text:
david yee link
well said. same is true in canada.
i'm sorry, but you can't have both ways. Actors that happen to be black, Latino, Asian or some other ethnicity can't demand that they be the only choice to play a character of some specific ethnicity AND be considered for white roles as well. Why don't you play who you are and ask directors to cast you as such?/
Gary, you should perhaps read it again. In no part of this article did the writer ever state that minorities should be used for race specific as well as white roles. The writer specially said for race specific roles as well as for a mix of races for non race specific roles. Which means that whites would be included in that mix of people as it is a "mix" and not a "minority".
Tanja,
The reality is that most plays, films and TV shows feature a white male protagonist. That's the real issue. So why not you your energies to fix that problem??
Kenzo Lee link
The point is to NOT be excluded from multi/any ethnicity casting while still being true to the script. If the show calls for the Emperor of China, the casting should find someone Chinese. If its for Lawyer #1 and the cast is predominantly Caucasian with a show taking place in New York, shouldn't it be logical to have a minority of some kind of form? Why not Lawyer #1? Its not about having it "both" ways... its about equal representation and representation on stage and screen. Asian Americans make up for over 11% of the US population yet still account for less than 3% of the roles on stage. With the largest disposable income per household, don't you think it would benefit shows/marketing/advertising to begin catering more ti this section of the population by bringing in characters that specific audience can relate to? Look at Hawaii 5-0, the most popular show on CBS and also the most ethnically diverse cast.
We are not trying to "take" white roles as much as being realistically considered for ones that don't "need" to be white.
First, Hawaii 5-0 is not the most CBS popular show in the US. It's NCIS. Hawaii 5-0 may be popular overseas, but not in the country of origin, so your point is not supported by it. Here's my point: you and other actors of color want more opportunities to practice your craft. Fine. I get that. I just don't think it will happen by asking the world to ignore your ethnicity and put you in any role. To get a role because race doesn't matter is inviting you to not use your ethnicity to develop the character.
The point is WHEN THE RACE IS NOT SPECIFIED it is important to consider any race and not just cast with a white guy. There are plenty of plays/films/tv shows when THE WHITE GUY is specified and should be cast with a white guy. I think the author of this article is saying any race should be considered when the race itself is not indicated as crucial. It seems like more often than not, when race isn't specified it, by default due to socialization, goes to the white guy. We need to expand our thinking. That's what I'm reading in this article.
-A white guy
Gary, I hear what you're saying, but one of the bigger problems here is that most "white" roles aren't defined as white, per se. They just aren't defined -- and sadly, given a lack of guidance, casting directors and director-directors default to the idea that "white" is standard, and everything else is "other."
Mike's simply asking that we respect the playwright's intent in writing diverse characters, and that if a playwright fails to declare a race, that instead of defaulting to "the majority," we see it as an opportunity to consider a broader range of actors than we might otherwise -- especially when considering plays from a time when racial diversity was much more limited than it is in our present society. (In other words, I'm not suggesting that, if you're doing 1776, the Founding Fathers should be considered for minority casting...but Sophocles didn't define his characters' racial identities because it was so far outside the conventions of the time...Reading it with a modern eye, there's no reason Oedipus has to be an actor of the melanin-deficient kind.)
Ironically, the more audiences are offered opportunities to see more diverse casts, the less remarkable those experiences will be. And that's all to the good, for all of us.
The roles you speak of don't have to be stated as white roles because it is implied. You only need to identify the race or gender to differentiate it from white and male. It is a default because it is so prevalent. That's why the real solution is to increase the roles for women and minorities and not ask to be shoehorned into someone else's story as long as you don't play it like a person of color or a woman.
Race isn't specified, but it's "implied"? In what respect is it "implied" when there's e.g., a male role for John, a lawyer, mid-30s? Explain to me how that "implies" a particular race. No easy outs for the Anglicized name; a lot of people have them, regardless of skin color.
Your only argument therefore isn't about what's implied; it's based in stereotypes.
(And yeah, I'm white.)
Sandra Yee link
I'm sorry but who made you the ethical judge if who can have it both ways and who can't?
So how come white actors can yellow face? Answer me that!
I find it offensive when white actors portray minorities. They do that because white producers and directors don't see the uniqueness an actor of color brings to interpreting an ethnic role. By arguing for a color-blind casting policy, the advocates of that approach are devaluing that uniqueness as well. Don't ask to be seen as the same as a white actor, but rather as to be seen for what makes you unique.
My apologies for earlier on, Gary, you're right... hawaii 5-0 is not the most popular show on CBS, however that doesn't devalue the point that it is extremely popular in its time slot and on all of national network television. Take The Walking Dead as well, and it's multiethnic cast. To be honest, you seem like you're misunderstanding the debate and coming from a perspective of someone who believes we are claiming we are "owed" roles. This is not the case. We are asking to be invited to the table as an equal partner. If someone from a different ethnicity is better than us, that'll be fine. However, the bias associated with casting a majority of Caucasian faces across the board in roles that could easily be played by women, minorities, etc. is something that does not consistently get addressed. Is network television an actual reflection of the demographic of society? No it's not. Sorry Gary, but with the number of people disagreeing with your comment, I hope that you can see that you are clearly in the minority.
Howard Ho
Sorry, but being considered for non-race specific roles is not "having it both ways." What Mike and others are saying is that since minorities are not being considered for mainstream American roles, AT THE VERY LEAST they should be cast in roles that represent their ethnicity. That's the tip of the iceberg.
Onto the ideal....If you read carefully, Mike did not use the term "white" roles. He said non-race specific roles. In other words, if a character is an American and speaks without an accent and has full cultural fluency in America, he is NOT by definition white. I don't know you personally, but many people make that the default even though the great thing with America and other pluralistic socities is that there is no one race for American.
To be relegated only to playing "yourself," i.e. roles that specify a particular race, is severely limiting to the types of plays an actor can play and also to the relevance of many plays to the world we actually live in. That would basically exclude many of our great actors from developing through the iconic roles in the Western canon, which would be a shame.
Erin Merritt
Gary is of course totally wrong. When Asian people are getting all the "white-people" roles, then we can talk about white people getting to play Asian roles. The world is not equal, so turnabout is not fair play. I can not agree more with this post, so thank you Mike. As a producer who is committed to ethnically mixed casts for non-ethnically-specific shows, I want to say loudly and clearly that anyone who is hiding behind the "ooh it's too HARD to cast an ethnically diverse cast," you are just being lazy. Not enough trained actors of different ethnicities? Train them. But much more likely you are not taking the trouble to go see them in shows, and your friends aren't bothering to either, so you just don't know them, and every time you cast the same white actor, you build his resume (which is great for him and may very well be justified), but you could just as easily be building another actor's resume, someone who is just as inherently talented and just needs a chance to shine. Yes you can be part of the solution, you could be the person who discovers that awesome Latino actor who everyone wants for "The M with the Hat" or all the great black actors that are needed for Suzan-Lori Parks' plays. And guess what, audiences effin' love it. They really do like seeing a wide range of people and stories on stage. We don't go to theater to see exactly what we see every day—we go to theater to dream big, and there is no better way to create an equitable world off stage than to do it on-stage, which, hey,a t the same time, creates one off-stage for those actors. This goes for women too. No more all-white, all-male seasons. That is not our world, that is not our country, and that is not our century.
Erin,
I don't want exclusive, all-white seasons to be an issue any longer. So why don't we get more Asian, Black and Hispanic/Latino roles produced? Why don't we create more Asian theatres that will provide the opportunities for these Asian actors that you demand. That's how it is done. Why do we have to continue accepting the premise that white is the standard? I don't think we should any longer, but for minority actors to ask to be considered for white roles is just playing into the notion that white is the standard.
