text:
by Professor Carol Lasser and Oberlin College Students. (Binghamton, NY: State University of New York at Binghamton, 2002)
Introduction. Included in How Did Oberlin Women Students Draw on Their College Experience to Participate in Antebellum Social Movements, 1831-1861?, by Professor Carol Lasser and Oberlin College Students. (Binghamton, NY: State University of New York at Binghamton, 2002).
How Did Oberlin Women Students Draw on Their College Experience to
Participate in Antebellum Social Movements, 1831-1861?
Fifteen women graduates shown here with
Mrs. James Dascomb and Mrs. Charles Finney, 1855
Courtesy Oberlin College Archives.
Documents selected and interpreted by
by Professor Carol Lasser and the students
of History 266 at Oberlin College, May 2002
Oberlin, Ohio, was a particularly important venue in nineteenth-century America. Founded in 1833 on Christian evangelical principles, the colony was organized to host an institution of higher education to train teachers and preachers to fan the flames of the Second Great Awakening in what was then the American west. Including women in its classes from its inception, the Oberlin Collegiate Institute (later Oberlin College) became a pioneer in coeducation, and, after a decision in 1835 to accept students of color, an avid proponent of racial egalitarianism and a hotbed of antislavery activism. Women and men came to Oberlin to promote the religious salvation of their world, seeking conversion of all people from the sins of disbelief, intemperance, licentiousness, and slavery. Female participants embraced their gendered responsibilities for domestic virtue, finding in "woman's sphere" an empowering call to action within their homes and communities. In Oberlin, they formed social, religious and benevolent organizations, bringing to their homes and communities their influence as moralists and reformers. Well connected to national networks, they both shaped and responded to the emergent debate about the place of women in social movements, and their relation to public activities. Indeed, while Oberlin College supported education as a means to enhance the usefulness of women in their religious missions, men and women in the college and the community struggled to define the proper parameters for female labors.[1]
Were the Protestant evangelical women of Oberlin innovators and rebels who enacted in social movements new roles for women? Did they challenge men's dominance while broadening their realm for action? Or were they conservatives who accepted subordination while embracing their distinctive gendered responsibilities? Historians have offered quite different evaluations of women's antebellum reform efforts. Some scholars find in them the roots of an autonomous woman's rights movement while others argue that reform efforts reinforced the logic for the relegation of Victorian women to the private and familial sphere.[2] Careful study of the experience of Oberlin's antebellum women offers an opportunity to illuminate this historiographical debate, and explore the complex interplay between women's activism and controversies over the parameters of "woman's sphere." At issue here as well are questions about whether the efforts of Oberlin women embodied a form of class domination or a maternally inspired attempt to nurture and empower the less fortunate. And looking at Oberlin also suggests the importance of considering whether its female inhabitants united around a single religiously inspired ideal of the "empire of woman."[3] Finally, women's movements in antebellum Oberlin permit investigation of the roles of men in relation to antebellum social movements: Did men in the Oberlin community recognize and support the attempts of women to bring their particular voice into the public sphere, or did they patrol the boundaries between male and female action?
The documents in this project demonstrate that the story of Oberlin women before the Civil War was neither an uncomplicated chronicle of progress towards the realization of "woman's rights" and interracial sisterhood, nor a tale of the triumph of gender conservatives who effectively promoted domestically-enclosed boundaries to women's work. Rather, the historical record suggests the complexity of the evangelical construction of womanhood, and its implications for pathways to women's empowerment. Moreover, it reveals a dynamic process, suggesting that both local and national events contributed to the reshaping of women's social movements and their participants during the years in which the American people wrestled with the issue of slavery in a democratic society.
These documents are arranged to illuminate the experience of antebellum Oberlin women and their social movements by looking first at writings produced by women before their entrance into the community, and then at selected sources produced by women at Oberlin in conjunction with their formal associations. Next it explores questions about women's enactment of racial egalitarianism and antislavery in this abolitionist community. Finally, it focuses on the particular struggle for women's public voices illuminated by controversies over female activities at college commencement exercises.
Section One, "Getting to Oberlin: Backgrounds and Experiences of Early Women in Oberlin College and Colony," suggests the foundations on which Oberlin women built. These writings reveal how young women came to this outpost of the Second Great Awakening already well connected to the networks of the Awakening.[4] Some, like Mary Caroline Rudd were literally the daughters of women active in the prior generation of women's benevolent and charitable organizations (see Document 1). Others, like Hannah Warner, were self-conscious recruits into a social movement that provided a place for their intellectual endeavors. They embraced the opportunity to become part of an institution where they could pursue "the consecration of body, soul and spirit and a determination to do every known duty in the spirit and meekness of Christ" (see Document 4). Moreover, they hailed from all sections of the "Benevolent Empire," including followers of Charles Finney who advocated the centrality of the religious experience of salvation, and other factions that instead foregrounded the social implication of the Second Great Awakening, particularly abolition. They recruited friends, relatives and fellow activists to nurture the community. Mary Mahan, wife of Oberlin's first president, reached across religious lines to seek the advice of Theodore Dwight Weld on the possible employment of the Quaker-identified female antislavery advocate Angelina Grimké as a teacher with manner, mind, and morals congruent with Oberlin (see Document 2). Mrs. Mahan's household helper and confidant Sally Rudd urged her niece Caroline Mary Rudd to seize her opportunity for a "complete education" while maintaining her domestic role by contributing her labor to the Mahan household (see Document 3). As the early compositions of Mary Sheldon suggest, female students came to Oberlin already imbued with social and religious critiques of a society threatened by the decadence of aristocratic institutions like dueling and affected pretensions like the wearing of corsets, and arguing for the political implications of the empowerment of women within their domestic roles (see Document 5A, Document 5B and Document 5C).
Section Two, "Social Movements and Social Commitments: Women and Their Organizations in Antebellum Oberlin," explores how women came together to promote their intertwined commitments to evangelical religion, racial egalitarianism, and female education. As Oberlin grew, women established a Maternal Association for mothers to discuss and improve their practices for rearing Godly and moral children. Older women of the community, particularly the wives of college faculty, joined with their younger counterparts to establish a Female Moral Reform Society to keep at bay "that Monster of impurity" that might threaten Oberlin if male lust were left unchecked[5] (see Document 6A and Document 6B). Interestingly, the men of Oberlin supported this organization by forming their own male auxiliary to the female group, thereby establishing the third largest male contingent in the United States.[6] The Young Ladies Literary Society served as a proving ground not only for women's rhetorical skills, but also for their organizational capacities (see Document 8).
Mary Sheldon's address to the Oberlin Female Antislavery Society suggests the particular role that Oberlin women assumed in the battle against the racial prejudice that they viewed as a key component of the slave system (see Document 7). Section Three, "Oberlin Women of Color and the Struggle for Racial Equality," offers further documents that suggest how the college and the colony daily enacted a practical approach to abolition. By educating students of color, and men and women, in the same classrooms and with the same standards, Oberlin College occupied a unique position. Moreover, it offered the most challenging educational program then available for women of African-American descent, thereby playing a particularly important role in their empowerment. Internationally known for these commitments, Oberlin attracted the support of prominent antislavery activists in the antebellum United States and England. Author Harriet Beecher Stowe turned to Oberlin to enroll two young women recently liberated from slavery; she sought to support them in their efforts to become teachers to freed people in the United States and fugitives in Canada (see Document 9A, Document 9B and Document 9C). Despite principled commitments to equality, racial tensions were not unknown in Oberlin, where, in 1851, the Ladies Board, charged with regulating the behavior of female students, found itself called upon to mediate a confrontation between young Black and white women (see Document 10).
Women of both races went forth from Oberlin committed to its goals of the empowerment of people of color. Lucy Woodcock, a white female graduate of 1852, left Oberlin to launch a career in Jamaica, where, under the sponsorship of the American Missionary Association, she devoted her life to the education of its freed people. Her letters document not only her commitment to empowerment through education, but also her continuing attention to the progress of racial equality in the United States as it entered the Civil War (see Document 11A, Document 11B and Document 11C). African American female graduates Louisa Alexander and her friend Amanda Thomas Wall are examples of the large number of women of color who attended Oberlin before the Civil War and later joined the efforts to bring teachers to the newly emancipated people of the American South.[7] Braving the difficulties of securing placement, as well the intricate politics of race in the post-war world, they nonetheless remained determined to continue the work of racial uplift (see Document 12A, Document 12B and Document 12C).
Throughout the antebellum era, the character of women's roles remained a point of controversy. Section Four,"Testing the Limits: Oberlin Women and the Struggle to Make Their Own Case," illuminates some of the points of contention. Although autonomous women's organizations provided avenues for women's activism, women in Oberlin generally eschewed direct interventions in politics and carefully avoided calls for women's full public participation. Proper female behavior remained carefully and conservatively regulated; when questions emerged about the behavior of a young widow appointed as principal of the Female Department in 1849, no appeal to circumstances or sympathy was successful in overturning the College's decision to dismiss her (see Document 13A and Document 13B).
Joint education or coeducation at Oberlin earned full acceptance, even while women's roles remained circumscribed (see Document 15 and Document 16). Women learned oratorical and organizational skills within their antislavery, moral reform, and literary societies. But, while women spoke their own pieces at the special exercises marking their completion of the Ladies Literary Course, they had no public voice at the collegiate commencement ceremonies until the eve of the Civil War. Some individuals, including abolitionists Lucy Stone and Sallie Holley, as well as Antoinette Brown, a student in the Theology Course from 1847 to 1850, chafed at limitations on their activities. Stone protested the inability of women graduates of the collegiate course to present their own graduation addresses by refusing to write a composition that would have been read for her by a male member of the faculty. Yet, with Brown, Holley, and others, she took her rhetorical training into a post-Oberlin career in public speaking.[8] Eventually, even gender conservatives recognized the shifting boundaries of women's roles. As the documents on Mary Raley indicate, by 1859, Oberlin's female graduates from the classical course projected their voices from the collegiate commencement podium (see Document 14). But even as they claimed the right to speak, most female graduates still clung to graduation essay topics that evoked their more domestic interests (see Document 17).
Oberlin women and their social movements thus illustrate how women empowered by education and associational activity navigated the tensions between autonomy and subordination. Early Oberlin women built upon personal and generational roots to develop notions of cross-class and especially cross-racial empowerment. African-American women did not always find full realization of Oberlin's goal of racial equality, but they nonetheless prepared themselves for the work of racial uplift. Thus Oberlin educators, both consciously and unwittingly, trained women preachers and speakers who pushed transformatively against the boundaries of womanhood. While Oberlin alumnae generally eschewed direct confrontations with prevailing notions of gendered propriety, they left Oberlin prepared to engage in pioneering public roles.
By the time of the Civil War, Oberlin's evangelical vision of redemption had evolved into a quest for emancipation from racial injustice in both the social and political realms. Although the town's male "voting abolitionists" became devotees of a "higher law" in their militant struggle against slavery, Oberlin women, black and white, took their own stands in multifaceted resistance to racial oppression. In so doing, they not only claimed their place in the world of education but also found their voices. At Oberlin, definitions of evangelical womanhood changed incrementally over time. The result was a clear reworking of the definitions of "public" and "private," and their gender implications.


