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One of the most charming and potent portrayals of Americana to grace the screen, Meet Me in St. Louis (1944) tugs at the heartstrings as powerfully today as it did 65+ years ago when it was crafted by MGM's "Freed Unit."
The film's sparkling perfection is the work of producer Arthur Freed, director Vincente Minnelli, an incomparable ensemble cast, an ace artistic and technical team, songwriters Ralph Blane and Hugh Martin and...Technicolor.
This is one of my all-time favorites...
Meet Me in St. Louis was adapted from a series of reminiscences by Sally Benson that first appeared in The New Yorker in early 1942. Told from the perspective of five-year-old 'Tootie' Smith, Benson's memory pieces, though rich in warmth and humor, were light on plot and conflict. A more defined storyline was developed, the characters were strengthened and 17-year-old Esther Smith (played by Judy Garland) became the pivotal character. The plot evolved into a "year in the life" of an idealized American family and was comprised of vignettes set in each of the four seasons with its dramatic climax, a family crisis, set at Christmastime.
"Baby at Play" by Thomas Eakins
  The Smith family home at 5135 Kensington Avenue (Sally Benson's real childhood address) was the film's central interior and Minnelli made the decision to build a continuous set with interconnecting rooms, just like an actual house. He reportedly wanted the entire picture to have the look of a painting by Thomas Eakins, and art director Preston Ames' assignment was to recreate a St. Louis neighborhood, circa 1904, as evocatively as possible. Ames did so, creating a full block of Kensington Avenue (at a cost of 200,000 1944 dollars) on Metro's back lot.
Focused on the film's visual look and intent on accurate period detail, Minnelli supervised every aspect of set and production design. He brought in top Broadway set decorator Lemuel Ayres and, in addition, spent time with Sally Benson who described to him every feature of her girlhood home. To handle costume design, he turned to Irene Sharaff, another recent Broadway-to-Hollywood transplant. Sharaff researched the historic era carefully, even using a 1904 Sears & Roebuck catalog as a reference.
"The Snow People"
Minnelli and cinematographer George Folsey took such pains with the film's colors and textures that some scenes do resemble period paintings. Meet Me in St. Louis was the first MGM film to be fully shot in Technicolor and Folsey and Minnelli proved to be adept at its use, even managing to capture subtle changes in seasonal light.
The songwriting team of Ralph Blane and Hugh Martin composed three very special songs for Judy Garland: "The Boy Next Door," "The Trolley Song," and "Have Yourself a Merry Little Christmas" (click below to watch and listen). Each became a standard in Garland's later repertoire and "Have Yourself a Merry Little Christmas" remains a holiday classic today. To add more period flavor, Blane and Martin also reworked popular tunes from the turn of the century - "Meet Me in St. Louis," "Skip to My Lou" and "Under the Bamboo Tree." Up to this time, most films had music inserted arbitrarily, but the songs in Meet Me in St. Louis were integrated into the action and dialogue to help advance the plot.
Meet Me in St. Louis was an immediate hit, the highest grossing film of 1944. It turned out to be just the tonic a country at war needed to lift its spirits. The film firmly established Minnelli's reputation as a top director, provided Judy Garland with a solid push to the next plateau of her career and toward her ultimate status as a legend, and it ushered in a golden age of Hollywood musicals.
The Christmas Ball
There is much to admire about Meet Me in St. Louis. For me its appeal is that, though nostalgic, the sentiment isn't heavy-handed. The film beguiles gently, taking one on a fanciful trip into a golden epoch. The turn of the century in America is depicted as a languid time before the World Wars and the Great Depression, an era when multi-generational families lived under the same roof...when mothers made vats of ketchup every summer in large, window-filled kitchens...when horse-drawn ice wagons regularly clattered down neighborhood streets...and when a young lady might easily fall in love with and dream of marrying a boy who lived right next door...
As Esther Smith, Judy Garland glows as the film's heart and soul. She is at her best - wistful and endearing, spunky and warm, her voice at an early peak.
Joan Carroll and Margaret O'Brien
Margaret O'Brien as the high-spirited young 'Tootie' adds a dimension of childhood mischief and carries the imaginative Halloween sequence almost entirely on her own. She takes another precocious turn during the climactic Christmas scenes with Judy Garland.
Leon Ames blusters as good-hearted family patriarch, Alonzo Smith. Mary Astor is light-as-air as 'Mrs. Anna Smith;' Lucille Bremer is winning as the older sister, Rose; Harry Davenport shines as lovable 'Grandpa' Smith; Marjorie Main adds spice as the cantankerous maid, Katie...and Tom Drake is affecting as 'boy next door' John Truett. Very fine in fleeting roles are Chill Wills and a young June Lockhart.
Click here to listen to a 1989 interview by Terri Gross on NPR's "Fresh Air" with Hugh Martin and Ralph Blane in which the songwriters discuss working with director Vincente Minnelli and writing the songs for Meet Me in St. Louis...
Meet Me in St. Louis airs Sat., Dec. 11, on TCM's "The Essentials" and again on Christmas
Labels: Arthur Freed, Harry Davenport, Hugh Martin, Judy Garland, Leon Ames, Margaret O'Brien, Marjorie Main, Mary Astor, Meet Me in St. Louis, Ralph Blane, The Lady Eve (author), Tom Drake, Vincente Minnelli
Tom December 5, 2010 at 8:42 AM
God bless Hugh Martin. I love how he says he's very active in his church. I would love to read his new book. Thanks for sharing this link to the interview. Tom
The Lady Eve December 5, 2010 at 9:00 AM
Tom - Thank you for mentioning Hugh Martin's book. You've reminded me to add -
This autobiography, "Hugh Martin: The Boy Next Door," covers a lot of years - Martin is now 96. The NPR/"Fresh Air" piece also includes a recent, shorter interview with Martin at the end (Blane is no longer living).
Allen Hefner December 5, 2010 at 10:53 AM
Great post, Eve. It is a wonderful movie. You forgot to mention that it was Joe Cobb's last film. Of course he was in the Our Gang comedies, but here, at 28 years old, you probably couldn't recognize him.
The Lady Eve December 5, 2010 at 4:09 PM
Thanks, Allen...I didn't forget about Joe Cobb, I didn't know he was in the film...thanks for pointing it out. Will keep an eye out for him when I watch "Meet Me in St. Louis" over the holidays.
John December 5, 2010 at 7:30 PM
I have not seen this film in many years though I remember it well from my young years watching it with my parents on wintery Sunday afternoons. Sally Benson had an odd career from co-writing Hitchcock's SHADOW OF A DOUBT to Elvis' VIVA LAS VEGAS.
Hi John...I hope you have a chance to see "Meet Me in St. Louis" again soon - maybe this year on TCM?
I think Hitchcock knew what he was doing in selecting Thornton Wilder and Sally Benson to work on the screenplay of "Shadow of a Doubt," a story set in a small, very American town. Wilder had written "Our Town" and Benson's stories about St. Louis had already appeared in The New Yorker (the book and movie were in the works). As for her work on "Viva Las Vegas," all I can say is that Benson's screen work wasn't extensive, but it was very varied!
R. D. Finch December 5, 2010 at 10:47 PM
Eve, a most enjoyable post with lots of fascinating background on a movie I am just as enthusiastic about as you obviously are. Every year on Christmas Day and New Year's Day I revisit a favorite movie I haven't watched in a while. Last year I went with musicals and watched "Singin' in the Rain" on Christmas and "Top Hat" on New Year's. This year's Christmas movie is going to be "Meet Me in St. Louis," and after reading your post I'm looking forward to it even more than before!
doctor sabelotodo December 6, 2010 at 12:03 AM
great post eve...without ANY of the usual "blogger boilerplate"...great back story..this film came out at just the right time and was immediately embraced by the public and critics alike....they can not nor should they remake this!!!!!
Thanks, R.D. and Doctor S...I've gotten into the habit of watching a few annual favorites over the holidays - though the films do seem to cycle in and out. ("Top Hat" on New Year's is a great pairing). A 2009 biography, "Vincente Minnelli: Hollywood's Dark Dreamer," was one source of the back story on "Meet Me in St. Louis"...
Your post makes me feel cozy and warm on a cold and gray day, and your description of the origins of MEET ME IN ST. LOUIS reminds me of the series of books written by Maud Hart Lovelace. The BESTY-TACY AND TIB books and the film are suffused with a quality of charm that makes me nostalgic for a childhood at the turn of the 20th century. The seasonal form of storytelling also evokes memories of those autumns and winters I spent in a climate where the leaves change colors and the snow falls over the Christmas holiday. Few costume dramas that were filmed in Technicolor (the 1950s version of Little Women) have the same quality of charm, but I cannot think of MEET ME IN ST. LOUIS without the added sparkle of the color: Esther/Judy's red velvet dress and her glittering scarf both perfect for the Christmas sequence. I am looking forward to watching this lovely film again on Saturday evening.
Gypsy...your comment is all the reward anyone who ever wrote a blog could ask for...
Laura December 8, 2010 at 12:03 AM
This is one of my 3 most favorite movies...I haven't read the book for some time but as I recall Agnes was a much bigger character in the book, which was interesting. I think Joan Carroll's pitch-perfect performance is often overlooked because she's in the shadow of O'Brien. She's quite charming, and her line readings are perfect. ("Oh Rose, you're so stuck up!") There are also little things in the book that are only fleetingly referred to in the film...for instance when Grandpa says of Rose "The Queen has spoken," that has much more meaning if you've read the book.
Ah, Betsy-Tacy and Tib...those who like the books might want to know there is a national Betsy-Tacy Society which has existed for many years! I met two of my closest friends on a discussion board about Betsy-Tacy on Prodigy back in the early '90s; one of them wrote THE BETSY-TACY COMPANION which tells you all about the books and the real-life people the characters were based on. Anyone who loves MEET ME IN ST. LOUIS would love the B-T books.
Hi Laura - I haven't read the Sally Benson book or stories...but I did read that the original stories, being told from Tootie's point of view, did focus more on Agnes. Regardless of the size of her role in the film, Joan Carroll turned in a very fine performance.
One of my favorite supporting players in MEET ME IN ST. LOUIS is Harry Davenport as Grandpa. Your mention of his line, "the queen has spoken," reminded me of how much he added to the film and inspired me to include this (cut & paste) link to a "Films of the Golden Age" piece that covers his 78-year career before and after, at age 69, "...he packed his belongings in his decrepit car, locked up his home, and set off alone for Hollywood."
http://www.filmsofthegoldenage.com/articles/2009/12/17/current_issue/davenport.txt
Dawn December 9, 2010 at 4:38 AM
This is the movie that got me interested in Classic movies. I love everything about it, the scenery, costumes, actors and story line about learning life lessons. If you were to ask me which is my favorite part of the movie. I would have to say Halloween when, Tootie and her sister Agnes dress up and go out to celebrate Halloween with the neighborhood children. Wanting to prove herself to the other children, Tootie, insists on going up to the feared neighbor Mr. Braukoff door, and blow flour in his face. After Tootie is called the "most horrible," she puts her family into a panic when she returns home, crying, bruised and with a cut lip.
Merry Christmas LadyEve.
Dawn, Your comment has made me stop and think about favorite scenes...so many...I don't think I have one. All in all, the portrait of home and family is irresistible - stirring warm feelings and fond memories...
Merry Christmas Dawn!
Eve, this is a wonderful article on a movie I have always loved so much. I learned some interesting facts about it that I did not know, and your description of the film was right on the nose. It's the best of Hollywood, to me. Thanks for a really excellent write-up!
John December 19, 2010 at 7:39 PM
Just finished watching this and enjoyed it completely. Pure Americana, visually stunning! Minnelli's use of color is like an artist's palette, and Garland's voice is a treasure. I do wonder if an America like the one portrayed here though ever really existed. Even if it didn't it is nice to believe that it once did. Thanks for the "nudge" to take another look at this.
The Lady Eve December 20, 2010 at 12:16 PM
Thanks, Becky...I think of "St. Louis" as one of the great films of Hollywood's golden era...
And John, so glad you enjoyed "Meet Me in St. Louis"...I agree with you 100% on all counts...the turn-of-the-century America it depicts may be fanciful, but, as you say, nice to believe in.
A last note: When writer Sally Benson's father's job required that he move...the family left St. Louis for New York...
I love this movie and even made it the project of one of my film studies classes at university focusing in on the "Have yourself a merry little Christmas" snowman massacre scene. I read all of the New Yorker short stories and yes it is Agnes not Tootie who does most of the actions ascribed to Tootie in the film.
I have always loved the film and the dress Judy wears in the Have Yourself a Merry Little Christmas scene and have wanted to pay to have it made for me since I was about 8.
The Lady Eve November 16, 2012 at 9:40 PM
AustenW - So glad you found this piece and added your comment. You remind me that it's about time I find and read the original Sally Benson stories. Here it is, nearly Christmas again and time to sit down and enjoy "Meet Me in St. Louis" once more. Thanks for stopping by...