Roger Tang
You sound a tad condescending, Gary. It's not as if we don't know how it's done, and it's not as if we haven't been producing Asian theatre for decades.
And you're saying something that I don't think you mean. It sounds like you're saying WHITE actors are owed these roles which are, in fact, not race specific.
Lily Tung Crystal link
No one is saying that minority actors should be considered for "white" roles. They're just saying that minority actors should be considered for NON-RACIALLY SPECIFIC roles, as in roles that in character breakdowns could be played by ANY ethnicity - white, black, Asian, Latino, Native American. Unfortunately more than 90% of these roles are by default cast with white actors. Yes, we should try to get more Asian, Black, Latino roles produced, but casting directors should also consider minority actors for NON-RACIALLY SPECIFIC roles. That opens minority actors to all kinds of roles that are quintessentially AMERICAN, not just ethnically-driven. Despite our color, white, black, Asian, Latino, we are all at our core American.
Mark Gore
Gary, you talk a nice theory about getting more Asian, Black, and Hispanic/Latino roles produced. Sure it would be nice if Asians, Blacks and Latinos all had the same economic power (and cultural privilege) to be able produce theatres or films that were financially successful and well attended by people of all races and colors. And could get financed, etc...
Somehow, though, I think if some did succeed, the powers that be might call those plays or films too narrow-focused, or even racist. Would white people attend, buy, or rent films and theaters that had a specific ethnic or racial bent? I don't know.
Actually, some Asian (North) American actors and entertainers HAVE focused on Asian theater and film by going to Hong Kong and Korea (maybe Bollywood too?) and pursuing careers there. I wonder why?
White still *is* the standard. It shouldn't be. People *are* creating Asian theater companies—there are several in the Bay Area for example. People *are* doing a lot. But we do not have equity, and we're nowhere near it. Now quit whining and get out there to be part of the solution.
Jana Monji link
There are times when multicultural casting makes no sense such as in the sailors and nurses in the musical "South Pacific" because the theme is racism and there was still segregation. If Nelly is working with black nurses and there are no confrontations between her and the black nurses, then just what is the point?
What should be avoided is blinding Americans and indeed the world with the glare of whiteness which causes pain, discomfort and intense tears and may lead to permanent damage to the viewers who might be misled into believing the the world is blindingly white. We could call this Social Darwinism's photokeratitis or white imperialism's snow blindness.
Tyler Moss link
Mike - I couldn't agree more. Come see our cast of Love's Labour's Lost this summer. We spent a lot of time doing exactly what you're talking about.
It's more complicated than that, Gary. It just so happens that most of the great roles in the Western theatrical tradition are roles for white people. Other than Othello, I don't think that means minorities should be barred from doing Shakespeare, which has been a great proving ground for actors of all races to tackle.
Similarly, roles for minorities are typically written to be secondary to white characters and without the same level of complexity and depth. If those roles do eventually get written and are viable artistically and commercially, perhaps this would truly be a different conversation.
The roles you speak of don't have to be stated as white roles because it is implied. You only need to identify the race or gender to differentiate it from white and male - Gary
Wow. Just wow, Gary. So a role is basically written for a white actor; it's intrinsically valued as a role for a white actor, and only if the author intentionally puts "black" or "asian" or "woman" as a part of the character description then it should be "allowed" to be given to a minority or woman? I think that your perspective is askew and narrow. Your opinion is just the type that Minority Activists are trying to fight, and even though we've made some headway, it is obvious from your comments that you're not going to change your narrow view any time soon.
EWP and El Teatro Campesino have been making amazing theater for Asians and Latinos for almost 50 years. Some of their projects have gone to Broadway, been made into feature films, etc. actors trained there have gone on to win Tonys, Drama Desk Awards, even Academy Awards. We are trained. We are here. We are relevant. Anyone who says they can't find someone experienced enough, talented enough, etc, for a role that is specific to a minority or type isn't looking hard enough. That's the point that needs to be changed.
I wish you well. I hope your passions and effort prove me wrong. If I am in the minority on this position in this one Blog post, I don't take it personally because, quite frankly, this is a very small corner of the world we both live in. It isn't exactly representative of the nation at large. This is a country that is still not comfortable with race in any topic. Also, I understand that people of color from different ethnicities see the issue of racial integration differently. Asian Americans are not a monolith and do not hold a single point of view on racial politics. I fear your desire for a more equitable workplace on American stages will be disappointed by a reality wherein Artistic Directors are more concerned with satisfying the audience they already got - which is overwhelmingly white across this country - and keeping current donors happy, than they are in expanding that audience. Your desire for more artistic freedom and adventure in casting comes in conflict with the reality of fewer federal dollars for the arts, fewer private foundation dollars for the arts, fewer local government and donor dollars for the arts. You may not believe it, but I wish we lived in a more adventurous artistic time, but we don't and won't as long as the very economic survival of the art form is as tenuous as it is currently. I wish you well. I would love to talk about these ideas in 15 or 20 years to see how things came out.
Both of your examples, East West Players and Teatro Campesino are wonderful organizations and culturally-specific. I know their leadership. But where is the Berkeley Rep, South Coast Rep or ACT as an example of this policy? I know the leadership of those theaters as well. Their primary concern is to keep the lights on in their institutions. I wish you well but fear your desires are just going to run into a brick wall that is economic reality. No large regional theater in this country is going to do anything that will jeopardize the satisfaction of their current patron and donor base.
Well then Gary, you are in luck...
- ACT will be hosting Tony Award winner BD Wong in the Orphan of Zhao next June, in what I'm sure will be a standout performance.
- South Coast Rep just finished a highly popular run of David Henry Hwang's Chinglish, in February.
- south Coast Rep will ALSO be performing the work premiere of Asian American writer Carla Chings new play, Fast Company.
Your matter of factness is appreciated but is shown to be wholly outdated. Theater is changing. After their Nightengale debacle, leading theater La Jolla Playhouse churned in 2 wonderful examples of casting against type with their rendition of Glengarry Glen Ross (a typically Caucasian cast Pulitzer Prize winning show) with 2 Asian descent actors in lead roles. The show was highly popular and has been nominated for many awards from the season. Also, Kimiko Glenn played the title role in the technical achievement "Yoshimi Vs The Pink Robots" with music by The Flaming Lips, directed by Tony winner Des McAnuff.
Leading theaters ARE making changes, Gary. And keeping their doors open and the lots on.
Kevin Dow
Gary, it's time to listen and learn. You're just fighting to be right. It's the wrong fight, brah.
Amy link
Thanks so much for engaging with these topics, Mike! As an Asian-American who lived in London during the time of the Zhao debacle, I couldn't have been more saddened and disgusted by their double standard.
I write about this issue as well on my blog, mostly to remind the industry and acting schools that they are not nearly as progressive as they would like to think they are.
Check out my post for an awesome quote about casting by Chuck Mee:
http://vocalcontext.wordpress.com/2013/03/30/there-is-not-a-single-role-in-any-one-of-my-plays-that-must-be-played-by-a-physically-intact-white-person/
Ironically, it's because the major regional theatres are not opening up to new and emerging audiences that they have been hit so hard by this economic reality. This is especially true in cities like LA and NY where they are home to extremely diverse populations, and to shun their talents and their stories are more than just ignorant and elitist, it is financial suicide.
