of being run out of town. She had been Will Kane's woman but the first scene of the movie Kane is marrying a very white Protestant Grace Kelly. (The Irish Quaker sect). I suspect that Kane dumped her because a Mexican Catholic was not for marrying. But I also suspect that as Marshall he remained scrupulous in respecting her legal rights something that a Mexican American businesswoman might not have been able to expect in the 1880's. Indeed Sra. Ramirez's 3 lovers seemed have have been chosen on the basis of their ability to provide her protection.
I for one would like to see the prequel to High Noon. There are more threads of prior history alluded to in the original movie than one could deal with fully; lots of potential material.
Thanks for sharing this thoughtful analysis. I especially like you ideas on Katy Jurado's character and agree with what you say here. I am sure that in those days and times a respectable sheriff did not marry a Mexican woman. Marrying Kelly was certainly more proper, yet Kane was man enough to respect Jurado's rights. There is a lot of backstory that could fill another two hour movie for sure.
BlondeAtTheFilm says:
Great review–thanks! It made me see the movie in a different way.
Thanks! Appreciate it!
Pinterest Recipes » High Noon (1952) Fred Zinnemann « Twenty Four Frames says:
[…] …disappointed. Politically, there is no comfort food here such as conservatives find when they watch FOX news or liberals find watching MSNBC. Talkwalker Alert: 50 results for [food news] […]
Summer Reading – John Greco says:
[…] Two film related books on my shelf that sound like absorbing reads are Glenn Frankel's High Noon: Hollywood Blacklist and the Making of an American Classic and Noah Isenberg's We'll Always Have Casablanca. Being an admirer of both films, these books are making me salivate. You can read a review I wrote on High Noon here. […]
Time Keeps on Slipping…Clocks and Movies « Twenty Four Frames says:
[…] High Noon, time keeps moving closer to twelve o'clock when the noon train is expected to arrive. One of […]


