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Odette England Dairy Character Interview
November 19, 2021 /in News
Holiday Gift Idea from Light Work! Signed copies of Odette England's Dairy Character are available for purchase in our shop! Orders must be completed by December 15, 2021 at 11:00 a.m. EST to ensure your gift arrives in time for the holidays. Purchases made after the deadline will be shipped after January 4, 2022.
In her latest book, Dairy Character, photographer Odette England delivers personal insight into the life of a woman growing up on a dairy farm in rural Australia.Expressing the importance of shining a light on girls and women in rural areas, England draws a staggering comparison of the objectification of women and dairy cows. (Russell, Grace, Musee Magazine, September, 16, 2021)
The images are reproduced in delicate tones; England also interlaces blush-coloured papers in the book. But the content is uncomfortable, centring on extreme close-ups which suggest a reductive way of seeing both cows and women. It is a subversive look at the literal and visual language of farming. (Smyth, Diane, British Journal of Photography, April 16, 2021)
Sydney Ellison (SE): — I just wanted to say that I loved the book and I was so excited to get a little sneak peek at it when I was at Light Work. So first, I wanted to know if you could share a little bit about the manual that you found that inspired the project and what it was and how you reacted to finding it?
Odette England (OE): Sure. So I was visiting my parents. They now live in the town where I was born and I was going through when they leave the house. I turn into a little kid and I start rummaging around in cupboards and looking for secrets and photographic inspiration and things to enjoy looking at and reading. And in this cupboard in a box, I found my dad's old cow manual and every registered dairy farmer receives a copy of this manual. It's not exclusive to Australia. Lots of countries have these cow manuals and the idea is that they're given to the farmer as a way to help the farmer rank and assess the physical strengths and weaknesses of their dairy cows. So they do that by focusing on two things: they focus on the production of milk and the breeding production of calves and they call it "dairy character."
When I think of someone's character, I think about writing a character reference. I think about someone's morals and values and what kind of person they are. But for a cow, when they talk about dairy character, it's entirely about quality and quantity. It's the quality of the milk they produce and the calves they produce and the quantity, how much milk and how many good calves. This book is very plain. It's black and white. It's written exclusively by men. It's half text, half images. The photographs are very low quality, but they're extreme closeups of the bodies of cows. So you see utters, teats, legs, vaginas, bottoms, anything that speaks to a cow's ability to make a lot of milk and produce a lot of calves.
But they're very grotesque images because they're so visually, physically violent and they're almost too descriptive. It was a very quick look that I had through this manual. I remember my father having it. He kept it in the second drawer of his filing cabinet, which was always locked. And I remember seeing it from time to time as a kid. So coming across it and looking through it, I felt like I'd found something wonderful and terrifying and curious and problematic, but I'd also found this foundational piece for work that I'd been making for five years. I had all these little prints over my studio wall in New York City and I couldn't call it a project. I couldn't call it a series. I couldn't call it anything other than images that I'd been making or images that I'd been asking my parents to make on my behalf. And when I found this manual, suddenly I had the foundation and the framework and the bodily object of a book, a structure that made sense of all of these pictures that I'd been making for the longest of times.
SE: That's amazing! Like the idea that sometimes you just have to wait, and then the practice is contextualized. I'm really interested in the way that this project brings up criticism in the ways that visual and textual language can reflect each other and influence each other. As well as the way that both of those things shape our perceptions of everything around us. And I'm familiar with this type of criticism in photography, which reinforces how photography can be exploitive. So I thought it was interesting that you brought in the ways that this happens with farming and specifically with female cows. So I'm wondering if you could talk a bit about how you think both verbal and visual language influence our attitudes towards people, places, and ideas and how you think they maybe overlap or how you think they differ?
OE: Okay. So I'll start by talking about just within the book itself. There's a mix of images. There are images that I've made. There are images that my parents have made under my direction or instruction from the cow book that they lifted directly from that. So they're archival pictures, and then there are family snapshots and then there's writing from myself, maybe 18 or 19 short stories, each about 300 words, that sit right in the middle of the book. There are photographs that illustrate those stories, but they're not included in the book. So I felt from early on, there were ways in which I had to tell this story through different kinds of photographs and through different forms of language. And some of that language needed to be storytelling, specifically autobiographical storytelling because the images didn't support the story or illuminate the story in the way that words could.
And then there were images that I felt had to be included because the story around or behind them was ineffectual. So I feel like photography is great at showing things, but also terrific at excluding things because it's always a crop and it's always a subjective decision. But words are like that very much too. But possibly going back to, if I'm understanding the question correctly, is so much about growing up in a male-dominant community and particularly a rural farming community is it's a life about gesture and it's a life about nonverbal communication and it's a life about communicating with your body. It's about the simplicity and the economy of words. Farmers don't use adjectives, right? They don't over-explain anything because they don't need to. And it's similar to the way that I understood and grew up making pictures, that they were economical, functional, clinical.
They were not meant to be voluminous. And they weren't meant to suggest other things outside of themselves. And so even in my writing, in the book, I'm very, very direct. And there's not a lot of fluffiness around the words. And so I've tried to do the same thing when I was making the pictures as well. Even in choosing the photographs that went into the book, I very specifically chose images that have a kind of tactile value to them. They look and feel like what it was to grow up in that environment. They look dirty, they feel rusted, there's bent corners. I'm pointing to physicality, not just in the subject matter, but in the actual objecthood of the image itself. So that idea of tactile values was super important. You know, they had to look a bit haphazard. They had to look a bit disheveled. They had to look like how a female body was regarded and considered and treated within this community, that it was a body of labor. It was a body of secondaryness. I'm not sure that's a word, but they were secondary to the men. And often behind cows as being these heralded beasts, these heralded bodies.
SE: For a good amount of my life. I grew up in a very rural area. Neither of my parents went to college. So art school is a very different environment. And I'm wondering how you navigate bringing up this topic that is specifically contextualized in working class and rural experience to an audience that most likely doesn't have the same complex understandings of your community and how you show that it goes beyond just being about "these people" or this community's prejudices.
OE: I think some of that comes around to how women in contemporary society are still secondary bodies in many situations. And the way that I often come at my photographic practice is to speak autobiographically, but it's always with a kind of awareness of things that I still experience now because rural life in Southern Australia, in this tiny community in the 1970s through the 1990s, is so removed from me now, let alone anyone else, that I had to find a bridge. And a part of that bridge came through photographing my daughter and looking at the way that she's now 11 years old, but I've been photographing her for this project not knowing it was a project, not knowing that I was photographing her for this since she was five. There are kinds of behaviors. There are kinds of ways in which the female body is looked at, judged, picked apart, assessed, considered both by humans, looking at bodies, but by photography, looking at a female or female-identified body, and those ways still persist, although the ways in which we society do that has changed and has moved.
And I don't want to say move forward because that implies a positive direction. I'm just saying it's moved, but there are still the same issues that I think women or female-identifying bodies and faces experience. And that became something that was important for me to include in this book. It couldn't just be about a rural community. It couldn't just be about farmers beating their chests and saying, "We are dominant. We are the gods and there are the animals." And then there are the women. It had to speak to the kinds of labor that women still perform, for the most part, without being paid for, let alone recognized for it. Diane Smyth at the British Journal of Photography sent me a wonderful article from the New York Times, which spoke to the idea of the pandemic's influence on females and female-identified persons and how their lives had changed almost backward from having to perform a kind of role of woman or perform a kind of female identity that was expected, anticipated required of them. That wasn't something I was thinking about when I was putting together this book, how the pandemic was cause this.
SE: So you talked a little bit about why it was important to include your daughter in the work and I'm wondering if you could talk about your choice to include your parents in the work and the process of making, rather than just the subject matter, such as why that was important, and what their response has been to the project.
OE: I started asking my parents to re-perform my past in around 2010. I was here in the US in grad school, and I wanted to nurse myself back to health, or nurse back to health this place that we loved and lost, this dairy farm, in 1989 owing to near-bankruptcy. And my way of doing that, because I couldn't travel back, was to have them go back to a place that was their career, their labor, their great love, and have them re-walk this land over and again, every month for an entire year. And I would direct them where to make photographs. I would ask them to go back to the family album and find pictures of my younger brother and I, and to remake those pictures. All the while I'm sending them back to a place of pain, a place they couldn't sustain that couldn't sustain them.
It's a perversely psychologically damaging request, but it is a request that a parent would understand. If my daughter was asking me to do the same thing I'd say, yeah, no hesitation. And then also about what it means to have some kind of parental custodianship over decision-making to help your child, to help a family member. So I didn't feel like I could talk about this place. I mean, I never owned, my parents never owned, this place. The bank-owned our home, this place that they started off sharecropping, I couldn't talk about it without including their voice. I couldn't talk about it without including the years that they spent trying to make a life, trying to make a living from soil, from things outside of their control. Because a farmer's life is almost entirely governed by things like the weather, which we have no control over.
And I was trying to control it through photography, which we assume we have some kind of control over. But actually the reverse, I think, is true, that we can't control it no matter how much we think we're in control of a device in front of our eyes. So I felt like their voice was really important to that and that some of the pictures in the book that they had made that I couldn't make. Sometimes I write as me. Sometimes I write as my father, sometimes I write as my mother. So there's this slippery use of language and storytelling where, you don't know whose voice it is, but they sort of overlap a great deal, as do the photographs too. There's this overlapping of past and present and growing up, all happening at once. So it was this very layered way of looking at story.
My daughter was a participant in this. You know, it's a very collaborative process. There were pictures I made of her that she insisted I didn't use. There are pictures that I made that she felt had to be in the book, her understanding of it. If she was uncertain or uncomfortable about anything, I didn't include it. You know, she's not a muse, she's not a model, she's her own person. And so it felt really important to include her in that process, but also to make her monumental. Like I spend a lot of time photographing from a really low angle. I wanted the female body to stop being this thing that was bent over and hunched over for labor where the faces isn't seen, although there are images where I've cropped the body off, like the cow manual crops bodies off. But I also wanted to herald her like that Alexander Rodchenko series, Young Pioneers, where you are looking up at the majesty and wonder and joy of someone being thought of as magnificent and not just being a body, but being something that feels and emotes and has energy and passion, and fear.
And so, a lot of the photographs of Hepburn—that's my daughter's name in the book—speak to that. She's like a sunflower, kind of, looking for the sun.
