text:
Tim Parks translates The Prince
Is Machiavelli still relevant in the post-truth era? Can he help us understand the rise of modern demagogues like Donald Trump? I believe so, but in great part it depends on the translation.
Many readers were introduced to Machiavelli's masterwork, Il Principe, through the translations of late 19th and early 20th century editors like William Kenaz Marriott. Thanks to the lapse of copyright, the 1908 Marriott translation is easily the most commonly version reprinted today and most discount editions are simply reprints of his work. Some are a bit rough because they've been ported from paper to digital format and back to paper without careful proofreading.
Some are the result of OCR (optical character recognition) scanning of an old text. When OCR works well, it's a great, time-saving tool. But in my own experience, a murky or aged text can baffle the software: is it an "o" with a broken or faint right side? A "c"? An "e"? A "d" missing the stem? Scanned text requires a keen editorial eye to find these errors, and that's not always provided in public domain editions.
Not that Marriott's version is per se wrong: merely outdated and somewhat florid by today's literary standards. The same is true of the Dacres version – translated in 1640 – and the Neville version – translated 1675 – both of which can also be found among the public domain editions. Purple prose from any era can distract the modern reader from the message. Like the King James Bible versus, say, a modern translation, it can feel archaic, stuffy, formal. That can dilute the relevance of Machiavelli – and his punchy practicality – to modern politics.
Some subsequent editors appear to have used Marriott as the base for their own later translations. Most of the editions I've read have been crafted by academics rather than politicians or historians who might have a better grasp on the implementation, not just Machiavelli's theory.
Some translators focus on the individual words or grammar, rather than the overall sense and the message within them. The results may be technically or linguistically correct, even paralleling Machiavelli's own style, but often come across as stilted and fusty as Marriott.
Of course, it isn't always easy to make a 16th century work (and an early 16th century one, at that) read like a modern book. It's not simply the language that has changed, but the cultures, technologies, religions, social interactions and attitudes, foods, clothing… pretty much everything. To make the ideas and the words relevant to modern readers, a translator must present them in ways that not only make sense to us today, but provide a comfortable read that doesn't have us always hunting end- or footnotes to clarify a phrase or word.
And no translation is ever perfect: each one will be spiced by the translator's own views, background, understanding, opinions and education. A translation is always an interpretation. You need to choose one that speaks to you in a meaningful way.
Those of you who have read my personal blog where I have commented on books and translators in greater depth, know of my fascination in the art of translation and the meaning of language. I wrote about it somewhat in an addendum here. I have of late been brought back to this topic by reading the Latin poet Horace. But that's a digression for my other site.
In the process of working on my book and this site (The Municipal Machiavelli) and the subsequent revision (Machiavelli for Mayors, coming in 2017), I had the pleasure – and sometimes drudgery – of working through many translations, from the 1640 version by Dacres to the recent 2009 version by Tim Parks. I often had numerous editions open simultaneously to compare sentences or paragraphs in each one to best assess the message. My bibliography lists 18 different translators and I have read them all at least once. Which one to choose? Easy choice: Parks.
In an 2009 interview about his translation, Parks said of Machiavelli's relevance to modern politics:
Machiavelli isolates the problem of collective psychology and individual psychology — the psychology of leadership, loyalty, the best way to arrive at situations where people will do what you want, be faithful, and how you can be their leader.
Since those are the issues he begins to isolate as crucial to success, any leader can learn from what he's saying.
Any ordinary person who's dealing with leaders can learn. It's one of the great handbooks of all time, not necessarily for how to become a monomaniac, but what it means to negotiate relations of leaderships and serving leaders.
Each generation needs to have its own edition which speaks to the contemporary times and events. This is true of many great works, from Horace to Montaigne to Dumas to Proust. If they are to remain relevant, they need to speak to us now, not to the past. And more than ever we need to understand how – or if – Machiavelli's ideas can help us make sense of recent events and political changes.
As Tim Parks wrote in his column in the New York Review of Books:
We live in a time of retranslation. New versions of the classics appear fairly regularly, and of course, as soon as the seventy years of copyright following an author's death runs out, there is a spate of new translations. So Proust and Thomas Mann have recently been retranslated into English, while writers like F. Scott Fitzgerald, Virginia Woolf, and D. H. Lawrence are all reappearing in new versions in Europe.
The logic behind this phenomenon is clear enough. A translation inevitably reflects the language and style of its time. For later generations, a translation seems more reminiscent of our own past culture than the culture the work originated in.
I don't read or speak Italian, so my appreciation of Machiavelli is dependent on both the translation and the analysis that surrounds it. I have read not only The Prince in various translations, but also numerous books, articles and essays that analyze, dissect and criticize it, plus his many other works. As a result, I think I'm modestly well educated in Machiavelli, albeit merely as an autodidact.
I've tended towards the recent editions by translators Bondarella, Gilbert, Parks and Wooton because they felt more modern: comfortable and accessible. That's hardly a scientific description, but when reading them I felt like they had grasped Machiavelli's overall concepts, and presented them clearly and concisely. I always felt less comfortable with the more precise translations like Mansfield's that appear to hew to strict linguistic accuracy over what I feel are the broader concepts.
Parks, however, quickly became my favourite translator and the only one whom I have both in print and on my Kindle. I'm not sure why or how he does it better than the rest, but his edition feels punchier, crisper, more direct. It's Machiavelli for today. Yes, I know that sounds vague and hyperbolic, but having gone through several editions simultaneously, it was clear to me when I was doing so.
A contemporary reviewer of his translation in The Guardian called it…
…a gripping work, and a gripping translation. Parks allows certain modern linguistic resonances: I am not sure how closely that "reduce the place to rubble" above reflects the Italian original, but it has the whiff of the air raid, of shock and awe, to it; and when Machiavelli talks about Pope Alexander VI, we are almost in the world of Arthur Daley, writ large: "Pope Alexander VI never did anything but con people. That was all he ever thought about. And he always found people he could con." Remember this, even if you don't get the book: "A leader doesn't have to possess all the virtuous qualities I've mentioned, but it's absolutely imperative that he seem to possess them." Class dismissed.
Parks himself wrote in a later column in the New York Review of Books, explaining one of the basic concerns for readers like myself when trying to select a version:
…translators come to The Prince with prejudices; one is tempted to play to the reader's expectations, laying on Machiavelli's supposed cynicism at the expense of the text's surprising subtlety.
Those prejudices may be cultural, social, religious, sexual or some personal moral perspective. It's difficult if not impossible to avoid making moral or ethical decisions about the content when reading Machiavelli, so it must be doubly difficult when translating him.
Parks, in his column, provides some good examples to show how different translators approached the wording. Earlier in his piece, Parks gives a hint as to his own approach:
Machiavelli, in exile after a long political career and living in the most turbulent times, wanted to say something clear and comprehensible about how power is won and lost—in short, to turn politics into a science. One sentence in particular from his opening dedication to Lorenzo de' Medici (not Il Magnifico, but a later Lorenzo), reads as both guidance and encouragement for all future translators:
I haven't aimed for a fancy style or padded the book out with long sentences or pompous, pretentious words, or any of the irrelevant flourishes and attractions so many writers use; I didn't want it to please for anything but the range and seriousness of its subject matter.
This doesn't mean, of course, that there aren't all kinds of rhetorical strategies in The Prince, or that the text shouldn't be entertaining. But the sense comes first; the language must not get in the way of the argument.
The argument, as he says, should be paramount in the translation, and I agree. The translator should not miss the metaphorical forest in their examination of the individual trees. But as we know, books have been written on the meaning of a single word and its translation alternatives (Machiavelli's use of virtu comes to mind).
In another NYRB article, Parks comments:
The choice of translator is crucial when a text is of such a nature that a very special affinity and expertise is required. The problem is that it is hard for the wider public or even the critics really to know whether they have been given a good translation, and not easy even for the editors who have the duty of choosing the translator, fewer and fewer of whom have appropriate second-language skills.
But how many readers will take the time or the expense to compare each one? How many will read each line, side by side, and weigh the results? few, I suspect. Which is why I can help, having done just that.
My advice: if you want a good, modern and solid translation of The Prince to help approach today's issues, get the Parks' translation.
Author: ichadwick
Freelance writer and editor, book author, public relations/communications consultant. Former journalist/reporter. Currently municipal politician. Interests include ukulele, tequila, history, science, Shakespeare, animal behaviour, politics, English and urban growth.	View all posts by ichadwick
Author ichadwickPosted on April 16, 2016 December 20, 2016 Categories Books and online resources, Machiavelli, Translations and translatingTags books, machiavelli, other writers, translating, translation
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Unless otherwise noted, all quotations from The Prince used in this book are from the W. K. Marriott translation, available in the public domain.
Selections from The Prince are not always used verbatim. Wording and grammar from public domain quotes are often modified for clarity or modernity. In particular I used the Constantine and Bull translations [...]
Chapter 1: Home Town Kingdoms
In Chapter I: How Many Kinds of Principalities There Are, and by What Means They Are Acquired, Machiavelli opened The Prince with a brief description of two types of states common in his contemporary Italy:
"All states, all powers… are either republics or principalities."
In his day, almost every state in Europe was a hereditary entity under the [...]
Chapter 26: The Forest and the Trees
Machiavelli's last chapter in The Prince, Chapter XXVI: An Exhortation to Liberate Italy From the Barbarians, was a call to Lorenzo de Medici, Florence's contemporary, but inept, ruler, to throw the foreign invaders out of the peninsula and unite Italy. He wanted Lorenzo to establish a "new order" in the land, and send the French, [...]
Click the chapter to go to that page: Chapter 8: Does the End Justify the Means? Chapter 9: Problems Newcomers Face Chapter 10: Defending Your Position Chapter 11: Agencies You Can't Control Chapter 12: Crafty Consultants Chapter 13: Dangerous Lobbyists Chapter 14: Learn the Rules of War
Chapters 1-7 Chapters 15-21 Chapters 22-26 Addenda
I II III IV V VI VII VIII IX X [...]
The Soviet Machiavelli
A 1982 obituary in the New York Times quietly noted that,
Mikhail A. Suslov, chief ideologist of the Soviet Communist Party and one of the most powerful men in the Kremlin after Leonid I. Brezhnev, died Monday at the age of 79, the official press agency Tass announced today.
For most people in the West, this announcement went unnoticed. Who, [...]