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Whatcom County consists of 2,120 square miles and is located in the northwest corner of Washington overlooking Bellingham Bay and the San Juan Islands. The largest city and county seat is Bellingham. Other major towns are Ferndale, Lynden, and Blaine. With a total county population of 201,140, Whatcom County is a growing area with a small town feel. Situated between two of North America's most dynamic cities - Seattle, Washington, and Vancouver, British Columbia - Whatcom County serves as a major connection to Alaska, the San Juan Islands, Canada's Gulf Islands, and the Mount Baker/Snoqualmie National Forests.
Bellingham:
Located along the shore of Bellingham Bay with Mount Baker as its backdrop, Bellingham is a picturesque city with much to offer its residents. From kayaking in the Bay to hiking on Chuckanut Mountain, residents and visitors to the area are never at a loss of things to do to keep them busy. Bellingham has an array of neighborhoods ranging from the old town feel of the historic Fairhaven District and Downtown to the newer developments and neighborhoods such as Parkhurst and Samish Highlands. Bellingham is also home to Western Washington University, Whatcom Community College and Bellingham Technical College, all of which are wonderful resources for higher education and employment.Whatcom County is a very diverse area containing the cities of Bellingham, Ferndale, Blaine, Birch Bay, Lynden and many smaller communities. The county is full of natural beauty including Mount Baker and the waters of the Puget Sound.
Blaine: Blaine is home to the Peace Arch, a gleaming white 67-foot symbol of the friendly relations between Canada and the United States. Blaine's close proximity to the Canadian border, along with its picturesque setting and newly renovated Drayton Harbor, make for a fun day trip or leisurely stop on the way to Canada. Across the harbor, Semiahmoo Spit is a popular resort area with 200-room Resort Semiahmoo, marina, and a world-class 18 hole Arnold Palmer golf course. Summer weekends offer trips on the historic Plover, a foot ferry that carries visitors across Drayton Harbor to the Resort Semiahmoo.
Birch Bay: Nestled along the sandy beaches and salt water you find Birch Bay. Enjoy all that Birch Bay has to offer from the shallow warm waters to wade in, to the lovely views of the sunsets. Not matter what your adventure you are sure to love Birch Bay!
Ferndale: Ferndale is just 10 miles north of Bellingham on I-5 (Exit 262). Framed by the Nooksack River, Ferndale often seems smiled upon by omnipresent Mt. Baker to the east. Popular destinations are Hovander & Pioneer Park, Lake Terrell Wildlife Center, and the boardwalk & fragrance garden of Tennant Lake.Ferndale is also home to many services and an ever growing business district just off of Interstate 5.
Lummi Island: This island community is just a 10 minute ferry ride off the coast with a laid back lifestyle and wonderful views from all angles. Mt Baker, Bellingham Bay, the San Juan Islands, Canadian Gulf Islands—you can see them all from here. Enjoy the peace & quiet...and a world class restaurant at The Willows
Lynden: The work and tradition of the Dutch settlers are alive and thriving in the town of Lynden. Located on State Highway 539, this delightful farming community greets visitors to their downtown area with a windmill and rows of shops sprinkled with Dutch architecture on the main street. Extensive building in the 2000s resulted in lovely newer neighborhoods in addition to the tidy craftsman traditional homes Lynden is home to the NW Washington Fair.
Sudden Valley: Sudden Valley is a planned community located about 10 minutes outside the Bellingham city limits. Originally developed in the 1970's, today Sudden Valley is beaming with life.
Sandy Point:
Sandy Point is a waterfront community located on a peninsula about 15 minutes north of Bellingham and east of Ferndale. With incredible views of the San Juan Islands, the Straight of Georgia to the West and even Mt. Baker and the Twin Sisters to the East, its difficult not to want to call this lovely community home.
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Guerra de Titanes (1999) ("War of the Titans") was the third Guerra de Titanes professional wrestling show promoted by AAA. The show took place on December 10, 1999 in Madero, Mexico. The Main event featured a Lucha de Apuestas "mask vs. mask" under Street fight rules. Octagón faced Jaque Mate to see which wrestler had to unmask.

Production

Background
Starting in 1997 the Mexican professional wrestling, company AAA has held a major wrestling show late in the year, either November or December, called Guerra de Titanes ("War of the Titans"). The show often features championship matches or Lucha de Apuestas or bet matches where the competitors risked their wrestling mask or hair on the outcome of the match. In Lucha Libre the Lucha de Apuetas match is considered more prestigious than a championship match and a lot of the major shows feature one or more Apuesta matches. The Guerra de Titanes show is hosted by a new location each year, emanating from cities such as Madero, Chihuahua, Chihuahua, Mexico City, Guadalajara, Jalisco and more. The 1999 Guerra de Titanes show was the third show in the series.

Storylines
The Guerra de Titanes show featured six professional wrestling matches with different wrestlers involved in pre-existing, scripted feuds, plots, and storylines. Wrestlers were portrayed as either heels (referred to as rudos in Mexico, those that portray the "bad guys") or faces (técnicos in Mexico, the "good guy" characters) as they followed a series of tension-building events, which culminated in a wrestling match or series of matches.

Results

References

1999 in professional wrestling
Guerra de Titanes
1999 in Mexico
December 1999 events in Mexico

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how do I upgrade a non-paying member on Membership?
@Saskia If you go to Membership => All Members, you'll see a list of all active members (both free and paid).
Simply hover over a user and you'll see that you can manually add a level or subscription.


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Корсон — многозначный термин.

Личное имя
 Корсон — граф Тулузы (778—790).

Фамилия
  (1906—1981) — американский метатель диска, бронзовый медалист Олимпийских игр (1928).
  (1836—1913) — американский солдат, участник Гражданской войны, обладатель Медали Почёта.
  (1829—1910) — британский архитектор, ряд работ которого включены в список памятников архитектуры.
 Корсон, Дэйл Раймонд (1914—2012) — американский физик.
  (род. 1964) — американский скульптор.
  (род. 1989) — французская регбистка, финалистка Чемпионата шести наций (2021).
  (в замужестве — Уитни; р. 1950) — канадская пловчиха, бронзовая медалистка Олимпийских игр в эстафете 4×100 м вольным стилем (1968).
 Корсон, Стиви — британский яхтсмен, чемпион Великобритании в классе «Солинг» (2008).
  — американский музыкальный продюсер, президент RCA Records (2011—2018), сопредседатель Warner Records (c 2018).
  (1896—1985) — американский методистский священник, епископ (с 1944) Методистской церкви США и Объединённой методистской церкви.
  (1828—1911) — американский литературовед и педагог.
 Корсон, Хит — американский сценарист, лауреат премии Гильдии сценаристов Америки за короткую форму в новых медиа (2012).
 Корсон, Шейн (род. 1966) — канадский хоккеист.
  (род. 1967) — американская тяжелоатлетка, чемпионка мира по пауэрлифтингу в весе до 82,5 кг (1991).

