Eve and Villanelle are both in trouble, but they're ready to do whatever it takes to survive.
Emerald Fennell sat patiently waiting for our interview to start in a posh hotel restaurant, the Southern California sun making her long blonde hair gleam, and the periwinkle in her Brøgger dress pop. A closer look revealed the Dorothy Gale-red foils on her sharp nails and the Olympia Le-Tan clutch with the logo from the Alfred Hitchcock movie Pyscho by her side. Such details suggest that this lady appreciates the art of subtle danger.
Judging solely on clothing choices, it's easy to conclude that Fennell, 33, may be the perfect candidate to take over from her friend Phoebe Waller-Bridge to serve as the head writer for the second season of the slay-or-be-slain hit series Killing Eve. Then there's the résumé that backs her up: Fennell is an actress and novelist best known to TV audiences for appearing in the PBS period drama Call the Midwife; YA readers might recognize her name from her young adult fantasy series Shiverton Hall. It's clear Fennell understands the macabre humor and tense obsession that worked for the first season of the series about Sandra Oh's eponymous MI5 agent and her infatuation with Jodie Comer's exotic and globe-trotting hired assassin known as Villanelle.
Eve's first move after she shakily leaves Villanelle's Parisian flat? Head to a candy store where she stares glassy-eyed and robotically scoops random pieces of confectionary into a bag as a child stares at her in awe.
It's also a nod to the first time we saw Villanelle, in the series premiere, riding high on confidence and adrenaline after a kill, with a dab of blood on her watch. She enjoys some gelato, and then enjoys knocking a little girl's dish into her lap. Pure cruelty.
This season, she's no longer as cocky. As Eve wonders what's to become of her, a book-smart agent who specializes in serial killers but who now has experienced the taste of blood, we also see a Villanelle suddenly grappling with her own mortality – a new sensation for someone who has both escaped a Russian prison and taken a good deal of enjoyment out of watching her victims die. While the first season arguably toyed with the societal misconceptions of female relationships, the second more closely examines these power struggles.
The way we underestimate or pigeon-hole women is also impacting another aspect of Fennell's work. She'll be playing Camilla Parker Bowles, the Duchess of Cornwall, on the Crown in the third season of Netflix's regal drama. This season will focus on her character's relationship with Prince Charles, which started 10 years before he'd meet his eventual first wife, Diana Spencer.
Killing Eve returns to BBC America and AMC on April 7 at 8 p.m. The Crown Season 3 release date is TBA later in 2019.


Do not hesitate to do one or two demagnetizations (dégauss) if you work with a CRT screen.
To calibrate the screen means to regulate it to display "real" colors without one dominant color. With the closure of this procedure, an ICC profile of displaying will be created for your screen. The process calibrate a monitor and calibrate a srceen are similar.
The color of flat panel displays can vary according to angles' of view. Take care to place yourself in the best working conditions during the calibration of these screens. You can calibrate both LCD and CRT displays.
For a good screen calibration, do not hesitate to invest in a colorimeter. A calibration "by eye" will never give as good results as with a dedicated sensor. However, this is better than no calibration at all.
Having an accurate display on your monitor is essential to use your ICC profiles. A profiled monitor ensures accurate and consistent color throughout the digital workflow. For that, we propose you complete a calibration procedure with Adobe Gamma ®.
At the end of this procedure, an ICC profile for displaying will be created for your screen. This profile will then be automatically in charge when starting your operating system.
Before starting the calibration process of your screen, you will have to adjust the options of displaying.
Leave your monitor on for at least half an hour. If the monitor is not preheated, it may be that it does not show colors correctly. Deactivate the screen saver and the automatic standby mode of the monitor (in display options)..
Adobe Gamma ® is installed automatically and freely with Photoshop Elements ® or Photoshop CS ®. It is accessible from the control panel of Windows ® (menu , start > Control panel).
We strongly advise you to proceed the monitor calibration in natural light, without any direct light shining on your screen.
Once Adobe Gamma ® is launched, select the version step by step. If you have an ICC profile provided by the manufacturer of the monitor (on their Internet site or on a CD-Rom), you can load it now. It will be a good starting point in the calibration process. If not, name your profile and click next.
The screen captures show Mac and PC versions.
Increase the contrast of your monitor to maximum. Regulate the luminosity so that the square located in the black square is very hardly visible.
Click on bottom left of the curve to see " In and out "
... that you should just see the rectangle in the middle of the screen (barely visible). If not, increase the luminosity of your screen until you can.
Luminophores and red, green, blue channels.
If you loaded, a profile provided by the manufacturer of your screen at the preceding stage, keep the luminophore indicated. If not, ask your manufacturer the luminophore to be selected at this stage of the calibration process.
The next stage, deactivate the option "Post only one curve gamma". Both parts of each square must be in one another. If necessary, move away a little from your monitor.
At this stage, we require that the colors of your screen are the most neutral possible.
Select a gamma value of 2.2 if you work with Windows ® and of 1.8 for mac. Click here for more information on gamma. Depending of you video card, you can select 2.2 if you're working with Mac OS.
For the choice of the white point (i.e. temperature of color), we advise a valor between D55 (5500° K) and D60 (6000° K).Trust your eyes and choose what pleases you, best between 5500 and 6000 K.
Important : if posible, regulate the temperature of the color of your screen to the value chosen in Adobe Gamma ®,or to the nearest value. This option is generally in the menu of the monitor.
Save and name the file created by Adobe Gamma ®. You can now reactivate your background image and your screen saver.
" All Rights Reserved Profil ICC.com © 2007-2015 "


text:
Q: How to make my difference equation make the deadline constraint? Back at it again.
STM32L43KC Datasheet:
The question this time is I am finally starting to implement my digital filter which can been see as:
Z - Transform:
$$LPF_D=\frac{Y}{U}=\frac{0.3957z^2+0.7914z+0.3957}{z^2+0.3848z+0.1979}$$
Difference Equation:
$$Y_i = 0.3957*U_i + 0.7914*U_{i-i} + 0.3957*U_{i-2} - 0.3848*Y_{i-1} - 0.1979*Y_{i-2}$$
With a sample of \$T_s = \$ 15uS. Created with the Tustin Method. With a Pre-Warp frequency of 20kHz.
Code architecture:
The ADC is sampling at 66kHz.
System clocked at 4MHz
Using a DMA to tunnel the ADC's sample into a short type array that can store up to 2000 samples called:

*

*"short adcValues[2000]".