Paul Dinh-McCrillis, CSA
I agree it sucks as far as diversity goes in all mediums of entertainment. As a Casting Director, I always ask if we can mix it up as far as ethnicities go. The producer/director usually says yes, but inevitably chooses the caucasian actor no matter how much color I show them. Any Casting Director who doesn't push it, isn't a real CD, no matter how often they get hired. I just signed on to cast a union webseries and the producer is open to even casting different ethnicities to play siblings. I hope he sticks to that idea and one day no one thinks twice about having all ethnicities represented equally. Bring on those scripts!
This is exactly the outlook that we wish more CDs would express directly to us. At the end of the day, it truly is up to production, no matter how amazing the CD works to get people in the door. Every once in a while, it works. Thank you for being an inspiration!
Here in Chicago (the best theatre town in the country), we have the same awful problem. It's just down right terrible. Too many white companies, too many white actors, too many white directors - just too much WHITE in general. Just judging by the recent Jeff Awards this past Monday night, the room was filled with WHITE artists and very few minority actors to be found. I think that sums up what I call an enourmous epidemic problem that exists around the nation as a whole. Theatres are sorely lacking behind when it comes to a clear representation of other cultures and ethnicities on American stages. Even Hollywood seems to be further along than the theatre industry is when it comes to seeing different faces on the screen. I think the problem lies with the people in charge - the directors, artistic directors, casting directors and anyone who is making or influencing decisions. They have to be the ones to shoulder the change and the catch 22 of all of this is that too many of them are WHITE and too many of them just seem oblivious to it all. There is a sea change approaching in terms of the demographics of this country and if these people don't get their act together, the theatres across this country will experience what newspapers are experiencing now - crashing subscription retention and empty seats. This article from Howl Round I think hits it on the head: http://www.howlround.com/does-the-american-theater-have-the-same-problem-as-the-gop
Chas Belov link
Re: If I cast a minority in this role it will change the meaning of the role itself
Actually, I'm thrilled by that possibility.
Jon Rosen
Chas, as much as it seems appealing to say that, it is treading on VERY dangerous artistic ground, especially if you are recreating someone else's play. If you wrote the work, it is totally within your rights to consider "changing the meaning of the role" but if you are performing someone else's play or musical, you CAN'T LEGALLY DO THAT without getting permission, especially if changing the meaning of the role can also change the meaning of the play. One interesting play that comes to mind, for instance, is Slow Dance on the Killing Ground. The character of Glas is a German shopkeeper (masquerading as a Jew). If you decided to cast that character "color-blind" you would RADICALLY change the meaning of the play. Glas simply can't be an Asian or black and have any of William Hanley's words mean anything like what they were meant to mean, simply because that would defy any sense of reality (how could an Asian or black man in Nazi Germany been permitted to work and act like a German, let alone to later on attempt to impersonate a former Jewish prisoner of a concentration camp?) If you even attempted such a casting, you would run a serious risk of distorting the entire meaning of the play and I believe you would be in violation of any license you have to produce the play.
First, I don't believe in color-blind, but rather in color-aware. That is, the color of the actor affects the subtext. I just don't think there's something wrong with that for most plays.
Yes, I agree it wouldn't work for the play you give as an example, but I think it wouldn't be an issue for most plays where a specific identity is not a key plot point.
Great article. In the ideal, I totally support it. However, the one problem, purely selfish, with the casting of non-white actors in racially non-specific roles, is that these roles are frequently smaller, supporting roles. And as a white actor trying to climb the experience ladder, it becomes extremely frustrating to be aced out time and again, to lose the opportunity to add to the resume just because they decided the secretary should be Latina, or the assistant DA should be Asian-American, or the schoolteacher should be Middle Eastern or African-American. I hope I live long enough (and have enough of a career) to get to the point where the quality of the performance and not the ethnicity of the actor is THE most important thing. I understand the current situation; in the ideal, I support it. but is IS frustrating. Our turn, I guess!
As a fellow white woman among thousands and thousands out there, let me tell you something; do the math. At every single audition or call-back you have, DO THE MATH. Chances are, you're not going to get that role. It doesn't matter if you're reading with other white actresses or a mix of ethnic/racial backgrounds. The deck is always stacked against you because there are x number of other choices vying for the same role.
The good news of that is, you can take a load of pressure off yourself. Work hard, prepare your butt off, go in there and knock their socks off. Then, let it go. Seriously, you have no way of knowing what's in a casting director's mind or "what they want" beyond you showing up, being professional, and doing great work.
Daniel Olson
I think there is one sentence early on in this article that supports Gary Anderson's "can't have it both ways" remark. It is:
"If the play is set in a place where all logic dictates that the characters would be of a particular ethnicity, you should cast actors of that ethnicity."
And that is where many of us might say, "even if all logic dictates that the character would be a white male, let's consider that bit of logic to be less important than the opportunity to open up roles to others so long as race isn't a thematic issue. But if all logic dictates that the role would be non-white or non-male, then we must cast according to the logical race and gender even if race isn't part of the theme." Now even as a white male, I love seeing productions of the Music Man defy logic as to who would be living in Iowa at that point in history, but it does create an "except if the characters would logically be white" allowance that goes like this:
If the character is specific, cast specifically.
If the character isn't specific, be inclusive.
If the character is logically a non-white man, cast specifically.
But if the character is logically a white male, it's OK to cast non-white or non-male because white men are over-represented in casting. Remember, I'm not arguing against this, but it is "having it both ways."
Well, not necessarily. Consider your talent pool first; who would be a good fit for the role? If all you're getting is "a bunch of white guys", fine. The point is that you shouldn't limit your options based on skin color, not that there aren't times when, no matter what you're looking for, in a given situation you might very well just have a bunch of white males getting called in (based on who you've got on file/get recommended to you/would be available).
Well, last night's Tony awards were at least an interesting counterpoint to this discussion. Four of the eight acting awards went to actors of color, including Leading Actresses in a Musical (Patina Miller - Pippin) and and Play (Cicely Tyson - Trip to Bountiful) as well as Leading Actor in a Musical (Billy Porter - Kinky Boots) and Featured Actor in a Play (Courtney Vance - Lucky Guy). And both Best Director awards went to women (Diane Paulus for Pippin and Pam MacKinnon for Virginia Wolf). So there is obviously movement in the bedrock, no question. But one interesting issue still remains (and its funny, this is the same issue that is seen in sports when dealing with ethnicity). Although the actors (players) are becoming more multi-racial/ethnic, the power structure is STILL predominantly white male. How many black or Asian or even female producers were there? Not many (okay, Fran Weissler? but let's face it, that's really Barry who did all the speaking anyway, never let his wife say a word). And not many ethnic or female designers, writers, etc. Broadway is STILL dominated in most aspects by the same people who have dominated it for a century. Sigh...
Novelty Lighting link
This is a great blog. I am totally impressed! Keep stuff like this coming.


text:
Author Name Dyson, George
Title Turing's Cathedral: The Origins of the Digital Universe
Book Condition Good
Publisher Pantheon
ISBN Number 0375422773 / 9780375422775
Seller ID SKU9145446
0375422773 1st edition, 1st printing with full number line. Hardcover with Dust Jacket. Good. Light to moderate wear to covers/corners. DJ wrinkled. Support Last Word Books & Press and independent booksellers.
Stock Description, May Not Reflect Item
"It is possible to invent a single machine which can be used to compute any computable sequence," twenty-four-year-old Alan Turing announced in 1936. In "Turing's Cathedral," George Dyson focuses on a small group of men and women, led by John von Neumann at the Institute for Advanced Study in Princeton, New Jersey, who built one of the first computers to realize Alan Turing's vision of a Universal Machine. Their work would break the distinction between numbers that "mean" things and numbers that "do" things--and our universe would never be the same.