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Home » Young Gun From Norway Breaks Champions League Records, Goes Past Mbappe, Messi and Ronaldo
20 year old Norwegian footballer breaks 2 Champions League records ina single match
Erling Haaland scores 17 goals in just 13 appearances in the UEFA Champions League
He went ahead and surpassed the likes of Mbappe, Messi and Cristiano Ronaldo
The 20 year old Norwegian footballer Erling Haaland broke an astounding record of the UEFA Champions League when he scored 17 goals in just 13 appearances, however, he did not stop there.
Minutes after Dortmund were put ahead of Sevilla in the last-16 of the UEFA Champions League, the 20 year old Dortmund striker struck again with a composed low finish to the far post with his powerful and lethal left foot.
In the competition which has presented so many attacking superstars in its history, the 20 year old footballer, Haaland, has so far stood above the rest in terms of finding the net.
Previously, Haaland also became the fastest to 5 as well as 10 goals in the UEFA Champions League play, Haaland became the only player to reach at least 17 goals in his first 13 appearances in the prestigious competition.
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He padded that mark soon after.
It took the 20 year old just 7 appearances for Borussia Dortmund to score 10 goals in the Champions League, making him the quickest to ever reach 10 goals in this competition with a single team, breaking the record earlier held by Roy Makaay from Bayern Munich.
On Thursday, the 2nd accurate finish from Haaland, he tied the record with Robert Lewandowski for most Champions League goals since the start of last season.
Talking to DAZN, Haaland said, "I felt like, I don't know if you can say it's down to motivation or passion or whatever, but we were more online today.
"It was good. It was not good to let in two goals, but it is good to score three away goals and take them with us.
"We had a good plan. Edin (Terzic) has been good and I've been talking a lot with him. He said today would be my game and that I would get my chances and I did, so it was an important win.
"We have to recover quickly now. We've got a big game ahead this weekend. We have to take this positive mindset into that game because we have to win that one as well, but it was really nice to win tonight in Spain."
Haaland now has an edge over several of the most celebrated European attackers in today's time by way of pure early-career goalscoring.
Luis Suarez and Lewandowski had not even featured in the UEFA Champions League when they were Haaland's age (20), while Cristiano Ronaldo when he was playing Manchester United had failed to score in the first 1,299 minutes of action.
The 20 year old has averaged about 1.64 goals per 90 minutes in the competition to this point, far more than Lionel Messi (0.47) and Kylian Mbappe (0.67) had through their age-20 campaigns.
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Mali's opposition and armed groups welcome the junta
August 21, 2020 DW
Jubilant crowds welcomed Mali's coup leaders
Mali's opposition groups have vowed to work with the military officers who deposed President Ibrahim Boubacar Keita this week. They are calling on the people of Mali to rally behind the junta.
"We will organize the biggest patriotic rally on Friday," Choguel Maiga, a leader of the opposition coalition June 5 Movement – Rally of Patriotic Forces, known as M5-RFP, told journalists. The nationwide gathering would "celebrate the Malian people's victory."
In a statement, the coalition said that "it took note of the commitment" the junta has made to "open a civilian political transition" and pledged to work with it on "developing a roadmap."
"We must all come together, military and civilian, to defend the republic and impose democracy and good governance and the secular nature of our state," the statement read.
Issa Kaou Djim, a member of the strategic committee of the M5-RFP told reporters: "The military are Malians, they are patriots who have only supported this democratic, republican, secular struggle of the M5-RFP which was carried by the sovereign people of Mali. So this is only the culmination of a process that was set in motion by the people of Mali."
"The military comes from the people and shares the same suffering as everyone else. They are fighting terrorism on a daily basis, and the means at their disposal that were promised have been squandered and misappropriated," Djim said.
Three days after the coup that forced President Ibrahim Boubacar Keita to resign, there is a power vacuum in Mali, and fears that the country could slip into anarchy. Terror groups linked to al-Qaida and "Islamic State" (IS) could take advantage of the country's political crisis.
Read more: Mali: A revolt that led to a coup d'etat
Mixed public reactions
In Bamako, DW's Mahamadou Kane asked residents of the capital how they regard the dramatic turn of events this week.
"I can't say that I am happy or sad. Currently, I see that it is calming down, the situation is stable. We used to be a little frustrated," Lassine Doumbia, a trader told Kane.
Oumar Traore, a road transporter, said he supports the junta. "What we need is the use of force to make people respect authority. As a first step, we must let the military rule the country for the next five years for stability," Traore said.
Read more: Germany's Maas calls for renewed international effort to stabilize Mali
Harouna Kone, a mobile phone repairer, told DW he believes that without good governance, Mali will lag in terms of development.
"From my point of view, the real problem plaguing Mali right now is this large-scale corruption. The future leaders of the country must address it very quickly," Kone said. "That should be the top priority, in my opinion. It does not matter whether it is soldiers or civilians who have to lead this fight against corruption. Choosing the right people is essential here."
Junta tells officials: 'Continue your work'
Col. Assimi Goita is the leader of the military junta that calls itself the National Committee for the Salvation of the People (CNSP)
Mali's new de facto leader, Colonel Assimi Goita, met with general secretaries from the deposed president's government on Wednesday.
"We have no political ambitions. Our objective is to quickly transfer power to a civilian transition through the various meetings with sociopolitical groups," Goita said, "The state is continuity, and we are all aware today of the socio-political and security situation that Mali is going through. To reassure you, you must continue your work and without pressure."
However, a representative of the deposed government, Cheik Oumar Maiga, responded: "The general secretaries expressed their concerns in this delicate period in which there is no government concerning the means to carry out their duties and the backlog of files that have been piling since the government's resignation."
Armed groups seek ties with Junta
A coalition of armed groups in northern Mali have also indicated that they are ready to work with the junta.
The Coordination of Azawad Movements (CMA), an alliance of Tuareg independence and Arab nationalist groups formed during the Mali conflict of 2012, reached out to the junta leaders. The groups have demanded that the junta preserve the Algiers peace treaty signed in 2014.
Realizing the main objective of the treaty – bring all warring factions in northern Mali together and restore peace — has proven difficult, Mali without a recognized leadership now raises fears of a full-blown conflict.
In an interview with DW, CMA leader Fahad Ag Almahmoud said the alliance has followed developments in Bamako closely and is ready to work with the military leaders.
"We are Malians who have always fought for the recovery of Mali, the territorial integrity of Mali. We are ready to work with all Malians who share these values," Almahmoud said. "If it is the military in charge, we will work with it."
International concerns
German Chancellor Angela Merkel has joined the chorus of international leaders who have condemned the coup and called for the immediate release of Keita, Prime Minister Boubou Cisse and other officials who were detained by the military on Tuesday.
"We condemn the military coup. We are working for stability and peaceful conditions in Mali," Merkel told reporters on Wednesday. "The focus must be on the fight against terrorism in the country. And we support the efforts of the regional organization ECOWAS to find a political solution now."
Merkel said she believed it was very important for members of the West African bloc to exert their political influence to achieve 'the best possible solution" to support peace in Mali.
United Nations Secretary-General Antonio Guterres said he "strongly condemned the military mutiny" and called "for an immediate restoration of constitutional order and the rule of law in Mali."
Guterres' spokesman, Stéphane Dujarric, said the UN chief wants to see a "negotiated solution and peaceful resolution". Guterres also fully supports the African Union and ECOWAS in their efforts in that regard.
"Our colleagues on the ground are emphasizing that the work of the UN peacekeeping mission must and will continue in support of the people of Mali and in close liaison with the Malians, including with the Malian security and defense forces in the North and center where the situation is still very worrying," Dujarric added.
France has over 5,000 troops deployed as part of its anti-jihadi Barkhane force in the Sahel Region.
The insurgency that erupted in Mali in 2012 has claimed the lives of thousands of civilians and soldiers.
Tags: Mali
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text:
Spring REIT to Acquire an Iconic High-end Shopping Mall in Huizhou, Greater Bay Area
Apr 29, 2022 | Newswire |
Acquisition of 68% interest in "Huamao Place", an iconic high-end shopping mall in the central business district (CBD) of Huizhou, for approximately RMB 1,637 millionNote 1
Capture development and growth potential of Greater Bay Area and Huizhou
Unitholders to enjoy 12.9%Note 2 accretion of distribution per unit ("DPU"), with no ownership dilution
Strategic partnership with Huamao Property, a veteran commercial real estate developer and operator in the PRC
HONG KONG, April 29, 2022 /PRNewswire/ — Spring Asset Management Limited ("Manager"), manager of Spring Real Estate Investment Trust ("Spring REIT", stock code: 1426), today announced that Spring REIT has agreed to acquire a 68% interest in "Huamao Place" for an illustrative consideration of approximately RMB1,637 million Note 1. The acquisition price is based on the agreed property value of RMB2,442 million, which represents a discount of 9.3% to the appraised property value of RMB2,691 million as at the valutation date.
Mr. Leung Kwok Hoe, Kevin, CEO and an Executive Director of Spring Asset Management Limited said, "The acquisition of Huamao Place is fully in line with Spring REIT's strategy to invest in yield-accretive and income-producing real estate assets with long-term growth potential. Upon completion of the acquisition, Spring REIT's pro forma DPU would have improved by 12.9%Note 2 for the year ended 31 December 2021. Huamao Place will complement Spring REIT's existing assets with a new presence in the Greater Bay Area, allowing us to diversify the portfolio and capture the growth potential from the region's robust economic growth and increasing strategic importance to the PRC. The acquisition marks a key step forward in our growth journey, and represents our firm commitment to managing Spring REIT in the best interests of unitholders and delivering sustainable long-term returns."
"We are pleased to form a joint venture with Huamao Property who will retain 32% interest in the target company, and to partner with its team of industry veterans who has secured Huamao Place a consistent market leader over the past decade with demonstrated resilience in economic downturn," Mr. Leung continued, "With its prime location and unique market positioning, we are confident that Huamao Place will continue to champion Huizhou's vibrant retail scene and grow with the wider Greater Bay Area."
Capture of Strong Growth Potential of Huizhou and the Greater Bay Area
Huizhou is rich in natural, energy and tourism resources, with a total area of 11,347 square kilometres. Thanks to its superior geographical location and rich resources, Huizhou has attracted many high-quality enterprises, and has enjoyed many industrial spill-over transfers from nearby cities of Shenzhen and Dongguan, supporting the economic and population development of the city.
As one of the 9+2 cities in the Greater Bay Area, Huizhou's transportation positioning is to become a core hub in the Greater Bay Area. In recent years, there has been rapid development of urban light rail, high-speed rail, and urban public transportation systems. Huizhou is the only city with nine high-speed rail stations in Guangdong Province, connecting Jiangxi–Shenzhen, Guangzhou-Shantou and Xiamen–Shenzhen high-speed rail. The construction of light rail connecting Dongguan and Shenzhen is also quickly progressing. With a strengthening integrated transport network in the Greater Bay Area, Huizhou will play a more important role in the petrochemical and energy industries, along with driving technological innovation in energy and cross-border e-commerce.
According to China Insights Consultancy ("CIC"), Huizhou's residential population of 6.1 million exhibited a higher growth compared to the national average between 2016 and 2021. With the continuous improvement of transportation connecting surrounding cities, immigrant friendly household registration policies, and the advantageous geographical location, Huizhou is expected to continue attracting population inflow. As Huizhou's nominal GDP is projected to grow at a compound annual growth rate (CAGR) of 7.3% between 2021 and 2026, the city's total retail sales value of consumer goods is expected to reach RMB298.0 billion by 2026, representing a projected CAGR of 8.5% between 2021 and 2026.
The Greater Bay Area's economy and retail industry are expected to experience stable growth in the next five years. The shopping mall industry in the Greater Bay Area as well as in Huizhou City is estimated to increase rapidly, driven by further economic development, ongoing urbanization, continuous consumption upgrades, expanding retail facilities, and continued government supports. Being a leading shopping mall in Huizhou, Huamao Place is anticipated to continue to enjoy a robust operational performance in the market.
Market Leading Shopping Mall with Demonstrated Resilience in Economic Downturn
Huamao Place is a landmark asset in the heart of Huizhou, and ranked 1st in terms of gross merchandise value in Huizhou in 2021, according to CIC. The average monthly rent of Huamao Place grew at a CAGR of 7.8% during the period from 2018 to 2021, outpacing that of retail properties in first-tier cities such as Beijing and Shanghai.
Huamao Place has consistently maintained a high occupancy rate since its opening. As at 31 December 2021, Huamao Place had a high occupancy rate of 96.3%, exceeding the average occupancy rate of approximately 80% in 2021 for shopping malls in Huizhou. In addition, approximately 83.6% of the gross lettable area is on fixed rent or higher of fixed rent or turnover rent terms, providing a reasonable revenue cushion in case of an economic downturn, as well as growth potential by tracking tenants' sales in good years.
Prime Location and Proximity to Public Transportation
Located in Jiangbei, the CBD of Huizhou, Huamao Place is well positioned to attract potential customer groups including white-collar workers, middle and upper class residents and young students. It has clear transportation advantages, including proximity to Huizhou Railway Station, Huizhou Pingtan Airport, a national highway entrance and around 20 direct bus lines, thus extending its catchment coverage beyond Huizhou into the wider Greater Bay Area.
High Quality and Diversified Tenant Base
Huamao Place houses a selection of international and domestic top-tier brand names such as Estee Lauder, Lancôme, Hugo Boss, and BOSE, which are rarely seen in shopping malls in Huizhou. The shopping mall has also introduced chain restaurant brands (for example, Pizzahut and Haidilao hot pot) as well as leisure and entertainment facilities (such as virtual reality theme park, cinema, beauty and health clubs, etc.), which enhance shopping experiences that are difficult to be replaced by online retail channels.
Experienced Management Team with Solid Track Record
Historically managed by staff of Huamao Group who have extensive experience in the commercial and retail real estate sector in the PRC, Huamao Place has been successfully positioned as an iconic landmark in Huizhou with an exceptional track record over the past decade. Following the acquisition, key management staff of the property manager and building manager will be selected from the same team to ensure continuity and effective management of day-to-day operations of Huamao Place.
Accurate and Tested Strategies for Optimising Footfall and Tenant Mix
Huamao Place's management team has adopted tried-and-tested strategies to achieve consistent growth in revenue. Assessments on tenancy profile are conducted in a timely manner in view of latest market situation, and approximately 20% of underperforming tenants are replaced upon renewal every year. Tenancy periods have generally been kept relatively short to allow optimisation flexibility and support the consistent rental increment upon tenancy renewal. The management team also maintains high occupancy rate by initiating negotiation with existing tenants six months in advance of tenancy expiry and aiming to complete negotiation no later than two months before the tenancy expiry to ensure sufficient buffer time for seamless replacements of tenants.
Yield Accretive Acquisition
The illustrative consideration of the acquisition is RMB1,637 millionNote 1. The Manager intends to satisfy the consideration in the following manner: (a) RMB747 million shall be paid in cash; and (b) the assumption by Spring REIT (through the onshore purchaser) of the novated payables in the amount of RMB890 million. Spring REIT does not need to raise new equity financing for the acquisition, and hence there will be no ownership dilution.
With this debt-funded structure, upon completion of the acquisition, Spring REIT's pro forma DPU would have improved by 12.9%Note 2 from 22.0 HK cents to 24.8 HK cents for the year ended 31 December 2021, providing yield accretion to unitholders with no ownership dilution. Net property income yield of Spring REIT would have also increased from 4.3% to 4.7% for the year ended 31 December 2021. The pro forma gearing ratio (as at 31 December 2021) of Spring REIT is anticipated to increase from 30.0% to approximately 36.3% immediately following the completion of the acquisition, representing a reasonable level of financial leverage and remaining well below the 50% limit permitted under the REIT Code.
Diversification and Enlargement of Portfolio while Reducing Risk Exposure
The acquisition will enlarge the value of Spring REIT's portfolio by approximately 27% on a consolidated basisNote 3, and marks Spring REIT's first investment in a retail property asset in the PRC and its first investment in the Greater Bay Area. As a result, the composition and locations of Spring REIT's portfolio assets will be diversified. This also reduces Spring REIT's exposure to concentration risk and other risks associated with its reliance on the income generated from its existing assets.
Regulatory implications
The acquisition is subject to approval by independent unitholders at the extraordinary general meeting (EGM). In view of the ongoing COVID-19 pandemic and recent recommendations for prevention and control of its spread, the Manager will implement certain precautionary measures at the EGM. Unitholders are reminded to refer to section headed "Precautionary Measures For the Extraordinary General Meeting" in the circular of Spring REIT dated 3 May 2022 for details.
The illustrative consideration for the acquisition is approximately RMB1,637 million. For further details, please refer to section headed "Consideration and Payment Terms for the Acquisition" in Spring REIT's circular to Unitholders dated 3 May 2022.
Upon completion of the acquisition, based on consolidated statement of distribution of Spring REIT for the year ended 31 December 2021, the pro forma DPU for the year ended 31 December 2021 would have improved by 12.9% from HK22.0 cents to HK24.8 cents as if the Acquisition was completed on 1 January 2021 and Spring REIT had held and operated 68% of the Target Property through to 31 December 2021.
On a non-consolidated basis, Spring REIT's 68% interest in the Target Property will bring a corresponding increase to the value of Spring REIT's property portfolio by approximately 18%.
For more details about the transaction, please refer to the circular via the below link:
http://www.springreit.com/en-us/announcements/index
About Spring Real Estate Investment Trust (stock code: 1426)
Spring Real Estate Investment Trust ("Spring REIT", stock code: 1426) is a real estate investment trust which invests in high quality income-producing real estate. Listed on 5 December 2013 on the Hong Kong Stock Exchange, Spring REIT offers direct exposure to two Premium Grade office buildings strategically located in the Central Business District of Beijing and 84 separate commercial properties in the United Kingdom. Spring REIT seeks to offer Unitholders stable distributions and the potential for sustainable long-term growth through investing in a diversified portfolio of income-producing real estate.
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Brezza Hill: Nature and Progress In One


