text:
Tribute to James Bond
There have been a lot of actors who've played 007 over the years, but we grew up watching Roger Moore. In honor of his passing, we're dedicating a week to one of the coolest characters around - Bond, James Bond.
SONG OF THE monDAY
James Bond Theme - John Barry Orchestra
The James Bond Theme was written by Monty Norman and arranged by John Barry. It was used in the first James Bond film, Dr. No (1962) and has been included as part of the gun barrel sequence of nearly every James Bond film since. Monty Norman and John Barry, who has composed 11 James Bond film soundtracks, have battled in court for songwriting credit with Norman winning both times.
SONG OF THE tuesDAY
A View to a Kill - Duran Duran
A View to a Kill is the title theme for the 1985 James Bond film, A View to a Kill. Written by Duran Duran and John Barry, it is the only James Bond title song to hit number one on the US Billboard Hot 100. It also landed at number two in the UK and was nominated for a Golden Globe for Best Original Song. Duran Duran performed A View to a Kill at Live Aid, their last performance before their breakup.
SONG OF THE wednesDAY
Live and Let Die - Paul McCartney and Wings
Live and Let Die is the title song from the 1973 James Bond film, Live and Let Die. It was written by Paul and Linda McCartney and performed by Paul McCartney's band Wings. Film producers commissioned McCartney to write the theme before the script had been finished. The song peaked at number 2 on the charts, and reunited Paul McCartney with former Beatles producer, George Martin.
SONG OF THE thursDAY
For Your Eyes Only - Sheena Easton
For Your Eyes Only is the theme for the 1981 James Bond film, For Your Eyes Only. The song was written by Bill Conti and Mick Leeson and performed by Sheena Easton. Conti originally wanted Donna Summer or Dusty Springfield to sing the title song, but after meeting Easton in person, he changed his mind. Easton is the only artist to date who's seen singing the lyrics in the opening credits.
SONG OF THE friDAY
GoldenEye - Tina Turner
GoldenEye is the title song from the 1995 James Bond film, 007: GoldenEye. It was written by Bono and the Edge of U2 specifically for Tina Turner. Another song producers were considered was The GoldenEye by Ace of Base, which was later reworked into The Juvenile. Producers went with Turner and GoldenEye instead. The song was released on the original soundtrack and on Turner's 1996 album, Wildest Dreams. iTunes has the song attributed to Ike and Tina Turner on the original soundtrack, which is bullshit. Ike Turner didn't have anything to do with the song.
SONG OF THE saturDAY
All Time High - Rita Coolidge
All Time High is the theme song for the 1983 James Bond film, Octopussy. Performed by Rita Coolidge with lyrics from Tim Rice, the song marked a return of regular Bond theme composer John Barry after his absence for For Your Eyes Only (1981). Barry decided to not have the title song named after the film due to the peculiar name, Octopussy. Rice proposed six different titles, with Barry choosing All Time High in the end. The song was the first James Bond theme for which a music video was made.
SONG OF THE sunDAY
Skyfall - Adele
Skyfall is the title song from the 2012 James Bond film, Skyfall. Written by Adele and Paul Epworth, the song was released on Oct. 5, 2012 for Global James Bond Day, which marked the 50th anniversary of the first James Bond film, Dr. No. Though the song only reached number two on the UK charts and eight in the US, it was the first of only two Bond title songs to win an Academy Award for Best Original Song. The second was Sam Smith's Writing's On the Wall from Spectre (2015).
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So the full Fillmore concerts, long rumored, are finally on their way. A new 6-CD set, The 1971 Fillmore East Recordings, will be released on July 29. It includes at least 14 previously unreleased songs. This is the one we've been waiting for and I'm anxious to get my hands upon one.
The collection is available through Hittin the Note by clicking here. It is the reccomended source for all Allmans products.
One of the best live albums of all time is about to get considerably better. The Allman Brothers Band's cornerstone LP, At Fillmore East, compiled from the four sets recorded on the weekend of March 12-13, 1971, has been expanded, stretching over six CDs with fifteen unreleased tracks. Additionally, The 1971 Fillmore East Recordings contains the complete June 27 performance during the iconic venue's final weekend, after the band was handpicked by impresario Bill Graham to headline closing night. Produced by Bill Levenson, who compiled the definitive Skydog: The Duane Allman Retrospective (Rounder, 2013), The 1971 Fillmore East Recordings captures the most inspired improvisational rock unit ever at the peak of their prodigious powers, blazing their way through extended instrumental elaborations, so taut and virtuosic, that the crowds that packed the Fillmore East on those memorable nights were utterly transfixed. When it came to live performance, no other band could touch the Allmans.
The four shows were recorded by veteran Atlantic Records engineer/producer Tom Dowd, who'd not only produced the Allmans' second album, Idlewild South, but also the sessions for Derek & the Dominos project, putting Duane Allman together with Eric Clapton for some mind-blowing extended guitar duels. That album, Layla, dramatically backed up those who'd been calling the upstart Allman Brothers Band the most exciting live act on the planet, and its little-known 24-year-old leader a fiery six-string virtuoso to rival Clapton, Beck and Page. Dowd and Atlantic, consequently, wanted to put out a live album to capture a skilled and adventurous band in full flight, the two guitars circling each other like a pair of falcons, stretching their material into thrilling and electrifying shapes. No matter that the Allmans had yet to tackle most of their live material in the studio-this band wasn't about the studio.
Of course I now must have it. Thanks for the 'heads up'.