This is an really simple and uncomplicated residence business chance that practically any keep at residence mother can begin. Before you begin, you have to talk to oneself regardless of whether you know how lots of people today have time to regulate the variety of critical tasks in advance of them each individual working day. Not too lots of, assume of your possess everyday living. How lots of situations have you wished you could have more time to complain about a billing error and how lengthy it sooner or later took to be solved when you at last had adequate time to offer with it? Well there are 1000's of people today saying just that and have the similar problem with time. This problem is now your chance, now you can begin a House-Primarily based Personal Assistant Business.
Obtaining commenced is simple, there are three matters to look at, business set up, services pricing and promoting.
You will have to have a cell phone that can deal with numerous incoming calls at a person time. Almost nothing even worse than a active signal when an critical phone is coming in and you cannot deal with it in a expert way. A cell cell phone and a pager, constantly be obtainable for your shoppers. You may possibly even look at getting a blackberry to deal with e-mail when you are away from your office. Subsequent, you will have to have a fax device, a computer and a high top quality printer. The previous essential piece of office products is a tickler file. The tickler file is a submitting technique methodology that incorporates organizing tasks by worth and because of day. People tasks that are of most worth and are because of quicker than the some others are placed in entrance of the file, even though all those of the very least worth and are because of afterwards are placed powering. As tasks are completed, they are moved out of the file technique and into a different complete file so that only your active tasks stay in the tickler file.
You can be compensated in two methods, although methods that are more inventive can be employed also. The to start with is to be compensated by the hour, if you do choose to make use of this strategy, make sure you maintain superior observe of the time you shell out on tasks so that you can offer specific billing, substantially as an legal professional would for his shoppers. Do not be too fussy, some minimal tasks can be detailed but can also be discounted. The second way to be compensated is to get a kind of retainer price from the consumer whereby you assure to complete a established variety of tasks in each individual specified 12 months with out sending a invoice.
Start off by advertising and marketing in your local newspaper and gradually graduate to distinguished business journals, magazines and newsletters. After you have a number of shoppers and have properly completed a number of tasks, talk to them for referrals. If they use your products and services, probabilities are they have the similar types of buddies that will also have to have your products and services.
I hope you will assume about this one of a kind chance and if you do begin a business of your possess that it will be prosperous and you will delight in lots of pleased years of money liberty.


text:
using System;

namespace FieldSelector.Tests.Models
{
    internal class ObjectWithReferenceAndValueProperties
    {
        public int intProperty { get; set; }
        public double doubleProperty { get; set; }
        public DateTime datetimeProperty { get; set; }
        public string stringProperty { get; set; }
        public ObjectWithOnlyValueProperties ObjectProperty { get; set; }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Q: shiny download csv or excel depending on radioButton Download as excel or csv based on user input. The code works only for the pre-selected value in radioButtons. As below it works for csv, because selected = "csv". If it is changed to xlsx it only works for xlsx. The user should be able to select and both options should be possible.
Maybe the value is cached and I need to force an update somehow.
library(shiny)

ui <- fluidPage(
    h4("Download data"),
    wellPanel(
        fluidRow(
            column(4, radioButtons("dl_data_file_type", "Format",
                                   choices = c(excel = "xlsx",
                                               csv = "csv"),
                                   selected = "csv")),
            column(5),
            column(3, downloadButton("dl_data_dwnld_bttn"))
        )))

server <- function(input, output) {
    output$dl_data_dwnld_bttn <- {
        downloadHandler(
            filename = stringr::str_c(Sys.Date(), " Palim.", input$dl_data_file_type),
            content = function(file){
                x <- iris

                if ( input$dl_data_file_type == "xlsx")  {
                    writexl::write_xlsx(x, file)}
                else if ( input$dl_data_file_type == "csv") {
                    readr::write_csv(x, file)}

            })}}

shinyApp(ui = ui, server = server)

The error is that the excel file still ends with .csv and cannot be opened by excel.

A: You are using a reactive value in the filename argument. In this case, you have to set filename as a function:
filename = function(){
  stringr::str_c(Sys.Date(), " Palim.", input$dl_data_file_type)
}

redpajama_set_name: RedPajamaStackExchange


A two storey retail unit situated on Abington Street in Northampton Town Centre.
This property is situated on Abington Street, one of the prime retail locations within Northampton town centre.
Northampton itself is a prosperous East Midlands town with a thriving local economy and benefits from strong infrastructure connections by way of the M1 motorway and a mainline train line to London Euston.
The property comprises a two storey town centre retail unit, benefiting from a fully glazed retail frontage.
At ground floor level the s an open plan retail space with rear store, and additional storage at first floor level there are staff WC's and a kitchen. Loading is by way of a dock loader incorporated within the rear elevation at first floor level.
Externally, to the rear of the property there is a large concrete shared car park providing access to the aforementioned loading door, as well as additional car parking.
We understand, subject to availability, that spaces can be rented at an additional cost, however it would be down to any prospective tenant to undertake their own investigations.
The premises are available by way of an assignment or sub letting of the existing lease, at a current passing rent of £45,000 per annum exclusive, expiring in June 2022.


text:
<?xml version="1.0" encoding="UTF-8" standalone="yes"?>
<widget id="com.ionicframework.client508113" version="0.0.1" xmlns="http://www.w3.org/ns/widgets" xmlns:cdv="http://cordova.apache.org/ns/1.0">
  <name>client</name>
  <description>
        An Ionic Framework and Cordova project.
    </description>
  <author email="hi@ionicframework" href="http://ionicframework.com/">
      Ionic Framework Team
    </author>
  <content src="index.html"/>
  <access origin="*"/>
  <preference name="webviewbounce" value="false"/>
  <preference name="UIWebViewBounce" value="false"/>
  <preference name="DisallowOverscroll" value="true"/>
  <preference name="android-minSdkVersion" value="16"/>
  <preference name="BackupWebStorage" value="none"/>
  <preference name="SplashScreen" value="screen"/>
  <preference name="SplashScreenDelay" value="10000"/>
  <preference name="AutoHideSplashScreen" value="true" />
  <feature name="StatusBar">
    <param name="ios-package" value="CDVStatusBar" onload="true"/>
  </feature>
  <platform name="ios">
    <splash src="resources/ios/splash/Default-568h@2x~iphone.png" width="640" height="1136"/>
    <splash src="resources/ios/splash/Default-667h.png" width="750" height="1334"/>
    <splash src="resources/ios/splash/Default-Landscape~ipad.png" width="1024" height="768"/>
    <splash src="resources/ios/splash/Default-Portrait~ipad.png" width="768" height="1024"/>
    <splash src="resources/ios/splash/Default@2x~iphone.png" width="640" height="960"/>
    <splash src="resources/ios/splash/Default~iphone.png" width="320" height="480"/>
    <icon src="resources/ios/icon/icon.png" width="57" height="57"/>
    <icon src="resources/ios/icon/icon@2x.png" width="114" height="114"/>
    <icon src="resources/ios/icon/icon-40.png" width="40" height="40"/>
    <icon src="resources/ios/icon/icon-40@2x.png" width="80" height="80"/>
    <icon src="resources/ios/icon/icon-50.png" width="50" height="50"/>
    <icon src="resources/ios/icon/icon-50@2x.png" width="100" height="100"/>
    <icon src="resources/ios/icon/icon-60.png" width="60" height="60"/>
    <icon src="resources/ios/icon/icon-60@2x.png" width="120" height="120"/>
    <icon src="resources/ios/icon/icon-60@3x.png" width="180" height="180"/>
    <icon src="resources/ios/icon/icon-72.png" width="72" height="72"/>
    <icon src="resources/ios/icon/icon-72@2x.png" width="144" height="144"/>
    <icon src="resources/ios/icon/icon-76.png" width="76" height="76"/>
    <icon src="resources/ios/icon/icon-76@2x.png" width="152" height="152"/>
    <icon src="resources/ios/icon/icon-small.png" width="29" height="29"/>
    <icon src="resources/ios/icon/icon-small@2x.png" width="58" height="58"/>
    <icon src="resources/ios/icon/icon-small@3x.png" width="87" height="87"/>
  </platform>
  <icon src="resources/ios/icon/icon-small@3x.png"/>
  <allow-navigation href="*" />
</widget>


text:
Q: the iron-icon not visible with a Master-Detail view generate with Vaadin app starter I have generate a new Vaadin Flow application with Vaadin app starter https://start.vaadin.com/welcome with a Master-Detail view.
I have only launch the code generate by "Vaadin" on Windows 10.
     grid.addColumn("occupation").setAutoWidth(true);
        TemplateRenderer<SamplePerson> importantRenderer = TemplateRenderer.<SamplePerson>of(
                "<iron-icon hidden='[[!item.important]]' icon='vaadin:check' style='width: var(--lumo-icon-size-s); height: var(--lumo-icon-size-s); color: var(--lumo-primary-text-color);'></iron-icon><iron-icon hidden='[[item.important]]' icon='vaadin:minus' style='width: var(--lumo-icon-size-s); height: var(--lumo-icon-size-s); color: var(--lumo-disabled-text-color);'></iron-icon>")
                .withProperty("important", SamplePerson::isImportant);
        grid.addColumn(importantRenderer).setHeader("Important").setAutoWidth(true);

But in 2 different PC on Windows 10, the iron-icon (check and minus) in the column "important" is not visible. No error in logs.

