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Live + On Record: Lush - Live in Brooklyn, Mark Crozer And The Rels record review
Over a year ago came the announcement that a much clamored for reunion by one of the few remaining classic 90's era dreamgaze pioneers (that had resisted up to this point) would in fact be happening. The tour dates were set and calendars were marked – Lush would be playing New York in September of 2016.
Those of us dedicated to this "beautiful noise" period of music had just experienced The Jesus and Mary Chain playing here, and now we had a whole year to look forward to this.
Sometime after tickets for the initial Terminal 5 show was put on sale for the 14th, a second show was added for the day before in Brooklyn at The Music Hall of Williamsburg, giving fans a choice of venues that suited them best. Although many no doubt went to both performances, attending their first NYC show in 20 years on September 13 created an additional level of historical importance.
Social Media anticipation continued to build, as planned gatherings with like-minded friends were hatched for some pre-show revelry.
Once the band hit the stage everyone in the audience were immediately transformed back to the golden era of heavy, hyper dreamy music. The "beautiful noise" once more.
Opening with one of their most popular and recognizable songs in "De-Luxe," the intro chords initially build at a slower tempo than the studio version, before bass and drums enter the mix bringing everything up to speed and the audience now fully engaged.
Although we've gotten to know Phil King over the years as a touring member of The Jesus and Mary Chain, (and who is also featured in a very popular in-depth interview and career profile here on this site) he correctly stepped out of that support role to resume his rightful place as a full partner in Lush.
The live show was all one could have hoped for. One brilliant explosion of light and sound after another.
The central focus is as it always has been - the persona of Miki Eleonora Berenyi.
She effortlessly commanded the stage with charm (bantering with the audience on a few occasions) while going about the task of executing a set drawing heavily from their first two 4AD albums and early EP's with a smattering from their later, crossover-to-Britpop hits.
Emma Anderson continues to provides essential harmony vocals and precise guitar melodies behind Miki's shimmering 12 string chords.
Veteran drummer Justin Welch (a founding member of Elastica) masterfully delivered on all percussion duties.
A reverential moment occurred when the band played "Lost Boy" – a track from their recently released new EP "Blind Spot" live for the first time. Dedicating it to founding member/original drummer Chris Acland, whose 1996 suicide led to the eventual dissolution of the band at that time, Miki's lyrics express the heartbreak of that loss.
Free roaming the venue, previous viewing locations (with fellow concert mates in full view) made for interesting images.
Perhaps its due to all the new bands that emulate and try to sound like them, but the music of Lush seems to have a timeless quality to it.
Listen to how their live sound fills up this high ceiling venue, allowing for both the songs intricacies and ambient overtones.
The full Setlist played
With significant debuts and milestones achieved.
One of these can certainly be helpful in gaining access to opportunities.
Ultimately having an eye for the main chance is your best asset when doing the post-concert dance.
With this North American leg of their tour now completed, the band have three major dates remaining in November playing the Iceland Airwaves Festival in Reykjavic, the Rolling Stone Weekender Festival in Germany before ending the month at the Academy in Manchester, UK.
Find out anything else about Lush here
Long-time friends of this site Mark Crozer and the Rels have released a brand new 10 track album titled "Sunny Side Down." Recorded at Mitch Easter's studio in North Carolina (where Mitch engineered and co-produced with the band) the legendary Lets Active frontman who also produced R.E.M.'s early breakthrough albums has captured Mark and The Rels at their best.
There is an honest "live" quality to the recordings that allows the songs shine through. What you don't get is artificial studio trickery or ridiculous autotune. The current pop airways are currently full of that (unfortunately) and it's truly a breath of fresh air to hear something as true and organic as this. That said the sound quality is perfect and the songwriting superb. This is the true definition of "indie" (independently released) music.
An eerie mood is set within the pop confines of opening track "Haunted Head." Though the 1-2, 1-2 chord progression moves things along with a mid-tempo pace, a disquieting sentiment shimmers within the sound. Describing those sleepless moments that "keeps me awake with thoughts and emotions" the memorable hook high-point "oh I think it's alive" turns apprehension into beauty.
Although "Toxic Town" establishes a quicker stride, the overall wistful atmosphere evokes first-wave British invasion classics like Chad and Jeremy's "A Summer Song" and "I Go to Pieces" by Peter and Gordon. The universal tale is told of desiring to leave a soul-stifling town that can only offer "sad memories and shells of burnt out factories." The chorus provides emotional uplift via beautiful chord structure and lyrical hope indicating the "light beyond" and now being "a perfect day to make a getaway."
The introspective disposition on "Corners Of Your Mind" pair gently strummed guitar against dramatic deep hall drum accents. "Glide like a bluebird climbing high, searching for sunshine" provide lyrical gravitas to a poetic daydream. With the full band joining in, familiar Crozer themes of "redemption" are revisited and how "life can take you way beyond" the limitations you put on yourself.
There are many more equally wonderful tracks on this record, all well worth checking out. Find out how to digitally acquire this as well as everything else from Mark and the Rels current catalog here.
An ultra-limited edition vinyl version of "Sunny Side Down" is in the works and will be released by Planting Seeds Records (PSR093). Keep an eye on their official site (and their Facebook, Twitter pages, etc) for more detailed information.
Previous features on this site about Mark Crozer and the Rels:
Bubblegum Track and Live Show Review
Late September Features: Mark Crozer and The Rels, etc.
Mark Crozer and the Rels - Album Review
International Jetsetters - Heart Is Black – Album Review
Previous features on this site about Planting Seeds Records:
http://davecromwellwrites.blogspot.com/2013/08/true-independent-music-labels.html
http://davecromwellwrites.blogspot.com/2015/09/the-jesus-and-mary-chain-live-in-new.html
https://davecromwellwrites.blogspot.com/2009/05/lovetonespsr-showcase-may-1-2-2009.html
http://davecromwellwrites.blogspot.com/2009/05/linda-draper-live-googies-loungethe.html
Posted by DaveCromwell at 3:30 PM 13 comments:
Labels: brooklyn, JAMC, lush, mark crozer, miki berenyi, music hall of williamsburg, new york city, phil king, the jesus and mary chain, the rels
Sophie Ellis Bextor - Familia - Album Review
It has been more than two and a half years between albums for iconic British singer Sophie Ellis Bextor. That wait has been rectified with the release of her sixth studio album "Familia." Returning to the creative team that helped bring life to previous Top Ten charting record "Wanderlust," the latest album once again reflects a unique and fruitful collaboration with producer Ed Harcourt. Sophie and Ed have taken their abundant talents to another level here with these eleven songs, exploring new wide-open vistas for the singer to branch out and shine on.
Along with Harcourt providing piano, synths, samples and various keys, Richard Jones of veteran British pop band The Feeling (and Sophie's husband) played all the bass guitar (figuring prominently on many tracks), with Seton Daunt on guitar and Phil Wilkinson on percussion. Also back making significant contributions are the Dirty Pretty Strings (Violins: Gita and Rose Langley, Viola: Amy Stanford and Cello: Amy Langley). The album was recorded at State of the Ark Studios in London, mixed at Decoy Studios and mastered at the famed Abbey Road. Released via her own EBGB label, worldwide marketing is being handled by Red/Essential. All album photography and initial video work coming by way of the masterful Sophie Muller.
A swirling synthesized reedy flute pattern kicks off opening track "Wild Forever" against metronomic clock-click percussion. Clear acoustic piano chords cut through and establish deeper bass textures as Sophie begins her vocals. "There's a look in your eye – that says you want to be carefree tonight – just like in days gone by – when we were wild."
The click-time rhythm and synths give way to full band dance groove on a bridge build-up where Sophie proclaims "Why be so ordinary? Why just conform? Let's rip the night in half and forget it all. So keep the engine running, under the stars. I feel release is coming, tonight it's ours!"
Chorus: Three sharp descending notes: "We shouldn't fight the way we feel " Three more notes, but move in a slightly altered direction "when it comes from somewhere real." Background vocals mirror the three accent notes ("run-ning wild") with an emerging bass guitar driven pulse. Sophie goes falsetto on the line "a garden always in full bloom" before returning to middle-toned voice "That's how I think of me and you" (Background "running wild") "but if escape is what we need – when it comes to you and me" - "we should just surrender" (punctuated by defined drum shots and stately piano chords) – to the ultimate defining line - "stay wild forever."
Briefly returning to the intro, the second verse finds the piano playing a more active, descending progression beginning with the lyrics "it's like a secret we hold."
At almost four-and-a-half minutes in length (which turns out to be the average length of nearly all the songs on this album) there are more than a few wonderfully unexpected moments. Like the joyously repeated chant of "we just have to surrender" while mad synth twiddles over it all. Sophie is heard in one of the "making of the record" videos put out before it's release describing the music on this record as "bonkers psychedelic pop." Wild Forever delightfully fits that description.
A deeper drum pattern and distinctly plucked guitar notes introduce "Death Of Love" as buzzy synths shimmer underneath. "Streets of SoHo where - we escaped to - take a moment - in slow motion" Sophie proclaims. "Sit beside me and - let them hurry – the city waits for no one" she continues, but then the vocals double and ceremonious guitar chords strum as she sings "but in my mind we're king and queen – you make the best of everything – and in our fragile kingdom – we're always singing – an endless melody (with the end note held out on the deeeeee)
Leading in to a gorgeous chorus that goes "Every sunrise leads to a sunset – fruit must fall from branches, and they'll be centuries for other lovers – but not for us." The beauty of this section (besides the glorious overview of life lyrics) is how it's powered along by the deep thumping drums and upward pulsating synth textures.
"But what we created – it cannot be undone. You know it lives on" To the songs highest point (both vocally and emotionally) – "It's not – it's not the death of love" (repeated twice) enhanced by additional double-time cymbal percussion.
"So you walk through the crowded chaos" Sophie continues as chunky guitar figures enter the mix. "There's a comfort, waiting for us." Sophie has stated in interviews that this song is about how the love you create lives on after you've gone. Therein lies the comfort.
The magical chorus returns, this time with background vocal enhancements sounding like the trumpet herald of angels. An unexpected drop back in instruments leaves Sophie's voice out front in ethereal layers over cymbals and drums. Chunky guitar figures return before leading it all back to the lush chorus once more.