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Urban Voids as Transcultural Spaces
July 21, 2014 | By Sonia Ramundi
Editor's note: This is the seventh post in a series by students at the John H. Daniels Faculty of Architecture, Landscape, and Design. Each piece features an idea for an architectural intervention that would to better connect Torontonians with their ravine system. The designs in this series were created as part of Professor Brigitte Shim's Thesis Research Option Studio or final Thesis Studio. The work and text in this post is by Ladan Sharifpour whose bio you can find below.
With the continued intensification of cities in the 21st century, a growing desire to reduce resource consumption, and rising land values within urban areas, this project seeks to identify and utilize opportunities created by our network of road infrastructure. It explores the idea of transforming "leftover land" created by highways into highly reproductive landscapes.
The site for this project is in the heart of Toronto along the Don Valley Parkway, a highway that connects northern part of the city to its downtown core. The most unique character of this highway is its location: Toronto's Don Valley Ravine.
The Don River valley and parkway has divided city dwellers. David Hulchanski identified three sub cities, which surround the valley. These sub cities include the high income city and the middle income city (from the Bloor viaduct to Millwood Rd). The lower land in the Don Valley is home to urban nomads who have claimed land where there is an absence of permanent dwellings.
Highway infrastructure has formed shameless spatial compositions and dysfunctional voids in cities (unused pieces of land isolated by highway exits or turn offs). These urban voids, or islands, created by the construction of the Don Valley Parkway equal 35 hectares. Rather than trying to demolish and reshape the infrastructure, we could consider appropriating the land within these voids.
If these lands were to be used for agricultural purposes, they could harvest a volume of produce to feed large areas of our city. These pieces of leftover land are vast (each covers more than 1 hectare), low in value, and located within an urban metropolis — qualities that directly respond to the major obstacles often found to creating productive land in urban areas.
Transcultural spaces
Transforming these "islands" created by the Don Valley Parkway into productive landscapes could engage various social and community groups. Planting gardens on these sites could provide jobs for people with limited resources and increase the broader community's access to healthy food.
The project is envisioned as three phases.
Phase 1: A marker of change
The first phase of this project would be to build a landscape component: a constructed wetland that filters the highway runoff through a stepped landscape. The filtered runoff would be stored in a reflecting pond within an event space in the gardens. This landscape component will be what drivers see from the highway.
Phase 2: a community connector
In this phase, stepped gardens would be built along with a "energy and food house." Communities surrounding the Don Valley would be engaged in the production of food. Relationships with similar facilities and organizations, such as the nearby Evergreen Brickworks, would be established. (One of the main drivers in selecting this site is its adjacency to the Evergreen Brickworks.)
The use of a gabion wall as a retaining wall is a common method in the valley. A rain water collection system would be integrated along with a solar energy harvesting system. The water collected in this system could be used for irrigation or, with further filtration, could be used as palatable water for the food house. The food house is comprised of a community kitchen, food processing spaces, storage space, a café, and a commercial kitchen. It would be a self-supporting entity.
Phase 3: Physical Connector
The last phase in the development of these islands would include a physical connection from the east to the west of the valley. This would address the Don Valley's lack of connectivity, separating east and west city dwellers, and accessibility, which isolates the valley from the rest of the city.
The existing Don railroad was another important factor in the site selection process as it spans over half of the valley and has the potential to be used as part of the physical connection. The two deep steel beams and series of cross bracing in the existing bridge support the load of the rail track and trains above; the new bridge would deal with a reverse condition. Deep beams of the new bridge would span over Don Valley Parkway, and the rigid steel frames in between the two beams would respond to the lateral loads.
Ladan Sharifpour is a recent graduate of the Daniels Faculty of Architecture, Landscape and Design at the University of Toronto. She is currently establishing her own practice in Tehran, Iran. Daniels Facutly member, Professor Brigitte Shim was her thesis advisor for her Thesis Research Option Studio in the Winter of 2013 and her Thesis Advisor in the Fall 2013.
Earlier posts in this series:
Between the Ravine and the City by Sonia Ramundi
Beyond the Big Box by Federica Piccone
Rain to River: Storm Water Infrastructure for the People by Kristen Duimering
Finding the Ravine: Gateway to Toronto's Urban Edges by Jason van der Burg
Enhancing the Urban Water Experience by Nora Barbu
Relinking the Ravine by Melissa Cao
Guest Op-ed: Building a Waterfront City in Toronto
Did the Sidewalk Labs plot just thicken, or is the story coming to an end?
Is good regional transit planning impossible?
Can we stop talking about congestion? It's not the point
More posts by Sonia Ramundi


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Net-a-Porter – If ever there was a chance to get your Stella on, it is now. Net-a-porter have discounted Ms. McCartney's shoes by 25-60%. Thank you shoe gods!