text:
News | SEYI PETER-THOMAS | NEW WORK
Seyi Peter-Thomas' short film adaptation of Cortney Lamar Charleston's poem "How Do You Raise a Black Child?" paints an important portrait of everyday life for a young black man growing up in America.
The visceral and contemplative film, "How Do You Raise a Black Child?" which debuted at the Motionpoems Showcase in Minneapolis, is powerfully narrated with both metaphoric and literal imagery.
"This poem is about the precarious balance black parents have to strike in order to raise their kids 'right,' " director Seyi Peter-Thomas says of Lamar Charleston's piece. "It's wrenching and thought-provoking." Seyi's film perfectly communicates this balance as it follows young Malik and his mother navigating life's highs and lows. The moments of levity and those of unsolicited sobriety explore the complexity of Malik's experiences as a part of a larger conversation on race and community within today's uneasy social and political climate.
Seyi says, "Maybe what's really being asked is how do we save a black child? And, what are the elements we must save them from? It's a uniquely American conversation, one we're all having on some level right now." He hopes viewers will connect with the humanity in the film and also be prompted to ask and answer some questions of their own.
Motionpoems' newest season of films are based on poems by black American poets, and presented in association with Cave Canem, a home for black poetry.
Seyi Peter-Thomas > Adweek > The General
Seyi Peter-Thomas > Muse by CLIO > Farmers Insurance "Sesame Street"
Seyi Peter-Thomas > Daytime Emmy Awards > "Black History Month"
© 2019 station film. all rights reserved.