text:
Australian singer-songwriter
Sivan in 2019
Troye Sivan Mellet
(1995-06-05) 5 June 1995 (age 24)
Los Angeles, California, U.S.
Musical career
Pop[1]
synth-pop[2]
electropop[3]
dance-pop[4]
EMI Australia[5]
www.troyesivan.com
YouTube information
TroyeSivan18
(5 June 2019)
Play buttons
100,000 subscribers 2013
1,000,000 subscribers 2013
Troye Sivan Mellet (/trɔɪ sɪˈvɑːn/ TROY sih-VAHN; born 5 June 1995)[6] is a South African-born Australian singer, songwriter, actor, and YouTuber. After gaining popularity as a singer on YouTube and in Australian talent competitions, Sivan signed with EMI Australia in 2013 and released his debut extended play, TRXYE (2014), which peaked at number five on the U.S. Billboard 200. Its lead single, "Happy Little Pill", reached number 10 on Australian music charts. In 2015, he released his second extended play Wild followed by his debut studio album Blue Neighbourhood, whose lead single "Youth" became Sivan's first single to enter the top 40 of the Billboard Hot 100 chart, peaking at number 23.[7] His second studio album Bloom (2018) reached number three in Australia and number four on the Billboard 200 chart. Its lead single "My My My!" became Sivan's second number-one single on the Billboard Dance Club Songs chart.[8]
As an actor, Sivan portrayed the younger version of the titular character in the 2009 X-Men film X-Men Origins: Wolverine and starred as the title character in the Spud film trilogy. As a YouTube personality, Sivan used to upload video blogs regularly and, as of 2016, has over 4 million subscribers and over 241 million total views.[9] His video, "The 'Boyfriend' Tag", with fellow vlogger Tyler Oakley earned them a Teen Choice Award in the "Choice Web Collaboration" category. In October 2014, Time named Sivan as one of the "25 Most Influential Teens of 2014".[10] In 2018, he received a Golden Globe nomination for Best Original Song for "Revelation", from the film Boy Erased, in which he also had a supporting acting role.
2.1 Music
2.2 Music videos
2.3 Acting
2.4 YouTube
5.2 Television
5.3 Theatre
Sivan was born in Johannesburg, South Africa,[11][12] the son of Laurelle, a homemaker and former model, and Shaun Mellet, an entrepreneur and real estate agent.[13][14] His family moved to Australia when he was two years old due to rising crime in South Africa.[15] Sivan grew up living in Perth, Western Australia with his parents and three siblings Steele, Tyde and Sage.[15] Sivan is Jewish—his father was born to a Jewish family and his mother converted to Judaism—and he was raised in an observant Orthodox home, but has subsequently identified as an atheist.[16][17][14][18] Sivan attended Carmel School, a private Modern Orthodox school, until 2009 when he started distance education.[19]
Sivan's musical career started when he sang at the 2006, 2007 and 2008 Channel Seven Perth Telethon.[20][21] His 2006 performance included a duet with Australian Idol winner Guy Sebastian.[21] Sivan made it to the finals of StarSearch 2007.[20] His debut EP, Dare to Dream, was released in June 2007. In February 2010, Sivan opened "We Are the World 25 for Haiti (YouTube Edition)", the collaborative music charity video produced by Lisa Lavie to help raise money for the victims of the 2010 Haiti earthquake.[22] His most recent hit "Youth", from his Blue Neighbourhood album that he released in 2015 reached number 23 in the billboard Top 40 single.[23]
On 5 June 2013, Sivan was signed to EMI Australia, a Universal Music Australia label, but kept it a secret until a year later. On 15 August 2014 he released a five-song EP entitled TRXYE, led by its first single "Happy Little Pill", which was released on 25 July 2014.[24] TRXYE debuted at No. 1 on iTunes in over 55 countries.[25] The album debuted at No. 5 on the Billboard 200 the following week, scoring Sivan his first Top 10 album.[26] "Happy Little Pill" peaked at number 10 on the ARIA Singles Chart and was certified gold by the Australian Recording Industry Association for shipments exceeding 35,000 copies.[27] Sivan released his second major-label EP, Wild, on 4 September 2015. The EP was supported by a music video trilogy entitled Blue Neighbourhood, comprising the three songs "Wild", "Fools" and "Talk Me Down" and released from September 2015 to December 2015. Additionally, the EP served as an introduction to his album Blue Neighbourhood,[28] which was released on 4 December 2015.[7] Sivan supported his debut studio album Blue Neighbourhood and his EP Wild with his first tour, 2015's Troye Sivan Live.[29] Sivan further supported his debut studio album with 2016's Blue Neighbourhood Tour and Suburbia Tour. On 26 May 2017, Troye collaborated with Martin Garrix to produce the song called There for You.[30]
Sivan performing in 2018 at Washington, D.C.'s Capital Pride
On 10 January 2018, Sivan released the single "My My My!", along with an accompanying music video.[31] He confirmed that his second album was inspired by his boyfriend, an American model named Jacob Bixenman.[32] The song is a notable contrast from his earlier work, with Pitchfork commenting on his "assured" vocals and NPR Music describing it as "an infectious celebration of sexual desire".[31] NPR Music also notes the significance of the song and music video displaying confidence in Sivan's sexuality, writing "[i]t's not every day you see a young, skinny, queer kid get to be completely himself in a music video, and Sivan makes us want to dance along with him."[31] Sivan's first live performance of the song was on 20 January as the musical guest on Saturday Night Live in an episode hosted by Jessica Chastain.[33] Sivan later confirmed that his new album would feature a collaboration with long-time friend Ariana Grande,[34] titled "Dance to This".[35] "Bloom" was released as the third single on 2 May 2018, following "The Good Side".[36] That month, he announced that his second studio album is titled Bloom, while accompanying Taylor Swift as a guest performer at her concert in Pasadena during her Reputation Stadium Tour. The album was released on 31 August 2018.[37][38][39][40] The album's final pre-release track, "Animal", was launched on 9 August 2018.[41][42] In 2018, Sivan received a Golden Globe nomination for Best Original Song for "Revelation", which he recorded and co-wrote for the film Boy Erased.[43] He was also shortlisted for an Academy Award for the song.[44] In October 2018, Sivan collaborated with British singer-songwriter Charli XCX on the single "1999";[45] the two also performed the single together live on The Tonight Show Starring Jimmy Fallon.[46]
Sivan's music videos frequently feature LGBTQ relationships between the characters. TRXYE's trilogy followed the narrative of two gay teenagers in a secret relationship while "Wild" featured Sivan with another male love interest. His music video for "Heaven ft. Betty Who" features footage of historical LGBTQ movements and couples, as well as sensual shots with him and an anonymous man with the running tagline "Without losing a piece of me, how do I get to Heaven?" and "If I'm losing a piece of me, maybe I don't want Heaven". The singer says these portrayals are important to him, especially when he considers his younger life when he remembers "such vivid memories of the few times I saw any type of LGBTQ relationship on TV or in music videos".[47]
