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Avon Organizations Partner For Series On Women's Right To Vote
| Avon
Tina Panik (seated), the library's reference and adult services manager, Deb Key (left), committee member, and Terri Wilson (right), the president of the Avon Historical Society, dress in traditional suffragist clothing to promote their upcoming year of programming covering the 100th anniversary of women receiving the right to vote. (Michael Walsh / Courant Community)
The Avon Free Public Library, Avon Senior Center, and Avon Historical Society have received a grant from Connecticut Humanities to plan a years worth of programming covering the 100th anniversary of women receiving the right to vote, called "Deeds Not Words."
The grant, worth $4,030, will help cover costs associated to the programming, which will run from November of this year to November of 2020, the anniversary of the year the 19th Amendment was ratified.
The three organizations worked together in 2018 to similarly present programming on the freedom of the press. It worked so well, they said, that it made sense to partner again because of the way they can draw upon different audiences.
The programming will cover a wide variety of topics, they said, because the story of women receiving the right to vote goes well beyond just voting. Topics will include what was happening nationally, as well as locally in Hartford and the Farmington Valley.
"It's a big story," said Terri Wilson, president of the Avon Historical Society. "It's more than just women's votes."
"We want to keep the series historical," said Tina Panik, the library's reference and adult services manager. "We want the historical context explored. Our audience will be able to make the connections and the parallels to the modern world."
Panik said programming will include lectures, music, a debate, a film series, and more.
"I'd like people to find one aspect of the history of the voting and explore it," Panik said. "Something that will give them some context for this right that we have that many people don't exercise. Every citizen can vote, so that means it's everyone's history. Most people won't know the history. They don't know how long it took."
Deb Key, who is on the planning committee, said the programming will wrap up around the 2020 presidential election.
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"We want to raise awareness that this was hard fought," Key said. "It should not be taken for granted. What happens in this country impacts the rest of the world, as we see everyday. It's so important.
The launch event for the series will be held, on Nov. 16 at 3 p.m., at the Avon Free Public Library. The program will feature a talk by Susan Ware, author of"Why They Marched: Untold Stories of the Women Who Fought for the Right to Vote.
Following that will be a Dec. 9 event at 6:30 p.m., also at the library, featuring a look at how suffragists used clothing and symbols to promote their cause. That will be presented by Heather Prescott, a professor at Central Connecticut State University and a member of the Connecticut Commission on Women's Suffrage.
All future events will be listed on the library's website, at avonctlibrary.info.
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Grasedyk, L; Greff, I; Sauter, S (2012). The AL Basis for the solution of elliptic problems in heterogeneous media. Multiscale Modeling & Simulation, 10(1):245-258.
This list was generated on Wed Apr 24 01:22:37 2019 CEST.


In our solid lumber and veneer sourcing, we only partner with industry suppliers who support and maintain high environmental standards and certifications. All of our suppliers promote and support both domestic and international programs. These companies are actively involved in the public's education regarding the value and use of forest resources. They support the complete utilization of all harvested wood products and work to find effective ways to reduce waste and improve efficient use of global resources.
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NUT members at Northbrook School in Lewisham have voted by 17 to 1 to support strike action to defend colleagues against pay losses and imposed additional workload as a result of TLR restructuring.
School management have accepted in negotiations that protecting staff from salary losses would only cost the school eight thousand pounds at most. This should be a price worth paying for protecting staff income and staff morale as a whole. However, it seems that they are determined to 'call our bluff' and to see whether teachers are prepared to take action. We fear that they want to show staff that they can ignore the union over TLRs and proceed to pile on the pressure on other issues such as workload and classroom observations as well.


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Parasitology (1)
A tale of three kingdoms: members of the Phylum Nematoda independently acquired the detoxifying enzyme cyanase through horizontal gene transfer from plants and bacteria
D. S. Zarlenga, M. Mitreva, P. Thompson, R. Tyagi, W. Tuo, E. P. Hoberg
Journal: Parasitology / Volume 146 / Issue 4 / April 2019
Horizontal gene transfer (HGT) has played an important role in the evolution of nematodes. Among candidate genes, cyanase, which is typically found only in plants, bacteria and fungi, is present in more than 35 members of the Phylum Nematoda, but absent from free-living and clade V organisms. Phylogenetic analyses showed that the cyanases of clade I organisms Trichinella spp., Trichuris spp. and Soboliphyme baturini (Subclass: Dorylaimia) represent a well-supported monophyletic clade with plant cyanases. In contrast, all cyanases found within the Subclass Chromadoria which encompasses filarioids, ascaridoids and strongyloids are homologous to those of bacteria. Western blots exhibited typical multimeric forms of the native molecule in protein extracts of Trichinella spiralis muscle larvae, where immunohistochemical staining localized the protein to the worm hypodermis and underlying muscle. Recombinant Trichinella cyanase was bioactive where gene transcription profiles support functional activity in vivo. Results suggest that: (1) independent HGT in parasitic nematodes originated from different Kingdoms; (2) cyanase acquired an active role in the biology of extant Trichinella; (3) acquisition occurred more than 400 million years ago (MYA), prior to the divergence of the Trichinellida and Dioctophymatida, and (4) early, free-living ancestors of the genus Trichinella had an association with terrestrial plants.

redpajama_set_name: RedPajamaCommonCrawl


[TALLAHASSEE, Fla.] Today Democratic frontrunner Brandon Peters was endorsed by the American Federation of Government Employees (AFGE) for both the primary and general elections in Florida's 2nd Congressional District.
AFGE is the largest union in the nation for federal employees and represents federal workers in the district across a multitude of defense-related agencies like Naval Support Activity Panama City, Tyndall Air Force Base, and federal law enforcement agencies ranging from the Department of Homeland Security to the Federal Bureau of Prisons.
"This is a pivotal time for our nation, our economy, and for workers here at home in Florida, and across the entire country. During a time of unprecedented attacks on working men and women by President Trump, Congressman Neal Dunn, the Supreme Court, and Republicans in Congress, we need a Representative who doesn't just pay lip service to working families, one who is willing to roll up his sleeves and fight every day to create a brighter future for working Americans.
"Brandon Peters had not shied away from his stances as a Progressive in favor of workers rights. He supports great legislative ideas and goals that will benefit not only civil service workers but also veterans across the state of Florida and the nation.
Ahead of the August 28th primary, more than 14 leading statewide community organizations, national labor unions, and local labor unions have expressed their support for Brandon Peters' campaign for Congress, and the campaign is blanketing the district with voter outreach ahead of the primary. With the unified support of organized labor behind it, the campaign is surging in the polls and has a clear path to victory in both August and November.


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Gordon McKinley Webber, né le  à Sault-Sainte-Marie (Ontario) et mort le  à Montréal, est un artiste multimédia et un professeur canadien, pionnier du modernisme.

Biographie

Formation
Initié aux beaux-arts par sa mère, il entre en 1924 à l'Université de l'École d'art et de design de l'Ontario, où il a notamment pour professeurs Arthur Lismer, J. E. H. MacDonald et Emanuel Hahn. En protestation contre le licenciement d'Arthur Lismer en 1927, il fonde, avec Isabel McLaughlin et d'autres artistes la Ligue des étudiants en art.

Carrière
Dès 1930, Webber est invité à exposer avec le Groupe des Sept. Peu après, il commence à enseigner avec Lismer au Musée des beaux-arts de l'Ontario. En 1937, il commence à étudier à la New Bauhaus School of Design à Chicago, où il bénéficie de l'enseignement de László Moholy-Nagy. Cette rencontre sera décisive pour lui et son travail devient beaucoup plus expérimental. Abandonnant l'art figuratif, il se tourne vers l'abstraction, s'intéresse à la photographie et au design appliqué au graphisme, à la scénographie et aux costumes.

En 1940, il est invité par Arthur Lismer à se joindre à l'École d'Art et de Design du Musée des beaux-arts de Montréal. À partir de 1942, diplômé de l'École de Design de Toronto, il enseigne le dessin à l'école d'Architecture de l'Université McGill de Montréal, tout en poursuivant au Musée des beaux-arts, où il a notamment comme étudiants Guido Molinari et Claude Tousignant. En 1950, il enseigne aussi le design, le dessin et la peinture à l'école d'été de l'Université de la Colombie-Britannique.

Parallèlement, Webber approfondit son travail de création, expérimentant le dessin sur pellicule 35 mm (selon une technique apprise avec Norman McLaren aux studios de l'Office national du film du Canada).