I have two interrupts:

*

*Triggers when the DMA fills half of the array "The Half Transfer Interrupt"

*Triggers when the DMA complete the transfer to the array " The Complete Transfer Interrupt"

This allows me to process the top half first while the bottom half is being processed and vice versa.
I have measured the time I am given to be in each interrupt which is 15mS for both the half transfer interrupt and the complete transfer interrupt. So essentially I would need my difference equation to be executed within 15mS.
With the current solution It gets executed in 188mS. I know you can do a lot of things such as used fixed point, DSP, FPU, however I am very new to this and have no idea which approach should I try.
Is my implementation even correct without the optimizations? Is it even possible to execute the code within 15mS when it needs to run 1000 times?
Code updated: Thanks to awjlogan. I got the code down to 25mS still not quite < 15mS. I guess the only thing to do is to increase the clock speed?
Second Update: Changing the clock speed to 80MHz got the code to 1.1mS! Thank you everyone for helping and giving their input.
short adcValue[2048];

uint32_t U_i[3] = {0,0,0};
uint32_t Y_i[3] = {0,0,0};

//16.16 Format
const uint32_t COEFF_0 = 0x654C;
const uint32_t COEFF_1 = 0xCA99;
const uint32_t COEFF_2 = 0x6282;
const uint32_t COEFF_3 = 0x32A9;

    void DMA2_Channel3_IRQHandler(void){

    if (((DMA2->ISR) & (1<<10)) != 0){
        halfTransferComplete = 1;
        DMA2->IFCR |= (1<<10);
    } else if (((DMA2->ISR) & (1<<9)) != 0){
        transferComplete = 1;
        DMA2->IFCR |= (1<<9);
    }
}

   while (1) {
    if (halfTransferComplete == 1){

    for (int i = 0; i < 1024; i++){

         U_i[2] = U_i[1];
         U_i[1] = U_i[0];
         U_i[0] = adcValue[i];
         Y_i[2] = Y_i[1];
         Y_i[1] = Y_i[0];
         Y_i[0] = COEFF_0*U_i[0] + COEFF_1*U_i[1] + COEFF_0*U_i[2] - COEFF_2*Y_i[1] - COEFF_3*Y_i[2];
         DAC1->DHR12R1 = Y_i[0] >> 16;
    }
        halfTransferComplete = 0;

}

    if (transferComplete == 1){

     for (int i = 1024; i < 2048; i++){

         U_i[2] = U_i[1];
         U_i[1] = U_i[0];
         U_i[0] = adcValue[i];
         Y_i[2] = Y_i[1];
         Y_i[1] = Y_i[0];
         Y_i[0] = COEFF_0*U_i[0] + COEFF_1*U_i[1] + COEFF_0*U_i[2] - COEFF_2*Y_i[1] - COEFF_3*Y_i[2];
         DAC1->DHR12R1 = Y_i[0] >> 16;
    }
         transferComplete = 0;
      }
  }
}

A: A few general suggestions first:

*

*Recommend using defined types for your declarations, e.g. uint32_t rather than int for U_i. The u in uint32_t stands for unsigned, and I assume you're not using a bipolar ADC. These allow portability across different architectures, as int is compiler dependent.

*short is also compiler dependent, it's only guaranteed to be at least 16bits wide. The natural width for an Arm micro is 32bit, so you might get better performance using uint32_t adcValue. Again, compiler dependent, I'm not sure how the M4 handles packing two 16bit values into a single 32bit value.

*Your two loops are identical, so just manipulate the indexing to select between the top and bottom.

*There are often optimisations to be done if you use powers of 2 for the number of iterations. Can you work on 1024 samples rather than 1000?

To run your loop faster, consider this fixed point approach. Your microcontroller has:

*

*A 12bit ADC

*A 12bit DAC

We can represent this in something similar Q12 format (1 integer bit, and 12 fractional), but we'll just normalise things and say 1 > MAX(ADC) >= 0. This means the integer bit is implicitly zero and we will treat all the bits as fractional. When you do a multiplication of a Qm and a Qn fixed point, the product is in Q(m+n) format; we can handle this later. To convert your floating point coefficients to Q12 simply multiply them by \$2^{12}\$. Your coefficients therefore map as:

*

*0.3957 -> 0x0000_0654

*0.7914 -> 0x0000_0CA9

*0.384  -> 0x0000_0624

*0.1979 -> 0x0000_032A

When you multiply your ADC values with these coefficients, you implicitly get a Q24 value out. You can do a right shift by 12 to convert this back to Q12. Your loop now looks something like this:
const uint32_t COEFF_0 = 0x00000654;
const uint32_t COEFF_1 = 0x00000CA9;
const uint32_t COEFF_2 = 0x00000624;
const uint32_t COEFF_3 = 0x0000032A;

for (uint32_t idx = 0; idx < 1024; idx++) {
    U_i[2] = U_i[1];
    U_i[1] = U_i[0];
    U_i[0] = adcValues[idx];
    Y_i[2] = Y_i[1];
    Y_i[1] = Y_i[0];
    Y_i[0] = COEFF_0 * U_i[0] + COEFF_1 * U_i[1] + COEFF_0 * U_i[2] - COEFF_2 * Y_i[1] - COEFF_3 * Y_i[2];
    DAC1->DHR12R1 = Y_i[0] >> 12;
}

Each iteration through the loop is now (naively estimating) something like 6 assignments and 5 multiply-accumulates (which I believe is a single instruction, MLA). As an estimate, let's say 20 instructions per iteration - even at the 4 MHz clock rate you've quoted, that's about 5 ms for 1000 samples. Hope that's helpful!
Addition
I've put some code up on Godbolt, you can play with the compiler options there. It produces roughly what I expected, around 35 instructions per iteration. It shuffles things around registers a bit more than necessary, so it would be a good exercise for you to understand that and perhaps tighten it up by writing the assembly. Try changing the compiler options; for example, swapping -march=armv7-m for -mcpu=cortex-m4.
You said the time is around 25 ms to do all the samples - the accesses to memory and the DAC will slow things down so the rough estimate of time is of the right order of magnitude. I would anticipate that the write to the DAC register takes a relatively long time. Speeding up your clock will certainly make it run faster, and really with something as capable as an M4, you should be running much faster than 4 MHz.

redpajama_set_name: RedPajamaStackExchange


Toronto and Peel police are warning about new methods being used to skim debit and credit cards in the GTA (Greater Toronto Area) of Ontario, Canada.
"Recently, there have been security violations at a few ServiceOntario kiosks. Police have been advised and investigations are underway, but, out of an abundance of caution, I have made this decision to ensure that ServiceOntario's customers continue to be protected.
If you need more information, please call their toll-free customer service number at 1-800-267-8097, or visit a ServiceOntario centre near you.
All ServiceOntario kiosks have been temporarily withdrawn from service after ServiceOntario advised the police of security violations at several kiosks. Investigations by ServiceOntario and financial sector partners are currently underway. It is common practice that financial institutions contact affected customers.The move comes as Toronto and Peel police are warning about new methods being used to skim debit and credit cards in the GTA.