Using five kilobytes of memory (the amount allocated to displaying the cursor on a computer desktop of today), they achieved unprecedented success in both weather prediction and nuclear weapons design, while tackling, in their spare time, problems ranging from the evolution of viruses to the evolution of stars.
Dyson's account, both historic and prophetic, sheds important new light on how the digital universe exploded in the aftermath of World War II. The proliferation of both codes and machines was paralleled by two historic developments: the decoding of self-replicating sequences in biology and the invention of the hydrogen bomb. It's no coincidence that the most destructive and the most constructive of human inventions appeared at exactly the same time.
How did code take over the world? In retracing how Alan Turing's one-dimensional model became John von Neumann's two-dimensional implementation, "Turing's Cathedral" offers a series of provocative suggestions as to where the digital universe, now fully three-dimensional, may be heading next.
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redpajama_set_name: RedPajamaCommonCrawl


Note: Armon's earth is not Earth - Freedom, it's another version of earth in the terminus.
Ven der Volf Man howls!
It is very sad, Jack. Tros was one of the great hero stories that Robert E. Howard used as a basis for Conan. He was a mystic and a warrior and a general. He hob nobbed with, and fought with, Julius Caesar, and built a great ship that would take him across the Atlantic to the fabled lands - but it was burned up, by Caesar.
A hero must be practical.
Hmm. I'll see if I can find it.
Rubber Baron wrote: It is very sad, Jack. Tros was one of the great hero stories that Robert E. Howard used as a basis for Conan. He was a mystic and a warrior and a general. He hob nobbed with, and fought with, Julius Caesar, and built a great ship that would take him across the Atlantic to the fabled lands - but it was burned up, by Caesar.
What minded me of him, when it came to Armon, is that Tros is very much supposed to be a traveller from a far more civilized (read modern) state than the ones that he visits, where Conan is from a barbaric (read primitive) one. Tros was, in the bibliography of the 2E Complete Paladin's Handbook, pretty much accurately described as "a Lawful Good character in a world that's Neutral, at best."
See, now I'm even more intrigued.
That does sound rather like my idea of Armon.
The demon soars above the ground, "I am Chin Hsu Fang, the diabolical lord of heavenly wrath. I will grind your bones to dust, mortal, and then I shall burn your cities to embers, and devour your people" The creature speaks with inhuman voice and laughs madly in anticipation of the carnage to come.
A man sits beneath him, dressed in the traditional robes of a monk. "I gave away my name long ago but the people you wish to devour, demon, rely upon me. They name me Master Monk, and I shall use my abilities to defeat you."
The demon flies with the speed of the wind, charging the monk who dares offer battle to him. He laughs once again and spits infernal flames at this puny warrior.
The monk concentrates; his serene expression never so much as flickers while the flames approach him.
"Tiger's blazing paw" he whispers, shifting his hands quickly; even his shadow is not capable of catching up with him. He shifts the energy of his soul into his right fist and strikes the infernal flame just as it approaches him. The flames are gone.
"Your foul magic shall not defeat my sacred training." The monk declares.
"Honourable crane soars above the mountain." The monk leaps high into the air; he spreads his arms and keeps rising. He spins in the air and gains speed.
"Honourable Crane strikes." The master mage shouts and launches a kick against the Oni.
The beast becomes more furious. "Your poor attempt amuses me, mortal." The demon screams and strikes at the monk with its tail.
The monk easily dodges the deadly attack.
"I have wasted enough time with you, demon." The monk speaks. "I shall banish you once and for all."
Once again the monk collects his chi into his fist, "Mother earth rages!" he screams out and hits the ground, the earth shakes, leaving a fissure.
"Father Thunder punishes the sinner" the monk declares. He moves again and rain appears.
"Divine wind raises the eternal flame" the monk whispers and charges the Oni, he jumps onto its back and punches him twice.
"Fist of the Elemental Might" the monk shouts and strikes with all his power. The demon falls into the hole in the ground.
"Never again you shall threaten this land, serpent!" the monk says.
In his agony the demon curses "I shall return."
"And I shall await you." The monk replies.
This was the story of the Shambala Master, a monk and a former Master Mage, master of the martial arts and of alchemic rites, scholar and warrior, a man who lived long ago and still remains among us.
Even though the Unnamed Monk passed the duty of the Master Mage onto his student, still he remains on Earth as the master of Shambala's monks and the sole judge of the Gathering.
It is unclear if he is a regular mortal or a spirit bound to Shambala – one thing is sure, he shall aid every hero who opposes evil.
Tzin Hu-Chi once was his student – after arriving at the temple of Shambala. He has also aided the young warrior on his crusade against his father.
When Tzin Sing heard that his son operated on the behalf of the Wise One, he ordered his soldiers to retreat and declared, "We shall not dishonour The Master." A statement which implies that the Yellow Peril himself was once his student.
Apologies for any infelicities in editing gentlemen and ladies of the Think Tank.
Master Martial artist and master mage, hmm? You've set me a challenge, this time. Thank you.
Yes, he has both stunning attack and a stun power. If magic is blocked, he still knows pressure points. Yes, favored opponent could take him over cap.It's really just there so he can crit uncrittable demons. He'll hero point to get the ability to crit other things (like Undead, constructs, whatever). Obviously, he can do a lot more spells than I listed. That's just his most commonly used ones.
His slow fall, you'll note, isn't magical. Most of his movement powers aren't...exactly. His dimensional movement and air walking are exceptions, obviously. So if magic is nullified, he falls out of the air...but doesn't hit as hard as one might expect. His wallcrawling isn't magic at all, nor is his speed or jumping ability. Only the dimensional aspect of his strike is strictly magic. The rest is training and chi.
Just a note: I've imagined that the Master Monk channeled he's magical power into his martial arts moves, which gives him the super human abilities of supreme martial artist, instead of making the regular Dr. Strange wizard tricks.
He's a master of chemistry and the oriental version of alchemical rites, and rarely uses his chi to cast charms in the European way.
And here we go, a HUGE uptdae - my take on the Weird West!
John Rising Eagle was born long after the European invaders took possesion of his native land. His grandfather, the tribe's shaman, used to tell him of the times long gone, when the Native Americans ruled the land and lived in absolute freedom.
John became furious; he hated the white men for all the crimes committed against his tribe since first they reached the land. Then he lost his father when some drunken white thugs found his clothing funny and shot him after lengthy torment.
It was then that John declared war on all those who would abuse and scheme against his people.
Not only was he a well trained Apache warrior, capable of using all the traditional weapons of his tribe, but he also discovered that he had unusual skills with the weapon that had conquered America – Guns.
For a couple of years he operated under the name of The Apache Kid - a sobriquet given to him by the authorities - sabotaging trains, robbing banks, killing white thugs and gunslingers. In other words, he struck at the white way of living.
It was when fighting alongside Pale Ranger and Broken Crow he at last understood that not all white men were evil and that it is possible for Native Americans to join with the Pale Ones in order to bring Justice to the vast country they shared.
He changed his name and begun operating under the name of Eagle Rider, since the Pale Ranger described him as "A gunslinger who shoots with the eye of an eagle. I am glad he rides with me and not against me."
Broken Crow once suggested that the amazing ability of sharp shooting that the Eagle Rider posses comes from the unique strength of his surprisingly old spirit.