SE: My last question is just that, besides having grown up in different circumstances, what ways do you think your daughter might experience the issues of this work differently than you? Or I guess, even speaking to growing up in different circumstances, if you have ideas as to how she relates to it differently?
OE: That's a good question. And a good question for her. When I go back to the farm, which I try to do every year—though since the pandemic started, I have not—she comes with me and it's usually my mum and my daughter and I who go back. We have this ritualistic behavior that has become apparent over the last five, six years since Hepurn was five years old. We go back to the farm. We have to ask permission from the owners to walk the land. It's been through, I think, nine or ten owners, at least since 1989. And in the past six years, it's been at least two different owners. So there's this ritual of having to ask permission to even go there. Hepburn goes there with a child-like, inquisitive joy of experiencing farm life through a few hours of visiting.
And she thinks it's the most magical place on earth, right? Because what she sees is what I saw—there's soil and there's trees to climb, and there's hay bales to make cubbies out of. And there are still animals there. There are animals to pet and fences to climb over. And, you know, a stick becomes a sword or a wand. Everything is steeped in fantasy and magic because it's not like an everyday life. For me, you know, I had a 200-acre playground. So for me being outdoors was not only this wondrous place of play, but it was also a place of imagination. It was a place of education. How I learned color, you know, yellow wasn't yellow, yellow was canola or alfalfa or canary or egg yolk. The way that I learned things was through these 200 acres. For her, it's so much fun.
And because she loves to pretend, she would do these things. She would pretend to be a cow and be walking on all fours through where the old dairy was. And I would just photograph it for fun, not thinking it would be part of this, but it was interesting to watch her behave as I had once, absolutely benignly and innocently about the wonder of place, which is how I was. But when I look retrospectively at the photographic evidence, at the oral storytelling, the difference between the oral histories that my father would tell versus my mother would tell, the kinds of rules and restrictions my mother had, and the role that she had to enact in that community versus the freedom that my father had. It's only upon becoming an adult and a parent myself that I can look back at those things with a loving eye, but also a much more critical eye.
So for Hepburn, it's still this magical, wonderful place. And she looks at these images from the cow manual and says, "Wow, they're strange!" Or she's aware to some extent of what she's interpreting what she's seeing, but certainly probably not in the way that I'm experiencing it or revisiting it because that was my life. And her life is a city life. And one where she lusts after something that seems so wonderful. If I told her we were moving back there tomorrow, she would be immersed with joy. But the reality of how that life would be very different because of what it means to be remote. How do you get to school? Where do you go shopping?
SE: Thank you so much for talking with me and congratulations on the book. It was so much fun to talk about this.
OE: Thank you.
Sydney Ellison is a Brooklyn-based artist whose work addresses themes of gaze and intersectionality primarily through collage and self-portraiture. Ellison is an art photography student at Pratt Institute and an editor of The Photographer's Greenbook, a resource hub for Inclusion, Diversity, Equity, and Advocacy within the lens-based art community.
Internships at Light Work
Offered year-round, Light Work internships provide a platform for undergraduate and graduate students to gain practical, hands-on experience in our exhibitions, education, and collections departments. Light Work's programming includes exhibitions, educational classes, workshops, community education programs and initiatives, residencies, publications, a digital darkroom, and a library. We endeavor to match each intern with duties that match their interests and learning goals. To apply for internships fill out our Internship Application PDF and send it and all requested documents to lab@lightwork.org
https://www.lightwork.org/uploads/OdetteEngland_AIR_10-1.jpg 923 1280 Staff /uploads/LightWork.png Staff2021-11-19 12:33:002021-11-29 13:29:24Odette England Dairy Character Interview
Estate of Laura Aguilar Donates Works to Light Work's Permanent Collection
With enormous pleasure and gratitude, Light Work announces the acquisition of works from the estate of photographer Laura Aguilar (1959 – 2018). The self-portraits, consisting of two triptychs and four singular black-and-white images, represent Aguilar's exploration of the lived realities of members of various marginalized groups, including women, lesbians, Latinas, the working class, obese people, and those with mental health struggles and learning disabilities. It humbles us to receive this gift of six photographic works from this extraordinary artist. We consider it an honor to join her estate and other art institutions in the stewardship of her artistic legacy through the sharing of these important works.
In May of 1993, Laura Aguilar was an artist-in-residence at Light Work. This was a prolific period for Aguilar; she entered Light Work following the success of her iconic Three Eagles Flying and the series, Clothed/Unclothed. Aguilar applied for the month-long residency after her colleague and friend, Willie Middlebrook, completed his residency in 1992. He suggested that she create the body of work comprising 12 Lauras and Don't Tell Her Art Can't Hurt as a means to further influence her series of nudes in nature.
Laura Aguilar, Center #70 (abc), 2000-2001, Gelatin silver print , 8 x 10 in.
Before Aguilar's 2016 retrospective, Show and Tell, she wanted to create the Laura Aguilar Trust to protect her legacy. Aguilar spent time with co-trustees Christopher Velasco and Sybil Venegas to clarify her wishes for how to handle her work after her death. One primary goal was to make sure that her work found its way to institutional collections for future generations to study. Light Work is one of those institutions. Aguilar often spoke so warmly of her experience here and encouraged many aspiring photographers to apply. After her residency, Aguilar gave the Light Work Collection two of her Clothed/Unclothed prints (1993), the 12 Lauras, and three unpublished prints from her trip to Mexico. Since her death, the Laura Aguilar Trust of 2016 has placed her works in a number of collections. As a thank you, the Trust wanted to give Light Work a range of significant works that continued Aguilar's legacy after her residency. This gift includes Windows (Nikki on my Mind) (1990), Center #70 (abc) (2000-2001), and selected images from the Stillness & Motion series (1999).
Laura Aguilar died in 2018 at age fifty-eight, just as recognition of her work was gaining momentum. Her eponymous retrospective, Laura Aguilar: Show and Tell, at the Vincent Price Art Museum in Monterey Park, California, was the breakout exhibition of Pacific Standard Time: LA/LA: Latin American and Latino Art in LA 2017-2018 and also Aguilar's last exhibition during her lifetime. Since her death, she has joined the ranks of other iconic female photographers.
Laura Aguilar, Stillness #30, 1999, Gelatin Silver print, 11 x 14 in.
"We are honored by the donation of work by Laura Aguilar," said Dan Boardman, Light Work's director. "Aguilar was a visionary artist who exemplifies our mission to support emerging underrepresented artists at pivotal early points in their careers. This gift will aid students, members, and visiting artists as they use our Collection for research and inspiration."
Header image: Laura Aguilar, Windows (Nikki on my Mind), 1990, Three Gelatin Silver prints, 8 x 10 in each
The Light Work Collection is an extensive and diverse archive that maps the trends and developments in contemporary photography. There are currently more than 4,000 works of art in Light Work's archive. The Collection contains all original work, including color and black-and-white photographic prints, alternative processes, collages, installation pieces, artist books, portfolios, and publications. Online visitors will find early work by many artists who have gone on to significant acclaim after their Light Work residencies, winning coveted awards, exhibiting work in prestigious museums, and securing top gallerists to represent them. This noteworthy collection includes all genres of expression found in contemporary photography, including documentary, abstract, experimental, and conceptual work. The Collection has grown over the past four decades due to the generosity of former artists-in-residence and individual donors.
Explore the Light Work Collection online at http://collection.lightwork.org
https://www.lightwork.org/uploads/LauraAguilar_Acquistion_01-scaled.jpg 560 2560 Staff /uploads/LightWork.png Staff2021-11-19 11:54:432021-11-19 12:40:35Estate of Laura Aguilar Donates Works to Light Work's Permanent Collection
Review: Carl Mellor on James Henkel's Object Lessons
This review is written by Carl Mellor, a freelance writer. He covered visual arts for the Syracuse New Times from 1994 to June 2019. Mellor continues to write about exhibits and artists in the Syracuse area.
James Henkel's solo exhibition at Light Work samples an extensive body of work, one created during a career spanning more than 30 years. Henkel photographs discarded objects of all kinds: pitchers, cups and bowls, toys, bricks and bits of concrete, and most of all, books. He gathers ordinary items of no discernible value, repairs or repositions them, and ultimately creates memorable images.
The current show, for example, includes Henkel's photo of a comb, with both physical reality and a sense of illusion playing a role. The comb stands on one end, appearing to find its balance and perhaps even move on. Henkel's lens and composition skills have transformed the object.
Similarly, a photo of two toothbrushes places them standing up and in close proximity to each other. The head of each toothbrush touches its counterpart, suggesting visual implications. From one perspective, this looks like two figures embracing. From another, there's a touch of irony in this view of one toothbrush massaging another toothbrush instead of teeth.
A third photo shows an artificial arm standing on its own. The hand's fingers are thrust into a surface, inviting viewers to ask questions. Where did the arm come from? Why was it discarded?
installation image courtesy of Julie K. Herman Photography
Elsewhere, the exhibit documents Henkel's multiple approaches to the objects he photographs. For "Brick #2," he stacks bricks which, in the presence of light, cast a long, jagged shadow. That piece is a companion to "Bricks #5," a work also encompassing bricks and a shadow.
And Henkel plays with ceramic objects that are damaged and not fully restored. A pitcher's handle is strapped to one side, but much of one side is missing. Chips from the battered object reside nearby. We view the object as it currently exists, not as it once was. A second photo, "Two-Handed Vase," operates in the same context; an additional handle is strapped on.
"Shallow Bowl," one of the best pieces in the exhibit, offers another example of Henkel's creativity. We don't see the bowl's exterior at all. Instead, the camera's perspective seems to come from within the bowl, extending up through a surface opening. We get a glimpse of a forest scene outside.
The exhibition also references Henkel's intense interest in books. He's clearly comfortable working with them, and that translates into interesting, incisive images.
In one instance, he depicts a tall, frayed book cover with a much smaller book strapped to it. A second work portrays a book cover combined with an illustration of a medieval ship. In a third piece, a book's innards are wrapped around a largely intact volume.
"English Poet," meanwhile, consists of pages cut up and collaged. Viewers see a partial view of a man's face, a similar view of a second face, and a caption: "English poet, novelist and critic."
Mentioning those works offers only preliminary discussion of Henkel's facility for interpreting cast-off books. Among other things, these are different from other objects photographed by the artist.
Books contain text and offer narratives and ideas in formats as different as novels, biography, and poetry. That challenges viewers to compare and contrast books and objects such as bricks and ceramics.
That challenge, of course, comes by implication. At the very least, Henkel's photos, taken as a group, reference the meaning of objects in our lives. When do they have emotional import? When do they have little or no impact?
Those questions aren't part of a seminar. Henkel is a talented visual artist who's able to work with varied materials and to keep improvising successfully. "James Henkel: Object Lessons" nicely communicates his skills and points to themes in his work. It offers a fine overview of a veteran photographer's work.
Henkel, it should be noted, has taken part in many exhibitions over the years. Indeed, he's shown his work at Cavallo Point Gallery in San Francisco, Flanders Art Gallery in Raleigh, North Carolina, and Nash Gallery at the University of Minnesota, among other venues in the United States. In addition, his images have appeared in galleries in Iran, Russia and China.
His solo exhibit is on display in Light Work's Kathleen O. Ellis Gallery. A second show, devoted to work created by winners of the 2021 Light Work grants, is on view in the Hallway Gallery. It features artworks by Carla Liesching, Paul Pearce and Jessica Magallanes Martinez.
The Light Work exhibit closes December 9, 2021
All programs are free and open to the public. For parking information, visit parking.syr.edu
Thursday, November 4, 5-7 p.m. — Gallery Reception
Thursday, November 4, 6 p.m. — Gallery talk with exhibiting artist James Henkel
https://www.lightwork.org/uploads/JamesHenkel_INSTALL_06-scaled-1.jpeg 1707 2560 Staff /uploads/LightWork.png Staff2021-11-18 05:28:452021-11-18 10:52:12Review: Carl Mellor on James Henkel's Object Lessons