text:
Introducing Patterna news
Post news RSS	Introducing Patterna
Introducing Patterna, a logic puzzle game inspired by HexCells. It features a set of hand crafted levels, an infinite supply of procedurally generated levels, and a level editor to build your own puzzles! Now on Steam Greenlight!
Posted by cope on Apr 18th, 2016
allow me to give you an impression of my current project: Patterna, a logic puzzle game inspired by HexCells. Each level of the game consists of a network of nodes (a graph). It is your job to figure out which of these nodes are part of the pattern and which are not. To help you achieve this goal, each node may carry information that uses reachability, distance, or color to constrain which nodes are pattern nodes. Correctly classifying a node may reveal new information which in turn will help to solve the puzzle.
50+ Hand Made Levels
Procedurally generated levels: Infinite replayability, with many options!
No guessing needed: All levels provably have a unique solution
Play on hex grids, grids, and other kinds of graphs
Lots of options, including configurable colors and scaling for all major game elements
Extensive gameplay statistics
LevelEditor: Create your own sequence of levels to challenge your friends
Modding support: With a bit of programming knowledge, you can write your own random level generators
Optional scoring system
Please consider voting on the game's Steam Greenlight page. You can download a demo version of the game here on IndieDB or at Itch.io. It includes the tutorial and three more difficult premade levels.
How to play the game:
Each level of the game consists of nodes. Each node is in one of three states: Good, bad, or unknown. Think Minesweeper: Good nodes are clear, bad nodes contain mines, unknown nodes are still to be classified.
Good nodes (pattern nodes)
Bad nodes (non-pattern nodes)
Unknown nodes
The goal is to classify all unknown nodes and reveal the pattern (hence the name).
Nodes Form a Graph
The nodes are not isolated from each other, but form a network (a graph):
Here are a four nodes. The grey lines are connections (edges) between the nodes. This allows us to talk about the distance of nodes between each other, and about reachability: A node is reachable from another node if there is a sequence of connections that leads from one node to another. The smallest such number of connections defines their distance.
Information on Nodes
There are three different kinds of information that help the player to classify nodes:
Radius Information
Radius information specifies how many of the unknown nodes reachable in a given number of steps from the node with the information are part of the pattern (that is, are pattern nodes). For example, this node shows two blue rings, which means it refers to all nodes reachable from that node in at most 2 steps, and has a white two on it, which means that of the unknown nodes it is referring to, 2 are in the pattern.
Color information tells you how many unknown nodes of a given color are in the pattern. Note that unknown nodes have color orbs that light up if the node is in the region associated to that specific color. In this case, the green three tells you that of the unknown nodes with a green light, exactly 3 are part of the pattern.
Component Information
Component information tells you how many nodes this node still needs to connect to: A node is connected to this node if it is reachable from this node, with the restriction that your path may only use pattern nodes. Connected nodes form components. Here are two examples:
The two nodes with an 8 are connected to each other. The node to the right is not currently known to be connected to them, but might be: There are nine more nodes in its component, so its component has 10 nodes in total. This is also true for the nodes on the left: There are eight more nodes in their component, so their component also has size 10. Thus the two groups could in theory belong to the same component.
The situation is different here: The top node has a nine on it, the bottom node a one. This means that their components have size 10 and 2, respectively, so they cannot connect. The implication here is then that the node right between them must not be a pattern node. More subtly, there is more that can be derived from the above situation: Focusing on the node with the number one on it, we know that there has to be exactly one other pattern node connected to it. Since it is not the node above it, it has to be one of the two other nodes (to the left or to the bottom of it). Both of these nodes share a common neighbor (the bottom left node), so no matter which of them actually is the pattern node, the bottom left node must not be a pattern node, since otherwise the component size of the node with the 1 on it would be at least 3.
At any time, the game will also give you the total number of pattern nodes that are still unknown, so this is another source of information.
Directed Edges
I have skipped over two more advanced features: Directed edges and a variant of radius information (I'll leave the latter out for now). Directed edges can only be used in one direction and have little arrows on them:
Here you can see how directed edges can interact with component information: The top left node has a component of size 6 (five plus itself), and the lower right has a component of size 5 (four plus itself), but the top right node can still be a pattern node: The edge between the top row nodes can only be used left-to-right, so it the lower right node cannot reach the upper left node.
That's it for today, and I think I have covered most of the important concepts. Next time, I might talk about the random level generator, or maybe something else entirely. Thanks for reading!
Patterna Puzzle
Unity Commercial Released 2005