Топоним
 Корсон — округ в штате Южная Дакота (США).

См. также
 Corson (наст. имя — Алан Кордье; р. 1979) — французский музыкант.


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Join us with Wendy Crispell as she leads these fun and interactive NYC wine tastings! Whether you are interested in wine and cheese or making the perfect cocktail you will be sure to love these fun events aboard our classic yachts. Jump into the wonderful world of wine aboard the Yacht Manhattan and learn what Wendy has to offer.
Wendy has been hosting Classic Harbor Line's wildly popular NYC wine tastings for 9 seasons. Wendy's belief that learning about wine should be fun, and accessible to everyone, leading many participants to return year after year. In addition to holding multiple certifications in wine, Wendy is also a certified cheese professional, award-winning culinary writer, known for her world-renowned cocktail creations and is a French trained chef. She has traveled the world to get up close and personal insight into the culinary culture, traditions and trends in the world of food and wine.
What is the best date idea in NYC? How about a Wine and Cheese pairing on a classic yacht? Looking for a boat ride to see the sites of our gorgeous city without a guided tour? How about a Cocktail cruise that lets you watch the sun dip behind the Statue of Liberty? Visitors and Locals alike this wine and cheese tasting or cocktail cruise is great for a group of friends, a magical date or relatives from out of town. Become a regular and learn the ins and outs of all there is to know about Wine, Cheese and Cocktails with the wonderful Wendy Crispell!
France will always be Wendy's first love, when it comes to wines and cheeses. Learn about tradition and current trends in wine and cheese as you cruise through NY Harbor aboard our classic yacht. What better way to spend a Saturday evening than sipping on delicious wines as you watch the sun dip beyond the Statue of Liberty.


Part II homes in on the moments and territories of conflict – the abrasive meeting of institutionalised power and its counter-energies and structures. With an emphasis upon video work, woven together by new installation interventions, common threads connecting these distinct works become apparent: failings of the state, crumbling ideologies, dissolving authoritative measures of control, the generative energies and collective impulses of anti-institutional collective cultural and social identity, the failings of history as both efficacious event narrative and discursive form, the individual as both the subject of and counterforce to the dominance of the mass.
This exhibition accompanies Part I of Everything Falls Apart, presented at Artspace, 27 June - 5 August 2012.


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Running is for Every Body: Rini Jones
Rini Jones shares how she was made to feel she doesn't belong in the running space and why she still finds it hard to feel she's a 'real' runner
By Joe Mackie
Before she became a runner, 28-year-old Rini Jones' issues with her body impacted her mental heath. 'My relationship with my body before running was a fraught one,' she says. 'I had been battling bulimia for over six years. Exercise, to me, was a more socially acceptable alternative to the typical presentation of these eating disorders and I developed a disordered relationship with it, too, training for over three hours a day, trying to shrink myself further. No matter how objectively thin I was, I never thought it was enough. With recovery from my eating disorder came fluctuating body changes that took a long time to accept.'
Running was ultimately to help her on that path to acceptance, but she initially felt it simply wasn't an option. 'I thought running was just for tall, lean, white people – all the runners I'd see fit this mould and I thought I wouldn't be physically able to do it,' she says. 'I'm short and curvy with big boobs and I was petrified of being mocked, objectified and harassed running in public. Asian women are least likely to be physically active in the UK, and even within my own family, I'm the only one who trains regularly. I was hyper-aware of navigating this overwhelmingly white space, on top of everything else.'
"Asian women are least likely to be physically active in the UK"
A move to Paris where, thanks to a work colleague, she took a leap of faith and signed up for the marathon changed things. 'The anonymity I felt in a new city really helped,' she says, 'and with the daunting prospect of running a marathon, training took on a whole new meaning other than as a weight-loss tool. Suddenly it was about trying to develop a skill; it was about what my body could do, not what it looked like. I began training in the early hours so I could feel comfortable and then as my endurance improved, I felt able to claim a space and run whenever it suited me. The disbelief that my body could actually run, and run well, propelled me forward.'
Jones has been running for seven years now and says it has firmly shifted her focus on to what her body can do, but it's hard to entirely escape the preconceived notion of the runner's body. 'I often think that I'm not a "real" runner, that I don't look like a runner,' she says. 'And I've received some wild, gatekeeping comments both in person and online – that I'm too slow, that I should lose weight if I want to be taken seriously and questioning whether I've actually run a marathon (I've run five). I've also received plenty of raised eyebrows from running store and gym employees when I've told them I run. The conspicuous lack of meaningful diversity – especially of South Asian women – in running campaigns doesn't help; it's like confirmation that we don't belong in this space.'
"What your body looks like has zero bearing on your validity as a runner"
Jones has a passionate rallying call for others who have been made to feel as though they don't belong in the running space. 'Gatekeeping comments speak volumes about the fragile people spreading them and absolutely nothing about you,' she says. 'You deserve to claim space and do so safely; communities of colour have been running for centuries and this sport is not just for thin white people. What your body looks like has zero bearing on your validity as a runner and your presence on the roads/ trails/tracks will inspire more people than you know.'
Kelly Roberts on launching #SportsBraSquad
Emma Abrahamson on body changes through puberty
Mandy Blair on not fitting the image of 'a runner'
Evie Butler on feeling at peace with her body


The Iowa Pork Producers Association is now accepting applications for its 2019 Iowa Pork Leadership Academy. Applications are due Nov. 30, 2018.
• A working knowledge of the Iowa Pork Producers Association and other key organizations that work with IPPA to broaden perspectives and build coalitions.


Social media has changed throughout the years. It used to be enough to just have a website. Now, however, if you don't have active accounts on several platforms, you might never get noticed. Most people spend so much time looking at their phones these days, and the best way to gain exposure for your business is to be right where your audience is looking. An active presence on social media can allow you to interact with your current customers and build relationships with new customers as well.
Social media accounts are easy to set up, but if you don't know how to run them properly, they can negatively affect your business. You have to know what content to promote, what platform to use, and how often and what time of day to post in order to be effective. So where do you start?
• What message do I want to send?
• How do I want to send it?
Next, create a game plan. It's ok to start small. Don't feel like you need to make an account on every single social media platform out there. Do some research on the different types of social media to figure out what makes the most sense for your business.
Next, consider your message and how you are portraying it. Check out what your competitors are doing on their social media pages to get some ideas. Learn what your customers are looking for and tailor your content to their needs. Some ideas for content are promotional posts, client testimonials, user-generated content, events, a look behind the scenes, and more.
Something else to think about is how often you are posting and when. It is possible to post too often. You don't want to overwhelm your audience. Also don't forget to think about the time of day you are posting. Ask yourself "When will my users be most likely to engage online?" When it comes to posting, remember quality over quantity, and consistency over frequency. There are many websites and apps that offer scheduling tools so that you can plan a month's worth of posts at once instead of having to think about it daily or even weekly.
Social media can be a daunting thing for those who don't fully understand it. If it still seems overwhelming after reading this brief overview, Circa offers services that can help you get started. We will set up a custom strategy for your business to find the best ways to promote across thoughtfully chosen platforms. Additionally, we can create content (take photos, edit photos, create graphics, etc.) and even post for you. We will also send analytic reports at the end of each month.
If you're ready to take your business to the next level, contact us today!


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Giancarlo del Monaco: The sunset of the divas
At 75, I can say that I have met all the greats. And Montserrat Caballé was one of them, a unique artist, very peculiar, with whom it was almost impossible to compare. If anything, we can draw a parallel between her, Maria Callas and Renata Tebaldi, three artists who could use the "la" in front of their surnames. A trio uppercase. Today, normality is the norm. In it, that exceptionality of his throat was the norm. To be understood: the Church has many priests, some cardinals and a Pope. And she occupied the highest. It was that Pope whom I allude to, as was my father, Mario del Monaco, both belonging to a lineage that was capable of singing the impossible. Let us remember, for example, that she put voice to a "Salomé" with Leonard Bernstein in a very German style. To refer to it is to touch the highest of the maximum. Woman with a universal voice, beautiful and who knew how to sing and who sang everything there is only one: Caballé. In front of the Callas, the differences were noticeable. This wielded a huge vocal aggression, but did not display a vocal beauty like that of the Spanish. He had a figure and a presence that Caballé lacked, while in terms of vocality it was impossible to win Montserrat, so unique and unique. Nor could they compete with her for sympathy with other first division sopranos, many of them unattractive by nature and less than sympathetic. There I won more than enough, because I can never forget the afternoons we went from laughing to laughing, from talk to talk. The amount of jokes he could tell me. He laughed like an organ and that made her still more sympathetic. His stage presence was so strong that he remembered, for example, Pavarotti's. And Tebaldi? Oh, Tebaldi. Their vocalities were completely different. Only the repertoire joined them. Caballé was quite more perfect. Although they formed a unique triangle of a universal light. Keep in mind that the history of the lyric can not be written without your name, you can not talk about opera without citing it because it is a consubstantial part. Our relationship came from far away. I heard it for the first time in Naples, with my father. He took me to a concert and whispered in my ear: "How does she sing!" His nose did not fail him. Later I met her more. He fascinated me as much by singing Ponchielli as "Don Carlo," because his throat was for everything, something that came from his German days. It also adorned her and made her bigger never to have renounced her origins, which she had in mind. Dearest Montserrat, you will already be on Olympus, I just want to say goodbye to you, and send all my support to my dear family, paraphrasing Verdi when Richard Wagner died: «Sad, sad, sad, Caballé has died».
Tags: culture
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Prado, Reina Sofía and Thyssen will reopen on Monday after being closed by Filomena
C. Tangana: "The only thing I reject is the music I was making"
The opera returns to La Scala in Milan almost a year after the confinement


As much as we live in a connected world with the ubiquity of technology, we are also moving from mass marketing to hyper-personalisation to a segment of one. Today's newly hyper-empowered, tech-augmented consumers are increasingly in control of the messages they receive as well as how they shop for their brands.
Recently we interviewed Evan Williams, Group Head of Research and Insights at Go-Jek who is going to speak at MRMW APAC 2019. His session will outline how data and technology are enabling (or not) marketers' ability to identify and target different groups of consumers. He will also examine how segmentation really works and where marketers advance (or stumble) as the data environment changes. His hope is that this will improve how suppliers view clients' needs and how clients view suppliers' capabilities.
Evan feels that it is important for practitioners to understand how segmentation really works and where marketers are advancing (or stumbling) in regards to it as the data environment changes. His hope is that this will improve how suppliers view clients' needs and how clients view suppliers' capabilities.
He also thinks that marketers need to take a look at where the needs for the Research industry will be – the growth industries. He also adds that, "the changing landscape of what industries will invest in Research over time will ultimately dictate what skills and capabilities are needed. So, if you are in a stagnant or declining industry, be acutely aware of the skills you will need to move in the future." The MRMW APAC will be the perfect opportunity to come and hone your knowledge in the Research industry as well as hear latest updates from thought leaders of global brands.
Who all will be speaking at MRMW APAC?
MRMW APAC brings together top-level brands, thought-leaders, and research practitioners from leading brands such as Formula One, Amazon, Spotify, Go-Jek, P&G, L'Oreal, Mondelēz, HonestBee, Traveloka to discuss new research approaches, research-on-research and the future of insight automation. Don't miss the most exciting market research and consumer insights conference of 2019. Reserve your seats now and explore the future of market research with MRMW!
Wow looks interesting! How can i get more event details?