Mails with serious content in an official tone, final notices or seemingly technical issues are enough to unsettle most readers. Often, this is an attempt at cheating you out of your money as I described last week. How can you catch on to the scammers, where do they give themselves away? The first step is to realize that your personal information is already in the wrong hands.
How do hackers manage to steal your information?
Phishing mails seem twice as credible when they already contain the correct name, address and even your bank information. This information can come from various sources. Maybe one of the companies you recently dealt with was hacked. Entire collections of stolen user profiles are available for sale on the dark web, the part of the Internet that requires specific software and authorization that is frequently used by criminals. Have you ever had a Trojan on your PC? This type of malware collects your every input and can create extensive user profiles. Have you recently participated in an online raffle or similar offers that require you to provide your personal data? Hosters of free services finance their offers through the sale of customer data sets among other things. It pays to think twice before you give away your real name, address and bank information. It's easy to change your email address but your place of residence or your bank account? Not so much.
Look for irregularities. Did the sender write to you before? What about spelling and syntax? For example, many scammers use Google Translate to create mails in foreign languages. These mails contain valid words but in weird combinations. As native speakers, your bank, PayPal or whoever supposedly wrote them usually do much better.
That's the essence common to many phishing mails. Unless you're facing bankruptcy or love to collect final notices no respectable company will write to you in this manner. This pressure is built up to make you act rashly, give away your data or make that urgent transfer. But frozen bank accounts and property seizures are always the last resort and don't happen over night. So stay calm, think and contact the companies mentioned through regular channels (phone / email). Don't use the contact address provided in the mail as this may lead you to other criminals that will try to convince you of its validity.
No bank requires your data, PINs or TANs! Whenever you're prompted to input your user name, password or even transaction codes, something's fishy. The authors of such emails are crafty in finding new reasons for you to "confirm", "verify" or input data for "further processing". Your bank already has all the information otherwise you wouldn't be able to log into your account in the first place. Scammers also like to pretend that your account has been suspended or hacked. Again: Call your bank and sort things out. If a wave of spam mails is under way, your bank will most likely clear this up with you quickly.
Don't open attachments and don't click on any links if you're uncertain about their contents! Even good antivirus software cannot provide 100% protection against all Trojans and other malware. Very popular: Links hidden in a PDF document (e.g. to display the status of your package delivery) that will lead to a download link for a Trojan so the original attachment is clean but the link target is not. Bad!
It's unlikely that you're the first to receive this mail. Numerous sites deal with this topic and provide up to date examples. If you find weird phrases simply copy them into Google Search. In all likelihood, you will quickly discover fellow users with the same problem so the issue gets resolved soon.
Scammers are currently using a new scheme on Facebook. Using fake profiles that resemble those of your friends, users will ask you for your cellphone number. Instead of a message, you will receive an SMS with a code. While you're still trying to make sense of this, your "friend" will then ask you for that code. If successful, you will be charged for the message by common payment providers such as PayPal, Buy with Mobile or their offspring Zong on your next cellphone bill. Solution: Adjust your privacy settings so that only your friends can view your list of Facebook contacts.
Does the mail contain links? Simply hover your mouse over them, don't click. Most email applications will already display the link target this way. Make sure it's the right company and pay attention to every detail as scammers tend to use addresses that are very similar to the originals.
If you're willing to dig a little deeper into the technical details, you may also want to analyze the email header. Because what is usually simply displayed as a name in our email applications contains a lot more information than that! Visit iptrackeronline for further details.
Still uncertain? Visit the company site the mail supposedly refers to (before you open any attachments or click on any links in the mail!) and log in as usual. Whether it's your bank, Amazon or PayPal, if the mail is legitimate, you will find similar messages or notifications in your user account. If there aren't any feel free to delete the mail.
You see, the best security system still sits between your ears! Be vigilant and stay calm when you receive mails you can't immediately make heads or tails of. Run a full virus scan. Most Trojans will be detected and eliminated by your antivirus program. Modern online banking methods, alert users and good antivirus applications are making it harder for these phishing attacks to work yet the yearly damages caused are estimated to be in the billions. And even if the worst happens, you're not alone. Back in 2009, highly indecent sexual statements seemingly made by English MPs attracted a lot of attention on Twitter. These MPs had carelessly entered their user names and passwords in response to a phishing mail.
What I would like to know since damages caused amount to billions of dollars: Have you been the victim of a phishing attack or have you avoided the threat and if so, how?