Have you a solution?

A: For Vaadin 14 to 20.
Vaadin icons are not used in the application except in the renderer.
As it's not used in the java code you should add this annotation on top of the  Master-Detail class:
@Uses(Icon.class)

I will open a ticket to fix it in start.vaadin.com
For Vaadin 21+
Vaadin 21 is starting to replace Polymer components. iron-icon is not available anymore and has been replaced by vaadin-icon.
In this case the starter has not been updated.
You can fix it by changing the template and replace iron-icon with vaadin-icon.
You will also need to add the annotation to be sure that it's working in production Mode. I currently don't know the replacement for Vaadin 21.
@Uses(Icon.class)

A: Include these import statements in your view-name.ts file

import '@vaadin/icon';
import '@vaadin/vaadin-lumo-styles/vaadin-iconset.js';
import '@vaadin/icons';


text:
Data Pipeline Frameworks: The Dream and the Reality
Mark Weiss, Senior Software Engineer | Beeswax
There are several commercial, managed service and open source choices of data pipeline frameworks on the market. In this talk, we will discuss two of them, the AWS Data Pipeline managed service and the open source software Airflow. These frameworks have very different feature sets and operational models, however, they have both benefited us and fallen short of our needs in similar ways.
To understand the reasons, we analyze our experience of first building a data processing platform on Data Pipeline, and then developing the next generation platform on Airflow. We find that managed service and open source framework are leaky abstractions and thus both frameworks required us to understand and build primitives to support deployment and operations.
Likewise, we discuss the necessity of implementing cross-cutting aspects such as logging, monitoring, security and configuration, which arises from the shortcomings of existing pre-implemented components. Generalizing from specific pain points and solutions, we posit that almost any organization building a data platform using a pipeline framework or service will run into many of the same issues, because opinionated framework/service implementations will conflict with an organization's existing code, preferences and procedures.
So where is the line? What value can you expect to get from a data pipeline framework or service? What will you need to wrap, integrate with or fully implement yourself? To develop a robust data pipeline platform for your organization, you will need to bridge the gap between the framework dream and production reality. This talk will help you do that.
Senior Software Engineer | Beeswax
Mark Weiss is a Senior Software Engineer at Beeswax, the online advertising industry's first extensible programmatic buying platform, where he focuses on designing and building data processing infrastructure and applications supporting reporting and machine learning. He has previously held various engineering individual contributor and leadership roles, and has worked on ETL systems and data-driven distributed platforms for much of his career. Mark has spoken previously at DataEngConf NYC, and regularly speaks and mentors at the NYC Python Meetup. He is also blogs and hosts the podcast "Using Reflection" at http://www.usingreflection.com, and can be found on Github, Twitter and LinkedIn under @marksweiss. He lives in Brooklyn, NY

redpajama_set_name: RedPajamaCommonCrawl


Nobody bonds with their audience like Taylor Swift, and on Friday night in South Philadelphia, the 25 year old pop superstar from Wyomissing, Pa. spent more than two hours connecting with 50,000 of her closest fans in the first of back to back sellout shows at Lincoln Financial Field.
This is the tour for 1989, the 2014 album named after the year of her birth that is closing in on selling an astonishing 5 million copies in the U.S. It's completed Swift's trajectory from teenage country singer to unabashed pop artist who's left curly haired precociousness behind and is now finding her way as a young woman on the biggest stage.
To make that theme clear, Swift began her show just a few minutes after 9 p.m. (the Fine Young Cannibal's "She Drives Me Crazy," which, yes, came out in 1989, was the final lead-in music), with "Welcome To New York," the album opener that celebrates reinvention with synth-pop buoyancy. "Everybody here was someone else before," she sang, as she moved about the massive stage with a dozen male dancers lit to appear as if they were stuck in black and white, while the singer alone came of age in living color.
Talking to the over 90% female crowd - ranging from first graders and their mothers to millennial members of Taylor Nation who have grown up with Swift, who released her first single, "Tim McGraw" in 2006 - Swift made much of her roots just down the road in Reading, Pa. "I remember when I was a little kid and my father would watch Eagles games on TV, and I though 'That seems like a really big place.' And here I am, playing a concert in a football stadium.'"
This is actually the third consecutive tour that Swift has played the Linc - no other room is big enough to hold her - and she grows ever more confident in translating her emotionally detailed songs to the most oversized of stages.
The 1989 tour includes all the apparently necessary elements of a stadium tour. There were fireworks, and a runway that extended to the 50 yard line and rose high into the air to give far away fans a better look.
And by my count - and that of the delighted young fans next to me, there were 10 costume changes, with a succession of black, white and red dresses, short shorts and purple skirts, thigh high boots and bodysuits, including a Joan Jett-ish leather outfit for the aggressive new single "Bad Blood." That number was one of the few that felt over choreographed and stilted during the generous spirited, leisurely paced show. Swift swiftly recovered with the following song, a rocked out recasting of her 2012 hit "We Are Never Ever Getting Back Together" in which she plugged in her electric guitar, and turned up.
Swift, who sang capably all evening, as well as playing keyboards and guitar, served up a pair of surprises. Mid-show, she brought out the Los Angeles family band Echosmith and sang their hit "Cool Kids" with them. And for "Style," the sleek disco flavored 1989 tune that's one of the album's many impressive examples of top-notch song craft (the brilliantly catchy "Blank Space," and delicate "Clean," written with British songwriter Imogen Heap, are two others), she welcomed two of her besties to walk the runway with her: model Cara Delevingne and actress Mariska Hargitay, whose character on Law and Order: SVU Swift named one of her pet cats after.
All of those costume changes were made possible by a between song sequence of black and white clips that aired on three giant video screens. They featured Swift's celebrity friends - Girls star Lena Dunham, model Karlie Kloss, the sisters of pop band Haim (one of whom said of Swift, "she's like the sister I never had," and got side eye from her siblings) - talking about feminism, and love, and what it's really like to hang out with Taylor.
There were too many of the pre-recorded segments, and the show dragged a bit as the evening wore on and chaperones in the crowd wondered: When is she going to do "Shake It Off," already? (It was the final song of the night, with the Linc bouncing along to a dance beat that was synchronized with lights generated by wristbands given out as fans entered as "a gift from Taylor."
But if the tales of Swift's BFF's slowed the momentum, they also underscored the overriding idea: That growing up and making your way in the world is complicated and difficult, and it would be that much harder without music and friendship. And while Swift is famous for writing songs about relationships that didn't work out, she wants you to know she's never ever planning to break up with her fans, whom she prefers to call "friends."
"Music can be the only thing we have that understands us at our low points," the singer said, throwing out a lifeline while floating above the crowd with during an interlude that included a keyboard driven re-arrangement of her happy ending hit "Love Story."
"Maybe you've lost someone you never thought you would.," she went on. "Maybe you've lost yourself, that's the worst." And maybe by listening to the songs of Taylor Swift, you can find your way back.


text:
13 December 2019, New York, USA - The United Nations Institute for Training and Research (UNITAR) New York Office concluded training for December 12th-13th, 2019, titled "Practical Preparations for Membership in The United Nations Security Council" for the Permanent Mission of St. Vincent and the Grenadines as well as the Permanent Mission of Vietnam. The training which was made possible through the support from the Swedish International Development Agency's (Sida) towards the UNITAR Strategic Framework Fund (SFF), included sessions titled "Formal and Informal Council meetings, and relations between the Council and the Assembly", and "Charter Considerations, Subsidiary Organs, Council Documentation, and the Presidency".
The course facilitators for the different session were Ms. Loraine Sievers, Former Chief of the Security Council Secretariat Branch and co-author of 'The Procedure of the UN Security Council'; Mr. Davey McNab, Senior Political Affairs Officer, Security Council Subsidiary Organs Branch, SCAD and Mr. Bojan Stefanovic, Security Council Practices and Charter Research Branch, SCAD. On 12 December 2019, Ms. Loraine Sievers led the first session of the second day of training and spoke about formal meeting procedures including voting procedures, social aspects of private meetings and meeting records. She answered delegates' questions concerning their country's role in these operations. In the early afternoon session, Ms. Sievers expounded on informal council meeting formats, covering informal interactive dialogues, consultations of the whole, Arria-formula meetings, and other informal formats. Concluding her third and final session of the day, Ms. Sievers spoke about council missions to the field, and ECOSOC's relationship with the Security Council and Article 65.
The first training session of the last day was administered by Mr. Bojan Stefanovic who discussed extensively the work of his Security Council Secretariat branch and answered questions concerning where to locate pertinent documents for future reference. Following this session, Mr. Davey McNab covered the Subsidiary Organs of the Security Council and Sanctions. The third and final session for the day was led by Ms. Loraine Sievers, who spoke concerning documents created as Council members including, but not limited to, resolutions and other decisions; statements to the press, and the Security Council annual reports. Ms. Sievers also elaborated on documents received as Council members including reports of the Secretary-General, communications from member states, communications from non-State entities or individuals, and communications from the Council Secretary and the Secretariat.
By the training's conclusion, the diplomats from both missions had a comprehensive understanding of Council meetings and documentation; Charter considerations; subsidiary organs; as well as relations between the Council and the Assembly. By equipping the new Members with the expertise needed to fulfill their mandate, it is hoped that these sessions contributed to a more effective and more representative Council


text:
Ivan Benković (Rečica kraj Karlovca, 12. travnja 1886. – Chicago, 23. listopada 1918.) hrvatski slikar