À la fin des années 1940 et au début des années 195, il crée la chorégraphie de deux ballets. Il est également impliqué dans la création de costumes et de décors pour des pièces théâtrales à McGill. On lui doit aussi une murale extérieure et un mobile intérieur pour le bureau de post de Ville Mont-Royal, ainsi qu'une sculpture pour le McConnell Engineering Building de l'université McGill.

Ses œuvres font partie de la collection du Musée national des beaux-arts du Québec et du Musée des beaux-arts du Canada.

Références

Naissance en mars 1909
Naissance à Sault-Sainte-Marie (Ontario)
Artiste contemporain canadien
Décès en novembre 1965
Décès à Montréal
Décès à 56 ans

redpajama_set_name: RedPajamaWikipedia


text:
Exclusive Interview with George Massenburg
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Parametric Music with George Massenburg
By Bootz on 07/18/2012
Overview [hide]
The Bernard Pivot
The Video Interview
It's always a great and an unusual experience to meet a personality who has contributed some much to the evolution of the way we work. In addition to the videos previously released on Audiofanzine, we had the extreme pleasure to meet George Massenburg during his last Parisian visit and to talk more about music production with him. An interview with a real open-minded master.
Bootz : George, just before we start, what are you working on at the moment?
George Massenburg : I have 3 recording projects that I am working on right now. One is not really recording; it is finishing an Opera McGill production - Don Giovanni, Mozart - and I am directing and post-production supervising… Finishing up Don Giovanni which is an 8-camera hi-def shoot that we did with students with a new methodology of shooting opera : a new way of shooting opera that I think is spectacularly effective as it reveals more about opera, as it is closer and more intimate and more suited to the new generation of kids that want to see something on a small screen. That, and I am doing 2 music projects. I am doing the McGill Jazz 1 and I am doing the Stand Kitten record - cut for commercial release - which is great because the Jazz 1 has many many players which are fantastic. Just great songs, great kits, great drums, great bass, great guitar, great piano, great, great great. And then I do a new pop group called Urban Creature from Toronto, they write and produce their own records. This is a personal project to see how the new model would work. I work completely for free, participating in the record of the group and we see how that goes.
And on the other side you are still working with G Labs?
Well, I got 3 jobs. My 3 jobs really are : education, producing electronic equipment, and recording. And kind of mix, but I am unhappy if I don't do one of these. I want to do all 3 and they inform each other. I have to keep recording to stay current with the methodology of the studio; I listen to everything that I can get my hands on, my ears into. I hear new work being done and I want to try it outside. I am in the studio a lot. Building equipment, right now we have two software products in process for MDW and one that is a hybrid product for GML which is the next generation of the 9000 controller, but with a DSP sidechain. And this takes a long time to do because internally it looks to run at 384 kHz, very fast, not quick (to develop, NA). As far as software products, we have new products out for the new Pro Tools platform for 10.2 so called AAX and both DSP and Native. It is a lot of work!
Speaking of the balance between all these projects, I'd like to go back to your early age, to the first period of your career. I've read that you started at the age of 15, you were working at a laboratory and at the same time at a working studio.
I had joined a recording studio at Baltimore, Maryland. But it went back to when I was 4 years old and I used to stick my fingers and unscrew a light bulb, and "Aaaahhh!" just to experiment (Laughs). But I love music recording just from a very early age. I had the good fortune to grow up in the same area as Deane Jensen who was a pioneer in making transformers. He was a friend - a personal friend - and we did hand radio, amateur radio, and photography. And then he bought an Ampex 602 tape recorder «Wow!», bought headphones and U67. I bought his U67, I still have the 67. Very early on I knew that I just loved recording. There was a tremendous power recording. Ed Cherney said, "I always thought it was a miracle that music could go through this wire, that's magic". Fucking magic. Anyway, the idea just seemed like magic to me. Still does.
So then, Dean Jensen was your first mentor?
He was really my first mentor. My second mentor was Dr. Curtis Marshall and I worked for him in a laboratory to build an early computer that used a very strange storage mechanism called an Image Radarcon, a tube that would just scan in and then destructively output a number of scans. It was used to accumulate electron info graphs sensors into an averaging reports so that a neurosurgeon could read an electrons info graph much faster. But it taught me early on electronics, and I had another mentor who would teach me electronics, and I was 15. It's not so bad.
I'd like to go back to your concept of parametric EQ that you first introduced in 1972, if I am correct...
1971, and then I gave the AES paper in 1972. It was a combination of people who had this idea, but we got there first. Then Dan Flickinger had kind of a sweep equalizer in his console but he didn't have a cue control; Gotham sold an equalizer made by EMT I think - the EQ1000 - and it had a notch filter, but it wasn't continuously variable. So we took a notch filter and an early discrete op amp 'cause chips weren't very good, so we had to have an op amp so built our own op amp and an early equalizer. Then I had to show how it worked. I took it to the AES show and people would say : 'that's OK but I need to click stops". No, we are getting away from click stops, it's much more powerful ! You can tune this exactly to the resonance of a guitar or to a snare drum it controlled. It was easier designing it than selling it. It was a whole new idea and people didn't get it ! Especially of this idea of cue control. For so long you complained about the cue of the SSL equalizer being too sharp. And when it was too broad because Hugh Padgham complained, then people complained that it was too broad. So it was always a good idea to make it adjustable, but people had to get used to the idea of what that sounded like. And that meant they had to listen and that has always been the problem. Getting people to listen - that's why you do so good at this because you pay attention, you listen. Generally, it's hard to get people to listen.
We have to listen and to hear how to make it work. Did you have to spend a lot of time explaining and educating? You started educating people about this new concept of parametric EQ?
Well, ultimately what sold it were making these records, especially Earth Wind & Fire records in 1974, 1975. They came on so bright and big that people were saying : "What the fuck is he doing?" Well, now I got your attention. So it really helped. Talking about music is like singing about football. You only get so far before you have to demonstrate what it is. And here is what that sounds like. That's the key : demonstrating.
As you said before, you quickly went freelance sound engineering, so you always balanced the two activities which was electrical design and engineering, so how did you manage to... ?
Easy. There was something I had to do in the control room and I didn't have anything, so I'd go design something. Our compressor was like that, our 8900 was like that. Devices available for uses on vocals were nothing. The 1176, the Spectra Sonics which was dreadful, API console and that was it. And the LA2A. I knew that I liked the sensing of the LA2A. I knew that I liked the log control in the DBX. I knew I liked the speed of an 1176, but they were 3 different units, and I needed them in one unit. So the 8900 is really a DBX perfected, feed forward, with a peak section added. But I didn't have one so I had to design it !
So you combined these 3 units in one piece?
In one idea.
Let's talk about your studio. I've read - maybe I am wrong - that you have set up a studio in Blackbird, Nashville?
Well, it's not my studio. It started as my studio, and very soon it was clear that John McBride wanted everything. I built it. I rent it for a while, but it was better off that I just gave him, he paid me for everything I bought. He didn't pay me for my time. But I think it was a good investment because it was a dramatic departure from studios. If you see in these videos, making music, with musicians all around you, it's a different way of making music. Everybody can hear each other, see each other, and the room sounds great. Every place sounds the same, exactly the same anywhere in the room. And it was unfortunate that it was in Nashville because people in Nashville are brain dead and deaf. Nashville is hopeless. Nobody is ready for any new idea ! (Laughs)
So do you have your own setup somewhere?
I now have a listening and mixing setup in my apartment in Montreal. I have quite tall ceilings and sonics boards. It is not set up as a studio, but it sounds pretty good. It is a combination of mixing and listening setup and also I hang backgrounds and I can shoot in there as well. I have lights and cameras to shoot in there. We do interviews, we don't do music, but we do talking. But I can mix in there very well, I have monitors and a huge system.
So it's a flexible setup?
I like to talk a little bit about the equipment that you like to use.
Well the easiest thing is to say that I hate everything ! (Laughs) Even my own stuff. I wouldn't be inspired to improve it if I liked it too much. So I have problems with everything. I have problems with every microphone out there, every mic pre, everything. I don't love anything. But it challenges me to listen beyond the equipment, and try to hear. Because what I love is transparency to the performance. I want to hear all of the performance. Anything that gets in the way of transparency, I fight and try to improve.