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Covid Italy: no mourning allowed during "shopping therapy"
Italian hostage liberated, and the melodrama against her begins
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PETITION! Call for the release of detainees in the Uprising in Iran!
"Israel" Activists and Activism Ahwaz Counter-terrorism, No thanks! Culture and Heritage Europe Features Grassroots Activism Hasbara Deconstruction Site Human Rights Internet and Communication Iran Middle East Middle East Issues Nakba and Right of Return Newswire Opinions and Letters Palestine People's Movements / Struggles Politics Refugees Religion Resistance Somoud: Arab Voices of Resistance Strategy for Liberation Syria Uncategorized Video War Zionism
The Forbidden Debate
Posted: 02/05/2009 by editormary in Uncategorized
WRITTEN BY SAMI JAMIL JADALLAH
In the US and the West, we are able and free to debate God and HIS/HER existence, debate Jesus, Moses, Mohamed, debate America, its failures and its successes, debate our constitution and its interpretations. We are free to debate George Bush and his stupidity, his crimes against America and the world, and his many failures. We are free to debate anything and everything except Zionism, Israel and Judaism. In Palestine and the Arab world, we are allowed to discuss few things but one thing no one dares to discuss is the PLO, its illegitimacy and its failures.
Israel committed war crimes for over 20 days in Gaza, killing and murdering in cold blood women and children, destroying homes, schools, social centers, UN facilities, mosques and hospitals yet, no one in the US and the West dare to say anything let alone criticize Israel, its racist and criminal practices, as we have seen in the BBC's refusal to air calls for aid to Gaza and in the attack on Paul Simon and CBC for its airing of the recent special of why a two state solution is not possible any more.
Mahmoud Abbas, whose presidential term finished and expired a couple of weeks ago and who lost any and all legitimacy as president of Palestine and the Palestinian Authority stood up yesterday in Cairo and declared that under no circumstances will there be any dialogue with those who (Hamas) questions the legitimacy of the Palestine Liberation Organization.
I am sure all Palestinians and the Arab world, with the exception of the very few Palestinians who are on the payroll of the PLO know well that the PLO lost any and all of whatever legitimacy it had to begin with 20 years ago. What remains now of the PLO is nothing more than perhaps a couple of dozen "parasites" around Mahmoud Abbas, direct beneficiaries of his financial generosity. I am sure if the payroll stops they will drop the PLO as hot potatoes.
To begin with, the PLO was never elected, voted or chosen by the Palestinian people, rather the PLO was chosen by the Arab League, which itself is of questionable legitimacy with many Arab leaders coming to power by tanks but not by the ballots and have no legitimacy whatsoever. As at no time did the Palestinian people in an open debate, forums, votes or ballots ever vote for and selected the PLO as "the sole and only representative of the Palestinian people". An organization like the Arab League with questionable legitimacy cannot vote on or select an organization for and on behalf of the Palestinians people. The Arab League never had a mandate to represent the people of Palestine let alone select its representative, never.
Even in its heyday, the PLO was never legitimate since its officers and members were not elected by the people, but through a process similar in so many ways to the old Communist Party of the old Soviet Union, where the party on its own, without ever going back to the people, chose its general members and this general membership elected a slate of candidates that the leadership put forward. The same is true of the PLO. Arafat as a party leader funded and organized unions such as teachers, artists, social scientists, engineers, students, etc to be part of the "party" and put forward the slate of leadership to head and represent these "unions" and in turn these selected leaders voted the same (Arafat) leadership that voted them in. Thus the Palestine National Council, which is the "elected" people's congress, was never elected through open election: rather its members where selected by Arafat and his gangs and where voted in. Faulty process to the core.
Thus the Palestine National Congress never truly represented the people and Arafat and his gangs were never voted in by the Palestinian people inside or outside Palestine. That is why there was never ever an open and serious debate on issues of concern to the people such as the occupation, liberation, building institutions, representing the people of the Diaspora, let alone the many fatal and criminal decisions taken by Arafat and the PLO leadership. There was never a debate on what happened in Jordan in 1970, never a debate on what happened in Lebanon, never a debate on what happened in Tel-Zaater and Sabra and Shatila, never a debate on what happened to cause of the forced exiles of 350,000 from Kuwait, never a debate let alone filing criminal and civil charges against all those who committed war crimes against the Palestinian people. Equally troublesome is the lack of debate or call for accountability of the tens of billions of the people's money that simply disappeared during the tenures of Arafat, Qurai and Abbas. Tens of billions of the people's money stolen by the very same leadership that is supposed to be the people's trustees of their money and future. As such the Palestine National Council was nothing more than a 'yes' congress for the leadership so similar to the party congress of the Soviet Union, a bunch of 'yes' people who serve the wills of their masters, the leadership.
It was the late Arafat and his partners Abbas and Qurai who, once they signed the Oslo agreement recognizing Israel and its occupations, and becoming its agents and administrators, simply discarded the PLO as no entity. The Palestinian Trio of Arafat, Abbas and Qurai, turned the PLO into a "shell" organization putting a number of loyal cadres on the payroll just to keep the PLO under "oxygen". The Palestinian Authority became the legal and financial partner of the Jewish Occupation. Arafat and Abbas simply put the PLO in a cold freezer, to use only when needed and to serve the purpose of the Jewish Occupation.
Under Oslo, Israel recognized the PLO as "the representative of the Palestinian people" and the only one authorized to sign and execute a "peace agreement" with Israel. Thus Mahmoud Abbas's insistence on the PLO and its role in the "peace process". Without Abbas's PLO, Israel could not consolidate its occupation, could not settle the issue of the refugees, could not keep the Jewish settlements and could not have a financial and security partner. Abbas's insistence on the legitimacy of the PLO has nothing to do with ending the Jewish Occupation, has nothing to do with the Apartheid Wall, has nothing to do with ending the Jewish settlements, has nothing to do with return of refugees, has nothing to do with Jerusalem, has nothing to do with Jewish war crimes, has nothing to do with the 11,000 hostages held by Israel, certainly it has nothing to do with the siege of Gaza, with the war on Gaza and the Jewish war crimes committed in Gaza. It has everything to do with his the PLO legal obligations under Oslo to deliver Palestine and the Palestinian people under occupation and in the Diaspora to Israel. Without the PLO Israel could not reach a "peace agreement" that makes Israel a controlling partner of all Occupied Palestine of '67 including Jerusalem.
As for Israel and the lack of debate, we all know what happened to anyone and everyone who dares to say or speak out. They end up on the side streets of Washington, Berlin, Paris and London, politically finished and ruined. A deadly bullet waits all those who dare to speak out. The same is true in Palestine and the Arab world.
http://www.jeffersoncorner.com/the-forbidden-debate/
Sami Jamil Jadallah – The Forbidden Debate