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10 Things to Know About Blizzard Series Opener
The Road to the 54th Annual Snowball Derby begins Friday night, as the Deep South Crane Blizzard Series kicks off its 2021 season at Five Flags Speedway.
The Road to the 54th Annual Snowball Derby begins Friday night, as the Deep South Crane Blizzard Series kicks off its 2021 season at Five Flags Speedway. Before Friday's racing, here are 10 things to know about the Blizzard Series opener.
1 – Jeremy Doss heads east from California to try and get some reps in the Blizzard Series before December. Doss is not the only driver to find success at Five Flags in the past. Derek Thorn led over 200 laps in last year's Snowball Derby and won the Snowflake 100 the year before. The California connection is running strong on the Florida panhandle.
2 – Friday's night race will be 100-laps for the Super Late Models at Five Flags Speedway (FL). This is the first of four races in the Blizzard Super Late Model series. The series will return to action at Five Flags in July for a two-day doubleheader.
3 – A few faces we don't normally see in the Blizzard Series are making a comeback or are returning to action. Ross Kenseth is making a comeback and will drive for Carswell Motorsports. Jeff Choquette returns to the seat after being out all of 2020; he'll drive for Larry Blount. Johanna Long Robbins is making her first Blizzard Series start since 2015 and Justin Drawdy is back at Five Flags for the first time since 2009.
4 – There are 36 expected entries for Friday's race, with Bubba Pollard announced as an addition to the field Thursday evening by Five Flags. Fans who can not be in Pensacola, Florida can watch the Blizzard Series race live on Speed51.tv – The live broadcast will start at 7pm CT / 8pm ET.
5 – The four Blizzard Series races are also part of the 2021 Southern Super Series schedule. Stephen Nasse enters the Five Flags race with a 16-point lead over Jake Garcia for the Southern Super Series championship. Nasse, a two-time champion, is seeking to become the first ever three-time champ in the series.
6 – Bubba Pollard is the all-time Blizzard Series winner with 22 victory's in the Super Late Model series. Pollard has won at least one race dating back to 2008. A win this year would mark his 14th consecutive year with at least one win. Pollard also has 22 pole awards in the Blizzard Series.
7 – Another driver who is due for a win is Kyle Plott, who has led six times for 290 laps in the Blizzard Series. That's fifth most all time and the most of any driver who has not won a Blizzard Series race.
8 – NASCAR Truck Series driver Grant Enfinger is scheduled to be in the field on Friday as well. Enfinger was a Blizzard Series winner back in 2005 before hitting it big with wins in the Rattler 250 and then the ARCA Menards Series. Enfinger was eighth in the Snowball Derby last fall.
9 – Five Flags Speedway is a high-banked, high speed oval that is super abrasive on the tires. The track has not been paved since the 1970s and saving tires is the name of the game during the Blizzard Series events.
10 – The weekend will be a doubleheader for the Southern Super Series, as they will head to Montgomery Motor Speedway (AL) for the Rumble by the River 100. Fans will also be able to watch that race on Speed51.TV.
-Story by: Elgin Traylor, Speed51 Correspondent


The Owls are reminding supporters of the club's Community Engagement Scheme.
The scheme was established to aid supporters without the resource to watch the Owls at Hillsborough on a regular basis via subsidised ticket prices.
The ethos of the Community Engagement Scheme gives Wednesdayites whose personal circumstances prohibit the purchase of matchday tickets the opportunity to apply for discounts.
The scheme works by supporters providing an outline of their story or that of a friend/family member and emailing: ces@swfc.co.uk with a valid SWFC client ID and contact number.
A representative of the club will then respond in due course.