In 2007, Sivan starred as Oliver Twist in a production of Oliver! at the Regal Theatre.[21] In 2008, Sivan was cast in a West Australian short film, Betrand the Terrible.[48] In February 2008, Sivan was cast as young James Howlett in X-Men Origins: Wolverine. Sivan got the part after videos of his telethon performance were posted on YouTube, catching the attention of a Hollywood agent who contacted Sivan and asked him to send in an audition tape.[21] Though Kodi Smit-McPhee was already cast for this role, he was unable to be a part of the film, due to his other film, The Road.[49] In July 2009, he auditioned successfully for the lead role in Spud, a film adaptation of the 2005 novel by South African author John van de Ruit.[50] Filming took place in South Africa from early March to mid-April 2010.[51][52] The film was released in South Africa on 3 December 2010 and was later nominated for six SAFTAs, including a Best Lead Actor in a Feature Film nomination for Sivan.[53]
Sivan appeared in the West Australian season of Samuel Beckett's absurdist play Waiting for Godot which opened on 28 May 2010.[54] Sivan shared the role of "Boy" with Craig Hyde-Smith, alternating nights.[55] In June 2012, Sivan returned to South Africa to film Spud 2: The Madness Continues, which was released in South Africa on 21 June 2013. Sivan also starred in the third film in the series, Spud 3: Learning to Fly, released on 28 November 2014.
Sivan appeared in the 2018 film Boy Erased, opposite Lucas Hedges, Xavier Dolan, and Nicole Kidman.[56]
Oakley (left) and Sivan speaking at VidCon 2014
In September 2012, Sivan began creating video blogs on the video sharing site YouTube, after having only sung on the site since 2007. At the time of posting his first vlog, Sivan had accumulated 27,000 subscribers in his five years since joining YouTube on 1 October 2007. As of April 2016, Sivan had over 4 million subscribers and over 243 million total views across his YouTube videos.[9] His YouTube channel is the third most subscribed channel in Australia, after HowToBasic and Planet Dolan.[57]
A YouTube video Sivan made with fellow YouTuber Tyler Oakley titled "The 'Boyfriend' Tag" earned them a Teen Choice Award in the "Choice Web Collaboration" category.[58]
Sivan's favourite artists include Amy Winehouse, Taylor Swift and Lorde.[59] MTV Artists also cites Michael Jackson and Frank Ocean as additional influences.[60]
Sivan's music has been described as "layered electropop with constant tinges of EDM".[3] His baritone voice[61][62] has received widespread praise.[63][64][65] His work has been compared to Lorde's and Taylor Swift's.[66][67][68]
Sivan is openly gay; he came out publicly via a YouTube video on 7 August 2013, three years after coming out to his family.[69] As of 2019[update], he lives in the Hollywood Hills neighbourhood of Los Angeles, and is in a relationship with model Jacob Bixenman.[14][70]
Sivan has a mild form of Marfan syndrome.[71]
2009 X-Men Origins: Wolverine Young James Howlett
2010 Betrand the Terrible Ace Short film
2010 Spud John "Spud" Milton
2013 Spud 2: The Madness Continues John "Spud" Milton
2014 Spud 3: Learning to Fly John "Spud" Milton
2018 Boy Erased Gary
2006–08 Perth Telethon Opening act
2007 Star Search Finalist
2015 The Tonight Show Starring Jimmy Fallon Musical guest
2016 The Ellen DeGeneres Show Musical guest on Ellen's birthday special
2016 The Late Late Show with James Corden Musical guest and interview
2018 Saturday Night Live Musical guest
2018 The Ellen DeGeneres Show Musical guest and interview
2019 RuPaul's Drag Race Season 11 guest judge
2007 Oliver! Oliver Twist Regal Theatre
2010 Waiting for Godot Boy His Majesty's Theatre
Main article: Troye Sivan discography
Blue Neighbourhood (2015)
Bloom (2018)
Troye Sivan Live (2015)
Blue Neighbourhood Tour (2016)
Suburbia Tour (2016)
The Bloom Tour (2018–2019)
Main article: List of awards and nominations received by Troye Sivan
^ Schneier, Matthew (10 May 2018). "Troye Sivan Is a New Kind of Pop Star: Here, Queer and Used to It". The New York Times. Retrieved 31 August 2018.
^ Spanos, Brittany (29 August 2018). "Review: Troye Sivan Explores Innocence and Experience on 'Bloom'". Rolling Stone. Retrieved 30 August 2018.
^ a b "Troye Sivan: Blue Neighbourhood review – immaculate doses of three-minute emotion". The Guardian. 3 December 2015. Retrieved 11 April 2016.
^ Kheraj, Alim (2 September 2018). "Troye Sivan: Bloom review – thrillingly honest dance pop". The Guardian. Retrieved 6 October 2018.
^ "Troye Sivan". EMI Australia.
^ "troye sivan on Twitter: "IM 21"". Twitter. 5 June 2016. Retrieved 5 June 2018.
^ a b Sivan, Troye [@troyesivan] (14 October 2015). "💙 BLUE NEIGHBOURHOOD – PREORDER OCTOBER 15 – OUT DECEMBER 4 💙" (Tweet). Retrieved 28 May 2018 – via Twitter.
^ "Troye Sivan's 'My My My' Moves to No. 1 on Dance Club Songs Chart". Billboard.com. Retrieved 2 September 2018.
^ a b "Troyesivan18 YouTube Stats, Channel Statistics". Social Blade. Retrieved 11 April 2016.
^ "The 25 Most Influential Teens of 2014". Time. 13 October 2014. Archived from the original on 2 January 2015. Retrieved 3 January 2015.
^ "Australian Boy Does Accents!". YouTube. 17 November 2012. Retrieved 27 June 2014.
^ "Biography". Troye Sivan (Official website). Archived from the original on 2 February 2009. Retrieved 22 January 2014.
^ Law, Benjamin (27 February 2015). "Troye Sivan, the most famous teenager you've never heard of". The Sydney Morning Herald. Retrieved 11 April 2016.
^ a b c Schulman, Michael (17 June 2019). "Troye Sivan's Coming of Age". The New Yorker. Retrieved 19 June 2019.
^ a b McLaughlin, Rhett; Neal, Charles (19 April 2014). "Ep. 29 Troye Sivan". Ear Biscuits (Podcast). Retrieved 14 January 2015.
^ Adams, Cameron (2 December 2015). "YouTube sensation Troye Sivan on his debut album, being gay and being a gay role model". news.com.au. Retrieved 8 May 2018.
^ Hall, Jake (19 January 2017). "Troye Sivan on the queer politics of his new video". Dazed. Retrieved 8 May 2018.
^ Frank, Alex (14 March 2018). "Troye Sivan: atomic blonde". Dazed. Retrieved 8 May 2018.
^ Reilly, Gabrielle. "Troye Sivan Interview". The Global Townhall. Archived from the original on 25 January 2015. Retrieved 14 January 2015.
^ a b Symonds, Kristy (7 April 2012). "Perth boy making it big in Hollywood". Perth Now. Retrieved 15 January 2014.
^ a b c d Harvey, Shannon (28 February 2008). "Perth boy to play young Hugh Jackman in Wolverine movie". Perth Now. Retrieved 15 January 2014.
^ "Free Troye Sivan biography | SONG365". Yourmusics.in. Archived from the original on 6 October 2017. Retrieved 6 October 2017.
^ "Troye Sivan's 'Youth' Soars Into Top 40". Fuse. Retrieved 6 October 2017.
^ Caulfield, Keith (27 June 2014). "YouTube Star Troye Sivan Signs With EMI Australia, Announces EP". Billboard. Retrieved 28 June 2014.
^ Stern, Bradley (15 August 2014). "Troye Sivan Shoots To #1 On iTunes (In 55 Countries!) With Debut EP, 'TRXYE'". Idolator. Retrieved 25 September 2014.
^ Caulfield, Keith (15 August 2014). "Troye Sivan Set for Top 10 Debut on Billboard 200". Billboard. Retrieved 25 September 2014.