2011 October « CASE CLOSED … what really happened in the 2001 anthrax attacks?
CASE CLOSED … what really happened in the 2001 anthrax attacks?
* Lawsuit Letter Demands That FBI Release Wrongly Withheld Anthrax Case Documents.
* CASE CLOSED - Lew's novel about the anthrax attacks and the failed FBI investigation - has been re-published. In this interview, Lew explains why perhaps his novel is closer to the truth than anything the FBI is asserting.
* In the formal handwriting examination conducted in the Amerithrax investigation, it was concluded that "Bruce E. Ivins probably did not write the writings appearing on the 'anthrax' envelopes and letters." The Assistant US Attorney did not disclose that fact in the Amerithrax Investigative Summary.
* continued withholding of documents by the FBI and National Academy of Sciences (NAS) ... hiding mistakes? hiding lies? surely hiding the truth!
* The Al Hayat letter bombs involved lethal letters sent to newspapers in NYC and DC and symbolic targets relating to the WTC 1993 plotters. Were the Al Hayat letter bombs the model for the Amerithrax letters? Were the same people responsible?
* Who told the reporter that RIID sent Ames to ATCC?
* The Army decided yesterday that there was nothing that needed to be classified in the eight page section on Afghanistan from the IMCS!
* When Is The Army Going To Process The Many Dozens Of Withheld Emails Awaiting Production?
* In a long withheld and recently produced email to Mara Linscott, Ivins discusses work with Ames in Building 1412 (not 1425) and how they might have to someday do challenges of hundreds of rabbits for Bioport.
DXer on * Lawsuit Letter Demands That FBI Release Wrongly Withheld Anthrax Case Documents.
DXer on * are hoax anthrax attacks one consequence of the FBI's failure to solve the case?
In a letter to the editor of The New York Times, a top FBI official today disputed recent reports by ProPublica, PBS' "Frontline" and McClatchy that challenged evidence in the agency's investigation of the 2001 anthrax letter attacks and its conclusion that Army scientist Bruce Ivins was the perpetrator.
The letter from FBI Assistant Director for Public Affairs Michael P. Kortan followed editorials in The Times and The Washington Post that called for new, independent investigations into the anthrax case, which the FBI officially closed 18 months after Ivins committed suicide in the summer of 2008.
Kortan's letter largely repeats prior claims in defense of the case, some of which were covered in our stories.
Ivins was a top anthrax researcher at the U.S. Army Research Institute of Infectious Diseases in Fort Detrick, Md. He produced vaccines and tested them on lab animals. The FBI has said a spike in Ivins' nighttime lab hours before the mailings explains when he prepared the letters.
What we reported: Ivins' evening hours were above average just before the mailings, but lab access records also showed it was not unusual for Ivins to work late at other labs and offices throughout the Army complex. Further, Ivins' colleagues said he was conducting animal experiments at the time.
Once the FBI determined the letters contained a strain of anthrax common in labs, the bureau asked scientists to submit samples of their spores. The FBI has said Ivins tried to hide his guilt by sending a false sample from his spore collection. Genetic tests later showed the spores in Ivins' flask – RMR-1029 – matched the letter spores.
What we reported: An email shows that Ivins' offered his spores for genetic tests in December 2001. Though samples he submitted from his flask in April 2002 were not a genetic match, Ivins maintained it was an innocent mistake. Furthermore, an FBI memo and Army document show that Ivins had given another sample of RMR-1029 to a different colleague around that time. Email messages and lab notebooks show that two years later Ivins helped a colleague collect a sample of RMR-1029 specifically for FBI evidence. Finally, the very first sample Ivins gave the FBI in February 2002 was rejected because it was in the wrong type of test tube. It was later tracked down, and tests determined it to be a close match to the letter spores.
FBI and other scientists who examined the attack spores found that they contained silicon, tin and some other elements. The presence of those elements fueled speculation that the spores were treated – weaponized – to make them more dispersible. The FBI has said its studies show the silicon was the result of a natural process.
What we reported: A National Academy of Sciences committee that reviewed the investigation's scientific findings concluded the unusually high amount of silicon measured in spores sent to the New York Post was unexplained – something the panel's vice chairman, David A. Relman, told us remained a "big discrepancy" in the FBI case.
* NPR's John Dankowsky interviews Stephen Engleberg, Paul Keim and David Relman … RELMAN: the evidence linking the anthrax material in the letters to the material in the flask in Bruce Ivins' lab was consistent with an association but was not conclusive or definitive … KEIM: there's no scientific test that can prove that it came from Fort Detrick, Maryland.
NPR, October 28, 2011 … Army microbiologist Bruce Ivins, the FBI's prime suspect in the 2001 anthrax attacks, died before his trial in an apparent suicide, and the case is now closed. John Dankosky and guests discuss new investigations that question whether scientific evidence against Ivins was conclusive enough to hold up in court.
JOHN DANKOSKY, host: Last year, the FBI and the Department of Justice closed the case, concluding that the late Dr. Ivins acted alone in executing the anthrax attacks. But how conclusive was the scientific evidence against Dr. Ivins? Several recent investigations, led in part by two of our next guests, have asked that question. And that's what we'll be talking about this hour. Now let me introduce our guests.
Stephen Engleberg is a managing editor at ProPublica here in New York and a reporter on ProPublica's anthrax series with McClatchy and PBS Frontline.
Paul Keim is a microbiologist and evolutionary biologist at Northern Arizona University and at the Translational Genomics Research Institute in Flagstaff, Arizona.
David Relman is professor of medicine and microbiology and immunology at Stanford. He's also chief of infectious diseases at the VA Palo Alto Health Care System in Palo Alto.
DANKOSKY: Dr. Relman, you were vice-chair of the National Academy's panel that investigated how scientific evidence was handled in the anthrax case. What was that panel's conclusion? And was the scientific evidence against Ivins as thorough or conclusive as has been described by the FBI?
RELMAN: Well, first of all, we were asked to look at the scientific data and the conclusions that were drawn from it. We were not asked to comment upon or assess the probative value of the scientific data.
but was not conclusive or definitive.
DANKOSKY: … I'm wondering, Dr. Relman: How much of the investigation of Bruce Ivins, the main target of this investigation, how much of this was really based on science, and how much was based on other things?
RELMAN: It's an interesting question. It's one that we really weren't in a position to be able to answer. We were simply asked to look at the science.
KEIM: And what our investigation found was that as the case was built, they became less and less interested in doing things that might undermine the case. … My guess – and here it's just a guess – is that they didn't want to ask a question they didn't have the answer to. They were afraid it would show something unexpected. And I think for scientists, that's exactly what you'd want to do, is find something unexpected.
DANKOSKY: Dr. Relman, is it possible that there were key anthrax samples missing from the FBI repository from abroad, maybe from U.S. government labs?
RELMAN: It's possible. I think in any case like this, you're always going to be confronted with the problem of knowing what is the true universe within which one needs to search. We were told of a certain set of samples, and there were a large number that were collected from all over the world. And yet we did become aware, for example, of some environmental samples that were collected overseas which gave inconsistent results in the presence of Ames anthrax.
And these samples, because they didn't yield a cultivated organism, never made their way into the repository, where the more formal, deliberate testing was undertaken. So that's one bit of evidence or one indication that there may have been certain kinds of samples that never really made their way into the final repository.
DANKOSKY: And the security, Stephen Engleberg, you reported on Dr. Ivins' lab – very, very lax.
ENGLEBERG: Yes, now in fairness, it has been significantly tightened since the case of the anthrax letters. But I think your caller's point is well-taken. I did a book 10 years ago with Judith Miller and Bill Broad of the New York Times on this subject, and I was startled, as well, as to how easy it would be to do this. Now, you know, again, in this case what we're talking about is supposedly is an insider who did it. But you can't rule out other possibilities, because it is that easy.
DANKOSKY: So we've talked a bit about the circumstantial evidence and some of the science. Dr. Keim, I'll ask you first: Do you think, in the end, that the scientific evidence here was solid enough to go to court to charge Dr. Ivins?
KEIM: Well, I can't tell you whether it was enough to charge Dr. Ivins. I can only speak to the part of the investigation that I worked on, which was, really, the Ames strain.
So I would have gone to court and I would have been able to say quite precisely that this was a strain that came from a laboratory. It was very unlikely that it would have come from nature.
DANKOSKY: Dr. Relman, what do you think? Do you think that there was enough evidence to go to court?
RELMAN: I don't think we should be expecting that a scientific experiment is going to reveal a result that points to a person. It may point to a possible source or an evolutionary history or a set of relationships.
KEIM: what we're talking about is the question of whether or not a particular anthrax culture, the person who made the letters actually took this and grew it somewhere else. It's not taken out of the flask and then dried. So they grew it someplace separately.
Did that person take it from this particular flask? If so, there are well over 200 people who had access to this particular flask.
But that's not the end of the story, because this material, this very same material, was in other places. So, for example, to say that one of the research laboratories in Ohio did not contain the perpetrator, the FBI needed to look at those people and ask questions like: Did they have enough time to drive to the Princeton, New Jersey mailbox? And science can't answer that question because it's the same stuff.
from Ohio or from Fort Detrick, Maryland.
DANKOSKY: do you think that Dr. Ivins had the capability to produce these dry spores, the ones that ended up in the letters in such a high quantity?
KEIM: I'm going to have to decline to answer that. I'm not a spore-production expert, and I, you know, really don't know what Bruce had in his laboratory, and whether it would have been able to do that. That's just beyond my area of expertise.
DANKOSKY: David Relman, you want to weigh in? … do you think that this is even possible to do what Dr. Ivins had at his disposal?
RELMAN: Well, you know, we actually were never presented with what we had at his disposal. And what there might have been at someone's disposal in 2009 when we began our work could certainly have been something very different than what was at someone's disposal in 2001. So there are a lot of unknowns. And we – and to be honest, we were not presented with a specific scenario, a set of resources and equipment and other reagents, you know, that might have been the, you know, the scenario through which these things were made.
ENGLEBERG: Now, that said, if you interviewed Dr. Ivins' colleagues at Fort Detrick, there are one or two who say he could have done it and a larger number who say he couldn't have done it. And frankly, none of the people speaking are really truly expert in the area of spore cultivation. So having spent some time interviewing people on this, I would say that it's still a difficult question to answer.
A long-awaited trial that would have laid bare the federal government's role in the deadly 2001 anthrax attacks and challenged the FBI's claims that one madman acted alone won't be held after-all.
Lantana widow Maureen Stevens, who has spent 10 years trying to get federal officials to accept responsibility for the death of her husband and four others, has settled her $50 million lawsuit against the government, her lawyer confirmed today.
Attorney Jason Weisser said he couldn't divulge the terms of the settlement until it is formally approved by the U.S. Justice Department.
The trial, he said, would have also tested the FBI's much-criticized claims that the attacks were carried out solely by Bruce Ivins, a researcher at the U.S. Army Medical Research Institute of Infectious Diseases at Fort Detrick, Md.
scientists testified that various people had access to the lab where Ivins allegedly produced the deadly compound. "We had people from Egypt, Poland, India, Iran, Latvia and China," one former chief bacteriologist testified.
Ivins' former co-workers testified, he had neither the time, equipment or know-how to produce the deadly anthrax.
Further, he said, it would have taken Ivins six months to a year, working almost full-time, to produce the deadly spores. Someone, he said, would have had to help him.
Such conflicting testimony flummoxed government attorneys.
They were trying to get the case thrown out, arguing that the government is not responsible for the actions of a rogue employee. However, in court filings that they ultimately redrafted and sealed, they, too, said some of the needed equipment wasn't in the lab.
Further, U.S. District Judge Daniel T.K Hurley last week ordered that some protected documents about the lack of security at the institute, be filed publicly by Tuesday.
* the FBI takes issue with the recent NYT editorial … wouldn't you love to be able to have dialogue with Mr. Kortan on these issues instead of simply a repetition of the FBI's unproven assertions … let's hope FRONTLINE does exactly that !!!
First, the National Academy of Sciences report concluded that the anthrax in the mailings was consistent with the anthrax produced in Dr. Bruce Ivins's suite. The report stated, at the same time, that it was not possible to reach a definitive conclusion about the origins of the samples based on science alone. But investigators and prosecutors have long maintained that while science played a significant role, it was the totality of the investigative process that ultimately determined the outcome of the anthrax case.
Further, scientists directly involved in the lengthy investigation into the anthrax mailings — both from within the F.B.I. and outside experts — disagree with the notion that the chemicals in the mailed anthrax suggest more sophisticated manufacturing.
Second, it was directly relevant that Dr. Ivins worked long hours alone during the time of the mailings in the laboratory's "hot suites" where the anthrax that was genetically linked to the attack spores was produced and handled. He had not done that before the mailings, nor did he ever do it again.
Dr. Ivins submitted an intentionally misleading sample in April 2002 that was free of genetic markers. Samples of his anthrax spores that contained the genetic markers were either submitted before he realized the markers might trap him or were seized later by the F.B.I., not made available by Dr. Ivins.
We strongly disagree with recent television reporting on this issue cited in the editorial.
* FBI Assistant Director Kortan Should Be Asked Whether He Knows That Dr. Ivins On Those Nights Was Busy Autoclaving Dozens of Dead Rabbits — And If Not, Who Kept That Information From Him?