Životopis

Nakon djetinjstva rodnoj Rečici te pohađanja gimnazije u Karlovcu polazi studij na Višoj školi za umjetnost i obrt u Zagrebu. Njegovi profesori Menci Klement Crnčić i Bela Čikoš Sesija uticali su na njegovo rano formativno razdoblje, posebice Crnčić koji kod mnogih svojih učenika razvija sklonost za crtačko i grafičko izražavanje. Na preporuku Ise Kršnjavog dobiva stipendiju za usavršavanje u Beču, gdje je boravio tri mjeseca 1911. godine. Početkom 1912. godine dobio je stipendiju za usavršavanje u Parizu. Tri godine kasnije, 1915. godine preselio se u Chicago i otvorio studio kao "dizajner, ilustrator i karikaturist". U to doba radio je ilustracije za narodne pjesme: "Kraljevića Marka nadmudrila djevojka" i "Smrt Smail-age Čengića". Godine 1917. dobiva stalno radno mjesto u mjesečniku Extension Magazine, istodobno surađuje u različitim novinama gdje najčešće objavljuje karikature. Tek počelu karijeru prekinula je epidemija, tzv. španjolske groznice, umire u 32. godini.

Izvori

Hrvatski slikari

redpajama_set_name: RedPajamaWikipedia


PFPOWER'S EXTERNAL BATTERY PACK EXTENDS BATTERY RUNTIME OF THE MB1500 BY AS MUCH AS 4X.
2U configuration supports both rack and tower mounting.
Rigid metal construction allows for placement in areas with a demanding environment.
Local power switch for manual reset & control.
User replaceable fuse which is easily accessed from the rear panel.


The all-new 3 Series is nearly three inches longer than its predecessor, with a longer wheelbase and wider track.
BMW has revealed the all-new 2020 3 Series at the Paris Motor Show.
The seventh-generation model is larger than the outgoing sedan, stretching by nearly three inches in length. Its wheelbase and track width have also grown.
Despite the bigger footprint, the new 3 Series is slightly lighter than its predecessor and boasts a sleeker body with an improved drag coefficient.
The new 2.0-liter inline four-cylinder engine in the 330i trim delivers 255 horsepower and 295 pound-feet of torque, an improvement of seven ponies and 37 pound-feet of twist thanks to a revised turbo and other tweaks.
The M340i and M340i xDrive will receive an updated inline six with 382 horsepower and 369 pound-feet of torque, good for a zero-to-60 mph sprint in 4.2 seconds.
The 330i variants will arrive in showrooms by March 2019, ahead of the M340i in the spring and a 330e by 2020.


My name is Stephen P. Porter. I am first and foremost a follower of Jesus Christ. Any other title I may hold stems from that one statement: husband, father, son, brother, friend, university faculty, writer, artist, speaker: none of these titles has any value without Christ. In fact, we can not even begin to understand what these titles mean apart from the Heavenly Father, who created everything through His Son, the bridegroom, by the power of His Spirit, our teacher and inspiration.
I became a follower of Jesus Christ on June 30, 2006. Before that I was an evangelical atheist. I disliked Christians and Christianity as well as any kind of organized religion. Much like Saul before he became Paul, I persecuted Christians ruthlessly. I never killed any, but there were moments when I thought I could. What changed it all? God spoke to me. Audibly. I wasn't alone. Others heard Him.
When I surrendered myself to Him, I sold everything I had and gave away what wouldn't sell. I haven't looked back since. This blog chronicles my walk with God as well as reviews some Christian media—mostly because they send it to me free, so that I will post a review here. If you're interested in blogging for books, you can find more information about that here. My wife (Gayle Porter) and my mother-in-law (Marji Gustafson) have both become active participants in the blog reviewing books just to keep up.
In the end being a follower of Christ is what matters most in this life. If you have stumbled upon this site and you do not understand what it means to follow Christ, please use the contact page to get in touch with me, and start reading here.


text:
You are here: Home / Archives for Harbor city college
Harbor city college
3 suspected Harbor City gang members arrested in 2014 slaying of Narbonne basketball star Shailo Leafa
May 4, 2016 dailybreeze Leave a Comment
Narbonne's Shailo Leafa (23) celebrates his basket in the last six seconds of the game against Summit to tie the high school playoff game on March 8, 2011. Police have arrested three men in his 2014 murder. (Steve McCrank / Daily Breeze) Narbonne High player Shailo Leafa was named to the Daily Breeze 2010-2011 All Area Basketball team. Sound The gallery will resume inseconds Show Caption of Expand By Larry Altman | [email protected] | Daily Breeze PUBLISHED: May 4, 2016 at 6:29 pm | UPDATED: September 6, 2017 at 5:13 am Three Harbor City gang members face murder charges in the 2014 slaying of former Narbonne High School basketball standout Shailo Leafa, whose picture on a billboard begging for justice overlooked a South Bay intersection for several months, police said Wednesday. Two of the suspects — David Lee Allen, 30, and Khalif Azon Ferguson, 31 — were arrested Friday. A third, unidentified suspect was taken into custody Tuesday. All … [Read more...] about 3 suspected Harbor City gang members arrested in 2014 slaying of Narbonne basketball star Shailo Leafa
Investigative Reporting gang member, gang members, New York City Council Member, chicago most wanted gang members, gang members joining the military, gang member names, interviewing gang members, hustle gang members, taylor gang members, surviving our gang members, bloods gang members, krays gang members, basketball star, harbor city, 2014 dancing with the stars winner, hack basketball stars, san diego bank robbery suspect arrested, harbor city college, winning streak scratch cards 3 stars, star wars 3 cast, rivet city fallout 3, orion 3 star ph meter manual, tokyo 3 star michelin sushi, members only vol 3, osu 3 star maps, boys basketball, Breaking news, homicide, shooting
Long Beach Mayor Bob Foster prepares to leave the city he changed
July 5, 2014 presstelegram Leave a Comment
Mayor Bob Foster. Long Beach July 2, 2014. (Photo by Brittany Murray / Daily Breeze) Mayor Bob Foster. Long Beach July 2, 2014. (Photo by Brittany Murray / Daily Breeze) Show Caption of Expand By Eric Bradley | [email protected] | PUBLISHED: July 5, 2014 at 7:39 pm | UPDATED: September 1, 2017 at 3:18 am LONG BEACH >> When Bob Foster took the oath as mayor eight years ago, he was a former Southern California Edison president handed leadership of a city that would soon be crippled by spiraling pension costs and the worst economic downturn since the Great Depression. Foster is set to leave office at midnight July 14, having put his fingerprints on everything from how Long Beach budgets to its now-reformed public employee pension system, the port and, indeed, the very office of mayor itself. Beaches are cleaner, and so is the air. There is more park space. The city is safer, with the lowest violent crime numbers in 41 years, in spite of the loss of … [Read more...] about Long Beach Mayor Bob Foster prepares to leave the city he changed
Investigative Reporting Long Beach City College in California, Long Beach City Hall, long beach city college, City of Long Beach, forbidden city long beach, Ford in Long Beach, bob foster, city loan long beach, city loan long beach ca, city loans long beach ca, Miami Beach Mayor Philip Levine, long a cut bob, virginia beach mayoral candidates, long beach weather, First Fridays Long Beach, agenda long beach, bail bonds long beach, long beach bail bonds, plumbing world long beach ca, american career college long beach, nbs default services long beach ca, plumbers world long beach, bonded roofing long beach, doctor long beach ca, citywide self storage long island city, long beach mortgage co
Suicidal Stockton U. student was raped by college counselor's son: LAWSUIT
August 12, 2018 trentonian Leave a Comment
Stockton University employees conspired to conceal a sexual assault allegedly committed by the son of a college counselor, according to a lawsuit that says the defendants knew the victim had survived a suicide attempt stemming from a previous sexual encounter. The bombshell civil lawsuit, submitted online Sunday afternoon, is the fifth one filed against Stockton University this summer by women who all claim their sex assault cases were not properly handled by college officials. The latest lawsuit outlines a culture of underage drinking and drug use by university students that resulted in the victim being raped on at least two separate occasions. Along with the college, Stockton student Jesse Matsinger Jr. and his mother Karen Matsinger — who is a counselor at the university — are both named as defendants in the lawsuit. Attempts to reach Jesse for comment were unsuccessful; a university spokesperson said the college had not been served with the new suit, but … [Read more...] about Suicidal Stockton U. student was raped by college counselor's son: LAWSUIT
News rsquo s meaning, japan exchange student program college, scholarships for students in college, minority students in college, city c u shah commerce college, students in college, students at college, city u student portal, salary college counselor, college counselor, n u s, fulbright u.s. student program, u of s college of education, teacher rapes student, student suicide, student committing suicide, U.S.S. Discovery, u.s.s. north carolina, insurance discounts for college students, time management college students statistics, susan case college counselor, u.s. data privacy laws, college online jobs for students, pros and cons of credit cards for college students, refinance college student loans, great credit cards for college students, refinance u s bank, u.s. individual income tax, Sexual assault, Sexual assault news, Trenton Sexual assault news, NJ Sexual assault news, US Sexual assault news, world Sexual assault news.
Curtis alums make a big difference in Africa; is inner-city NYC next?
July 28, 2018 silive Leave a Comment
STATEN ISLAND, N.Y. -- For Curtis High School grads Kevin Thompson, Eric Garvin and Derek Alvez, what started as mid-1970s camaraderie on the track and field team grew into a life-long "brotherhood." These close friends share a common goal: To make a difference for others in an act of gratitude for the men and women who helped them through hardship. For 40 years, they all worked on independent projects post-graduation, until both Alvez and Garvin finally joined Thompson's 10-year-old Cross World Africa, Inc. (CWA). Thompson, Garvin and Alvez serve as founder/executive director, president and board member, respectively, of the non-profit organization dedicated to opportunity-based outreach in impoverished African villages and communities in Kenya. The trio says CWA has a "profound impact on disenfranchised urban and rural districts through a variety of entrepreneurial, educational, and aid programs for widowed mothers, elderly citizens, and students of all ages." So far, the … [Read more...] about Curtis alums make a big difference in Africa; is inner-city NYC next?
Transportation How Little Things Can Make a Big Difference, careers that make a difference, why make a difference, enthusiasm makes the difference pdf, enthusiasm makes the difference, jobs that make a difference, origin make a difference, origin make a difference plus, makes the difference, People Making a Difference, when is big brother africa starting, 3.02 big picture africa, what makes christianity different, what makes atoms different, big brother africa shower, make big mac sauce, make a difference mangalore, innercity big fun, making differences matter, africa big 7, what makes a liberal arts college different, next big money making opportunity, what makes american express different, what makes stem cells different from other cells, careers making a difference, how much bartenders make in nyc, rochester big and tall nyc, Making Sense of Big Data, entertainment, life-and-culture
Long Beach's port and city college partner to help students get jobs in the maritime industry
July 24, 2018 presstelegram Leave a Comment
By Mark Edward Nero | [email protected] | PUBLISHED: July 25, 2018 at 7:20 pm | UPDATED: July 25, 2018 at 8:27 pm Students eyeing maritime jobs will get their own training program at Long Beach City College, with workshops beginning as early as this winter. The community college will open a special center dedicated to training students for careers as middle managers, supervisors and clerks throughout the multi-trillion dollar shipping industry, after the Board of Harbor Commissioners this week approved a one-year contract between the Port of Long Beach and the school. Under the contract – which goes into effect Wednesday, Aug. 1 – the global shipping hub will give the college $60,000 to develop the Port of Long Beach Maritime Center of Excellence. The center's goal will be to bring more young workers into a booming maritime transportation industry, which in 2016 was projected to grow 8 percent by 2026, according to the U.S. Bureau of Labor Statistics. The … [Read more...] about Long Beach's port and city college partner to help students get jobs in the maritime industry
Investigative Reporting job maritime industry, long beach los angeles port, Long Beach City College in California, Long Beach City College, Port of Long Beach, Long Beach port, carnival long beach port, Ports of Long Beach and Los Angeles, rsquo s meaning, help students get into college, Long Beach City Hall, City of Long Beach, forbidden city long beach, maritime industry authority, maritime industrial services, maritime industry wikipedia, neath port talbot college, long beach weather, First Fridays Long Beach, san jose city college cosmetology school, insurance discounts for college students, bail bonds long beach, long beach bail bonds, ponca city beauty college, time management college students statistics, plumbing world long beach ca, colleges near daytona beach, colleges near laguna beach, college online jobs for students, education, Long Beach, South Bay, Top Stories LBPT


