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The John Jay Study: What it is and what it isn't
by Mary Gail Frawley-O'Dea
Editor's Note: Much has already been written about the "The Causes and Contexts of Sexual Abuse of Minors by Catholic Priests in the United States, 1950-2010," commissioned by the U.S. bishops, conducted by the John Jay College of Criminology and released in May. Much of that has looked at the report from a particular stance toward clergy sex abuse, namely either an institutional view or an advocate's view. That is why when Mary Gail Frawley O'Dea approached NCR to write a "dispassionate" review of this study, from a clinician's viewpoint, we said yes.
Frawley-O'Dea is a clinical psychologist and the only mental health professional to address the U.S. bishops' conference on the sexual abuse crisis at their 2002 Dallas meeting. The same year, she also addressed the Conference of Major Superiors of Men on the subject of sex abuse.
The publication of the most recent John Jay study of sexual abuse in the church has been met by predictably impassioned binary responses. Church leaders seem to idealize the results, feeling vindicated in at least some of their responses to sexual abuse. Victims and advocates, on the other hand, lambaste the research as a dismissive invalidation of their pain. It is always difficult to speak dispassionately about sexual abuse; the crimes at issue involve passion, denial by perpetrators is standard fare, and brittle experiences of new betrayal are at the ready for victims expecting their suffering to be minimized. It is worth trying, however, to put passion aside temporarily to make room for reason. I hope to do a little of that here.
Before unpacking specific aspects of the John Jay study, it is important to put the entire project into a research and scholarly context.
It is what it is and it is not what it is not. The John Jay study is not "the" piece of research on the sexual abuse crisis; it is one contribution to the literature. Any topic as broad, long-lasting, and multilayered as the sexual abuse of children by priests over the course of 60 years -- the scope of the study -- and the failure of adequate responses to those crimes by others cannot be fully covered by one research project. Rather, it will take years of empirical research studies, clinical narratives, memoirs, theoretical books and papers that eventually may generate a coalescence of findings about exactly what happened and why.
It is a study conducted by criminologists. Criminology is one field. Like any science, it involves a set of principles, biases and methodologies, and a body of literature to draw from that is peculiar to that science. Criminologists view the world through a limited number of lenses. Psychologists, theologians, historians, sociologists and cultural anthropologists look at the world through their own sets of perspectives. No one field and no one study in any of these fields can be expected to tell a complete story. We need them all to do their work, as they surely will over the next years and decades.
Principal investigator Karen Terry and her team have generated some meaningful results, conclusions and recommendations that indeed shed light into a corner of the church that has long been shrouded in shadows.
Homosexuality:
Terry and her colleagues could not be clearer in their findings, which converge with well-accepted conclusions from other social science fields: There is no correlation between a homosexual identity and the sexual violation of a minor. Sexual abuse is a crime of opportunity, not of sexual identity. In fact, the period of decline in priestly sexual abuse corresponds with both the gaying and graying of the priesthood, although Terry does not make that connection explicitly. In any event, no Catholic pope, bishop, priest or layperson can in good conscience identify gay priests as the primary source of sexual abuse, even of boys.
Celibacy:
The John Jay study indicates that celibacy in and of itself is not correlated with sexual abuse. At the same time, it is of note that 80 percent of priests in residential treatment for any psychological problem, not just abuse, have been sexually active, mostly with adults. Further, most men who abused minors also were sexually active with adults. Combining these data with Richard Sipe's ethnographic conclusions that, on any given day, only 50 percent of priests are observing celibacy, and with Andrea Celenza's clinical observations that celibacy is a moving target for most priests, we have increasing reason to believe that celibacy is observed as much in the breach as in the practice.
Further, the John Jay researchers find correlations in the literature between sexual abuse and social isolation and loneliness, subjective states and vulnerabilities that might be alleviated were celibacy optional. It would be interesting, for example, to compare Catholic priests and married mainstream Protestant clergy on measures of loneliness and isolation.
The abuse was serious:
This John Jay study puts to rest any lingering dismissals of priestly sexual abuse as "just" fondling. Almost all priests with allegations of sexual abuse committed more than one kind of sexual violation and they included "explicit sexual activity."
Abuse results in serious consequences for the victim:
Terry provides a comprehensive overview of the ways in which sexual abuse damages the victim and haunts him or her for decades. Never again can any Catholic claim ignorance about how devastating to the victim sexual abuse is.
Perpetrators are 'us,' not 'them':
The researchers discerned what has been found repeatedly in the literature on sexual offenders. There are no tests that reliably predict who will abuse and, on standard psychological assessments, abusers do not look more pathological than a "normal" population. Nor do they have more depression, anxiety or personality disorders than the rest of us. Three findings, however, suggest the need for careful evaluation during pre-seminary application processes. Priests from dysfunctional families, e.g., ones with substance abuse, were more likely than other priests to abuse later. Further, priests from families in which sex was viewed negatively and was not discussed also were more vulnerable to abusing later. Finally, priests who themselves had been sexually abused were more likely to offend. This latter conclusion should be viewed with caution. There are some studies that suggest that perpetrators may dishonestly claim abuse histories, suspecting -- often rightly -- that they will be judged less harshly if they claim prior abuse.
Importance of seminary formation:
The John Jay team illustrates profound changes in seminary formation occurring over the decades since 1950. It was not until 2005 that the Program of Priestly Formation outlined a deep consideration of human development and psychosexual development. This is appalling, of course, but the finding conforms to the speculations of people like Sipe, Jason Berry, Gene Kennedy, David Gibson, Donald Cozzens, and me that the lack of exposure to psychoeducation about emotions and sexuality ill-prepared seminarians to function maturely in their vocational careers.
Ongoing formation missing:
There is little ongoing assessment and formation for Catholic priests, especially after the first five years. Since most accused priests did not abuse for the first time until six to nine years after ordination, it suggests that the assessment and formation (re-formation?) of priests cannot stop, but must be something woven into the fabric of their lives over the entire course of their careers.
Abuse is a crime of opportunity:
An important finding of the John Jay study is that sexual abuse of a minor is primarily a crime of opportunity. Most abusing priests were neither confirmed pedophiles (consistently attracted to prepubescent children), nor confirmed ephebophiles (consistently attracted to pubescent and older minors). Rather, 42 percent of abusing priests were what Terry calls "generalists," men who would abuse either gender of any age depending on availability of the victim.
Therefore ...:
A crucial recommendation of the John Jay study is for church authorities to implement and monitor strategies for minimizing the opportunities for a priest to abuse. The study offers few specifics, but windowed doors on every classroom, continued sex abuse prevention training, ensuring that at least one other adult is present whenever clergy and children are together, etc., are examples of opportunity-reducing actions. Terry points out that there is good literature available on "situational prevention models."
The bishops did not respond well:
This report did not let the bishops off the hook. It did explain various reasons leading to inadequate responses, but explanations are not excuses. For example, Terry writes that police were called in only 14 percent of cases and then often after statutes of limitations had expired. She points out the many junctures along the way that the hierarchy could have done more and acknowledges that in some dioceses, there is still a reluctance to fully acknowledge the management and leadership failures inherent in the crisis. The report also states that centralized, hierarchical authority structures like that of the church are not conducive to organizational reform even when it is sorely needed. Further, the researchers agree with other writers who have indicated that victims, parents, church employees and other priests who came forward to allege suspicions about abuse or actual abuse often were dismissed or threatened by church officials.
The John Jay report confirms a number of important theses about the crisis already offered in the non-empirical literature. In addition, it provides empirically based insight about homosexuality, the difficulty in identifying perpetrators ahead of time, and the pastorally impoverished responses over a long period of time.
The new John Jay report also falls short in a number of areas, as I would expect any study of its scope to do.
Lack of qualifying language:
It is troublesome to me that Terry and her colleagues failed to qualify the limitations of the report or sufficiently use qualifying language. Much, not all, of the John Jay source material was data self-reported by bishops, priests and church-operated treatment centers. Self-reports in research are regularly viewed with skepticism because there is no way to validate the accuracy of what is being surveyed. Since we know from grand jury reports and lawsuits that dioceses and provincial officers have been derelict in sharing all that they know about the history of abuse in their domains, Terry should have expressed the potential limitations of self-reported data -- in any research and particularly in this study.
What the John Jay researchers know about perpetrating priests is also conditional because officials can only supply the records of priests who have been accused. Too often, the research team uses assertive language about the number of abusive priests or the number of victims rather than qualifying these as accused or reported perpetrators and only victims who have come forward. While acknowledging that abuse is both underreported and reported years after the fact, Terry does not convey tentativeness about her findings. There are reasonable, literature-based extrapolations that can be made to conclude that the actual number of victims over 60 years is closer to at least 35,000 than 11,000 and that there are priests who perpetrated but were never accused. In addition, priests already accused may well have had more victims who have never come forward. Terry should have included statements about the significant likelihood that the number of reported victims and of reported perpetrators are both understated.
The same absence of qualification applies to the report's discussion about recidivism. If many perpetrators are never reported, it is likely that many more are reported only once although they have offended again. When Terry talks about priests who have only one victim, she again should have qualified that with some discussion of probable understatement.
'Pedophile' priests:
From a criminologist's point of view, the distinction between generalist perpetrators versus specialist pedophiles or ephebophiles has meaningful importance. Many readers, however, interpreted the insistence that few priests were pedophiles as a minimization of what these men were: criminal sexual perpetrators who preyed upon the innocent and the vulnerable. It is not really reassuring that many of these priests were "generalists" who would violate whoever was handy at the moment, and the researchers could have emphasized the danger these men presented whatever they were called.
The past is still present:
John Jay's casting of the sexual abuse crisis as "historical" may or may not be true as a term of art. Knowing that this report would be read by a wide spectrum of people with no particular social science training, however, generated a responsibility on the part of the John Jay team to carefully clarify what they meant. The crisis certainly is not "historical" for the thousands of victims who deal day in and day out with the consequences of sexual abuse eloquently outlined by Terry or who wait for lawsuits drawn out endlessly by defense lawyers with the permission of bishops. The present is the past for many survivors.
The researchers define the "crisis" as the sexual abuse itself. Most contributors to the field, however, have never defined the crisis or the scandal in this way. Rather, most view it as the hierarchy's failure of pastoral leadership and appropriate response to both perpetrators and victims. As Terry herself acknowledges in the report, this continues to some extent. The report should have acknowledged the substantial literature in the field that defines the crisis as primarily a leadership failure, one that is ongoing in too many places.
The decline of abuse:
Terry's assertion that the incidence of child abuse of all kinds has declined since the 1990s is borne out in other studies, particularly by David Finkelhor, who is cited by the John Jay report. Jones and Finkelhor report that child sexual abuse declined 53 percent in America between 1992 and 2007 for a variety of reasons, including advances in mood-stabilizing and impulse-controlling psychopharmacologies; a booming economy that lessened stress on individuals and families; increases in the numbers of law enforcement and child protection personnel; more aggressive prosecution and incarceration policies; growing public awareness about the problems; and new treatment options for family and mental health problems.
Within the church, the increasing numbers of gay priests, the aging of the priestly population, fewer children actively involved in church activities, increasing caution about allowing children to spend time alone with a priest (for example, on a vacation) -- all were likely to contribute to a decrease in sexual abuse by priests. Terry did not discuss these possibilities and seems to overattribute the likely decline of abuse in the church to the hierarchy's development of better policies, policing, and response strategies. While these factors certainly contributed to decreasing numbers of sexual abuse victims, Terry had an obligation to discuss as fully the lack of a single cause of abuse decline as she did the lack of a single cause of occurrence.
They didn't really 'get it':
John Jay's assertion that the bishops failed to understand the scope of sexual abuse in the church or the damage it did to victims is not empirically supported in the report and simply is not credible. The Catholic church has had a sexual abuse problem with monks and priests since at least the Middle Ages and there have been numerous canonical and policy documents addressing the issue since then, often cautioning secrecy to protect the institution. In 1984, Dominican Fr. Thomas Doyle, Fr. Mike Peterson and Ray Mouton were scheduled to present their report to the bishops and were canceled by Boston Cardinal Bernard Law, suggesting an investment in not knowing what was available to be known.
Since Dallas, there have been more than a few reports of bishops keeping accused priests in ministry and, of course, the second Philadelphia Grand Jury Report details ecclesiastical mishandling of sexual abuse since 2002 that is all too familiar. Finally, if bishops really did not understand how terribly sacrilegious and devastating sexual abuse was, why did they work tirelessly to keep it secret? More than the average American man or woman, Catholic officials knew about sexual abuse and chose to protect the church and priests at the expense of souls entrusted to their care.
The media did it:
Terry and her colleagues suggest that the media has a particular ax to grind against the Catholic church and that they have ignored all along the progress the church has made in more effectively confronting abuse. The media indeed seems regularly to stress the provocative rather than the positive. At the same time, however, the John Jay report seems itself to ignore the many stories of church officials who minimized abuse and returned abusers to ministry well after the Five Principles were ostensibly in play. The Dallas Morning News published a three-month study in 2002 indicating that two-thirds of the bishops arriving for the seminal Dallas meeting had kept abusing priests in ministry. Only a year after the bishops' Dallas meeting, Minneapolis-St. Paul Bishop Harry Flynn, chair of the Ad Hoc Committee on Sexual Abuse, denied requests from victims to speak to the bishops, saying they did not need to hear that again. If the media reports the facts and the facts of ecclesiastical maneuvers to minimize their own failures in the sexual abuse situation are there to be reported, it remains church authorities, not the media, who should be cited as derelict.
Where are the seminal sources?:
One of the more startling aspects of the John Jay report is its lack of a comprehensive bibliography. As scholars, Terry and her colleagues had an obligation to present a thorough review of the literature, pointing out when it agreed with or diverged from their findings. The report, to some extent understandably, focuses on criminology sources and cites the seminal works in that field, but it is impoverished in its cited familiarity with key sources in both the sexual abuse and Catholic sexual abuse crisis literatures. In the sexual abuse field, works by Christine Courtois, Glen Gabbard and Eva Lester, Richard Gartner, Mic Hunter, Judith Herman, Mike Lew, Diana Russell, Alan Sugarman, Bessel van der Kolk and colleagues, Gail Wyatt, and others are not cited. Similarly, the report does not cite the many who already have labored in the field of analyzing the church crisis and clergy abuse in general: Candace Benyei, Jason Berry, Frank Bruni and Elinor Burkett, Andrea Celenza, Donald Cozzens, Paul Dokecki, Eileen Flynn, Marie Fortune, David France, David Gibson, Myra Hildalgo, Mark Jordan, Gene Kennedy, Leslie Lothstein, Geoffrey Robinson, myself, and others. Since this is a study of "causes and context" of sexual abuse in the church, the omission of so many who have expended effort on exactly those issues is particularly disturbing. Terry may have confined herself to empirical literature, but in a study of context, it would be expected that she would also discuss the many and mostly convergent clinical, theoretical and narrative works on the topic.
I began this analysis stating that no one research study or narrative about the causes of the Catholic sexual abuse crisis can be definitive and criticisms can be lodged against any effort. Terry and her John Jay colleagues have made a valuable contribution to the literature, one that combines excellence and rigor with incompleteness and omissions. Such is the nature of research. The bishops, therefore, cannot point to this as the consummate and final analysis of their sexual abuse crisis nor should critics devalue the entire report because of its failings. Rather, we can appreciate that it is what it is and it is not what it is not.
[Mary Gail Frawley-O'Dea is coauthor of Treating the Adult Survivor of Childhood Sexual Abuse and coeditor of Predatory Priests, Silenced Victims.]