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redpajama_set_name: RedPajamaGithub


I prefer not to order films according to a prescribed 'best' list and find that, looking back at the year's viewing – it's the most memorable that are important. I couldn't imagine putting them in order as they've all drifted in and out of my mind at one time or another, and have equally filled my thoughts with arresting images and sounds. To that end, here are some films that have affected me and I hope they did you, too.
At Glasgow Film Festival in February I had the pleasure of seeing Patrick Wang's In the Family, an epic melodrama about a one half of a couple, Joey (Wang) struggling to affirm his place in stepson, Chip's life when his biological father suddenly dies. Wang's languid pace and attention to detail gradually allows an intimacy with the characters, supported by wonderfully natural performances and dialogue. It all adds up to an un-showy, Capra-esq last act that rewards the viewer tenfold.
Two Years at Sea was a gorgeous, skillful portrait of Jake, the Aberdeenshire hermit that managed to play with the expectations one might have of a solitary soul. Ben Rivers black and white film spends plenty of time on Jake's daily routine, but his camera's presence is the clue to just how 'real' or 'true' this depiction is, and even manages a tree-house related magic trick too. That this 16mm delight was developed in a sink only adds to it charm.
Martha Marcy May Marlene directed by Sean Durkin is responsible for some of the most arresting images to permeate my thoughts – not least of all the excellent John Hawkes singing sweetly, enchanting his young followers.
This, and Amy Seimetz' Sun Don't Shine – a couple-on the run thriller that used harsh daylight to evoke claustrophobia akin to a daylight noir – were perhaps the US independent films that impressed most (and that's in the year that brought us Beasts of the Southern Wild – supposedly the saviour of the American indie).
Barbara was simply an excellent narrative film, a hugely rewarding drama that managed to surprise and beguile me. It almost goes without saying that Amour and The Master were stand-out auteur works so I won't say anymore, other than if you're put off by their heaps of praise, don't be. For me, the big, epic of the year was Once Upon a Time in Anatolia from Climates director Nuri Bilge Ceyla n. Ostensibly a police procedural – the search for a body in a landscape only penetrated by car headlights – this was morality and myth on screen that I frequently misremember as a 1940's Renoir ballad of humanity. I sincerely hope it gets more outings on the big screen. Kosmos by Reha Erdem also deserves a mention for being another example of fine Turkish cinema.
I was delighted to be able to see Maria Saakyan's new film, I'm Going to Change My Name at London Film Festival. As a follow up to her feature debut, The Lighthouse (2006), this tale of a young girl's identity crisis represented online space more fluently and sensitively than the crass Catfish and suggested that if Saakyan continues to develop with such originality, we are in for some very exciting films indeed. Another excellent depiction of youth and longing was Mao Mao's Here, Then which screened at Edinburgh International Film Festival and won the Award for Best International Feature Film. Using long takes and crisp cinematography, masterfully handled by DoP Liu Ai Guo, Mao Mao's film manages to weave connections between his seemingly unrelated protagonists and create a ponderous space in which to consider their action/inaction.
A beautiful, very special film for me this year was Jem Cohen's Museum Hours starring the enigmatic Mary Margaret O'Hara as a visitor in Vienna who befriends a guard at the Kunsthistorisches Art Museum. Cohen's sensitivity towards his characters and obvious ease with which his actors perform makes for a naturalistic musing on friendship, art and communication. A more 'Hollywood' take on the subject might see this unlikely pair romantically involved but Cohen prioritises the subtleties and awkwardness of newfound connection – much like the detail in Breugels paintings, so delicately discussed in the film. The result is a highly engaging, honest and relatable depiction of contemporary relationships.
2012 will always be the year I discovered Miguel Gomes and I couldn't possible write of the most memorable without mention of his masterpiece, Tabu. I don't think I can remember a recent film that has brought me so much joy to watch, or to think about afterward. To have made such a funny, heartbreaking and fiercely intelligent film means that I will never be shy of heaping praise on Mr Gomes, and eagerly anticipating what he will do next.
Honourable mentions must go to the following, which were just as thoughtful, funny, enjoyable or intelligent as those mentioned above, but who's drawn out appraisal I will save you from here.
Marina Abramovic: The Artist Is Present, Matthew Akers, Jeff Dupre.
The Myth of the American Sleepover, David Robert Mitchell.
Berberian Sound Studio, Peter Strickland.
Since publication Sun Don't Shine has been picked up for distribution by Factory 25 – not sure if it'll come to the UK but look out for it, whether its in cinemas, DVD or online – its worth it!