text:
import React from "react"
import { createFragmentContainer, graphql } from "react-relay"
import { useAnalyticsContext } from "v2/System"
import { WorksByArtistsYouFollowRail_viewer } from "v2/__generated__/WorksByArtistsYouFollowRail_viewer.graphql"
import { useTracking } from "react-tracking"
import { AuthContextModule, clickedArtworkGroup } from "@artsy/cohesion"
import { tabTypeToContextModuleMap } from "../../Utils/tabTypeToContextModuleMap"
import { Box, Shelf, Spacer, Text } from "@artsy/palette"
import { ShelfArtworkFragmentContainer } from "v2/Components/Artwork/ShelfArtwork"
import { extractNodes } from "v2/Utils/extractNodes"

export interface WorksByArtistsYouFollowRailProps {
  viewer: WorksByArtistsYouFollowRail_viewer
}

const WorksByArtistsYouFollowRail: React.FC<WorksByArtistsYouFollowRailProps> = ({
  viewer,
}) => {
  const { trackEvent } = useTracking()
  const { contextPageOwnerType } = useAnalyticsContext()
  const contextModule = tabTypeToContextModuleMap.worksByArtistsYouFollow as AuthContextModule

  const nodes = extractNodes(viewer.saleArtworksConnection)

  if (nodes.length === 0) {
    return null
  }

  return (
    <>
      <Box>
        <Text as="h3" variant="lg" color="black100">
          Works for you{" "}
          <sup>
            <Text as="span" variant="xs" color="brand">
              {/* @ts-expect-error STRICT_NULL_CHECK */}
              {viewer.saleArtworksConnection.edges.length}
            </Text>
          </sup>
        </Text>

        <Text as="h3" variant="lg" color="black60" mb={2}>
          Works at auction by artists you follow
        </Text>
      </Box>

      <Spacer mb={4} />

      <Shelf>
        {nodes.map((node, index) => {
          return (
            <ShelfArtworkFragmentContainer
              artwork={node}
              key={node.slug}
              contextModule={contextModule}
              hidePartnerName
              lazyLoad
              onClick={() => {
                trackEvent(
                  clickedArtworkGroup({
                    contextModule,
                    // @ts-expect-error STRICT_NULL_CHECK
                    contextPageOwnerType,
                    artworkID: node.internalID,
                    artworkSlug: node.slug,
                    horizontalSlidePosition: index,
                  })
                )
              }}
            />
          )
        })}
      </Shelf>
    </>
  )
}

export const WorksByArtistsYouFollowRailFragmentContainer = createFragmentContainer(
  WorksByArtistsYouFollowRail,
  {
    viewer: graphql`
      fragment WorksByArtistsYouFollowRail_viewer on Viewer {
        saleArtworksConnection(
          includeArtworksByFollowedArtists: true
          isAuction: true
          liveSale: true
          first: 50
        ) {
          edges {
            node {
              internalID
              slug
              ...ShelfArtwork_artwork @arguments(width: 325)
            }
          }
        }
      }
    `,
  }
)

redpajama_set_name: RedPajamaGithub


Prior to iOS 7, TextExpander stored shared snippet data in a persistent pasteboard named "TextExpander". The TextExpander code in supported apps read from the "TextExpander" pasteboard. Unfortunately, other libraries used these persistent named pasteboards to store and retrieve information used to track users across apps, without their knowledge or consent.
Apple decided to put a stop to that by prepending one's team ID to their named pasteboards, e.g. "Smile.TextExpander". This allows shared pasteboards within one's own company's apps but not across unrelated apps.
TextExpander touch 2.1 (and later) supports storing shared snippet data in a long-past, completed reminder.