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package com.gotech.tv.launcher.vo;

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    public UserInfoVo(String mUserName, String mPassword) {
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redpajama_set_name: RedPajamaGithub


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As our permanent presence in Israel, our World Center in Jerusalem keeps us well connected to events and leaders in Israel.
B'nai B'rith leaders met with Prime Minister Benjamin Netanyahu and various Members of Knesset in December to discuss such issues as the Iranian nuclear threat, the peace process and Israel's mistreatment at such global venues as the United Nations.
This year, we took part in the inaugural meeting of the Knesset Lobby for Combating Anti-Semitism. And we continued to recognize and encourage Israel-Diaspora relations.
For the 21st year, the World Center hosted its award for Journalism Recognizing Excellence in Diaspora Reportage. This coveted award has had an impressive array of judges and winners over the last two decades, encompassing a "who's who" of the Israeli journalism community.
Since 1985, the World Center has attracted major speakers to deliver the "Jerusalem Address"—established as a forum to address fundamental challenges facing Israel and the Jewish people. This year's speaker, noted British novelist and columnist Howard Jacobson, received attention from countless media outlets in Israel for his presentation.
On Holocaust Remembrance Day, the B'nai B'rith World Center in Jerusalem and the Keren Kayemeth LeIsrael-Jewish National Fund (KKL-JNF) held a unique, joint Holocaust commemoration ceremony dedicated to the heroism of Jews who rescued fellow Jews during the Holocaust. The event took place at the Scroll of Fire Plaza in the B'nai B'rith Martyrs' Forest with about 900 people in attendance. Twenty-nine rescuers citations were awarded to Jews or their descendants who assisted other Jews in escaping to a safe haven or employed subterfuge, forgery, smuggling, concealment and other methods to ensure the survival of Jews from the Holocaust in Europe.
In 2013 the World Center continued a 25-year partnership with B'nai B'rith Uruguay for the "Light and Truth Award," presented every other year to outstanding Uruguayan experts in the fields of science and technology. Professor Virginia Echinope, head of the electronic energy department in the National Directorate of Energy at Uruguay's Ministry of Industry, Energy and Mining received an all-expenses paid trip to Israel as part of her award. The visit combined tourism with professional interchange and helped foster professional ties between Israel and Uruguay.

redpajama_set_name: RedPajamaCommonCrawl


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Remembering Coney Island's Mardi Gras parade — precursor to the Mermaid Parade —a weeklong celebration that was called 'an orgy of cheap glitter and thrills'
By David J. Krajicek
Half a million people would line up along Surf Avenue for nightly parades during Brooklyn's Mardi Gras.
For 50 years, Coney Island held a weeklong Mardi Gras wingding that rivaled the crowds, kitsch and decadence on display last week in New Orleans.
Nightly parades along Surf Ave. drew as many as 500,000 gawkers before the festival petered out in 1954.
Eyewitnesses are growing rare. But yellowed news clippings offer a rear view of the carnival — and the kooky petty crimes that followed the rush to Brooklyn's last El stop.
The Brooklyn Eagle and, later, the Daily News and other tabloids filled pages with Mardi Gras photos and stories about the fun and flush cash drawers in New York's working man's resort.
The Daily News filled pages with Mardi Gras photos and stories about the fun and flush cash drawers in New York's working man's resort.
The snooty Manhattan broadsheets covered the festival as an annual crime invasion of Coney Island, "an orgy of cheap glitter and thrills," as one gadfly called it.
Even a century ago, Coney Island would not have been confused with the Upper East Side. Sure, couth was scarce. But it was a summer haven for the city's ethnics and immigrants — and a place to scratch an itch for this vice or that.
Like honeybees to nectar, it also attracted the attendant flimflammers, clip artists, pocket-pickers, bilkers, beguilers and bamboozlers.
The Mardi Gras celebrations started in September 1903 as a benefit to help rebuild a home for pregnant girls, prostitutes and other police court castaways.
Brooklyn's Mardi Gras had nothing to do with Lent. Celebrated during the second week of September, the event had a charitable genesis.
In 1903, fire destroyed the Mission and Rescue Home for Wayward Girls, on W. 5th St. in Coney Island. For 15 years, the Rev. William Hughes and his wife had run the home as a lifeline for pregnant girls, prostitutes and other police court castaways.
Businessmen led by Louis Stauch, a Coney Island restaurateur, planned a benefit that September to rebuild the home. On a whim, they called it Mardi Gras.
Attendance at the Mardi Gras events eventually became mandatory for politicians and wannabes. (Quinn, William)
Hundreds of thousands turned out for the parades, which featured marching bands, floats drawn by teams of white horses, brigades of firemen, Salvation Army lassies and a smattering of freak show denizens, including "wire-haired ladies" and "every variety of notable peculiar."
Miraculously, the bad guys stayed home, including the boardwalk's ever-present shell-gamers and gold-brickers.
A drab broadsheet enthused, "A temperance spirit seemed to be abroad, too, for strong liquors were generally avoided, while the demand for ginger pop and similarly innocuous liquids was so great as to clean out entire stocks, a thing unprecedented in the resort."
Early Coney Island Mardi Gras celebrations weren't like those seen in New Orleans. For starters, "strong liquors were generally avoided," one paper wrote, though the demand for non-alcoholic drinks "cleaned out entire stocks."
The home for wayward girls was rebuilt, and businessmen decided to bring back Mardi Gras each September as the close-down show for the amusement park season.
It turned out that turpitude had not been run off.
In 1904, police swept through Mardi Gras and rounded up 150 "fakirs," described as "small businessmen of foreign birth, mostly Italians, whom they suspected of holding fraudulent naturalization papers." Their crimes? Selling frankfurters, corn on the cob, peanuts and fruit.
The Coney Island Mardi Gras had everything – floats, vocal opponents and lots of feather ticklers, which were banned in 1912.
By 1906, hooliganism by teenagers ("half-boys," the press called them) had taken root. Police Commissioner Theodore Bingham attended Mardi Gras only to be pelted with confetti and razzed with a fad novelty: the feather tickler.
It was as though the event was under the thrall of roving bands of Vaudeville aspirants.
The dastardly tickler — which "celebrants wiggled under the noses of passers-by" — showed up in several Mardi Gras crime stories over the years.
A highlight of the Coney Island Mardi Gras was the Baby Parade, which attracted 500 or more infants and crowds up to 500,000. (Quinn, William)
In 1908, the louts were tossing sneezing powder in faces, yanking men's neckties, and shoving confetti down the bosoms of young women, "making life unbearable for those who wanted to enjoy the carnival."
In 1911, the police strong-arm squad cracked down, arresting 250 hooligans who stomped on stolen straw hats, stuffed more confetti, groped women and raced through restaurants, overturning tables and chairs.
The next year, police banned some of the Mardi Gras instruments of torture: "No ticklers, no fuzzy dogs, no slap sticks, no paper dusters."
The 1912 Coney Island Mardi Gras festival, which crowned King Henry and Queen Ruth (wearing coronation ermine), was one of the first to feature a ban on ticklers, fuzzy dogs, slap sticks and paper dusters.
Amid the hijinks, Mardi Gras parades flourished.
Surf Ave. was strung with a filigree of criss-crossed lights from Ocean Ave. to W. 20th St. Processions set off at 8:30 p.m. for six consecutive nights.
Attendance became mandatory for politicians and wannabes. And marchers returned year after year — firemen, "winter bathers" of the Brooklyn Iceberg Athletic Club, the American Legion, the Knights of Columbus.
Lyle Fitzsimmons was crowned Queen of 1953 Coney Island Mardi Gras — the penultimate celebration in Brooklyn.
The Baby Parade, held on Saturday afternoon, was a highlight, attracting 500 or more infants and crowds of up to 500,000.
Though Prohibition was a sobering blow, Mardi Gras marched on.
The resourceful managed to fill their gullets. In 1922, the festival ended in "a blaze of trouble" when 65 men imbibed their way to disorderly conduct arrests.
The 1923 version was called a "carnival of intoxication." This time the drab paper, reporting 118 arrests, said, "Many were charged with forcibly stuffing confetti down the backs of strangers and then fighting when their efforts met with resistance."
Mardi Gras survived the Great Depression, but its light was flickering by the late '40s. Most Coney Island businesses were open year-round, and the owners, who invested $50,000 annually in the festival, worried that Mardi Gras curtailed commerce.
After several years of cancellations, Brooklyn Mardi Gras had its curtain-closing in 1954. The final parade featured 13 bands, 16 floats and a contingent from the Brooklyn Dodgers.
Since 1983, Coney Island's Mermaid Parade each June has become a noble descendant of Mardi Gras. If feather-ticklers and confetti-stuffers are still fettering the fun, the press has missed the story.


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Черемушки — деревня в Вяземском районе Смоленской области России. Входит в состав Поляновского сельского поселения. Население — 464 жителя (2007 год).