This tiny Central American country is big on biodiversity - and adventure. Costa Rica brims with life on land and at sea, with monkeys, birds, sea turtles and dolphins at virtually every turn. Tourism is well developed here, and you'll find idyllic lodges, fantastic naturalist guides, ziplining, cycling and easy to traverse roads - find out more in our Costa Rica travel guide.
This little country is an adventure playground on an enormous scale. Adventurers can negotiate its rain and cloud forests on foot, horseback, mountain bike, hanging bridge or 200m-high zip line, for a true bird's eye view of the monkey-and-macaw-filled canopy. Water babies can surf, snorkel and scuba off the coast, or kayak, rappel and raft along the inland rivers – past soaring volcanoes, bubbling geothermal pools and postcard-perfect waterfalls.
But Costa Rica's biggest selling point is not just that it has plenty to offer – it's that it's all been done right. From its comfortable, carbon neutral ecolodges and long-standing conservation areas covering almost a third of the country, to the excellent tourist infrastructure and focus on safety and wellbeing, Costa Rica is a perfect taste of Latin America without the need to speak Spanish, journey for days to remote jungle lodges or sacrifice comfort for glimpses of wildlife. It's all good, clean fun, and your biggest travel trauma will be realising you can't discover all of its attractions in a single trip.
with no political stability and no military.
an undiscovered wilderness. Tourism is well established, English widely spoken and there are as many beach bums as birders.
Sea turtles nest on Costa Rica's Pacific and Caribbean coasts throughout the year. However, not only are they endangered, but their eggs, meat and shells are still taken for food or to sell. Volunteering - either for your whole trip or as part of a longer holiday - really makes a huge difference to survival rates, as you protect the adults, the eggs and hatchlings from predators - human or otherwise.
The primary rainforest of this nature reserve was once something of a hidden gem, but travellers are wising up to its true value. Pacuare River has grade II-V rafting, while rapelling and zip lining reveal different perspectives of the jungle. The superb lodge works closely with local communities, and eco-friendly bungalows offer a carbon neutral stay. The fun begins before you even arrive, as the only way in is by raft.
With little evidence of its pre-Colombian inhabitants and tourism focusing heavily on wildlife, you could be forgiven for forgetting that there are humans here at all. But this country has been so beautifully preserved thanks to its people, and from the Creole-speaking Afro-Costa Ricans of the Caribbean, to the Bribri of the Talamanca Mountains and the rural coffee farmers, they're all well worth getting to know.
It's hard to get away from it all in a country this compact and popular, but the largely undeveloped Caribbean coast may just be the answer. It lacks the beach resorts of the Pacific, but if rustic bungalows, reggae and a laid-back vibe are your thing, you'll be right at home. The Afro-Caribbean culture extends into the music, dance and coconut infused cuisine, and the unspoiled beaches are backed by rainforest.
Begin your adventure by boat – the only way into this remote region, famed for its wildlife and particularly the green turtles that gave it its name. Peak nesting season falls from July-Oct, but you can hike and canoe through the verdant Caribbean forests most of the year, looking out for otters, howler monkeys, manatees and sloths around the rivers and lagoons. Tortuguero is also well set up for families.
Plenty of countries have astounding wildlife, but rarely have they preserved it so carefully for decades – and few offer so many ecosystems in such a tiny space as Costa Rica. Sightings are so superb here as there is simply nowhere for the creatures to run. Turtles, quetzals, howler monkeys, sloths, caiman, otters, dolphins… take your pick of iconic species, and don't forget your binoculars.
With the possible exception of the Galapagos, which is both costly and remote, you could argue that Costa Rica is the most enticing destination for family travel in Latin America. Safe, tiny, with superb facilities and widely spoken English, this is ideal for even the youngest of travellers, while the mind blowing menu of adventure activities will keep older children busy for weeks.
We recommend stopping by this beach – just so that you really appreciate the fact you're staying elsewhere. Although the surrounding national park is incredible, Manuel Antonio's fame and proximity to San José mean that more people head here for the beach than the wildlife, and you'll have to endure the noise that comes with that. Numbers are capped; but at 600-800 per day, you'll barely have space for your beach towel.
This former fishing village is now one of the country's most hyped hotspots, thanks to its reliable surf, direct airport access and abundance of hotels, restaurants and all night parties. Pebbly Playa Grande is unlikely to inspire anyone other than surfers, and the town is bordering on overdevelopment – Westerners dominate and the lack of Tico culture appears to be a big selling point. Tamarindo National Wildlife Refuge, however, is worth a visit.
Costa Rica's most restless volcano spewed lava for over four decades, but since 2010 it has been taking a well earned break. Visitors won't see the lava or ash rising from its peak, and as its peaks is often shrouded in low cloud, it can be a bit of a disappointment. So don't come for the volcanic views – or photographs – but for the still-superb activities, including hiking, zip lining, rafting and canopy tours.
In 1948, Costa Rica decided that the military was overrated and abolished the army, navy and air force. The country has local police forces only, and no heavy weapons, tanks or warships. In Costa Rica, peace comes first, and rather than being greeted by military officials, foreign dignitaries are greeted by schoolchildren. This is a particularly symbolic move for a tiny nation in a volatile region.
staple of black beans and rice.
called patacones are filling and delicious.
Casado refers to a set lunch in local restaurants, usually consisting of gallo pinto, plantains and salad – plus beef, fish or pork.
The tropical climate makes this paradise for fruit lovers. Fresh juices are ubiquitous and cheap; we recommend creamy guanábana, also known as soursop.
Costa Rica is home to 5 percent of the planet's diversity – despite covering just 0.03 percent of its surface. This includes 1 in 10 of the world's butterfly species.
Costa Rican people are known as Ticos. Most are a blend of European and native roots, but indigenous communities number around 60,000; the Bribri, Kekioldi and Cabecar live in the southern Caribbean region, growing cacao trees and making roofs from palm fronds. Ranches along the dry north Pacific are the cowboy culture hub, while the Caribbean coast is testimony to the wave of Jamaican immigration.
Afro-Costa Rican creole is known as "Maketelyu" from the phrase "make I tell you".
"Soda" is not a drink – it's a basic café selling economical set meals.
You're sure to sample Salsa Lizano, a savoury condiment present on every Tico table. It's slightly sweet, slightly spicy – and tastes great with everything. Be sure to pick up a bottle before you leave.
An hour away from San José, the little town of Sarchi is an artisan-filled shopper's paradise. You can pick up wood and leather rocking chairs that fold down into a box, traditional ceramics from the region of Guanacaste, and colourful masks and jewellery.
The Spanish governor in 1719 described Costa Rica as the "poorest and most miserable Spanish colony in all America". Today, few would recognise this country – one of the wealthiest in the region – from his description. As if further proof as needed, "Costa Rica" in fact means "rich coast" – a far more accurate name for this tiny gem of a nation.
Costa Rica can be viewed by tourists today as the intersection between Western and Latin American culture. But historically, it was the meeting point of Andean South Americans, Aztecs from the north and the seafaring Caribs from the east. But all of these people fell under the rule of Spain when Costa Rica joined this mighty empire in 1524. Isolated from the regional capital in Guatemala and lacking gold and silver, few resources were poured into this land and the well-to-do settlers found themselves having to tend their own crops without the enslavement or oppression of the local population. This created an unusual kind of rural democracy, a premonition of the egalitarian society that Costa Rica would become centuries later.
Costa Rica finally gained its independence in the 1820s, but thanks to its remoteness, it only learned this a month later. However, once it was discovered that coffee grew exceptionally well in this climate and volcanic soil, the country gained a new value. Landowners were given free saplings as an incentive to maximise production; coffee soon comprised 90 percent of all the country's exports. But although there was money to be made, Costa Rica's progressive government maintained its democratic stance by imposing high taxes on plantation owners and exporters, which in turn was reinvested in free education for all.
The same care was not invested in the environment, however, as forests were cleared to make way for coffee and bananas, but as coffee prices plummeted in the 1970s, people began to view the forest in a different way. Rather than making money from exporting things from the land – could we not make money by importing people to it? What was once seen as a barrier to wealth generation was now seen as the very source of that wealth. Costa Rica became a leader in the world's environmental movement almost by accident, as income from tourism surpassed that of coffee and bananas, and the country moved to conserve swathes of cloud forest and rainforest, coast and ocean. Tourism here for the most part is considered "ecotourism" – yet there are concerns that in future it may become a victim of its own success. Though profits remain largely in-country, resulting in poverty levels dropping from 50 to 20 percent, there are concerns about the rights of local communities who still depend on the land for their survival. Additionally, sustainable tourism by its very definition has a limit to how big it can grow; with over a million visitors per year sensitivity is needed. Costa Rica's past has turned it into a model for responsible tourism; its future could reveal what happens once that ideal has been achieved.