Most Bible commentaries take us on a one-way trip from our world to the world of the Bible. But they leave us there, assuming we can somehow make the return journey on our own. In other words, they focus on the original meaning of the passage but don't discuss its contemporary application. The information they offer is valuable -- but the job is only half done! The NIV Application Commentary Series helps us with both halves of the interpretive task. This new and unique series shows readers how to bring an ancient message into a modern context. It explains not only what the Bible meant but also how it can speak powerfully today.
Ezekiel: NIV Application Commentary by Iain M. Duguid was published by Zondervan Academic in September 1999 and is our 17837th best seller. The ISBN for Ezekiel: NIV Application Commentary is 9780310210474.
Be the first to review Ezekiel: NIV Application Commentary!
Got a question? No problem! Just click here to ask us about Ezekiel: NIV Application Commentary.


Universitas Surabaya (UBAYA) is a private university in Surabaya, East Java, indonesia. UBAYA has three campus location: Ngagel, Rungkut and Trawas Outdoor Campus. This university is listed at 50 Promising Indonesian Universities.


The Slovenian Book Fair will start on 22 November in Ljubljana. This is the biggest event in the world of book publishing in Slovenia.
The event is to be held in the Cankar Centre and will involve 104 publishers. About 30 foreign and 100 Slovenian authors will visit the exhibition. The organizers will hold 280 events including those in the framework of the Publishers' Academy (Založniška akademija), the Visitors Forum (Forum za obiskovalce) and the Discussion Cafe (Debatna kavarna). Nearly 200 guests from around the world will compete in the literary debates. The Slovenian Book Fair will offer something interesting for everyone, whether this is a publisher, a writer, or an ordinary reader.
This time, Italy will be in the focus of attention. In Ljubljana, the favourite with Slovenian readers Susanna Tamaro, a writer and a journalist Paolo Rumiz and a multiple winner of literary contests Antonio Scurati will tell about their creative work. Giorgio Agamben and Franco Berardi are among the prominent Italian philosophers-guests of the Fair. Moreover, a well-known writer, publisher and director Elisabetta Sgarbi will come to Ljubljana.
Florence Hartmann, a journalist and in the recent past a representative of the Public Relations of the International Court of Justice in The Hague, is invited to the event from France. Other foreign guests include a children's writer from Norway Maria Parr, a now living in Austria Bulgarian writer Dimitre Dinev and a young author from Bosnia and Herzegovina Marko Dejanović.
The Fair will officially open on Tuesday, when the first event is to be held in the framework of the Publishers' Academy (Založniška akademija). On this day, Elisabetta Sgarbi together with two editors will present her publishing house and tell about the Italian book market. The guest from Italy will also be the honorary speaker at the opening ceremony of the Fair, at which the prizes and diplomas of the Alois Schwentner Fund will be awarded.
For the general public, the Slovenian Book Fair will open on 23 November at 9:00 a.m.


(1870–1945) Influential American libertarian author, educational theorist, and social critic of the early and middle 20th century.
Here is the Golden Rule of sound citizenship, the first and greatest lesson in the study of politics: You get the same order of criminality from any State to which you give power to exercise it; and whatever power you give the State to do things for you carries with it the equivalent power to do things to you.
The superficial distinctions of Fascism, Bolshevism, Hitlerism, are the concern of journalists and publicists; the serious student sees in them only one root-idea of a complete conversion of social power into State power.


Bankruptcy Information | Can Filing Fees for Filing Bankruptcy Be Waived?
Can Filing Fees for Filing Bankruptcy Be Waived?
Home > Chapter 13 Bankruptcy > Can Filing Fees for Filing Bankruptcy Be Waived?
20 Apr Can Filing Fees for Filing Bankruptcy Be Waived?
The 2005 amendments to the Bankruptcy Code added 28 U.S.C. Section 1930(f)(1) which provides for the waiver of Chapter 7 filing fees. This provision is implemented through Bankruptcy Rule 1006(c). However, a debtor's application requesting a fee waiver must be filed along with the voluntary bankruptcy petition. The debtor's income must be less than 150% of the applicable official poverty line based on family size to be eligible for a Chapter 7 filing fee waiver. The poverty figures may be found at http://aspe.hhs.gov/poverty. To determine the income eligibility, a debtor must include a non-filing spouse's income (unless the spouses are separated) and the monthly net income of any dependents of the debtor who are part of the debtor's stated family size. In addition to this income test, the debtor must be unable to pay the filing fee in installments.
The filing fee cannot be waived in a Chapter 13 case but can be paid in up to four installments over a period of 120 days (or up to 180 days with court permission. If the debtor fails to pay any of the installments a deficiency notice will be issued or an order to show cause why the installment was not made and the case may be dismissed.
If a debtor converts a case from Chapter 13 to Chapter 7, the debtor may seek a waiver of any unpaid filing fees. However, if the debtor converts from Chapter 7 to Chapter 13, the debtor must then pay the Chapter 13 filing fee.
Court fees for filing amendments to the debtor's schedules of creditors and for motions to convert a case to Chapter 7 may be waived if a filing fee waiver is granted when the debtor initially files a Chapter 7 case. This authority is granted to the court under 28 U.S.C. Section 1930(f)(2).


text:
Q: IOS 8 simulator setting fractional digits for location Can not set fractional digits for a location. The location always resets. I have tried
Editing the scheme > Select "Run XXXX.app / Debug" > Select "Allow Location Simulation" and selecting none. After that setting a location from simulator Debug > Location > Custom Location > latitude = 10,001 ; longitude = 10,001
It always get reset to lat 10 long 10

A: I figured it out. :)) Apple displays the location with a comma and to input it you have to use a dot for input. So to set the latitude or longitude to 10,001 you will have to write 10.001
NOTE: the ios 7 simulator accepts input only with comma notation. the ios 8 simulator accepts input only with dot notation.