^ "ARIA Charts – Accreditations – 2014 Singles". Australian Recording Industry Association. Retrieved 15 October 2014.
^ Smith, Michael (5 December 2015). "Album Review: Troye Sivan – Blue Neighbourhood". Renowned for Sound. Archived from the original on 21 January 2018. Retrieved 11 April 2016.
^ Votta, Rae (25 September 2015). "Troye Sivan releases music video for 'Fools,' announces first U.S. tour". The Daily Dot. Retrieved 26 September 2015.
^ "Why Troye Sivan's Martin Garrix Collab 'There For You' is Important for LGBTQ Listeners". 26 May 2017. Retrieved 30 April 2018.
^ a b c "In 'My My My!' Video, Troye Sivan Cements His Image As A Gay Pop Icon". NPR.org. Retrieved 11 January 2018.
^ "Troye Sivan Addresses Online Backlash From Fans: 'The Important Thing Is How You Respond'". Billboard. Retrieved 30 April 2018.
^ "Halsey, Troye Sivan & Chris Stapleton Are 2018's First 'Saturday Night Live' Performances". Billboard.
^ "Troye Sivan Confirms Collaboration With His 'Pop Queen' Ariana Grande". Billboard. Retrieved 4 March 2018.
^ Millar, Jake (13 April 2018). "Troye Sivan GQ Exclusive: "I've Made The Album I Always Wanted To Make"". GQ. Retrieved 14 April 2018.
^ Brandle, Lars (3 May 2018). "Troye Sivan's 'Bloom' is Here: Listen". Billboard. Retrieved 3 May 2018.
^ "Troye Sivan Has Unleashed 'Bloom': Stream It Now". Billboard. Retrieved 31 August 2018.
^ Schneier, Matthew (10 May 2018). "Troye Sivan Is a New Kind of Pop Star: Here, Queer and Used to It". The New York Times. Retrieved 10 May 2018.
^ English, Laura (21 May 2018). "Troye Sivan Reveals New Album Release Date While On Stage With Taylor Swift". MusicFeeds Australia. Retrieved 27 May 2018.
^ Close, Paris (20 May 2018). "Troye Sivan Gives New Album 'Bloom' Release Date, Reveals Cover Artwork". Pop Crush. Retrieved 27 May 2018.
^ "Troye Sivan Unleashes 'Animal': Stream It Now". Msn.com. Retrieved 9 August 2018.
^ "Troye Sivan Unleashes 'Animal': Stream It Now". Billboard. Retrieved 9 August 2018.
^ "Nominations Announced for the 76th Golden Globes". goldenglobes.com. Hollywood Foreign Press Association. 6 December 2018. Retrieved 6 December 2018.
^ "Academy Unveils 2019 Oscar Shortlists". The Hollywood Reporter. 17 December 2018. Retrieved 18 December 2018.
^ "Charli XCX and Troye Sivan Announce New Song "1999"". Pitchfork. Retrieved 21 February 2019.
^ Legaspi, Althea (13 November 2018). "See Charli XCX, Troye Sivan's Laser-Filled '1999' Performance on 'Fallon'". Rolling Stone. Retrieved 21 February 2019.
^ Friend, David (9 November 2016). "Q&A: Troye Sivan on coming out, Canadian popstars". Kitchener Post. Retrieved 16 November 2016.
^ Coyne, Yvette (16 February 2010). "Bertrand the Terrible – LINK funded film". Film & Television Institute (WA) Inc. Archived from the original on 6 July 2011. Retrieved 15 January 2014.
^ Bodey, Michael (5 March 2008). "One for the road clears the path". The Australian. Archived from the original on 3 December 2008. Retrieved 15 January 2014.
^ "Troye plays lead role in Spud – The Movie". Troyesivan.com. 2 February 2010. Archived from the original on 15 February 2010. Retrieved 2 February 2010.
^ "Spud's Young Stars". Screen Africa. 8 March 2010. Archived from the original on 16 July 2011. Retrieved 24 May 2010.
^ Van de Ruit, John (20 April 2010). "Icarus Allsorts". John van de Ruit's blog at Book South Africa. Archived from the original on 25 April 2010. Retrieved 24 May 2010.
^ "2011 SAFTAs: All The Winners". TVSA. 28 February 2011. Archived from the original on 19 January 2015. Retrieved 15 January 2015.
^ "Troye on stage with theatre great". The West Australian. 23 May 2010. Retrieved 6 October 2017.
^ Hatch, Daniel (24 May 2010). "Troye on stage with theatre great". The West Australian. p. 3. Archived from the original on 27 September 2012. Retrieved 24 May 2010.
^ "Troye Sivan to Star in Film About Gay Conversion Therapy". PopCrush. Retrieved 6 October 2017.
^ "Top 100 YouTubers in Australia Filtered by Subscribers – Socialblade Youtube Stats | Youtube Statistics". Social Blade. Retrieved 29 October 2014.
^ Nordyke, Kimberly (10 August 2016). "Teen Choice Awards: The Complete Winners List". The Hollywood Reporter. Retrieved 29 December 2016.
^ "Troye Sivan – Fans, Favorites + Fangirling". PopCrush. 8 September 2015. Retrieved 11 April 2016.
^ "Artist Influences for Troye Sivan". MTV Artists. MTV. Archived from the original on 20 April 2016. Retrieved 11 April 2016.
^ SingersAvenue. "SingersAvenue — Troye Sivan's Vocal Profile". SingersAvenue. Retrieved 12 April 2016.
^ "The Dreamy, Cross-Gender Appeal of Troye Sivan". ELLE. 3 March 2016. Retrieved 12 April 2016.
^ "Something to Tell You about Troye Sivan's 'TRXYE'". Yaledailynews.com. Retrieved 12 April 2016.
^ "Album reviews: Jamie Woon, Troye Sivan and CeeLo Green – after the zeitgeist". The Sydney Morning Herald. Retrieved 12 April 2016.
^ "Blue Neighbourhood – Troye Sivan". AllMusic. Retrieved 12 April 2016.
^ Reed, James (3 December 2015). "Album review: Troye Sivan, 'Blue Neighbourhood'". The Boston Globe. Retrieved 11 April 2016.
^ "Troye Sivan Shows Growth and Growing Pains on Debut 'Blue Neighbourhood': Album Review". Billboard. Retrieved 12 April 2016.
^ "Latest Album Reviews: Troye Sivan, Coldplay, Molly OST, Palms & Ceelo Green". NewsComAu. Retrieved 12 April 2016.
^ "Troye Sivan Gay: Australian Actor Comes Out On YouTube". The Huffington Post. 9 August 2013. Retrieved 15 January 2014.
^ McGrath, Mary Kate. "Troye Sivan's Relationship With Jacob Bixenman Is Too Adorable To Handle". Bustle. Retrieved 22 January 2019.
^ "TROYE SIVAN". Tumblr. 25 January 2013. Retrieved 18 April 2016.
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Related to Troye Sivan
Paul Carter (songwriter)
Paul Carter, also known as Benbrick, is a multi-platinum selling British songwriter, producer and composer. He wrote Sakura Nagashi with Hikaru Utada from her 2016 Japan Record Award winning album Fantôme which has sold over one million copies. In 2018 Benbrick started producing and composing on Have You Heard George's Podcast? with George The Poet. The podcast won 5 Gold British Podcast Awards in 2019 including the coveted Podcast of the Year award.
Alexandra Ashley Hughes, known by her stage name Allie X, is a Canadian singer and songwriter. She began her career as an indie pop artist in Toronto in the mid-2000s, playing with local bands and writing and recording a handful of self-released albums. After relocating to Los Angeles, California in 2013, Hughes began working with Cirkut and Billboard and achieved success with her first single released under the name Allie X, "Catch", which peaked at number 55 on the Canadian Hot 100 chart and was well received by music critics. The song also rose to prominence after pop singer Katy Perry referred to it as her "spring jam" on social media. Hughes released her debut extended play in 2015, CollXtion I, followed by her debut studio album CollXtion II in 2017 and most recent release, Super Sunset, the following year.
"Happy Little Pill" is the debut single by singer and songwriter Troye Sivan. The song is the first single from TRXYE, his first extended play (EP) released by a major label. It was released digitally on 25 July 2014. The song was written by Troye Sivan, Brandon Rogers, and Tat Tong.