Three distinct piano chords establish the essential structure of "Crystallise" as Sophie delivers opening lines "waiting for a lifetime." As 'ticking clock' percussion marks out time, she continues "Like you're carved from the mountain." One – Two – Three – go the piano chords – "sometimes I stand like a statue – waiting to surprise you"- which immediately leads to the bridge: "and when it comes - and what it does" (with bass guitar taking over as this seconds driving instrument) "is nail you down, you cannot swerve – you're not the last, you're not the first to sometimes lose your nerve."
To the big chorus: "You don't need to try – hard. You don't need to wise – up" The arrival of Sophie and Ed's go-to string section adds deeper hues to the proceedings. Specifically the emotionally-charged Cello work by Amy Langley. "It all becomes clear as day," she continues. "So Crystallise – love." Sweet guitar and piano textures coalesce as Sophie continues "it's been sleeping since day one – trapped in your subconscious. Scheming for the moment [sung in higher register and with more force] – when you stop feeling cautious" once again leading immediately into the bridge.
Doubled vocals this time on the lines "you're not the last, you're not the first to sometimes lose your nerve." In addition to the lush string section, there is now a rising gentle piano figure put in motion. A surprising Pink Floyd-ian extended-note guitar form briefly floats in space before the final chorus. That final pass through finds Sophie layering in alternating background vocals with dramatic tambourine/sleigh-bell shakes. The final seconds have all the instruments dropping away still only the live-in-the-studio drums remain.
The introduction of Nick Etwell's trumpet on "Hush Little Voices" is significant in creating a cinematic Ennio Morricone/Sergio Leone "Spaghetti Western" vision of the mythical west. Tambourine jingles feature prominently amid the familiar instrumentation of bass, piano, guitar and occasional "bonkers/psych" synths. Sophie's clearly enunciated vocals have less to do with South-Of-The-Border conflicts but rather the bothersome thoughts that keep you awake. The chorus appears to serve a dual purpose as part lullaby to needlessly worried children, while subtly revisiting deeper subject matter first explored in the song "Party In My Head" from 2003's "Shoot From The Hip." In interviews Sophie has stated this could also be the witch from "Love Is A Camera" on Wanderlust who souls were taken via images held in a tomblike monument ("centograph"), who has now been driven mad by all the souls she's captured.
Making extensive use of the Dirty Pretty Strings on "Here Comes The Rapture," Sophie creates a chamber music atmosphere comparable to Kate Bush's "Cloudbusting" (from her From her No. 1 1985 album Hounds Of Love). However, there is no attempt to add any layers of percussion here as the string section provides the only musical accompaniment. In that regard, The Beatles "Eleanor Rigby" serves as a more accurate resemblance.
Poetic, sweetly sung lyrics describes that moment first encountering the one you were meant to be with. Using metaphors of "towers" on "borders" and surrender ("give ourselves up") puts a castle siege twist on affairs of the heart. Reaching the angelic chorus, the double edged meaning of "rapture" signifies both ecstatic delight and being transformed to another sphere of existence. With subsequent lyrics making further comparisons to "rernaissance" and "art," it is the bridge once again that hooks you in. This time "mountains" replace those border towers as "bells are ringing out your name."
First single "Come With Us" is placed at the halfway point through the album. The straightforward snare and bass drum stomp pattern is quickly joined by funky guitar licks. Touted as a "return to disco," the feel seems closer to late 70's rock bands that specialized in funk (like The Average White Band) or occasionally dabbled in it (The Rolling Stones). While Sophie sings what at first appears to be a call to "come with" her "no matter who you are or *what you see* (though lyric sheet says "where you're from" – possibly changed during recording because it sounded better?) a more wary meaning is soon revealed.
The chorus makes no doubt about the clarion call intentions stating "if you give us all your money we'll give you your dreams." How it's an illusion of "soft focus" imploring you to "release control" and become "lost in a fantasy – 'til your soul is lost." That is some pretty damning commentary on advertising and the profit-driven promises offered. Like many good songs, "Come With Us" can be interpreted on a number of levels. If you want to be seduced by a "welcome to the family" greeting – presented with believable charm by Sophie in both voice and video imagery - that daydream is there. However, one would be foolish not to be suspicious of lyrics "in a hazy frame of mind you'll believe this stuff." Sophie has been quoted as saying this song is "about the lure of a cult," whether that be Jim Jones impoverished Kool-Aid drinkers or the wealthy followers of Scientology.
Instrumental interludes, guitar solos and breakdown with Sophie delivering signature "ooh, ooh, aie ya's" over "Groovejet" style deep tom-tom percussion and funky guitar riffs lead back to the promised-land chorus. The cultish lure of "living a fantasy under electric stars" ultimately becomes a choice of what (or whom) to follow.
A basic straight-forward drum beat is juxtaposed against mechanical hand-claps and extended note synths before deep bass guitar establishes the progression on "Cassandra." Sophie turns to Greek Mythology for her lyrical inspiration here, channeling Cassandra princesses of Troy. The "snakes in your red hair" allow her to listen to the future, but that gift from the God Apollo becomes a curse. As a result of her spurning his love, no one believes her predictions. It's a classic story that Sophie puts her own spin on. With the lyrics "putting the blame on the girl," "I believe in you," they think it's a lie you told (but why would you need to)" and "if I could just sit with you, we two could conspire," and "make them listen," there's a sense of a modern female solidarity. The final minute features rising celestial vocals, rain-tinkling piano and thundering tom toms that build to a dramatic crescendo.
Returning to the "bonkers pop with a bit of psychedelia" approach, "My Puppet Heart" delights as one of the albums most lively tracks. Over sound effects evoking factory machinery gone slightly awry, the vocals start almost immediately. Clacketty-stick percussion, oddball foghorn and piano runs counter to Sophie's first verse vocals, while the bass guitar faithfully mirrors her melody. All suddenly changes on the next hooky bridge section where vocals starting with "you lift me up and I'm enlightened" are propelled by military-style snare drum rolls, with each line punctuated by deeper voiced chorus of "hoooh!" The dreamily repeated "When I'm with you" line leads into a big chorus depicting how the puppet masters "hand" has "synchronized" control of her heart. There is a delightful joy in how the instruments drive it all along, rising to accent "hold – ing tight" until giving way to a somber cello-led string section. Further sonic surprises come on the third section change where she sings "it's so beautiful to just free-fall." Fittingly the tracks final moments are squiggly sounds of indeterminate origins that imply a tape reel spun out of control.
A heartbeat-like singular bass drum thump with dueling electric keyboard and guitar figures usher in the ballad "Unrequited." The pensive tale of yearning love not returned by another ultimately points to the question "Now ain't that the craziest thing?" The overall mood is like a balladeer singing her heart out in some 19th Century Old West Cantina.
Once again the Dirty Pretty Strings feature prominently behind the vocals, providing a level of pathos unattainable by traditional rock instruments. The big surprise is a vocal turn from Nada Surf's Matthew Caws, who arrives after the songs midpoint, providing counterpoint and possible solution ("dance on your own in the light"). The final chorus is sung as a duet, and their voices blend well together.
An oddly jagged synth pulse provides the initial impetus for "The Saddest Happiness." Majestic strummed guitar chords accentuate ethereal "ooooh, ooooh, ooooh" background vocals. Subtleties like the emergence of full trap set drumming halfway through the first verse's third line ("it's hard to feel the highs") shows nuanced attention to detail. The first change moves from mechanized synth-bass to bright ride cymbals and ceremonious piano accompaniment. Sophie's lyrical content and vocal performance are sweetly tinged with a plaintive air. Bass guitar and chamber orchestra strings provide the driving musical force behind Sophie's vocals on a chorus where "the saddest happiness" is a "friend" that is like "the needle to the groove." The emergence of double-time vocal cadence ("rich is the man with a love to treasure") and mysterious Spanish spoken word segment indicate the freeform possibilities within a self-directed recording environment.
Muted acoustic guitar chords, deep cajon drum and shaker percussion under prominent handclaps furnish the sonic foundation for the albums final track "Don't Shy Away." Perhaps the most purely cinematic track on the album, a southwestern feel emerges once again in both sound design and lyrical content. There are "mountains," "birds overhead," needing to "cross the valley" and "walk in the blazing sun." With Flamenco-style guitar moving to the forefront and the lyrics "he's waiting there for me, this runaway bride," the doomed wedding scene in Tarrantino's "Kill Bill" makes an excellent visual comparison. Although Sophie has also stated in interviews that this poetic "runaway bride" is a poetic return to the one in Wanderlust's "Cry To The Beat Of The Band."
The chorus and subsequent musical intervals reinforce the damsel "yearning" for "all that we dared to dream" in a world of new frontiers. An unanticipated post-chorus halt slowly builds tension around the repeated line "Won't look back again." As that repeated mantra rises with conviction on each pass through, a mournful harmonica wail echoes through this big sky landscape. The majestic sonic coda – evoking pioneers riding out into the sunset (punctuated by stuttering drum fills) serves as a more than fitting end to this album.
Get Familia: - iTunes http://smarturl.it/itunesfamilia
- Signed CD / vinyl http://www.bit.ly/getfamilia
- Google Play http://smarturl.it/googlefamilia
- Amazon http://smarturl.it/amazonfamilia
Follow Sophie:
Twitter: https://twitter.com/SophieEB
Instagram: https://www.instagram.com/sophieellisbextor/
Facebook: https://www.facebook.com/SophieEllisBextor
Tumblr: http://sophieellisbextor.net
Previous features on this site about Sophie:
Wanderlust - Album Review
Make A Scene - Album Review
Sophie - Live In New York
Sophie - Interview
Labels: dirty pretty strings, EBGB, ed harcourt, familia, phil wilkinson, red/essential, richard jones, seb, seton daunt, sophie ellis bextor
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DaveCromwell
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster and Soma website magazines.
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The big boys threw the basketball over the playground fence. Heading across the parking lot to retrieve their ball, I was stunned to see this beautiful, if deceased, beetle on the ground. Do we really have beetles this fabulous in Texas? Or is it a planted teaser for a Curse of the Mummy movie?
This gem is in a box in the elementary classroom now. Look at its belly! How exquisite! What a costume it would make. "Thank you" isn't usually my thought when I have to chase escaping playground equipment. I can see I'm going to have to expand my casual study of insects and other creepy creatures.