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Tag Archives: violence against women
Pathologizing and medicalizing women's sexuality is nothing new. Here is a brief timeline of just some of the appalling highlights throughout human history of how women have been treated regarding sex:
Here is a great article from the New York Times on the pathologizing of women's sex drives in modern times. To briefly cover how women's sexuality has been pathologized throughout the ages, see below:
1. "Actually, low female desire is 'normal.' Women have been made to feel that having a low libido means something is wrong with them. Currently women with chronic low libido are pathologized as having a type of female sexual dysfunction called hypoactive sexual desire disorder (HSDD). The trouble is, many of the researchers who have come up its nebulous definition have financial ties to pharmaceutical companies."
2. Freud himself pathologized women's sexuality to the point of literal "hysteria." He popularized the idea that a sexually interested woman was not only unhealthy, she was mentally ill and wishing she was really a man with a penis. Though he certainly wasn't the first person to present these ideas. "In his early theories, Freud simply extended his views of male sexuality to women, viewing women as simply men without penises (Cohler & Galatzer-Levy, 2008). His male perspective of sexuality is understandable, but nonetheless problematic, as it marginalizes female sexuality. Female sexuality, according to early Freudian theory, is exactly the same as male sexuality up until the phallic stage of psychosexual development; since women don't have a penis, however, they experience penis envy. He also fell prey to the general sexism of the time, writing that in men alone is "the sexual life…accessible to investigation, whereas in the woman it is veiled in impenetrable darkness, partly in consequence of cultural stunting and partly on account of the conventional reticence and dishonesty of women" (Freud, 1905). Dismissing women and their sexuality in such a way seems troublesome not only because he treated many female patients, but because his theories are still so prevalent today, continuing to influence psychologists and sexologists alike (Jayne, 1984)."
3. Victorian ideas about women and sex were particularly appalling. The vibrator was invented by doctors in Victorian England for a stunningly awful reason. During these times, doctors believed that women became unhinged and unhappy due to either having a uterus that was unattached to anything in their body and "roving around" inducing so-called "hysteria," or they needed either a REMOVAL OF the clitoris (clitorectomy) or stimulation of it. Yes, doctors had well-to-do women in Victorian England visit their offices for the doctor to "perform a treatment" of manual stimulation of their clitoris to induce orgasm. This treatment became popular and therefore the vibrator was invented to save doctors from incessant hand cramps. As hilarious and ridiculous as it sounds, it is but one example of devastating erasure of women's sexual agency and identity. This is one of the most egregious examples of pathologizing women's sexuality to the point of extreme violation of their bodies.
4. The clitorectomy was also popular around this time. From an excellent article on the history of clitorectomies and vibrators: "In a series of papers, Baker-Brown argued that the professional manipulation of the clitoris to induce paroxysms was no cure for hysteria. In his view, it only made the problem worse by feeding the patient's lust for gratification. The only effective solution, he insisted, was a permanent one: the surgical removal of the clitoral glans. As Martha Coventry wrote in a famous article for Ms., Baker-Brown promised that after a clitoridectomy, "intractable women became happy wives; rebellious teenage girls settled back into the bosom of their families; and married women formerly averse to sexual duties became pregnant."
Happily, Baker-Brown was soon discredited by his fellow gynecologists, many of whom objected to his habit of performing clitoridectomies on women without their consent. Unfortunately, the surgical procedure he popularized survived his fall from grace. Baker-Brown may have fallen out of favor with his British colleagues, but his ideas found a more enduring footing on the other side of the Atlantic. As early as 1866, American doctors began performing clitoridectomies to stop hysteria, nymphomania, and above all, masturbation. As Coventry discovered, medical textbooks continued to recommend clitoral excisions as late as 1937, and some doctors continued to perform the procedure for at least a decade after that. (Coventry interviewed a Michigan woman who underwent a clitoridectomy in 1944, at age 12: "…as she sat on the exam table, an attendant clamped an ether-soaked rag over her mouth from behind. When she woke up, her clitoris was gone. 'They tried to keep me from masturbating,' she said. Then, after a pause, added, 'Didn't work.'")
5. None of this is anything new. During colonial times in Europe: "Although ordinary women could never aspire to [political or religious positions in the public sphere] they had other powers unique to their sex: Women were disorderly, sexual, and lustyÉ With woman's intellect at the mercy of her lower nature, she would be prone to the evil powers of witchcraft. Her very sensual and deceptive power, in fact, dictated the necessity of her subordination within marriage" (Evans, 22-23).
The medical perspective was limited in that males dominated this profession. "Even diagrams of female anatomy in medical books are limited to male eyes only. Plans to instruct midwives in anatomy were thwarted. Physicians were reluctant to give their patients too much knowledge"(Porter, 86). Women during this period really had nowhere to turn to obtain helpful knowledge about their bodies and/or sexuality in a world dominated by men.
6. Going back further, in ancient Greece and Rome, "women's sexuality was something to be controlled. To Aristotle, women's bodies were passive receptacles for men to deposit their seed, what Sophocles called a "field to plow." Since the key function of women was to produce children, Athenians thought it was pointless to educate them or allow them to participate in public life." Further, "Rome's highest priestesses were known as the Vestal Virgins. They were "vestal" because they served the goddess Vesta, and "virgins" in that their untouched bodies were seen as essential to the safety of Roman society. No one else in Rome was expected to stay a virgin, but a single sexual detour by a Vestal was thought to bring pestilence, losses in war and divine displeasure. On several occasions, when no one could figure out why some calamity had befallen Rome, Vestals were accused of no longer being virgins. For that crime, they were buried alive in a tiny room and covered up without a trace."
7. Back to Victorian times: "nearly all official measures against venereal disease were directed exclusively against women. In the 19th century, many European governments legalized prostitution, but only to the extent of subjecting real or suspected prostitutes to punishing medical inspections, often called "instrument rapes," which probably resulted in the transmission of a variety of harmful infections. One French woman described the process in detail:
It is awful work; the attitude they push us into first is so disgusting and so painful, and then those monstrous instruments—often they use several. They seem to tear the passage open first with their hands, and examine us, and then they thrust in instruments, and they pull them out and push them in, and they turn and twist them about; and if you cry out they stifle you…."
8. In modern times, women's sexual agency is not only pathologized, but women's lives are at risk throughout the world for exploring their sexuality or deviating from cultural norms. In some countries, honor killings are practiced if a woman's mere sexual reputation is under threat. Similarly, "crimes of passion" are rampant throughout the world as jealous men attack and murder women for the act or idea of being sexual with another man.
So little wonder that even in modern times, the idea of women having satisfying sex lives according to their own desires is threatening to the fabric of society, since it is built on patriarchal ideals of controlling women's bodies and sex. Little wonder, then, that politicians are trying to prevent access to reproductive resources such as contraception, emergency birth control, and abortion. Little wonder that young girls don't receive very much sex education or information about their own sexual pleasure. Little wonder that we can see someone be disemboweled in the movies, but a woman's face during an orgasm is not allowed to be in even an R-rated movie. Little wonder that the worst thing you can call a woman is a "slut," especially if she is sexually liberated, yet the worst thing you can call a man is a "woman," "girl," or "pussy."
This is the legacy upon which our current sexual health conversation is built. I don't trust pharmaceutical companies to be concerned with women's health. They are more concerned about making money. Women are going to be pathologized for not wanting sex and for wanting it "too much." A pill is probably not the answer to this much more complex social issue that reverberates sexism into the interpersonal and sexual-emotional issues in relationships.
Specula from 1847 (U.S. National Library of Medicine)
For more on the systemic violation of women's sexuality and bodies, review the invention of the speculum by the father of gynecology, who performed "instrument rape" on slave women in early America. That was then, this is now, you say? Yes, and nowadays OB-GYN's get their license by performing vaginal exams on nonconsenting women who are under anaesthesia for other operations in teaching hospitals. See this article for the testimonies of several doctors who refused to participate and who loudly question the ethics of this practice. The practice is so commonplace for OB-GYN departments of teaching hospitals that in 2003 the residency doctor of Johns Hopkins said, ""I don't think any of us even think about it. It's just so standard as to how you train medical students."
In consequence, there is no precedent set to earn women's trust regarding their sexual health. It is wise to be suspicious of any product or service that is directed at our sexuality, especially coming from the medical establishment. We like to take a pill for the easy way out. But that may very well cause more trouble than it solves, especially if the root of the issue lay ignored in the context of emotionally unsatisfying relationships that are based on patriarchal norms.
Tags: clitorectomy, female viagra, feminism, feminist, freud, gynecology, history, history of gynecology, history of sexual health, history of the vibrator, human sexuality, hysteria, libido, masturbation, ob/gyn, patriarchy, psychology of sex, psychology of women, radical feminism, sex, sex in ancient greece, sex in ancient rome, sexism, sexual assault, sexual health, sexual liberation, sexual revolution, sexual violence, sexuality, specula, speculum, vaginal health, viagra, vibrator, victorian history, violence, violence against women, women, women and girls, women's health, women's history, women's issues, women's rights, womens issues
Categories Women's Issues
White Paper: Our Lady of Narco – Exploring the Fetishization of "Narcocultura," and the Intersection of Drugs, Politics, Cults, and Pop Culture
At the crossroads of Mexican and American culture, and where drug policy and pop culture meet, Mexico's identity is evolving into a dark place. Narcocultura eclipses more aspects of daily life, and the United States is ever complacent and responsible in the transformation that has taken root on both sides of the border. The harsh economic realities and failures of authority to protect its people, and prevent and control violence have led to this crisis which is slowly overtaking the literal and figurative Mexican landscape as it spills over into the United States.
Two of the most useful theories that relate to this problem are the Social-Conflict Approach and the Symbolic-Interaction Approach. Social-Conflict perceives society as stratified by race, class and gender. Much of the violence and trafficking has resulted from the stark economic reality that if some people in Mexico want to make a living, one of the few options is involvement with drugs. On the other hand, people influence one another's involvement in the terrifying escalation of violence, as explored by some of the articles explored for this paper. Symbolic-Interactionism suggests that peers play a deeper role in how our society operates and functions. This paper argues that the drug crisis in Mexico, and how it relates to the U.S., is a product of issues that will be analyzed by both of these theoretical frameworks.
A growing body of research addresses the escalating drug-related violence in Mexico, as well as the social and cultural consequences of this near-decade-long war. Some of the investigations into this crisis make bold and damning critiques of the Mexico and United States governments. Others focus primarily on the increasingly disturbing nature of the violence itself; horror which warrants its very own exploration into the shifting social and cultural paradigms of a country in dire flux.
First, it's worthwhile to take a significant step back to evaluate the Mexican drug war as a whole. While conclusive data on who started the war remains elusive, we do know a few things about the escalating violence. For one thing, Mexico's struggling economy may not provide enough employment and educational opportunities for people. Mexicans may resort to alternative livelihoods in the underground economy to earn an income without other legitimate jobs – but it's false to assume that the economy is the sole reason for the war. Nonetheless, we do know that the drug and violence situation in Mexico changed dramatically when former president Felipe Calderon took office and declared a war on drugs. It's also well known that the Mexican cartels exploded onto the scene and grew exponentially in the years after the fall of many Colombian drug organizations that held the vast amount of power in trafficking and production (Campbell, 2014).
More people have died since Calderon's policies went into effect than the Americans who died during the Vietnam war (Rios, 2013). From 2006 to 2012, violence escalated rapidly. In 2011, 19 out of the world's 50 most violent cities were in Mexico (Rios, 2013). Appallingly, the violence appears to become increasingly brutal over time. Every cartel seems to attempt to outdo one another in cruelty and vulgarity; and Mexican newspapers and magazines document the public displays of gruesome violence on the front pages of glossy papers, often bought at the grocery store checkout line – one of the most troubling aspects of Mexican drug culture (Campbell, 2014).
A woman's body was recently found by the side of the road in Michoacan, with her arms and legs tied up.
The culture of violence has reached dramatic depths. "The desecration of bodies takes many other forms including inscribing bodies with identifying labels and threats. Specific amputations carry particular meanings. For example, cutting off fingers implies that the dead person was a snitch (dedo, i.e., finger), cutting out the tongue implies that the person was an informant (soplón), cutting off hands signifies that the person stole money or a drug load, etc. Raped, sexually tortured and murdered women are often left in the streets with no clothing or with their undergarments pulled down (this is also done to men). The ritualized presentation or spectacle of dead bodies is such a common and patterned phenomenon that a whole vocabulary has emerged to describe the bodies: enteipados are bodies wrapped in duct tape (to suffocate the victims or prevent them from calling for help or knowing where they are going), descuartizados are bodies that have been quartered, encajuelados are bodies stored in the trunks of cars, entambados are bodies crammed in barrels, while encobijados are bodies wrapped in blankets (to stop blood seepage, to hide cadavers as they are being transported in cars, and for ease in carrying and throwing them)" (Campbell, 2014). Such violence, especially when broadcast in such a public way through mass media, surely has horrifying implications to a traumatized and desensitized society. It is of no wonder that the country has devised its own ways of dealing with it, sometimes as simply as in turn glorifying it. Both the US and Mexico appear to be equally guilty of this.
The Mexican authorities are not innocent themselves, being highly corrupted in their ranks, and spilling military-style warfare into Mexican streets. In the meantime, the cartels become even more creative and commit worsening acts of violence; kidnapping, extortion, carjacking, and other criminal activities are just a few forms of the crime that threaten to overwhelm Mexico permanently (Campbell, 2014).
For Mexico, this isn't just a war between the cops and robbers, or the good guys and bad guys (always subjective in this context). This is a war between good and evil, Heaven and Hell. When headless corpses are routinely shown on evening news during suppertime, and blogs show photos of piles of human body parts that are meant to send a message to a rival cartel, the people of the country reach out to perhaps unlikely heroes.
Some Mexicans have become so alienated by the corrupt authorities that they prefer the perceived "lesser evil" of the Robin Hood-style cartel leaders (Dotremon & Gonzalez, 2014). In the most lawless places, drug cartel leaders become stand-ins for legal authority and take over the operations of the state. Some take it upon themselves to provide people with protection, employment, education, food, medical care, utilities, as well as the building of infrastructure of roads and buildings (Dotremon & Gonzalez, 2014). Such an arrangement begets a complicated legacy of cultural understanding of drugs in Mexico. These provisions have become so powerful that they have influenced pop culture in a profound way.
A man walks in front of a store that bears that name of "El Chapo," formerly the world's most wanted drug lord. He invested in local businesses and offered protection and security to his supporters.
The corrido, a kind of oral history-inspired story-song performed by rural entertainers, has a brand-new sub-genre: the narcocorrido (Loewe, 2010). Some performers are literally cartel employees; that is, they are paid with financial reward and security protection for writing songs about cartel leaders, and often embed critical pan-cartel messages in them. Still others that dare to sing the wrong thing (or who are simply unlucky enough to be spotted in the other cartel's nightclub turf) are brutally assassinated (Loewe, 2010).
Narcocorrido singer Tito Torbellino was killed this spring. The Phoenix-born self-styled gangster was shot point-blank eating lunch in Mexico. He was known for singing love songs, a risk that cartel bosses' girlfriends may develop a crush on you. This poses the question: which is more dangerous, singing about romance or revenge?
The narcocorrido has become so popular that they are played on Spanish-language radio in the United States, and the performers come to tour US venues, especially in border states where the cartel presence is higher. The audiences of these concerts are often high school or college students, suggesting a broad listenership and implications for Mexican-American pop culture (Loewe, 2010). Given that the nature of this violence is often paramilitary in style, such as raids, firefights, and assassinations (Campbell, 2014), it isn't difficult to imagine the low-income, alienated (especially male) youth of Mexico identifying with this display of power and control over the accepted authority.
Drug cartels are employing other forms of propaganda directly, both to inform the public and government that they assume to have control over the state, and to recruit. Some other types of propaganda include blog posts, web videos displaying executions and beheadings, and control of media outlets (Campbell, 2014). This appears to be morphing into a pop-culture phenomenon of decreased sensitivity to this type of violence, as well as acceptability of the cartel activities.
The people, overall, have developed their own response to this crisis in Mexico, whether as a coping mechanism or as an indirect result of cultural influence. The institution of Roman Catholicism is experiencing an enormous shift in Mexico, where its practitioners are incorporating non-Vatican-approved activities. For example, while the country worships the Virgin Guadeloupe freely, the Mother of Jesus, there is a growing cult that presents a dark mother figure, as an archetypal other half to Mary: Santa Muerte. Santisima Muerte (Holy Death), is portrayed as a shrouded skeleton, who holds a sickle and often an owl, both symbols of death and the eternal nighttime (Bastante & Dickieson, 2013).
A shrine to Santa Muerte in Mexico City.
She is not simply the cultural representation of the yang to Mary's yin; she is the embodiment of Mexico's cult of death. Mexican culture is unafraid of death – rather, Mexican people embrace death as just the culmination of living, and have much less social taboo surrounding the subject of death. To Mexicans, this is just about balance. To the Vatican, the new worship of Santa Muerte is sacrilege and devil-worship; symptomatic of Hell breaking open in Mexico itself. Indeed, the Catholic Church is performing more exorcisms in Mexico than anywhere else in the world (International Business Times, 2013).
To make matters worse for the Vatican (but not the cartels), new unordained Saints have been invented by the people of Mexico – the most popular by far is Jesus Malverde, patron saint of drug traffickers, criminals, convicts, prostitutes, and assassins. (Campbell, 2014). Santa Muerte and Jesus Malverde worship is influencing the spiritual consciousness of Mexico just as much as the Church did post-colonial invasion, and just as much as pre-Colombian culture roots the collective culture.
A shrine to Jesus Malverde. Notice the ofrendas (offerings) of tequila and a gold-plated revolver.