TRXYE is the third extended play (EP) by South African-Australian singer and songwriter Troye Sivan, released on 15 August 2014 by Universal Music Australia through EMI Music Australia. The EP was preceded by the release of the singles "The Fault in Our Stars" and "Happy Little Pill".
Wild (Troye Sivan EP)
Wild is the fourth extended play (EP) by South African-Australian singer and songwriter Troye Sivan, released on 4 September 2015 by EMI Music Australia. It is Sivan's second extended play released through a major record label after TRXYE.
Troye Sivan Live is the debut concert tour by Australian recording artist, Troye Sivan. The tour supports his fourth EP, Wild and debut studio album, Blue Neighbourhood. The tour started in October 2015 in North America and continued in Europe in November 2015 and Australia in January 2016.
Wild (Troye Sivan song)
"Wild" is a song by Australian singer and songwriter Troye Sivan from his fourth extended play (EP), Wild (2015). It was written by Sivan and Alex Hope, and a revised version features a contribution from Alessia Cara. The song was released with the EP on 4 September 2015 and promoted as its lead single. It is also featured on Sivan's debut studio album, Blue Neighbourhood (2015).
Blue Neighbourhood is the debut studio album by Australian singer and songwriter Troye Sivan. It was released internationally on 4 December 2015 via EMI Music Australia and Capitol Records America. The album is preceded by Sivan's fourth extended play Wild, which served as a 6-song opening installment to Blue Neighbourhood.
Talk Me Down
"Talk Me Down" is a song by Australian singer and songwriter Troye Sivan from his debut studio album Blue Neighbourhood (2015). It was written by Sivan, Bram Inscore, Brett McLaughlin, Allie X, and Emile Haynie, and was produced by Haynie and Inscore. The song was first released as a promotional single along with the pre-order of the album on 16 October 2015, and was released as the third official single on 26 May 2016.
Youth (Troye Sivan song)
"Youth" is a song by Australian singer and songwriter Troye Sivan from his debut studio album Blue Neighbourhood (2015). It was written by Sivan, Bram Inscore, Brett McLaughlin (Leland), Alex Hope and Allie X, and produced by Bram Inscore, SLUMS and Alex JL Hiew. The song premiered on 12 November 2015 on Shazam Top 20 at 7PM AEST and was officially released on 13 November 2015 as the album's second single.
LANY is an American indie pop band from Los Angeles, formed in 2014. The band consists of Paul Jason Klein, Charles Leslie "Les" Priest, and Jake Clifford Goss.
Troye Sivan discography
Australian singer Troye Sivan has released two studio albums, four extended plays, one remix album, one video album, and sixteen singles. On 15 August 2014, Sivan released his first major-label EP, entitled TRXYE, which peaked at number five on the US Billboard 200. The lead single from the EP, "Happy Little Pill", reached number 10 on the Australian singles chart. On 4 September 2015, Sivan released his second major-label EP, Wild. His debut studio album, Blue Neighbourhood, was released 4 December 2015. Its first single, "Youth", became Sivan's first single to enter the top 40 of the Billboard Hot 100 chart, peaking at 23. His second studio album Bloom (2018) reached number three in Australia and number four on the Billboard 200 chart. Its lead single "My My My!" became Sivan's second number-one single on the Billboard Dance Club Songs chart.
Ari Staprans Leff, known by his stage name Lauv, is an American singer, songwriter and record producer based in Los Angeles. His debut EP, Lost in the Light, was released in 2015, and his first full-length album I met you when I was 18. was released in 2018. He is best known for his singles "I Like Me Better", "The Other", "A Different Way" with DJ Snake, "There's No Way" with Julia Michaels, and "I'm So Tired..." with Troye Sivan. He has written songs for other artists including the singles "Boys" by Charli XCX and "No Promises" by Cheat Codes and Demi Lovato.
My My My! (Troye Sivan song)
"My My My!" is a song by Australian singer and songwriter Troye Sivan. It was written by Sivan, Leland, Oscar Görres and James Alan Ghaleb, with production handled by Görres. The song was released via Universal Music Australia on 10 January 2018, as the lead single from his second studio album, Bloom (2018).
"Dance to This" is a song by Australian singer Troye Sivan, featuring guest vocals by American singer Ariana Grande. Written by Sivan, Leland, Noonie Bao and its producer Oscar Holter, the song was released by EMI Music Australia on 13 June 2018, as the fourth single from Sivan's second studio album, Bloom (2018).
Bloom (Troye Sivan song)
"Bloom" is a song by South African /Australian singer Troye Sivan. Written by Sivan, Peter Svensson, Leland and its producer Oscar Holter, the song was released by EMI Music Australia on 2 May 2018, as the third single from his second studio album of the same name.
Bloom (Troye Sivan album)
Bloom is the second studio album by Australian singer and songwriter Troye Sivan, released on 31 August 2018 through EMI Music Australia and Capitol Records. The album follows up his 2015 debut studio album, Blue Neighbourhood, and features guest appearances from Gordi and Ariana Grande. It was preceded by the release of the singles "My My My!", "The Good Side", "Bloom", "Dance to This" and "Animal".
List of awards and nominations received by Troye Sivan
Australian singer Troye Sivan has received 19 awards out of 46 nominations. Sivan began his career on YouTube reaching over 1,000,000 subscribers and winning an award at the 2014 Teen Choice Awards for "The Boyfriend Tag" video that featured fellow YouTuber Tyler Oakley. In 2015, he won MTV Europe Music Award for Artist on the Rise at the 2015 MTV Europe Music Awards and received his first APRA Music Award nomination for Breakthrough Songwriter of the Year. In 2016, he was nominated for seven ARIA Music Awards winning Best Video and Song of the Year for "Youth", also he was nominated for Breakthrough Long Form Video at 2016 MTV Video Music Awards for the video trilogy from Sivan's first album Blue Neighbourhood that featured the songs "Wild", "Fools" and "Talk Me Down". In 2018, he released his second album Bloom, the album was met with widespread acclaim from critics and was nominated for three awards at the ARIA Music Awards of 2018 including Album of the Year. The same year, he released "Revelation" alongside Icelandic singer Jónsi for the film Boy Erased, the song was nominated for Original Song for a Feature Film at the 9th Hollywood Music in Media Awards.
1999 (Charli XCX and Troye Sivan song)
"1999" is a song by English singer and songwriter Charli XCX, and Australian singer Troye Sivan, released as the lead single from her third studio album Charli on 5 October 2018. The single cover was inspired by the 1999 film The Matrix. It follows several singles released earlier in 2018 by Charli XCX and Sivan's 2018 album Bloom. The track reached number 13 on the UK Singles Chart dated 22 November 2018, becoming Charli XCX's tenth top 40 single and first top 15 single since 2015, as well as Sivan's fourth top 40 single and his first top 20 single.