Well, I won't ask you then if you prefer analog consoles or digital consoles?
I'd like to actually answer that because I prefer analog processing. Obviously we are going to use analog mic pres. Except for this Neumann Solution D, which I think is quite good. The KM D, it's a terrific microphone. I like analog processing, I use analog limiters as well as analog EQs, I use my own and some other limiters. I like mixing in the digital domain with a small console. First, because it is very flexible and when necessary I can automate what I need. And when not necessary, to feel a mix by putting my hands on the controller and mixing by heart, by guts, not just painting lines on a screen. But I think that is more of an analog methodology on a digital console.
It's like an old school way of working with improvements by today's equipment.
Right, right. And it's that thing that we learned to love about the DAW, where you can make a production just for that one mistake that would otherwise ruin a take, fix that one mistake. Maybe it's a bad vocal, a word, or a bad trumpet. This jazz thing I got a bunch of trumpet things, and these guys they play these high notes, and not all correct. But we can fix it, it's a good performance just fucked up enough. Just enough mistakes to make an honest jazz ! And I think that's the great strength of the DAW, but also of mixing. If I mix and I miss one thing, I have the choice of fixing that one thing. I don't have to fix it, but I have that choice or the artist has the choice. It's pretty powerful.
So you use the digital domain for all the things you can improve?
If it needs to be improved but at least I can experiment. But the idea with a live mix is still important. Where we differ from my colleagues in the industry is that we try to get our students to hear a live mix to do a whole mix. Al Schmitt can do a whole mix live. Bill Schnee is a master of dancing on the console. You want people to dance on the console again to do a real mix, with energy and power. Feeling.
This is something that I have seen in your videos when you are with other musicians or when you are discussing recording or your methods, the energy, the feelings, the relations to the artists, and the relation to the energy of the music and what you feel. What you feel as a human being, I think is really important.
Well it starts with the musician who is listening not only to himself but also to a whole mix. In my recordings we really want to get musicians to listen to everything, to hear themselves as part of everything. And I want them to know that I am listening to them, everything they do. So I have this eye contact if I hear something that isn't very good… : "Humm, what are you kidding?" Or a smile or something that works with the performance so that I don't have to wait until playback to give them visual feedback. So that's a good reason to have something right in the studio. Quick feedback.
So you quickly establish a sense of trust among everybody.
Listening. I am listening to what you are doing, make no mistake, I am not going to replace by Pro Tools. I am either going to like what you do now or not.
So let's continue with the production side. What are some of the first things you do when you start recording a band? Do you go into the live room and take notes?
Long before that, we sit and we talk about the project with the band. We go to where the band plays. If they play at a club I go to hear them at a club. We talk about songs. If the songs aren't there, we start working on that first thing. We talk about what they like, what artists do they like, what they sound like, who do they see themselves as. What their dream is in 5 years… Sometimes it doesn't go any further. Sometimes, we realize that we are not right for each other, I am too demanding, I want to know too much. They just want to get in and party and I want to make a record, a good record. But it starts with seeing how the band works as a band or how an artist works with other musicians, and getting a sense of how to craft a record. And then maybe we will do not a full band but just a singer with a guitar player or two, just to see how that works. Maybe a percussionist, but intimate, very close together to see how we can develop a feeling between the artist and the supporting instruments. Generally it starts like that.
We have seen lots of things about your mic placements, the microphones that you use. Is there something that you always do and something that you never do in a studio?
This is tough because there is always something that I do and there is never something that I never do. I always do something and never avoid something. As Bruce Swedien says : "The only rule is there are no rules".
Can you tell us a little bit more about the mixing stage? How do you approach that?
Overtime I start mixing with the very first track. That's a mix, that is automated, it is saved in the DAW. Because the artist is going to take that mix home, and they are going to listen to that mix. And my experience is that often that very first mix from the session is the one that you should learn to follow and you're not going to change it too much. So I'll start actually mixing, reaching for licks or balancing the vocal, right when we are tracking. Mix and record the automation right when we are tracking. As the mix grows and moves along I save everything. I save the audio tracks, I save the automation. So if an artist says : 'You know I love the mix that you did right after we put the lead guitar on', I find that mix and 'Oh I did this differently'. And then I might change my thinking about the latest mix. But it is a long arch and I found it less good to sit down and to try to mix a song. We mixed Toto in 4 days. 4 fucking days to make a mix. It seems too long. I rather have a break in between to get a perspective. I would mix for a while, then I have some ideas, then I would listen to it. Listen to it in the car, on the back of the Vespa !
So as you record you mix along at the same time. Do you have some kind of a structure or working methods for the mixing afterwards?
I got about 6 different approaches if I need to start a mix from scratch. One way is to just develop a mix all along. Another way is to start from scratch. I got maybe 3 different ways for starting from scratch, of what to bring up and how to bring things up. One is, I am listening to a reference or a demo of the song. Prince Charles Alexander at Berklee showed me this - he used to be Puff Daddy's engineer/producer : bring up all faders until the loudest thing on the demo is the same thing as the loudest thing on the mix. So you bring it up to -30, -25, -20, and then you refine the whole mix against the demo.
Another way is to bring up the lead vocal and the most important supporting instrument like piano or acoustic guitar, electric guitar or whatever. You start with that and then you fill in the cracks underneath it. Another way, and the way I will do jazz, is full rhythm section, a little bit of a balance, full saxes, a little bit of a balance, trumpets, a little bit of a balance and then on the sub-masters the 3 : saxes, trumpets balance them on the sub-masters because jazz is a little different thing. You need internal balances in the sections. And then there is always the classic : bring up the drums, make them as loud as you can. Chris does that : "Turn up the kick, make that as loud as fucking possible !" Ok turn up the snare. Give me the 1176 number two, make that as loud as fucking possible. Sorry Chris. I can do that, I don't like to do that. That's a way different approach.
What's your mix bus processing chain?
Almost always I'll have everything available when I start mixing. So I'll have all my effects, reverb, delay, long delay, short delay... I use PCM96 a lot, I use UAD250, the UAD plates. I use a lot of Altiverb 7, just ready to go. 4,5, 6 subs : drums sub, bass, guitar, piano sub and then whatever lead vocal, background vocal, maybe orchestra, or in a case of a big band, saxes, trumpets, drums, maybe percussion. Lots of subs; I can go in and do the subs separate from VCA . And eventually I get down to a mix that is all on my little 8 channel mixer so I can have everything sitting right there and I can do an overall mix.
But before that, on the bus, very early on I do as soon as I can a pre-master. So if I am trying to match a template or a sample or an example sound, I get close to it, because that's been mastered, that's been crushed a little bit. So I will have one of my limiters, I'll have a two limiter, I like Massey 2007, as a final crunch. I don't like L3s, I don't like anything that is multi-band, I usually do not use multi-band. But I can't say never, cause I used the C4 on occasion. I never use a vocal rider. There you go, there is a never ! (Laughs) I will never use a Waves Vocal Rider, I'd rather mix by hand. So very early on I have a pre-master that bring up the level of what I am working on so that it matches to some degree - timberly and dynamically - to some degree the sample, the example, the template of the outside CD. Cause why I go crazy on a whole bunch of individual EQs when it is one mastering EQ that you got to turn up? But that's my approach. That's the layout and then I'll have different ways of approaching it.
So you are always trying to match something that you have…
No! Occasionally when I am allowed to mix, I am there to make a mix for an artist, and they have an idea of what they want. But if they don't, I am allowed to make my mix, then I only have to match the picture in my head and then I can start from scratch.
Regarding mixing versions, how many do you do?
