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Simon Pegg Has Harsh Words for Genre Films
Thanks to movies like Shaun of the Dead, Hot Fuzz, and Star Trek, Simon Pegg is a certified movie geek icon. However, some comments he made recently to Radio Times have landed him in hot water with his fans.
Talking about the current state of movies, Pegg expressed concern that there's no longer an audience for the kinds of dramas (The Godfather, Taxi Driver, Bonnie and Clyde, The French Connection) that dominated the box office in the '60s and '70s. "Part of me looks at society as it is now and just thinks we've been infantilised by our own taste," he said. "Now we're essentially all consuming very childish things: comic books, superheroes… Adults are watching this stuff, and taking it seriously."
Elaborating on his position, he threatened to abandon his geeky ways altogether. "I sometimes feel like I miss grown-up things," he added. "And I honestly thought the other day that I'm gonna retire from geekdom. I've become the poster child for that generation, and it's not necessarily something I particularly want to be. I'd quite like to go off and do some serious acting."
As you might expect, there was an immediate outcry from Pegg fans, who felt both insulted and abandoned by one of their favourite actors. In an effort to clarify his argument, Pegg released a lengthy follow-up statement, asserting that he's "still a nerd and proud." He underlined this with praise for Ex Machina, Mad Max: Fury Road, Christopher Nolan, and Game of Thrones.
Still, most of his concerns remain, as he makes clear in his concluding thoughts. "It's good to ask why we like this stuff, what makes it so alluring, so discussed, so sacred. Do we channel our passion and indignation into ephemera, rather than reality? Not just science fiction and fantasy, but gossip and talent shows and nostalgia and people's arses. Is it right? Is it dangerous? Something to discuss over a game of 3D chess, perhaps. Speaking of which, I better climb aboard the old hypocropter and fly back to writing Star Trek Beyond."


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Contest or Concert?
In a recent post I suggested that many choirs in Singapore only performed a couple of times a year and many put their entire energies into competitions. Of course, the concept of choirs performing just a couple of times a year is by no means unique to Singapore, and obviously choirs in other countries focus their energies on competitions, otherwise there wouldn't be so many international competitions to which Singapore choirs can jet away so frequently. But in Singapore this leads to a widespread misconception that big concerts put on occasionally and competition success represents the pinnacle of choral achievement. This was very much highlighted by a choral concert held here over the weekend.
The Singapore Bible College Community Choir Canticorum boasts a singularly clumsy name. At least they haven't resorted to reducing it to a meaningless set of initials, an endemic habit in Singapore which, clearly out of admiration for Middle Eastern terrorist organisations (think ISIS, think ISIL, think PLF), tries to disguise an organisation's origins and allegiances. Even the most elevated Singapore institutions reduce themselves to edited highlights from the alphabet. (Few people in Singapore can tell you what YSTCM stands for, and fewer still realise that the initials are derived from a magnanimous and generous Malaysian piano teacher who, quite literally, gave her life to ensure music students had a world-class education.) Such a clumsy name, however, would certainly go were the Singapore Bible College Community Choir Canticorum to give frequent public concerts. But, as was pointed out in the concert programme booklet, "the choir holds only two main presentations every concert season". So giving concerts to the public is clearly something of a novelty for them.
And it showed.
Not, I hasten to add, in any sense of unease or nervousness – far from it – but in the fact that this concert (which we must assume was one of the two in this year's quota) was clearly the result of weeks, if not months, of hard and vigorous rehearsal. While regular concert-giving choirs leave something to the performance itself, to help generate that indefinable frisson which characterises a live performance, here every little detail had been immaculately prepared. From the military-grade walking on and walking off and collective standing up, to the musical matters of pitching, balancing, diction and blending, the overriding impression was of something which had been so thoroughly prepared that it was inconceivable that anything should go wrong on the day. Rather like a coiffeur coated in lacquer and Brylcreme (or whatever pomade people in Singapore coat their hair with in order to grease the inside of bus windows as their heads, too burdened down by hair products, lean against them to ease the strain on over-taxed neck muscles), this performance had been so coated in its preparation that it seemed almost unnaturally perfect. Any half-decent music student could have used the performance as a dictation exercise and come away with an almost exact replica of the published score.
In short, there was nothing wrong. But there was nothing right either.
Utter faithfulness to the score may impress adjudicators and help win competitions, but it does not impress audiences or win hearts. Doing what the score tells you to do, and nothing else, is not a performance; it is merely a reproduction of a text unburdened by interpretation or individuality. Any performance should be a one-off, unique occasion, vividly affected by the circumstances of the place, the time, the audience and the atmosphere. It should not be a carbon copy of the last few rehearsals, with everything exactly as it was prepared.
Choirs which perform infrequently invariably fall into this trap – performing in public is such a rare treat that they spend weeks preparing every detail so that nothing will go wrong on the day. Choirs who perform on a regular basis may not sound so polished or precise, but they know that an interpretation is a living, breathing entity which exists only for a moment and is then lost forever, and they go all out to make that moment memorable. They get used to the idea of the ephemeral, and they work to it, allowing their collective knowledge both of the score and of the act of performance, to get them through where less experienced choirs rely wholly on the work done in rehearsals.
I have to admit I do not particularly like Bernstein's Chichester Psalms, the work which opened this choir's programme. I have known the work since 1965, when I was humble treble in a choir, and I have sung in it, played in it and conducted it probably a dozen times since. I must have also attended twice that number of performances and heard probably all the commercial recordings that have ever been made of it. I find it has moments of beauty and charm, and each time I hear it I hope it will click with me; that the interpretation offered will have found something in the spirit of the music which I have so far missed. What I really do not want is a perfect reproduction of the published score – I can find that any time I want just by picking it up and reading it.
The choral singing was technically exemplary, there was a superbly accomplished and confident treble soloist (sadly billed as a "boy soprano", giving poor old Mikey Robinson something of an identity crisis – we may live in an age of gender fluidity, but a soprano is still a female, and a boy is still a treble – and Bernstein specified a treble for the part), and while the harp (Katryna Tan), percussion (Lim Ming Keh) and organ (Margaret Chen) often went their own way because the conductor's total focus on the choir meant that the instrumentalists had to fend for themselves, there were no major disasters and the whole thing passed off without incident or anything untoward interrupting the flow.
Conductor Joel Navarro seemed to have prepared his singers to competition rather than concert readiness. That competitions are high on his list of priorities was obvious from the biography he had written for the programme book. It stressed that he had not only won quite a lot himself but had, as a teacher, encouraged his students to lead "their own church, community and university choirs to top prizes in international competitions".
(What business church choirs have in participating in competitions is a moot point. My feeling is that church choirs should devote all their energies into the perfection of their week-by-week duties in their own churches, not in going out and taking part in competitions – or concerts, for that matter. But I can accept that some church choirs find their duties at home irksome and look elsewhere for musical gratification.)
Navarro would have certainly won any competition with the choir he fielded in this concert. After the Bernstein he led them through an equally accurate and highly polished account of Vaughan Williams' Five Mystical Songs. I have had a lifetime's deep relationship with this work - even longer than I have with the Chichester Psalms - and unlike the Chichester Psalms, I am passionately fond of it. Again I have sung it, conducted it and played the organ in it more times than I care to remember. I have even battled with playing the orchestral reduction on a tiny two manual organ with no playing aids, which is no easy feat. Margaret Chen had to do this, and I have nothing but the highest admiration for the way she managed it. She had a pair of assistants helping her, but one of these, unfortunately, was masking Chen's view of the solo baritone, which meant that Navarro, who in any case seemed anxious to take total control of the whole thing, was obliged to conduct from the front of the stage as Chen and baritone Eudenice Palaruan performed together in close physical proximity in the elevated organ gallery. This was probably important in keeping it all together, but lent the whole thing a certain detached and impersonal feel, which ran contrary to the spirit of the music. Again the choral contributions were flawless and Palaruan's singing excellent – easily projecting from the back of the stage despite the problems of being positioned right by the organ pipes. But beyond being an exact representation of the score, this performance lacked spirit, personality or true humanity. It was really too flawless to be real, much as a carefully-moulded glass-fibre tiger can never really set our hearts racing in the way that a flea-bitten, bedraggled, gap-toothed but very real live one would.
Most of the capacity audience was clearly there to support various people on stage, and while they applauded their various heroes generously, as soon as the objects of their admiration left the stage, the applause died; the music itself, it seemed, had made no impact on them, even if the musicians had. This concert showed more than anything else that performances which have been prepared to competition-standards can never really have the same impact on an audience as one designed to communicate with non-specialist listeners.
Until such time as Singapore choirs realise that competitions and concerts are not the same thing, the choral scene in Singapore is destined to remain artistically sterile.
Well said. And it is not just the choral scene. Competitions not just in Singapore but across the world, whatever their original intention, seem to turn music from an art into a sport. And while the aim may have been for performers to raise their standards to the very highest, instead they just seem to encourage (some) judges to lower their ethics.
Xinrong 16 April, 2018 02:07
I agree with anonymous. More and more choral associations and societies are organising competition-centric festivals whereas the focus should really be curating good programmes from choirs around the world and providing public education opportunities for professionals and amateurs.
Joel Navarro 01 May, 2018 03:07
Dear Dr Marc,
I read your review of our performance in earnest. Thank you for taking time to watch our performance and writing copiously about it.
I regret that you thought consequential that which was inconsequential to us—our lack of performance mileage and seasoning, our clunky name, the unfortunate description of Mikey Robinson as a boy soprano, and the meaningless perfection of our sound which was smelted out of the competitive fire its misguided conductor breathed into his poor choir. How dreadful it must have been for you to hear your beloved R.W. Williams' "Five Mystical Songs" sung without the spirit you wanted and were used to.
It was different spirit the audience was moved by. We regret that you were not able to appreciate the performance as a deep worshipful experience many of us on stage and in the hall shared. As for the Bernstein work, I hope someday you would give another chance and view it from the lenses of compositional language, imagery, thematic juxtaposition, and linguistic syntax. Scott M. Finch's dissertation on "The Prominence of Hebrew Syntax in Leonard Bernstein's Chichester Psalms", University of Arizona (2011)*, was enriching for me as I prepared the choir to sing beyond the music and into the anima of the work itself. If the choir didn't show it enough in their faces—an Asian modesty or an influence of its colonizers, who knows—they certainly felt it deep down in their soul.
I read some of your reviews and share your observation that Singapore is full of surprises, notwithstanding its fair share of pretentious conductors and self-indulgent reviewers who, some advise, are best ignored, I'd like to believe they are not beyond redemption.
Dr Joel
*https://arizona.openrepository.com/bitstream/handle/10150/203481/azu_etd_11927_sip1_m.pdf?sequence=1
Farewell Bows
False Encores
Whither Goest Thou, 21st Century Music?
Keys to Great Composing
The Real Sistine Chapel Choir
The Fake Sistine Chapel Choir
A Collection of Choirs
Too Many Words?
All About The Bass
X Men Musicians?
Authentic Instruments or Good Music
Away With Home