After the wintry day at Plitvice, we turned south and headed down to the city of Zadar on the Dalmatian coast. We spent a couple of days there before continuing along the coast through Split and towards Dubrovnik.
This seemed to be the typical decor of the coastal towns of Croatia. This is an old church in Zadar.
Along the boardwalk in Zadar there is this little contraption - a sea organ. The waves coming in force air through the pipes creating a constant soundtrack to your walk along the sea. It's not exactly ripping Mozart pieces or anything, but it is kind of interesting - only thing is that it doesn't turn off, ever!
Lots of rustic looking side streets in Zadar.
This square in Zadar was cleverly named the "Four Wells" square.
View of a small harbor in Zadar.
The "Lion Gate" - Zadar.
Sunset from the balcony of our B&B in Zadar.
As we stopped in more towns along the coast we kept seeing massive growths of this purple flower hanging on buildings. Not sure if it's lavender or not.
One of the churches in Sibenik - mugs of individual townspeople that made donations were immortalized in stone along the outside. It's said that the more you gave, the better your face.
We also wandered across a cemetery in Sibenik that offered some excellent views.
View into the waterway along Sibenik.
As we drove around this country we couldn't help but notice some of the evidence from the war of independence. We came across some small villages that looked like the Alamo and had not been rebuilt or moved into since the war - usually because Serbians had lived there. This is a public building in Sibenik that had visible damage to the facade.
In Split we walked around the quaint little "old town", but other than that the only thing worth seeing is the sculpture gallery "Galerija Mestrovic" - Croatia's answer to Rodin.
"Job" - one of Mestrovic's masterpiece, really captured the agony that he must've felt.
While this Pieta is made of plaster, Mestrovic made a real one from metal that is apparently on the campus of Notre Dame where he was a professor (if anyone can give me an "amen" on that). Mestrovic moved to the United States in 1946 and remained there until his death in 1962. He still has loads of work in various places in the USA.
This one was Marisa's favorite. The carefree nature and facial expression won her over immediately.
My favorite was the Cyclops, cocked and ready to toss this boulder somewhere.
After the museum, we walked down the road another 200 meters to a small chapel that houses some of Mestrovic's wood carvings. He made 28 of these bad boys along with a huge crucifix that are on display here, illustrating the life of Christ. I liked this one because it shows all of the ridges carved in the wood.
It was a rainy day in Split, so I can only share one photo to give you an idea of the old town.
I can summarize the Dalmation coast by saying that it's fabulous when the weather is nice and kind of a downer when the weather is crap. If you plan a trip to Croatia, make sure it is the right time of year.