redpajama_set_name: RedPajamaCommonCrawl


Boxes of old slides can be full of surprises. I tend to decide to purchase if the seller happens to scan an unusual view, but even the least ambitious amateur photographers of the 70s tended to take a few weird ones. Almost everyone at some point was compelled to break the flash photography rule or take some blurry photos from the train.
So I was pleased to find mixed into the 1978 slides a good number of photos of the Walt Disney World Village. Amateur photos of the Village are exceptionally rare; and while some of the most beautiful professional photos Disney ever published are of the Village, it's valuable to see another view of the place.
Each shop outside the Village had a beautiful handmade sign, and maybe the most distinctive was for Sir Edward's Haberdasher.
Here's the Empress Lilly from the boat marina. Captain Jack's sits off to the right. This photo, besides affording a glimpse of the Village Marina's old craftwork lanterns, shows how very different the effect of the Lilly once was. Situated where it is, surrounded by trees with nothing but a vast Florida waterway stretching out ahead of it, the effect is beautifully romantic. This was lost in 1989 when all of those trees were taken down for Pleasure Island.
The original winding, pastoral walk to the Lilly. Not even the waterwheel remains today.
Our lady friend returns from last week, less artfully composed. She's standing in front of the Pottery Chalet, which was a sort of housewares super store. The front area as well as a rear interior courtyard was all pots and plants. In the 80s it because the Christmas Chalet and was levelled in the 1990s. World of Disney stands there now.
Entering the Village from the Parking Lot. This appears to be the back of Sir Edwards's, meaning that's the bathrooms on the right. Originally, many of the buildings in the Village were connected by airy verandas and covered walkways like those seen here, allowing products displays to spill outside the confines of the store. The design of the Village was executed by a young team inside WED and is little heralded, but I think the architecture and emphasis on natural colors works beautifully well in the natural Florida environment.
Walt Disney World, and the Village in particular, was instrumental in shaping a stronger sense of food culture and sophistication in Orlando. In the late 60s, just about the best you could get in Orlando was Maison et Jardin in Altamonte Springs and the Columbia downtown. Orlando was a takeout-and-deli town.
Disney, simply by showing up and opening things like gulf coast-inspired continental dining rooms, the Gourmet Pantry where one could buy Kobe beef, and French-Colonial dinner palaces with floor shows changed the local food culture forever. Even today, Orlando boasts an amazing variety of food experiences. Whatever you want, you can get it, and usually in very high quality.
This is probably, more than anything, the thing that may not have happened in quite the same way had Walt Disney lived. Walt liked good food, but his limited palette and eating habits always embarrassed his cronies like Card Walker and Donn Tatum. Those guys were the fine dining mavens and they are the ones who brought that expectation with them from Los Angeles.
The Village opened the first serious wine shop in Orlando: the Vintage Cellar, where Art of Disney is now. They imported the best and brightest available to a swamp, no matter the cost. It was part of the show to the Disney people; to a nascent Orlando food scene it was a gift from God. The demand for wine at this store was so great that Disney began to offer case discounts. They hired an in-house wine expert to give weekend lectures and tastings, and they sent out monthly fliers to the "Cellar Dwellers" club, announcing new shipments and vintages - with quantity limits.
All of these things come rushing to me when I see photos like this of the Village. It's just one example of many. It's not easy to remember that Orlando was once a sleepy town like Ocala is today - incidentally, another place Disney was interested in moving to in the 60s. It was a cow town with an urban center. People liked it that way. Disney's arrival could not have been more disastrous to old Orlando had it been an asteroid.
Walt Disney World may be a cultural juggernaut and a base commercial operation, but it had ambition and beauty, and it changed people's lives. Disney may have abandoned EPCOT, but they did shape a city with projects like the Contemporary, the Village, and World Showcase. I wish Disney had those ambitions today.
For a minute there I thought you had Photoshopped that woman out of the last picture.
I grew up about 30 minutes from the Village. We always called it lake Buena Vista when I was younger. I loved going there in the late 70's early 80's. Always felt so distant from the park. Was its own little world.


At Northlake Village, you have the convenience of choosing from a variety of spacious floor plans. We're located in the Noblesville School District and we offer numerous one, two, and three-bedroom apartment home layouts to fit your lifestyle. Our apartments already feature beautiful amenities and we're continuing to make updates for our residents. If you're looking to rent an apartment outside of Indianapolis but still be close enough to visit, our North Indy location in Noblesville makes Northlake Village the perfect place to settle in.
From the kitchen to the bath, find your own personal space designed with your needs in mind. The features at Northlake Village apartments are designed to help you be comfortable inside and out. We know that apartment renting is an opportunity to build friendships and make connections. Spacious living areas make it easy to stretch out or entertain friends, plus our on-site theater room and outdoor grilling areas encourage you to relax and unwind.
Take a few moments to view our floor plans and apply online. Contact us to schedule a visit and see our unbeatable location and spacious floor plans in person. We can help you find the perfect apartment at Northlake Village!


All are invited to participate in the 13th annual Jeremyah Memorial 5k Walk/Run on 9:30 a.m., Saturday, February 9th at Kiwanis Park in Tempe. Walkers gather prior at the Ruben Romero Corporate Ramada at 8 a.m.
The annual event is organized by EMPACT-Suicide Prevention Center. All funding raised from the event will be used to support local survivors of suicide programming, including support groups and loss response teams.
AHCCCS works closely with EMPACT-Suicide Prevention Center to reduce the suicides in Arizona. Officials from EMPACT and other behavioral health providers, including community stakeholders, are invited to participate in a conversation regarding the 2019 State Plan to End Suicide. For more information about the meeting, email: kelli.williams@azahcccs.gov.


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Drama, Theatre, Performance Studies (1)
Journal of Developmental Origins of Health and Disease (6)
Politics and the Life Sciences (2)
Proceedings of the Nutrition Society (2)
RNA (2)
Weed Technology (2)
Cambridge Quarterly of Healthcare Ethics (1)
Canadian Journal of Emergency Medicine (1)
Experimental Physiology (1)
Fetal and Maternal Medicine Review (1)
History of Education Quarterly (1)
Journal of Interamerican Studies and World Affairs (1)
PMLA / Publications of the Modern Language Association of America (1)
Developmental Origins of Health and Disease Society (4)
Weed Science Society of America (2)
Canadian Association of Emergency Physicians (CAEP) (1)
HTAi Organizational Members (1)
History of Education Society (1)
Modern Language Association of America (1)
Physiological Society (1)
Fetus and Neonate: Physiology and Clinical Applications (9)
Literature in Context (1)
Cambridge Textbooks (13)
Section IV - Mechanisms
Edited by Lucilla Poston, King's College London, Keith Godfrey, University of Southampton, Sir Peter Gluckman, University of Auckland, Mark Hanson, University of Southampton
Book: Developmental Origins of Health and Disease
Print publication: 22 December 2022, pp 132-175
Chapter 20 - DOHaD: Engaging with New Global Issues to Inform Policy
from Section VI - Public Health and Policy Implications of Interventions
By Peter D. Gluckman, Mark A. Hanson
As noted in Chapter 1, it is now over two decades since the field of DOHaD was established, as an extension of the epidemiological findings of Barker and colleagues and their integration with new ideas in developmental physiology, evolutionary biology and medicine. Despite the widespread acceptance of both the underlying science and phenomena of DOHaD, as evidenced in each of the previous 19 Chapters of this book and the range of scientists now engaged in relevant research, the field has had less impact than it warrants on public health, clinical practice or public policy. Here, we review the reasons for this, and suggest some possible solutions.
Chapter 2 - The Evolutionary Basis of DOHaD
from Section II - Exposures Driving Long-Term DOHaD Effects
By Felicia M. Low, Peter D. Gluckman, Mark A. Hanson
Print publication: 22 December 2022, pp 7-15
Two of the pathways by which evolutionary processes can influence disease risk are evolutionary mismatch, where the individual's evolved coping mechanisms are overwhelmed by a novel or severe cue, and developmental mismatch, where the individual is exposed to an environment that is not matched to its adaptively developed phenotype. Both pathways draw on the evolutionary principle that selection operates to sustain and promote Darwinian fitness, irrespective of the impact on health during the post-reproductive age. In this chapter we will frame DOHaD phenomena within an evolutionary context, showing that human health and disease risk are dependent on our both evolutionary and developmental histories. We also discuss the contributory role of a unique human activity to not only construct a niche but also continually modify it. Using nutrition as the exemplar, we demonstrate how the DOHaD phenomenon is underpinned by both evolutionary and developmental mismatches, and discuss the evidence for how developmental anticipatory responses may confer adaptive advantage in humans.
Print publication: 22 December 2022, pp vii-x
Chapter 1 - Overview and Introduction to the Second Edition of Developmental Origins of Health and Disease
from Section I - Overview
By Lucilla Poston, Keith M. Godfrey, Peter D. Gluckman, Mark A. Hanson
Print publication: 22 December 2022, pp 1-6
This chapter provides a high-level overview of the following 19 Chapters, which together create the 2nd Edition of the Developmental Origins of Health and Disease. We encapsulate not only the vastly expanded evidence base and mechanistic understanding underlying DOHaD but also the challenges faced when trying to embed life course 'thinking' into environmental, social, educational and health care policies.
Section II - Exposures Driving Long-Term DOHaD Effects
Print publication: 22 December 2022, pp xi-xii
Print publication: 22 December 2022, pp iv-iv
Section I - Overview
Section VI - Public Health and Policy Implications of Interventions
Section III - Outcomes
Print publication: 22 December 2022, pp 85-131
Print publication: 22 December 2022, pp v-vi
Section V - Interventions
Barriers to and solutions for representative inclusion across the lifespan and in life course research: the need for structural competency highlighted by the COVID-19 pandemic
Madison N. LeCroy, Lindsey N. Potter, Karen Bandeen-Roche, Monica E. Bianco, Anne R. Cappola, Ebony B. Carter, Peter S. Dayan, Elizabeth Eckstrom, Dorothy F. Edwards, Sarah S. Farabi, Sheehan D. Fisher, Judy Giordano, Heidi A. Hanson, Emerald Jenkins, Young Juhn, Frederick Kaskel, Christine E. Stake, Dominic N. Reeds, Mark R. Schleiss, Q. Eileen Wafford, Susanna A. McColley
Journal: Journal of Clinical and Translational Science / Accepted manuscript
Published online by Cambridge University Press: 06 December 2022, pp. 1-39
Developmental Origins of Health and Disease
Edited by Lucilla Poston, Keith Godfrey, Sir Peter Gluckman, Mark Hanson
Print publication: 22 December 2022
Buy the print book
The concept of the early life developmental origins of health and disease (DOHaD) in adults has stimulated a new approach to understanding disease trajectories, with major public health implications. Indeed, the principle of the 'lifecourse of disease' now influences health policies internationally. Environmental influences during pregnancy and early life that affect lifelong health are well documented, but there is a new focus on the preconception period and the significance of paternal health on the fetus. This fully revised second edition highlights scientific and clinical advances in the field, exploring new understanding of mechanisms such as epigenetics and the increasingly recognised role of external influences, including pollution. The book is structured logically, covering environment, clinical outcomes, mechanisms of DOHaD, interventions throughout the lifespan and finally implications for public health and policy. Clinicians and scientists alike will improve their understanding of the developmental origins of health and disease with this essential text.
Mark Hanson, University of Southampton, Lucy Green, University of Southampton
Book: What Makes a Person?
Print publication: 03 November 2022, pp 174-174
Print publication: 03 November 2022, pp vi-vi
6 - The Gift
Providing the healthiest and safest environment in the first 1,000 days of life is the greatest gift which parents can give to their children. We return to the theme of control over our lives to ask who is in control of this gift, and whether today's medicine and public health hold the answers. We explore the dilemmas facing today's governments and the decisions that individuals make in terms of personal responsibility when maternal and child health are not prioritised by health policy-makers. We discuss sexual and reproductive rights, why women's health has not been prioritised – especially during the pandemic – and reasons for high maternal mortality in some countries. We offer an optimistic close to the book; a call to action. We explain that, while planning for parenthood is important, the actions needed do not have to be sustained over a long period. We emphasise the many opportunities which adolescents and young people can seize as the parents of the future. This hope can generate the resolve to make the first 1,000 days of life as good as possible for the next generation. Knowing the secrets of our first 1,000 days is a vital part of this.