text:
Galatea Resurrects #18 (A Poetry Engagement)
Presenting engagements (including reviews) of poetry books & projects. Some issues also offer Featured Poets, a "The Critic Writes Poems" series, and/or Feature Articles.
THOMAS FINK INTERVIEWS SAWAKO NAKAYASU
An interview on Sawako Nakayasu and Sagawa Chika's "Mouth Eats Color: Translations, Anti-Translations, & Originals" (Rogue Factorial, 2011)
Thomas Fink: I wish my Japanese exceeded sambyaku go. And I wish I could recognize more than goju kanji. So I can't comment on the parts of the text in nihongo. Anyway, Mouth: Eats Color is a wonderful title. Synesthesia reigns. You are co-author of this text with the first female Japanese modernist, Chika Sagawa (1911-1936), though Frances Chung, the Chinatown poet who also had a regrettably short life, Mina Loy, Harry Crosby, and others make appearances. So I'm not sure if the impetus for the title comes from you or Sagawa or both? What can you tell us about the titling of the book?
Sawako Nakayasu: I guess the subtitle is the best explanation – this is a book of Sagawa Chika Translations, Anti-translations, and Originals, and the book itself (sometimes at the poem level, sometimes at the whole-book level) is trying to do that, to embrace this concept, whatever it is. I mean "embrace" sort of literally, as if I spread my arms out wide to encompass the various aspects of Sagawa and aspects of me-translating-Sagawa all at once. Which meant I was going to include the fact that Sagawa herself was a translator of Mina Loy and Harry Crosby (included in this book) as well as of James Joyce, Charles Reznikoff, and others. Thanks to the diligent labor of an editor here in Tokyo, a collection of Sagawa's translations has recently been compiled and published, and this gives another kind of insight into her work.
The title, Mouth: Eats Color, does indeed "come from" Sagawa – or from my translation(s) of her. It's the last line in "Waves – a list of characters, and Backside," a poem that combines (anti)-translations from two poems titled "Waves" and "Backside." "A list of characters" is a list of the Chinese characters in that poem, translated into English based on whole or radical components, and then reframed as a "list of characters" as if indicated for a play.
The thing that's become important to me about this whole process of engaging and interrogating translation is that it frees me to be more expressive about the various things I see going on in Sagawa's work. Her use of color is one thing that's always fascinated me. Or sometimes I have the desire to combine several poems into one, to shed more light on either and both. There is a promiscuity in it – once I break the one-to-one contract, it allows for multiple relationships, and somehow this comes out of a desire to attend to both the needs of the original (to not be confined to a single reading and interpretation) and to the translation (to be allowed enough breathing room to exist on its own right, in addition to its role as a translation of something else).
Fink: So would the first "Promenade" poem, which combines Japanese passages (that include kanji, hiragana, and katakana) interspersed with a nearly equal amount of English, be comprised of original lines from Sagawa that come from different poems or Sagawa's translations of Loy and Crosby into Japanese, as well as retranslations of her Japanese translations back into English, or do you retranslate her English back into Japanese and translate her Japanese into English, or, hey, do you want every reader to do the work of figuring this out for themselves with a bevy of texts and a good dictionary?!
Nakayasu: I acknowledge that the multilingual aspect can make this book seem daunting, initially, but no – I think it's much simpler than that. I try to stay honest in my titles – so every poem called "Promenade" (or "Puromenaado") is just that; it's a version of that poem, no lines from elsewhere really. The poems by Loy, Crosby, Willard, Chung are indicated as such, and when I combine poems, that's apparent in the titles too, as in "Waves – A List of Characters, and Backside."
As far as translation technique, there are many involved, and I feel like this book is only the beginning of a big big project. It was originally supposed to be a chapbook for Poor Claudia to publish, but in the process of writing it, it just grew and grew until it was no longer chapbook size in page count. I wrote and edited and produced this book in a very short time, in a Linda Montano-style performance (where I was performing being a Poet for roughly a month), so this book also serves as a document of that "performance." But as far as exploratory/ investigative/ experimental translation goes, I still have a lot more work to do on that front. Throughout all this the question of audience sort of comes and goes, but ultimately what motivates my work comes from a desire or need to stay and be true to my immediate and surrounding conditions.
But you seem to be asking what I expect of the reader. One of my interests here is in shifting the emphasis from product (the complete, perfect, final translation) to process (everything that happens on the way to the product). In poetry we learned this lesson from the Language Poets, and this also connects to my interest and involvement in improvised dance and music. When you put "poetry" and "improvisation" together it takes you to slam poetry or free-style rap, which is interesting but limited. Recently I made a performance exploring the middle ground between dance improvisation (a process-based art) and the writing of a poem (which leads to a product called the poem). Though it was a staged performance with performers and audience and all that, the poets (myself and the Japanese poet Hachikai Mimi) did not read/recite poems we had previously written – we wrote poems on stage, in improvised conversation with the dancers.
So my interest in developing these ideas overlaps with my interest in developing the interstice between translations and their originals. It's actually an even older idea I had when I was translating the Hiraide book, because some of the questions I had, and the replies he gave, were simply poetry in itself, and it felt too interesting to ignore just because it wasn't part of the final product. And then, now, in the process of typing this I'm come to an even earlier memory of singing music in choir. The part of it that was most interesting to me was never the performance itself, but the rehearsing of choral works with multiple parts. There's a lot of messiness in the rehearsal process of hearing and feeling how the melodies and harmonies fit together – and those transitions where the dissonant mess eventually gels together correctly were so pleasurable and brilliant and gorgeous – I remember thinking that that was the (impossible) thing I wanted to perform for the audience.
In terms of Sagawa, it also made sense to do something multilingual because of the particular times that she lived in, with everyone translating poetry and theory and appropriating new foreign vocabulary at a crazy pace – which meant that some translations were better than others, but there was tremendous energy and momentum behind the whole act. And just so much experimentation going on….at least until Japanese militarism in the 30s eventually shut down most of it.
Fink: The subtitle is "Translations, Anti-Translations, & Originals." In your development of this concept, how does a translation differ from an anti-translation? And what is an anti-translation in the first place, desu ne? (I keep in mind that there's a poem translated into French and one into… Spanish? Portuguese? And is "original" meant to be sous rature or are you using the term unironically, in opposition to the other terms?
Nakayasu: French makes appearances here and there, the way it did in a lot of Modernist Japanese poetry. My subtitle is a gesture towards acknowledging that some of the pieces here would make (some) people nod and say, "This is a translation." And some of the pieces here would make (some) people shake their heads and say, "This is not a translation" or, "This is doing something that a translation should not do." Those are the anti-translations. Though of course it's all part of the same project, and one of my goals is to frame this translation – anti-translation continuum, moving away from the binary (here is the "original, and here, on the facing page, is the "translation"). I'm not trying to outright critique that model, either – it has its place, certainly – but I just wanted to make a different proposal. So there's no table of contents, no en face, no easy order or demarcation between original and translation, source and target – though there is order, still.
I initially meant "originals" quite literally – those are indeed the Japanese poems as written by Sagawa Chika herself, but my intention also includes putting pressure on that term itself, which is compounded by the aspect of collaboration, and collaboration with a dead poet, at that. It is unclear to the reader just what was written by Sagawa and what was written by me, but somehow the two of us combined wrote all of this book. It's just a shame that she isn't alive to engage in this endeavor with me…