MWell, like I said, if I am doing tracking and mixing then I have versions from all along from the very first one that everybody said they liked. So I have that, and maybe it has an instrument that we left out and we get down the road and say : 'We shouldn't have left that out, let's go back and bring it in', or a dynamic that you missed. So a lot of versions. At the end of the session, I have one version, not DB down DB up crap, that's bullshit ! You have one record. You have different ways of listening to it, different ways of adjusting for it, different ways of going in and making a timberal adjustment but I don't have half DB up, DB up, DB half, two DB on a vocal, fuck that. Nor do I do stems. If they ask for stems, I am out, I don't mind quitting a record cause I am not going to be useful. I'm out, I'm done.
But I will deliver two versions. I'll deliver the version that the artist likes, that the artist says : "That's a great mix, I like that. Keep that." Something that has dynamic control and EQ. When I print the mix for mastering I take all the dynamic stuff off and just leave the EQ because I want to let the mastering engineer do the best that he or she can do to make just the right dynamic adjustment. But they got to make it as good as the one that the artist has just heard. So the mastering engineer will get two versions. The version the artist likes – OK, beat this or use it. They can beat it with the unaffected master. I deliver two mixes, not 10 or 20.
I'd like to talk a little about the artists that you have been working with. From Earth Wind and Fire, Newman, Weather Report, Toto, there's a certain genre but can you see a common factor between all these artists? In the energy, the songwriting, the personalities?
The common thing that I look for is an artist that isn't absolutely committed to making the same thing that they did last time. I'm looking for an artist that wants to do something new. I want to build something new. I don't want to do the same old thing. The end of my time with Earth Wind and Fire was I just couldn't sit in the studio anymore. I've heard it for 20 odd records, I couldn't do it again, I knew I couldn't do it; so I withdrew and they never made another great record. And I like that. They stopped reinventing themselves and stopped coming up with new stuff. Weather Report... I did a live record with Jaco, Joe Zawinul, Alex Acuna and Dom Um Romao and that was great. They were great but they were crazy !
Well you have to be crazy sometimes… !
This is where I get into trouble because I think most musicians are in some way deeply neurotic. I don't want to say deeply flawed, but trying to find some kind of gratification in the public sphere, the adoration of the public to fill a need that is, you know, they are all a little nuts… Except for James Taylor. James Taylor has come through it all. James Taylor is one of the coolest people ever. He can talk to anybody. He is inquisitive, he listens. There are some others that are very cool. There are some very good exceptions.
I'd like to talk about education and your role at McGill University and the evolution that you see today, business wise, and job wise for the students who want to become engineers.
First and foremost there is a group of my colleagues and I who have been in the business and love the business. We see the evolution of the modern recording business is sorely in need of being reminded what music is, and not told. I don't want to tell anybody how to make music but you know, maybe if we use live drums this way...here's the advantage, here is the power, here is the story that comes from that. Here is how you make it work with what your dream is of your own music. That's education. I am not going to change anybody's mind by going and making another record.
But by teaching students, who are themselves, the future teachers I have a multiplier effect. I am more able to spread some good news and good techniques and clear thinking about what recording can be and also what recording isn't. What each of these area's powers is : engineering has strengths, music production has strengths, helping artists with their performers has strengths. Most important thing is not to fix one area with another's tools. I can't fix a song with EQ. You have to sit down with the artist and the band and everybody can play together, can hear each other, and you work out the right tempo and phrasing. Make sure that the drummer isn't speeding up so that the singer doesn't have room to sing the lyrics. It's very clear what you listen for, but until you have been informed that now is the time to make a decision on the tempo, it is very hard to change later. Until you do that you don't realize that you have that power to tell a drummer : "Just cool it!". It's OK. It's the right time to advise a drummer to get him to listen. Get him to listen to all that shit he is playing on the high end : "Wait a second, if you play that I can't hear the detail of the lead vocal. This is a very subtle song, can you hear that? So cool it."
So to have that moment with students when you show them how they can be effective in a studio, that's really important. And I don't think this is what a student expects. Most students expect : 'Well, show me what box to use', 'What plugin should I use on this?' More often than not, as we know from Al Schmitt, it's more about listening. So we teach critical listening. We teach how to listen when you are in your head, heart and your guts, how to listen to details, how details can integrate, what you have to work on, how to prioritize your work. As a producer it is your job to keep track of the agenda, not to tell somebody how to sing. Unfortunately, that also means to keep track of the lunch order, but that's very important, the lunch order ! (Laughs) Maybe the most important thing ! These are skill that you would learn in the old days by being in an apprentice in a studio and see how things go. It's not about what you say but about what you don't say. So that's where education comes in, and if they want to know about electronics we can teach them about electronics - why things sound the way they sound. It's not the front panel mentality, it's not black magic, there are reasons why each of these boxes sounds the way they sound. We can teach that.
Now we are teaching video - how to handle camera, how to shoot, camera angles, lighting, position on the stage, post-production, pre-production, editing, final cut pro, colorizing. Now we teach that. We think that the future is high quality video of high quality music performance, not music video, not these weird choreographed videos, some of them – Peter Gabriel did a great job. More often than not we want to see a performance, what motivates a performance, we want to see a real artist, playing real music, not lip synching. We want to see where that comes from, to see into the performance, to see the interaction between the musicians and the artist. This John Mayer video is very good for that, cause Steve Jordan, you can just see him trying to hold the tempo, and Pino Palladino watching... It's great!
What is your favorite memory of producing an album?
There are so many it is hard to pick one out. My favorite memory is always the Thrill. You know you've got something that you've never heard before and no one else has ever heard before. All you have to do is not fuck it up. That has happened on any number of records, it happened on EWAF a couple of times, that happened with Linda Ronstadt a lot – just this is great! Look out cause you can really fuck it up. Don't do that, cause you can really fuck it up. Worst memory, I wouldn't want to talk about that. There were a few of them too.
Which artist would you like to work with and why?
I want to work with a new emerging artist, that has ideas and is running into a technical wall. I don't know who that is. I love the new Bon Iver record, but I can't do that, they've already got a record, they got an engineer, he is terrific, but boy I would have loved to work on that. I love producing and directing opera video. I think that is great. Working with these fantastic students at McGill, great voices, great players, it's a wide open field, so that's my dream right now - producing and directing opera. It's unusual for a rock and roller !
You're engaged to produce an album for an artist you love but his requirements are: less is more. You need to pick only 5 pieces of your equipment. What will you choose and why?
That's easy! I would choose all GML because I know when they work and when they break, I know they are reliable, I know how every knob works. So that's my pre, EQ, compressor, I'll use Prism convertors, I'll use either Pro Tool or Pyramix. Right now I prefer Pro Tools for rock and roll, Pyramix for classical. I like ATC monitors, also like Genelec a lot. For portable when I have to go to a gig I like these little Sennheiser (Neumann) KH120 speakers that sound pretty good. And I've got a lot of microphones you don't want to know about. A 57, I'll take a 57 but that's it.
Just to finish, do you have any quote or a catch phrase that drives you about music production?
Yes, there is not a question that cannot be addressed, that can't be answered or at least discussed with critical listening. Critical listening tells you everything you need to know. You don't need someone to tell you what to do, all you have to do is pay attention. Sometimes it helps to have someone do that, but everybody has to know that if they care, they can do it on their own. They have to tell each other the truth. They have to tell themselves the truth. If the truth is, I can't get that sound with that piece of shit microphone, that's the truth and they have to be responsible for that. I don't have the right mic, fix that and move on. Critical listening, everything is answered by critical listening. That's my favorite. Another one is Woody Allen :"I can't listen to that much Wagner, I keep getting the urge to invade Poland" ! (Laughs)
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text:
Edvardas Kaniava (*  1. Juli 1937 in Klaipėda) ist ein litauischer Sänger und sozialdemokratischer Politiker.