This isn't merely a question of social attitudes; the normalization of violence is effecting the pushing of the envelope by the cartels. Ironically, a culture that worships two female figures as pseudo-goddesses (Santa Maria and Santa Muerte), such violence is defined by a precedent-setting level of brutality in violence against women. Mass graves of dozens of women and girls are routinely unearthed, and photos of brutalized women corpses with their panties around their ankles are often on the front pages of the violence-glossies at the grocery store (Wright, 2011). The practice of "femicide" has become so widespread that it's a message from the cartels, "we own everyone, and we especially own the women. We will kill you and your wife, daughter, and grandmother. No one is safe." It's how the cartels continue to control the social consciousness of the public, and dominate the political dialogue, though the failing state of Mexico has been entirely deficient in combating femicide (Wright, 2011). Such violence against women has taken on enormous political significance and it continues to dominate as an effective narcopolitical tool.
The femicide machine in Juarez has taken countless womens' lives. This is the site of a mass grave full of womens' bodies.
Contemporary sociological research has provided alarming conclusions about the escalating nature of violence in Mexico. One study from the University of Texas at El Paso found a strong correlation between religious imagery and risk-taking behavior (Shernberger, Smith, & Zarate, 2014). The findings of these researchers suggest that drug war terrorism in Mexico may be exacerbated and validated by their usage of Santa Muerte and Jesus Malverde in their propaganda and operations. This demonstration has important implications for modern Mexico. Could it also be interpreted conversely; if exposed to religious imagery in a different, anti-drug context, would people be less likely to engage in drug-related activities? If so, perhaps the Catholic Church could become a powerful advocate in deconstructing these narco-obsessive cultural institutions, should they devise such an effective, evidence-based policy. Perhaps the government could also employ these tactics. This context would be a worthwhile topic for future research.
Past research has revealed that religious images can be used to produce both positive and negative outcomes, with negative consequences being the case most of the time (Shernberger, Smith, & Zarate, 2014). Could future research pose new solutions to this paradox? Could future research perhaps address the alternative solution to how drug cartels often use religious imagery to this end within their organizational behaviors and propaganda (Shernberger, Smith, & Zarate, 2014)?
Other important research notes the direct connection between the media and normalizing these increasing levels of violence (Mercille, 2014). Academic analysis has shown that as movies, television, and video games present Mexican cartel violence onscreen, US levels of tolerance increase (Mercille, 2014). This also has startling implications for our own culture and representations of violence in the media.
As individuals, we often like to think of ourselves as our own social agents, who interpret media images and representations as separate from ourselves, our society, and our identities. We may wish it was that simple, and we may often believe it is – but we are products of the society in which we live, both by media portrayals as well as how we influence one another. As one article points out, these glamorized representations are indeed part of the "corporate establishment," and often reflect the very same viewpoints expressed by top US policymakers, though it may be in stark contrast with reality and empirical data (Mercille, 2014).
The most important policy recommendations revolve around addressing the underlying economic issues that may form the fundamental basis of this socio-political dialogue. The US is the single most critical influencing factor in the Mexican drug violence due to demand for Mexico's drug supply, loose gun control, and political blindness to our complicity in this disaster (Mercille, 2011). The US is also responsible for "implementing neoliberal policies," as well as encouraging them in Mexico as an interested and invested player, that have increased the illegal drug trade (Mercille, 2011). "The war on drugs has served as a pretext to intervene in Mexican affairs and to protect US hegemonic projects such as NAFTA, rather than as a genuine attack on drug problems. In particular, the drugs war has been used repeatedly to repress dissent and popular opposition to neoliberal policies in Mexico. Finally, US banks have increased their profits by laundering drug money from Mexico and elsewhere; the failure to implement tighter regulations testifies to the power of the financial community in the US," (Mercille, 2011). These profoundly damning factors reveal the true forces behind US policy and legislative behavior, that without a doubt influence media and public opinion. Without addressing our responsibility as a nation, we cannot expect to escape the consequences or provide a viable solution. Dramatic implications deserve radical solutions.
Social-Conflict theory applies best here, where the perspective clearly rings true; that in a society stratified by class, profit is prioritized over people. However, Symbolic Interactionism suggests that the people of the US and Mexico are ourselves responsible for accepting the growing violence, and normalizing this in our daily lives through our consumption of media.
Promotional poster for the TV show. Full disclosure: this is one of my favorite shows ever.
While the debates rage on about how to end the violence, TV shows in Mexico and the US glorify the lives of drug traffickers. The most popular of which, "La Reina del Sur," which portrayed a female drug lord, set US television records, and Telemundo beat out national networks nearly every night it was broadcast (in almost every demographic age group) (Telemundo, 2011). Musical performers tour the US and Mexico, playing narcocorridos and attracting young Mexican Americans to their shows. Families in Mexico eat their dinners while the television news programs and soap operas both consist of drug-related stories and story-lines. Teenagers listen to the narcocorridos on the radio and in nightclubs, and read tweets, Facebook updates, and blog posts that hail the latest cartel victory (Campbell, 2014).
Along the rural roads that stretch from Mexico to the American Southwest, spiritual pilgrims stop by roadside shrines to Santa Muerte and Jesus Malverde (Campbell, 2014). Armed with assault rifles, they leave bottles of tequila and boxes of ammunition as prayer offerings (Corchado, 2009), asking their patron saints to watch over them as they ride into the next firefight or raid.
Roadside shrines to the fallen in Mexico. They are also common in the Southwest US.
Annotated Bibliography:
Bastante, P., & Dickieson, B. (2013). Nuestra Señora de las Sombras: the enigmatic identity of Santa Muerte. Journal Of The Southwest, (4), 435.
This article explores the deeply rooted cult of Santa Muerte, or, "Holy Death." She is seen as a kind of sister to Maria de Guadeloupe, the Holy Mother. Santa Muerte is a kind of Mother of Death. Possibly a manifestation of yin and yang sensibilities that are nearly universal to all religious movements, the prominence of the figure in pop culture on both sides of the border is on the rise. Her popularity with criminals and those in the black market and Mexican underworld is undeniable, and critical to the cartel institutions.
Campbell, H. (2014). Narco-Propaganda in the Mexican "Drug War": An Anthropological Perspective. Latin American Perspectives, 41(2), 60. doi:10.1177/0094582X12443519
The political entities of drug cartels employ vast amounts of narco-propaganda. This study examines the exhibitive acts of violence, videos released on the internet, public signs and banners, graffiti, blogs, and control of mass media, that are used as tools for the cartels. This expression of ideology threatens to take total control over the culture of Mexico as well as its political processes.
Corchado, A. (2009). A fighting chance: as Mexico steps up its war against the brutal cartels that supply the United States' drug habit, leaders on both sides of the border face tough questions about how to combat a problem that threatens the very fabric of Mexico's democracy. The Wilson Quarterly, (2), 18.
This paper explores how to prevent drug and arms trafficking and violence, and how it relates to the geopolitics of the US and Mexico.
Dotremon, D., & Gonzalez, R. (2014). Celebrating Robin Hood in Modern Border Ballads. Journal Of Alternative Perspectives In The Social Sciences, 5(4), 683-705.
Analyses the origins and cultural impact of drug-related music in Mexico.
International Business, T. (2013, November 30). Mexico: Overworked Exorcists Exhausted by Popularity of Skeleton Saint Cult. International Business Times.
Explores the Catholic Church's response to suspicions of demonic activity in Mexico.
Loewe, R. B. (2010). El Narcotraficante: Narcocorridos and the Construction of a Cultural Persona on the U.S.-Mexico Border. Journal Of American Folklore, (489), 365.
A critique of a scholarly book published on the phenomenon of drug-related music in Mexican and Mexican-American culture.
Maralason, D. (2013). Dia de los Muertos: Celebrating life through Day of the Dead. Las Vegas Business Press (10712186), 6.
Explores the Mexican holiday "Dia de los Muertos," the Day of the Dead, and its cultural practices, meaning and representations.
Mercille, J. (2011). Violent Narco-Cartels or US Hegemony? The political economy of the 'war on drugs' in Mexico. Third World Quarterly, 32(9), 1637-1653. doi:10.1080/01436597.2011.619881
Investigates the mainstream perspectives that claim the US is a friendly player in the international drug war, and not a contributor, and that the cartels are the main factor in the drug crisis.
Mercille, J. (2014). The Media-Entertainment Industry and the "War on Drugs" in Mexico. Latin American Perspectives, 41(2), 110. doi:10.1177/0094582X13509790
An examination and analysis of media representation of cartel violence, as well as a comparison to popular viewpoints of mainstream policymakers and analysts.
Rios, V. (2013). Who Started the Mexican Drug War? What Google Taught us about the "Narcos". Kennedy School Review, 1318-22.
Discusses the start of the drug war and the technological solutions that may assist in significant gains in stopping drug violence.
Shenberger, J. M., Smith, B. A., & Zárate, M. A. (2014). The effect of religious imagery in a risk-taking paradigm. Peace And Conflict: Journal Of Peace Psychology, 20(2), 150-158. doi:10.1037/pac0000022
This research explores the link between religious imagery and risk-taking behavior. Fascinatingly, the study showed that people are more likely to engage in risky behavior when their peers associate somehow with such religious imagery. This has interesting implications for the drug war and understanding the rise of drug culture in Mexico, where certain sub-Catholic/ pre-Colombian-inspired cults, such as Santisima Muerte and Jesus Malverde are commonly worshipped, though they directly relate to gangs, violence, and drugs.
Telemundo Communications Group, I. c. (2011, January). Telemundo's Epic Original Production La Reina Del Sur Delivers Highest Premiere Ratings in Network History. Business Wire (English).
Summarizes the records broken by the hit television series, "La Reina del Sur."
Wright, M. W. (2011). Necropolitics, Narcopolitics, and Femicide: Gendered Violence on the Mexico-U.S. Border. Signs: Journal Of Women In Culture & Society, 36(3), 707-731.
The gender-based violence in Mexico, especially in the borderlands, is explored in this article. Specifically, the article also addresses the response of the authorities, who suggest that this kind of violence is a positive force in society because it rids the population of "undesirable" people such as drug dealers and women with "loose morals." The author argues that such femicide is the result of a failure and breakdown by the state in protecting the people.
Tags: beheading, border patrol, borderlands, calderon, cartel, catholocism, corrido, culture, decapitation, drug culture, drug policy, drugs, economics, exorcism, federales, femicide, foreign aid, foreign relations, gun control, history, human behavior, immigration, jesus malverde, latin america, law, marijuana, mexican drug war, mexico, narcocorrido, narcocultura, neoliberalism, normalizing violence, policy recommendations, pop culture, propaganda, psychology, rape, religion, religious imager, research, risk taking behavior, santa maria, santa muerte, santisima muerte, sexual assault, social conflict, society, sociological imagination, sociology, symbolic interactionism, theory, trafficking, united states, us policy, vatican, violence, violence against women, virgin guadelupe, war, war on drugs, white paper
Categories Art As Revolution, Latino Issues, Social Justice, Women's Issues
The Way of the Superior Man: Rape culture. Gun culture. Culture of violence. I'd say "may the victims rest in peace," but their families won't – and there will only be more violence from alienated, disgruntled white boys who drown in privilege and entitlement, when they rage against their own insecurity.
I'm angry, I'm sad, I'm furious. Those poor families. What is wrong with us? We allow our society to be driven without direction, and it consumes its collateral not whole, but in a million pieces.
If you think for a second that you're the master of your own agency, think again. We are what we eat and the bread is rotten. I'm most sad for today's children because they will inherit the culture we maintained.
Can we please take the blindfolds off and say, "enough?"
Tags: California shootings, feminism, gun culture, guns, mass shootings, men, race, racism, rape culture, sexism, society, sociology, violence, violence against women, women
International Day Against Victim-Blaming, Steubenville, & Steven Landsburg
Oh, no, he DI'INN!
Let's take a step back here. Roughly a month ago, University of Rochester Professor Steven Landsburg publishes a couple of blog posts. The Dean of the University, Joel Seligman, described them like this:
[Professor Landsburg praised] Rush Limbaugh for a "spot-on analogy" with respect to his offensive remarks about Georgetown student Sandra Fluke (although Landsburg parted company with Limbaugh for calling Fluke a "slut"). Landsburg went further. He stated that Ms. Fluke's position deserved "only to be ridiculed, mocked and jeered." He further stated that the right word for her position was "extortionist," characterized those who disagreed with his view as "contraceptive sponges," and added that there is nothing wrong with being paid for sex.
Further, Professor Landsburg has blogged about the Steubenville rape trial as well, defending the rapists.
From Women Organized to Resist and Defend:
In a shocking March 20 blog post titled "Censorship, Environmentalism and Steubenville," University of Rochester economics professor Steven Landsburg questioned the harm of raping an unconscious woman who may not remember the attack, and wondered why rapists should not "reap the benefits" of women's bodies. Landsburg's hypothetical "dilemma" ignores material reality in a hateful attempt to further his sexist beliefs, and goes on to question whether rape should be against the law:
"Let's suppose that you, or I, or someone we love, or someone we care about from afar, is raped while unconscious in a way that causes no direct physical harm—no injury, no pregnancy, no disease transmission. (Note: The Steubenville rape victim, according to all the accounts I've read, was not even aware that she'd been sexually assaulted until she learned about it from the Internet some days later.) Despite the lack of physical damage, we are shocked, appalled and horrified at the thought of being treated in this way, and suffer deep trauma as a result. Ought the law discourage such acts of rape? Should they be illegal?"
Landsburg's awful, misogynist rant continues, musing:
"Why shouldn't the rest of the world…be allowed to reap the benefits?"
The rapists, "reaping the benefits" of an underage girl.
It doesn't take a rocket scientist to conclude that his role as an educator of young adults should preclude him from engaging in this kind of rhetoric, online or anywhere. Unfortunately for us, him, the college, and especially his students, he didn't appear to know any better.
I wanted to give him some credit. He appears to be otherwise rather bright. Though the elephant in the room is really, how can you argue that rape is ever "harmless?!" That was the most glaringly obvious and telling mistake of all (keep in mind, she may have been passed out, but she is receiving DEATH threats now. Harmless my big fat feminist ass).
At first, I was furious, and then I received an email alert from Women Organized to Resist and Defend (WORD) to sign a petition calling for his immediate termination. Suddenly, I realized this got very real for the professor. As a veteran academic provocateur and all-around hell-raiser, I knew that if it didn't happen now, sooner rather than later, this professor would lose his footing on the thin ice upon which he stands. Academia does not want to stand upon free speech. That is a given. But million-dollar schools don't take too kindly to such negative publicity from the keystroke of one short-sighted, foolish, and chauvinistic man.
I felt that his doom was imminent. I signed and promoted it on twitter. But then – I had an idea. I called the college.
First, I called the Dean. Then, I had a lengthy conversation with a VP of Communications and we definitely agreed on some mutual feelings and points. Ultimately, though, colleges are spooked at the idea of intruding upon free speech. They don't want to be sued or anything. Obvs. But what if there was something else that could be done?
Next, I reached out to the professor himself on twitter. I told him to man up, hold himself accountable, own up to his mistake, retract the articles, issue a public apology, take a sensitivity course, and enroll in the college's introductory women's studies class, WST 100.
The Women's Studies Department had their own response as well. I'm glad to see people speaking up about this. They wrote up some great pieces. But Professor Misogynist was back at it, trying to pick apart points and debate people to death. No sense of ownership or accountability for his shameful statements. Needless to say, I left my own comment on the page.
Finally, there was a conference held today at the school (coincidentally) on sexual assault on college campuses. Word on the street was clear: there was no sign of him there. What a missed opportunity to educate yourself, Mr. Landsburg, and show some respect and humility. After all – an educator is, if nothing else, a seeker of knowledge – some seeker you are.
So after talking to the school representative and investigating this further, especially after learning that the Professor did not attend that conference, I can wholeheartedly endorse the petition to have him fired. It's one thing when you admit that you were wrong. It's another to take a hateful, dangerous stance in the name of free speech, violating the trust of the students you are charged to guide, and run like the devil with it!
Please sign, share & feel free to shame Mr Landsburg on twitter (@StevenLandsburg). He definitely needs some educating for himself!
Happy International Day Against Victim-Blaming – read more about today, what you can do & tweet your support with #vaw, #victimblaming, #IDAVB & #endrape!
Tags: college, end rape, feminism, feminist, first amendment rights, free speech, international day against victim blaming, rainn, rape, sexual assault, social justice, steubenville, steven landsburg, stop rape, university of rochester, vaw, violence against women, women organized to resist and defend, women's issues, women's rights, women's studies
Categories Uncategorized, Women's Issues
AWESOME IWD Infographic
Tags: africa, care conference, childbirth, family planning, feminism, feminist, gender, globalization, infographic, international development, international women's day, maternal health, mdgs, millennium development goals, national women's history month, patriarchy, pregnancy, reproductive rights, social justice, un, united nations, violence against women, women, women and girls, women's rights
Happy 102nd International Women's Day! ♀♡
Celebrate! Yay! We've come so far, nationally and globally. But there is much to be done. Patriarchy is the law of the land, and women and girls suffer infinitely because of it.
But there is hope. Not only are we close to achieving certain #MDGS (Millennium Development Goals), but organizations around the world are identifying obstacles, appropriating resources, and implementing solutions.
The best part of International Women's Day is that warm, fuzzy feeling, when all your year-round hard work amongst advocates everywhere is highlighted in a mainstream way, and you see the results of such work: real change. But a lot of the coverage I have seen lately is on solidarity, momentum, consciousness-raising, and awareness. All of those are all well and good, and indeed, the foundation of change itself. But as we all know, caring is not enough. Not even if everyone cared.
Left to right: Christy Turlington-Burns, Stella Mukasa, (Director of Gender Violence and Rights at ICRW), Sarah Degnan Kambou (ICRW President), Andrea Mitchell (NBC Chief Foreign Affairs Correspondent), Michael Elliott, (President of the ONE Campaign), and Ravi Verma (ICRW Asia Director)
Our bleeding hearts may break together, but even our collective, synchronized heartbeats won't deafen reality: we must do more, while simultaneously keeping our voices aimed at raising the profile of the issue. We must work on the issue from all angles, simultaneously, in tandem with one another. Balancing this is hard work.
Tags: activism, advocacy, africa, asia, bono, care, care international, change, child brides, child marriage, childbirth death, christy turlington burns, cnn, domestic violence, events, extreme poverty, feminism, fistula, global women and girls, hope, icrw, india, international women's day, latin america, marriage, maternal health, maternal mortality, mdgs, millennium development goals, national press cub, national women's history month, nbc, nonprofits, obstetric fistula, one campaign, patriarchy, poverty, pregnancy complications, research, social media, the huffington post, un, united nations, violence, violence against women, washington dc, women, womens issues