Emily Donner travelled with her husband and son to a new settlement in the West, seeking a better life. A gang of bandits' interrupted their journey. Her husband and son died but she survived, barely. She wishes she had not.
For years she plotted revenge on those who ruined her life. She found teachers who trained her to use the gun, not just shooting faster than the other man, but dispassion, how to control her rage and violence and use it as a weapon more terrible than any other.
Since then she has travelled the western frontier, hunting for revenge, fighting for and against the law. It is known that she has met the Pale Ranger on a few occasions and El Gaucho has mentioned that she almost burned down a town in Mexico.
Sancho Vega lived a peaceful life as a South American cowboy – a gaucho - he never looked for troubles, but they found him anyway.
Since he was a child he always found himself fighting with other boys, beating up thieves and other such situations. When he became older and responsible for his families farm he merely attracted greater troubles.
Hostile gangs arrived from time-to-time, but Sancho served in the army and his father had taught him how to use firearms since he was a small boy. He drove them away, most of the time.
One night, the Black Hats arrived; they caught him with his guard down, burned his ranch and rode away howling into the night. Sancho remained and restored his farm.
When he finished the job he left the task of taking care of the farm to his little brother, saddled his fastest horse, took some guns and rode away to the north – Texas, where the goons he searched for hid out, according to the rumours.
After dealing with them - violently - in the event now known as "The Battle of Ten Mexicans" he became famous as "El Gaucho, The Cowboy from Beyond the Border."
He remained in the USA, protecting Mexicans and any defenceless civilians against violence from the various threats of the Frontier.
Henry Finn was born and raised in the little town of Libertyville, Missouri; he was the boldest and smartest kid in town always searching for new adventures.
His family and friends found it only natural that he became a sheriff; he merely turned his hobby into his profession. Although he rarely found thrills in his job, he had his share, like the time the Pale Ranger came to town, looking for werewolves!
It was known to the public as "Pale Ranger and the strange case of the Moonlit Lunatics" or "The Lunes of Libertyville". A pack of werewolves moved into the local hills, hiding from hunters of the monstrous and prowling for raw meat. Human Meat.
No one knows where this gun slinging lady came from. No one knows where she's heading to. All that's known is she's one tough costumer and she leaves bodies to mark her trail.
This gray clad lady is a mystery. Eagle Rider once mentioned that she is of Indian origin. Broken Crow shared the fact that for a brief period she helped him in his war against the arcane foes, and she has helped the Pale Ranger more then few times.
What is known is that she never – well almost never - works for free.
When this sickly child was born his parents were disappointed. The tribe's shaman had promised the child's father, the chief, a mighty warrior who would be remembered in history for battles and triumphs that would dwarf any others of the tribe. Yet there was the infant, small and sickly, with a back as crooked as a drawn bow. It seemed that the old priest had been wrong.
But the shaman knew that he was right and that Mortal men must not doubt the prophecies received from the spirits. He took the young child under his wing and promised the chief that he would teach him the way of the shaman, since the child could not wield the spear or the tomahawk.
When he come of age he travelled on his own through the vast, wild lands of America, East, West, North and South fighting demons, vile beasts and crooked men, armed only with his arcane abilities and human cunning.
He also discovered Magic Mesa, a place which he used for his sanctum. It was through the magic of this place that he met the Master Mage of Earth, learned from him and eventually replaced him.
Every single Western hero has met him at least once; he is especially renowned for his team-ups with the Pale Ranger.
Far in the dark reaches of space lies the dead planet of Xenushu, once a living planet until a biological space ship crashed, unleashing all-consuming worms onto the surface. In order to stop this massacre, from Citadel a warrior was sent, a star knight, Aben Do-Ker.
The Knight fought and slew many worms, but a single hatching was able to escape – to a primitive world called Earth.
By the time the Star Knight reached Earth the worm had devoured men, women and children people. The Earthling hero known as the Pale Ranger was assigned the task of solving the mystery by the Master Mage, Broken Crow. When the Star Knight arrived the two heroes joined forces and defeated the creature.
"I am Aben Do-Ker, Star Knight." were the first words he spoke when he came to our world "I protect the innocent in the infinite struggle against law breakers."
The Pale Ranger smiled at him and asked "You protect Texas?"
The alien chuckled "Much, much more." The Ranger nodded his head, "So you're a Marshall?"
The knight agreed "Yes, a Star Marshall."
Well. This could take a while.
Most of the Monk's magic powers are touch ranged, you'll notice, with effects intended to simulate chi powered strikes.
I took the whip cue and though that Madame Colt was Scarlet, the Minotaur's henchwoman when she ran around in the wild west.
I've made a very duffrent of Scarlet, giving her an orientel origin.
Since his early days as a new-come immigrant from Europe this loud mouthed thug meant trouble. He spent his days by fighting, drinking, gambling and cussin'.
He earned the money to do this by lying and stealing. Once, when dealing with a native tribe, he went too far. The outraged natives captured the thief and locked him away in their sacred caves, where the spirits of the Other World manifest.
The shaman danced the great dance of the ghosts and summoned a Wendigo to punish the robber. Yet instead of tearing Wolfgang apart, the dark spirit possessed the body, mixing its foul abilities with the bandit's fouler ambitions.
Since the first days of the civil war this red-necked, hot tempered farmer wore the gray uniform of the confederacy and was ready to sacrifice himself for the sake of the southern way of life.
Well, he got that opportunity, at Gettysburg. He survived the battle, only to be captured by those rich boys from the North. His comrades was slaughtered, he didn't knew what happened to his family…life was harsh, and his hatred was the only think kept him alive.
As the war ended Joe escaped his prison and returned to his farm. The Yankees walked the land like they owned it, and Joe didn't liked that fact.
He made a costume, The Rebel Rider, operating against the Yankees and the free slaves, triggering a wave of violence and racism.
During the age of the Frontier, this vile lawyer saw the weird events taking place in the West and wished to control them.
Dead bodies returned to life, monsters roamed the Earth and some powerful magic was in the air – Lucius Cabot had to be the one in charge.
His desire to be the most powerful man in this world and the next – not to mention the orders of his demon patron - led him into a war against the Master Mage, Broken Crow, and his followers. He used the occult, fire arms, his money and crooked dealing to spread his malign influence, slaughtering buffalo, abusing migrants and enslaving minorities.
This trio of smugglers and thieves led quite simple life; they won some, they lost some, spent some time and prison and then returned to their wicked ways.
Once, when hiding from a local sheriff and his deputies the gang spent a week in a cave, which contained some 'weird rocks' – raw uranium.
When finally emerging into the fresh air they discovered they were different – each of the brothers possessed some unique ability.
Randy "Bigfoot" Delton had the strength of Goliath.
Richard "One Man Gang" Delton could create a couple of 'fetches' which looked and acted just like him.
Robert "Horse-Legs Jack" Delton could run as fast as a horse.
The trio immediately used their newfound abilities and began a spree of crimes, only to be stopped by the Pale Ranger.
Now they work as muscle for hire and mostly accompany other - smarter - villains.
When operating by themselves they mostly rob banks and trains, steal horses and cattle, generally wreaking havoc.
Benjamin Smith, the richest man on the west bank of the Mississippi never knew which devil he roused from slumber when he bought a new slave male whom he named James, later surnamed Brown.
The slave wished to be free, in any cause, and old Ben stood in his way. With the arcane help of the Voodoo Loa James brought death and pestilence upon his owner.
His cattle died, then his family died, and when the Slave Magic was finished Ben was merely an old, crazy fool. The slaves were meant to be sold, Ben had debts to pay, but the majority of them ran away - except James.