Leben
Nach dem Abitur 1954 am Aušros-Gymnasium Kaunas in Kaunas studierte Edvardas Kaniava ab 1954 zwei Semester an der Lietuvos veterinarijos akademija, um zum Kauno medicinos institutas ohne Aufnahmeprüfungen zu gelangen. Von 1955 bis 1960 absolvierte er als Sänger das Diplomstudium bei Petras Oleka an der Lietuvos valstybinė konservatorija (LVK).

Von 1958 bis 1993 war Edvardas Kaniava Solist bei Lietuvos operos ir baleto teatras. Von 1966 bis 1967 bildete er sich weiter in Sofia (Bulgarien). Ab 1979 lehrte er an der LVK, ab 1981 als Dozent, ab 1988 als Professor. Seit 2005 lehrte er an der Klaipėdos universitetas. Von 2000 bis 2004 war er Mitglied im Seimas, von 2004 bis 2006 Berater des Ministerpräsidenten Algirdas Brazauskas.

Ab 1995 war Edvardas Kaniava Mitglied der LDDP, danach der LSDP.

Mit seiner Frau Barbara Abramavičiūtė-Kaniavienė hat er die Kinder Andrius und Edvardas.

Auszeichnungen
 1997: Gediminas-Orden, 3. Stufe
 1998: Medaille von Gottlieb Fritz
 2006: Preis "Vyriausybės kultūros ir meno premija"

Quellen

Bariton
Musiker (Vilnius)
Musiker (Klaipėda)
Hochschullehrer (Universität Klaipėda)
Hochschullehrer (Musik- und Theaterakademie Litauens)
Mitglied des Ausschusses für Bildung, Wissenschaft und Kultur (Litauen)
Träger des litauischen Großfürst-Gediminas-Ordens
LDDP-Mitglied
LSDP-Mitglied
Sowjetbürger
Litauer
Geboren 1937
Mann
Absolvent der Litauischen Musik- und Theaterakademie
Politiker (20. Jahrhundert)
Politiker (21. Jahrhundert)


text:
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Thom Ingram has worked for Apple Inc. as a technician, manager, and trainer, for several colleges and universities in Student Affairs, for the New York State legislature, and for high schools in Virginia and Colorado. He has a B.A. in Political Science, and an MFA in English, Creative Writing, Poetry.


Why did you leave your job at Dorman Products?
If you were to leave Dorman Products, what would be the reason?
Learn more about working at Executive Apparel, Inc.
How often do raises occur at Doylestown Hospital?


The mission at Stealth Talon is to ''Hunt and Grasp your imagination'' by providing our clients with the ultimate custom aerial photos and videos. Certified UAV pilots, Aeronautical restricted radio operators license, Transport Canada Certified (SFOC) and fully insured. We have 100% clean flight records. Highest quality aerial photos and videos for a competitive rate. Let Stealth Talon A.P.V. ''Hunt and Grasp'' something beautiful for you. See your world from a new perspective!!


I joined the party a little late, but I completed my week 1 seller challenge and my week 2 seller challenge, so here they both are!
Week 1 challenge is Makeover Madness.
My makeover was an easy choice. I made this awesome subtraction practice unit when I first began on TPT, and it hardly EVER gets looked at, let alone bought! I have looked at it over and over and thought, I should really redo that….and then I don't. I am a checklist person, and once that item is off of my checklist, I am pumped to get started on the next thing. So, going back to something I already completed feels like working backwards! Anyway, here is my MAKEOVER MADNESS!
I changed the frame, background, clip art, font, and even the title!
I put it on sale 20% off today and tomorrow if you'd like to get it for your classroom! Just click on the picture!
Week 2 challenge is called Dare to Dream.
The challenge is to blog about my dreams and goals for my TPT business.
I have twin 4 year olds, and while I obviously have 14 years left to save for their educations, college is going to be CRAZY expensive by then. I know while I was in school, my tuition went up every. single. semester. Seriously - we need a law to stop that madness!!
I would also like to live beyond the old paycheck-to-paycheck routine. While my district is well paid, and I appreciate what UEA does to ensure we get fair raises, I still wouldn't survive if I missed a check for even one month! It would be nice not to have to worry about money and be able to focus that energy on more positive things!
I would love for my TPT store to afford me to be debt free! Before my twins were born, my husband was finishing up school and when the twins were born, he began staying home to care for them, so we have been on ONE check for the last 5 years. Y'all. It is ROUGH. I LOVE that my kids didn't have to go to daycare, but the credit card companies are now my number one fans because of the amount we have had to charge and the fact that we can basically only make minimum monthly payments. BLECH!
And last, I'd LOVE to get to retire from teaching early. While I do LOVE teaching, I love my family and the time I get to spend with them. I want to be able to help out my kids when they start having families and I want to see the world with my husband!
Those are my dreams! Thanks for reading this little ol blog of mine. I hope you have time at some point to poke around and see what else is going on in my teaching adventure!
Thank you to these four fabulous women for hosting this seller challenge!!! It is so much fun!
Twins are EXPENSIVE!!! I love how your goals are focused on helping your family!
Twins are expensive !! I am a twin and I do not know my mom handled it lol :) cute blog !!!
Wow, twin 4 year olds! I cannot even imagine how busy you must be! I can understand why your kitchen project has taken you so long! I have no children and my projects still take forever to complete :) I would love to see a pic when you have it all finished!
Great to hear about your dreams! And to hear about the sacrifices you and your family have made in the process of life! P.S. I am a twin and so I loved hearing about your little family with TWINS!
Call me crazy but I can't imagine retiring early. I love my job. I've also only just finished my fourth year. Ask me in February, ten years from now, and I might reply differently. My husband, on the other hand, would retire today if he could! These are definitely great goals to have! Good luck with your creating and sharing your resources! You've got this!


I chose good sellers, though. Had conversations with them before I ordered.
Got some pepper seeds last year from a Gardenweb friend, so planted a few of those.
Fish Pepper - ornamental cayenne. I really hope this one comes up, because it's so beautiful.
I also transplanted Amazon Lily and Walking Iris out into the south facing bed, which is going to be the bulb & perennial bed. I'm trying to get everything out there into "groups" to make a bigger impact when they bloom.
I'll probably transplant some of these peppers out into the space my Chinese friend gave me in his garden, which is actually a city community garden he had sort of taken over. I think it's getting to be too much for him, though, and he needs some help.
Well, so much for now. Will be doing a lot in the garden the next few weeks, so stay tuned!


More probing student news as Young Academic learns that today's tuition fee deadline is to bring a further bout of student protests. In an important day for students nationwide, MP's are set to vote on the governments funding plans for higher education.
As Nick Clegg becomes alienated yet further from his party, Liberal Democrats are poised to vote against the proposals. This news, fuelling suggestions that Charles Kennedy and his peers are set to form a break away party, reverting to the more popular Liberal Democrat party of previous years.
Clegg , under mounting pressure following the abandonment of his election promises, is begging students to take a closer look at what he called the 'fairest and best possible' proposals.
MP's will start debating the issues at 12.15 today and a final verdict is expected by Young Academic at around 5.30 this evening.
Activists have threatened to 'shut down' London as following Nick Clegg's obvious decision to get into bed with David Cameron and neglect the youth of tomorrow – more scenes of intense protest are to be expected.
Liberal Democrat deputy leader Simon Hughes has said he will abstain or even rebel against the government, giving students some hope that their corner will be fought.
"I have a duty to listen to my local party members and my supporters in my constituency, and they have asked me, on this occasion, to rebel against and break the coalition agreement," he said.
NUS President Aaron Porter, talking to the BBC urged MPs to "do the honourable thing and vote down these damaging proposals".
"Students are now descending on Westminster to ensure that promises to voters are kept and they are not sold down the river," he said.
Keep an eye on Young Academic for all the latest news on this intriguing story. Near London? Why not lend your support.
It is about time this country started to revolt – in France they do this every week!
Screw the right wing government – let's give the power back to the people!!!!


text:
Q: Multithreaded IOCP Client Issue I am writing a multithreaded client that uses an IO Completion Port.
I create and connect the socket that has the WSA_FLAG_OVERLAPPED attribute set.
if ((m_socket = socket(AF_INET, SOCK_STREAM, IPPROTO_TCP)) == INVALID_SOCKET)
{
    throw std::exception("Failed to create socket.");
}

if (WSAConnectByName(m_socket, L"server.com", L"80", &localAddressLength, reinterpret_cast<sockaddr*>(&localAddress), &remoteAddressLength, &remoteAddress, NULL, NULL) == FALSE)
{
    throw std::exception("Failed to connect.");
}

I associate the IO Completion Port with the socket.
if ((m_hIOCP = CreateIoCompletionPort(reinterpret_cast<HANDLE>(m_socket), m_hIOCP, NULL, 8)) == NULL)
{
    throw std::exception("Failed to create IOCP object.");
}

All appears to go well until I try to send some data over the socket.
SocketData* socketData = new SocketData;
socketData->hEvent = 0;

DWORD bytesSent = 0;
if (WSASend(m_socket, socketData->SetBuffer(socketData->GenerateLoginRequestHeader()), 1, &bytesSent, NULL, reinterpret_cast<OVERLAPPED*>(socketData), NULL) == SOCKET_ERROR && WSAGetLastError() != WSA_IO_PENDING)
{
    throw std::exception("Failed to send data.");
}

Instead of returning SOCKET_ERROR with the last error set to WSA_IO_PENDING, WSASend returns immediately.
I need the IO to pend and for it's completion to be handled in my thread function which is also my worker thread.
unsigned int __stdcall MyClass::WorkerThread(void* lpThis)
{

}

I've done this before but I don't know what is going wrong in this case, I'd greatly appreciate any efforts in helping me fix this problem.