Fink: Then what about those other poets in the book, like Frances Chung and Mina Loy and Steve Willard?
Nakayasu: I know…since I've gone rogue with the translation idea, it seemed like a reasonable extension that I would address issues of ownership. Back when the notion of writing was new in Japan and there were very few people who could even write anything, a scroll of writing would get torn into pieces, the individual fragments coming under ownership of various folks, who then marked their ownership of the writing by placing their seal on it. As the fragmented texts passed from hand to hand each new owner would place their seal on it, finders-keepers style. This applies to speech, too, I think. My daugher is almost two. If I say something, she repeats it, and once she learns it she gains ownership of those same words – and so it appears that language, and text, and writing, are all constantly accreting owners.
Fink: Well, this "Untitled Poem by Frances Chung" really is in her posthumous Selected, and it's pretty explosively ironic about white racism: the speaker's "Italian girlfriends" tell her that they're "going to eat chinks after confession," and the speaker feigns ignorant that it means heading "for Chinatown." It sounds as though, by including that prose-poem, you may be "owner" of her interrupted identity as one who exposes racism, or else, you're not; you may be a "wild 'n crazy" anthologist who aims to facilitate new readers' access to reception of that socially charged writing, and complicated by its appearance in a context that Chung herself might consider "foreign," far from Manhattan's Chinatown and Little Italy. So are you placing a "seal" on this poem by Chung, and if so, what kind of seal?
Nakayasu: A little bit, maybe. Steve Willard is the only other living poet in this book, and he did ask "why me?" – I told him that I simply want the people reading this book to read a Steve Willard poem at the same time. But more than that, it turned out that Steve was working with very similar concepts in his own work, so it fit right in. But actually I think all of this was inspired by a poetry reading I saw CA Conrad give in San Diego a few years back. It was "his" poetry reading, but he read a bunch of poems he liked by other people, which I had never seen anyone do before – and I really liked it. It made perfect sense and I'm been meaning to do something similar in book form for a while now. I've also, in the process of editing Factorial, come to see the creative aspects of curation and editing. And I've always been interested in merging or blending genres, and here I was doing a bit of editing/curation in tandem with the writing and translation of poetry. So there's much I could say about the particular poems I've chosen and the multiple vectors along which I hear resonance, but perhaps it will take too long…
Going back to the Frances Chung poem – the reference to "eating chinks" is echoed in my poem called "We the Heathens," and I'm interested in these parallels between cultural appropriation (here in the form of food) and literary colonialism and the ways in which translation has historically been accomplice to this colonialism while also giving access to opportunities for cross-fertilization. This is Lawrence Venuti's argument, that the "invisible" (conventional) translator is guilty of domesticating foreign literature into writing that is easily assimilated by the dominant (here, anglophone) culture. His writings have certainly been an influence on me, and while I continue to produce translations that are more "domesticated" than this book, I've come to see it all as a continuum that I can slide around on.
Fink: I remember when my daughters were under three; now they're 21 and 18 respectively. That stage of owning new words seems different from what happens with poet-types who have been hanging out with many words for a long time. We don't so much place our seal on particular appropriated combinations of words—though that can happen with the Conceptualists and Flarfists, I suppose—but on our often intricate recombinations of many such sources. So our "sense of wonder" (horrible cliché, desu ne?) may resemble a two-year-olds, but it's put to slightly different uses. Does what I'm saying pertain at all to what you're doing in Mouth: Eats Color?
Nakayasu: Actually now that you mention it, you may be right – perhaps this book is not so much influenced by Marina's use and acquisition of language, but her whole way of conceptualizing and figuring/reconfiguring and engaging with the world. It fits with what I said earlier about improvisation – and I find that playing with a child, really being in those moments of free play with her, is much like improvising with another artist – the simultaneous listening and responding and being present together to allow things to develop is really exciting, and I felt a similar sense of pleasure in writing the poems that went into this book. That's a huge contrast from the usual feelings of agony and torment that come with translating poetry.
Fink: I notice that "Beard of Death" is followed ten pages later by "A Beard of Death Grows on Me." Hmm.
Nakayasu: What do you think?
Fink: Certain key words and concepts are repeated with interesting differences. Here are a few:
A chef clutches the blue sky.///To make food while gripping the astounding blue sky.
Even here the sun is crushed./// Consider all that is killed, including the less astounding sun.
I hear daylight run by.///In the face of escaping daylight.
In prison they keep watch over a dream///The dream lasts longer than your sentence longer than life.
Death strips my shell.///As death, I shake off this shell.
I don't think the second poem exists in its relationship to the first in the way that Yeats' "Byzantium" has as its beginning intention a problem that Sturge Moore found with "Sailing to Byzantium." There's nothing "wrong" with the first; intertextuality becomes a strong aspect of the poetry in the poems, if we can make the leap of ten pages and hold them both in our internal or external visual field. The double terrain induces us to wonder about the possible difference between "clutching" or "gripping" "the blue sky," and we can ask whether it's any easier to do either when the "chef" is focusing only on that literal impossibility (and figurative possibility) or also "making food." And "the blue sky" in the first may be pretty ordinary, whereas we are told to find the heavens "astounding" in the second poem. And in the next line, I guess it's better for "the sun" to be "crushed" and have a chance to bounce back, somehow, rather than to be "killed," even if it is "less astounding" in the latter than the sky. If in the first, "running by" does not imply attachment to emotion, the subjectivity of "escape" is very clear. The metonymic shift from "prison" to "sentence" is accompanied by the possible difference and congruence of the duration of "life" itself and the sentence, which might, after all, be for life. And the final lines are most fascinating of all. The "I" in the first is affected by the power of death, not necessarily in the sense that she dies and writes about it in poetry, as Dickinson sometimes does, though that, too, is possible, but in the sense that its impact assails her psychological defenses. However, in the second coda, the speaker is death, and what shell does death as agent controlling the poem itself shake off: life? Daylight? The sun? Dream?
So that's what I think. But maybe you remember something about the process of composing these two poems that can help or felicitously confound your readers!
Nakayasu: It's terrific that in considering the two versions of the poem above, you talked through many of the considerations and questions going through a translator's mind in the moment of translation, which was definitely an intended effect. I'm not sure if the average reader is interested in doing that kind of work, but the fact that these versions are there allows for the poem, the "real" translation, to become present in an alternative space, floating somewhere in between (or above) those pages. That's my Benjamin ("Task of the Translator") influence. And that very last line of the poem has been one of those lines I've found quite maddening to translate, for the original line in Japanese creates an ambiguity and multplicity in meaning that felt quite impossible to recreate exactly. And now, having rendered two versions of the same line, I feel very, very, good. In the case of this line, the "true" translation is a combination of the two.
Although the structure of the book creates a chronology, the order of poem appearance is not the order in which they were written. So the first version is not the first translation I did. This is true for Texture Notes, and also with Takashi Hiraide's For the Fighting Spirit of the Walnut, and many many (perhaps most) other books out there, I'm sure.
Also interesting you mention Yeats – what we have in common is that our conversations with others are just as vital to the generation of ideas and development as anything else. So in this case, I would say that Jen Hofer was my Sturge Moore – the exchange went like this (on Facebook):
Sawako Nakayasu I said this to Eugene this morning: "Should we give her some rape-gay?"… I was only using pig latin!!
September 13 at 10:16am