redpajama_set_name: RedPajamaCommonCrawl


Dominated by a service economy for more than a decade, Birmingham is now experiencing significant growth in the high-tech industry.
In terms of tourism, the city adopted a proactive policy several years ago that affirmed its status as a MICE destination. In addition, as evidenced by the many amenities in its city center, Birmingham seeks to strengthen its appeal to leisure clientele.
As of January 1, 2017 corporate chain supply gathered 10,170 rooms.


We all know what it means to be an entrepreneur. But what about an intrapreneur? With company buy-in and the right tools, there are plenty of ways to get your ideas funded and into the world without having to leave the job you know and love.
Define and understand the basic components of intrapreneurship.
Understand what resources may be available to you or anyone looking to embark on an intrapreneurial venture.
Learn what steps to take in order to successfully start a business within your business.
Identify the ways in which you can protect both your own and and your company's intellectual property.
Partner Engineering & Science Inc.


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Trenton, Texas - Change city
John Kaye
The most popular movie of 1991 was Beauty and the Beast which has grossed over $218,699,359 since its release. The TV series Cheers was the most popular show of 1991.
Prince And The N.P.G.
Around The Way Girl
Touch Me (All Night Long)
Cathy Dennis
I'll Give All My Love To You
Tom's Diner
The Motown Song
D.J. Jazzy Jeff and The Fresh Prince
Things That Make You Go Hmmmm...
C+C Music Factory
Designing Women on CBS
Unsolved Mysteries on NBC
Home Improvement on ABC
A Different World on NBC
Monday Night Football on ABC
More 1991 alumni from Trenton HS Trenton, TX have posted profiles on Classmates.com®. Click here to register for free at Classmates.com® and view other 1991 alumni.
The students that went to school at the Trenton high school called Trenton High School and graduated in '91 are on this page. Register to add your name to the class of 1991 graduates list.
Trenton, Texas 75490
The High School Network is not affiliated with, endorsed, or sponsored by Trenton High School	of Trenton, Texas


2019 Yamaha XT250. Picture credits - Yamaha. Submit more pictures.
The XT250 has fuel injection for smooth throttle response and easy starting in nearly all conditions.
Price as new (MSRP): US$ 5199. Prices depend on country, taxes, accessories, etc.
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Get a list of related motorbikes before you buy this Yamaha. Inspect technical data. Look at photos. Read the riders' comments at the bike's discussion group. And check out the bike's reliability, repair costs, etc. Show any 2019 Yamaha XT250 for sale on our Bikez.biz Motorcycle Classifieds. You can also sign up for e-mail notification when such bikes are advertised in the future. And advertise your old MC for sale. Our efficient ads are free. You are also welcome to read and submit motorcycle reviews.


Recently we were updating our portfolio and we realized we were adding new images to a portfolio spanning over 14 years of wedding photography as full-time professionals.
So we have created a new portfolio that shows just images taken in the last couple of years of weddings and engagement sessions — work that accurately depicts the way we shoot weddings right now — not how we did it many years ago.
Want to see complete weddings and engagement sessions? You can view all of our 2019 weddings (to date) all the back to 2009 and before weddings by clicking here.


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Former border super-hawk Kirsten Gillibrand: Sure, I could support tearing down some border fencing
AllahpunditPosted at 8:01 pm on February 15, 2019
Let this serve as your daily reminder that she is, in fact, The Worst™. I don't use the term "border super-hawk" lightly either but she earned it for her approach to immigration as a young Blue Dog Dem representing a conservative district in upstate New York 10 years ago. In some alternate reality she never got appointed to the Senate and is currently Trump's most hardcore Democratic backer in the House, pissing off progressives by backing him to the hilt on the wall.
Nah, I'm just kidding. A Twitter pal is right that she would have been wiped away as part of the big red wave of 2010. Instead we're stuck in this reality, where she's a pretend leftist who's headed for one percent of the vote in the Democratic primaries. That's the only consolation in watching this clip. Beto really might support open borders on the merits but Gillibrand's simply saying the most expedient thing she can say, as she does at every moment. If a miracle occurred to make her the nominee and she suddenly had to face a purplish national electorate, she'd drop her open-borders stance as quickly as she dropped her strong-borders stance before.
Speaking of centrists and the Democratic primaries, Howard Schultz somehow figured out a way to get the left to hate him even more, a feat I would not have guessed was possible:
Former Starbucks CEO Howard Schultz said Thursday that he would be willing to abandon his presidential ambitions midstream if Democrats nominate a centrist who makes it too difficult for him to win as an independent candidate…
A more moderate Democratic nominee, such as former vice president Joe Biden or former New York mayor Michael Bloomberg, could complicate Schultz's perceived path to victory.
"I would reassess the situation if the numbers change as a result of a centrist Democrat winning the nomination," Schultz said.
Having an independent run by Schultz scare Democratic primary voters into supporting a centrist as party nominee is the worst-case scenario for progressives, I assume. If they had to choose between, say, a binary Biden-versus-Trump race and a three-way contest between Bernie Sanders, Trump, and Schultz, I think they'd take the latter. At least in the second situation they get a nominee about whom they're truly excited and who would push the country much further left if elected. And there's no guarantee that Schultz would, as most pundits expect, end up pulling more votes from Sanders than from Trump. He *might* benefit Democrats by jumping in and stealing some center-right votes from suburbanites who dislike Trump but would otherwise prefer him to the Democratic candidate. Schultz is doing what little he can here to push them towards their least favorite outcome.
And when I say "little," I do mean little. Very, very little.
Exit question: Has Open-Borders Beto finally decided to jump in? Sure sounds like it.
Tags: blue dog border gillibrand hawk immigration trump wall