A: It's not a problem unless you make it so.
As long as you're not calling SetFileCompletionNotificationModes() and setting the flag to skip completion port processing on success then even if WSARecv (or whatever) returns SUCCESS an IO Completion Packet is queued to the IOCP the same as if ERROR_IO_PENDING was returned. Thus you need no special handling for the non error return case.
See http://support.microsoft.com/default.aspx?scid=kb;en-us;Q192800 for details.

A: First of all break the call into more clear logic:
int nRet = WSASend(m_socket, socketData->SetBuffer(socketData->GenerateLoginRequestHeader()), 1, NULL, NULL, reinterpret_cast<OVERLAPPED*>(socketData), NULL);
if (nRet == SOCKET_ERROR)
{
    if ((WSAGetLastError()) == WSA_IO_PENDING)
        nRet = 0; // ok
    else
        throw std::exception("Failed to send data."); // failed
}

Also, as you can see in my code, you should NOT pass the "&bytesSent" parameter according to WSASend:

Use NULL for this parameter if the
  lpOverlapped parameter is not NULL to
  avoid potentially erroneous results.

Besides that your call to WSASend() looks fine.

redpajama_set_name: RedPajamaStackExchange


text:
Monsanto puede referirse a:

 Monsanto empresa biotecnológica.
 Monsanto, localidad en California (Estados Unidos).
 Monsanto, freguesia en Idanha-a-Nova, Portugal.
 Monsanto, freguesia en Alcanena, Portugal.
 Circuito de Monsanto, cerca de Lisboa, Portugal.
 Parque forestal de Monsanto, cerca de Lisboa, Portugal.


If you want to learn Ruby using a variety of techniques and tools then our Ruby short-course will provide you with essential knowledge and skills that can be carried over to the workplace.
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This manual describes the internals of the Racket Web Server.
6.1 How do I use Apache with the Racket Web Server?
6.2 Can the server create a PID file?
6.3 How do I set up the server to use HTTPS?
6.4 How do I limit the number of requests serviced at once by the Web Server?


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text:
Le pirroline, note anche come diidropirroli, sono tre diversi composti chimici organici eterociclici che differiscono tra loro per la posizione del doppio legame. Le pirroline derivano formalmente dal composto aromatico pirrolo attraverso idrogenazione. L'1-pirrolina è un'immina ciclica, mentre la 2-pirrolina e la 3-pirrolina sono ammine cicliche.

Pirroline sostituite
Alcuni esempi notevoli di pirroline contenenti sostituenti:

 2-acetil-1-pirrolina, un composto aromatico con un odore simile al pane bianco
 Tienamicina, un antibiotico β-lattamico
 MTSL, un composto utilizzato per alcuni esperimenti di NMR
 Pirrolisina, un aminoacido proteinogenico assente nell'uomo
 Acido 1-pirrolina-5-carbossilico, un metabolita biosintetico
 Porfirina, costituita da due coppie alternate di pirrolo e pirrolina collegate attraverso ponti metinici (=CH-)

Le pirroline N -sostituite possono essere generate mediante metatesi a chiusura d'anello.

Note

Voci correlate
 Pirrolo, l'analogo composto aromatico con due doppi legami
 Pirrolidina, l'analogo composto saturo senza doppi legami

Composti ciclici
Azoli
Composti eterociclici dell'azoto
Pirroli


text:
Início
O Campeonato Crimeano de Futebol começou no período da União Soviética em 1939 e durou até 1991 quando a União Soviética se desmembrou é a região passou a ser da Ucrânia é o campeonato continuou a ser realizado em 1992 até 2013 quando a região foi anexada a Russia é o campeonato local passou a ser administrado pela Rússia a partir de 2014

O primeiro campeonato de futebol da Crimeia teve início em 22 de agosto de 2015, com clubes da região anexada pela Rússia em março de 2014, que não tiveram autorização da UEFA de participar da competição no país, A largada da competição, que conta com oito times, a partida de estreia foi entre SKCHF Sevastopol e TSK Simferopol, duas equipes que participavam até pouco tempo da primeira divisão do Campeonato Ucraniano, em 2 a 2.
O primeiro a balançar as redes na competição foi o meia Yevhen Prokopenko, nascido na cidade de Bakhchysarai Raion, uma das 25 regiões disputadas entre os governos de Rússia e Ucrânia na Crimeia.

Ainda disputam o torneio mais seis clubes: Bakhchisaray, Berkut Evpatoria, Kafa, Ocean Kerch, Rubin Yalta e Yevpatoriya. Para sair do papel, o campeonato conta com ajuda financeira do Ministério dos Esportes da Rússia e da UEFA.

As autoridades locais esperam que, na próxima temporada, o campeão local consiga uma vaga em competições continentais.
Inicialmente, a Rússia incluiu, justamente, Tavria Simferopol e Sevastopol no campeonato do país, mas foi obrigado a excluir ambos devido à oposição da UEFA, provocada após questionamento da Ucrânia. Times da região foram inscritos na Copa da Rússia, o que fez com que dirigentes e atletas ucranianos entrassem com pedido de mudança da sede da Copa do Mundo de 2018.

Equipes participantes

Campeões

Período Soviético

 1939: Dynamo Simferopol
 1940: Dynamo Simferopol
 1941 a 1944 não realizado
 1945: ODL Simferopol
 1946: ODL Simferopol
 1947: Dynamo Simferopol
 1948: Hammer Yevpatoria
 1949: Metallurg Kerch
 1950: Metallurg Kerch
 1951: Hammer Yevpatoria
 1952: ODL Simferopol
 1953: Boom Yevpatoria
 1954: Metallurg Kerch
 1955: Hammer Yevpatoria
 1956: Metallurg Kerch
 1957: Petrel Simferopol
 1958: GDO Simferopol

 1959: Spartacus Simferopol
 1960: Metallurg Kerch
 1961: Vanguard Kerch
 1962: Metallurg Kerch
 1963: Vanguard Sevastopol
 1964: Metalist Sevastopol
 1965: Vanguard Kerch
 1966: Metalist Sevastopol
 1967: Hammer Yevpatoria
 1968: Vanguard Simferopol
 1969: Koktebel Shebetovka
 1970: Koktebel Shebetovka
 1971: Vanguard Simferopol
 1972: Vanguard Simferopol
 1973: Vanguard Simferopol
 1974: Vanguard Simferopol
 1975: Tytan Armyansk

 1976: Tytan Armyansk
 1977: Tytan Armyansk
 1978: Tytan Armyansk
 1979: Tytan Armyansk
 1980: Tytan Armyansk
 1981: Tytan Armyansk
 1982: Metalist Sevastopol
 1983: Vanguard Dzhankoy
 1984: Vanguard Dzhankoy
 1985: Tytan Armyansk
 1986: Tytan Armyansk
 1987: Vanguard Dzhankoy
 1988: Tytan Armyansk
 1989: Frunze Saki
 1990: Tytan Armyansk
 1991: Synthesis Armyansk

Período Ucraniano

Período Russo

Fase Profissional

Crimeia


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Merge in changes from trunk.
Added tests to ensure behaviour is as expected for expressions containing globs, as these traverse a different code path.
* Added inline comment to globmatch.py explaining glob matching.
* Removed trailing / from Path() unittests, as paths used in duplicity do not normally have these, even if they are folders.
* Added unit test to show files within a matched folder are included without a trailing slash.
* Fixed return value of test_slash_star_scans_folder unittest from include to scan.
Add unittests and code comments to explain glob processing/regex behaviour.
Add more tests for trailing slash behaviour.