Jen Hofer I'm working on finalizing the syllabus for my translation workshop (in which I am teaching your stellar work, by the way) and this seems eerily apt to my current state of ind-may ecay-day…
September 13 at 1:22pm
Sawako Nakayasu O Jen, what a wonderful thing that you are teaching translation! I just wrote to someone saying I wanted to make a book of Chika Sagawa Translations & Anti-Translations!
Jen Hofer can you make that book in the next week or two? (ha)
…and then I took her up on it. Shortly before that, Drew Swenhaugen at Poor Claudia had invited me to submit a chapbook manuscript for possible publication – and I had two weeks left before the semester began and I would get swallowed up in the teaching routine – and so I just hit "go" and went with it.
As for the differences you note between the variations of the poems, I figure it's only confounding to those who feel the need to absolutely understand everything – and if that's the case, they probably have larger troubles than that of reading my book. I mean, numerous times in my life I've been in some foreign country where I understood none, then little, then some more of the local language, and I've just come to accept that life is like that. But I mean even in languages I am supposedly fluent in – depending on who and what is being discussed, of course I won't understand everything. Just a few weeks ago I started a new semester with my Japanese students (taking a class on science writing in English). I always pause after I've spoken a bit, and ask them to raise their hands if they understood at least 50% of what I just said. Usually they fall in the 50%-75% comprehension range, and that's just fine – more to learn.
I'm also reading Caroline Bergvall's Meddle English right now, and I feel some kinship to this – it doesn't look quite as "unreadable" because all of the text uses roman characters, but her interests in the unpure, multiple, "meddled" language feels very right to me, even in the process of feeling that I don't fully understand all of it.
But more importantly (to me), I'm trying to get away from the way we tend to obsess about the problems, or difficulty, of translation – it's nice to sometimes let go of the need to stick to the established modes (translation plus footnotes or endnotes or introductory notes), a one-to-one relationship: one translation per poem. To that end, it was the Ernst Jandl translation book published by Burning Deck that really influenced me. Numerous translators per poem, each translating a different concept or intention or process or feature of the poem – it's a brilliant book.
Fink: And then there's the "Promenade" that constitutes a walk among English, Japanese, and French. (My French is much better than my Japanese, malheureusement.) What an outrageous sequence of dislocations to experience that seven line poem! I have less trouble with Eliot's The Waste Land because the English dominates, but I guess it's akin to some of Pound's Cantos. Do you have anything to say about the dialectic of readability and unreadability in this "Promenade" among three tongues?
Nakayasu: Although I'm not thinking terribly consciously about Pound in this process, of course he's a model in many ways, with regards to multilingual writing as well as experimental (or loose) translation, and I expect the same kinds of criticisms could apply to my writing. What's interesting to me about the criticism (or perceived problem) regarding multilingual writing (mainly: it's not readable) and the criticism regarding loose (or various) translations (mainly: it's not right) come from a similar stance, one that doggedly clings to the idea of singularity and correctness in language and literature.
Sawako Nakayasu was born in Japan and has lived mostly in the US since the age of six. Her most recent books are Texture Notes (Letter Machine, 2010), Hurry Home Honey (Burning Deck, 2009), and a translation of Kawata Ayane's poetry, Time of Sky//Castles in the Air (Litmus Press, 2010). Her translation of Takashi Hiraide's For the Fighting Spirit of the Walnut (New Directions, 2008) received the 2009 Best Translated Book Award from Three Percent.
Thomas Fink has authored seven books of poetry, including Peace Conference (Marsh Hawk, 2011) and Autopsy Turvy (Meritage Press, 2010), a collaboration with Maya Diablo Mason. A Different Sense of Power (Fairleigh Dickinson, 2001) is his most recent book of criticism. In 2007, he co-edited "Burning Interiors": David Shapiro's Poetry and Poetics.
Posted by EILEEN at 10:25 PM
Editor: Eileen Tabios
Guide to Other Issues
Review Submission and Review Copy Information
Reviewers & Contributors
A. Molotkov
Alan Ramon Clinton
Annmarie Lockhart
Bev Sandell Greenberg
Charles P. Ries
Dana Wilde
Dee Thompson
Emily Geris
Eric Wayne Dickey
Gerald Schwartz
j/j hastain
John Bloomberg-Rissman
Kathleen Kirk
Lucy Biederman
Neil Leadbeater
Nicholas T. Spatafora
Patrick James Dunagan
Peg Duthie
Prem Kumari Srivastava
rob mclennan
Sandy McIntosh
Sawako Nakayasu
T.C. Marshall
Therese Halscheid
Thomas Fink
Tom Beckett
Tom Hibbard
Issue No. 18 TABLE OF CONTENTS
SOME MATH by BILL LUOMA and GLOWBALL by STEVEN FAR...
AS IF IT FELL FROM THE SUN: AN ETHERDOME ANTHOLOGY...
ONE SLEEPS THE OTHER DOESN'T by JACQUELINE WATERS
PARROT ON A MOTORCYCLE by VITESZSLAV NEZVAL
RAMBO GOES TO IDAHO by SCOTT ABELS
POEMS COME HOME by SUKRITA, Trans. by GULZAR
UNTITLED by REED ALTEMUS
PLANISPHERE by JOHN ASHBERY
CHINOISERIE by KAREN RIGBY
THE NEIGHBORHOODS OF MY PAST SORROW by JESSE MILLN...
LONG DISTANCE by STEVEN CORDOVA
THE BIGGER WORLD by NOELLE KOCOT
EITHER WAY I'M CELEBRATING by SOMMER BROWNING
SELECTED POEMS by NICK DEMSKE
THE RABBITS COULD SING by AMBER FLORA THOMAS
THE LIGHT BEFORE DAWN by DRUM HADLEY
100 POEMS by S.S. PRASAD
MY DARLING NELLIE GREY by GEORGE BOWERING
THE WAY WE LIVE by BURT KIMMELMAN
WHAT IT IS LIKE: NEW AND SELECTED POEMS by CHARLES...
SHE RETURNS TO THE FLOATING WORLD by JEANNINIE HAL...
NOTES FROM IRRELEVANCE by ANSELM BERRIGAN
SAY SO by DORA MALECH
STRANGER IN TOWN by CEDAR SIGO
DRAFT 96: VELOCITY by RACHEL BLAU DUPLESSIS
HUMANIMAL by BHANU KAPIL
SONNETS: LOUISE LABE by EDWARD BYRNE
HAVE by MARC GABA and CATCH LIGHT by SARAH O'BRIEN...
WILD PLACE by ERICA GOSS
YES, WE ARE STILL DANCING by SUSAN AMSTATER, CONNI...
TWO PUBLICATIONS by j/j hastain
ENJOY HOT OR ICED: POEMS IN CONVERSATION AND A CON...
KILLDEER by PHIL HALL
MOTHER EARTH by ADAM FIELED
TORCH SONG TANGO CHOIR by JULIE SOPHIA PAEGLE
REBIRTH OF WONDER, POEMS OF THE COMMON LIFE by DAV...
NDAKINNA: OUR LAND by JOSEPH BRUCHAC
THE NORMAL HEART AND HOW IT WORKS by RACHAEL LYON
AN OPEN DOOR IN THE LANDSCAPE by ELISABETH HARVOR
HYPERGLOSSIA by STACY SZYMASZEK
MEANWHILE: POEMS by KATHLEEN O'TOOLE
e.s.p. by MICHAEL LEONG
CARPE DIEM: NEW AND SELECTED POEMS by MICHAEL PERK...
UNEXPECTED SHINY THINGS by BRUCE DETHLEFSEN
COEUR DE LION by ARIANA REINES
ILLUMINATIONS by ARTHUR RIMBAUD, Trans. by JOHN AS...
IF NOTHING ELSE by HAROLD BOWES
THE ANGLE OF SHARPEST ASCENDING by INGRID WENDT
GIRL IN THE MIRROR by JACK LYNCH
LOOKING UP HARRYETTE MULLEN by BARBARA HENNING
A poem from ENTREPOT by MARK MCMORRIS
A poem from "FLOWER FLOWER" by JEN BENKA
A poem from EITHER WAY I'M CELEBRATING by SOMMER B...
A poem from DARK CARD by REBECCA FOUST
A poem from AAAAAAAAAAAALICE by JENNIFER KARMIN
A poem from KINGDOM ANIMALIA by ARACELIS GIRMAY
A poem from DEAR PRUDENCE: NEW AND SELECTED POEMS ...
A poem from THIRTEEN DESIGNER VAGINAS by JULIET CO...
A poem from YINGELISHI: SINOPHONIC ENGLISH POETRY ...
A poem from BLACK SEEDS ON A WHITE DISH by SHIRA D...
A poem from MERCURY by ARIANA REINES
A poem from LIGATURE STRAIN: POEMS by KIM KOGA
A poem from EITHER SHE WAS by KARIN RANDOLPH
A poem from AND IF YOU DON'T GO CRAZY I'LL MEET YO...
A poem from YOUR OX-HEAD MASK AS PROOF by GEORGE K...
A poem from THE NETWORK by JENA OSMAN
A poem from SHOT by CHRISTINE HUME
A poem from AND I WOULD OPEN by JILL STENGEL
A poem from STUPID BIRDS by LOGAN RYAN SMITH
A poem from MR. MAGOO by STEVE TILLS
A poem from RUINS by MARGARET RANDALL
A poem from THE BOUNTY: FOUR ADDRESSES by KATE SCH...
A poem from THE MYSTERY OF THE HIDDEN DRIVEWAY by ...
A poem from HOLD TIGHT: THE TRUCK DARLING POEMS by...
A poem from THE VAST PRACTICAL ENGINE by ERIC HOFF...
A poem from O BON by BRANDON SHIMODA
A poem from LATROGENIC: THEIR TESTIMONIES by DANIE...
A poem from MAGDALENE & THE MERMAIDS by ELIZABETH ...
A poem from SEDNA by MICHAEL HELSEM
A poem from PERSONATIONSKIN by KARL PARKER
A poem from SARD by PHILIP BYRON OAKES
A poem from PALM TO PINE by SUNNYLYN THIBODEAUX
A poem from SHE RETURNS TO THE FLOATING WORLD by J...
A poem from GUESTBOOK by RICK SNYDER
A poem from DISPATCH by MARCI NELLIGAN / NICOLE MA...
A poem from HITLER'S MUSTACHE by PETER DAVIS
A poem from WHEN YOU BIT ... by ADAM FIELED
A poem from TESTIFY by JOSEPH LEASE
A poem from SECRET WEAPON: SELECTED LATE POEMS by ...
A poem from MILLENIAL HARVEST: THE LIFE & COLLECTE...
A poem from DRIVING MONTANA ALONE by KATIE PHILLIP...
A poem from BLOOD DAZZLER by PATRICIA SMITH
A poem from PART: SHORT LIFE HOUSING by CRIS CHEEK...
A poem from FROM IDYLLS & RUSHES by SUSANA GARDNER...
A poem from THE STEEL VEIL by JACK MARSHALL
A poem from TONTO'S REVENGE by ADAM AITKEN
A poem from CITY by C.J. MARTIN
A poem from IN WAYS IMPOSSIBLE TO FOLD by MICHAEL ...