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Home Wild Word Breaking the Agency's Back
Pine Creek Lake. Photo by Walker Stole
Breaking the Agency's Back
Lands transfer appears to be endgame of president's jaw-dropping proposed 84% cut to Forest Service trail budget
Alerts, Featured
In the Beartooths above Mystic and Island Lakes (photo by Dexter Hale)
No matter if you hike, ride horses, or mountain bike, trails are what we all use to traverse and access our public lands. From a federal land manager's perspective, trail systems are what keep legions of various recreationists on the same path.
Without designated and maintained trails as a management tool, a multitude of haphazard individual paths would line our landscape, scar hillsides, erode forest life, and trash our watersheds. Trails are the infrastructure that enables continued backcountry adventures. They are the foundation of our outdoor way of life. They're also a significant economic driver, with trail-based recreation supporting an estimated 64,000 jobs and contributing $94 billion annually to the nation's economy.
Yet under President Trump's proposed Forest Service (USFS) budget, federal funding for trail maintenance would take a devastating hit.
His budget would cut USFS trail improvement and maintenance by 84% compared to 2017 funding. It's worthwhile to spell out that number to ensure you're not reading a typo – eighty-four percent!
A subtraction of this magnitude would break the agency's back.
If one reads between the numbers, the end game certainly appears to be the transfer of public lands to state or local authorities and/or to private interests. It's a strategy of dysfunction that leads to divestment - if the government isn't allowed to do it's job, then it becomes much easier for private interests to take the job.
To illustrate what such a severe cut would look like on the ground, it helps to understand just how large the backlog of deferred trail maintenance is. Although several non-governmental organizations (including MWA) run programs that put tools into the hands of volunteers to aid in the effort, the USFS' own trail crews account for nearly 80% of the maintenance and construction on our trails. Nationwide, national forest lands contain over 158,000 miles of trail, of which only 62,000 miles presently meet safety standards.
On top of that stockpile of work, the USFS is stretched thinner every year due to persistent annual cuts in federal dollars allotted to trails – most notably the U.S. Budget Sequestration of 2013. This year, those absurd budgets from 2013 will leave at least one USFS ranger district here in Montana with a mere five seasonal employees responsible for over 1,000 miles of trail maintenance.
While the federal budget to manage and keep trails open continues on a downward spiral, the agency faces a towering surge of recreational use. Trails serve the needs of about 50 million hikers, cross-country skiers, horseback riders, off-road vehicles, bicyclists, and other recreationists on USFS lands every year. The number of recreation visitor days on USFS trails has increased 376% since 1977. These numbers originate from the government's own data and are easily obtainable with a quick Google search. So, in light of the ever-rising numbers of recreationist on our public lands, it seems obvious that federal dollars earmarked for trails should either increase or at least hold steady.
But the President's budget not only fails to recognize this rise in outdoor recreation – it seeks to repress it with a butchering cut of 84% in trail funding.
What is the rationale behind the President's proposed cut to the USFS? What are the desired goals or outcomes for prohibiting the management and access to our public lands? Because there is no justification provided with these numbers, we are left to draw our own conclusions.
It's easy to see that the USFS would be unable to function at the proposed level of funding. What entity is then tapped to fill the void of "caring for the land and serving the people"? If one reads between the numbers, the end game certainly appears to be the transfer of public lands to state or local authorities and/or to private interests. It's a strategy of dysfunction that leads to divestment - if the government isn't allowed to do it's job, then it becomes much easier for private interests to take that job.
Make no mistake, this budget places the 100-plus-year legacy of the Forest Service on the chopping block while the agency's own hands are tied behind its back.
This issue affects not only backcountry enthusiasts on foot, horseback, and wheels. It will also have a substantial impact on front country or urban-interface USFS trails (the trails so many of us use the most). The dog-walker, the trail-runner, the bird watcher – all have a shared interest in opened and maintained trails.
We ask you to join us in urging Senator Tester at (202) 224-2644 and Senator Daines at (202) 224-2651 to ardently oppose this proposed 84% cut in spending for the maintenance of trails, our access, our economy, and our livelihood.
Please also contact our newly elected Congressman Greg Gianforte and remind him that during his campaign he promised to "defend our right to recreate on public lands." Increasingly, the tools that the Forest Service relies on to shape their work have continually been taken away from them – let's stop this latest egregious cut before it's too late.
- Matt Bowser, MWA stewardship director
Wild Montana Newsletter
Outdoor recreationists of all stripes have reason ...


Louisville, KY (December 7, 2013) – Kentucky Farm Bureau (KFB) concluded its 94th annual meeting here today with its Board of Directors approving condensed lists of priority issues for 2014. The organization's delegates adopted policy positions at its business session on Friday.
Most of KFB's chief concerns are ongoing, including maintaining funding for the state's agricultural development initiative and opposing any attempt to freeze the state real property tax rate. Kentucky's rural road fund and hefty wildlife population were other topics given top attention.
KFB calls for continuing the 22.2 percent allocation of state gasoline tax revenue for rural roads. This longstanding policy has come to the forefront due to discussions about changing the formula.
The huge deer population has become a nuisance to Kentucky farmers, prompting KFB to explore legislative solutions.
Tax policies topped the list on the state legislative agenda, with emphasis on a statement expressing continued support for preserving the current property tax law which limits annual revenue from property taxes to no more than a four percent hike, plus new growth. This provision was a key part of House Bill 44 which KFB worked hard to see enacted in 1979.
KFB also wants to ensure that the state sales tax exemption for production agriculture is not impacted by any tax reform package. Additionally, it has policy to extend the exemption to production items used in the equine and poultry industries.
Tobacco taxes are on the radar, with opposition to any increases or regulatory requirements that would put Kentucky at a disadvantage with surrounding states.
Other fiscal priorities include continued funding of the Soil Erosion and Water Quality Cost-Share Program and new facilities for the Breathitt Veterinary Center in Hopkinsville.
Among the national issues is a farm bill plus reforms to the H-2A farm worker program to make it more reliable, economical and accessible.


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Medical Marijuana Law
Defense Process
Gov. Stitt Approves New Emergency Rules
by Stephen Cale | Aug 22, 2019 | Best Oklahoma Medical Marijuana Attorney, Best Tulsa Medical Marijuana Attorney, Oklahoma Medical Marijuana Compliance, OMMA, Tulsa Medical Marijuana Attorney
Gov. Kevin Stitt has approved new emergency rules that will update current regulations and set new license categories for Oklahoma's medical marijuana program. The new emergency rules will be effective on September 14, said Tulsa medical marijuana attorney Stephen Cale.
The Oklahoma Medical Marijuana Authority adopted new emergency rules in accordance with statutory changes made during the 2019 legislative session.
Changes For Patients
Patient Recommendations: For patients, the changes include the ability to get a medical marijuana recommendation from physicians licensed by, and in good standing with, the Oklahoma Podiatric Medical Examiners Board. So, podiatrists (D.P.M.) will now be able to provide recommendations along with Doctors of Osteopathy (D.O.) and Medical Doctors (M.D.).
Short-Term License: A new 60-day short-term license will be available for adult and minor Oklahoma residents with a 60-day doctor's recommendation. The license fee will be $100 or $20 for patients who qualify for a discount.
Disabled Veteran Discount: Veterans with a 100% disability rating from the Veteran's Administration will now be able to receive a medical marijuana patient license with a discounted application fee of $20, said Tulsa medical marijuana attorney Stephen Cale.
License Renewal For Businesses
The online renewal system for businesses will be available starting August 30. Businesses should submit their renewal application prior to the expiration date of their license. However, renewals should not be submitted sooner than 60 days before it expires. Submitting the renewal application on time will allow the existing license to remain valid while the renewal is in process, according to the OMMA.
Stand-alone transporter licenses are a new business license category, along with individual transporter agent licenses, said Tulsa medical marijuana attorney Stephen Cale. A transporter license and an individual transporter agent card will be required for transporting medical marijuana.
The fee for stand-alone transporter licenses is $2,500 for one year. The fee for each one-year transporter agent license is $100.
Growers, processors, and dispensaries will continue to be issued a transporter license upon approval of their business license, said Tulsa medical marijuana attorney Stephen Cale. Transporter agents must work with their employer to submit their application and must apply for a separate license for each employer if working for multiple businesses.
RELATED ARTICLES: New Law Adds Mandates for Oklahoma Medical Marijuana Transporters, Businesses | What You Need To Know
New Law Creates Oklahoma Medical Marijuana Transporter Agent License
Required Certificate Of Compliance For Business Applicants
All business applicants are now required to submit with their application a Certificate of Compliance completed by the political subdivision where the business is located.
Other Proposed Rules Under Review
Other license categories and rule changes not included in these current emergency rules are still under review and will be available at a later date.
Working With The Cale Law Office
The Cale Law Office is dedicated to the practice of criminal defense and medical marijuana law. Our mission is to achieve the best possible results for our clients through hard work, attention to detail, and aggressive representation.
This is done while maintaining the highest level of professionalism, integrity, and ethical standards.
If you need legal representation, consulting, or compliance auditing in the medical marijuana field, call the Cale Law Office at 918-277-4800. Your initial consultation is free. Tulsa medical marijuana attorney Stephen Cale is a Legal Committee member of the National Organization for the Reform of Marijuana Laws (NORML). He has been serving people with legal needs for 20 years.
© 2020 Cale Law Offices. All rights reserved. | Sitemap