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Trumpism isn't aging well - 8 hours ago
Plain Talk: Grand Forks Mayor Bochenski talks about public reaction to his stand on UND transgender policy - 6 hours ago
The Spirit Of The First Amendment Is As Important As The Law
The issue of free speech has been much in the headlines of late, most recently with the situation surrounding Brendan Eich who was forced to step down as Mozilla's CEO because of a political contribution he made to an anti-gay marriage group.
The cartoon above from the usually excellent xkcd illustrates a common defense of the sort of backlash that Eich saw. It points out that those defending Eich's 1st amendment rights are wrong. Mozilla is a private company, and can hire and fire as they please up to and including a CEO who has caused controversy with a political contribution he made.
Eich resigned his position, so he wasn't specifically fired, but the resignation was essentially forced on him by backlash from those who are intolerant of his private political activities.
That's a correct argument, but I'd argue in response that just because a specific instance of intolerance for a certain point of view is legal in that said intolerance didn't come from the state (i.e. cops aren't arresting you for saying something) doesn't mean it's right.
The First Amendment, as a law, doesn't prohibit companies from firing employees with controversial politics. Or bloggers from banishing commenters who disagree with the blogger. Nor should it. But that's the First Amendment as law. There is also the question of the spirit of the First Amendment, and a lot of the intolerance we see for dissenting viewpoints these days doesn't live up to it.
That includes Eich getting fired despite an exemplary record of professional conduct for a small political contribution to a cause that, at the time, he shared with none other than Barack Obama.
I tend to see the blog comments here on Say Anything as a microcosm for this issue. SAB gets a lot of comments, and with the exception of people posting spam or generally disgusting things, I allow all points of view. I welcome disagreement and criticism. I think it makes the discussions here on SAB more interesting, and I think the exposure to criticism and dissent makes me stronger as a writer.
I am not afraid of interacting with those I disagree with. I'm also not afraid to see movies starring actors whose political views I think are silly, or reading books by authors whose opinions I find downright obnoxious.
The price of living in a free society is respecting dissenting opinions. I don't know if it's a product of the internet age, where we're all exposed to one another's views more intimately and regularly than ever before, but we seem to have lost some of that respect for dissent.
It's not just Eich. It's wedding photographers and cake bakers fined for refusing to work a gay wedding. It's a national law that fines us for not purchasing health insurance. Increasingly, Americans seem fine with laws and/or private actions that curtail our right to dissent, or even to say no to something we'd rather not do.
This has little to do with the notion of liberty.
So, yes, companies are free to fire employees with political views they dislike. And bloggers are free to ban commenters they disagree with.
Those things are legal, but shouldn't we aspire to something better than that?
Mark Zuckerberg Doesn't Want to Be Your Speech Police
Democratic Lawmaker Suggests New Ethics Commission Could Regulate Speech of Elected Officials
Plain Talk: Trump Says So-Called "Fake News" Is "Dangerous" and "Not Free Speech" but He's Absolutely Wrong


text:
The Queen's School of Kinesiology and Health Studies is a school within the Faculty of Arts and Science of Queen's University at Kingston in Kingston, Ontario, Canada.  It was formerly known as the School of Physical and Health Education.

School of Kinesiology and Health Studies


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Unseen Borders
Familiar Strangers: the Armenian migrants of Istanbul
Text by: Gayane Mirzoyan
English Հայերեն Русский
When we speak of Armenians in Istanbul, the first thing that might come to mind are the remnants of a once large community; today, estimates of ethnic Armenians in Turkey range up to 70,000. We might think of the emptying or shuttered Armenian churches dotted around Istanbul, or of the journalist Hrant Dink who was shot down on the streets of his city twelve years ago this month by a young Turkish nationalist. But now, "Armenians of Istanbul" might refer to another community; Armenian is heard again on Istanbul's streets — but now, that also means the eastern dialect spoken by migrants from the Republic of Armenia.
There is no exact data on how many Armenian citizens, rather than Turkish citizens of Armenian descent, live in Turkey today. In 2010, Turkey's Prime Minister Recep Tayyip Erdoğan (now president) stated that about 100,000 Armenian citizens were living in the country undocumented (the number was strongly contested by officials in Yerevan, the Armenian capital, and independent researchers.) More recent research, according to research from the Eurasia Partnership Foundation in 2009, estimates that the actual number of undocumented Armenian migrants in Istanbul is closer to 15,000.
This lack of concise data is partly due to the strained diplomatic relationship between Armenia and Turkey. It's a dispute with historical roots: for decades, the Armenian government and the Armenian Diaspora worldwide have called on Turkey to recognize the mass murders of 1.5 million Armenians in 1915 as a genocide. While Armenia and 30 other UN member states have done so, the Turkish government considers these killings to be one of several "costs of the First World War."
Turkey officially recognized the independence of the Republic of Armenia in 1991, and subsequently opened its airspace in 1995, under pressure from the international community. However, Armenia's 311 kilometer long border with Turkey has remained closed since 1993, which was Ankara's gesture of solidarity with Azerbaijan during the war over Nagorno-Karabakh. As a result, migrants from Armenia take a long detour and enter Turkey from Georgia, which adds a further complication when trying to establish their exact number.
Despite the tense relationship between the two countries, Armenian citizens still go to Turkish cities, particularly Istanbul, to find work. Meri Khachatryan, a lawyer and legal adviser at the A.D Sakharov Armenian Human Rights Protection Center, the Yerevan-based branch of the prominent human rights NGO, says that she has received several Armenian migrants living in Turkey have appealed to her for help. They mainly ask for assistance in renewing passports or obtaining their Armenian birth certificates, she says.
Armenian migrants have come here to work since the 1990s.
According to unofficial estimates, more than 90% of Armenian migrants in Turkey live in Istanbul.
Taksim Square in Beyoğlu. As a city which has been influenced by many cultures, including Armenian, Istanbul impresses migrants from Armenia. Many of them decide to remain and build their lives here.
Labor migrants from different parts of world come to work here.
Mery Khachatryan, a lawyer and legal adviser at the A.D Sakharov Armenian Human Rights Protection Center.
"I was faced with the necessity of studying Turkish legislation, since many of the children of these migrants were born in Turkey. It was interesting to find out how these issues are regulated [there], which is why I applied for a Hrant Dink scholarship program," explains Khachatryan.
From 2017 to 2018, Khachatryan worked on her research at Bilgi University in Istanbul. The researcher says that one of the major difficulties for Armenian migrants is a lack of clear information.
"At first Armenian citizens leave in order to trade, but they are then impressed by Istanbul, as an international crossroads, where many cultures are mixed, and decide to stay. It's hard to say that this city reflects all of Turkey, but Armenians are very interested in Istanbul," says Khachatryan.
However, life in this ancient city quickly becomes much more challenging for Armenian migrants, and their unawareness of Turkish migration law does not make it any easier. Migrants' stays in the country are regulated by the country's Law on Foreigners and International Protection, adopted by the Turkish government in 2014. Khachatryan notes that Turkish legislation is much stricter than Armenia's when it comes to issuing residency permits; Turkish bureaucracy demands a large number of documents, including proof of medical insurance.
"Good morning, Mrs. Arus…" reads this Armenian writing on a wall in Istanbul's Kurtuluş district.
"Where is our home?" reads this Armenian writing on a wall in Istanbul's Kurtuluş district.
Armenian Church in Gedikpaşa, Istanbul.
A street in Istanbul's Kumkapı neighborhood.
A street in Istanbul's Gedikpaşa district, known for its shoe industry and trade.
As many migrants choose to avoid it, they are staying in the country illegally. It's a costly move; in Turkey, migrants often have to pay fines mandated by laws which adopted after the alleged violation took place. As these fines mount over the years, some migrants lose hope of ever paying them off.
For example, Khachatryan says she has even met Armenian migrants who have been living in Turkey without documents, and therefore illegally, since the 1990s. Their fine could now amount to several tens of thousands of Turkish lira (10,000 lira is worth $1,900.)
"If a migrant at the border cannot pay, he or she will be denied entry to Turkey for five years. If a migrant has violated Turkish criminal law [i.e. unrelated to migration], they can in some cases be barred entry for 10 years. Since many people already have families in Turkey, it is difficult for them to accept deportation," explains Khachatryan.
Irena Grigoryan is a freelance researcher on migration and intercultural relations who previously worked with Istanbul's Koç University. She says that, in the words of one migrant she interviewed, Armenian migrants in Istanbul are "familiar strangers."
Irena Grigoryan, a researcher.
"They do not stand out, they are familiar with many features of the local culture. And despite the absence of any official structures [to provide Armenian migrants with information and legal support], ethnic relations are very strong here. Armenians help each other with legal and other problems," says Grigoryan.
In 2017 Grigoryan visited Turkey for the first time, as a Hrant Dink program fellow. She took a particular interest in the dynamically developing community of Armenian migrants in Istanbul. Initially she planned to write a single article, but her six months' work in Istanbul resulted in an entire report, concluding with recommendations and ideas for future research, as well as policy and program proposals addressed to stakeholders from both countries.
"Sometimes the meetings [with Armenian migrants] were impressive, sometimes – funny and lighthearted, sometimes – sad and clueless… The process was difficult both physically and emotionally, I recall being totally devastated after some encounters with people who appeared trapped by unjust and harsh situations," reflects Grigoryan.
Grigoryan also tried to identify gaps in research on Armenian migrants in Turkey. First of all, she says, the problem of child labor remains understudied. Furthermore, many migrants' health has deteriorated due to poor working conditions or low quality housing, issues which she proposes to solve with the help of international organizations.
"It's wrong to blame people for going to Turkey, and then to blame them for their deteriorated health once they get there. If a person goes to another country to earn money, they have good reasons. We must do what we can help them live a decent life," concludes Grigoryan.
Turkey-Armenia fellowship Scheme, in 2017 - 2019, is implemented by the Hrant Dink Foundation in partnership with Gyumri Youth Initiative Centre with the support of the UK Government's Conflict, Stability and Security Fund.
Gayane Mirzoyan
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date views 26 January, 2019 2598