Географическое положение
Расположена в восточной части области в 1 км к юго-западу от Вязьмы, в 2 км юго-восточнее автодороги  Смоленск — Дорогобуж — Вязьма — Зубцов, на берегу реки Вязьма. В 3 км северо-западнее деревни расположена железнодорожная станция Золотарёвка на линии Москва — Минск.

История
В годы Великой Отечественной войны деревня была оккупирована гитлеровскими войсками в октябре 1941 года, освобождена в марте 1943 года.

В 1963 году указом Президиума Верховного Совета РСФСР деревня Чертово Вяземского сельского района переименована в Черемушки.

Примечания

Населённые пункты Вяземского района (Смоленская область)

redpajama_set_name: RedPajamaWikipedia


Tech Data Europe is creating a complete Microsoft cloud ecosystem that will enable partners to deliver the Microsoft's entire software stack through a single, integrated management platform.
All of Microsoft's cloud-based solutions, including Microsoft Office 365, Microsoft Azure and Microsoft Enterprise Mobility + Security (EMS), are available through the Tech Data Cloud Solution Store, powered by the company's StreamOne platform, as part of the Microsoft Cloud Solutions Provider (CSP) program. This means resellers, VARs and MSPs can offer the full range of Microsoft solutions alongside complementary offerings through a single portal, and also make use of the monitoring and billing capabilities of Tech Data's platform to manage their customer accounts.