My mother likes crack and booze.
Thats the reason now my home is hoarded.
My mothers lies and is a thief.
She got back with the guy who tried.
We are better off not together.
My mother needs a pardon.
Just like all the other mothers.


text:
Keep On Dreaming
by Stars Algonquin
Älva Darling
RachelM
danneau
patricksmithsaxophone
$5.99 CAD or more
Keep On Dreaming 03:44
Are you all alone tonight Watching your life on TV? Are you sweating through your sheets Thinking of ways to leave me? I won't let you go It's like I told you so I won't let you go So keep on dreaming now Are you reaching your wit's end With the way you soldier on? Are dreaming of that day when I'll wake up and you'll be gone Oh no, It's like they told you so I won't let you go So keep on dreaming now White horses in the night Things that help you feel alive Race away, forget the fight Terrified to shut the light, so Keep on dreaming now I won't let you go It's like I told you so I won't let you go So keep on dreaming now
Man of the Hour 02:17
He's got a way with words you just don't hear anymore Droppin' lines so hot, he's gonna melt 'em before They get a second to ask Who brought this guy 'round here? When the music is bad, and the people don't know The nucleus of the floor, the one who's dancing the snow Shoe moonwalk with class Even haters turn their heads as they pass on by You should feel lucky to know You're with the man of the hour Fighting out in the street, he's taking two at a time Blood spilling on his new shirt, you can be sure he don't mind Smokin' in the alleyway, just the same as yesterday You should feel lucky to know You're with the man of the hour Fighting out in the street, he's taking two at a time You know you are what you lack, so leave your doubts all behind Smokin' in the alleyway, just the same as yesterday You should feel lucky to know You're with the man of the hour
The Palace Hotel 03:25
I can tell by the way you're standing alone Nobody's gonna break to make you feel at home Spent your last quarter in the nuts machine Bleeding from the nose, baby that's the scene Oooh, you'll be the death of me Oooh, you'll be the death of me Tryin' to find the time on these glowing walls Feeling like a kid in your high school halls You see the same faces, they're tired and mean Failing like the lights on the Keno screen Oooh, you'll be the death of me Oooh, you'll be the death of me I've never seen the exit light so clear I think it's 'bout a good time to disappear I can't stand another wasted year I think it's 'bout a good time to disappear When the smoke gets stale and the night is done They're the one's who're gonna say that you're the lonely one But it's too dark now, and you can't go back Stealing away and never paying it back Oooh, you'll be the death of me Oooh, you'll be the death of me I've never seen the exit light so clear I think it's 'bout a good time to disappear I can't stand another wasted year I think it's 'bout a good time to disappear I think it's 'bout a good time to disappear I think it's 'bout a good time to disappear I think it's 'bout a good time to disappear
Pushing Up Daisies 02:27
Where you runnin' Where you runnin' Where you runnin' now? Where you runnin' Where you runnin' Where you runnin' now? Take your time, til your time is gone, It's me, I'm on your lawn and your lights are on So hey, lock the door there's a bad man comin' Pushin' up daisies til you dig me out, honey come on Alright Are you comin' out tonght? Where you runnin' Where you runnin' Where you runnin' now? Where you runnin' Where you runnin' Where you runnin' now? Hold the phone cause your landlord's on the line She said she's not gonna call ahead next time So hey, lock the door there's a bad man comin' Pushin' up daisies til you dig me out, honey Alright Are you comin' out tonight?
Back Into the Sea 03:47
Pushing rocks uphill for eternity Just to watch them roll back into the sea Feeling the weight of it all Feeling the weight of it all Bailing fast but you know the hole is growing bigger We'll find your body soon at the bottom the river Feeling the weight of it all Feeling the weight of it all The feel of your mind in dissolve Feeling the weight of it all Infinitely billowing black sail bloom In filling your lungs it's tearing through Turn and face into the wind Push it off the cliff and keep walking on (Do you feel better now?) Break on through the night to another dawn (Do you feel better now?) Pushing rocks for eternity it seems (Do you feel better now?)
Moonless Night 04:46
Turn back the clock I'd like to write that page again And I'll make a fool of myself Many times again Turn back into The friend that I once knew before Cause if you really knew You wouldn't love me anyway Don't leave me now Cause this doesn't feel like the end Don't leave me now I don't know how I'll find you again Feeling our way blind through the dark Out in the open on this moonless night Why are you walking fast ahead? Forget what I said, you're only dreaming Don't leave me now Cause this doesn't feel like the end Don't leave me now I don't know how I'll find you again
All songs by Tristan Armstrong & Stars Algonquin.
Recorded by John Dinsmore at Lincoln County Social Club.
Vocals recorded by Jordan Venn at Albany Gardens Studio.
Mixed by John Dinsmore.
Mastered by Reuben Ghose at Mojito Mastering.
Produced by Tristan Armstrong.
Cover artwork collage by Tristan Armstrong.
rock rock & roll tristan armstrong indie rock power pop rock & roll roots rock Toronto
Stars Algonquin Toronto, Ontario
Drawing influence from Americana, Indie rock, and earnest Canadian rockers alike, Stars Algonquin pay homage to classic-pop and roots-rock songwriting to make music that is both introspective and spirited.
Based in Toronto, but comprised of musicians originally from Vancouver Island, imagery of the west coast is often reflected in the mood of the music. ... more
Contact Stars Algonquin
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redpajama_set_name: RedPajamaCommonCrawl