Ivy Freeman-Attwood began riding aged 10 and competed at her first BE90 at just 12 years old. Now she's competing alongside olympic riders at 2* events with the aim of reaching 3* next year. Ivy is mentored by Izzy Taylor who recently won the final leg of the Event Rider Masters. Ivy shares her journey of buying a little Pony Club Pony to becoming a leading competitor in the world of eventing. All on the #HorseHour Podcast.


text:
Делберн () — село в Канаді, у провінції Альберта, у складі муніципального району Ред-Дір.

Населення
За даними перепису 2016 року, село нараховувало 892 особи, показавши зростання на 7,5%, порівняно з 2011-м роком. Середня густина населення становила 224 осіб/км².

З офіційних мов обидвома одночасно володіли 15 жителів, тільки англійською — 870, а 5 — жодною з них. Усього 45 осіб вважали рідною мовою не одну з офіційних, з них 5 — українську.

Працездатне населення становило 460 осіб (66,2% усього населення), рівень безробіття — 9,8% (17,6% серед чоловіків та 4,9% серед жінок). 89,1% осіб були найманими працівниками, а 10,9% — самозайнятими.

Середній дохід на особу становив $43 261 (медіана $33 280), при цьому для чоловіків — $54 747, а для жінок $32 955 (медіани — $46 336 та $26 048 відповідно).

32,1% мешканців мали закінчену шкільну освіту, не мали закінченої шкільної освіти — 23,6%, 43,6% мали післяшкільну освіту, з яких 6,6% мали диплом бакалавра, або вищий.

Клімат
Середня річна температура становить 2,9°C, середня максимальна – 21,8°C, а середня мінімальна – -18,9°C. Середня річна кількість опадів – 471 мм.