At the peak of his madness Benjamin tried to kill James. He collected a mob and captured him. They hanged the cursed slave, but later that day James returned to the town and took his final revenge on his former Master. Since that day (Black Monday) nobody messes with the travelling gunslinger known as Dead Man.
He's not particularly bad or good in nature, but life was hard on him and he's going to be hard on life.
Last edited by Mr. Volf on Mon May 05, 2008 10:45 am, edited 2 times in total.
Well, if Scarlet is an immortal, there's no reason she couldn't be from the Orient, I just figured for a brief episode in her loooong life she ran around the American West and actually played a semi-heroic role before moving on to darker deeds.
BTW, I like the black hats, nice job.


Utilized our Top Liner Pipe Clamp on the piping installation for pipe sizes 12″ through 42″.
Client: PCL Industrial Construction Co.
PCL constructed this 4″ mockup used to train Fitters coming onto the projects.
We were invited recently to the 2013 UA Instructor Training Program in Ann Arbor, Michigan on August 10-16, 2013 at the Washtenaw Community College. Provided training on our Top Liner Pipe Clamps to the United Association Union of Plumbers, Fitters, Welders & HVAC Service Techs. Course included end-prep, fit-up (utilized our Top Liner Pipe Clamp) and induction heating for preheat & postheat process for heavy-wall pipe. Many locals from all over the US were represented and the clamp was very well received. We were also invited to their International Instructor Training Program that will take place in February 2014 in San Antonio, Texas.
Gary McClure (left), inventor and Steve Martin (right), BA of Richmond/Roanoke, Virginia Local 10.
Matt McClure with Walhonde Tools training some Local Instructors.
turnbuckle and continue welding towards the top.
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Credit Rating Agency Downgrades and the Eurozone Sovereign Debt Crises
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Christopher Baum
Margarita Karpava
Dorothea Schäfer
Andreas Stephan
Christopher F Baum
Dorothea Schaefer
This paper studies the impact of credit rating agency (CRA) downgrade announcements on the value of the Euro and the yields of French, Italian, German and Spanish long-term sovereign bonds during the culmination of the Eurozone debt crisis in 2011-2012.GARCH modeling of sovereign bond yields and the value of the EuroCRA downgrade announcements negatively affected the value of the Euro currency and also increased its volatility. Downgrading increased the yields of French, Italian and Spanish bonds but lowered the German bond's yields. We infer from these findings that CRA announcements significantly influenced crisis-time capital allocation in the Eurozone.
Christopher Baum & Margarita Karpava & Dorothea Schäfer & Andreas Stephan, 2014. "Credit Rating Agency Downgrades and the Eurozone Sovereign Debt Crises," EcoMod2014 6939, EcoMod.
Handle: RePEc:ekd:006356:6939
File URL: http://ecomod.net/system/files/CRAimpact18_cfb.pdf
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Rosati, Nicoletta & Bellia, Mario & Matos, Pedro Verga & Oliveira, Vasco, 2020. "Ratings matter: Announcements in times of crisis and the dynamics of stock markets," Journal of International Financial Markets, Institutions and Money, Elsevier, vol. 64(C).
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El-Shagi, Makram & von Schweinitz, Gregor, 2016. "The joint dynamics of sovereign ratings and government bond yields," Discussion Papers 13/2016, Deutsche Bundesbank.
Deena Zaidi, 2015. "Eurozone Debt Crisis and Regulation of Credit Rating Agencies," Global Credit Review (GCR), World Scientific Publishing Co. Pte. Ltd., vol. 5(01), pages 99-111.
Yasir Riaz & Choudhry T. Shehzad & Zaghum Umar, 2021. "The sovereign yield curve and credit ratings in GIIPS," International Review of Finance, International Review of Finance Ltd., vol. 21(3), pages 895-916, September.
Tran, Yen & Vu, Huong & Klusak, Patrycja & Kraemer, Moritz & Hoang, Tri, 2021. "Sovereign credit ratings during the COVID-19 pandemic," International Review of Financial Analysis, Elsevier, vol. 78(C).
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Oana Mihaela MARIOARA (ORHEIAN), 2015. "Sovereign Risk And Cds. The Case Of Romania," SEA - Practical Application of Science, Romanian Foundation for Business Intelligence, Editorial Department, issue 7, pages 51-56, April.
Roman Garcia & Dimitri Lorenzani & Daniel Monteiro & Francesco Perticari & Bořek Vašíček & Lukas Vogel, 2021. "Financial Spillover and Contagion Risks in the Euro Area in 2007-2019," European Economy - Discussion Papers 2015 - 137, Directorate General Economic and Financial Affairs (DG ECFIN), European Commission.
Demoussis, Michael & Drakos, Konstantinos & Giannakopoulos, Nicholas, 2016. "The Impact of Sovereign Ratings on Eurozone SMEs Credit Rationing," MPRA Paper 76364, University Library of Munich, Germany.
Jaccard, Ivan & Smets, Frank, 2017. "Structural asymmetries and financial imbalances in the eurozone," Working Paper Series 2076, European Central Bank.
Ivan Jaccard, 2019. "Structural Asymmetries and Financial Imbalances," 2019 Meeting Papers 988, Society for Economic Dynamics.
Diego Silveira Pacheco de Oliveira & Gabriel Caldas Montes, 2020. "Sovereign credit news and disagreement in expectations about the exchange rate: evidence from Brazil," Journal of Economic Studies, Emerald Group Publishing, vol. 48(3), pages 660-698, August.
Alexandra Popescu & Camelia Turcu, 2014. "Systemic Sovereign Risk in Europe: an MES and CES Approach," Revue d'économie politique, Dalloz, vol. 124(6), pages 899-925.
Alexandra Popescu & Camelia Turcu, 2014. "Systemic Sovereign Risk in Europe: an MES and CES Approach," Working Papers 2014.04, International Network for Economic Research - INFER.
Ballester, Laura & González-Urteaga, Ana, 2021. "Do sovereign ratings cause instability in cross-border emerging CDS markets?," International Review of Economics & Finance, Elsevier, vol. 72(C), pages 643-663.
Michael Demoussis & Konstantinos Drakos & Nicholas Giannakopoulos, 2017. "The impact of sovereign ratings on euro zone SMEs' credit rationing," Journal of Economic Studies, Emerald Group Publishing, vol. 44(5), pages 745-764, October.
Ballester, Laura & González-Urteaga, Ana, 2017. "How credit ratings affect sovereign credit risk: Cross-border evidence in Latin American emerging markets," Emerging Markets Review, Elsevier, vol. 30(C), pages 200-214.
Kenourgios, Dimitrios & Umar, Zaghum & Lemonidi, Paraskevi, 2020. "On the effect of credit rating announcements on sovereign bonds: International evidence," International Economics, Elsevier, vol. 163(C), pages 58-71.
Abad, Pilar & Alsakka, Rasha & ap Gwilym, Owain, 2018. "The influence of rating levels and rating convergence on the spillover effects of sovereign credit actions," Journal of International Money and Finance, Elsevier, vol. 85(C), pages 40-57.
Agnello, Luca & Castro, Vítor & Sousa, Ricardo M., 2021. "On the duration of sovereign ratings cycle phases," Journal of Economic Behavior & Organization, Elsevier, vol. 182(C), pages 512-526.
Klusak, Patrycja & Thornton, John & Uymaz, Yurtsev, 2020. "Do personal connections improve sovereign credit ratings?," Finance Research Letters, Elsevier, vol. 33(C).