redpajama_set_name: RedPajamaStackExchange


text:
For School Groups and Classrooms
Community Waters Science Unit
Day Programs in Seattle and at Brightwater
Day Programs on Bainbridge Island
School Overnight Program
Schoolyard Programs
Virtual Water Programs
For Current and Future Educators
Community Stewardship Projects
Patsy Collins Award
For Adults and Families
Public Events and Programs
Cost and Aid
Weddings & Retreats
Activities at IslandWood
Yoga & Wellness Retreats
2022 Dinner in the Woods
Events that Support our Work
Careers and Culture
Climate Change Statement
Build Nothing for Us Without Us
Author: Patricio Ku, Former IslandWood Board Member, Graduate Program Alum ('14)
The first time I heard that IslandWood was going to host a Community Engagement Forum I was curious to see what would happen. I've attended numerous panels and lectures that talk about the "right" way to engage a community, and it usually revolves around this idea: Build nothing for us without us. In other words, don't try and help out a certain group of people without first asking that group how they need help. It sounds so simple, yet I hadn't really seen it done.
When I arrived at the forum I was blown away by the time and effort the IslandWood School Overnight Program (SOP) team had taken to ensure this was something meaningful that would result in real change. We met at a place that was close and accessible for those who live in South Seattle. IslandWood met the community on its home turf. There was child care, so parents could attend and be fully present. We opened up folders and there was financial compensation for our time, an actual check—a small gesture that spoke volumes about IslandWood's commitment to creating relationships and helping our underserved communities. There were also many different strategies that the SOP team used to make sure everyone's voice and ideas were heard. The point is everyone could tell IslandWood genuinely cared, not because they said it, but because they showed it.
The forum brought together a diverse cross section of the South Seattle community. There were parents, teachers, principals, past graduate alumni, board members, IslandWood employees, and even young adults who attended IslandWood as children. The solutions everyone contributed were the most valuable part of the forum. The ideas were brilliant, genuine, and meaningful because they actually came from people living in South Seattle, and not a social work textbook or someone in a position of power. The community knew all of their own problems and many of the solutions to getting low-income schools to IslandWood, they just needed a formal setting where those ideas could be heard and translated into action. Build nothing for us without us.
I thought to myself, "Wow, this is what real community engagement looks like. This is what all those panels are talking about."
Tiffany Chan, a Forum member and past SOP student with Wing Luke Elementary, explains her experience like this: "As a 5th grader in the SOP program, Islandwood was a novel hub set in the woods for me to explore and be with my friends outside. [As an adult] the Forum has been the official way for me to interactively add insight back into Islandwood. In this way, the Forum is empowering. Through this, I've collaborated with other SOP alum, teachers, parents, board members, and staff to brainstorm ways in which Islandwood can progress in engaging community. This synergistic approach has fostered community, because I probably wouldn't have met most of the forum members otherwise. Much like how I've come to think that institutions thrive when those involved feel empowered and a sense of community, my feelings of empowerment and community fuel my investment into growing Islandwood and its mission."
I believe that the Community Engagement Forum is the most important tool IslandWood uses to advance its mission in the underserved school communities of South Seattle. These forums are vital because it gives IslandWood a chance to listen.
Sapna Sopori, the Director of Residential School Programs for IslandWood, sees the Forum as an important shift in thinking: "Historically, we have worked to change the lives of students. But now, IslandWood is working to change itself to better serve those students. We are moving towards creating reciprocal relationships with communities. The Forum members and their communities see IslandWood doing the work they asked us to do, the work we collaborated on and designed together. This transparency and constant communication is what builds trust."
Without these forums, IslandWood would likely never know how to navigate the complex cultural mosaic of South Seattle, some of the nation's most diverse zip codes.
The outdoors is such a wonderful place, but the way people experience the outdoors and interact with our environment might be completely different depending on what culture one comes from. We'll never know until we ask. Unfortunately, there are still students who are not getting the IslandWood experience, these are students who would probably benefit from IslandWood the most. The community forum allows IslandWood to learn why students are left behind indoors and what organizations can do to reduce those barriers.
Randy Komatsu, SOP School Partnerships Coordinator, has been an avid Forum participant and directly sees the change in himself and how he relates to his students: "One of the things that most affects me is the reason that our forum participants work so hard on behalf on their students. [We believe] that as educators we have responsibility to do more than teach. From [the Forums] I learned that kids need compassion and justice. What makes our forum participants change agents is more than subject knowledge; it's the whole hearted belief in compassion and their quest for social, economic, educational, and environmental justice for their kids. When I teach, I now do my best to look through that lens. I realize now that this is the basis for all kids to understand themselves and their classmates and for me to set my course for modeling and teaching with compassion and social justice."
IslandWood has a duty, bound by its mission and vision, to learn what is keeping students indoors. The Community Engagement Forum is answering that call. It is providing a space for different community stakeholders to have their voices be heard, for IslandWood to listen, and to work together to provide exceptional learning experiences and inspire lifelong environmental and community stewardship. I am excited to continue participating in the forum and look forward to seeing the ideas continue to progress and be put into action.
As part of our commitment to engaging new audiences and deepening relationships in South Seattle communities, IslandWood is proud to be co-sponsoring the Muslim Association of Puget Sound's upcoming Martin Luther King Day Youth Advocacy Workshop to Combat Islamphobia.
About the author: Patricio Ku is a former IslandWood Board Member, an alum of our Education for Environment & Community Graduate Program – '14, and currently works as a Project Associate for Triangle Associates, where he writes and teaches environmental workshops for students around the Puget Sound.
Tags : Community EngagementCommunity Engagement ForumTeacher ForumTeacher Professional DevelopmentTeachers
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IslandWood acknowledges that we live and work on the ancestral land of the Coast Salish people, who have been stewards of this region's land and waters since time immemorial, and who continue to protect these lands and waters for future generations, as promised by the Point Elliott Treaty of 1855, the Treaty of Point No Point of 1855, and the Treaty of Medicine Creek of 1854.
While the majority of our work takes place on Suquamish (suq̀ʷabš) and Duwamish (dxʷdɐwʔabʃ) land, we also conduct programs on the land of the Snohomish (sduhúbʃ), Puyallup (spuyaləpabš), Muckleshoot (buklshuhls), Skokomish (sqoqc'bes), and S'Klallam (nəxʷsƛ̕ay̕əm) peoples.
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IslandWood is a registered 501c3 charitable organization.
A Special Thanks to our corporate sponsor
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Father Figures: Tiny Desk Concert Brash, zany, brainy, scary and danceable, the New York quintet's music mixes rock and jazz like King Crimson at its fiercest. From the moment the band squeaks its first squawk at the NPR Music offices, it's clear that it's about to conjure up an adventure.
In a small, packed Washington, D.C., living room late one December night, I heard a cacophony of horns, keys, drums and guitars that simply floored me. It was brash, zany, brainy, scary and danceable. At the end of a long year of amazing live music, this would turn out to be one of the most memorable concerts I'd seen.
I walked up to Adam Schatz, the man behind the saxophone and chief instigator in Father Figures, and told him his band needed to play the Tiny Desk. How this music would translate to the brightness of day — to say nothing of a busy office — was hard to anticipate. But from the moment the band squeaked its first squawk, it was clear that it would conjure up an adventure. These guys mix rock and jazz the way King Crimson did at its fiercest.
Father Figures formed at New York University in 2007 with Adam Schatz on sax and effects, Jas Walton on sax, Spencer Zahn on upright bass, Ian Chang on drums and Ross Edwards on keyboards. If they come to a club or living room near you, drop all plans and go. This video is just the beginning.
"This Is The Way We Mean"


Iam an admin of SarkariNaukri2019 (www.sarkarinaukri2019.in). My site is Government Jobs search site. I started this blog 2 months age. But till now I not get enough traffic for my site.
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2 months is an extremely short period to get your blog listed in search engines.
It takes minimum of 6 months of regular posting to start seeing your articles in search results.
You also need to go for some promotion of your blog by way of sharing your links on other websites inside articles.
These may sound like difficult tasks, but the field of blogging is cut throat competitive and you need to invest a lot of time and some money to earn profit from it.