text:
Articles from the February 1, 2022 edition
Sorted by date Results 1 - 15 of 15
ACM, CMA & Recording Academy Member, Jessie Lynn, Crowned Miss Rodeo USA 2022
Jessie Lynn Nichols of Prattville, Alabama, was crowned Miss Rodeo USA 2022 at the 52nd Annual International Finals Rodeo (IFR52) in Guthrie, Oklahoma, on January 16th. This annual event is...
By Steve Flowers Opinion February 1, 2022
Will Gambling Be Addressed in 2022?
As the final regular legislative session of the quadrennium evolves, it is apparent that the legislature will not touch any substantive or controversial issues, but simply pass the budgets and go...
By Justice Will Sellers Opinion February 1, 2022
The Miracle of the Anglo-Irish Treaty
One vision of utopia includes the conversion of weapons of war into farming implements. The Bible anticipates a time when swords will be beaten into plowshares, and spears will become pruning hooks....
By Robert Tate Opinion February 1, 2022
Bits and Pieces: 13th Edition
Guess what folks, it is time for yet another Robservation edition of "Bits and Pieces." Today, there is just so much going on that it is difficult to pin down just one story. This time, I don't...
By Perry O Hooper Jr Opinion February 1, 2022
Biden Makes History
Biden made history in his first year in office for all the wrong reasons. He has the worst approval rating in the history of modern polling for a President's first year. When he first took office,...
By John Martin Opinion February 1, 2022
FreedomWorks
For over 25 years, FreedomWorks has stood to support and protect limited government, minimal taxes, free markets, personal autonomy, and the rule of law. FreedomWorks supports a variety of political r...
By John Sophocleus Opinion February 1, 2022
We're NOT a Democracy!
There... I've finally typed it. Dr. Franklin didn't answer, "You have a democracy - as long as you can keep it!" in Philadelphia after closing the Constitutional Convention. Framers and...
By John M Taylor Opinion February 1, 2022
The Hampton Roads Conference
Government-approved "history books" claim the War Between the States/Civil War was fought over slavery; however, the main characters in both North and South, including Jefferson Davis and Abraham...
By Ron Holtsford Legal February 1, 2022
What Can the Texas Anti-abortion Law Mean for Alabama?
Liberal leaning states take clues from successful legislation that benefits the goals of liberal thinkers and in the same way conservatives follow the successful legislative achievements of other cons...
By Dr. Lester Spencer Religion February 1, 2022
Envision Your Future (Begin with End in Mind)
On January 10, 2022, Georgia finally won the NCAA College Football Playoff by beating the University of Alabama in the National College Football Championship game. They are now the undisputed...
By Judge Peggy Givhan Gardening February 1, 2022
Southern Gardening - Potpourri for February
I have always thought of February as being the transition month between winter and spring in Alabama. Of course, it is the month when thoughts turn to love on Valentine's Day with the expression of...
By Martha Poole Simmons News February 1, 2022
Lieutenant Colonel Melvin Gerald Cooper (94) Lieutenant Colonel (Lt Col) Melvin Gerald Cooper completed twenty-five years seven months and twenty-six days in the U.S. Navy (Active and Reserve) and the...
By Amanda Walker Women February 1, 2022
Tears & Laughter: Waiting and Watching for Purple Martins
Even before daybreak, you can hear them singing their happy sounding songs from inside their swinging gourds. The purple martin song. It will soon be their season. They return every year from their...
By Trisston Wright Burrows Women February 1, 2022
"The Story Behind Valentine's Day"
Flowers, candy, pretty cards, gifts, love, and romance in the air…that's what Valentine's Day is all about…right? At least, that's what the celebration has become in our modern-day society....
By David Spooner Food February 1, 2022
Southern Cuisine - February
With the weather being cold and wet, I have been spending more time at home. So, every day the same question comes to my mind. What is a good meal to eat on a winter's day? I have watched my share...


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text:
Former Clay Aiken Fans Sue Record Label for False Advertising
Nine former fans of American Idol star Clay Aiken are forging ahead with threats to sue his record label bosses for false advertising. The one-time devotees have been shocked by recent tabloid claims the wholesome pop singer is gay and they've filed a Federal Trade Commission complain against executives at RCA and Sony/BMG, alleging they were duped in marketing and promotional campaigns.
The nine-strong group, listing themselves as "aggrieved consumers," allege that employees of RCA, Sony/BMG, and Aiken himself "engaged in collusion to prevent public disclosures they believed might be harmful to their product." The angry ladies go on to state, "This is tantamount to a manufacturer concealing information about a defective product. Therefore these actions were both unfair and deceptive to consumers."
A spokeswoman for the group says, "As consumers, we feel ripped off. It is obvious now that the private Clay is very different from the manufactured packaged public Clay that was marketed to us." The group is asking the FTC to investigate the practices of the record companies, to invoke civil penalties where appropriate, and to enjoin the companies from violating the Federal Trade Commission Act.
hmmm i didnt know that their record label advertized him as: CLAY AIKEN (heterosexual!)
hahaha i could just imagine if you were dating a guy and he wanted to break up with you because he realized he's gay. "I wanna sue you for false advertisement! i spent so much time on you! i was a devoted girlfriend!"
i'm jk i know it's a little different
Current Mood: huh?
calmdragon
how does one be nice when referring to a guy who openly flaunts his femininity? lol
OH NO YOU DID NOT
i am now not talking to you anymore
OH SNAP, GIRLFRIEND! :P
aww, you don't mean that.
sasalee
that was messed up... bordering ignorant.
i know it's one of those guy things that you guys do.. but eliza's not one of the guys. not that one of the guys would bring this whole topic up in convo anyways.
AAAND.. why can't a guy just be "effeminate" rather than "openly flaunt his femininity?" hell why do we even have to care at all?? do you say a girl openly flaunts her femininity?? and don't give me that crap about how a girl is supposed to be feminine. no one is supposed to be anything but themselves.
yes by being in public eye, one is open to ridicule. but your statement wasn't directed at clay aiken a whole set of people. which screams that you have underlying discriminatory attitudes towards them.
okay, i apologize to you both. i do not have underlying discriminatory attitudes towards them, nor animosity, ill will or bias for that matter. one of my good friends happens to be a lesbian. she is a wonderful person who i hold in high regard. i don't know any gay guys, but despite that, i wouldn't treat them with prejudice.
now you're just being contradicting
huh? how?
he's not. he just took it back.
he did however did it initally, like i said, as one of those things that guys do to each other.
you don't have to apologize to me. i understand it came from "one of those things that guys do/say to each other." i mean, i see my guy friends say the stupidest crap to each other all the time. but there's a place and time for all that and that really does depend on your audience. (eliza's journal -- poor audience choice.) i just wanted you to be aware as how it came off as to those not part of that audience.
now thanks to you both, i have realized how it sounded. i assure you that my intention was not to come off as discriminatory.
gxcad
Mar. 22nd, 2006 10:13 am (UTC)
I did not understand ANYTHING about why that got so serious. I say homowork all the time (granted, I'm slowly trying to fix that) but really, was it such a thing to make such a big reaction to? I personally, think critisizing calmy for saying what he said is LAME (unless I missed something). BTW I don't even know who clay aiken is but he sure has a cool name (it has ken in it). Anyone who likes burritos is A-OK with me, clay aiken or gay aiken.
-Ken
calmdragon : (no subject) [+10]


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POW025 Powerbank The POW025 Powerbank is constructed from ABS+metal and is available in a range of colours. Supplied with a USB cable, it is compatible with many mobile and tablet devices.