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Society's Attitude Towards Under Privileged Children in the Novel Oliver Twist
Length: 3973 words (11.4 double-spaced pages)
Rating: Powerful Essays
'Oliver Twist' is one of Charles Dickens most enduringly popular
novels. Best known for his host of distinctively cruel, comic and
repugnant characters, Charles Dickens remains the most widely read of
the Victorian novelists. 'Oliver Twist', a meek, mild young boy, is
born in the workhouse and spends his early years there until, finding
the audacity to ask for more food, "Please, sir, I want some more." he
is made to leave. Oliver represents the underprivileged children in
this novel. Dickens shows us society's attitude towards Oliver and the
under privileged children, they were abused, beaten and "brought up by
hand." 'Oliver Twist' is a criticism of the workhouses, the judicial
system and the criminal world of London society of the time. Dickens
use of satire and descriptive style conveys the pain of the
unfortunate to the reader. His narrative skills are loaded with biting
sarcasm and irony making the novel a chilling revelation of the life
of the orphans.
Dickens was a lifelong champion of the poor. He himself suffered the
harsh abuse visited upon the poor by the English legal system, as he
himself was an orphan. In England in the 1830s, the poor had no voice,
political or economically. In Oliver Twist, he presents the everyday
existence of the lowest characters of English society. He goes far
beyond the experiences of the workhouse, extending his depiction of
poverty to London's squalid streets, dark alehouses, and thieves'
dens, he gives voice to those who had no voice, showing us a link
between politics and literature with his language techniques and
social commentary. The novel is that of a young individual boy but t...
...y to make us visualize the19th century London.
Characters such as Mr.Brownlow, Nancy, Ms. Rose, all give comfort to
Oliver's life but filthy characters such Fagin and Sikes never allow
Oliver to be in peace.
Dickens shows us how society can change the life of a person. The
different classes of society all have good and bad. But in the end we
know that good prevails over evil. The novel has made me realize that
I can survive under any circumstances if I keep hope and keep praying
like Oliver did, have more faith. The novel also inspires me as good
prevails over evil and always will. The novel is also an eye opener
for me as it teaches me to appreciate the comforts of my life as I
have a home to live in, love from my parents, food to eat everyday and
it teaches me to be more understanding and gentle towards younger
people who are less fortunate than me.
Essay on The Court Of Justice By Oliver Wendell Holmes
- Oliver Wendell Holmes once said, "This is a court of law, young man, not a court of justice" ("Quotes about Justice, Laws, and Crimes"). Most minority groups know that the court is not just, but what about the majority of the population; men. Men often have a disadvantage in the courtroom because people have natural biases, history has given certain groups an advantage over time, and gender discrimination is a popular issue in the media. Humans have natural biases and society has enforced stereotypes about both genders, which in most cases has caused women to gain an upper hand in court.... [tags: Gender, Discrimination, Sexism, Feminism]
Powerful Essays
The Privileged And The Not Essay
- Christian Rosado Tracy Peterchak SOC 102 19 July 2014 The Privileged and the Not The concept of race has no biological merit and is a concept that was invented to oppress the minority group. Historically, this can be seen when studying early European settlement into America when the settlers came in contact with the natives of the land. Based on their darker skin color, and their difference in culture, they were quickly singled out as different and subjugated to torture because they were "savages" and not "civilized".... [tags: Racism, Race, White people, Race]
Our Privileged Society: Equal Opportunities for Education Essay
- Our world has been created by people, and by interactions between people, making everything from law to how we greet each other socially constructed. We would like to believe that everyone has the same privileges in life, and that the economic class one is born into will not affect ones future. We like to believe that our school system provides equal opportunities for everyone and that our justice system is fair. Through the research of Stephen Richer and Laureen Snider we find our society may privilege or favour some people over others.... [tags: education, equality, USA, ]
Essay on Society's Social Slip-Up: Oliver Twist, written by Charles Dickens
- ... Sowerberry fails to portray further exemplifies her coldness and hypocriticalness. The final supporting character is Mrs. Corney, who is later known as Mrs. Bumble. Her actions depicted make her by far the most insensitive, insincere supporting character. Mrs. Corney oversees the workhouse where Oliver was born. "She hates the paupers and considers them an annoyance; she doesn't even see them as human and has no sympathy for them even when they are dying of starvation and disease" ("Oliver Twist." Novels).... [tags: society, poor, social status]
The Tale Of Oliver Twist Essay
- General Introduction The tale of Oliver Twist is legendary to British culture. The story of the novel centers round an orphan named Oliver Twist, whose mother died immediately after his birth in a workhouse. The novel focuses on the social injustice done to the orphans in the Victorian period. The main thread of the plot unravels the nature of the criminal world consisting of characters like Fagin, Sikes, Jack Dawkins, Nancy and Betsey. Dickens's aim of writing the novel was to show in the boy Oliver the principle of good surviving through every adverse circumstance and triumphing at least.... [tags: Charles Dickens, Oliver Twist, Fagin, Oliver!]
Use of Language to Portray 19th Century London Society in Oliver Twist by Charles Dickens
- Use of Language to Portray 19th Century London Society in Oliver Twist by Charles Dickens The world's most popular author and novelist who belonged to the Victorian era requires no introduction. Charles Dickens is the man behind great novels like, 'Oliver Twist,' 'Hard Times,' 'Great Expectations,' and many other fascinating and insightful novels that are considered, and quite rightly so, works of true genius. The man, himself was a worker in a blacking factory during his childhood. His father was unable to pay off the family debts so young Dickens was left without a proper education and so spent his childhood and most of his youth in poverty.... [tags: English Literature Oliver Twist]
7189 words (20.5 pages)
Charles Dickens 's ' Oliver Twist ' Essay
- Famed author Charles Dickens knew exactly what he was writing about when he wrote his second novel titled Oliver Twist. Dickens connected events from his horrific childhood to the book itself. This time in history also was a key element in his famous work. Although this story was written well over one hundred and fifty years ago, it continues to make people see life from a different perspective. Charles Dickens was born in Portsmouth, England in the year 1812 to a fairly large family. He was the second of eight children in a family that dealt with many financial issues (Info).... [tags: Charles Dickens, Oliver Twist]
Charles Dickens' Oliver Twist Essay
- Charles Dickens' Oliver Twist The novel Oliver Twist is a criticism of the cruelty that children and poor people suffered at the hands of 19th century society. It was Dickens first novel written under his own name when he was 24 years old and in it he already reveals his sharp, but comic comments and criticism. From the start Dickens makes it clear to the reader that poor people and the children of poor people; most especially a baby born illegitimately; were of no consequence in the 1900s. The first person narrator feels he need not "trouble" himself "as it can be of no possible consequence" to tell us the place or date of Oliver's birth.... [tags: Charles Dickens Oliver Twist Essays]
Essay about Cold Reality of Workhouses Depicted in Dickens' novel Oliver Twist
- Cold Reality of Workhouses Depicted in Dickens' novel Oliver Twist Imagine abruptly woken to the harsh sounds of demanding yelling and screaming only to find yourself still shivering from the lack of hole-filled sheets that they call blankets. Feeling fatigued from another sleepless night and faintly from the malnutrition, you eagerly await your habitual serving of gruel for breakfast. Extremely weak from the meager portion, the never-ending day begins as you are led to do various different chores throughout the day. This is the life in a workhouse.... [tags: Oliver Twist Essays]
Dickens' Criticism of the 1834 Poor Law in Oliver Twist Essay
- Dickens' Criticism of the 1834 Poor Law in Oliver Twist Dickens criticised the 1834 poor law in many different ways within the first five chapters. He does this firstly by cleverly portraying the Victorians attitudes towards the poor. He does this in chapter 1 by referring to Oliver as 'the item of mortality' suggesting how lowly his position in society is. Also the difficulty of Oliver's birth and the fact his mother dies, gives us some idea of the dangers of child birth in Victorian society and the amount of negligence his mother receives from the surgeon.... [tags: Charles Dickens Oliver Twist Social Class Essays]
How two chapters of Great Expectations reflect the influence of society
In Great Expectations, Is Miss Havisham crazy and/or evil?
Charles Dickens' Oliver Twist
The Reflection of Victorian Britain in Literature
Dickens Creating an Effective Image of People in his Works