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Do interval ratios consonance apply to a single pitch or a scale?
I have established the order of consonance to dissonance of a pitch as seen below in pitch C..
Unison - C to C - 1/1
Octave - C to C1 - 2/1
Perfect Fifth - C to G - 3/2
Perfect Fourth - C to F - 4/3
Major Sixth - C to A - 5/3
Major Third - C to E - 5/4
Minor Third - C to Eb - 6/5
Minor Sixth - C to Ab - 8/5
Tritone - C to F# - 7/5
Minor Seventh - C to Bb - 9/5
Whole Tone - C to D - 9/8
Major Seventh - C to B - 15/8
Semitone - C to C# - 16/15
Visuals of interval ratios
My question is as follows..
When I compose a melody in the key of C for e.g. do these ratios of consnance/dissonance apply to the scale of C as a whole or do these ratios only apply solely to the note C?
Allow me to elaborate slightly..
Let's say my melody in the key of C begins with the note C and the following note is G.. Do these ratios for C no longer apply once I've reached the note G, but in turn I would need now to shift the ratios to that of G or could I use C's ratios throughout an entire composition once I remained in the key of C?
EDIT Through the responses you good folks have shared, I feel the question has bŕoadned a tad and I would like to add to this original question. In terms of physics, what is the adequate approach/understanding of melody composition? We have established the physics behind chord progressions, so what is the physics to melody composition?
Many thanks guys!
Seery
SeerySeery
Fascinated as to why this is important to you. Is it just the science behind it, or are you hoping to use any science to produce melodic lines? Just using ratios for each successive note based on the last one will most likely not work, as the melody, even if only consonant ratios are used, won't sound right. It'll sound as if the key is constantly changing, which in itself will produce dissonance, I think. – Tim Jun 25 '19 at 7:01
I'm in the process of building up a system to produce music from it's absolute source as opposed to intuitive or music theory based. That came to mind about the key being neverending but I thought maybe that was the process of modulating from key to key. What formula would you suggest to use compose melodies not by vague or intuitive means but like I stated, in its purest form? Thank you Tim – Seery Jun 25 '19 at 8:24
The ratio structure is not dependent on the key. The 5th of G is also 3/2. If you are in the key of C the 5th of the 5th is (3/2)(3/2) = 9/4. Bump it down an octave and 9/8 which is your maj 2. – ggcg Jun 25 '19 at 13:31
@ggcg if the ratio structure is not dependent on the key, how would we continue utilizing ratios in our chord progression? If im in they key of C major and the bass note of my first chord is C and the following bass note G, how should i approach the ratios at this point? Should i now use the ratios of G? If so, would that not lead to modulating key or would i only use the ratios thats notes exist within my key of C and ignore the others? Thank you. – Seery Jul 2 '19 at 11:43
@Seery, I am more confused by your comment. I cannot tell what you are asking. The ratios produce the notes of the major scale regardless of the starting point. What is it you are trying to do on G? – ggcg Jul 2 '19 at 12:24
If you're going to measure the consonance of intervals by looking at the simplicity of their frequency ratio, that only makes sense if you actually play the intervals with those ratios, i.e. not in 12TET tuning. So let's assume you've tuned your instrument with the ratios you listed, starting with C at e.g. 1080 Hz (for simplicity):
C      1/1    1080 Hz
C#    16/15   1152 Hz
D      9/8    1215 Hz
Eb     6/5    1296 Hz
E      5/4    1350 Hz
F      4/3    1440 Hz
F#     7/5    1512 Hz
G      3/2    1620 Hz
Ab     8/5    1728 Hz
A      5/3    1800 Hz
Bb     9/5    1944 Hz
B     15/8    2025 Hz
C'     2/1    2160 Hz
Let's look at e.g. the major thirds. The major third from C to E has a frequency ratio of 5/4, and some other major thirds in the scale do too, but some have a different ratio:
C  - E     5/4 :  1/1     5/4
C# - F     4/3 : 16/15    5/4
D  - F#    7/5 :  9/8    56/45    1.2444444...
Eb - G     3/2 :  6/5     5/4
E  - Ab    8/5 :  5/4    32/25    1.28
F  - A     5/3 :  4/3     5/4
F# - Bb    9/5 :  7/5     9/7     1.2857142...
G  - B    15/8 :  3/2     5/4
Ab - C     2/1 :  8/5     5/4
A  - C#   32/15:  5/3    32/25    1.28
Bb - D     9/4 :  9/5     5/4
B  - Eb   12/5 : 15/8    32/25    1.28
As you see, the ratio 5/4 says something about the major third C-E, and six other major thirds in this tuning, but not about all major thirds, and not about the major third in general.
So let's turn to the idea of changing the tuning with every note. If we play a C and then an E, we now switch to a tuning based on E. Seven notes retain their tuning, five change:
F     16/15   1440 Hz
F#     9/8    1518.75 Hz    (1512)
Ab     5/4    1687.5 Hz     (1728)
Bb     7/5    1890 Hz       (1944)
B      3/2    2025 Hz
C#'    5/3    2250 Hz       (2304)
D'     9/5    2430 Hz
Eb'   15/8    2531.25 Hz    (2592)
E'     2/1    2700 Hz
If we now play an Ab, and then switch to a new tuning based on Ab, we find that C now has this frequency:
A     16/15   1800 Hz
Bb     9/8    1898.4375 Hz  (1944, 1890)
C'     5/4    2109.375 Hz   (2160)
So we started at C=1080 and end at C'=2109.375 Hz instead of 2160 Hz. This means that C is now 39 cents flat from where we started, after playing C-E-Ab-C. If we played an arpeggio C-E-Ab-C-E-Ab-C... the pitch would go flatter and flatter.
Another problem would arise as soon as you start to consider polyphonic parts instead of just a melody. What if one instrument played C-E-Ab-C and ended up 39 cents flat, but another instrument took a different route to arrive at the same note, say E-A-B-E? This second instrument plays perfect fourths and a major second, which means it stays in the same tuning. So you'd start off with a C at 1080 Hz and an E at 1350 Hz, and end with a C' at 2109.375 Hz and an E' at 2700 Hz, which is not a 5/4 ratio. So the two instruments have now gone out of tune with each other.
I guess you could turn this into a usable theory if you confined the melody and harmony to those intervals which either stay in the same tuning, or return to the initial tuning after each phrase. Or if one instrument leads the tuning, and the others have to follow. But it would be fiddlier than 12-tone music and microtonal music combined, and the constantly changing tuning would make it a challenging listen.
Let's see what rules for consonant harmony we can come up with using the tuning with "perfect" intervals based on simple ratios. I'll be using a slight variation of your table of ratios, with 16/9 for interval 10, because of symmetry, so that intervals 2+10 equal an octave:
DEGR. NOTE  RATIO    FRACT.   (12TET)
0    C      1/1     1        1
1    C#    16/15    1.066    1.05946
2    D      9/8     1.125    1.12246
3    Eb     6/5     1.2      1.18921
4    E      5/4     1.25     1.25992
5    F      4/3     1.333    1.33484
6    F#     7/5     1.4      1.41421
7    G      3/2     1.5      1.49831
8    Ab     8/5     1.6      1.58740
9    A      5/3     1.666    1.68179
10    Bb    16/9     1.777    1.78180
11    B     15/8     1.875    1.88775
12    C'     2/1     2        2
If we check which perfect intervals can be combined while still staying within the C-based tuning, we get this table:
0  1  2  3  4  5  6  7  8  9 10 11
0   *  *  *  *  *  *  *  *  *  *  *  *
1   *  -  *  -  *  -  -  *  -  *  -  *
2   *  *  -  -  -  *  -  -  -  *  *  -
3   *  -  -  -  *  *  -  -  -  *  *  *
4   *  *  -  *  -  *  -  *  *  -  -  -
5   *  -  *  *  *  *  -  *  *  -  -  *
6   *  -  -  -  -  -  -  -  -  -  -  -
7   *  *  -  -  *  *  -  *  *  *  *  -
8   *  -  -  -  *  *  -  *  -  *  -  *
9   *  *  *  *  -  -  -  *  *  -  -  -
10   *  -  *  *  -  -  -  *  -  -  -  *
11   *  *  -  *  -  *  -  -  *  -  *  -
If you want to check whether two notes will form a perfect interval, check whether the combination of their scale degree is marked with a star; e.g.:
From C to E is interval 4, from E to G is interval 3, 4 combines with 3, so E-G is a perfect interval. From C to D is interval 2, from D to F is interval 3, 2 does not combine with 3, so D-F is not a perfect interval.
To check whether you can add a third note to e.g. E-G, we need to check the intervals for both notes; so e.g. the intervals from C to A via E-G are 4+5 and 7+2; 4+5 is ok, but 7+2 is not. So we can not combine E-G-A. However, the intervals from C to B via E-G are 4+7 and 7+4, and 4+7 is ok, so we can combine E-G-B and have perfect intervals.
The note that the tuning is based on can be added to any combination of notes, so in this case, we can add C to get a C-E-G-B chord. Let's see if we can make that a major ninth C-E-G-B-D. From C to D via E-G-B is 4+10, 7+7 and 11+3; of these, 4+11 is not ok, so we can't make a Cmaj9 chord with perfect intervals. (We could use C-G-B-D without the E, though).
Equally, an Fmaj7 is ok, but an Fmaj9 is not: C to A via F is 5+4=ok, C to C via F-A is 5+7 and 9+3 which are ok (because of the ratio symmetry any two intervals that form an octave are ok, except 6+6) and C to E via F-A-C is 5+11, 9+7 and 0+4, which are all ok; then, C to G via F-A-C-E is 5+2, 9+10, 0+7 and 4+3, of which 9+10 is not ok.
So you can work out every combination of notes which contains only "perfect" intervals in this tuning. From the examples, we already have the chords C, Cmaj7, Em, G, F, Fmaj7, and Am. We also know that Cmaj9 and Fmaj9 contain imperfect intervals in this tuning (unless we drop the third). To use a chord that is imperfect in this tuning, you could move to another tuning in which the chord is made of perfect intervals.
With a tuning that uses the above list of intervals, the following combinations of scale degrees have only perfect intervals between them (with 0 being the note that the tuning is based on):
0  1  5 10
This is of course also true for any two or three scale degrees from one of these combinations, like 3 7 or 0 5 9.
When the tuning is based on C, these are some of the chords that can be played:
NOTES         CHORDS
C-Db-Eb-Ab    Ab, Dbsus2