Klusak, Patrycja & Alsakka, Rasha & ap Gwilym, Owain, 2019. "The impact of ESMA regulatory identifiers on the quality of ratings," International Review of Financial Analysis, Elsevier, vol. 66(C).
Kraemer, Moritz & Klusak, Patrycja & Vu, Huong, 2020. "First-mover disadvantage - The sovereign ratings mousetrap," CEPS Papers 26352, Centre for European Policy Studies.
Stefanos Ioannou, 2017. "Credit Rating Downgrades and Sudden Stops of Capital Flows in the Eurozone," Journal of International Commerce, Economics and Policy (JICEP), World Scientific Publishing Co. Pte. Ltd., vol. 8(03), pages 1-36, October.
Patrycja Chodnicka-Jaworska & Piotr Jaworski, "undated". "Countries Credit Ratings And Exchange Rates €" The Impact Of Economic Development," Review of Socio - Economic Perspectives 201608, Reviewsep.
Bernal, Oscar & Gnabo, Jean-Yves & Guilmin, Grégory, 2016. "Economic policy uncertainty and risk spillovers in the Eurozone," Journal of International Money and Finance, Elsevier, vol. 65(C), pages 24-45.
Baum, Christopher & Karpava, Margarita & Schäfer, Dorothea & Stephan, Andreas, 2013. "Credit Rating Agency Announcements and the Eurozone Sovereign Debt Crises," Ratio Working Papers 224, The Ratio Institute.
Christopher F. Baum & Margarita Karpava & Dorothea Schäfer & Andreas Stephan, 2013. "Credit Rating Agency Announcements and the Eurozone Sovereign Debt Crisis," Discussion Papers of DIW Berlin 1333, DIW Berlin, German Institute for Economic Research.
Sensoy, Ahmet & Eraslan, Veysel & Erturk, Mutahhar, 2016. "Do sovereign rating announcements have an impact on regional stock market co-movements? The case of Central and Eastern Europe," Economic Systems, Elsevier, vol. 40(4), pages 552-567.
Böninghausen, Benjamin & Zabel, Michael, 2013. "Credit Ratings and Cross-Border Bond Market Spillovers," Discussion Papers in Economics 21075, University of Munich, Department of Economics.
Zoran Ivanovic & Sinisa Bogdan & Suzana Baresa, 2015. "Modeling and Estimating Shadow Sovereign Ratings," Contemporary Economics, University of Economics and Human Sciences in Warsaw., vol. 9(3), September.
Drago, Danilo & Gallo, Raffaele, 2016. "The impact and the spillover effect of a sovereign rating announcement on the euro area CDS market," Journal of International Money and Finance, Elsevier, vol. 67(C), pages 264-286.
Luitel, Prabesh & Vanpée, Rosanne & De Moor, Lieven, 2016. "Pernicious effects: How the credit rating agencies disadvantage emerging markets," Research in International Business and Finance, Elsevier, vol. 38(C), pages 286-298.
Bernal, Oscar & Girard, Alexandre & Gnabo, Jean-Yves, 2016. "The importance of conflicts of interest in attributing sovereign credit ratings," International Review of Law and Economics, Elsevier, vol. 47(C), pages 48-66.
Afonso, António & Gomes, Pedro & Taamouti, Abderrahim, 2014. "Sovereign credit ratings, market volatility, and financial gains," Computational Statistics & Data Analysis, Elsevier, vol. 76(C), pages 20-33.
António Afonso & Pedro Gomes & Abderrahim Taamouti, 2014. "Sovereign credit ratings, market volatility, and financial gains," Working Papers Department of Economics 2014/06, ISEG - Lisbon School of Economics and Management, Department of Economics, Universidade de Lisboa.
Afonso, António & Gomes, Pedro & Taamouti, Abderrahim, 2014. "Sovereign credit ratings, market volatility, and financial gains," Working Paper Series 1654, European Central Bank.
El-Shagi, Makram, 2016. "Much ado about nothing: Sovereign ratings and government bond yields in the OECD," IWH Discussion Papers 22/2016, Halle Institute for Economic Research (IWH).
Hantzsche, Arno, 2022. "Fiscal uncertainty and sovereign credit risk," European Economic Review, Elsevier, vol. 148(C).
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France; Italy; Germany; Spain; Impact and scenario analysis; Finance;
All these keywords.
G24 - Financial Economics - - Financial Institutions and Services - - - Investment Banking; Venture Capital; Brokerage
G01 - Financial Economics - - General - - - Financial Crises
G12 - Financial Economics - - General Financial Markets - - - Asset Pricing; Trading Volume; Bond Interest Rates
G14 - Financial Economics - - General Financial Markets - - - Information and Market Efficiency; Event Studies; Insider Trading
E42 - Macroeconomics and Monetary Economics - - Money and Interest Rates - - - Monetary Sytsems; Standards; Regimes; Government and the Monetary System
E43 - Macroeconomics and Monetary Economics - - Money and Interest Rates - - - Interest Rates: Determination, Term Structure, and Effects
E44 - Macroeconomics and Monetary Economics - - Money and Interest Rates - - - Financial Markets and the Macroeconomy
F31 - International Economics - - International Finance - - - Foreign Exchange
F42 - International Economics - - Macroeconomic Aspects of International Trade and Finance - - - International Policy Coordination and Transmission
F65 - International Economics - - Economic Impacts of Globalization - - - Finance
This paper has been announced in the following NEP Reports:
NEP-EEC-2014-09-05 (European Economics)
NEP-FMK-2014-09-05 (Financial Markets)
NEP-OPM-2014-09-05 (Open Economy Macroeconomics)
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The surname Hase was first found in Holland, where the name became noted for its many branches in the region, each house acquiring a status and influence which was envied by the princes of the region. The name was first recorded in Amsterdam, an ancient 13th century town held by the Lords of Amstel. Giesebrecht II built a castle there. Geisbrecht III built the dam to keep out the sea. It is first mentioned in charters of 1275 when Floris IV, the count of Holland granted its charter. It became a city of great mercantile wealth. It hold great treasures of art. In their later history the surname became a power unto themselves and were elevated to the ranks of nobility as they grew into a most influential family.
This web page shows only a small excerpt of our Hase research.
Another 90 words (6 lines of text) covering the year 1839 is included under the topic Early Hase History in all our PDF Extended History products and printed products wherever possible.
Spelling variations of this family name include: Haze, Hazes, Hazese, Hazez, Hase, Hases, Hazee, Haaze, Hazze, van Haze, van der Haze and many more.
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Contact Us | Interfaith Families Project of Washington, D.C.
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From Tv set to U.S. legal professional: Nick Brown ideas 'different perspective' on justice in Seattle
Byiwano@_84
Oct 22, 2021 Brown, ideas, justice, legal, Nick, perspective, professional, Seattle, set
The Australian outback is unforgiving, but not considerably additional so than the fraught entire world of partisan politics. Freshly appointed U.S. Attorney Nick Brown, a onetime contestant on TV's "Survivor," Harvard Legislation School graduate and U.S. Army protection lawyer, has thrived in each.
Brown, at 44, is one of the youngest top rated federal prosecutors ever in Western Washington and the initial Black person to hold that place, adding to a prolonged list of firsts and accomplishments that took approximately 30 pages to depth in his submission to the U.S. Senate when he was nominated by President Joe Biden.
His strategy is to consider that drive and immediate it at the federal justice method in the Seattle-centered Western District of Washington, exactly where he thinks racial and social inequities have been fed by a form of inertia the place law enforcement and line prosecutors do what they do due to the fact that's the way it is been done in the past.