redpajama_set_name: RedPajamaCommonCrawl


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The significance of the "no" vote at Fiat Chrysler
Joseph Kishore
The tentative contract announced just over two weeks ago by United Auto Workers President Dennis Williams and Fiat Chrysler (FCA) CEO Sergio Marchionne has suffered a landslide defeat at the hands of autoworkers in the US. On Thursday, the UAW officially announced that the deal had been voted down by a 65 percent margin, though at many plants the percentage of "no" votes was significantly higher.
The vote is a milestone in the development of the class struggle in the United States. It is the first time that autoworkers have rejected a national contract in 33 years. Workers have overwhelmingly defied the combined efforts of the auto companies, the UAW and the corporate media, using lies, threats and intimidation, to push through a contract that expands the hated two-tier wage system, initiates a major attack on health care for current workers, and paves the way for a further downsizing of the US auto industry.
The "no" vote is the beginning of a counteroffensive against relentless attacks that have spanned decades, from the first Chrysler concessions contract in 1979 to the Obama administration's forced bankruptcy and restructuring of the auto industry in 2009. During this period, the organizations calling themselves unions have abandoned all pretense of organized resistance and ceased to carry out even the most basic functions with which they were traditionally associated.
Since the late 1970s, the trade unions as a whole have worked to eradicate any open expression of opposition to the dictates of the corporations and the government. Contracts have become synonymous with givebacks. Any connection between rising productivity and improved wages and benefits has been completely severed. This has been a major factor in the devastating decay of living conditions for the working class throughout the country.
Workers in the auto plants have known nothing but concessions. The mounting anger and frustration have engendered a growing mood of resistance.
The shift in consciousness has ignited the wildfire of opposition at Fiat Chrysler. So complete is the alienation of the unions from the workers that the massive "no" vote took the UAW leadership entirely by surprise. Following the rank-and-file rejection of the agreement, the union and its allies in the media are treating the debacle as a question of public relations—a failure to communicate.
A persistent theme in the media commentary is fury over the role of "social media," by which the commentators mean the widespread discussion of the contract among rank-and-file workers, a process that was facilitated by the WSWS Autoworker Newsletter. Over the past two weeks, the Newsletter has been followed on a daily basis by several thousand autoworkers. It has told the truth about the contract, countering the lies of the UAW and exposing the union-corporate conspiracy against the workers. It has provided a platform for the workers themselves to speak out. Its call for the formation of rank-and-file factory committees independent of the UAW has found a substantial response.
Now that the contract is defeated, the auto companies, the UAW and the Obama administration are engaged in intense discussions over how to respond to the workers' rebellion. Regardless of the workers' vote, they intend to push ahead to achieve their aims. Under these conditions, the question of an ongoing struggle, organized and coordinated by rank-and-file factory committees, assumes immense importance.
More than 75 years ago, Leon Trotsky, the co-leader of the Russian Revolution and founder of the Fourth International, explained the significance of factory committees in the development of the class struggle. Deeply critical of the conservatism of the trade unions, even during a period in which they were involved in major class battles, Trotsky called for the formation of such committees in every workplace in the founding document of the Fourth International, written in 1938.
"The prime significance of the committee," he wrote, "lies in the fact that it becomes the militant staff for such working class layers as the trade union is usually incapable of moving to action." Factory committees "open the doors, if not to a direct revolutionary then to a pre-revolutionary period—between the bourgeois and the proletarian regimes." That is, they open the doors to a struggle by the working class against the capitalist system.
Since these words were written, the unions themselves have undergone a colossal degeneration, particularly over the past four decades. These organizations, which even in their heyday worked to subordinate the working class to the capitalist system, have responded to the globalization of production and the decline of American capitalism by integrating themselves ever more directly into the framework of corporate management.
The UAW and the AFL-CIO as a whole can no longer be termed workers' organizations. They function as a labor police force, which seeks to impose the demands of the corporations while pursuing the interests of the privileged upper-middle class stratum that controls them.
The World Socialist Web Site and Socialist Equality Party anticipated that the development of a struggle in the working class would inevitably assume the form of a clash with the trade unions. The call advanced by the Autoworker Newsletter for the formation of rank-and-file factory committees is aimed at overcoming the dictatorship of these organizations on the shop floor and developing in every way possible the independent initiative of the workers themselves.
This perspective has received a powerful confirmation. The middle class and pseudo-left organizations that have insisted it is impermissible to challenge the authority of the unions stand politically exposed. The WSWS is routinely denounced by these organizations as "sectarian" for refusing to work with the union apparatus and the Democratic Party with which it is aligned. What they mean by "sectarian" is fighting for the political independence of the working class, which is possible only by breaking the stranglehold of the unions over the workers.
The rebellion of autoworkers is one expression of the reemergence of class struggle in the US. This has profound international significance. The American ruling class, with its aspirations for global dominance, is confronting at home an increasingly angry, hostile and revolutionary social force. It is a process that must, and will, take on an increasingly open political form directed against the foundations of class rule and the capitalist system itself.
PerspectivesAutoworkersUnited StatesThe 2015 US autoworkers contract fightGlobal class struggle