C-Db-F-Ab     Db, Dbmaj7, Fm
C-Db-F-Bb     Bbm, Fsus4
C-D-Eb-G      Cm, Cmadd9
C-D-G-B       Csus2, G, Gsus4
C-Eb-G-Ab     Cm, Ab, Abmaj7
C-E-F-G       C, Csus4, Fsus2
C-E-F-A       F, Fmaj7, Am
C-E-G-B       C, Cmaj7, Em
C-E-A-B       Am, Esus4
C-F-G-Ab      Fm, Fmadd9, Fsus2, Csus4
C-F-A-Bb      F, Fsus4
C-F#          tritone
There are also quartal/quintal chords: C-F-Bb, Eb-Ab-Db, G-C-F and B-E-A. Some chord types are obviously missing, such as diminished and augmented triads, dominant sevenths, and any chord built with more than four notes.
When creating melodies, you can use notes from one of these combinations, and have perfect intervals between consecutive notes. You can also switch to a different combination via a common note. You'll see that you can never combine e.g. a G and an A without interjecting at least one other note, e.g. C, E, F or B.
Your Uncle BobYour Uncle Bob
@Seery Whatever this sort of approach leads to, it's going to be experimental. Western musicians have tried out all kinds of tunings for centuries, and finally settled (mostly) on 12TET, because every system is an approximation anyway. And theories about consonance and dissonance that use physics are abstractions that ignore the physical reality of acoustic instruments. But electronic instruments offer possibilities, of course. I'd advise you to look into the "spectralist" music of Tristan Murail, if you want to mix physics with music. – Your Uncle Bob Jun 27 '19 at 1:00
@Seery Btw, there's an inconsistency in your choice of ratios. Intervals 1+11, 3+9, 4+8 and 5+7 all add up to an octave, but 2+10 doesn't. It would do if you used 10/9 for 2 or 16/9 for 10. – Your Uncle Bob Jun 27 '19 at 1:05
@Seery The thing is that, while there's some physics at the basis of music, the human ear and mind aren't precise frequency and phase measuring tools, and the link between music and physics isn't mathematically rigorous, and physics and mathematics can only describe by approximation how we hear music. If you scientifically analyze your favourite recording, you'll find that not a single note is actually completely in tune for any length of time, but it sounds good once it's passed through the imperfections of your ears and been interpreted by your brain. – Your Uncle Bob Jun 27 '19 at 1:19
@Seery Music theory as we know it is actually more like engineering than like physics or mathematics. It's not all perfectly precise and mathematically rigorous, but it's good enough to be useful. And you have to ask yourself: do I like the sound of a piano? Because that's one big mess of out-of-tune harmonics. And do I like Chopin and Debussy? Their music probably doesn't strictly follow any rule based on physics or mathematics, but it sure is "good enough" :-) – Your Uncle Bob Jun 27 '19 at 1:39
@Seery Bach definitely understood mathematics and acoustics. He understood very well that it is not possible to tune a keyboard purely in the ratios you mention in the question (for general use, at least). Instead, a keyboard must be "tempered," which in those days meant there would be one or more very out-of-tune "wolf" intervals. He apparently liked to tease organ builder Gottfried Silberman by playing his organs so as to emphasizing the wolf, but he avoids certain intervals in the Well Tempered Clavier, presumably because these were wolfish in the temperament he was using. – phoog Jun 27 '19 at 2:58
Most sources that give that kind of order of consonance will have generated it with simultaneously-sounding notes, rather than successive notes. So it's concerned initially with Harmonic dissonance, rather than Melodic dissonance. Its immediate utility would be enabling you to find a way to measure the consonance or dissonance of a chord.
But is consonance and dissonance not utilised in single note melodies as tension and release?
Yes - and accordingly, there is also the concept of melodic consonance and dissonance. This results from the way that human listeners remember previous notes, and hear later notes in relation to them.
This is where it gets complicated. There are many different relationships in a piece of music - you might even consider that every note in the piece has a relationship with every other note in the piece. Of course we don't necessarily perceive things in terms of all these relationships. Instead, from hearing all these relationships between notes, we often come to sense an overall sense of the "home note" of the piece, and hear melodic notes with respect to this. However, this sense of 'home note' can change - which is why a single-note melody can still suggest a tonic, outline chords, and even have local tonicizations.
So I think the answer to your question is "both". As soon as you have three notes, there are three relationships happening - between note 1 & 2, note 2 & 3, and note 1 & 3. Which are most important will depend on the phrasing and accenting of the notes. As you get more and more notes in a piece, the number of relationships increases dramatically.
You might find the discussion on this answer interesting, as it talks about the different levels of context in which a note might be considered consonant or dissonant.
Much of this is subjective, too. if I'm listening to a jazz musician and they play a fragment of the melody that they're improvising on, my perception of the next part of the piece might depend on whether I recognised the fragment and started to hear other parts of the piece in its context. A dissonant note or chord that's 'expected' (either through familiarity with a particular piece, or with the genre) might seem less dissonant than one that surprises.
Taking all this into consideration, we can see that there are a lot of variables. You might have heard the phrase "an art is a science with more than seven variables"; Consideration of consonance and dissonance definitely gets into the realm of "art" pretty quickly!
Thank you very much for your informative answer topo. I was thinking that if we look at chord progressions in the sense of tension and release, we could apply the same approach to a melody with the only difference being singular notes as there is obviously consonance and dissonance between two intervals even if they're played in succession as opposed to simultaneously. Would you agree with this statement? – Seery Jun 27 '19 at 0:31
The question would then become, do we shift the ratios every new note of the melody but which would destroy a composition within a single scale or is it not common to compose outside of an original key of a song, called modulation? Or is it a better option to only use ratios of consonance and dissonance which it's notes only pertain to the key you're on? This approach would be similar to composing within the scales notes harmonic series instead of the ratios which I've done before but felt limited. What would you reckon? Many thanks again topo – Seery Jun 27 '19 at 0:35
@Seery The difference between harmonic and melodic intervals is that dissonance is much more significant with the former. A perfect fifth of 40:27 sounds horrible harmonically but far less so methodically. – phoog Jun 27 '19 at 1:32
@Seery when hearing melodies in terms of tension and release, I don't think I primarily hear the consonance/dissonance between successive notes. Personally, I think the melodic consonance/dissonance I hear is primarily the dissonance between a note and whatever I perceive to be the local tonic of the piece (which, as you say, may be due to a modulation). – topo Reinstate Monica Jun 27 '19 at 6:48
So you could come up with a heuristic that determined what the local tonic was at any given time, and calculate the consonance of a given note with respect to that. Of course while a piece is modulating, it might be that the listener hears a note with respect to both the old and new tonic - which is why modulation sounds interesting. – topo Reinstate Monica Jun 27 '19 at 6:54
Consonance and dissonance refer to notes that sound simultaneously. A C and a B sounding simultaneously are relatively dissonant. A G and a B sounding simultaneously are relatively consonant. Therefore:
Let's say my melody in the key of C begins with the note C and the following note is G.. Do these ratios for C no longer apply once I've reached the note G?
Correct. For example, the interval between C and B is a major second, which is dissonant, while the interval between G and B is a major third, which is consonant.
or could I use C's ratios throughout an entire composition once I remained in the key of C?
No. For example, the ratio between C and A-flat is a minor sixth, which is relatively consonant, but between G and A-flat is a minor second, which is relatively dissonant.
@Seery if you are composing a melody of single notes, then you do not need to worry about consonance or dissonance, because you will never have more than one note sounding at the same time. If you're working with chord progressions, it's not really that difficult. You just learn which intervals are consonant and which are dissonant. You're not constantly recalculating ratios. It's a bit like reading: you don't actually read every letter individually unless you encounter an unfamiliar word. Your second chord, G major, has the same shape as your first chord, C major. – phoog Jun 25 '19 at 2:09
But is consonance and dissonance not utilised in single note melodies as tension and release? What other formula would serve in creating a beautiful sounding melody if it's not the interplay between tension and release? Maybe it is also worth noting that these melodies would be later combined with harmony and rhythm also if that has any relevance to the context. – Seery Jun 25 '19 at 2:24
@Seery, I am very confused by your conclusions regarding the ratios. These ratios are based on harmonics. The relative ratio of the notes of the major scale do not change with note or degree, or key. However every note played produces a harmonic structure. For example, on the guitar every note plucked produces the major triad from the harmonics. This can (and does) create dissonance with the other notes in the key. – ggcg Jun 25 '19 at 13:35
@Seery, but you don't have to consciously change key with every note (my interpretation of your post). – ggcg Jun 25 '19 at 13:36