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opinions Rolf Lockwood
Opinion: Renewable natural gas (RNG) seems like a tidy solution
Posted: June 17, 2019	by Rolf Lockwood
Climate change deniers, antivaxxers, that whole crowd of people who deny science and distrust intellectuals in general are, well, kinda nuts. We're suddenly in a world where "inconvenient truths" are labeled "fake news" and thus dismissed. It's stupid, indeed insufferable.
One of my daughters, the night before I'm writing this in mid-June, had to be pulled by her friend from a party for fear of an argument turning into fisticuffs. Literally. She was arguing with a 60-something woman who claimed, among other truly bizarre notions, that climate change is in fact a fraud perpetrated by Muslims aiming to disrupt western democracies. I kid you not. Didn't know we had bonafide crackers in Toronto, did ya? Maybe you did, and maybe I shouldn't be so naïve.
People like that woman can vote, sad to say, and worse yet, they reproduce. So I fear for my girls' futures, and especially for my new granddaughter. What sort of world will they be living in 10 or 20 or 30 years from now? I don't think it's a pretty picture.
All of which is a rather emotional preface to chatting about renewable fuels to make our trucks roll down our highways without contributing emissions that do us harm. I believe that we need to double our efforts to get off the diesel train as soon as we can. I believe that climate change is real, and dangerous.
Don't get me wrong. I love diesel, even love the smell, and I expect it will power most of our longhaul trucks – and a lot of short-haulers, too – for quite a while to come. It is, after all, a mighty efficient fuel, and it's almost infinitely cleaner now than it was just 10 years ago. But it's still a fossil fuel. And don't forget that we have to import most of it, despite our own reserves.
For a while it was thought that natural gas was something of a savior, being plentiful and relatively cheap. But it's a fossil fuel as well, and doesn't pack as much energy punch as the equivalent amount of diesel. Infrastructure is an issue, but not an impossible one. I believe there's some doubt about its cold-weather performance, plus the extraction process gets no love, and probably shouldn't. Not surprisingly, natural gas truck sales have trailed off in the last couple of years.
What could revive them is renewable natural gas, RNG for short. Also known as biomethane, it differs from traditional sources of natural gas because it's derived from renewable sources such as decomposing organic waste in landfills, wastewater treatment, and agriculture. It's then distributed through the natural gas pipeline and made available as either liquefied natural gas or compressed natural gas.
The RNG is completely interchangeable with conventional natural gas. It's a sustainable, drop-in fuel that can replace, or blend with, natural gas.
Think about that. An environmentally supportable fuel that can be home-grown at your local landfill. It can even be a circular solution, as it is for some refuse haulers. Republic Waste has several operations in which material brought to a landfill is processed as methane to fuel the very trucks doing the carriage. Neat and very tidy.
The RNG production in North America more than doubled between 2015 and 2018, and that growth is now being helped by United Parcel Service. The giant courier outfit just dramatically increased its commitment to RNG by contracting with Clean Energy Fuels for 170 million diesel-gallon equivalents (DGEs) of Redeem RNG through 2026. It's the largest such deal ever.
This woudn't work for everyone, but until we see batteries or fuel cells that can affordably power our longhaul machinery – and that's not going to be soon – RNG strikes me as the most useful alternative to diesel out there.
Let the deniers think what they may.
Alternative Fuelsnatural gasrenewable natural gas


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This is a new aspect of what we do in court interpreting. When Facebook and Instagram and even text messaging were new around here, not many of the folks I interpreted for on a daily basis were fans. In fact, it wasn't until recently that I started to notice a surge of non-English social media messages and texts being presented as evidence in court, especially as part of informal hearings. The challenge of personal messages is taken to the next level with abbreviated text, quick quips, rapid-fire exchanges, and selfies to boot.
Dealing with this can be difficult, depending on who presents the evidence and under what circumstances. When I work on a case where the party introducing the evidence is represented, there is at least some hope that the message in question will have its proper translation all neatly prepared ahead of time. This is the more formal hearing type. In less formal hearings where parties appear without representation, the offending Facebook post or text message is often brought up last minute on somebody's cellphone. I'm then expected to quickly understand the abbreviations, undertones, and context since informal hearings are often about immediate issues of safety and potential loss of freedoms. Surely I'm not the only one who has noticed how difficult it can be to accurately render such language and meaning into everyday English.
What do our ethics say about sight translation in general? We are told to take the time to read and understand, and to ask for a break or recess if we need to look things up. Such a request is probably expected with documents that have some degree of length or formality, but even a short series of messages interspersed with sarcasm, insults, disguised threats, and the lot, often reach far beyond our ability to meet the perceived expectation to quickly begin sight translating.
I have never seen an entry in a training manual that deals with how to handle double meanings, misspellings, shorthand, and sarcasm in a text message or as part of a status update. I'm sure our judicial officers would appreciate the time savings if we could jump right in without missing a beat when a teeny-tiny text message needs to be rendered into English, but in order to truly capture meaning we may need to go back a few messages just to get the context.
This new trend raises a lot of questions that are truly worth taking pause to ponder: If we are asked to just sight translate just one message out of many in a thread, is there a nice, succinct way to explain our need for more context? How should we stop between messages to note the change in speaker? Is it considered proper to hold the phone ourselves? How to best call attention to the informal nature of abbreviations or common misspellings, if at all? Are there suggestions we could make to a judicial officer about better conditions for an accurate performance? How flexible should we be and where do we draw the line to prevent ourselves from becoming advocates?
Now that's something worth discussing. What say you?
Jennifer De La Cruz first became interested in learning Spanish in her college years, earning a Bachelor's Degree in Spanish with an emphasis in linguistics from California State University at Fullerton. While interpreting and translating for the healthcare field, she earned certifications as a Court Interpreter for both the California and Federal Courts, later accepting a staff position with the California Trial Courts. Her passion for the Spanish language has become a thriving and satisfying career both in the fields of interpreting and translation, while her professional posts have allowed her to specialize in the highly challenging fields of law and medicine.
What a fine post! I don't have a smart phone. I have never written nor received a text message. Imagine my concern when asked to sight translate a veiled and highly idiomatic text in Spanish, (Spanglish, really) my second language, This was in a hostile custody case here in Albany. It probably helped me that I had to be shown how to operate the phone, having never done so. This gained me sympathy. Fortunately the judge, with whom I have a good relationship, only wanted to hear threats violating an order of protection. Those stood out reasonably clearly and the rest of it was of no interest to her. Had the entire text been relevant, I'd have been good and truly lost.
To me it's clear that this post can be the beginning of an immensely useful discussion, hopefully resulting in publication. This challenge can only become more complex and demanding as tech becomes more deeply entrenched in our culture.
There is a subset to this topic. Many years ago I had an assignment to monitor wire taps in a Federal drug case. Interwoven into the conversations were highly sophisticated and disguised code. As I was only listening for certain names, I didn't have to worry about that. How would someone handle that in a text in a trial?
I'm sure that was quite the relief! And I'm quite surprised that you've *never* received or sent a text (and curious as to why?); it being one of the main forms of communication nowadays. I'm also curious if you don't find that places you "behind the times"?
I have often run into similar issues when working from video messages in sign language and texts that may also incorporate signed "abbreviations" that hold meaning in English. Most often I face the issue when parties are requesting an Order of Protection or may be in violation of an existing Order.
Oftentimes, in my experience, the judge will look directly at the phone and make a determination of the content if the messages are text form. For video messages, I have taken the approach of requiring a formal transcription for anything that will become part of the official court record. By producing a formal transcript of the message, attorneys are able to argue the content and meaning.
In a pinch, I would request a sidebar with the judge to discuss some of the issues and implications of doing a sight translation for the record and allow the judge to decide how they would like it handled so it is out of my hands.
IF the slang is Mexican I have done this and had no problems. If it's isn't, please, let me know and MAYBE someone else is from the area. I'd be okay a lot of the time but not always if that were true. This comes up a lot in family law cases and occasionally in dependency cases. I am active in Facebook with family, both here and in Mexico.
Excellent article, Jennifer! Very valid questions and concerns. This is a topic which is relevant to all and merits further thoughts, research and discussion.
The attached translation of text messages was prepared from Spanish into English.
Date and time were included above the pertinent message.
Overlapping messages: Messages that were repeated on the original provided were not translated or reproduced again for clarity's sake. The current text was marked where the original showed duplications of messages.
Misspelled words were not addressed with (sic!) and were corrected using best judgment for translation purposes.
Lack or excess of diacritical marks and punctuation in the original texts remain the same in the original copied for translation purposes and were taken into account for translation.
This is to certify that the following translation is correct and complete to the best of my knowledge and ability.
Good topic for an article, perhaps with a glossary. Happens to me all the time in restraiing order cases. One funny one in Spanish is "k" = que, which doesn't EVEN make sense, since that letter is called "kah" not "kay"!
I'm getting too old for the "evolution" of language. I think it's a travesty. You haven't lived until you have to get in a twit's brain to get context out of the nonsense they text all day long. They say the NSA intercepts every communication, and that's just dandy, but I feel the pain of the staff that has to go through the overloaded trebuchet of utter linguistic garbage between millennials nowadays. Good grief! Imagine looking at this garbage for a living. We have to draw the line, for our profession and our collective sanity. We don't translate from Moron into Cohesive. Crap In-Crap Out. That's how I look at it. Uno hace de tripas corazón todos los días con el analfabetismo, tratando de establecer un conducto de comunicación, but this kind of gobbledegook is just ridiculous.
Judge: And now the interpreter will render a sight translation of these texts into Spanish for the witness. Proceed.
As if! OMG and I b like wow and she b all in my face like I'll cut a biazach yo but she b hatin tripin cause I b woke yo so I prolly b like ama STFU now but she b like yo mama dis and I b like watch it dis b like when boo got shot and I ain't no adulting today nah yo so I be like brb lol I b scare yo fo realz.
Hahahah, see what I did there? I kill me! I should've been a comedian… mo money mo money!