Примітки

Населені пункти Альберти

redpajama_set_name: RedPajamaWikipedia


text:
Breedon to buy Scottish assets of Aggregate Industries
Highways Reporters
Breedon Aggregates is set to buy Scottish assets from Aggregate Industries in a deal worth £34 million.
The company has agreed a deal in principle and is also in advanced stages of a possible acquisition of Marshalls worth up to £19m.
The Scottish acquisition will see the company add six active quarries, four asphalt plants, seven ready-mixed concrete plants and two concrete block plants in Grampian, Tayside, Highlands and Hebrides, to its portfolio.
Group mineral reserves and resources will more than double to almost 400 million tonnes: enough to last 76 years at current extraction rates.
It will add approximately 20% to group revenue and 24% to group EBITDA in 2012.
The proposed deal with Marshalls would see the firm acquire a further four quarries and up to 13m tonnes of mineral reserves and resources.
Breedon has conditionally raised £61m through a placing at 21p per share to fund the acquisitions.
Chairman Peter Tom said: "These acquisitions are consistent with our long-term aim of becoming the lowest-cost operator in our chosen markets. We believe that they will put us in an even stronger position to benefit from any UK economic recovery.
"We will remain focused on further improving our performance and our management team has demonstrated its ability to deliver solid results in the most difficult market conditions. The previous acquisitions made by the group have all added significant value to our core business and this gives us confidence in our ability to repeat this with future deals. Weather permitting, the board is confident of making further progress in 2013."
By Alec Peachey
aggregates Breedon


text:
A new judge and, unrelated, an old debate
Written December 18th, 2019 by Hasso Hering
Albany Mayor Konopa swears in Forrest Reid as municipal court judge Wednesday. He'll succeed Robert Scott, right, who is retiring after serving as city judge since 1995.
Wednesday's Albany City Council meeting, the last one of the year, featured someone new and something old. One was the next city judge. The other was a rerun of last year's disagreement between the mayor and council majority over the size of accessory dwelling units.
The council witnessed the swearing-in of Albany defense attorney Forrest Reid as the new municipal court judge after approving his employment contract. The one-year contract may be renewed year to year. It calls for the judge to work an average of 10 hours a week and sets his salary at $6,933 per month.
The son of the late Roger Reid, Forrest grew up in Albany and got interested in the law as a boy when watching his father work as the city judge at the old city hall, the former post office downtown. As the new municipal court judge, he pledged to do his best for the people of Albany.
Ceremonies over, the council turned to other business, the main part of which was a long-pending ordinance to amend the city development code, including the sections on "accessory dwelling units," to make them comply with state law.
The council voted 4-2 to allow so-called ADUs of up to 900 square feet, with Dick Olsen and Bill Coburn voting no. Mayor Sharon Konopa is strongly opposed to any ADUs bigger than 750 square feet. She said she might veto the change, as she did in the summer of 2018 when this first came up.
If she does issue another veto, this will come up again next month so the council can try to overturn it. It takes five votes to do so, one more than the majority on this issue has.
Wednesday's discussion was pretty much a replay of similar debates in 2018 and earlier this year. If you want the details, check out the video under city council meeting materials at cityofalbany.net.
The mayor, Coburn and Olsen want to protect existing neighborhoods with large lots from being overrun with big accessory units.The other four, Rich Kellum, Alex Johnson II, Mike Sykes, and Bessie Johnson, want to allow property owners more flexibility if they want to add an accessory unit. They point out that ADUs can only have as much floor space as 50 percent of the main residence and also have to meet setback and height requirements.
The proposed changes in the ordinance at issue are intended to bring the development code in line with state law.
If there is no veto, the ordinance will take effect in 30 days, after which opponents who took part in public hearings on the issue will have 21 days to take it to the state Land Use Board of Appeals. If there is a veto and it's upheld, someone might take the city to LUBA for failure to comply with state law. (hh)
Tags: accessory dwelling units, Albany court, Albany development code, Forrest Reid, mayor's veto, Municipal court
6 responses to "A new judge and, unrelated, an old debate"
My Real Name John Hartman says:
The Council's action on this matter reminiscent of the Bill Murray classic, Groundhog Day.
Ray Kopczynski says:
"If there is a veto and it's upheld, someone might take the city to LUBA for failure to comply with state law."
While I am 100% in favor of the 900sf allowance as supported by city staff, city planning commission, and 4 of 6 councilors, my understanding is the 900sf "issue" is not mandatory by the state. That bit comes under the "reasonable" regulations option cities have in order to comply. I doubt the city could get in trouble for that specific item…
Hasso Hering says:
No, the point would be that without the amendment, regardless of the size of ADUs, the city code is still out of step with state law on where ADUs must be allowed, what requirements they must meet on parking and ownership, and on how the city regulates demolitions of historic buildings.
That is correct.
thomas cordier says:
I continue to support the Mayor's position with smaller 750 sqft ADU's.
hope she vetoes it again.
Terry Hails says:
$160.00/hr…for 10 hrs/wk worth of work!!!
OK…$159.99/hr
I'm in the wrong "racket"…(sigh) :-(


University of Brighton Forward Bound Scholarship Invitation: Applications are currently ongoing for the University of Brighton Forward Bound Scholarships for Students in Developing Countries. Interested students can see the details and apply if eligible.
The Forward Bound scholarship is available to Health Promotion MSc applicants from low or lower-middle income countries. It is intended to support health and other professionals who are employed or who volunteer in roles where they will be able to influence health promotion practice and policy on their return.
14th June 2019 at 5pm.
Applicants should normally be a paid health professional. In exceptional cases, applicants whose influence is through non-paid roles – for example, through voluntary agencies or through other health-related work – may also be considered.
You can only apply for the Forward Bound scholarship once you have applied for the Health Promotion MSc which you can do online. Please indicate that you intend to apply for the Forward Bound scholarship on your course application form.


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        'only bound upperBound lowerBound'.split(' ').forEach(function (name) {
            that[name] = function () {
                return new Query( name , arguments );
            };
        });

        this.filter = function () {
            var query = new Query( null , null );
            return query.filter.apply( query , arguments );
        };

        this.all = function () {
            return this.filter();
        };
    };

    var createSchema = function ( e , schema , db ) {
        if ( typeof schema === 'function' ) {
            schema = schema();
        }

        for ( var tableName in schema ) {
            var table = schema[ tableName ];
            if ( !hasOwn.call( schema , tableName ) ) {
                continue;
            }

            var store = db.createObjectStore( tableName , table.key );

            for ( var indexKey in table.indexes ) {
                var index = table.indexes[ indexKey ];
                store.createIndex( indexKey , index.key || indexKey , Object.keys(index).length ? index : { unique: false } );
            }
        }
    };

    var open = function ( e , server , version , schema ) {
        var db = e.target.result;
        var s = new Server( db , server );
        var upgrade;

        var deferred = Deferred();
        deferred.resolve( s );
        dbCache[ server ] = db;

        return deferred.promise();
    };

    var dbCache = {};

    var db = {
        version: '0.8.0',
        open: function ( options ) {
            var request;

            var deferred = Deferred();

            if ( dbCache[ options.server ] ) {
                open( {
                    target: {
                        result: dbCache[ options.server ]
                    }
                } , options.server , options.version , options.schema )
                .done(deferred.resolve)
                .fail(deferred.reject)
                .progress(deferred.notify);
            } else {
                request = indexedDB.open( options.server , options.version );