@Seery yes there is of course the issue of melodic tension, but I do not think it is so strongly bound to frequency ratios. For example, those kinds of music in which melody plays a much more important role than harmony tend to use so-called microtonal inflection to that end. In any event, the ratios are more complicated than what you present: a major second can also be 10:9, a half step can be 25:24, and a major third can be 81:64. – phoog Jun 25 '19 at 14:06
You did not mention a musical style so I will assume common practice along with some melody guidelines from Fux.
When I compose a melody in the key of C for e.g. do these ratios of consnance/dissonance apply
As other answer have pointed out these intervals are harmonic intervals for simultaneous tones. They don't really apply to melody.
(from comments) But is consonance and dissonance not utilised in single note melodies as tension and release?
Yes. Tension and resolution are aspects of Melody
...What other formula would serve in creating a beautiful sounding melody if it's not the interplay between tension and release? Maybe it is also worth noting that these melodies would be later combined with harmony and rhythm also if that has any relevance to the context
You use the "formulae" of harmony and melody. There is lots of pedagogy on both topic.
What I read in your question is you expect melody to operate in some way derived from the ranking of the consonance/dissonance of harmonic intervals. That is not how melody works. I think you can understand the problem in that expectation by considering how a melodic leap is perceived in harmonic context.
The follow isn't an exhaustive list, but should lay out the idea. When a melody leaps, for example up a minor sixth, it can work in different harmonic contexts:
it could be a chord arpeggiation like ^3 ^1 over I
it could be a leap between two chords using chord tones like ^1 b^6 in i iv6
it could be a leap between two chords using an appoggiatura like ^1 ^6 in I V6
...the point here is that all melodic leaps are not equal and perception of chord tones (even those implied by an unaccompanied line) matter.
An arpeggiated leap does not have the tension and need for release that an appoggiatura does.
If we look at things from a more pure linear perspective and think of the guidelines of Fux, for the most part a leap is just a leap and they all are consider to carry some amount of "tension" that needs to be resolved by a step in the opposite direction of the leap. That melodic guideline applies regardless of the size of the interval. Leaps by third, fourth, fifth, sixth are essentially the same in that sense of a "tension" needing resolution.
But, as you might expect, there are exceptions in Fux. The largest leap he allowed was a minor sixth. And, various melodic outlining of a tritone were forbidden. I never really understood the leap size limit. It seems kind of arbitrary. But the avoidance of a melodic tritone seems clearly related to the implied harmonic sound of a tritone.
But the big problem with applying harmonic consonance/dissonance to melody comes when considering step-wise motion. The harmonic list puts whole tones and half tones at the bottom as harmonic dissonances. If you mis-apply that to melody, you would treat conjunct (step-wise) motion as loaded with tension. Melodically that in not the case. Conjunct motion is the basic melodic motion. Conjunct motion to flow freely without any sense of tension building.
More importantly mis-applying harmonic dissonances to melody overlooks the importance of tendency tones and especially the half steps. In tonal music some tones within a scale have a tendency to move to others. FA moves down to MI and TI moves up to DO are the essential tendencies. Those half step movements are considered dissonant or tensions (as they appear on the harmonic chart), instead they are resolutions to the tonic chord tones.
They apply only to the two tones being played.
(from comments) fast track to summarised, vague and extensively time consuming music theory ...Beethoven also wrote pieces while deaf so I'm set on the idea of some mechanics.
You hope this will be a fast track. But, if you hope to make music along the lines of Bach, Beethoven, etc. you will only make the path to understanding more difficult. Music isn't a physics application, it's the art of music. As an art it is subjective. That subjectivity is exactly why physics won't be the short cut you hope for.
Beethoven learned how to compose before he went deaf. He was able to keep composing, because had learned harmony and melody when he could hear!
Not the answer you're looking for? Browse other questions tagged theory or ask your own question.
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text:
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text:
Lasse Thoresen
BiographyConcertsWorks
Norway, 1949
Lasse Thoresen studied composition under Finn Mortensen, Oslo Music Conservatory, electrophony and composition at the Institute of Sonology in the Netherlands. He has been teaching sonology and electro acoustic music at the Norwegian Academy of Music since 1975, from 1988 as professor of composition. Mr. Thoresen has received a number of important awards such as the Lindeman Award for his integral work as a composer (1987), the Foundation Samii-Housseinpour Price (Belgium 2000), and Prix Jacques DURAND from Institut de France, Academie des Beaux Arts. In 2003 he receives the Edvard Prize for Løp, lokk og linjar, a work which earned him a three years residency at Festival Présence, Paris. His music has absorbed influences from archaic Norwegian folk music and "ethnomusic" in general, from French spectral music and "Musique Concrete", and from Harry Partch's tonal system "Just Intonation". He has also developed a theory of emergent musical forms, motivated by the desire to increase the accessibility and comprehensibility of contemporary music to the open minded listener.
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Silver winner in the History (U.S.) category of the 2017 Independent Publisher Book Awards (IPPY), sponsored by the Independent Publisher Book Awards.
In 1952, the Hill family was held hostage by escaped convicts in their suburban Pennsylvania home. The family of seven was trapped for nineteen hours by three fugitives who treated them politely, took their clothes and car, and left them unharmed. The Hills quickly became the subject of international media coverage. Public interest eventually died out, and the Hills went back to their ordinary, obscure lives. Until, a few years later, the Hills were once again unwillingly thrust into the spotlight by the media—with a best-selling novel loosely based on their ordeal, a play, a big-budget Hollywood adaptation starring Humphrey Bogart, and an article in Life magazine. Newsworthy is the story of their story, the media firestorm that ensued, and their legal fight to end unwanted, embarrassing, distorted public exposure that ended in personal tragedy. This story led to an important 1967 Supreme Court decision—Time, Inc. v. Hill—that still influences our approach to privacy and freedom of the press.
Newsworthy draws on personal interviews, unexplored legal records, and archival material, including the papers and correspondence of Richard Nixon (who, prior to his presidency, was a Wall Street lawyer and argued the Hill family's case before the Supreme Court), Leonard Garment, Joseph Hayes, Earl Warren, Hugo Black, William Douglas, and Abe Fortas. Samantha Barbas explores the legal, cultural, and political wars waged around this seminal privacy and First Amendment case. This is a story of how American law and culture struggled to define and reconcile the right of privacy and the rights of the press at a critical point in history—when the news media were at the peak of their authority and when cultural and political exigencies pushed free expression rights to the forefront of social debate. Newsworthy weaves together a fascinating account of the rise of big media in America and the public's complex, ongoing love-hate affair with the press.
Samantha Barbas is Professor of Law at University at Buffalo Law School. She is the author of three books: Movie Crazy: Fans, Stars, and the Cult of Celebrity (2001), The First Lady of Hollywood: A Biography of Louella Parsons (2005), and Laws of Image (Stanford, 2015). She has provided legal commentary for The New York Times, The Guardian, and The Washington Post.
"This fascinating book journeys back to a transformative moment in Supreme Court history, when it declared that the Constitution protected the press's invasion of privacy of newsworthy subjects. Newsworthy inspires us to imagine what American society might look like today had the decision gone the other way."
"With a compelling narrative of the important and fascinating Supreme Court case of Time, Inc. v. Hill, Newsworthy is a valuable addition to the volatile debate over the tension between freedom of the press and the right to privacy in the U.S."
"Especially impressive is the degree to which the author illuminates the ways in which the law is shaped by the individuals involved in creating itThis fascinating and richly documented legal history is suitable for general readers"
"In Newsworthy, Barbas demonstrates her formidable skill as a scholar and storyteller, producing a page-turner from deep research that places Time, Inc. v. Hill at the meeting point of the colliding rights of privacy and freedom of the press...Ultimately, the book offers crucial context for our understanding of the relationship between the First Amendment and the democratic public sphere."
"Drawing from detailed and as-yet unexamined sources...Barbas assembles a compelling trove of evidence to support her argument. Her analysis is organized and written in an exciting narrative that challenges academic convention. As such, readers will find Newsworthy not only a human story about the law's effects on individual lives but also a significant legal treatise on the competition between fundamental rights of privacy and press made all the more relevant by the contemporary debate about 'fake news.'"
Could the Hulk Hogan Case Change Journalism?