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Staff predictions: Upset alert for Michigan; MSU rolls
Detroit Free Press Staff
Michigan and Michigan State continue their nonconference schedules this weekend with home games of differing difficulty.
The Spartans play the seemingly overmatched Eastern Michigan Eagles at noon Saturday on the Big Ten Network. The Wolverines host the more challenging Utah Utes of the Pac-12 at 3:30 p.m. Saturday on ABC.
Thankfully, our writers today can tell you how everything will unfold:
Michigan vs. Utah
Mark Snyder
Michigan 28, Utah 25: Michigan and quarterback Devin Gardner play much better at home, but it has been awhile since he has faced a defensive line like Utah's. So he'll have to buy into a conservative game plan and take deliberate shots to whomever is playing receiver. If the game can stay under 30 points, perhaps by limiting possessions, U-M has a good shot. Anything higher, and Utah wins a track meet. Brady Hoke is 11-0 in nonconference home games and should squeak out another.
Drew Sharp
Michigan 31, Utah 24: Either the Wolverines win this game, or it's going to be a long and loud final two months of the regular season. Utah has to prove whether it's ready for Power Five conference legitimacy or it's still a big-boy wannabe.
Utah 31, Michigan 27: This is a huge test for the Wolverines. Michigan will try to run the ball, keeping Utah's high-speed attack on the sideline. But Utah quarterback Travis Wilson will pick apart the Michigan secondary. Wilson is efficient and takes care of the ball.
Michigan State vs. Eastern Michigan
Joe Rexrode
Michigan State 41, Eastern Michigan 10: Give the Eagles a decent drive early leading to three points, then a touchdown late, against MSU's second team. That may not be fully satisfying for the Spartans, but this is the start of a two-week build toward the Big Ten race. If MSU dominates and gets out without any further injuries, it will be an effective lead-in to a better game against Wyoming.
Michigan State 52, Eastern Michigan 3: The Spartans take out two weeks of frustration on the Eagles. Mark Dantonio insists that he won't run up the score to gain appearance points. But that won't stop the Spartans' offense and defense from running to the end zone whenever they see daylight.
Michigan State 41, Eastern Michigan 7: The only drama that stems from this game will be watching the polls next week. Will the Spartans have to pile on the points to climb up the rankings, or even stay put? Mark Dantonio won't try to run it up, but it will happen anyway.
Join us for live blogs of both games Saturday at freep.com/sports.