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Verschlucken steht für:
 etwas verschlucken, siehe Schluckakt
 sich verschlucken, siehe Aspiration (Lunge)

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Whether you are just updating the already existing webpage or adding a new. It is always useful to look for the on-page SEO Auckland checklist before heading to the off page SEO.
The title tag holds the undisputable importance in on-page SEO. The page rankings automatically align when appropriate title keywords are used in the title tags. This may happen because of the way Google's algorithms function for the title is not only visible on the top of your browser but also comes up in the search engine result page (SERP). The titles should be intelligently written. This demands the use of easy and focused headings only with proper keywords. It is the best idea to have the keywords at the beginning of the title because it would eventually carry more load in the search engines.
The extra durations for the web pages to load may annoy the incoming users. They can easily shut down your page to open the much faster one. Hence ensure that you fix these speed-related concerns. For there arises a greater chance of hooking the audience for long.
This deals with the amount of information you are giving about your website to the search engines. This aids in increasing the overall SEO performance and outrank one's site. Structured data markups are also called the rich snippets and impact the listing of your webpage drastically. You add the structured data by using the specific tool available online for this like microdata generator by 630 Marketing, Schema Creator by Raven etc. Furthermore, you can go through the easily available online guides and references. Some of them include The BuiltVisibile.com Guide to Generating Rich Snippets, Google Support Documentations and SEO's Guide to Schema by Raven.
Best On page SEO often practices this act of linking their site to the others similar to your industry. This kind of citation and references have an overall positive effect on SEO. This is important for it tells the Google and other search engines on how keen you are to add value to the online community to distributing the useful resources. The aim of the outbound links is to reach to the wider audience and to give them the right quantity they need for web surfing.
Next Should I Lease My Next Copy Machine For My Business?


Are you a baker who's (check one: occasionally, sometimes, ALWAYS) in a time crunch? Then our new Essential Goodness mixes are for you.
I've written about these mixes before, but this time I want you to read what others are saying. We asked bloggers from around the country to take our Essential Goodness mixes for a spin, and here's what they think — including imaginative ways to dress them up.
Our thanks to all of the bloggers sharing the love here. Want to try some of these recipes yourself? Pick up some of our Essential Goodness mixes online, or at your favorite supermarket.
Love your products, but cannot find a way to add the Gingerbread Cake + Cookie Mix to my cart for purchasing this item. When will this item be available to purchase? Thanks.
Hi, I read the "tips" for what one could make with the cinnamon muffin mix and found the link to sugar and spice scones. The ingredients called for 1 cup flour in addition to the mix, but i didn't see it used in the recipe instructions. I assume it is combined with the mix in a bowl before cutting in the butter?
the organic flour, is that a multi grain base? whole wheat doesn't agree with me.
I baked the Cinnamon sugar puff muffins, found them a bit flat for flavoring. Used oil instead of butter should have added some more cinnamon or nutmeg to batter. Did not find it made 12 muffins without skimping. Not trying to be critical.
I would like very much to have a copy of your catalogue.
I made the cinnamon sugar puff muffin mix, with a few twists, and it turned out great! I used the vegetable oil, added the zest of an orange, a couple tbsp chopped walnuts, 1/3 cup chopped dried apricots. Instead of just using the milk called for, I used the juice of an orange plus milk to measure 3/4 cup total. After putting batter in the muffin tins, I put a pinch of the cinnamon sugar on top, then baked the muffins. Delicious, and shared some with our elderly neighbor who doesn't bake much anymore.


Yet another reason why you shouldn't be using Chrome anymore. Apparently these changes are proposed to roll out to the main Chromium branch as well, so if you were using that before, it'd probably be best to switch as well.
The ad-blocker crowd ins't known for giving up easily.
Serves chrome users right. What did they expect from Google? Really?
I'm quite happy with my Pale Moon browser.


So, I thought I would check the executive salaries at Accion, the masterminds behind "financial inclusion" powerhouses such as Compartamos and MiBanco. They also run the Smart Campaign, the closest thing the microfinance sector has to a self-regulator. Whether this might represent a serious conflict of interest is a topic that has apparently evaded the sector, discussed elsewhere.
So, taken directly from pages 8 and 39 of the publicly available 990 Form (2012), here are the 11 highest-paid people in Accion.
This is basically the sum of base salary, salary from related organizations and other compensation. The total remuneration of these 11 people was $5.14m. Call me stingy, but these seem quite high salaries for 35 hour weeks (as stated in the 990 Form). To put this into perspective, were he to work 35 hours per week, Enrique Ferraro netted a little over $700 per hour worked. Michael Schlein, CEO, was the fifth highest earner, not even reaching $0.5m. Beth Rhyne, creator of the ill-fated Smart Campaign, earned a paltry $0.25m, under $150 per hour.
Of course this omits the bumper payments to former Accion director Maria Otero, who earned $2m during the IPO of Compartamos.
Bill & Melinda Gates Foundation, Citi, Credit Suisse, Deutsche Bank, FMO (Dutch government funding), Ford Foundation, IDB, IFC, Mastercard, UPS and Visa.
Are these salaries high? Is this "outrageous", to coin the phrase used by Charity Navigator? Does this sit uncomfortably with the (some would say extortionate) interest rates charged to the poor by Accion's microfinance banks? Yunus himself likened such activities to loan sharking, and commenting on the Compartamos IPO suggested "They're absolutely on the wrong track…. Their priorities are screwed up." I wonder if there isn't something rather distasteful about selling financial inclusion as the solution to poverty while charging triple-digit interest rates to poor Latin Americans and Africans to pay such salaries to senior management. Another question of course is: should these people be running the Smart Campaign, whose claim is to act as something between the sector's ethics committee and its self-regulator? Guess whom Smart just awarded with their certification? Compartamos! Potential conflict of interest here?
Leave a comment below, send me an email, or if you're green with envy, maybe go get a job at Accion.
This entry was posted in Uncategorized and tagged ACCION, Compartamos, Muhammad Yunus, Otero, SMART. Bookmark the permalink.
2 Responses to Generous or Excessive Salaries at Accion?
Hi, I have just stumbled across your website – good work, tackling some of the tough issues. I run a small MFI in Zimbabawe and do not know much about what is going on among the big boys so I do not have a strong view about Accion etc. You wonder whether their top people are overpaid. Well, we do not pay bonuses of any sort – I just do not think that they are helpful and can often be undermining. Our intention with pay is to ensure that people get paid enough so that money does not cause resentment or anxiety. Fairness is a key concept. I believe that after a certain point, increases in pay do not have much impact upon performance. I believe that this is true of most people – not just in the non-profit sector. Most people want a sense of self-worth within an activity that is intrinsically worthwhile. (And I used to work in corporate finance!) Of course, it is hard to say what that point is but even in the greedy west it is not more than $100k or maybe $200k. This means that any amount above this is probably wasted. This suggests to me that the Accion people are probably paid more than is necessary. I do not really have a 'moral' point of view on this – I just think that the diminishing marginal utility ideas I learnt so long ago come into play here. Best wishes, Henry.