CONOVER , N.C., April 15 (UPI) -- Domino's Pizza said two employees at a North Carolina location have been fired after they posted a video online that depicted them sneezing on food.
The company said the employees, who identified themselves in the video as Kristy and Michael, were fired from the store in Conover after they posted a video to YouTube that purported to show how Domino's pizzas are made, the Charlotte (N.C.) News & Observer reported Wednesday.
The video featured footage of the two workers engaging in unsanitary practices including picking their noses and sneezing on food.
The employee who used the name Kristy said in an e-mail to Domino's bosses that the video was a joke and the employees would never engage in those behaviors while preparing food for customers.
Domino's officials said in a news release Tuesday that the two employees have been fired.
"We are appalled by the actions of these individuals and they do not represent the 125,000 hard-working men and women of Domino's Pizza across the country and in 60 countries around the world," the release stated.


This paper discusses the early development of radiation applications and radiological physics in medicine world-wide in general, and India, in particular. The paper presents the growth and current status of these applications, with special reference to medical radiological physics as a profession in India.
Patient dose verification is clinically one of the most important parts in the treatmerit delivery of radiation therapy. The three dimensional (3D) reconstruction of dose distribution delivered to target volume helps to verify patient dose and determine the physical characteristics of beams used in IMRT. Here we present Beam Intensity Scanner (BlnS) System for the pre-treatment dosimetric verification of two dimensional photon intensity. The BlnS is a radiation detector with custom-made software for dose conversion of fluorescence signals from scintillator. The scintillator is used to produce fluorescence from the irradiation of 6 MV photons on a Varian Clinac 21 EX. The digitized fluoroscopic signals obtained by digital video camera based scintillator(DVCS) will be processed by our custom made software to reproduce 3D- relative dose distribution. For the intensity modulated beam (lMB), the BlnS calculates absorbed dose in absolute beam fluence which is used for the patient dose distribution. Using BlnS, we performed various measurements related to IMRT and found the following: (1) The 3D-dose profiles of the lMBs measured by the BlnS demonstrate good agreement with radiographic film, pin type ionization chamber and Monte Carlo simulation. (2) The delivered beam intensity is altered by the mechanical and dosimetric properties of the collimation of dynamic and/or step MLC system. This is mostly due to leaf transmission, leaf penumbra, scattered photons from the round edges of leaves, and geometry of leaf. (3) The delivered dose depends on the operational detail of how to make multileaf opening. These phenomena result in a fluence distribution that can be substantially different from the initial and calculated intensity modulation and therefore, should be taken into account by the treatment planning for accurate dose calculations delivered to the target volume in IMRT.
In the western countries cobalt-60 machines have become obsolete, whereas in India we have about 250 machines operational for clinical radiotherapy. The basic differences of '6 MV x-ray beam' and 'cobalt-60 beam' are :- a) build-up dmax point, b) flatness of beam at depths, and c) sharpness of the beam edge. We looked at the homogeneity of delivered dose in the target volume in a 3 field SAD technique for 60Co (80 cm, 100 cm) and 6 MV treatments. More dose variations are seen in 60Co treated volume. The excess curvature of isodose curves of 60Co at depths may be one of the reasons for this in homogeneity in dose to target volume. Therefore, there is need for achieving perfect flatness in the isodose curves at desired depths.
Radiation treatment with catheter based P emitters to prevent restenosis following angioplasty is currently under clinical trial in our institution. Since the treatment distance is 2.5 mm to 4.0 mm from the center of the source, gel dosimeter, together with nuclear magnetic resonance (NMR or MR), is the most suitable dosimetry system for intra-coronary sources. This is because gel dosimetry has very high resolution and is the only means to obtain three-dimensional dosimetry. A preliminary study was carried out with ferrous gel to determine the length and uniformity of activity distribution of the 90Sr/90 Y source of Beta-CathTM system used for intracoronary brachytherapy. It was found that the active length of the source, as measured with the prepared ferrous gel was 39.46 mm as against the specified length of 40 mm resulting in a variation of - 1.35% with that specified. From the profile obtained along the radial direction of the source, it was found that the 50% width at half maxima was 3.8 mm.
Presence of alpha emitting radio nuclides inside the human body is very harmful to the normal tissues because of high attenuation powers of these radio nuclides. The amounts of alpha emitting radionuclides in the blood of a group of cancer patients and a group of non-cancer patients have been measured in a small number of Bangladeshi people. Solid State Nuclear Track Detector (SSNTD) has been used to estimate alpha tracks, which are counted by a binocular research microscope at a magnification of 450 (45'objective and 10 'eyepiece). All samples have been taken in separate airtight glass vials. For each sample, proper background correction was performed. The average track density in the blood of the cancer patients has been found almost double to that of the normal people.
A method has been developed to predict Central Axis Percentage Depth Dose Distribution (CAPDD), using buildup factor concept of radiation transport studies in infinite medium. This concept has been applied successfully for finite medium in the case of 60Co beam and high energy x-rays. The predicted and measured values, which agree within +3% are presented here.