text:
Exposing Psycho: How Hitchcock's Famous Film Aided in My Recovery from Trauma
For Becky and Ryan
"Film should be stronger than reason." –Alfred Hitchcock
As the therapist crossed her fingers in front of my eyes, my thoughts turned back to Enid, the woman who had taken care of me and my brother in her home when we were young children. In a flash that seemed to come from nowhere, I saw a familiar mise en scène, the basement of the Bates house at the climax of Alfred Hitchcock's 1960 film, Psycho. Lila Crane (Vera Miles) stands in horror, mouth agape, as a naked light bulb swings above her head and the chair swivels to reveal what's left of Mrs. Bates, the skull with its empty eye sockets and grinning mouth hidden behind the salt-and-pepper wig tied up in a bun. "That evil bitch," a voice inside me said and repeated out loud, "That evil, evil bitch. I want to kill her." I could hear the violins from the famous Bernard Hermann score stabbing into my brain, but now it was me metaphorically stabbing the lady with the salt and pepper hair tied into a tight bun. It wasn't Mrs. Bates but Enid, my babysitter. I wanted to kill that bitch once and for all.
This is a true story about a metaphorical convergence of a real woman I knew, I'll call her Enid, and Mrs. Bates, the ontologically complex figure of Hitchcock's most famous horror film. My visions of the two women collided during a therapy session with Becky, a practitioner from my local behavioral health clinic. In my mid-forties, I was seeking help for Generalized Anxiety Disorder, a condition diagnosed ten years before but suffered for as long as I could remember. Becky was using a therapy called EMDR to lead me through a series of troubling childhood memories. EMDR, or eye-movement, desensitization and reprocessing, a method I will explain in more detail later, uses bilateral eye movements to revisit troubling or traumatic memories from the past and to reprocess them by bringing to the surface mental images or other sensory data that is associated with the experiences and then closely examining them through "talk" with a therapist.
I was grappling with a story that seemed like it had come from another lifetime. When I was four years old and my brother three, we spent our days in the home of Enid H. and her husband, I'll call him Opal, in a small white house on a tree-lined street in our rural Iowa town. One day during an EMDR session, my brain landed inside this house, where I recalled fragmented scenes, some vivid and real, others sketchy and metaphorical, about what I came to understand as instances of emotional and sexual abuse. One day during the eye movement segment, my brain involuntarily transformed into a film reel, constructing a pastiche of scenes from Enid and Opal's house that were intercut with those from the cinematic world of Alfred Hitchcock's Psycho. In the therapist's chair, my brain seemed to be making these connections involuntarily, with no clear meaning attached to them. Becky, who didn't seem surprised at all, explained the connection as affect, that the feeling of horror elicited by my experience of watching Psycho as an adult gave me an emotional correlate to my experience as a very young girl. "That's what you felt in that house," she said.
Since EMDR therapy is intended to engage the patient's own brain in the reprocessing of disturbing events or trauma, the affective connection was evidence that my brain was doing the work it was supposed to. And yet, what did my story's convergence with a film text suggest about the metaphorical power of cinema? How might affective and cognitive responses to film, especially horror film, offer a key to unlock our own inner worlds, perhaps the corners that most terrify us? In what ways does a therapy patient whose work is to "pull forward" scenes and narratives from life replicate the position of a film spectator, and vice-versa? Why did my own brain choose Psycho as a way into that little white house in a small Iowa town?
Mr. and Mrs. H.'s house was fronted by a screened-in porch with an old-fashioned mail slot; at the south side was a clothesline that opened to a beautiful meadow of shimmery, green grass. To the back was an enormous, sheltering tree, and I remember crunching my small feet over enormous piles of triangular, colored leaves, some partly skeletal in the dead of the fall as we walked toward a back door that led into a long, narrow kitchen. Enid, whose tanned, wrinkled face and black eyes were set in front of a graying hard-twisted bun at the back of her head, wore an old-fashioned house-dress, often of a blue print as I recall, and black buckled shoes with a heel. Though she appeared neat, her breath was sour, and her body smelled of unwashed clothes.
Opal, a smallish man with a bald head the color of milk, slumped slightly in his kitchen chair, smiling weakly with a placid expression as he rested his hands together between his knees. As Enid towered over us—I hardly recall her sitting—his body seemed to curl inside itself in the way of a patient in an institution, either an ancient, senile man or a mentally impaired boy whom visitors might find drooling in a far corner. A mechanic at a local garage who came home every weekday noon for lunch, Opal wore a blue work shirt with his first name stitched in cursive over the front pocket. When he took off his cap, his ghost-white, bald head revealed a pattern of raised blue veins. He spoke in a voice barely above a whisper, smiling a sweet, sleepy, half-moon that barely revealed his teeth.
In later years, I learned that the two had somewhat of a reputation for the bizarre. Folks riding by their house on a summer day could see condoms that had been washed and hung out on the clothesline to dry. This strange sight was the subject of town folk chatter, local lore. Mealtimes at the H's house ranged from the bizarre to the nightmarish. Every day at noon, Mrs. H. would spoon a variety of foods on to our plates and stand over us in that towering way of hers, instructing us to take a bite of each in turn, moving clock-wise, now a meatball, now a bite of rice, now a pickled beet, now a spoonful of cottage cheese. Varying the pattern was not allowed. Once when I left the table, saying that I wouldn't eat her vegetable soup because I didn't like it, she grabbed me, holding me in a tight grip as she forced a big spoonful of it into my mouth until I vomited on a silver tray that she was holding under my chin. I can still hear the metal of the big spoon scraping against my teeth.
In the living room, a full Kleenex box was perched on a small shelf, but when I came down with a cold, Mrs. H. gave me only one tissue for the day; when I was done sneezing or blowing, she instructed me to carry the glistening wad back to the table and set it down in front of the full box. Once after I soiled my pants, she laid me on the couch under a blanket and instructed me not to move, especially not to get up to use the bathroom, while she went out to work in the garden. Even as I felt Mrs. H's cruelty on me, I watched how she seemed to delight in and fawn over my brother. I remember thinking that she must not like me because I was a girl.
Aside from the kitchen, the bedroom is the place that I remember most distinctly, small and plainly furnished with a double bed covered in a patchwork quilt. In one memory, Wilbur and I together atop the bed quilt: he is wearing a tool belt and leering at me. Against the white of this bedroom wall, another haunting vision appeared to me in an early EMDR session: Opal standing upright, his arms sheathed flat against his sides in the blue-gray mechanic's uniform, the matching work pants drawn around his ankles. The frame is very distinct to me—the cadaverous, blue-veined head, the fish-belly-white penis.
Opal's spread-eagle, naked below-the-waste stance appeared to me as a spontaneous memory picture in an early EMDR session with my therapist, Becky. The method, founded by Francine Shapiro, is based on the idea that human beings possess an information processing system that integrates experiences and stores memories in a way that is accessible and useful. Learning takes place when new material is forged with the old. When a traumatic or negative event occurs, the system may break down, causing memories to be "dysfunctionally stored without appropriate associative connections and with many elements still unprocessed" (EMDR Institute). Memories of the trauma may then resurface through flashbacks or the "intrusive thoughts, emotional disturbance, and negative self-referencing beliefs of posttraumatic stress disorder (PTSD)" (EMDR Institute).
Shapiro developed a method whereby a pattern of bilateral eye movements (e.g. the patient's eyes following the therapist's fingers as they move back and forth in a regular pattern) will prompt the brain to dislodge memories that have been improperly stored in the memory network as a result of a deeply disturbing or traumatic event. Once the raw materials of the memory surface, the talk sessions move the patient through a "desensitization" (the "D" of EMDR) process that allows her to look more closely at the puzzle pieces, to work at reassembling a fuller picture and then "reprocess" (the "R" of EMDR) in ways that encourage a more adaptive understanding of the traumatic event.
In her inaugural publication, EMDR: The Breakthrough Therapy for Overcoming Anxiety, Stress, and Trauma, Francine Shapiro, now Senior Research Fellow Emeritus at the Mental Research Institute in Palo Alto, California, describes a number of early case studies in the method, with patients reprocessing trauma from a variety of situations—a woman who was trapped in the rubble of her Oklahoma City apartment building on April 19, 1995, after the bombing of the Federal Building, a combat veteran from Vietnam, and a rape victim who stayed silent and held her body over her young daughter to shield her from a view of the attack.
In terms of affect, my own experience of sitting in the therapist's chair while I was processing the memories from the H's house felt a bit like going to the movies to watch a horror film, as Becky's notes from one session reveal: "During today's processing, large amounts of material surfaced regarding the babysitter's home, husband, affects, somatic sensations of fluid rushing up in her body from abdomen to head (she noted symbolic to blood rushing in anxiety or vomit exiting the body) and thoughts of self from the time of early childhood . . . Jacque simultaneously pulled a symbolic parallel from the movie Psycho to the feelings from these early life experiences" (Becky's case notes 10/5/2009). Why was this happening? What did it mean? My investigation of this question eventually led me to research and think about how film, particularly horror film, and more particularly Psycho, might provide a worm-hole into my memory. Could a reading of Psycho turn a key that would open up a world of understanding for me?
Francine Shapiro's concept of an information processing system is closely akin to the concept of a "sensorium' as it is posited by Angela Ndalianis in The Horror Sensorium: Media and the Senses–a system that "physiologically . . . comprises the sensory and intellectual capacities of the body; it processes sensory information, and, in doing so, it facilitates our understanding of and reaction to the world around us" (3). Ndalianis argues that "While film is an audio-visual medium, sight and sound often migrate their sensory effect onto other sense modalities, therefore making the horror experience all the more potent" (6) and that New Horror Cinema "deliberately addresses its spectator through an intense and unforgiving corporeality that demands the attention of the senses. Onscreen, characters suffer graphic violence at the hands of the monsters, and this violence continues to be played out offscreen and across the body of the spectator" (5).
In my own EMDR sessions, when scenes from Psycho intruded into my memories of the H.'s house, my therapist Becky explained the phenomenon as affect, that the imagery from the film was "symbolic or metaphorical and congruent with the felt sense or affect or emotion of that time." In other words, she said, my mind had stored the memories of that past time as trauma and then in a therapeutic situation "pulled forward" (her words) the scenes from Psycho to help explain what I felt in that house. "It's not that the houses looked the same; it's that they felt the same," she said.
Even though Becky's explanation was satisfying to me, I still couldn't help asking, "Why Psycho?" Again, Ndalianis' work on the horror film gave me a helpful point of departure: "Since the release of Alfred Hitchcock's Psycho in 1960, the direction of the contemporary horror film increasingly led to a disturbing confrontation between the spectator and his or her worst fears about the collapse of identity, system and order (15). Noting that "the horror genre has been one of the longest surviving and consistently popular genres in the cinema," Ndalianis explains that "The entry of the monster—whether Nosferatu, King Kong, Count Dracula, or Michael Myers—serves a crucial function in the horror film: by embodying society's dark side, it tests the rules, morals and ideological structures that operate in our culture, holding these structures up for analysis, contesting their worth, and exposing the instability of the system that informs the social order. The horror film is about crossing boundaries. One side of the border constitutes order, the other chaos; the horror manifests itself where meaning, which is established by civilization, collapses" (15).
The reader can see these themes in "Her Body, Himself," the first chapter of Men, Women, and Chainsaws: Gender in the Modern Horror Film, where Carol J. Clover presents an inventory of slasher film conventions, naming as examples The Texas Chainsaw Massacre, Halloween, A Nightmare on Elm Street, Friday the 13th, The Eyes of Laura Mars, Dressed to Kill and The Silence of the Lambs, which Clover quotes one reviewer as naming "a Nightmare on Elm Street for grad students" (232). The "appointed ancestor" (23) of all of these, according to Clover, is Hitchcock's Psycho. The generic conventions are as follows: first, "a killer propelled by psychosexual fury, more particularly a male in gender distress" (27); second, "The Terrible Place, most often a house or tunnel. . . . What makes these houses terrible is not just their Victorian decreptitude, but the terrible families—murderous, incestuous, cannibalistic—that occupy them. So the Bates mansion enfolds the history of a mother and son locked in a sick attachment" (30); third, "pretechnological" (31) weapons like "knives, hammers, axes, ice picks, hypodermic needles, red hot pokers, pitchforks, and the like" (31); fourth, a victim or victims, who might be of any age range or gender, but "most often and most conspicuously [a] girl" (33) who dies, most often "because [she is] female" (34); fifth, "the final girl," who survives because "she alone . . . finds the strength either to stay the killer long enough to be rescued (ending A) or to kill him herself (ending B)" (35).
Clover's unpacking of the horror genre allowed me to see my own story as an (albeit metaphorical) example. (I felt crazy, but not that crazy). Mr. and Mrs. H. were the "terrible family," and their house the "terrible place," where her ritualistic and sadistic controls over my eating in the kitchen were paired with Mr. H's positioning of me as a spectator for his act(s) of sexual exhibitionism in the bedroom. In both situations, there was no option for escape. Beginning at around the same time, when I was four years old, I began a pattern of spontaneously gagging when I was expected to eat in a public place. I had no control over my body. I remember feeling that "there was something wrong with me," together with a profound sense of extreme alienation, a malady so deep and pervasive that it could not be named or cured. I felt shameful, undone. When EMDR allowed me to connect this experience with my time at the H's house, I began to see that there might not have been "something wrong with me," as I had always believed. Rather, instead, was there "something wrong in the house."
After processing the memory of Mr. and Mrs. H.'s house for a number of weeks, my mind spit out the image of the dark skull head with its salt and pepper bun. It was Mrs. Bates, turning there in her chair in that final scene of Psycho. But it was also Enid. The convergence of the images of Mrs. H with the preserved corpse of Mrs. Bates offered me an interesting window into what might have been the psychosexual dimensions of my experience there. Mrs. H., wearing her house dress and buckled shoes, appeared normal but revealed herself to be monstrous in her extreme parsimoniousness and desire to control what came in or went out of my body– food, snot, excrement. My therapist challenged the local story that hanging washed condoms on a clothesline was simply a sign of parsimonious, suggesting rather a form of exhibitionism. Although I have never been able to explain the memory of him sitting next to me with the tools, another EMDR elicited an image of a woman's genitals being tortured with a pair of pliers. I have no evidence that the two images are connected, but I wonder. If I was, at the very least, a target for his sexual displays, her knowledge of this behavior and her cruelty against me made sense, as did my instinctive understanding that she meted me out for punishment because, like the victim Carol Clover describes in the typical horror film, I was a girl.
When I thought more deeply and read more widely about Psycho, interesting metaphorical connections between my experience and the film began to emerge. In both dramas, the female victim's position as a sexual object is tied to rituals of eating. In my own story Mrs. H.'s most violent abuse took the form of a forced act of eating where the metal spoon became a crude, penetrating object. In Psycho, Marion Crane's figurative and literal appetites, first for sex with Sam Loomis in the dingy hotel, and then for the sandwiches that Norman serves her in the parlor of the Bates Motel, are conflated in Mother's warning to Norman: —"Go on! Go tell her she'll not be appeasing her ugly appetite with my food, or my son" (Anobile 74). "We're all in our private traps" (Anobile 79) Norman has said to Marion, yet she cannot guess that she has already been ensnared, put on a trajectory that will reach its "logical" conclusion (according to the logic of the horror film) when she is knifed to death in that famous scene that Francois Truffant and others have likened to a metaphorical rape (269). Parlor to Cabin #1 to shower: the Bates Motel has become "the terrible place," an apt metaphor for what the H.'s house represented to me, the place where I felt trapped, "undone."
Norman's words of apology to Marion for Mother's bad behavior, "uh, uh, Mother—m-my Mother, uh—What is the phrase? 'She isn't quite herself today'" (74) prefigure Marion's fate, too; after the shower scene, she won't be "herself" either, so to speak. Robert Samuels' "Epilogue: Psycho and the Horror of the Bi-Textual Unconscious" invokes the psychoanalytical theories of Jacques Lacan to speak about what the viewer might see as the literal and figurative "dissolution" of Marion Crane that takes place in the shower when, after she is killed, her blood mixes with the running water and washes down the drain. Samuels notes that Norman's efforts to "mop up all of Marion's feminine fluids" will not "be able to erase all of the blood from his memory" (159) and draws a link between the bathtub and the swamp: what remains of the woman whose life-blood has been washed down the drain is submerged in the mud, the dark corollary to the white, sterile bathroom. Both serve as reservoirs for the woman/waste who has been killed because she dared (albeit unwittingly) to trespass and arouse.
My own experiences of abuse in the H.'s house, as I have previously mentioned, were centered around bodily fluids and wastes—the vomit, the Kleenex snot wad, and the excrement that Mrs. H. instructed me to keep inside my body while she went out to tend to the garden. EMDR, as I mentioned earlier, allowed me to connect (early on, by way of the sensation of rising fluids that I reported to Becky) these experiences and my own feelings of "dissolution" that attended the spontaneous gagging episodes that I experienced during the same time.
Perhaps the most interesting and suggestive metaphorical link between Psycho and my own story occurred in a frightening session where Norman-as-mother, the monstrous double, the figure on the stairs wearing a house dress and ladies' black, old-fashioned shoes, became Opal. The man was in the guise of his wife, their two subjectivities melded into a macabre creature that in the film was poised to kill Arbogast and in the world of my own "film" was seeking to destroy me. Here, in Norman Bates, we see the signs of what Carol Clover has called "gender distress" (27). The image of Norma-as-mother running down the stairs reanimated Enid and Opal as one being rather than two, a unit acting together. Again, the metaphor suggested a psychosexual triangle, the possibility that Enid's cruelty and Opal's exhibitionism were related rather than isolated incidents.
As I moved forward in my processing of the babysitters' house, I, much like Carol Clover's concept of horror film's "final girl," enacted metaphorical revenge on my perpetrators, as Becky's notes of 10/19/2009 reveal: "Material surfacing in today's desensitization and reprocessing was largely comprised of internal dialogue expressing anger toward the woman and husband babysitters, imagery created from Jacque's adult imagination that manifested in the emotions of her child and adult self toward the couple—violence toward both in the form of battery, dismemberment, gruesome images one might see in a horror film, and imagery of them and their home being paper and of self crushing them up. It should be noted the couple is deceased and Jacque has no homicidal or suicidal ideation plan or intent . . . . Jacque was also able to verbalize a visual and affective sense of confinement much like she felt there as a young child, with a part of her wanting to get out and experience life freely . . . . Suggested she begin to write her own narrative to the material that is reprocessing" (Becky's case notes). At that point, I set out to write this story.
I should note that while Marion Crane's fate is uncommon, mine—sexual objectification and mental cruelty of a young child—is not. I wondered, and still do, if the popularity of Psycho and its cinematic descendents is a function of how this story speaks to a primal fear, perhaps, as Ndalianis' posits, of a monster, often in disguise, and of our own failure to see him for what he is in time to save ourselves from annihilation in whatever form—physical, emotional, psychological. In addition, memory work like this is difficult and demands that we ask challenging epistemological questions: how do we know what we know? How does knowledge that cannot be spoken manifest in the body? How can the body become a means of expressing what words cannot? I am certain that every detail of what happened to my four-year-old self in that house is unknowable. One day, though, in EMDR session, I walked out of that house, my feet again crunching under the fall leaves, but now with a greater sense of peace that came from a greater understanding of what had happened to me and, perhaps, why. I am still uncertain about the line between what part of my knowledge is "real," and what part is "metaphorical," but perhaps that is an epistemological distinction that all of we humans grapple with and one that our experience of cinema and other art forms can illuminate as we struggle to bring meaning to our lives.
Anobile, Richard J., ed. Alfred Hitchcock's Psycho: The Film Classics Library. New York: Darien House, 1974.
Clover, Carol . Men, Women, and Chainsaws: Gender in the Modern Horror Film. Princeton, New Jersey: Princeton University Press, 1992.
Derry, Becky, LCPC. McDonough District Hospital Behavioral Health. Macomb, IL. Case Notes.
EMDR Institute, Inc. 2011. 19 July 2015.
Ndalianis, Angela. The Horror Sensorium: Media and the Senses. Jefferson, North Carolina: McFarland, 2012.
Samuels, Robert. "Epilogue: Psycho and the Horror of the Bitextual Unconscious." Alfred Hitchcock's Psycho: A Casebook. Ed. Robert Kolker. New York: Oxford University Press, 2004. 147-162.
Shapiro, Francine and Margot Silk. EMDR: The Breakthrough Therapy for Overcoming Anxiety, Stress, and Trauma. New York: HarperCollins, 1997.
Truffant, Francois. Hitchcock/Truffant: The Definitive Study of Alfred Hitchcock by Francois Truffant. New York: Simon and Schuster, 1983.
The seeds for this auto-ethnography were sown when I was four years old and suffered abuse at the hands of my babysitters, a middle-aged couple. I told no one what had happened to me for twenty years. Later, in my forties, my therapist suggested that I work with one of her colleagues, Becky, who did EMDR therapy. As I reprocessed, I recalled more details about the babysitter and her husband; came to understand a likely connection between my experiences with them and an eating disorder; and (to my surprise) uncovered the metaphorical link to my memories of watching a horror film, as my essay explains. This therapy was like opening a box and watching all the mysteries of my life tumble out, for this early abuse set me up for a series of disturbing encounters that I lacked resources to understand or repel. My interest in writing about trauma, in part, led me to co-found and co-advise a magazine, SITREP: Veteran Perspectives on Combat and Peace, for Western Illinois veterans and service members.
Jacqueline S. Wilson is an Assistant Professor of English at Western Illinois University, where she coordinates and teaches Basic Writing. A graduate of WIU's College of Business (Marketing, '86) and Liberal Arts and Sciences (MA in English, '88), she finished a Ph.D. in at Northern Illinois University in 1999, where she studied American Literature. She has published articles and a book chapter on the American short story, focusing on works by Edith Wharton, Henry James, Stephen Crane, Nathaniel Hawthorne, and Joyce Carol Oates. A 2002 article "'Where Are You Going, Where Have You Been?' as an Initiation Story" has received widespread online interest recently, perhaps because its examination of the main character Connie as a victim of rape and murder raises questions directly related to the #metoo Movement.
Recent publications include creative non-fiction and poetry in Gravel, the Blue Bear Review, the Fem, Mulberry Fork Review and Ink-in-Thirds. She currently serves as co-advisor for SITREP: Veteran Perspectives on Combat and Peace, and her recent conference presentations have focused on the work of engaging students who write about trauma, including gun violence, police brutality, child abuse and war. In her spare time she sings and plays guitar, folk and alt-country, and enjoys spending time with her teenage daughter and their dogs and cats.
abuse, emdr, emdr therapy, film, hitchcock, horror, ptsd, therapy, trauma, veteran, writer, writing