text:
Elizabeth Warren On The Rising Cost Of Credit Debt
Harvard Law professor returns to Fresh Air to talk about how credit-card debt is becoming more costly due to increased fees and interest rates. Warren is a bankruptcy expert and an outspoken critic of abusive lending practices.
Other segments from the episode on July 2, 2008
Fresh Air with Terry Gross, July 2, 2008: Interview with Theo Bleckmann; Interview with Elizabeth Warren; Review of Joseph O'Neill's "Netherland."
Theo Bleckmann Goes Back To Berlin Roots
From jazz concerts and cabaret acts to multimedia art installations, Theo Bleckmann has made a name for himself in new York. Now, the vocalist and composer looks back to his native Germany.
Theo Bleckmann
'Netherland' Flirts With Greatness Of 'Gatsby'
With plenty of nods to The Great Gatsby Joseph O'Neill's Netherland explores dreams and ambition in post-Sept. 11 New York City. Maureen Corrigan calls the novel "marvelous."
DATE July 2, 2008 ACCOUNT NUMBER N/A
Interview: Avant garde musician Theo Bleckmann on his new album
"Berlin," his life and career
This is FRESH AIR. I'm Terry Gross.
There's not a lot of people who love showtunes and avant garde music, even
fewer who can perform both well, so let me introduce you to Theo Bleckmann,
who is full of vocal surprises. He's been a part of the New York downtown
music scene for over 15 years. He's performed with Meredith Monk, John Zorn,
Laurie Anderson, and the Bang on a Can All-Stars, and has been a soloist with
the Estonian Radio Choir, Merce Cunningham Dance Company, and Mark Morris
Dance Group.
Bleckmann's 2006 collection of showtunes and pop songs "Las Vegas Rhapsody"
was described in the Village Voice by jazz critic Francis Davis as "the most
transcendent vocal album in many a moon." Bleckmann moved to New York in 1989
from his native Germany. His new CD, "Berlin: Songs of Love and War, Peace
and Exile," features songs by Kurt Weill, Bertolt Brecht, Hanns Eisler, and
On this track, Theo Bleckmann sings "Surabaya-Johnny" from the Brecht-Weill
musical "Happy End."
(Soundbite of Theo Bleckmann singing "Surabaya-Johnny" in German)
GROSS: Theo Bleckmann, welcome to FRESH AIR. That's such a really good
version of "Surabaya-Johnny." Would you talk about what the lyric means?
Mr. THEO BLECKMANN: Well, the lyric is a love song, pining for somebody that
no longer loves him and was abusive, and that is the gist, the core, of the
song. Of course, it's usually song by a woman, but in this case I'm singing
it as a man, from a man to a man.
GROSS: So you're out as a singer?
Mr. BLECKMANN: Yes.
GROSS: Good.
Mr. BLECKMANN: Out as a singer, out as a person.
GROSS: OK. Now, I particularly like the spoken part in that song...
Mr. BLECKMANN: Mm-hmm.
GROSS: It's like you're acting the song.
GROSS: So maybe you could talk a little bit about doing that kind of
Sprechstimme? What's the...
Mr. BLECKMANN: Yeah. It's called Sprechstimme.
GROSS: What's the Brechtian word for it? Yeah.
GROSS: Where it's part spoken, part sung.
Mr. BLECKMANN: Exactly. It's sort of that in-between place where there's no
pitch, but you're still somewhat singing the phrases. It's a very strange
place. Yeah, I feel very connected to that lyric because I have been in a
relationship like that--not with physical abuse, but, you know, abusive
otherwise, and so it felt very close to my heart. I didn't have to really
search that long to really find a place that I could connect to in this case.
GROSS: Now, most of the songs on your new CD "Berlin" are songs with lyrics
by Bertolt Brecht.
GROSS: You grew up in Germany.
GROSS: What did Brecht's songs mean to you in Germany when you were living
there?
Mr. BLECKMANN: Nothing.
GROSS: Glad I asked. Really, so you--did you not know them until you moved
to America?
Mr. BLECKMANN: I did know them, but from a far distance, and I wouldn't have
touched them. But when I came here, you know, I work a lot in music that has
no words, and I work a lot in music that has English lyrics, and, most of all,
sometimes very abstract lyrics. So for me to sing this material was a far
stretch at first, and then when I realized how close I actually felt--how
closely related I felt to them, it was actually quite overwhelming, because
it's part of my history, and it's also part of the history of this country
right now, in terms of the political context that these songs--on this record,
especially--have. So it was sort of a homecoming for me.
GROSS: Well, we heard "Surabaya-Johnny," which is a song about someone whose
lover has been abusing them.
GROSS: I'm going to change the tone a little bit and play another track, and
this is a song with a lyric by Bertolt Brecht and music by Hanns Eisler.
GROSS: And I'll ask you to pronounce it, but it's "Als Ich Dich In Meinem Leb
Trug."
Mr. BLECKMANN: "Als Ich Dich In Meinem Leb Trug."
GROSS: Yeah, that's what I mean to say. And this is a much more, like,
march-like and in some parts dissonant song. Tell us what in means in English
and why you chose to sing it.
Mr. BLECKMANN: This is one song of a little suite that we actually took
apart on the record, but it's four songs of a working mother's song to her
unborn child in which she tells the child that `you are coming into a very
difficult and sad world and that they're already planning victories with your
little body.' But there's a little bit of hope in those songs, too, in saying
that `I hope you will stand up against tanks and generals and fight against
them.' So that's sort of the gist of these four songs, and that's one of them.
GROSS: And that explains the march-like beat?
GROSS: So, this is Theo Bleckmann from his latest CD, "Berlin: Songs of Love
and War, Peace and Exile."
(Soundbite of Theo Bleckmann singing Als Ich Dich In Meinem Leb Trug" in
German)
GROSS: That's singer Theo Bleckmann from his latest CD, "Berlin," and the
song we just heard was written by Hanns Eisler and Bertolt Brecht.
We established that growing up in Germany, you weren't paying a lot of
attention to the music of Bertolt Brecht and Kurt Weill...
GROSS: What were you listening to?
Mr. BLECKMANN: I was listening to American musicals. I was listening to a
lot of jazz as I got older and into my teens, and that really took over. I
was listening to jazz music and then very, very contemporary classical
music--Stockhausen...(unintelligible)...John Cage.
GROSS: Were American musicals popular in Germany? Or was it unusual for
someone young like you to be listening to them?
Mr. BLECKMANN: There were on TV, and I would darken the living room and
forbid everybody to walk through the living room when a musical was on because
it was my private time with the TV. And then I would find the records for it.
I would--at that time you had to order the records in a record store, and it
would take six weeks for them to get there. I grew up in a small town,