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Sarah Silverman to host MTV Movie Awards
Shes funny; shes filthy; and shes the hostess with the mostess
Comedian Sarah Silverman is to host the 2007 MTV Movie Awards on June 3.
The foul-mouthed US funny-woman, a big star in the US, will follow in the footsteps of the likes of Justin Timberlake, Lindsay Lohan and Jack Black as the master of ceremonies for the double A-list movie ceremony.
Following her announcement as host, Silverman said that MTV is paying her in Jewish crackers. "I'm of the Jewish culture," she explained. "They're actually paying me with a million dollars' worth of matzo " the resale value is somewhere around two grand."
Big movies in the running for this years gongs include Borat, Dreamgirls and 300.
Catch the 2007 MTV Movie Awards on Monday June 4 at 9pm, only on MTV.
To watch the latest MTV News bulletins in Overdrive, click on the link above
More From Sarah Silverman
MTV Review: A Million Ways To Die In The West
Wreck-It Ralph Tops UK Cinema Box Office
Wreck-It Ralph Stars' 'Grating Voices' & 'Horribleness'
The Stars Tell The Aziz Ansari Story


How Do I Apply for SEIS?
Seed Enterprise Investment Scheme (SEIS) is an attractive source of funding for early stage trading companies and an exciting tax advantaged investment opportunity for business angel investors.
SEIS is available for business angel investors and early stage companies seeking seed funding from 6 April 2012.
It allows qualifying investors to receive 50% income tax relief on investments up to £100,000 per year. So for every £1 invested, HM Revenue & Customs will refund 50p regardless of the investor's rate of income tax.
SEIS investors will pay no capital gains tax on ultimate disposal of their shares so long as the company remains as a qualifying SEIS company for 3 years. So even if the investee company turns into tomorrow's Facebook, the investors will not pay a penny in capital gains tax on ultimate exit.
Reinvested capital gains can secure a 50% reduction in capital gains tax suffered – so if say, an individual sold a rental property and realised a profit / gain of £100,000 they would normally be liable to pay up to £28,000 capital gains tax. However, they could reinvest this into a SEIS investment and receive 50% relief on the gain (resulting in a £14,000 tax saving – in addition to the receive £50,000 income tax relief) – this equates to a whopping 64% tax relief!
If the company should fail, the investor can receive income tax relief on the loss in value of their shares (after taking into account the income tax relief already received). An additional tax rate payer (45%) could receive income tax loss relief at an effective rate of 22.5%. Taken together with the above tax reliefs, the potential total tax relief could equate to 86.5% i.e. the downside risk from the outset is limited to 13.5%!
Companies are limited to raising a cumulative maximum of £150,000 under SEIS – after this, they may be eligible for SEIS's Big Brother, EIS, provided 70% of the SEIS cash has been spent.
Qualifying companies must have less than 25 employees and gross assets of £200,000 or less (before the investment round).
An investor cannot control the investee company with share subscriptions limited to 30%. Investors can be directors but not employees.
Companies can obtain advance assurance from HMRC on whether the company is a qualifying SEIS company.
This is a great opportunity for start-up founders to access much needed capital at a time when traditional sources of bank and grant funding are thin on the ground.