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Q: Would have find or found A friend is looking for an apartment in a certain time in the future and she doubt if the owner would agree to renew her contract. So what do I say? Do I say "by the end of the contract you would have found/find another apartment to move in" please explain which is right.

A: "One would hope that by the end of the contract you will have found another apartment"

redpajama_set_name: RedPajamaStackExchange


HANSARD 1803–2005 → 1930s → 1938 → November 1938 → 24 November 1938 → Commons Sitting → UNEMPLOYMENT.
asked the Home Secretary whether, in view of the widespread interest taken in the question of Jewish refugees, he will arrange for the weekly publication of figures showing the number of adults and children admitted to this country?
As my right hon. Friend previously explained, there are difficulties in the way of giving figures showing the number of refugees who arrive in a given week, because amongst those who come here as visitors or students there are some who apply later to be allowed to stay as refugees, but my right hon. Friend will consider whether figures can be compiled of those who are identifiable on arrival as refugees.
asked the Home Secretary the duration of time that Jewish refugee children are to be allowed to remain in this country; and whether he will see that steps are taken to keep trace of the children and arrange for their leaving the country at a fixed age?
It is proposed that refugee children admitted to this country under the care of the Inter-Aid Committee for Children may be permitted to remain in this country for purely educational or training purposes until they have completed their education or training, on condition that they are not placed in ordinary employment. A record will be kept of each individual child.
Will the Government consider issuing a White Paper with regard to aliens coming into this country, giving the exact conditions and guarantees under which they will be admitted?
In the interests of the good name of this country, will the hon. Gentleman do his best to discourage questions such as this?
In the interests of the future of this country, will he see that undesirable people are not admitted?
Will the Government act in the spirit of the Home Secretary's speech, and consider the interests of the children first?
If all these children are to be allowed to come here, will the Government consider the claims of the Chinese?
asked the Home Secretary whether, since the plight of part-Jews in Greater Germany is even more tragic than that of whole-Jews, owing to the latter having the support of wealthy and influential organisations, and having regard to the fact that, owing to their lesser degree of distinctiveness, part-Jews are less difficult of absorption into non-Jewish populations, he will give an assurance that the ratio of these two classes will be approximately adhered to in respect of both children and adult refugees admitted into this country for permanent settlement?
Applications made by or on behalf of refugees are considered on their merits without discrimination as to race or religion, and it would not be possible for my right hon. Friend to promise that, if so many refugees of one description are admitted, an equal number of another description will be admitted, but my right lion. Friend is in entire agreement with the view that as sympathetic consideration should be given to the one class as to the other.
Will an endeavour be made to keep a record, so that we may be able to check how far the Home Secretary implements his good intentions?
I will consider that point.
asked the Home Secretary whether His Majesty's Government have under consideration the provision of any financial assistance for the accommodation and training of German or other refugee children who may be brought to this country?
The question whether financial assistance should be given by Governments was one of the matters considered at the Evian Meeting, and the view taken by the countries represented at that meeting was that the Governments of the countries of refuge and settlement should not assume any obligations for the financing of involuntary emigration.
Has the Minister received any representations from the Inter-Aid Committee or other refugee organisations with regard to financial assistance; and does he consider that it will be possible to deal with the urgency of these refugee children?
I am not aware of any representations of that nature.
Will not my hon. Friend reconsider that decision, in view of the increase in the nature of the problem? Would not the Government be prepared to contribute, to responsible private agencies, at least £1 for £1?
Will my hon. Friend consider the interests of the British taxpayer?
Will any representations that are made be considered?
My right hon. Friend is always prepared to consider all representations, but in saying that I must not be taken to imply any particular undertaking.
asked the Home Secretary whether, in order to avoid prolonged delays, he is prepared to grant a bloc visa for groups of Jewish refugee children from Austria and Germany in cases in which provision for maintenance is guaranteed?
Yes, Sir. It has been decided to waive the requirement of a visa for refugee children brought to this country for education purposes under the care of the Inter-Aid Committee for Children. I would refer to the reply which I gave yesterday to the right hon and gallant Member for Newcastle-under-Lyme (Colonel Wedgwood).
What is the upper age limit for a child?
asked the Home Secretary whether, in view of the special 1931 needs of refugees, he will consider reserving for the present new permits to aliens to reside and work exclusively for such refugees, and will also cause the permits already held by aliens to be reviewed and withdrawn when the alien might, without hardship, be required to return to his own country in order to make more room for refugees?
I would refer the hon. Member to the reply given on this matter to the hon. Member for Wolverhampton, East (Mr. Mander) on 7th July.
asked the Prime Minister whether His Majesty's Government would be willing, in conjunction with the other members of the Inter-Governmental Committee for Refugees, to contribute financial assistance or support an international loan to assist in the settlement of German or other refugees overseas?
asked the Prime Minister whether instructions will be given to the representatives of His Majesty's Government at the forthcoming meeting of the Inter-Governmental Commission on Refugees to support the issue of an international loan to aid the settlement of Jewish refugees; and whether His Majesty's Government are prepared to make a substantial contribution to such a loan under suitable conditions?
It is not possible at present to form any reliable estimate of the expenditure which the settlement of Jewish refugees will involve, but hon. Members will appreciate that Government support for an international loan would involve reconsideration by the Inter-Governmental Committee of the recommendations made to the Governments which participated in the Evian Meeting.
Has the right hon. Gentleman noticed the statement made by the Chancellor of the Duchy of Lancaster in a broadcast on Tuesday, that we have to envisage not fewer than 600,000 refugees leaving Germany in a short time, and does he think it possible to deal adequately with a problem of that kind by voluntary effort? Will he consider what representations the Government should make to the Inter-Governmental Committee on the question of financial assistance?
I have not noticed that particular statement, but my right hon. Friend himself is very closely associated—I think he is the principal member—with that Inter-Governmental organisation.
Who will guarantee this loan?
Will the right hon. Gentleman consider the extreme urgency of the question, as it has developed since the Evian Conference, and will he see, therefore, that the British Government give a lead to this Conference?
I did not refer to the Evian Conference myself, but I observed that the stipulation had been made, as I stated at the time when the Evian Conference was created, on the proposal of the American Government.
Will my right hon. Friend remember that we have a large number of unemployed in this country?
Back to INQUEST, TETTENHALL, STAFFORDSHIRE.
Forward to FOREIGNERS (IMMIGRATION OFFICER'S ACTION).


A really stupid self centres bitchy hoe who always rolls her trashy skirt around her stupid "cousin" and tries to hop into bed with him. She is super spoilt and only talks about how her parents are the richest and how she goes to America every year but she can't even afford to fix her bushy unibrow or shave her hairy sad moustache. She says that her mum is the manager of British Airways but the manager of British Airways is a man. Maybe her mum is a hermaphrodite, and that explains why Sophie looks like an 80 year old man. She is a pathological liar and just uses people when it's convenient for her then dumps them afterwards. But one day she will get all her karma back because she is a trashy person and anyone who has met her constantly has burns in their eyes from looking at her ugly face.
Me: Omg, there's Sophie Gil. We when was the last time she shaved or bathed?
Get a sophie gil mug for your brother Bob.


Keeping up to date with the latest software provides our customers with a streamlined manufacturing process. Decreasing lead times, increasing process control, and providing the highest quality products.
Magnolia Machine is a premier provider of Machining and Fabrication services for all industries. With a wide range of machinery and expert fabricators we can handle jobs from repair, to food grade products and Aerospace work. Specializing in small to medium production of parts. With our wide variety of work, you can be guaranteed that we can meet any of your specific needs with exceptional results.
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