The consequence has been mass incarceration, a unsuccessful war on prescription drugs and distrust in the neighborhood. Brown would like to improve route.
As counsel to Gov. Jay Inslee, Brown in 2014 played a key role in the governor's conclusion to position a moratorium on the dying penalty in Washington, and he's poised to equally shake up how felony justice and civil legal rights are dealt with at the federal stage, inside of the confines of the law and Office of Justice rules.
"Our legal justice technique has huge challenges," Brown said in a latest interview from his corner workplace in the U.S. District Courthouse in downtown Seattle. The usa, he notes, incarcerates much more people than another produced region with disparate consequences — on persons of shade and the underserved.
"We penalize people significantly additional and for for a longer time than other nations around the world," he explained. "We should really be angry about this and emotion a honest amount of shame. There are other international locations that do greater."
In general, he details out, crime is down from in which it was in the 1980s and '90s, with the famous exception of violent criminal offense and homicide — a little something he blames on America's one of a kind gun tradition.
"But we can not incarcerate our way out of violent criminal offense," he stated.
His resolution is shake issues up inside his place of work, urging his prosecutors to rethink the meaning of the term "justice" and to "empower my people to force regulation enforcement into a different way to glance at criminal offense."
"We get into a schedule, the place we do issues one particular way since that's the way we've usually carried out it," he said. "I want to adjust that. My finest hope is that I make some marginal distinction."
As the to start with Black U.S. lawyer in Western Washington, Brown is keenly mindful of becoming both equally a job model for younger men and women of coloration and of his duty to address the problems of longstanding institutional racism and the job that the authorized system has played in marginalizing and victimizing these communities.
"This role is pretty significant to me," he reported. "My hope is to inspire younger men and women to get concerned. Even so, illustration doesn't issue if nothing modifications. We want to carry a distinct viewpoint."
This fight is not new, he points out, but alternatively freshly heard.
"Those voices have been dismissed or discouraged for a extensive time, but this turmoil and hassle has been in existence due to the fact this place was launched," he claimed. The variance now is "we're viewing a significant mass of incidents caught on digital camera. Prior to, we had to defer to law enforcement."
Until now, the U.S. Attorney's Business has had a single prosecutor assigned to the office's Civil Division dealing with civil legal rights circumstances, whose job provided overseeing the decadelong effort to reform the Seattle Police Department by a federal consent decree. A Office of Justice investigation concluded SPD officers utilized too much pressure in around 1 of 5 arrests and confirmed disconcerting proof of biased policing.
A ten years later on, the department's record involving individuals of shade remains troubling and the SPD stays less than federal oversight.
Brown strategies on increasing the selection of lawyers assigned to investigate and litigate civil legal rights cases, with an eye towards developing a multilawyer Civil Legal rights Division in the Seattle business.
"If I really do not do something in another way, then it doesn't make a change," he claimed.
He expects pushback. "When you check with people to do points in different ways, it helps make them uncomfortable," he said.
Brown was born in San Francisco, but moved to Steilacoom at a youthful age when his father, a profession navy person, was stationed at what was then Fort Lewis. He attended substantial school domestically and graduated magna cum laude from Morehouse University in Atlanta in 1999. He attended Harvard Regulation University and been given his Juris Doctor in 2002.
Even though in legislation faculty, as an journey, he became a contestant — and a heartthrob to tens of millions — throughout the 2nd year of "Survivor," filmed in the Australian outback, 1 of the greatest rated seasons of the reality display. Brown noted that 50,000 men and women used for the present that time.
"I was in regulation university at the time and was hunting for a enjoyable escape ahead of I entered the 'real planet,' " Brown wrote in an e mail. "Overall it was a excellent working experience, but it was 21 yrs back."
Although in university and regulation school, Brown modeled "as a element-time career, but nothing way too extravagant," doing work at community displays and in ads for designers and clothes retailers, he stated.
Brown joined the Army out of regulation college and labored as an legal professional very first as a lawful products and services and tax officer at Fort Bliss, Texas, and afterwards as an Army trial protection attorney for the Choose Advocate Common at Fort Bliss, Joint Foundation Lewis-McChord and in Iraq, where by he defended soldiers accused of crimes and violations of army law. He realized the rank of captain and was awarded a Bronze Star in 2005.
In 2007, he joined the U.S. Attorney's Office environment in Seattle, wherever he worked six years as an assistant U.S. lawyer striving legal scenarios, generally involving gun crimes and medicines. Immediately after leaving the place of work, Brown joined Inslee's office, where by he labored as typical counsel to the governor.
"Nick joined the administration in the initially year of my governorship, substantially to my delight," Inslee wrote in an e mail. "He was a scarce particular person with so considerably knowledge for these kinds of a youthful man."
Brown labored as a volunteer in Inslee's unsuccessful marketing campaign for president in 2020. He was a Washington delegate for Hillary Clinton at the Democratic National Convention.
U.S. legal professional work in Oregon appeals to 7 candidates interviews subsequent month
Can Brooklyn's New U.S. Legal professional Help Restore Faith in Law Enforcement?
By iwano@_84
Kansas lawyer disbarred for 'ghosting' clients, the courts and investigators
Lawyer to charm Las Vegas judge's ruling in Henry Ruggs deadly accident information scenario
Amy Weirich's attorney blasts open up letter from Folks for Fairness and Justice


Stylus Studio X15 build 1910m takes an additional step toward supporting XML Schema 1.1. Here an example which shows how to use XML Schema 1.1 in Stylus Studio.
The following schema makes use of assertions, a schema feature introduced in version 1.1, which allows to assert XPath 2.0 expressions against the content model. Here we assert that the element "root" has to have a text node's length greater than 0.
Here we attempt to validate a document against the schema which is properly reported as not valid.
But what if we want to validate and to transform in a single step, taking advantage of Saxon Schema Aware?
The following screenshot shows the Saxon processor settings in the XSLT Editor scenario dialog, which now features an additional combo-box to pick the validation mode.
If you do not want to link all your XML documents to the schema but still run validation you can make use of the schema cache which can be associated to a Stylus Studio project folder.
In addition to validate the XML input document we can also validate the transformation output. Here you can see the post Validation settings in the XSLT scenario dialog, which starting with build 1910m allows to select Saxonica Validator XSD 1.1.
Post validation also can take advantage of the project folder schema schema cache discussed above.


Jose Sanchez reported a vulnerability in GForge, which can be exploited by malicious people to conduct cross-site scripting attacks.
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text:
N. Korea accuses US of declaring war
North Korea's foreign minister has accused US President Donald Trump of declaring war on his country and said Pyongyang had the right to shoot down US bombers.
Ri Yong-ho said this could apply even if the warplanes were not in North Korea's airspace.
The White House dismissed the statement as "absurd". The Pentagon warned Pyongyang to stop provocations.
A UN spokesman said fiery talk could lead to fatal misunderstandings.
Mr Ri's comments were a response to Mr Trump's tweet that the North Korean leadership would not "be around much longer" if they continued their rhetoric.
"The whole world should clearly remember it was the US who first declared war on our country," Mr Ri told reporters as he was leaving New York, where he had addressed the UN General Assembly on Saturday.
"Since the United States declared war on our country, we will have every right to make counter-measures, including the right to shoot down United States strategic bombers even when they are not inside the airspace border of our country."
Mr Trump's tweet followed Mr Ri's fiery speech to the UN on Saturday, when he described the US president as a "mentally deranged person full of megalomania" on a "suicide mission".
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