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Here's What It's Like Releasing a Book During a Pandemic
New York Times best selling authors Samantha Irby and Michael Arceneaux discuss the publishing world, making room for others, and what's getting them through the coronavirus lockdown.
By Michael Arcenaux
Amber Hawkins
Although it is a privilege to be able to publish a book, it is not an especially ideal time to launch a new one in the middle of a pandemic. Fortunately, if I were going to endure this sort of limited edition nightmare, I'm glad I've been able to experience it with the hilarious Samantha Irby, whose new release, Wow, No Thank You., was released the week before my latest, I Don't Want To Die Poor, dropped.
It does all of us near-starving artists a disservice when we cut off potential access for other creators.
As fate would have it, Irby's third book debuted number one on The New York Times paperback nonfiction list, proving "the Rona" can block many things, but not the blessings for the funniest person writing books.
But before Irby netted that feat, we talked handwashing, planning in a pandemic, Vanderpump Rules, how to chill in a global crisis, why she's always been so good about helping out other writers along with her thoughts on the looming class war led by Britney Spears and Fran Drescher.
And because we're all itching to get out of the house, Irby and I talked about the post-pandemic day we'll actually meet in person.
MICHAEL ARCENEAUX: Did you wash your hands before this interview? It doesn't matter if we are nowhere near each other.
SAMANTHA IRBY: No, I didn't. And now I am feeling deeply ashamed because I probably should have? What are the rules now, wash every time you switch rooms? Wash every time you take a breath?
Here's the thing, though: I have not set one foot outside my house since March 11. Not even a toe. My wife is the designated once-weekly shopping person, and she also brings in the mail and whatever is inside the packages she opens on the porch before putting the cardboard boxes directly into the recycling. I have not felt outside air in over three weeks, and I have zero temptation. It's wild, right? I was made for this. I'm a f—king vampire.
Samantha Irby's Low-Key Rallying Cry for Progress
Michael Arceneaux Doesn't Want to Die Poor
MA: One of the first things we said to each other after it became clear that we were in the middle of the pandemic about to drop books was, "We're f—ked." I feel like for the most part, though, neither of us seemed really panicked about it at the time. Have you since panicked? I feel like you have not, but feel free to admonish me for projecting.
SI: I haven't panicked yet, because I am the kind of person who is eerily calm while sh-t is crashing down around me, especially when I have no control over it. To paraphrase an old tweet of yours that I have burned into the most sacred part of my brain: "What the f—k I'm gone do?" We're powerless here!
It feels a little, I don't know — callous? Cynical? — to be trying to sell a book right now but also we wrote them, and is there a better time to bludgeon someone over the head with a thing you made that is the perfect companion to sitting in their beds for extended periods of time? Listen, it could be worse. What if you had written a super serious book? Or a book featuring an infectious disease? Imagine being the person who made Contagion trying to sell that to people right now? Thank God we're dumb!
A post shared by samantha irby (@bitchesgottaeat)
MA: You are back in Chicago to work on a television show and now you are isolating yourself from everyone in an effort not to contract and/or spread the coronavirus. Between the demands of such a job and this pandemic, did you even see much of Chicago before we were sentenced to captivity?
SI: No. Here's the dilemma of moving away from your home where everyone you know and love still lives and occasionally going back there for work: No one gives a f--ck that you are there to work and will get really mad at you when they don't see you. I can't even post on Instagram when I'm home anymore because I get comments like, "Wow, okay b-tch. Cute skyline or whatever, but I see how it is. You weren't gonna tell me you were five minutes from my house?"
I'm back in Michigan now because there was a rumor that Chicago was shutting all the way down and I was afraid I was gonna have to Mad Max Fury Road my way back home, so I piled all my shit into my rental car and bounced. And I'm definitely sad I didn't go to my favorite restaurants and bars, especially because now who knows if I'm ever gonna get to go to them again. I can't even live vicariously through social media! A tragedy, for sure.
MA: You and one other person are directly responsible for me finally watching Vanderpump Rules after refusing to for years. I am glad that I've stopped denying myself of this pleasure. But can you explain to me why I am supposed to care about any of those new cast members?
SI: I'm so glad you finally listened to me. If this is the only way in which our friendship has had an impact on your life, I'm fine with that. There's that one spicy new girl, the funny one whose name I cannot remember (is it Dana?) and I love her. But listen, you have to care about the new people because everyone else is 40 and it's gonna be awkward for them to continue doing the same dumb sh-t for much longer, fighting and doing coke, and throwing drinks in each other's faces isn't gonna be cute when they have little kids in daycare.
MA: Although some folks hit me after the fact, you are directly responsible for connecting me to your then TV agent (strike and all, but hi, Jason). You also leveled with me in terms of how much money I should be asking for in both publishing and television. I always tell people how helpful you have been to me because you didn't have to be, but explain to readers why you elected to not be a horrible person.
SI: Okay here's a thing I hate: it truly, like, breaks something in my f—king brain when people who have found whatever kind of success they've found (movies, books, TV, weather forecasting, whatever) act as though they possess some singular alchemy that granted them that success. Like that book deal fell out of the sky, or that TV role was gifted to them by a troll under a bridge. What does it benefit me to hide exactly how things happened for me? Like who called whom and how I met this one person and what the contract looked like? It's not like you could take it away from me. Why are people like that?
Also, it does all of us near-starving artists a disservice when we cut off potential access for other creators. I can't write all the books, or all the shows — why not connect you to my guy so maybe you can write some, too? And why not connect my guy to her and him and them, too?
I never want to be the only one of anything. We all know people who want to think that they are the only [insert seemingly fancy thing] on the planet, but god that seems like a lot of pressure? Plus, if I get a deal and you get a deal and they get a deal and we show that we can do it, that there's an audience for the stuff we make, we can further open the door for that many more people to get deals, which ultimately allows us to then get the second deal, and the third deal, and the fourth deal, and I think you get what I'm saying.
Anyway, that was an extremely long-winded way of saying: I'm not a f--king hater.
MA: How are you escaping? Lately, my thing is lifting weights to thot bops, ranging from LightSkinKeisha to Dua Lipa and/or watching Madea on a BET+ app trial.
SI: I love that you admit you're in the trial period! I used my BET+ trial to watch First Wives Club because I would take a bullet for Miss Jill Scott, and I almost forgot to cancel that sh-t before it charged me nine whole dollars for a bunch of shows I've already watched.
You know I love television, and I have been getting reacquainted with mine, and I just finished The Outsider on HBO and EVIL on CBS (which is so bonkers it almost defies description? It's so nuts and so good), and I am currently in the middle of the newest season of Ozark on Netflix. I would watch Jason Bateman clip his toenails.
Real Housewive of New York just came back and I have a bunch of episodes of Real Housewive of Atlanta on the DVR, plus Survivor and there's a new Challenge.
I gotta watch all this new sh-t before we run out of TV. I'm also reading a lot of fiction, because watching the news makes me want to gouge my eyes out and I need to pretend we don't live in hell. I just started New Waves by Kevin Nguyen and this book, Days of Distraction, by Alexandra Chang. And the occasional Zumba workout on YouTube, because I'm your mom.
A post shared by Michael Arceneaux (@youngsinick)
MA: Have you already considered writing about the coronavirus in the next book? Has someone in publishing already mentioned it to you, because capitalism don't stop?
SI: You know, being a comedy writing person gets me out of a lot, because literally no one is coming to me for pandemic takes. Could you even imagine? I wouldn't accept a pitch even if they did. B-tch, I'm dumb! You better go to the CDC with that!
MA: Not to get all political, but to get political, have you heard about Britney Spears and Fran Drescher leading the looming class war?
SI: Yes, I did. Welcome, comrades.
MA: Did that video of rich people singing about how material possessions don't matter much during a pandemic exacerbated by inequality comfort you? Actually, forget that. Tell me why people love "Imagine" so much. I really want to know and it's no shade.
SI: Grand opening, grand closing. The minute I saw that video on Twitter I was like, "LMAO nope." I have extreme empathy, but only for things that are humiliating, and my secondhand embarrassment was killing me for the few seconds I accidentally saw some of it. People with regular, tuneless voices singing? Not in a million years. Also I have absolutely no idea why they love that song much, but I do wonder if those super wealthy a--holes sang it all the way to the "Imagine no possessions, I wonder if you can, no need for greed or hunger, a brotherhood of man" part. If so, that's hella rich coming from them. Girl, imagine opening up your purse.
MA: If we survive and are allowed to go back outside, can we meet and snuggle in person finally? If your wife is cool with that or whatever. It's totally some writer to writer, platonic soulmate sh-t.
SI: Yes, please! Now that I can't touch anyone with my diseased hands, all I wanna do is hug people. As soon as we are set free from our house-prisons let's meet up and get cozy.
This interview has been edited for length and clarity.
Samantha Irby is the author of three books, including her latest New York Times best seller, "Wow, No Thank You." Follow her on Twitter @wordscience.
Michael Arceneaux is the New York Times bestselling author of "I Can't Date Jesus." His second book, "I Don't Want to Die Poor," is out now. Follow him on Twitter @youngsinick.
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Neil Patrick Harris and David Burtka Hit The Market With Their Twins!
Home » Neil Patrick Harris and David Burtka Hit The Market With Their Twins!
Neil Patrick Harris and David Burtka were all smiles while at the Farmer's Market with their twins Gideon Scott and Harper Grace on Sunday.
The doting daddies treated their pair to pony rides and some ice cream. Neil was photographed smooching Gideon and then giving him a high five.
Neil may have wrapped production on his hit show, How I Met Your Mother, but he has quite a few projects in the works for the Summer.
He is currently working on Seth MacFarlane's new project, A Million Ways To Die In The West, and will also host the 2013 Tony Awards.
Cue the orchestra because we can't wait to see Neil hit the stage at the Radio City Music Hall for the fourth time on June 9th!