text:
Anne Bronte: Scarborough Connections – Part IV
This article was originally published in the Yorkshire Journal (Issue no. 3, 2015) by Claire Mason. She has kindly contributed her work to be republished here. You can read Part I of the article by visiting this link, Part II by clicking here, and Part III by clicking here.
As already mentioned in Part I, Anne Bronte visited Scarborough many times with the Robinsons, a family she worked for, as a governess, between 1840 and 1845. She came to love the seaside town, and on her final visit, in 1849, she died there, as detailed in Part II. Part III explored some of the places she may have visited, as will this current installment – Part IV.
Shortly before her death, Anne Bronte insisted on visiting one of Scarborough's many baths, although there is some debate as to the venue in question. The sketch below shows Harland's Baths at the corner of Falconer's Road (on the right) and Vernon Place (now Vernon Road on the left). Winifred Gerin, one of Anne's biographers, suggests that these were the baths Anne attended a few days before she died.
Above: Harland Baths (via the Yorkshire Journal, Issue No. 3 Autumn 2015)
However, this may not necessarily be the case. It is certainly a possibility that Anne attended these baths when she visited Scarborough, with the Robinsons during the early 1840s. The tower, which can be seen above the buildings in the old sketch is Christ Church, where Anne and the Robinsons worshipped, and ultimately where Anne's funeral was conducted. The illustration was sketched in about 1841, and appeared in various editions of Theakston's 'Guide to Scarborough' throughout the 1840s. It is accompanied by the following description of Harland's Baths:
This commodious and elegant establishment is situated in the New Road, near to Vernon Place. The interior of the Baths is fitted up with considerable taste, and the edifice has been much enlarged, and the accommodation for visitors augmented. The Baths are constantly supplied with pure sea-water, and no expense has been spared by the proprietor to render them worthy of an enlarged share of public support.
The next illustration, below, shows Travis' Baths, situated at the top end of St. Nicholas Cliff, just over 100 yards from Wood's Lodgings, which can actually be seen in the background, to the right of the baths. It is more likely that Anne bathed here with the Robinsons; and these are probably the baths she attended alone (rather than Harland's), a few days before she died.
Above: Travis' Baths (via the Yorkshire Journal, Issue No. 3 Autumn 2015)
This building does not exist today. This sketch shows the view over St. Nicholas Cliff, on the right, with the sea and cliffs in the distance. The illustration was created in about 1841, and appeared, once again in various editions of Theakston's 'Guide to Scarborough' throughout the 1840s. Theakston also presented this description of Travis's Baths with the illustration:
This respectable establishment, situated at the entrance to St. Nicholas' Cliff, was originally opened in 1798. It has since been re-built, and the interior fitted up with every attention to comfort and elegance. The Baths are of wood and marble, and are adapted either for plunging, sitting, or the recumbent position. Every tide, these baths are supplied with pure sea water, and admit of every variety of temperature. Rooms are also fitted up for Steam, the Douche, and Shower Baths.
The sea-water for these baths would have been transported beneath the Cliff Bridge (now Spa Bridge), and up Falconer's Road (now Vernon Road).
Above: This drawing shows the South Bay, but this time from the castle entrance. The date given with the picture is 'c.1850', although Anne's grave does not appear to be present in the graveyard, so it could have been produced earlier, that is, assuming that the artist produced an accurate portrayal of the scene (via the Yorkshire Journal, Issue No. 3 Autumn 2015)
Nonetheless, pictures such as the one above represent the Scarborough that Anne knew. All the main landmarks are visible, St. Mary's church on the right; a little way to the left of this, in the distance, the tower of Christ Church (dark coloured), where Anne worshipped with the Robinsons and where her funeral was conducted. Just left of the centre is the Cliff Bridge, with Wood's Lodgings immediately to the right. On the extreme left is Henry Wyatt's Gothic Saloon (on the site of the current Spa buildings); and, of course, Oliver's Mount stands behind the new buildings on South Cliff.
Above: This painting is undated but was likely produced around the mid to late 1840s, around the same time that Anne made her visits to Scarborough (via the Yorkshire Journal, Issue No. 3 Autumn 2015)
In the above picture, a group of people appear to be having a picnic on one of the more level sections of the South Cliff. On the right, a young lady with a parasol takes a stroll along one of the cliff pathways. Just left of the centre, on the beach, is Henry Wyatt's Gothic Saloon, now 'The Spa'. Beyond this is the Cliff Bridge; and a little to the right, in white, and the re-structured Wood's Lodgings with its new down-the-cliff extension clearly visible.
Above: Anne's signature, taken from one of the educational books she used while employed as a governess at Thorp Green – dated 19th September 1843 (via the Yorkshire Journal, Issue No. 3 Autumn 2015)
Anne loved Scarborough and portrayed the town in her novels, Agnes Grey and The Tenant of Wildfell Hall.
Above: An aerial view of the St. Nicholas Cliff, Scarborough from 1935 (via the Yorkshire Journal, Issue No. 3 Autumn 2015)
The Grand Hotel, which replaced Wood's Lodgings (where Anne stayed) and Christ Church (where Anne's funeral was conducted) are indicated in the above image. The Spa Bridge, where Anne took many walks, is on the left, with the Rotunda museum just beyond it (extreme left). In the foreground are the South Sands, where Anne loved to walk beside the sea, and this part of the landscape inspired some of the concluding scenes of her novel, Agnes Grey.
Above: This plaque is mounted on the wall of the Grand Hotel, indicating that Anne 'died in a house on this site on May 28th. 1849'. The author would like to acknowledge Michael Armitage for permission to use this copyrighted material from his website on Anne Bronte at www.mick- armitage.staff.shef.ac.uk (via the Yorkshire Journal, Issue No. 3 Autumn 2015)
According to Ellen Nussey's diary, on the day following Anne's burial, she and Charlotte Bronte visited Scarborough Castle, and would have passed Anne's grave along the way. Also, on that day, the Scarborough Gazette reported in its 'Visitors List' the arrival of "Miss Bronte" at No. 2 The Cliff, and provided a short obituary for her:
On the 28th inst, at this place, of consumption, Miss Anne Bronte of Brookroyd, Birstall near Leeds.
This address in fact belonged to Anne's travelling companion, Ellen Nussey, mentioned above, who arranged this entry in the Gazette. Ironically, on the front page of this same edition was an advertisement for the Scarborough Circulating Library, which put Jane Eyre – written by Anne's sister Charlotte, at the top of its list of new popular novels.
Above: The walkway leading towards Scarborough Castle in about 1889 (via the Yorkshire Journal, Issue No. 3 Autumn 2015)
The above image includes Anne Bronte's grave. Her sister Charlotte and travelling companion Ellen would have taken this path the day after Anne's burial. They would have entered the castle through the gateway seen in the centre of the picture.
Above: A view of St. Mary's Church from the entrance to Scarborough Castle (via the Yorkshire Journal, Issue No. 3 Autumn 2015)
The above image is from around 1887, and in the detached part of the burial ground Anne's gravestone can be seen. In the middle of the roadway is a drinking fountain with a conical shaped roof. It was erected in 1860 to commemorate Scarborough's first historian, Thomas Hinderwell. His history of the town first appeared in print in 1798.
The fountain was badly positioned, and when horse-drawn vehicles gave way to automobiles, it was frequently knocked by passing traffic, until finally a reversing lorry demolished it entirely.
The landscapes depicted in this article may have changed considerably since Anne's visits to Scarborough, back in the mid 1800s, but her grave still remains at St. Mary's Church, and is frequently visited by tourists to this day.
For a full list of acknowledgements, and to see the article in its original format, please visit the Yorkshire Journal (Autumn, 2015). All copyright retained by the author.
Many thanks to Clare for sharing this article with Stories From Scarborough!
Tagged 1800s, Agnes Grey, Anne Bronte, Bronte, Charlotte Bronte, Christ Church, Cliff Bridge, Ellen Nussey, funeral, Grand Hotel, Harland Baths, history, Jane Eyre, scarborough, scarborough castle, Scarborough Gazette, seaside, south bay, Spa Bridge, St. Mary's Church, st.nicholas cliff, The Tenant of Wildfell Hall, Theakston, Thomas Hinderwell, Travis' Baths, Winifred Gerin, Wood's Lodgings, yorkshire journal
Sea Bathing and the First Bathing Machine at Scarborough: Part II
This is the second part of an article originally published in the Yorkshire Journal (Spring Issue, 2012) by Sarah Harrison. She has kindly given permission for her work to be republished here. You can read Part I by clicking here.
Article Summary:
Scarborough rapidly became a fashionable spa town and the first original English seaside resort after the discovery, in about 1626, (by a Mrs. Farrer) of natural mineral springs at South Bay. It also saw the arrival of the first bathing machines in 1735. "Taking the Waters" quickly became Scarborough's accepted medicine and its fame promptly spread.
Above: This photo was taken by the well known photographer Frank Meadow Sutcliffe in about 1905. He has captured a crowed scene on the sands at Scarborough's South Bay. Scarborough Castle and harbour can be seen in the distance. At the edge of the sea are a number of bathing machines and beyond, swimmers can be seen in the sea. There are stalls on the sands and two horse riders on the Foreshore. (via the Yorkshire Journal, Spring Issue, 2012)
The bathing machine was a mobile changing room for swimmers, it allowed people to change out of their usual clothes into their bathing costume and then wade into the sea from beaches. They were wooden carts with four big wheels, steps and small windows. In fact, there were many different designs, ranging from Royalty to the basic bathing machines which were to be seen on the majority of beaches. Some had a small flag which could be raised by the bather as a signal to the driver that they were ready to return to shore.
Above: Bathing machines line the beach at high tide in the North Bay at Scarborough. Above the line of bathing machines can be seen Scarborough's North Pier stretching a thousand feet into the North Sea. It opened in 1868 and in January 1905, the pier was wrecked in a severe gale. Above the pier stands Scarborough Castle on the headland which divides Scarborough into two bays, North Bay and South Bay (via the Yorkshire Journal, Spring Issue, 2012)
Below: Bathing machines on the sands and edge of the sea at Scarborough's South Bay. A fisher woman with two baskets full of sea food can be seen in the foreground and fishing boats in full sail out at sea. Photo courtesy of NYCC Unnetie Digital Archive (via the Yorkshire Journal, Spring Issue, 2012)
The machines were pulled by horses to the edge of the water or even into it, if the waves and tide permitted. When the machine stopped the bathers inside emerged through a doorway from the back of the machine directly into the water hidden from the view of others. After they had had enough time in the water they could re-enter the bathing machine, dry off, change back to their street clothing and be wheeled back to the rental establishment on the beach, emerging fully dressed and avoiding the stares of the crowd.
Above: North Bay at Scarborough, looking north towards Scalby Mills. The north promenade and beach bungalows, which can just been seen on the left, were erected just before World War 1. Here a summer crowd enjoy the new facilities and the days of bathing machines are coming to an end. Photo courtesy of NYCC Unnetie Digital Archive (via the Yorkshire Journal, Spring Issue, 2012)
Bathing machines were rented out by operators whose livelihood depended not only on the renting of bathing machines, but also deck chairs, bathing suits and other beachfront paraphernalia. Their target market was the newly rising middle class and better off lower class holidaymakers, who now had the time and the transportation to go to the seaside once a year. The hiring charge for a bathing machine in 1770 varied from 9d for two or more gentlemen bathing by themselves to 1/6d for a gentleman taking a machine with a guide.
Above: This old photo faces north towards Castle Hill, across a crowded beach that is full of holidaymakers and traders. Only three bathing machines can be seen. The nearest one has a raised flag indicating that the last bather had, had enough time in the water and had been returned to shore. Photo courtesy of NYCC Unnetie Digital Archive (via the Yorkshire Journal, Spring Issue, 2012)
The bathing machines remained in active use on beaches until the 1890s, when they began to go out of fashion. This was due to the ever-expanding nature of the bathing costume, first for women and then for men. The machines were then scrapped or became beach huts used as stationary changing rooms for a number of years. Legal segregation of bathing areas ended in 1901, and the bathing machine declined rapidly. Most of them went out of business and disappeared by 1914, but some have survived as a reminder of those prudish days.
Above: The South Bay at Scarborough. To the north is Scarborough Castle and headland in the background. A number of bathing machines are at the water's edge and three bathers can be seen next to one. Photo courtesy of NYCC Unnetie Digital Archive (via the Yorkshire Journal, Spring Issue, 2012)