redpajama_set_name: RedPajamaCommonCrawl


Federal courts delivered welcome opinions in two cases last week that protect the rights and dignity of transgender students. Americans United has filed friend-of-the-court briefs in both cases, explaining that bias against transgender people often is rooted in religious beliefs, which cannot be used to dictate how government enforces the law, especially when those beliefs would result in harm to others.
Americans United and our allies this week urged a federal appeals court to affirm that an eastern Pennsylvania school district has the right to allow transgender students to use bathrooms and locker rooms that are consistent with their gender identity.


text:
Q: postgreSQL optimisation I am working on a big PostgreSQL project which, unfortunately in production (3 milion records in a table with 90 columns) runs a query (a select/join with 2 conditions) in about 2 minutes.
Supposing there is nothing to optimise on my query, are there any settings I could modify to make it run faster?
This is the configuration of the database, and I have no idea what suits my needs:
version PostgreSQL 8.4.4 on i686-pc-linux-gnu, compiled by GCC gcc (GCC) 4.1.2 20080704 (Red Hat 4.1.2-44), 32-bit
checkpoint_completion_target    0.9
checkpoint_segments 10
custom_variable_classes pg_stat_statements
effective_cache_size    1GB
lc_collate  fr_FR.UTF-8
lc_ctype    fr_FR.UTF-8
listen_addresses    *
log_autovacuum_min_duration 0
log_line_prefix %t [%p]: [%l-1] user=%u,db=%d
log_min_duration_statement  30s
logging_collector   on
maintenance_work_mem    128MB
max_connections 100
max_stack_depth 2MB
pg_stat_statements.max  1000
pg_stat_statements.save on
pg_stat_statements.track    all
random_page_cost    1.5
server_encoding UTF8
shared_buffers  128MB
TimeZone    Europe/Paris
track_functions pl
wal_buffers 1MB
work_mem    8MB

Query:
SELECT distinct
    ((Table_Commande_Historique.COD_STECIAL
    || ',' || Table_Commande_Historique.COD_MCIAL
    || ',' || Table_Commande_Historique.NUM_REC_CLI
    || ',' || Table_Commande_Historique.NUM_DNT_CLI
    || ',' || Table_Commande_Historique.NUM_DDE)) cle
FROM G1DDE2_DDE Table_Commande_Historique
inner join "K2VER2_VER" ver
  on ( Table_Commande_Historique.NUM_REC_CLI
         = (string_to_array(ver.num_cle,','))[3]::int
    OR Table_Commande_Historique.NUM_DNT_CLI
         = (string_to_array(ver.num_cle,','))[3]::int
    OR ver.num_cle = (Table_Commande_Historique.COD_MCIAL
                     || ',' || Table_Commande_Historique.NUM_REC_CLI)
    OR ver.num_cle = (Table_Commande_Historique.COD_MCIAL
                     || ',' || Table_Commande_Historique.NUM_DNT_CLI) );

Indexes:
CREATE INDEX idx_combo1
  ON g1dde2_dde
  USING btree
  (((cod_mcial || ','::text) || num_rec_cli) );

  CREATE INDEX idx_combo2
  ON g1dde2_dde
  USING btree
  (((cod_mcial || ','::text) || num_dnt_cli) );

  CREATE INDEX idx_dnt
  ON g1dde2_dde
  USING btree
  (num_dnt_cli );

  CREATE INDEX idx_rec
  ON g1dde2_dde
  USING btree
  (num_rec_cli );

  CREATE INDEX idx_k2ver3sb
  ON "K2VER2_VER"
  USING btree
  (num_cle );

EXPLAIN:
"HashAggregate  (cost=197.97..201.77 rows=69 width=29)"
"  ->  Nested Loop  (cost=1.29..197.35 rows=248 width=29)"
"        ->  Seq Scan on "K2VER2_VER" ver  (cost=0.00..2.58 rows=58 width=19)"
"        ->  Bitmap Heap Scan on g1dde2_dde table_commande_historique  (cost=1.29..2.84 rows=5 width=29)"
"              Recheck Cond: ((table_commande_historique.num_rec_cli = ((string_to_array((ver.num_cle)::text, ','::text))[3])::integer) OR (table_commande_historique.num_dnt_cli = ((string_to_array((ver.num_cle)::text, ','::text))[3])::integer) OR ((ver.num_cle)::text = (((table_commande_historique.cod_mcial)::text || ','::text) || (table_commande_historique.num_rec_cli)::text)) OR ((ver.num_cle)::text = (((table_commande_historique.cod_mcial)::text || ','::text) || (table_commande_historique.num_dnt_cli)::text)))"
"              ->  BitmapOr  (cost=1.29..1.29 rows=5 width=0)"
"                    ->  Bitmap Index Scan on idx_rec  (cost=0.00..0.32 rows=2 width=0)"
"                          Index Cond: (table_commande_historique.num_rec_cli = ((string_to_array((ver.num_cle)::text, ','::text))[3])::integer)"
"                    ->  Bitmap Index Scan on idx_dnt  (cost=0.00..0.32 rows=1 width=0)"
"                          Index Cond: (table_commande_historique.num_dnt_cli = ((string_to_array((ver.num_cle)::text, ','::text))[3])::integer)"
"                    ->  Bitmap Index Scan on idx_combo1  (cost=0.00..0.32 rows=1 width=0)"
"                          Index Cond: ((ver.num_cle)::text = (((table_commande_historique.cod_mcial)::text || ','::text) || (table_commande_historique.num_rec_cli)::text))"
"                    ->  Bitmap Index Scan on idx_combo2  (cost=0.00..0.32 rows=1 width=0)"
"                          Index Cond: ((ver.num_cle)::text = (((table_commande_historique.cod_mcial)::text || ','::text) || (table_commande_historique.num_dnt_cli)::text))"

A: version PostgreSQL 8.4.4

That's a problem.  Please read this and consider a minor release to get fixes for security vulnerabilities and bugs:
http://www.postgresql.org/support/versioning/
These sometimes include bugs which introduce performance problems.  To review what fixes you would get, you could look into the 8.4.5 to 8.4.11 notes here:
http://www.postgresql.org/docs/8.4/static/release.html
Some of the RAM-based settings are probably too low, but without knowing how much RAM is on the system and what else is running there, there's no way to suggest specific numbers.
shared_buffers  128MB

The usual advice for a dedicated database server on Linux is to set this to 25% of the total RAM on the system, with a maximum of maybe 8GB, and adjust from there based on benchmarking.
effective_cache_size    1GB

This doesn't allocate any RAM, but allows the planner to cost repeated reads from a file based on an estimate of how likely it is to still be in cache from an earlier read in the same query.  I suggest that you add your shared_buffers size to what the OS shows as cached.
work_mem    8MB

This one is tricky.  It can really help query performance in a number of ways, but high values tend to push things out of cache, increasing disk access.  You also need to consider that each query can allocate this much space several times (for different query steps), so you should normally allow for one allocation of this size per connection allowed.  This is one of the reasons it is often beneficial to use a connection pool to funnel a large number of users down to a limited number of actual database connections.  If you can afford a larger size, it is very likely to help this query, because it may keep the bitmap index scans from becoming "lossy" and needing to recheck the index conditions.
You don't set cpu_tuple_cost, but I find that the default setting is usually too low to give the best plans overall.  Given that your big table has 90 columns, I would suggest boosting this from 0.01 to 0.05.
You don't set effective_io_concurrency, but that might help.  I would test with different values.  (Of course, when running tests to compare the performance of alternatives, be careful about caching issues.)
maintenance_work_mem    128MB

Depending on how much RAM you have, this may or may not be reasonable.  It won't affect your immediate problem, but increasing it may help autovacuum run more efficiently and will help index builds run faster.
These are probably a little low:
checkpoint_segments 10
wal_buffers 1MB

They are not part of your immediate problem, but they could cause extra disk writes at times, so it would probably pay to adjust them.  wal_buffers should normally be 32MB unless your machine has very limited RAM.  checkpoint_segments is hard to estimate without knowing more, but if you check the logs and statistics and find that checkpoints are happening too frequently, you might want to increase this until checkpoints are happening based on checkpoint_timeout.