so--but it was a big, exciting day when the record arrived and I would listen
to it until the next one came.
GROSS: So when you saw American musicals on TV, were they in English?
Mr. BLECKMANN: They were dubbed in German and then they broke out into
English songs. It was the weirdest thing. And you wouldn't question it at
all, that all of a sudden they're singing in a different voice with English
words--except for "My Fair Lady," which was overdubbed with German singers,
GROSS: I see.
Mr. BLECKMANN: Overdubbed--the text and the dialogue was overdubbed in
German.
GROSS: How strange.
GROSS: So did it help you--like, I assume you were singing along in English.
Did you already know English?
Mr. BLECKMANN: Yeah, you learn it in school.
GROSS: You do? Uh-huh.
Mr. BLECKMANN: No, I just--most of it I didn't understand. I always thought
in "The Wizard of Oz" that Judy Garland sang, "I wish I were a porno star and
wake up where the clouds are far." I thought, why would she wish that? That
is so weird.
GROSS: Did you really think that?
Mr. BLECKMANN: I really thought that, yeah.
GROSS: That's great.
My guest is singer Theo Bleckmann. His new CD is called "Berlin: Songs of
Love and War, Peace and Exile." We'll talk more after a break. This is FRESH
AIR.
(Announcements)
GROSS: My guest is singer Theo Bleckmann. His latest CD, "Berlin," features
songs by Kurt Weill, Bertolt Brecht, Hanns Eisler and others. Bleckmann moved
to New York from Germany in 1989.
You were born in 1966.
GROSS: So you were born, you know, a couple of decades after the war.
GROSS: Did the war have any impact on you when you were growing up, or did
that seem like...
GROSS: ...something that was way over?
Mr. BLECKMANN: No, no, no. It was very present in my family. My parents
were children--my father actually went into the war. He lost a limb in the
war; he lost his leg in the second world war. My parents were quite old when
they adopted me so they were part of that whole generation--of course, my
grandmother too--so there was a lot of history about that in our family. My
grandfather, who I never met, but he--from my mother's side--he was a big
opponent of the war and of the Nazis and he got into some trouble in our
little town. And my mother had to go to another school because she didn't
want to join the Hitler Youth, so there was a lot of impact, and there's still
stories that I get from my mother to this day that are about that time.
GROSS: Did you father want to fight or was he forced to fight?
Mr. BLECKMANN: He was forced to fight, yeah, and he went to the Russian
front and came back, you know, crippled.
GROSS: And do you know the story behind your adoption?
Mr. BLECKMANN: I know very little. I tried to find my birth mother. When I
turned 30, I got this bee in my bonnet that I would want to do that,
especially fueled by all these reunification stories that you see on TV. And
so I wrote to the adoption agency through which this process had to be
facilitated, and they sent my letter to my birth mother, which they had found,
and then she sent a letter back through the agency to me saying that she
didn't want to meet me, didn't want to get to know me. This went on for two
more letters, I think, and me saying, you know, `I just want to meet you.
There's no financial impact, or I'm not a crazy person.' But she just didn't
want to meet so that was the end of that and I didn't pursue it anymore after
GROSS: Do you feel bad about that?
Mr. BLECKMANN: Well, it was a second adoption, really. It was being
adopted--you know, given up a second time. Maybe my hopes were too high, but
it was difficult, I have to say. It was difficult. But it's done, closed
GROSS: All right.
My guest is singer Theo Bleckmann, and his new CD is called "Berlin: Songs of
Love and War, Peace and Exile." Most of the songs in there have lyrics by
Bertolt Brecht.
You know, we talked about how much you loved showtunes growing up...
GROSS: ...in Germany. And an earlier CD that you did a couple of years ago
called "Las Vegas Rhapsody" has a lot of like showtunes and American pop tunes
in it. Are any of the songs on that album songs that had personal
significance from your childhood?
Mr. BLECKMANN: Particularly "Out of My Dreams" and "We Kiss in a Shadow"
meant a lot to me because I--those were two of the songs that were on records
that I had bought and listened to over and over and over again. I think I got
those lyrics right, hopefully.
GROSS: Those are actually my two favorite tracks on the album, and...
Mr. BLECKMANN: Thank you, Terry.
GROSS: ...I thought we'd play "We Kiss in the Shadows"...
GROSS: ...and this is from the Rodgers and Hammerstein musical "The King and
I." Is that one of the musicals that you watched a lot?
Mr. BLECKMANN: Yes. When they would come on TV. There was no VCR or
anything, so maybe once a year.
GROSS: Well, let's hear it. This is "We Kiss in the Shadows" and Fumio
Yasuda is accompanying you at the piano. And this is from Theo Bleckmann's
album "Las Vegas Rhapsody."
(Soundbite of "We Kiss in the Shadows")
Mr. BLECKMANN: (Singing) We kiss in a shadow
We hide from the moon
Our meetings are few
And over too soon
We speak in a whisper
Afraid to be heard
When people are near
We speak not a word
Alone in a secret
Together we sigh
For one smiling day
To kiss in the sunlight
And say to the sky,
`Behold and believe what you see
Behold how my lover loves me'
(End of soundbite)
GROSS: That's Theo Bleckmann from his album "Las Vegas Rhapsody," and his new
CD "Berlin" features German songs, mostly songs with lyrics by Bertolt Brecht,
and Theo Bleckmann grew up in Germany.
How old were you when you moved to the United States?
Mr. BLECKMANN: I was 23.
GROSS: Now, you mentioned your dream was to be a painter.
GROSS: I had read that you were an ice dancer in Germany. Is that wrong?
Mr. BLECKMANN: Yes, that's correct. Yes, during my voice break I needed
something else to do, so I went into figure skating and, you know, after my
voice came back, that took backseat.
GROSS: So what kind of music did you dance to as a figure skater?
Mr. BLECKMANN: Oh, of course, showtunes--Gershwin. One of the routines we
did was to a "Sweet Charity" medley, and Gershwin--I always thought it would
be so kooky to use a Weber and string quartet or something completely atonal
and crazy, but of course so many people have fingers in their pie of what
decisions are being made, including costumes and music, and so that was never
an option.
GROSS: What's the greatest costume you wore?
Mr. BLECKMANN: Spandex, of course, and lots of glitter on it.
GROSS: Now, when you talk about your voice break, because you were singing as
a boy and you had to...
GROSS: ...wait out the break in your voice, it sounds like, `well, you know,
taking a little hiatus while my voice breaks.'
Mr. BLECKMANN: Hm.