Permanent, bathing/beach huts, first appeared in about 1910, but the idea of creating a series of cells in a permanent row was pioneered in Scarborough's North Bay in 1911. This was followed closely at South Cliff in 1911-12. Beach huts represented a fundamental transformation from the wheeled bathing machines previously used, where people changed in private and modestly lowered themselves into the sea almost unseen. Beach huts were built well above the high tide mark which reflects changing ideas about social decorum: getting changed for bathing, in a hut at the top of the beach, and walking to the sea in full view became a new, liberating activity.
Above: Brightly-painted beach huts, North Bay, Scarborough (via the Yorkshire Journal, Spring Issue, 2012)
For a full list of acknowledgements, and to see the article in its original format, please visit the Yorkshire Journal (Spring, 2012). All copyright retained by the author.
Many thanks to Sarah for sharing this article with Stories From Scarborough!
Tagged bathing, bathing costume, bathing hut, bathing huts, bathing machine, bathing machines, beach huts, changing room, flag, Frank Meadow Sutcliffe, harbour, history, horses, Mrs Farrer, natural spring, north bay, scarborough, scarborough castle, Scarborough Foreshore, Scarborough Pier, seaside, south bay, spa, swimmers, taking the waters, yorkshire journal
Sea Bathing and the First Bathing Machine at Scarborough: Part I
This is an article originally published in the Yorkshire Journal (Spring Issue, 2012) by Sarah Harrison. She has kindly given permission for her work to be republished here.
Sea Bathing and the First Bathing Machine at Scarborough
Scarborough rapidly became a fashionable spa town and the first original English seaside resort after the discovery, in about 1626 (by a Mrs. Farrer) of natural mineral springs at the South Bay. It also saw the arrival of the first bathing machines in 1735.
"Taking the Waters" quickly became Scarborough's accepted medicine and its fame promptly spread.
Dr Robert Wittie of Hull was the main medical supporter promoting the mineral waters, and in 1660 he published his book Scarborough Spa, in which he proclaimed "the waters" as a cure for all ills. He also began promoting the health benefits of sea bathing. Furthermore, at around 1730, Peter Shaw, a popular spa doctor and chemist in Scarborough wrote about the advantages of 'Bathing in the Sea' at the end of his 'Dissertation upon the Scarborough Waters'.
Indeed, at this time, doctors began promoting sea-bathing as a healthy pastime. They gave plenty of advice on the best way to bathe: briefly, healthy males for five minutes before breakfast daily; the 'weaker sex', invalids and children for three dips of two minutes duration three hours after breakfast three times a week!
To encourage sea bathing a horse-drawn box on wheels could be hired to take the bather out into the sea, enabling the occupier to undress before 'dipping' in the sea.
Above: John Setterington's engraving of the first bathing machine at Scarborough, 1735. The engraving shows an elaborate wooden hut on four wheels, with a window, located close to the water with an attendant holding the door open for a bather. A carriage rider and three people, one with a horse, are visible on the beach. In the sea nearby are four swimmers. This engraving s the first recorded evidence of the use of a bathing machine, and can be seen in Scarborough Public Library where copies are available for sale (published here via the Yorkshire Journal, Spring Issue, 2012)
The bathing machines was first pioneered at Scarborough's seaside resort for women, who entered the sea clad in vast garments, helped by female servants, from horse drawn wooden sheds on wheels. It was quite acceptable for men to bathe or swim naked from boats or the sands. When the railways came, in 1845, greater numbers of trippers crowded onto the beach. Rules were quickly introduced specifying bathing areas, distances to be kept between men and women and bathing clothes to be worn, from 7 a.m. to 9 p.m.
Above: The gentry at the popular seaside town of Scarborough in 1776. A number of bathing machines can be seen on the seashore – two are close to the sea itself (via the Yorkshire Journal, Spring Issue, 2012)
Respectability was enforced, but attitudes changed in 1871 when it was thought absurd that a 'house', a horse and an attendant were necessary to get someone into the sea. By 1904 Scarborough had bathing tents beyond the Spa and on the North Sands.
Above: The North Bay at Scarborough, looking south towards Castle Hill on the headland and the new Marine Drive. This old photo shows the beach populated with holidaymakers, deck chairs and bathing machines (via the Yorkshire Journal, Spring Issue, 2012)
Above: This old photo shows the Grand Hotel, which was completed in 1867, being one of the largest hotels in the world and one of the first purpose-built hotels in Europe. The cliff tram does not appear in the photo – it was built in 1875 after this photo was taken. On the sands below are a number of bathing machines awaiting the day's bathers. The horses await their turn to draw the machines with their occupants into the sea (via the Yorkshire Journal, Spring Issue, 2012)
The bathing machines in the photo are Walshaw's and Browne's. Other Scarborough proprietors were Morrison, Crosby and Rawling. Mr Rawling also owned Rawling's Field, close to the North Bay, which he eventually sold to the Scarborough Corporation for the development of the North Bay Bathing Pool.
To see the article in its original format, please visit the Yorkshire Journal (Spring, 2012). All copyright retained by the author.
Many thanks to Sarah for sharing this article with Stories From Scarborough! Look out for part 2, coming soon…
Tagged bathing, bathing hut, bathing machines, Grand Hotel, health, history, horses, mineral springs, Peter Shaw, Rawling, Robert Wittie, scarborough, Scarborough Spa, sea, sea bathing, seaside, seaside resort, south bay, spa, swimming, yorkshire journal
Scarborough's Pierrots, Catlin's Arcadia
Scarborough's Foreshore has always provided a colourful display of changing shopfronts, alternating amusement sites and unusual attractions. From the Turkish Baths (later an Indian Village and now Coney Island Amusements) to the Madhouse and Millennium living history attraction, tourists have always had plenty of entertainment to choose from.
Above: The bustling Foreshore in the early 1900s (source)
Caitlin's Arcadia occupied the site of the now closed Futurist Theatre.
Above: Catlin's Arcadia on the Foreshore during the early 1900s (source)
It's story begins with theatrical entrepeneur Will Catlin (real name William Fox) whose popular pierrots were a regular sight on Scarborough's South Bay during the end of the nineteenth century and beginning of the twentieth.
Above: Catlin's Pierrots perform on the South Sands (source)
Often referred to as the 'sad clown' the pierrot character has a long history – dating back to the seventeenth century, but became popular during the nineteenth century in France and beyond, as a recurring motif in theatre. With a whitened face and baggy attire, the pierrot was a naive, innocent character, whose antics included comedy, mime, song and dance.
Above: Catlin's Pierrots (source)
Catlin, a former music hall performer first visited Scarborough in 1894, and it was during that time that he formed his renowed group of exclusively all-male pierrots. Whilst his pierrots toured widely – even over the winter months, when they visited a variety of cities and towns – in Scarborough they performed (during the early days) on a makeshift stage on the South Bay.
Above: The troupe were also known as Catlin's Royal Pierrots (source)
They were not the only pierrot group in town – George Royle's 'Imps' performed a similar act on the South Sands from the early 1900s, but adopted different tactics after being invited to entertain audiences at Floral Hall in Alexandra Gardens. Unlike Catlin's group, Royle's performers were male and female, and in their new venue wore period costumes, calling themselves the Fol-de-Rols.
You can read more about the Fol-de-Rols by visiting this website.
Catlin, on the other hand, was rapidly becoming frustrated by rising rental fees for beach performances. Seeking his own venue, he purchased land on the Foreshore and opened Catlin's Arcadia – the pierrot shows operated from here between 1909 and 1912.
Above: The Arcadia (source)
A shrewd businessman, Catlin sold souvenir postcards (depicting the pierrots) at performances, and even met visitors at the railway station to promote the shows.
Such was the popularity of his troupe by 1912 that they were named the most popular entertainers in Britain.
In 1912, he sought to cash in on the popularity of motion pictures, by creating the Palladium Cinema, which, by 1920 was deemed far too small to meet rising demand. Consequently it was then replaced by the Futurist, a huge, state of the art complex that opened in 1921 to accommodate larger audiences and more entertainment. It initially also contained an ice cream bar and soda fountain. The latter would become a popular fixture in Scarborough, with one at the future Corner Cafe, and Evelyn's Soda Fountain at the Windmill Site on the Foreshire.
Above: Evelyn's Soda Fountain (source)
Catlin remained involved with the entertainment business – he also operated theatres in Llandudno and Colwyn Bay, and according to this article, when he died in 1953, his coffin was fittingly topped with a pierrot hat, made from white flowers, and an inscription reading "King of the Pierrots' final curtain". The Futurist, on the other hand, became one of Scarborough's premier entertainment venues, finally closing in early 2014. Its future remains uncertain. There's even a film being made about it – you can check out the progress of this project by visiting this link.
Did you ever visit the Futurist? Do you know anything about the Palladium, the Arcadia or the famous pierrots? Please comment below.
Sources and Further Reading
The Theatres Trust
The Cambridge History of British Theatre
Arthur Lloyd Theatres Page
Fol-de-Rols
Will Catlin
Tagged catlin's pierrots, catlin's royal pierrots, cinema, floral hall, fol-de-rols, futurist theatre, georgle royle, imps, palladium picture house, performances, pierrots, scarborough, scarborough futurist, scarborough pierrots, south bay, south sands, theatre, will catlin, william fox
All Aboard The Hispaniola!
Back in 1949, a 1/4 scale replica of an eighteenth century schooner first set sail in Scarborough. Named The Hispaniola, it would later spend almost fifty years taking excited passengers to Treasure Island – a small piece of land on Scarborough Mere – where gold doubloons were hidden. Visitors would probe the sand with sticks to uncover their share of the 'treasure', whilst sharing friendly banter with the ship crew – who masqueraded as pirates.
Above: The Hispaniola of times gone by (from the author's collection)
Fast forward to 2014, and the Hispaniola has not sailed on the Mere for over twenty years. However, following restoration and repairs it now travels along the South Bay, taking a short route from the harbour and back.
Above: The Hispaniola sailing along the South Bay (Copyright: Stories From Scarborough)
Below: Moored at the harbour (Copyright: Stories From Scarborough)
Whilst on-board, passengers can take in glorious views of the South Bay, including the Spa, Grand Hotel, and seafront amusements, as can be seen below:
Above: Views of the South Bay from the Hispaniola (Copyright: Stories From Scarborough)
The trip is affordable, at £3 a ride (for adults and children), and the ship's pirate heritage is commemorated with a recorded 'pirate' introduction at the start of the trip, and a peg-legged figure who advertises the attraction on the harbourside.
Above: The pirate(s) await (Copyright: Stories From Scarborough)
However, the current day Hispaniola is, in some ways, very different to its older incarnation.
Above: The Hispaniola approaching the harbour (Copyright: Stories From Scarborough)
It boasts a shining coat of paint, new colours and decorations, and an up-to-date engine.
Above: The boat is clean and brightly painted (Copyright: Stories From Scarborough)
But there is no longer a Treasure Island, nor are there doubloons, maps or certificates – although there are black Jolly Roger stickers for those who want them. Furthermore, most of the staff don't seem to wear costumes, or assume pirate alter-egos, although the gentleman at the entrance wore a jaunty pirate-themed outfit, and seemed enthusiastic. The boat staff, on the other hand, were men of few words.
Above: The pirate theme is now more subtle – small reminders decorate the boat (Copyright: Stories From Scarborough)
The voyage is a calm, quiet one, with none of the rowdy jokes made by staff of old, who would tease the kids and truly played the part. Back then, the Hispaniola was only part of a larger story – a game of make-believe that could engage families for a good few hours. Now the Hispaniola alone is the story. The experience is 15 minutes, and the pirates are only hinted at briefly.
Above: Holidaymakers watch the vessel on its brief voyage (Copyright: Stories From Scarborough)
Arguably, it is great to see the schooner still in action, keeping Scarborough's Hispaniola attraction alive; but for older travellers, who might remember the days of pirates on the Mere, there is a sense of something missing. Perhaps it's the expectation of treasure, or the chance to meet the characters from Robert Louis Stevenson's book, Treasure Island, on which the attraction is based. Maybe it's the original staff, whose pirate antics made children truly believe that they were going on a swashbuckling adventure.
*This post is based on the author's experience of riding the Hispaniola on the Mere and around the South Bay – these experiences are not necessarily representative of every voyage at either venue.
Tagged doubloons, hispaniola, jolly roger, pirates, scarborough, scarborough mere, south bay, treasure island