text:
Jodeci's Album Coming Soon, Video Drops Tonight
By Miles Faraday
Courtesy of Epic Records
Jodeci will premiere the music video for their single, "Every Moment" at 8pm (Eastern standard time) tonight on social media. The music video will premiere on the group's Facebook page, and the Hype Williams-directed video will make its Vevo debut at 8pm (EST) tomorrow night. Jodeci will release their album The Past, The Present, The Future on March 31st, which is the group's first studio album release in twenty years. Fans who pre-order the album now on iTunes, Amazon, or Google Play, will receive free digital downloads of "Every Moment" and "Checkin' For You."
The Past, The Present, The Future project features production from Timbaland, Breyon Prescott, Louis Burrell, Lajuanna Burrell, and Jodeci's DeVante Swing. The 12-track album also includes the hit song "Nobody Wins" featuring B.o.B, which was dropped in December. Jodeci returned with "Nobody Wins" after an 18-year hiatus, and it received a lot of attention due to its message against domestic violence. The original bad boys of R&B may be most-known for their songs about love making, but Jodeci has never shied away from addressing relatable relationship issues.
In 1991, Jodeci burst onto the music scene with their debut album, Forever My Lady, which sold over three million records worldwide. The project also produced three Number 1 singes including "Stay," "Forever My Lady," and "Come and Talk to Me." Jodeci's sophomore album, Diary of a Mad Band, also went to Number 1 on the Billboard R&B Charts. That album would also reach platinum status, and it featured production for Missy Elliott and Timbaland, who were unknown producers at the time. Jodeci's last studio album The Show, The After Party, The Hotel, was released in 1995, and it sold over one million copies just like their previous projects.
The group was inducted into the North Carolina Music Hall of Fame in 2012, where they were honored for their contributions in music. Last year at the Soul Train Awards, Jodeci made their official return to the stage. The group performed some of their most successful songs including "Cry For You," "Feenin," "Freek'n You," and many other soulful hits. Their performance received high praise by music critics and fans.
Breyon Prescott
Checkin' For You
DeVante Swing
Diary of a Mad Band
Every Moment
Forever My Lady
Hype Williams
Jodeci
Lajuanna Burrell
Louis Burrell
Music Video Premiere
Nobody Wins
North Carolina Music Hall of Fame
Soul Train Awards
The Past The Present The Future
The Show The After Party The Hotel
Previous articleShotty – I'm Glad It's Over
Next articleBebe Rexha Drops an Acoustic Version of Her Song