Its 3deg Celsius outside, the sun has yet to come up and I am on holiday, when the alarm goes off sounding like a couple of cat's in heat. Like a trained ninja I leap out of bed to deal with the..... oh yeah that's what that was, an alarm clock. Then slowly realize this is the big day, and I start getting ready for an amazing Adventure. What is the adventure at hand on this cold and clear morning in the center of Australia you ask? It's a scenic flight to and around Uluru & Kata Tjuta (formerly and or commonly known as Ayers Rock and the Olgas, might still be). If you ever have the chance to go there, don't hesitate as nothing can prepare you for what you will see.
As I drive up to the airport in the morning glow I must admit to being a little unsettled by the 12yr old that is to pilot the aircraft. Ok, he was not 12, but he was very young. Or is that the perspective of one not as young anymore? You're not getting any younger either! Turns out he was a fantastic pilot. He was well trained and quite seasoned with a great touch for flying the plane.
As we start to lift off, the sun is starting to peek over the horizon and it's not long before the massive red sandstone monolith is coming into view, as we, and the sun gain altitude. Just as at sunset the rock shows many different characters and colours as the light changes. The colors in the morning are a little different than the sunset, so make sure to do them both. The sheer beauty of this view is amazing. Both Uluru & Kata Tjuta are spectacular places to see and experience either on foot or by aircraft. I would suggest that you do both!
The views from the plane were incredible and the perspective you get is just breathtaking.
WineWalkabout rates this a Must do.
What can one say about a Justin Vineyards & Winery Wine Society Gala that has probably not already been said? For about $20 one got to wander all over the facility including the caves and Isosceles room and taste all of Justin's wines (and drink Fiji water). We were also able to snack on a variety of cheeses at the various pouring stations.
If that was not enough there were three different food stations serving up lunch from pulled pork sandwiches to turkey wraps and caprese sandwiches.
Plus there was a band to help you digest all of that. I think Kiwi ate and drank through his $20 in the first five minutes. KIWI!!! There was also a sister winery (Justin wine club discounts apply) pouring their wine. Landmark Wines were pouring their 2010 Overlook Chardonnay, Grand Detour Pinot Noir and Kivelstadt Syrah. Given the nature of the event perhaps not the best place to be serving your wine. IT probably sounded like a good idea at corporate headquarters.
Getting a good taste of an ISOSCELES Reserve is not an easy thing to get. Kiwi is especially stingy with his collection. At this event we were served the 2009 prior to it being shipped to the Wine Society members who opted to receive the Isosceles Reserve (this requires being on a waiting list for some time). Not just a taste but a good sized taste. OK a small glass of any and all of Justin's wines. As it turns out we did not realize exactly how big the tastes were until we discovered that the glass we were given to taste with would hold over a 750 ml bottle of wine! Don't ask exactly how this was discovered! KOALA!!!
The event was well attended and with only minor exceptions did not feel crowded. You could have made this an all day event starting at 11 and going till 4. Once your tasting was done you could buy glasses of any Justin wine for $5 (except Isosceles Reserve). Again a great deal!
This is a fairdinkum value event and an opportunity to visit a great facility and taste some exclusive wines while being fed and entertained. Crikey it doesn't get much better than that. All of the Justin wines were excellent in our view, especially the reds, and even though caving to the major corporate dollars of Fiji water, Justin still has managed to maintain its local operational feel. Time will tell but for now a great place to go and enjoy good and excellent wine.
While rinsing out a used up Vegemite jar, it occurred to me that there was a time, when once all the wonderful Vegemite was gone, this vessel would now be considered a viable beverage container. Not just for milk or juice or cordial, but also for beer, bourbon or wine.
We know, we can hear the global collective gasp of drinking ponce's everywhere particularly the wine ponce. Maybe wine from this era gone by, was more easy going and did not need to be served in the 'just so' perfect type of specialty glassware for each and every type and style of wine. Maybe science has targeted the humble container for our drinking pleasure. Or maybe this is just a huge marketing ploy! One company makes over twelve different styles of glassware, for two hundred and fifty or so different styles of wines, brandies and cognacs!
Bloody Nora, we don't know about you, but we feel that someone's got a few roo's loose in the upper paddock if they feel the need for ten percent of this many glasses. Fair dinkum, this has overkill written all over it. Now we at WineWalkabout have been accused of being glassware snobs ourselves, and in some ways we probably are. But to have even a single glass type for the six most common wines consumed could lead to some financial and storage issues. Think about it. Doing a vertical of three vintages with four people requires twelve glasses. We think a good versatile set of twelve is a minimum. But if you need that for say as few as a half dozen varietals you're in trouble. Do the math, that's six dozen glasses or seventy two for you more literal folks. That's a lot of stemware!
So more to the point of one's ability to purchase and store this mass of glassware, is do they make a difference and do you really need them? We are strong believers that an appropriate glass makes for better wine enjoyment. But we start to get a bit sus of the every glass is fine tuned to every grape. With the possible, and we stress, possible exception of the super human detecting abilities of some well trained Master Sommeliers whereas the rest of us mortals would truly struggle to detect any real difference. The second part of that is even if there is a difference, do you need to have it? Is it better or is it just a bit different?
We're guessing almost everyone's parents or grandparents have some heavy cut crystal wine goblets. This all started to change in the late fifties when Mr. Riedel started to produce glasses that were thin-blown and unadorned. They reduced the design to its essence: Bowl, stem, base. They made stemware which was functional as well as beautiful, and made it according to the Bauhaus design principle: form follows function. This was the start of what has today become, we believe, a little bit more of a marketing exercise than a form and function one.
Now we do admit that the style and shape of a wine glass does affect the detection of aroma and taste, and that perhaps, for the serious drinker, some amount of balance is in order. We also think that generally for us average Blokes and Sheilas, two sets are probably more than enough, with perhaps a set for sparkling.
Choosing a wine glass has gotten to be more complicated than knowing which fork to use at a fancy dinner soiree. While there are many different kinds of glasses for many different kinds of wine; flutes for sparkling, small glasses for dessert wine, and that multitude that deliver specific wines best to specific taste buds and so on. The one thing that is for sure is everyone needs a good, solid, everyday glass to use for both reds and whites without thinking about it. You know, the kind of stemware you just reach for from the cupboard without a thought when you come home after a long day. That's what we were looking for.
We feel that a nice thin rimmed fourteen to eighteen ounce glass of perhaps a Bordeaux style would fit the bill (sorry vegemite jar). Then if you wish perhaps a set of something that is a bit more specific to the wines you drink most or for special occasions, or simply to impress those poncy wine friends you should have them.
So look, we have been tossing our opinion about when basically it's whatever you're comfortable and happy with that allows you to enjoy your wine. So enjoy that washed out vegemite jar or your $125, thirty seven ounce Burgundy Grand Cru glass and don't worry about us opinionated glass ponces!
In pert duex, we will look at stem-less glass ware and other options. We will also look at the appropriate way to take care of glassware.