text:
A ilha de Santa Maria é uma ilha fluviomarinha localizada na lagoa Mundaú, litoral brasileiro do estado de Alagoas. Faz parte de um arquipélago com oito outras ilhas localizadas na mesma laguna. Recebeu esse nome em homenagem a Santa Maria, mãe de Jesus.

Ligações externas
Passeio na Lagoa de Mundaú – Overmundo

Santa Marta

redpajama_set_name: RedPajamaWikipedia


We're back to it, and charging ahead, here's this week's readings.
Attached is the new syllabus with a few changes.
Thursday, September 27th and Thursday, October 4th.
Please have the books chapter read for Tuesday and the newspapers chapter read for Thursday.
We will start discussing the blog posts as well this coming week into next.
Next blog due – Thursday, October 4th – separate post to follow.
Your TA will respond during that week or sooner.
First Exam – Tuesday, October 9th, scantron, #2 pencil, multiple choice, true/false.
That will end the first section of the course then we move right into the second section.
Alrighty! Have a great weekend! See ya Tuesday!
By Professor Dunphy in Uncategorized on September 21, 2018 .


text:
Léon Trémisot, né le  dans l'ancien 10e arrondissement de Paris et mort le  à Saint-Servan, est un peintre français.

Biographie
Léonard Claude Trémisot naît à Paris en 1808, fils de Claude Marie Trémisot, marchand de vin, et de Marie Joséphine Gaspard, son épouse.

Trémisot est l'élève de Théodore Gudin.

En 1845, Trémisot réside au 55 rue du Faubourg-Saint-Denis à Paris. Plus tard, il réside au 10 rue de Chabrol, dans le quartier de la porte Saint-Denis, ainsi qu'au 10 de la rue des Magasins, une ancienne voie de Paris.

L'œuvre de celui qui est considéré comme un peintre de marines comprend aussi nombre de dessins et aquarelles, en témoignent des paysages de Saint-Cloud, de Venise, de Bretagne, des natures mortes, des voiliers et des pêcheurs. Elle comprend également des lithographies, tel Le Tombeau de Chateaubriand ou encore Château et Casino de Saint-Malo. On lui doit notamment un Souvenirs des bords de Rance près de Saint-Servan ; vue prise de la Vicomté exposé au Musée Royal à Paris en  et un Saint-Malo vu de la pointe de Dinard, peint en 1840. Dans sa production, son huile représentant une vue de Saint-Malo depuis la Vicomté, réalisée en 1865, est remarquable.

Célibataire, Léon Trémisot meurt chez lui, rue Trichet à Saint-Servan, en 1882.

Œuvres dans les collections publiques

Anciennement dans les collections de la famille de Robert Surcouf, sa toile intitulée Abordage du Triton par le Cartier est propriété de la ville de Saint-Malo depuis 1977, par legs aux musées de France, et est aujourd'hui conservée au Musée d'histoire de Saint-Malo. Ce musée conserve également trois autres œuvres picturales : la toile Le Tombeau de Chateaubriand sur l'île du Grand bé (1850) ; une autre toile, Vue de Saint-Malo (1850) ; La Vue de Saint-Malo, une commande exécutée en 1850-1852 et exposée en 1853.

Le musée des beaux-arts de Brest possède une huile sur toile (51,5 x 75,6 cm) qui a été présentée au Salon de Paris en 1846 : Saint-Malo vu de la Vicomté, près de Dinard.

Expositions

Trémisot exposa ses huiles sur toile au Salon à Paris de 1846 à 1853.

Signature
La signature du peintre est : « L. Tremisot ».

Notes et références

Liens externes

 Léon Trémisot dans la base Joconde.

Peintre français du XIXe siècle
Peintre paysagiste français
Peintre de marine français
Naissance en juillet 1808
Naissance dans l'ancien 10e arrondissement de Paris
Décès en février 1882
Décès à Saint-Servan
Décès à 73 ans