This is by far a quick and easy salad to throw together. That's why we've named this one Easy Peasy Pea Salad! Simply toss all the nutritious ingredients together, let them chill up and when you're ready to serve, drizzle on the tangy basil dressing.
Combine all ingredients in bowl. Refrigerate for at least 3 hours.
Drain excess dressing when ready to serve.


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Yala United Football Club (Thai สโมสรฟุตบอลยะลา ยูไนเต็ด) is a Thailand semi professional football club based in Yala Province. They currently play in Thai League 4 Southern Region. This football Club changes name to Yala United in 2015

In 2018, Club-licensing football club of this team didn't pass to play 2018 Thai League 4 Southern Region. This team is banned 2 years and Relegated to 2020 Thailand Amateur League Southern Region.

Stadium and locations

Season By Season record

Player squad

References

External links
 Official Facebookpage
 Fanpage

Football clubs in Thailand
Association football clubs established in 2009
2009 establishments in Thailand
Yala province


MADI is widely used for large-scale digital audio systems such as audio consoles and conversion systems, allowing multiple channels to be carried along a single interface. RedNet D64R provides the link between a Dante Ethernet-based audio system and any MADI / AES10 setup. D64R supports up to 64 channels of both coaxial and optical MADI interfaces and is completely bi-directional, allowing the use of any Dante components including RedNet's high quality interface products with a MADI system – or MADI components with a Dante system.
Focusrite's RedNet D64R offers the connection between a Dante Ethernet-based audio system and any MADI / AES10 setup. MADI is often used for significant scale digital audio systems like audio consoles and conversion systems, permitting multiple channels to be carried along a single interface. The D64R sustains up to 64 channels of both coaxial and optical MADI interfaces and is entirely bi-directional, allowing the deployment of any MADI components with a Dante system or any Dante components, including RedNet's high quality interface products, with a MADI system.
The D64R permits interfacing between MADI and Dante, regardless of the sample rate at which either system is operating, thanks to a sample rate converter (SRC) on each input and output. As well as both coax and optical MADI interfaces, RedNet D64R delivers Word Clock in and out.
Dual Ethernet ports with locking etherCON connectors are supplied, with multiple operating modes like daisy-chaining and redundancy, each affirmed by indicators sitting on the front-panel. Separate power input sockets (with retaining clips) are situated on the rear of the unit with two autonomous power supplies, alongside fault detection capability, included. Power state is displayed both remotely and on the front panel. The D64R features a robust, roadworthy exterior complimented by premium internal build quality. On top of that, the unit's blueprint is unbelievably condensed - a compact 1U rack-mount form factor.
The D64R, as with the rest of the Focusrite RedNet range, is completely compatible with all other Dante network components – acting as a bridge between a MADI system and a Dante network. This bridging facility enable the user to utilise RedNet's growing range of high-quality audio interfaces to place analogue or digital I/O, as well as third-party Dante-compatible products, exactly where they're needed – which is as close as the nearest Ethernet port. It also makes it possible to connect Dante components to digital mixing consoles, interfaces and cards that use MADI.
Connects a MADI system and a Dante network seamlessly together. Connect Dante to digital mixing consoles, interfaces and cards that use MADI; or extend a MADI system with RedNet's versatile, superb-quality audio interfaces and connectivity – or any other Dante compatible devices.
Built-in redundancy with dual locking power and etherCON network connectors.
Supports up to 64 channels of digital audio I/O at standard sample rates (44.1/48kHz) from a MADI system, 32 channels at 96kHz and 16 at 192kHz.
Sample rate conversion (SRC) on each input and output, allowing MADI and Dante systems to operate simultaneously at different sample rates.
Simple 1U rack-mount module with the classic red aluminium faceplate.
RedNet Control and Dante software allow remote routing and control from the audio computer system via a software control panel – no hardware patching required.


There's been a lot of talk amongst PC(USA) folk about the denomination being "deathly ill."
Some confirm and agree with this description as they point out how the last time PC(USA) experienced a growth year was in the early 1960's.
I don't think that PC(USA) is deathly ill. I think all denominationalism is deathly ill. It's not quite dead yet. But denominational distinctions and the way we have been relating to one another denominationally is dying.
The church of my children and grand-children will relate with one another quite differently than we have been in our denominational context.
Because the reality is that the churches in America will die if we stay denominationally isolated. We will continue the slow death march into irrelevance.
In a world that doesn't know who Jesus is, I don't think that the unchurched people give a rip whether some churches sprinkle, pour, or dunk people in water in baptism.
To the unchurched folks out there, I don't think they care about the nuances of the different liturgical traditions.
To most folks out in the unchurched world, what they really know is, "Is this Jesus thing for real? Is there any truth to this Christianity thing? Does it make any difference?"
And until our churches get beyond protecting and preserving our denominational identities and think more about how we can together proclaim and demonstrate the love of Jesus Christ in a way that is compelling and relevant to the unchurched world, we will continue to dwindle and die in isolation.
The church of my children and grand-children's generation, will have figured out and discerned new ways of relating and cooperating to proclaim the crucified Jesus.
I long for a day when churches will think more about how much impact Jesus can make in our communities if we were to work together by putting God's resources to work for the kingdom of Jesus Christ rather than only thinking about how can we grow "my" church.
It's not that the PC(USA) is deathly ill, it's that denominations as a whole is dying.
Right on, James! And it's not just denominations, IMHO, the whole institutional form and structure of church has we have known it is dying and needs resurrection into more and smaller linear, relational, and responsive communities.
I agree Lee. It's institutionalism as we have known it that is coming to an end.