                request.onsuccess = function ( e ) {
                    open( e , options.server , options.version , options.schema )
                        .done(deferred.resolve)
                        .fail(deferred.reject)
                        .progress(deferred.notify);
                };

                request.onupgradeneeded = function ( e ) {
                    createSchema( e , options.schema , e.target.result );
                };
                request.onerror = function ( e ) {
                    deferred.reject( e );
                };
            }

            return deferred.promise();
        }
    };
    if ( typeof define === 'function' && define.amd ) {
        define( function(require) {

            if (!Deferred) {
                Deferred = require('dbjs/defer');
            }

            return db;
        });
    } else {
        window.db = db;
    }
})( window );

redpajama_set_name: RedPajamaGithub


Alot of people I know like wing views in their aircraft, sure we do fly from the cockpit but occassionally some of us like a passenger perspective. These views add this perspective to addon panels, they are adjustable but I use them with the (tungv1.zip) panel by Targan Unutmaz. Great panel, very realistic in every way, I can vouch for this as I have sat in one. The aircraft i use is the 737-700 model by Eric Cantu and Sam Needs from (Kittyhawk Studios), its a fantastic model and keep up the good work guys!! Enjoy the views!!
The archive wing_views_for_the_(kittyhawk_studios)_737-700.zip has 11 files and directories contained within it.


I am a real person (see my Heritage Sports Banners video) and I answer phone calls and emails. If you have questions, call me or email me. If you have bought a product from me and are dissatisfied in any way, let me know and I'll make things right. Life's too short to be unhappy with something you buy online, so let me know if you're not happy.
And if you don't want to order online and would prefer to order by speaking with me, then call me at 416-315-4736 and I'll take your order over the phone.
I want to earn your business and that's why I think you should consider buying from me.


The eldest of the Hemsworth clan takes on the role of one of the most notorious lawmen of the Wild West era.
Luke Hemsworth is stepping into the spurs of one of the most iconic gunslingers in Western lore.
In the recently released trailer for Hickok, Hemsworth stars as the titular "Wild" Bill Hickok alongside Bruce Dern, Kris Kristofferson and Trace Adkins as bullets aplenty are fired and lawlessness threatens the small town of Abilene, Kansas.
"Things ain't so quiet, anymore," a gravelly voiced Kristofferson warns Hemsworth. It doesn't take long for that statement to be verified, as shot after shot is fired and "Wild" Bill takes the role of Marshall.
Hemsworth, the elder brother to Chris and Liam, is no stranger to the Western genre, hot on the heels of his recent turn on HBO's genre-blurring Westworld.
In this upcoming role, he squares off against Adkins' Phil Poe, an imposing figure in all black with long tresses reminiscent of the real-life Hickok.
The trailer promises action galore, as Hemsworth's "Wild" Bill lives up to his legacy as one of the deadliest gunfighters in the Wild West. "I'm done running," he promises, before launching into a moonlit shootout against a nefarious gang of outlaws.
Hickok, from director Timothy Woodward Jr., is in theaters and on demand July 7.


One of the side effects of the arrival of Lumia Denim and Lumia Camera 5 to the likes of the Lumia Icon, 930, 1520 and 830 was that a bizarre auto-rotation issue crept in for many users. I've included a video below to show the problem - up to five seconds to switch between portrait and landscape. It wasn't a complete showstopper, but was frustrating on a day to day basis. However, it turns out that this is an artefact of upgrading from Lumia Cyan/Windows Phone 8.1 and that a careful backup/reset/restore cycle fixes the issue for good. If you too are affected, time for a spring clean?
Hard ('factory') resetting a phone is a clichéd fix, of course. It's what support desks often ask you to do and, in this case, it turns out to be the only fix that's permanent. Clearly some file or setting under the hood is hanging around from pre-Denim days and causing issues. But, as already intimated, the very act of doing all this will give you a cleaner, fresher OS that will probably be faster in day to day use. And - hopefully - all your 'stuff' will be restored. Here's what to do and how I got on.
This isn't a given. Although most people have their core PIM data synced through a server on Google or Outlook/Live.com, all your applications, settings, SMS, and more, may not be automatically backed up and you may need to turn this feature on. Go to 'apps+settings'/'backup' and check this setting.
Even if on, best to tap on 'back up now', so that you're bang up to date. The backup process may pause, halt or even terminate, but perservere - try again. There's a lot of data being uploaded and success depends on what your phone is doing, its connectivity status on Wi-fi and the status of Microsoft's servers.
Make sure you have your main SIM in (it's used as extra ID) the phone. After entry of your Wi-fi router password and essential Microsoft account details, you'll be prompted to restore an existing backup or (if you scrolled to the bottom of the list) start from scratch. Obviously, select the backup you just made and then tap on 'next'.
The core settings, Start screen, PIM data and so on will come back quite quickly, I had to wait only about five or ten minutes. However, note that the reinstallation of all your Store applications takes a lot longer - the restore remembers what you had installed, including settings and data for some, though it will take time for them all to physically download and install - around an hour in my case, though at least you can use the phone in the meantime. Just don't be too impatient!
I have to report complete success - I've no idea what hangs around from Lumia Cyan that causes auto-rotation problems due to interaction with Lumia Camera 5, but there was definitely something. I and others round the web have experienced complete success by resetting in the manner described above. I've been playing with the phone, its camera and landscape applications for two days solid now, and auto-rotation is as quick as it's ever been.
The total time taken, from starting the backup to finishing putting in my last few notification settings and email passwords, was about an hour and a half, but most of that was watching progress bars (backup, reinstallation) crawl across the screen, it was all quite easy.
What did I lose? The only thing of any significance seems to have been the 5MP oversampled versions of photos and any .nar archives of Rich Captures. Of course, all photos were backed up in 16 or 20MP form on OneDrive and it was easy to re-download my favourite 40 or 50 from recent times - but there's no way to now fiddle with Rich Capture customisations. Not a showstopper though - most Rich Capture tweaks were done at the time and the results auto-uploaded, plus if I really wanted 5MP versions again then there are plenty of utilities on the desktop that can downsample the high mega-pixel versions on OneDrive.
Of course, extra data points are welcome here. Have you been plagued with this issue and if so, on what phone? Did you try the procedure above, did it fix the rotation problem, and did you lose anything of note other than what's mentioned above?
PS. In case you were wondering, no, this issue wasn't fixed in 8.1 Update 2 - it's purely and simply an artefact of leftovers from 8.1.