text:
Tag Archive: Game of Thrones cosplay
New books look behind the scenes at the artwork of HBO's Game of Thrones
Filed under: Backstage Pass, Comics & Books, Fantasy Realms, TV — Leave a comment
As HBO's series Game of Thrones wraps with its final episode next week, Insight Editions is releasing four books highlighting the artwork of the series. With photographs and interviews looking behind the scenes of what visually made the series stand apart from other fantasy series, these books will show how it was all done, keeping fans returning to the series for re-watching as pre-orders begin for the eight season set on Blu-ray.
Game of Thrones: The Costumes showcases what makes the actors look good, from the practical layered fabrics of Winterfell to the finery of King's Landing. Suits of armor, dresses, uniforms, capes, and robes all will be shown in detail. Series costume designer Michele Clapton discusses her own creations, providing a view of never-before-published drawings and up close views of fans' favorite wardrobe pieces and integral prop components. Game of Thrones: The Costumes is available for pre-order now here at Amazon.
Series storyboard artist William Simpson takes viewers through his vast trove of concept art in Game of Thrones: The Storyboards. Simpson developed much of the show's action, character, and environments through his thousands of sketches and designs. Fans can watch how early imagery made its way to the final season layouts and the step by step formation of the series' key scenes. Simpson's Game of Thrones: The Storyboards is available for pre-order here at Amazon.
Principal Game of Thrones unit photographer Helen Sloan showcases the as-filmed characters, locations, and key moments in The Photography of Game of Thrones (now available for pre-order here). Writer Michael Kogge has put together an assemblage of behind the scenes imagery for this deluxe compendium.
Tags: Game of Thrones, Game of Thrones cosplay, Game of Thrones: The Costumes, Game of Thrones: The Storyboards, HBO, Helen Sloan, Insight Editions, Michael Kogge, Michele Clapton, television production, The Art of Game of Thrones, The Photography of Game of Thrones, TV production, William Simpson
Kansas City Comic Con wraps after successful three-day event
Filed under: Backstage Pass, Comics & Books, Con Culture, Fantasy Realms, Movies, Retro Fix, Sci-Fi Café, Superheroes, TV — Leave a comment
The first Kansas City Comic Con comic book and pop culture convention wrapped Sunday at the Kansas City Convention Center at Bartle Hall. We bid farewell as Doctor Who's Colin Baker headed to the airport to return home to England and other guests set out across the country after a long and exciting weekend in the Midwest, leaving behind some happy and (exhausted) fans. But first, crowds again lined the aisles Sunday, grabbing last-minute selections of prints from artists, books from writers, and comic books and collectibles from the several dealers on site.
Sunday saw more panels, more autographs and photo ops, and more conversations with creators.
Our vote for the best cosplay of the show? This Kansas City Royals-inspired Iron Man. What better cosplay ambassador to the first Kansas City Comic Con than this superhero?
But it was hard to beat this great costume of a Gnoll from Dungeons & Dragons:
Our vote for the best new addition to conventions anywhere this year was Jo Kamm's 3D Photobooth. Unlike the 3D photobooth featured at last year's World Series, the 3D Photobooth at KCCC printed highly detailed, large figurines. And unlike other 3D printing booths we've seen before, Kamm's software and technology recreated recognizable faces. We'll feature the process used at the booth in a later article, but our response and those of various passersby watching the imaging in process was simply "Wow!"
Here Kamm renders examples of a digital 3D, 360-degree image of both our Radagast ensemble from Saturday…
Tags: #KCCC2015, 3D Photobooth, Bethany Hagel, Big Hero 6 cosplay, Bryan Fyffe, Bryan Timmins, Colin Baker Kansas City Comic Con, Colleen Boyd, Dungeons & Dragons cosplay, Elite Comics, Elizabeth C. Bunce, Fantasy in Young Adult Fiction panel Kansas City Comic Con, Game of Thrones cosplay, Gimli cosplay, Gimli cosplay Kansas City Comic Con, Gnoll cosplay KCCC 2015, Jim Shooter, Jo Kamm, Justin Cline, Kansas City Comic Con, Kansas City Comic Con photos, Kansas City Royals Iron Man cosplay, KCCC 2015, Matt Driscoll, Radagast cosplay, Radagast Kansas City Comic Con, Sauron Kansas City Comic Con, Sean Astin, Sean Astin 2015 KCCC, Sean Astin Kansas City Comic Con, Springfield Fellowship Lord of the Rings, William Binderup


text:
All Leagues Arrow
Future matches are yet to be scheduled
Hide scoresShow scores
TicketsTickets
MembershipMembership
Keepup
Community Requests
Football For All
Holiday Programmes
Pre Academy Centres
Match Day at Sky Stadium
Match Day at Eden Park, Auckland
How To Watch Your Nix
COVID-19 & Wellbeing
Australian Memberships
Unfortunately you cannot view this website on the current version of your browser. Please either update your browser or use an alternative browser.
Jun 27, 2019 | 12:16AM AET
Wellington Phoenix FDIP Initiative Receives Special Recognition Award
Wellington Phoenix have won a special recognition award for their Football Diversity and Inclusion Programme.
The Annual Indian Newslink Sports, Community, Arts & Culture Awards took place on Monday 24 June at Ellerslie Events Centre, Auckland and celebrated the growing importance of contributing to various aspects within society.
The Football Diversity and Inclusion Programme (FDIP) is an initiative between Wellington Phoenix, the Human Rights Commission, Red Cross, ChangeMakers, Multicultural NZ, the region's City Councils, Lower Hutt's Taka Trust and the Lloyd Morrison Trust.
The programme was initiated in 2017 and will be heading into its third year in the Hyundai A-League 2019/20 season.
The club's FDIP programme is targeted at children from low socioeconomic communities in the Wellington region and refugee immigrant families, recognising the important role sport plays in building bridges between individuals and across communities.
As part of the programme, participants received 2018/19 season tickets, match day tickets, bus transport to and from Phoenix games at Westpac Stadium, lunch on the day, and Phoenix merchandise.
Additionally, for the Phoenix' match at Eden Park in February, the club provided two buses for the Mangere Refugee centre and four buses for Maori and Pasifika youth to attend the game, consisting of over 300 people.
Following the Christchurch terror attack in March, a further 200 additional tickets were provided for the Muslim community and after consultation with the local Muslim community, the club committed to an ongoing programme of support with local Muslim youth in future seasons.
The programme aimed to foster inclusivity by using sport as a vehicle to help recently resettled refugees integrate into the community.
General Manager David Dome was extremely honoured to have received the Award on behalf of the club and looks to see the initiative flourish in the coming years.
"I'm extremely happy to have received this award on behalf of the club.
"Our community programmes that reach out to diverse cultures and to those who may never have the opportunity to be involved in football or experience live professional sport, is something we pride ourselves on.
"The feedback we received from the families involved was truly heartwarming – some of these young people had never been to a live sports event, let alone to Westpac Stadium or Eden Park and they were truly grateful.
"It reaffirmed to us that we were working in the right space.
"I would like to thank all our community partners who facilitated the programme and all the region's Mayors who enthusiastically got in behind the initiative.
"Specifically, Rakesh Naidoo from New Zealand Police who was seconded to the New Zealand Human Rights Commission at the time we began the programme and who without his contacts we could not have pulled this together.
"And without funding from the Lloyd Morrison Trust, none of this would have been possible.
"The club's community team have been outstanding in driving the programme and it's not inconsequential logistics.
"As ever, we aim to improve our community activities year on year and this coming season will be no different – following feedback from our community partners, we will be looking to expand and focus the programme even more in the upcoming season.
"We're extremely excited about where we can take this programme."
A-League Men
A-League Women
Australia Cup
Hybrid Friendlies
| Privacy Policy | Terms & Conditions | © 2022 Australian Professional Leagues Company Pty Ltd. *Live odds displayed are subject to change.
Level 3, NZCIS B-Block 30 Somme Road, Trentham, Upper Hutt, Wellington +64 4 802 4998