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Q: Tab Control not refreshing on Resetting bound solution (ContentTemplate disappears) Hi I have a tab control which is bound to a collection property of Type T through the ItemSource
The content template has bunch of lablels and textboxes bound to individual properties of the Type T.
When I try to implement reset functionality by reinitializing the ObservableCollection ( new ObservableCollection(){new T()}. I hoped it would totally reinitialize the control
However in a strange behavior, the whole content template disappears when I do that. Even more strangely, if I press the reset button again the content template reappears. It alternates between this behavior.
I know its a very strange behavior and hoping for some tips from everyone

A: I think instead of making a new collection, you can just clear() the existing one.  Because it's an observablecollection, the tab control will get the events and will change the ui appropriately.

redpajama_set_name: RedPajamaStackExchange


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Q: Login loop Linux mint 18.3 I'm having issues login in to my Linux mint 18.3 sylvia (tried with my user and guest and can't login with either of those). I know I'm using my correct password, it just goes to a black screen and back to login screen. Before this I used timeshift to do some backup so I can update to a newer version. Don't know if that has anything to do. Don't know what I could do to login normally. Thanks in advanced, Gislena

A: I've experienced a login loop with Ubuntu. In my case it was that I had filled up my disk. I couldn't find any syslog or other logs that indicated the problem though - it just quietly restarted the (Desktop) login process.
I was able to log into text-only console, but how to got to this will vary with your Linux distribution and how you boot up (Grub etc).
Your task at hand would be to determine if your disk is in fact too full (e.g. command df -h )
df -h

and if that is the problem, your next step is to look up ways to clear up some space with command line only.
I know this was asked 7 months ago but it might steer someone that is experiencing this.

A: I had the same error on different Linux distros. This is often a problem related with /home/<username> permissions.
So log in using tty console (Ctrl + Alt + F1 for example) and check the permissions on your home directory using ls -l /home/<username>.
If you're not the owner, you can change that using this command:
chown -R <username>:<username> /home/<username>
In case this is not a problem of rights, check also your Xorg (or Wayland) logs. They are very useful for this kind of problem.
You will find them into /var/log/.
The error could also be a disk usage problem (free space), as @Pete Kelley said in his answer.
Hope this helps !


Performs landscape labor work to ensure a pleasant appearance of the grounds as well as semi-skilled tasks associated with laying out and preparing areas for planting.
Maintains planted areas, lawns, athletic fields, trees and shrubs, and walkways as assigned or scheduled.
Works with crews responding to requests for service by performing cleanup, snow removal, and similar activities.
Suggests improvements in the work to improve unit operations.
Provides supervisors with advice and suggestions regarding work methods, procedures, parts, tools, and related matters for the purpose of improving the effectiveness and cost of service.
Draws and/or requisitions supplies, parts, materials and tools needed and uses such items economically to avoid undue costs.
Informs supervisor of supply/material needs to ensure that adequate inventory is maintained.


Here is a simple easy design using no tools! I think it has kind of an art deco look.
The great thing about this nail design is that you are the artist creating the design. Although you really are just splattering paint on, I felt like an artist, planning which color to use next, where it should go, how much color to use.
You can use 2 or more colors, I used 5 colors.
I had fun playing with this nail design.
Wipe the nail polish brush along the sides of the bottle to get very little polish on brush.
Swipe, dab, blot or brush over nail.
Here are a few extra things I did to the nails as well.
And you have a whole new design!
Hope you enjoy this simple and easy Splatter nail design!


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Somebody's "O" has to go on Saturday night.
Sure, in boxing parlance, it's a phrase usually reserved for a matchup of unbeatens, but for one night in Santa Barbara, it's an apt billing for today's 6 p.m. Pacific Conference American Division clash between the winless Glendale Community College and Santa Barbara City football teams.
"It's been such an uphill fight and we've come so close in games with teams that are leading the division, such as West L.A.," said Glendale Coach John Rome, whose team fell to 0-7 and 0-3 in conference after losing to West L.A. at home, 35-13, on Saturday. "We've come so close without a quarterback and now that we have one, we feel it's added a dimensionality to our offense that we need."
That quarterback is sophomore Kevin Hunter, who returned to practice this week after being held out of football activities for the last four weeks and missing the past three games with a kidney injury suffered against Allan Hancock on Sept. 24.
While Hunter's likely to have some rust following the long layoff, Rome said he still represents the best option Glendale will have at quarterback on Saturday by far.
"I'm buying the RustOleum myself," Rome quipped. "He's playing, no matter what."
During Hunter's absence, Glendale has gotten virtually no production from the passing game, which has produced 12 completions in 27 attempts with three interceptions and no touchdowns. GCC has managed to remain competitive for at least parts of all three games, however, thanks to a rushing attack that has inched its way up the Southern California rankings to fifth with an average of 198.3 yards per game on the season after averaging 265.6 per contest while Hunter was on the shelf.
"We've been actually getting a lot of compliments from other coaches, people we've played that go, 'Wow, it's really quite amazing in this day and age what you are doing with just a running game," Rome said. "That's really a tribute to our offensive line, they do a great job. They practice hard, they work hard all the time."
But, as good as the running game has been, it hasn't been able to carry the team to a win. The lack of a passing option always seems to hurt Glendale in the end, whether it's time literally running out on a comeback attempt at L.A. Valley on Oct. 1, or West L.A. making defensive adjustments and shutting out the one-dimensional GCC offense in the second half Saturday. Hunter, who passed for 585 yards and four touchdowns this season before getting hurt, may be able to provide the offense with the variation needed to put together a complete game.
Santa Barbara, which checks in at 0-8, 0-4, can relate to Glendale's struggles to formulate a passing attack, as the team has been unable to replace the production lost from the departure of last year's starter, John Uribe (2,554 yards and 23 touchdowns), and is currently floundering at 34th (124.1 yards per game) in Southern California, two spots above Glendale (95.1).
"They seem to be [inexperienced at quarterback] and they make a tremendous amount of those mistakes that young players make quite often," Rome said of Santa Barbara, which is averaging a SoCal-worst 6.6 points per game and has broken single digits only once this season. "They play good defense. …We certainly aren't taking anybody lightly."