text:
Top Mindy McCready Songs
3 Song Chart Appearances
Mindy McCready was around 21 years old when her first singled charted. Mindy McCready first charted in 1996. Her last appearance in the charts was 1997. She had chart topping singles covering a span of 2 years. See if Mindy made the list of most famous people with first name Mindy.
15 1996 Country
A Girl's Gotta Do (What a Girl's Gotta Do)
Ten Thousand Angels
Top One Hit Wonders of the 1990s Top Country One Hit Wonders
Similar Artist Top Songs
Ty Herndon
Doug Stone
Darryl Worley
Collin Raye
List of Singles for Collin Raye
The list of top singles for Collin Raye come from the Playback.fm charts. Chart appearances and counts span from 1900-2016 only. Chart appearances include Pop, R&B, Country and Rock. Other genres are not yet included. This list only includes the first billed artist for the given track. It may include writing credits and featured credits in the near future. The data is for entertainment purposes only.
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Sales of newly built single-family homes slowed in September after two consecutive months of improvement. The decline was expected and, though larger than previously forecast, economists believe it only represents a temporary setback. That's because most other recent real estate data shows an improving market and rising optimism. In fact, September sales of previously owned homes were at their second highest pace since 2007 and both builder confidence and housing starts have showed recent improvement. In addition, because there are fewer new homes available for sale, new home sales tend to be more volatile than other sales data. That means, month-over-month results may find dramatic ups and downs but taking a longer view provides perspective. For example, sales dropped 11.5 percent in September, led by a 61.8 percent decrease in the Northeast. But, despite the decline, total sales are still up 2 percent from one year ago. Overall, the housing market continues to make gains and is now helping build household wealth, which is boosting consumer spending and contributing to the broader economy. More here.


Jaime's a freshman in High School. He's gay but deeply closeted.
When a classmate learns his secret, Jaime panics and gets involved with hottie Celia as a cover - and that leads him to discover that her doctor dad is developing an untested drug - these pills that are supposed to "cure" homosexuality. Jaime steals some of them.
And he starts taking the little blue pills... and his relationship with Celia heats up.
Only now Jaime has to keep stealing them.
And in the middle of his pill-popping and girl-dating, he starts crushing on this guy Ivan, which is definitely NOT part of the plan.
There's a good article in the Chicago Tribune on the author (a high school librarian) here. And you can add your review of "Love Drugged" in comments!
This looks AMAZING. What a fantastic premise - the moral conflicts are blazing from the get-go.


Hey Aaron how you been? John was just here a couple of days ago,plumbing,any way nice to here from you and everything been pretty cool,look forward to seeing some post from you,I usually post on Allcoast Sprtfshing easier to post pictures.
I love to fish fresh and salt water been fishing since I was five I have caught a large number of species over the yrs,I have been a member here since 2004. Still have all my gear, but as the yrs pass I get to go out less and less so I love hearing about your fishing trips, also over the yrs i have seen the industry declining so its nice to hear guys and gals reporting poachers and everyone practicing catch and release most people do not give a crap About saving and healing our resources so it is nice to see and read all the posts .


Before you build an electric fence, you must know the laws regarding this security feature in your area. Once you are familiar with all rules and restriction, you can install a fence and keep it running as needed. Before you break ground, you must check with your town or city to see if there are any laws pertaining to these type fences.
Before you erect any fencing around your property, especially if you are in town or city limits, you should check with the city or town clerks office to see what the rulings may be. Different towns have different laws, and many cities and townships have a law against having an electric fence. There are a few that will allow it for livestock fencing purposes, but you are limited to the wattage you can run through your fence. You may also be required to have signs posted stating that there is an electric fence on your property.
Most rural areas will allow electric fencing with no problems unless they run along a frontage road or a prime highway. Then you will have to allow for a certain footage from the road. Again, you would have to check with the county clerks office. You will also have to post signs along the fence stating that it is an electrified fence.
Fencing that is completely on your property and doesn't exist on any public road or fenceline is legal in nearly every state. This is private property, so you are allowed your own fencing. However, it is a good idea to check with your county clerk to make sure.