redpajama_set_name: RedPajamaStackExchange


Financial markets are certainly an extremely tough topic for a student. Offering interest to all the above pointed out facts, My Thesis Help has actually formed its own Financial Markets and Institutes Dissertation Help group so that we can render our help and services to the students who want to pursue a profession in this discipline. The Scholars Junction is a really intriguing web website which helps students by offering them online help. The Scholars Junction supplies online help for every topic and offers appropriate instructions to the students to finish their Thesis and Dissertations on time.
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It is an honor for me to sign up with the Worcestershire National bank for its 2001 Economics Conference on "The Single Financial Market: Two Years into EMU". I would like to take the opportunity today to talk about the role of financial markets for financial development. After this, I will go over the function of financial policy in the interaction in between financial markets and financial development. Without financial markets, debtors would have problem finding lending institutions themselves. Intermediaries such as banks help in this procedure. Bank deposits are a basic method which capital is designated from a swimming pool of savers to services that wish to release it.
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I've always felt that any type of training hones existing skills; loosely referred to as "chipping away the rough edges". We do it to bonsai material, it is only consistent to believe the same applies to the artist. More training, fewer rough edges.
In an analogy, a statue is sculpted by removing the material that doesn't apply to the overall goal. If the critical material is discovered to have fatal flaws, the design has to be changed or accepted as is. This may preclude it from ever being a significant work of art. When it comes to the artist, the critical material is already there. The training/experience will determine what flaws can be overcome, and which can't.
We seem to have digressed from the issue raised in Andy's article - is combining bonsai with other art in a display a good idea? I'd say so far it has not proven to be with perhaps the exception of the display of Udo Claasen's painting with some nice bonsai in Germany. Most attempts of mixing bonsai with sculpture, and rocks, and classical Greek statues try too hard to be different. Claassen's paintings combined with bonsai seemed to have worked because even though they typically sell for more than the bonsai in the display, their abstract nature made the paintings more of a backdrop. The bonsai remained the focal point.
I'd actually extend Andy's argument and say that most three-point displays with scrolls, suiseki and other Asian artifacts also do not work. They distract from the tree and are typically used to remind people that bonsai is an Asian art. I have read the analysis that says these artifacts make the tree feel more at home in its natural environment but I don't buy it. If we want bonsai to be considered an art, then the bonsai have to be the art. I'd much rather see the trees displayed as at the Weyerhaeuser exhibit where the focus is solely the tree than in a dark tokonoma with some quaint antiques. Put moss on the soil and place the tree at eye level on a well-lit stand, on the work will speak for itself.
There is no doubt there are quality of the bonsai in Europe, but making comments that it is better than the US strikes me as good debate material. While the concept is certainly unverifiable, it is fun to consider. You cited the names of some American artists but you barely scratched the surface of the bonsai art in the US. For instance, you didn't even mention any Florida bonsai artists and only mentioned two California artists. I made a list for myself and off the top of my head named 30 top notch artists in Florida alone, people like Jim Smith, Jim VanLandingham, Mary Madison, Joe Samuels, etc. The Bonsai Society of Florida has 900 members and a decent percentage of those are good bonsai artists. Walter Pall recently posted a travelogue of his adventures through California. He posted photos of 24 different artists, yet he didn't post work from many other California artists I that know of and I know only some of them.
I recently received a catalogue of Italian bonsai teachers. There were maybe 30 listed in the book and each had photos of some nice trees. Germany might have a similar number as does England. Double it to consider other countries such as France and Spain. So there are what about 180 top notch artists. I feel the US could easily match that number.
Sure we don't yet have an America Ginko show where the top artists can display their trees, but we might some day. But we do have several nice bonsai gardens where these artists display their work. The US Arboretum, the Weyerhaeuser, the Morikami, Huntington Gardens, Golden State exhibit and Eldan Gardens offer a good examples of American bonsai art.
But as good as Europe and American trees are, they pale in comparison to the trees I have seen in Taiwan. I would contend that the Taiwan trees I have seen are even better than the Japanese trees. I suppose due to many years of Japanese occupation, the Taiwanese have learned the refined techniques of the Japanese and applied them to fast growing tropical trees. The trees are fully developed, have presence and awesome beauty. And amazingly many of the Taiwanese trees are nursery grown and don't rely on the vagaries of nature but the hand of skilled bonsai artists. Every bonsai artist needs to visit Taiwan - be prepared to be blown away.
?As in music, architecture, painting and other arts, classical signifies a piece that is composed according to established and traditional formulae. Miles Davis, Paul Andreu or Pablo Picasso are/were anything but classical, but would you deny that they reached the pinnacle?
To limit artistic aspirations to the classical is to stifle creativity and innovation - it is anti-art? -said Collin.
It is interesting yet commonplace to find opinionated anathema to rules /guideline/norms of bonsai designing and clamor for artistic freedom . All sorts of limp arguments are juxtaposed in favor of artistic freedom vs.traditional norms!
I INVITE all the artistic freedom fighters to consider an art form called Calligraphy- is it not rooted in the basic and fundamental knowledge of alphabet?s structural form yet the truly creative calligrapher do not feel constricted to give vent to his creative urge thru his chosen medium of calligraphy .
It is about time to halt the democratic long march of mediocre artisans to save the thousand + year and still going strong art of bonsai from trifling.
Theoretically, we could divide bonsai practitioners into two categories.
The first one would have artists who represent the pinnacle of bonsai artistry. These individuals should not be bound by any tradition (since they mastered the traditional forms long ago), and could push the boundaries without compromising the achievements of the old.
The second category would contain the rest of us. Here, there is a lot to learn and explore from the classics before becoming self-proclaimed innovators.
If the above is correct, each of us just has to decide which group he/she belongs to. Simple enough?
If you look back at the old paintings and scrolls depicting Chinese and Japanese bonsai from a century ago and earlier, you'll see they have little resemblance to the refined trees now offered as top notch bonsai. It seems that the advent of wire (mostly post WWII) changed bonsai. So why can't globalization change it even more without referring to mediocrity?
There is a continuum of ability in bonsai as there is in all art, and that's a good thing. Instead of causing the art to trifle, these mediocre artists actually benefit the art - they buy books, attend classes, buy trees and pots and make it economically feasible for the superb artists to work on their art full time.
Instead of causing the art to trifle, these mediocre artists actually benefit the art - they buy books, attend classes, buy trees and pots and make it economically feasible for the superb artists to work on their art full time.
Now that's an astute observation worth a lot of consideration. I remember Walter Pall in the Fresno convention talking about this. When someone in the audience asked "where is the bonsai market?" he answered "you are the market right here, this audience".
Without this large number of "wannabe artists" (should have said "aspiring artists", including myself), bonsai students and backyard hobbyists, all of them being considered mediocre, there would be no bonsai market whatsoever.
It's like the much viled speculator on the stock market percieved to add nothing; when in fact there would be no efficient market without them since they provide precious liquidity.
Without the millions of mediocre trees produced, bought and sold, there would be no bonsai industry, toolmakers, magazines, books, etc. Heck, I would probably not do bonsai today since I would have never been exposed to it.
Although praising mediocrity is against the grain of what most of us are saying here, I have to agree with Rob that the top artist need these masses to be able to make a living.
So, I might have to change my stance on this. When seing mediocre or substandard bonsai, instead of frowning I should be thankful for their existence. If nothing else, they make me feel so much better about myself believing that I can create something far superior.
Attila, the trick is not to praise mediocrity, but to assist in its improvement. Most may never rise above the level of the mundane but we must remember every attempt at art is important to someone. By learning more about their hobby (as opposed to a profession, as similar distinction is made in most fields of art) these people grow to appreciate the works of others. The more they appreciate the more they become involved, striving to produce better works or possibly buying a better piece. But like a tender piece of stock they must be nurtured carefully. There is a difference between praise and kind encouragement. Why frown at less than perfect bonsai? There is nothing that can be done to change them, unless the tree is your own. The economy of an art determines how rapidly it will expand, and in the west bonsai is a fairly new art. It needs to be well tended by kind and gentle hands. Over pruning will only slow down its growth.
Over pruning will only slow down its growth.
I grow hundreds of trees in the ground, training them to become good material. The most important skill in doing that is to find the perfect balance between overpruning (in order to stimulate new growth and induce taper) and letting them grow free for gaining size and preserving maximum vigour.
As you've said, overpruning would impair development, but giving them too much freedom will affect their quality and refinement.
If you look back at the old paintings and scrolls depicting Chinese and Japanese bonsai from a century ago and earlier, you'll see they have little resemblance to the refined trees now offered as top notch bonsai.
Here is another example that we can look at and stand in awe: Italian bonsai.
Just read that the IBS (the national Italian club for instructors of bonsai) is celebrating its glorious history of 20 (yes, twenty) years.
A few decades ago there was no Italian bonsai. They have no tradition, and had no masters to learn from. Today, they are considered by many the best in the world, outside Japan.
Maybe we should ask them how the heck they did it.
It may have to do with their culture: there is no other nation on earth that can match their artistic tradition in quality and richness. They were at the leading edge for almost 2000 years. That might have helped.
BUT, I also hold with the idea that we don't put forth every ridiculous and unartistic effort as examples of artistry. And this is precisely what is happening with these silly exhibits.
Knowing what is NOT working is maybe as much as valuable as knowing what IS working.
Hear, hear. There are fundamental differences between the art of Ando Hiroshige and the art of JMW Turner (I choose those two for comparison as they are contemporaries and because I collect Japanese woodblock prints and my wife collects English landscape artworks), that demonstrate ably the gap between the two cultures. One is regarded as the peak of Ukiyo-e, in an artistic direction that values quietude, introspection and minimalist representation. The other represents the heights of achievement in Europe, well ahead of the French Impressionist school, of the Western fascination with meticulous, mechanical representation of perspective, form and light.
One is allegorical and spiritualist; the other is explicit and rationalist.
An exhibition where those two were displayed side by side would be disappointing, to my mind. To do so would highlight for me the issue at hand: We are trying to meld very dissimilar styles of artistry together. They are too different to warrant comparison.
Taking that concept further, with more modernistic work, is even more likely to disappoint. The juxtaposition is not only shocking, but discordant, as we have seen recently, in the experiment with abstract work that the Weyerhauser display dabbled in. Simply unworkable.
I guess I may be a little more traditionalist than some but my assessment of whether something is art is not whether it evokes emotion but whether it evokes pleasant emotion. In short, the repeated attempts to combine bonsai with Western, often abstract, paintings is stillborn because it flies counter to each art's propensity to instil emotion in the viewer. The conflict of emotions unsettles, rather than informs, the audience. There may be a school to whom that appeals, but it is always going to elicit disagreement from a large proportion of the informed public.
Attempting to legitimise poor art, whether bonsai or painting, by attempting to capitalise on the cachet of the other, merely cheapens both.
On the other hand, displaying bonsai with scrolls and artwork in a tokonoma is legitimate, as the tokonoma is also used to display suiseki, ikebana, ukiyo-e, pottery, carvings and calligraphy, at different times of the year. It is a gallery space that relies on context and balance to evoke the appropriate response from the viewer. For most, if not all, of us it works... perhaps because we associate the contextual references immediately with each other; perhaps because a thousand years of experimentation uncovered and refined what works best.
One is regarded as the peak of Ukiyo-e, in an artistic direction that values quietude, introspection and minimalist representation.
Very good insight as to why bonsai and western art often clash: because they resonate at different scales of our emotional spectrum.
Still, isn't it posible that we find examples of Western art that are also characterized by "quietude, introspection and minimalist representation", and use them with bonsai displays? Does Western art in any form exclude those attributes entirely?
In short, the repeated attempts to combine bonsai with Western, often abstract, paintings is stillborn because it flies counter to each art's propensity to instil emotion in the viewer. The conflict of emotions unsettles, rather than informs, the audience.
Your argument is persuasive and well-expressed -- but still I take issue with one aspect.
I agree that most such exhibits thus far have suffered from this sort of clash between two artistic styles. As you rightly point out, conflict may be much more likely to arise where we have a pre-established western style joining the pre-established mode of bonsai art.
But I don't agree that this conflict is inevitable. If we were to start afresh and bring to our efforts to create companion objects a true understanding of the aesthetic inherent in bonsai, I believe that we could successfully create new modes of display that are not steeped in the Japanese formal display tradition. The key will be that bonsai and the other art form collaborate, not conflict. We see this collaboration regularly in tokonoma display, but I refuse to believe that tokonoma display is the only solution to this problem.
Back to agreement, though, we will not find this solution by haphazardly placing artistic bonsai into an environments designed by artists who do not have the deep understanding of the aesthetic that pervades bonsai.
Nice to know somebody else thinks this way. I am familiar with Udo Claussen's work and have also taken a workshop with him. While he is a fine aritist in his own right, I keep wondering how we can possibly try and change another cultures art to fit our own standards. I also put Nik Lenz in this same category. It really seems like globalization on an artistic scale. What we need to as ourselves is what drove us in the first place to the art of bonsai. For centeries the Asian culture has practiced what we keep preaching.....K.I.S.S. Keep it simple stupid.