Pace University's Seidenberg School of Computer Science and Information Systems announced that it will now accept graduate students in its coveted "Seidenberg Scholars" program. Further, the amount of scholarships for talented graduate and undergraduate students has been substantially enhanced, nearly doubled in some cases.
New York, Apr. 23, 2013 – Pace University's Seidenberg School of Computer Science and Information Systems announced that it will now accept graduate students in its coveted "Seidenberg Scholars" program. Further, the amount of scholarships for talented graduate and undergraduate students has been substantially enhanced, nearly doubled in some cases.
Beginning with the Fall 2013 entering class, honors-caliber students can qualify for grants and scholarships that will reduce the total cost of education to the level comparable to that for in-state students at public universities.
The Seidenberg Scholars Program was created at the initiative of Ivan G. Seidenberg, former Chairman and CEO of Verizon Communications, Inc., who is encouraging the school that now bears his name to actively recruit from among the "best and brightest." The program is geared towards students with good academic grades, high scores in SAT, GRE, or GMAT, and strong interest in computer science and information technology.
Talented graduate applicants with a prior record of significant academic achievement will benefit from the expansion of the University's respected Seidenberg Scholars program to the graduate level. Both domestic and international students are eligible for these increased awards. In addition, they may receive additional funding through involvement with research, teaching, and other relevant on-campus endeavors.
Undergraduate students meeting the Honors College threshold are eligible for consideration for the enhanced financial aid packages that make the net tuition for study at Seidenberg School competitive with in-state tuition at a SUNY School. Talented transfer students are also welcome to apply for consideration.
Gupta has significant experience mentoring talented students and introduced the concept of the "24-Hour Knowledge Factory," a model explored in this MOOC in detail, and highlighted in an article entitled "Expanding the 24-Hour Workplace: Round-the-clock operations aren't just for call centers anymore" published in the Wall Street Journal.


text:
Krzysztof Varga (ur. 21 marca 1968 w Warszawie) – polski pisarz, krytyk literacki, dziennikarz.

Życiorys
Syn Polki i Węgra. Absolwent Liceum Ogólnokształcącego pw. św. Augustyna w Warszawie. Ukończył studia na Wydziale Polonistyki Uniwersytetu Warszawskiego. W latach 1991–2020 związany z "Gazetą Wyborczą" jako redaktor działu kultury. W 2020 został felietonistą "Newsweeka".

Jako pisarz zadebiutował zbiorem opowiadań Pijany anioł na skrzyżowaniu ulic. Wspólnie z Pawłem Duninem-Wąsowiczem opracował słownik literatury najnowszej Parnas bis. Literatura polska urodzona po 1960 r. (1995), razem z  Pawłem Duninem-Wąsowiczem oraz Jarosławem Klejnockim opublikował antologię wierszy Macie swoich poetów (1996). Autor tekstów większości piosenek na płytach Młodzi i Pogo zespołu Dr Misio.

Za tom prozy 45 pomysłów na powieść. Strony B singli otrzymał Nagrodę Fundacji Kultury. Trzykrotny finalista Nagrody Literackiej Nike: za Tequilę w 2002, Nagrobek z lastryko w 2008 i Gulasz z turula w 2009. Ostatnia z tych publikacji w tym konkursie została wyróżniona przez czytelników.

Deklaruje się jako ateista.

Odznaczenia
W 2014 został odznaczony przez prezydenta RP Bronisława Komorowskiego Krzyżem Kawalerskim Orderu Odrodzenia Polski.

Twórczość
 Pijany anioł na skrzyżowaniu ulic (1992)
 Chłopaki nie płaczą (1996)
 Bildungsroman (1997)
 Śmiertelność (1998)
 45 pomysłów na powieść. Strony B singli 1992–1996 (1998)
 Tequila (2001)
 Karolina (2002)
 Nagrobek z lastryko (2007)
 Gulasz z turula (2008)
 Aleja Niepodległości (2010)
 Trociny (2012)
 Polska mistrzem Polski (2013)
 Czardasz z mangalicą (2014)
 Masakra (2015)
 Langosz w jurcie (2016)
 Egzorcyzmy księdza Wojciecha (2017)
 Sonnenberg (2018)
 Księga dla starych urwisów. Wszystko, czego jeszcze nie wiecie o Edmundzie Niziurskim (2019)
 Dziennik hipopotama (2020)

Przypisy

Linki zewnętrzne

Absolwenci Liceum Ogólnokształcącego pw. św. Augustyna
Absolwenci Wydziału Polonistyki Uniwersytetu Warszawskiego
Ludzie urodzeni w Warszawie
Odznaczeni Krzyżem Kawalerskim Orderu Odrodzenia Polski (III Rzeczpospolita)
Polscy dziennikarze prasowi
Polscy pisarze współcześni
Polacy pochodzenia węgierskiego
Polscy krytycy filmowi
Polscy krytycy literaccy
Polscy prozaicy
Polscy tekściarze
Urodzeni w 1968

redpajama_set_name: RedPajamaWikipedia


text:
How to clear waiting lists at the Erasmus MC: 'An algorithm can help, but it shouldn't take over'
Researchers at the Erasmus MC have developed a mathematical tool that may help staff to decide which patient should be operated on first. EM reporter Ferayed Hok asked people visiting the hospital about their opinions on this algorithm.
Ferayed Hok
Alp Gasimov
The Covid crisis has created huge waiting lists at Erasmus MC's operating rooms. And deciding who gets helped first can be quite complicated. Surgeon Rob Baatenburg de Jong and researcher Hester Lingsma of Erasmus MC have developed a mathematical tool that can help physicians choose between candidates.
"This model is a decision tool," clarified Baatenburg de Jong during an Erasmus TV broadcast. "It doesn't decide anything itself – rather it helps us reach a decision." Lingsma explained how the mathematical model calculated five variables. To start: the patient's probability of survival before the procedure, followed by the patient's probability of survival afterwards, his or her quality of life and the patient's age. "By combining these five elements, the model can estimate which patient would benefit most from the planned procedure."
Source: youtu.be
Our poll among visitors in the hall of Erasmus MC yields a range of opinions on how best to clear the current waiting lists. "The doctors should simply start with the people who were at the top of the list before the crisis," says Hella. Caroline, on the other hand, would prioritise patients who can expect to enjoy their new health longest after the procedure: "In other words, people who look forward to better quality of life after surgery."
"The most important thing is that the attending physician makes this decision – no one else," says Nelleke. She remains rather sceptical about relying on an algorithm. "I believe people are more than just their disease," she continues. "The doctors need to take a very close look at how urgent the procedure is. And some people can mentally handle waiting better than others – even when, strictly speaking, their complaints may be more severe."
Caroline: "A mathematical tool like this can definitely help, but it shouldn't take over."
Cameraman/Video Editor