The bungalow sits in its own garden and enjoys superb views across the sea to the island of Raasay and along the coastline from most of the rooms.
Sleeps 5 +cot. Well behaved pets only. No smoking. Free WiFi. Low season: £500 pw. High season: £700 pw.
Taigh Uilleam Holiday Cottage is in the quiet crofting community of Braes on the Isle of Skye.
Sleeps 5. Cot available. Well behaved pets only. Free WiFi. Prices: £450 - £620 pw.
The cottage is in Sleat on the Isle of Skye and sits right by the shore of Camus Cross Bay beside the picturesque village of Isle Ornsay. The view from Cruard Cottage is stunning looking over to Knoydart and the mainland of Scotland.
Sleeps 5 (+1 on mattress). Pets welcome with prior agreement. No smoking. Low Season £950 - £1050 pw. High Season £1125 - £1225 pw. Christmas and New Year £1450 - £1550.
The Skye Window House is a stunning architect designed luxury three bedroom self-catering property with spectacular sea and mountain views. Located in Sleat, the house enjoys breathtaking views across Knock Castle and the Sound of Sleat.
Sleeps 5. Cot available. Sorry no pets. No smoking. WiFi. Prices: £995 - £1795 pw.
Loch Hourn Cottage is outstandingly sited on a crofting hillside in Sleat (The Garden of Skye), commanding spectacular views across The Sound of Sleat to the mainland hills and to Mallaig from where the ferry sails to nearby Armadale and to the Small Isles.
Sleeps 4/5. Pets welcome by prior arrangement. No smoking. Free WiFi. Prices £305 - £520. Short breaks available during the low season.
Cuillin View is located in Ord, on the Sleat peninsula, Isle of Skye. It is an upgraded Swedish Chalet.
Sleeps 6. Cot available. One dog welcome by prior agreement. No smoking. Price range: £300 - £595 pw.
Seaside is a newly renovated and extended luxury detached property located on the sea shore and having three double en-suite bedrooms. All rooms have superb views across the bay to the hills and mountains of the mainland. Broadford is the perfect base for touring Skye.
Sleeps 6. Cot available. Sorry no pets. Non smoking.
Cnoc an Theine is a three bedroomed self-catering cottage situated on the beautiful and romantic Isle of Skye with spectacular views over the Sound of Sleat, to Morar, Ardnamurchan, and the Hebridean islands of Rhum, Eigg and Muck.
Sleeps 6 +cot. Well behaved dog permitted. No smoking. WiFi. Price range: £495 - £695 pw.
A coastal orientated, self catering holiday house in Lower Milovaig on the West Coast of Skye. It offers some of the most impressive views available on the Isle of Skye and provides an excellent high standard of accommodation, contemporary yet cosy and comfortable.
Sleeps 6. Cot available. Sorry, no pets. No smoking. WiFi. Prices: £485 - £795 pw.
Picturesque, extended croft part dating back to 1880 with low ceilings offering charm and character situated on water's edge of sandy Broadford Bay, with uninterrupted sea views towards Scalpay, Raasay and the Applecross peninsula.
Sleeps 4 / 6. Travel Cot and Highchair. No smoking. Free WiFi. January - March: £400 pw. April: £500 pw. May - June: £560 pw. July - August: £660 pw. Sept - Oct: £500 pw. Nov - Dec: £400 pw.
The longhouse is on the Sleat Peninsula in Camuscross Bay on Isle Ornsay - 9 miles south of Broadford (main shops, hotels, restaurants), 15miles south of the Skye Bridge.
Sleeps 6. Not suitable for children under 5. Sorry no pets. No smoking. Low season £700 - £850 pw. High season £850 - £1,100 pw.
Beautifully modernized and extended original crofthouse, Cobblers Croft is situated on the main road in the small crofting township of Breakish, approximately 1 mile from the village of Broadford.
Sleeps 6. Cot and highchair provided. Well behaved pets welcome by prior arrangement. No smoking. Low/Mid season £400 - £500 pw. High season £600 - £700 pw.
Shorefield is a new purpose built, well equipped Self Catering Cottage, set in a stunning, rural location with panoramic loch/sea views. Situated within the picturesque village of Portnalong, you are close to the Cuillins, with many beautiful walks, a number of secluded beaches and island wildlife on your doorstep.
Sleeps 6 (+ folding bed on request). Cot available on request. Pets by prior arrangement. No smoking. Low season £415 - £500 pw. High season £600 - £740 pw.
Aurora Cottage is a stunning and spacious self catering holiday cottage in the quiet crofting community of Bornesketaig with exceptional sea and sunset views towards the mountains of the Isle of Harris. The cottage is ideal for visiting the whole island or spending a quiet day relaxing.
Sleeps 6. Cot available. Sorry no pets. No smoking. Free WiFi. Low season £490 pw. High season £850 pw.
Located on the Sleat peninsula, Isle of Skye, it overlooks Camus Cross Bay with unbeatable views of Knoydart and Loch Hourn back on the mainland. Eravue is an easy drive from either the Skye Bridge via Kyle of Lochalsh or via the ferry from Mallaig to Armadale.
Sleeps 6. Max 2 dogs - £30 supplement each. No smoking. For the weeks it is available the price is £1650 per week.
Lochbay Boathouse is a unique seaside house. It sits on the shore of Loch Bay, on the Waternish peninsula, a few miles from Dunvegan, in the north west of Skye. Built in the early 19th century, with thick walls of local stone, it was originally the boathouse for the Waternish estate.
Sleeps 6. No smoking. Tourist Board: 4 Stars. Price range: £695 - £1395 pw.
Torgorm Cottage is located in Carbost, a crofting community close to the majestic Cuillin Hills. Overlooking beautiful Loch Harport, there are several beaches close by including Glenbrittle and Tallisker.
Sleeps 6. Cot available. Sorry no pets. No smoking. Free WiFi. STB: 3 Stars. Low season £325 - £385 pw. High season £420 - £550 pw.
Ardmore locally owned and run is a stunning 3 bedroomed (2 en suite) bungalow which has been finished, furnished and equipped to the highest standards. Quietly located in the village of Broadford.
Sleeps 6. Cot and high chair available free of charge. Sorry no pets. No smoking. STB: 5 stars. Prices for up to 4 guests: Low season £550 pw. High season £950 pw. Additional guests (excluding infants up to 2) will each attract a nightly surcharge of £10.
Enjoy your holiday in this newly renovated, light and airy bungalow on a hillside above the sea in Sleat, the Garden of Skye. Sasaig, surrounded by crofts and peatmoor, is set in an area of outstanding natural beauty, and is just a few minutes walk to the beach.
Sleeps 4 - 6. Sorry no pets. No smoking. Price range: £695 - £945 pw.
A holiday cottage in Strollamus - just 5 minutes drive from Broadford, the second largest village on Skye. A further 15 minutes from the Skye Bridge and easy access to the mainland.
Sleeps 6. Cot available etc. Pets welcome. No smoking. Price range £320 - £695 pw. Xmas and NYear on application.


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Modern musing. More than a muse, the 38-20's contemporary shape and scale shift hits all the right notes.
MOVEMENT: Miyota Japanese quartz 6 hand chronograph with a 24hr subdial and date placement at 6 hour.
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CASE: 38mm, 200 meter/20 ATM custom solid stainless steel case, fixed stainless steel bezel, hardened mineral crystal, triple gasket stainless steel screw down crown, double gasket stainless steel screw down pushers, stainless steel screw down caseback and screw pin lugs.
BAND: 19mm custom solid stainless steel 5 link bracelet and solid stainless steel double locking clasp with micro adjust.


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Playful Childhoods
About Playful Childhoods
About Play Wales
Playful parenting
About Playful parenting
Why play matters
About play
Time for play
Space for play
How to play guides
Stuff for playing with
Top tips for playful parenting
Play that includes every child
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About Playful Communities
Raise play awareness
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'Play, creativity and boredom in lockdown'
In this guest blog Educational Psychologist, Dr Dan O'Hare talks about children's play, creativity and boredom during the restrictions relating to the coronavirus pandemic.
It's a time of uncertainty right now. Schools are closed, and there's not much clarity around when they'll reopen again. Some children and families will be experiencing higher levels of stress, while other children may be feeling happier and more relaxed than they have for a while.
Play is perhaps one of the most important aspects of children's lives. When I meet children in schools and ask 'what's your favourite thing to do in school?' many of them enthusiastically reply 'play!'.
There is of course variation in these answers. Some children say that they prefer to play with others, and some prefer play and games that are more solitary. It's good news for us adults then that play is fundamental to children's well-being and development.
Last year the Division of Educational and Child Psychology released a position paper on children's right to play. The paper describes a number of benefits of play including promoting learning, problem-solving, adapting to challenge, learning to manage a range of feelings and developing social skills.
It's important to note that play isn't just a means to an end, it has intrinsic value for children – it's important because children enjoy it.
There can sometimes be a tendency for adults to think that they have to structure play for children e.g. with rules, toys, games. These sorts of experiences are important, but research has also demonstrated the importance of unstructured, child led play.
Children's imaginations can be endless and sometimes their play might not make sense to us as adults but make believe, silly play, messy play, rough play, role play… these are all resiliency building experiences for children.
Play can also lead to creativity. It fascinating to watch what a child can do with an old newspaper, Sellotape and pencils. Making time for creativity is important when we have long stretches of being at home.
Children love to learn, create, test their ideas, build, knock down and build again. Left with some basic materials the very experience of creating something can be hugely rewarding for child – the experience of making something original, unique and truly theirs.
With the ubiquitous nature of modern technology, it's now easier than ever for children to have something to do all the time.
Similarly, several of the schools I work with have had parents/carers worrying about keeping their children occupied at all times. Not only is this incredibly stressful for parents/carers, it's an approach that doesn't necessarily recognise the importance of boredom.
These days boredom seems to have a negative rap – something to be avoided and an experience associated with unhappiness or unfulfillment.
I remember the long stretches of the six-week summer holiday when I was younger and the sense of boredom was strong. At those times however I also remember gazing out the window making up stories about the people walking past, imagining huge sky battles between the crows and pigeons, making up silly songs and inevitably finding 'something to do'.
Boredom is associated with problem-solving, creativity and imagination. In this contemporary world of constant go, boredom also gives children and young people the opportunity to stop, look, listen, observe and notice – an experience that sounds similar to one of mindfulness – paying attention to the present moment.
Dan is also a Lecturer at the University of Bristol, joint chair-elect of the Division of Educational and Child Psychology (part of the British Psychological Society).
Originally published by Parkrun as part of a series of four blogs about promoting children's well-being during the coronavirus pandemic – thank you for letting us share it on our blog.
Updated: 23rd June, 2020
Every child has the right to play
Right to play resources and posters
Childcare Offer for Wales supports families with childcare costs
Welsh Government help for working parents
Let's play this half term!
Autumnal play ideas
Give children a chance to play beyond the school gates
Continue to play after school
Ideas for play – things to do
Ideas for everyday items that can be used for play and activities to play
Top tips for dens at home
35 indoor play ideas
Easy games for playing at home
How children play at different ages
Information and ideas about how children play from birth to teenage years
Playful Childhoods helps parents, carers and grandparents to give children time, space, support to play at home and in their community
How to support your child's need for risky play
Why does my child like to take risks? Benefits of risky play and how to deal with your concerns as a parent
Top tips for playing with earth, water, fire and air
Top tips for screen time
How to deal with construction and destruction play
Why does my child like to build and destroy things? Benefits of building and destruction play and tips on how to deal with your concerns as a parent
Why playing outdoors is important
Why is playing outside important? Outdoor play helps children mental and physical development
Playful Childhoods is a Play Wales campaign.
Play Wales is a registered charity, no. 1068926 and a company limited by guarantee, no. 3507258. Registered in Wales.