What is the difference between "shule" and "shuleni"?
"-ni" is the locational suffix, meaning on, at, or in something. So "shuleni" literally means "in school." It is often used in phrases like this showing direction. "Nenda sokoni" (go to the market) or "nenda nyumbani" (go home) would be other examples.
Oh, just like に [ni], in Japanese. :O mind blowing coincidence! Thanks!
Does anyone know why it is "nenda" instead of "enda"?
Could it be because 'nenda' - go (you go, in this case) - is in the imperative, and '-enda' (kuenda) is part of the verb root?
Yep, nenda is one of the few irregular imperatives. There's also njoo ("come", not kuja) and lete ("bring", not leta).
In areas away from where Swahili is spoken as a native language, and particularly in Kenya, you might hear regular forms of these: Enda, Kuja and Leta.
What is the difference between ''kisha'' and ''halafu''?
No difference as far as I know.
No actually "kwisha" means finished.


The ship is a very mainstream tattoo among both more youthful and more established group nowadays. Despite the fact that, in the past times, any type of a nautical tattoo was related with anglers or those serving on a ship in the naval force. Today, the ship is generally worn by men; however it is positively not considered a standard outline any more. Many ship tattoos will incorporate other nautical subjects close by the ship itself, including privateers, swords, grapples, stars, or a compass. These have a tendency to have a similar importance.
What is that importance? All things considered, the ship tends to mean an excursion or a way through life. Some view the ship as opportunity, however. The opportunity to investigate the world and go where one needs to. Most nautical themed tattoos have a similar significance behind them, aside from the stay, which generally implies remaining steadfast or unflinching against any restriction.
Obviously, the ship tattoo arrives in an assortment of structures, from the old sail ships to the battleships of the present. Some even take a one of a kind curve on the customary tattoo configuration by including a kraken coming up from underneath the ship itself. It is a tattoo, all things considered, so play around with it.


text:
Home/News/USA News/Body recovered from Lake Michigan near Playpen, days after boater went missing
Body recovered from Lake Michigan near Playpen, days after boater went missing
Loma2022-08-21
The video above is from a previous report
CHICAGO (SCS) — A body was found in Lake Michigan near the Playpen on Saturday, three days after one person was rushed to hospital and another went missing after falling from a boat.
Chicago police say the body of a man was found in the lake in the 1000 block of North DuSable Lake Shore Drive around 5:10 p.m. The victim was pronounced dead at the scene.
The person has not yet been identified and it is not clear if it is the same person who disappeared on Wednesday after falling from a boat in the park near the Jardine water purification plant.
Police said two people fell from a boat near the park around 6:40 p.m. Wednesday. A person was pulled from the water near the Jardine water filtration plant and taken to Northwestern Memorial Hospital in critical condition. The second person has since disappeared.
Chicago CBS Team
The CBS Chicago team is a group of experienced journalists who bring the content to you on CBSChicago.com.
DC Universe Reveals James Gunn's Plans For Superman, Batman, Green Lantern & More


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