GROSS: But it must have been kind of scary for you when your voice broke to
not know...
Mr. BLECKMANN: It was very scary.
GROSS: ...how it would come back.
Mr. BLECKMANN: Oh my God, yes. Especially when your identity as a musician
as a child was so closely linked to that. I remember being in the recording
studio and doing a recording at that time, and I thought that licorice would
help it go away, so I just kept eating licorice, bag after bag after bag. And
it would help, you know, it goes up and down in the beginning, so I thought,
oh, this is really working. But of course, it didn't. Yeah, it is scary.
GROSS: For several years you sang in a group led by Meredith Monk, who is...
GROSS: ...a very extraordinary singer and composer.
GROSS: And her style of singing is influenced by all kinds of singing around
the world, from Tuvan throat singing to you know, Bulgarian choirs and...
GROSS: Are there techniques that you learned by working with her that helped
you learn about things that your voice could do that you otherwise might not
have known about?
Mr. BLECKMANN: It wasn't so much technique that I learned with Meredith. It
was finding a motivation, or an impetus, for each sound that you do. I think
one of the many reasons why Meredith's work is so incredibly strong and
powerful is that it's not just any old sound making that's clever and fun and
interesting, but there's an emotional motivation for everything. And I
learned that without that, it means nothing. Without that you can sing the
craziest sounds and isn't that clever, isn't that interesting, but what does
it mean? What does it make you feel? Who is this person singing this crazy
sound? That's what we constantly worked on in the ensemble and working on her
music. And the same is true for regular singing, too, of course. But in
sound making, it's not really talked about as much because sometimes people
think that sound is enough. I disagree with that. I think that sound isn't
always enough.
GROSS: Theo Bleckmann will be back in the second half of the show. His new
CD is called "Berlin: Songs of Love and War, Peace and Exile." I'm Terry
Gross, and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross back with Theo Bleckmann, a singer
as comfortable with showtunes as he is with avant garde music. His 2006 album
"Las Vegas Rhapsody" featured showtunes and pop songs. His new album,
"Berlin: Songs of Love and War, Peace and Exile," features songs by Kurt
Weill, Bertolt Brecht, Hanns Eisler and others. Bleckmann also sings and
performs wordless vocals in duo in small assembly settings.
I'd like our listeners to hear your more contemporary, or
experimental--whatever you want to call it--that side of you...
GROSS: Is there something you'd like us to play?
Mr. BLECKMANN: Well, maybe "Norwegian Wood," which sort of brings together
both of those elements.
GROSS: Song and adventure.
GROSS: And you...
Mr. BLECKMANN: That's nicely put.
GROSS: You do something in the break of this that sounds kind of like Tuvan
throat singing.
Mr. BLECKMANN: Mm-hmm. Which it is, yeah. I worked on my overtone singing
some while back and see if I could refine it on my own and work on which
overtones I get when and sort of that part entered this arrangement.
GROSS: Is there a way--would you be willing to just like demonstrate what it
is that you do, like how it sounds and how you get there?
Mr. BLECKMANN: Well, the easiest way to start overtone singing is to go into
your bathroom, if you have a, you know, especially reverberant bathroom, and
start singing, you know, mid to low range on the word "bird" and stay on the
"ir", especially easy for Americans, especially from Texas. (Singing) Bird.
(Spoken) And play around with the position of the tongue and move it back and
forth very slowly and listen to what's coming out.
GROSS: Is it the lips, too, that you're moving?
Mr. BLECKMANN: Not so much the lips, but the inside of your mouth.
GROSS: Mm-hmm.
Mr. BLECKMANN: The cavities are changing, mostly the tongue. It's the
tongue position.
GROSS: But when you sing in overtones it sounds like you're singing several
notes at one time.
Mr. BLECKMANN: They just swing along. They just ring along with what I'm
singing because they're present. It's like a color spectrum. Each color has
other colors in it. The color white has all the colors in it, so I just, by
just changing the shape of my mouth, I emphasize red and blue and yellow and
purple in the spectrum.
GROSS: OK. So let's hear what you do with "Norwegian Wood," singing it and
doing a little throat singing--overtone singing in there.
GROSS: And this is from an album that you made with the guitarist Ben Monder,
and the CD is called "At Night."
(Soundbite of "Norwegian Wood")
Mr. BLECKMANN: (Singing) I sat on a rug biding my time
Drinking her wine
We talked until 2, and then she said
It's time for bed
She told me she worked in the morning
And started to laugh
And I told I her didn't and crawled into sleep
in the bath
GROSS: That's singer Theo Bleckmann with Ben Monder on guitar from their
album "At Night."
Because you have such range and flexibility and tonal variety with your voice,
I think you've also done some, like, movie special effects?
Mr. BLECKMANN: Mm-hmm. Yes.
GROSS: Tell us what you've done.
Mr. BLECKMANN: Well, I got a call some years ago from a friend of mine who
was engineering a sound improv session for a movie, and he asked me to read
this dialogue in the voice of an alien. And I read through this, and it was
this person whose head opens and then this alien comes out of the head and
then this person falls into a plate of pierogis, and so I was supposed to read
this, but pretend I was an alien. And I thought, this is the worst movie
script I've ever seen in my life. It was just two pages, just this one scene.
And so I kept, you know, doing one take, and he said, `OK, now do it in
another way. And I did another take. And this goes on and on, and after six
takes, we're like, OK, done. I said, `Who directs this? This is not even a B
movie. This is like an F movie.' And he said, `This is a Steven Spielberg
production called "Men in Black."'
GROSS: "Men in Black."
Mr. BLECKMANN: Well. That was one of them.
GROSS: That little movie. Yeah.
Mr. BLECKMANN: Yeah.
GROSS: So, we'll hear the scene but tell us what you did vocally.
Mr. BLECKMANN: I just--I just improvised what to me could be alien language.
And, you know, they asked for it to be lip-synch-able so not too crazy so that
people could learn it. I think what ultimately happened in this session was
that it was too complicated for them, or I don't know what happened, but
usually my biggest pet peeve with these alien voices is that they all have
this strange reverb on them, if you've noticed, so there's so much effect on
this alien in the movie that I can't even tell if it's my voice or somebody
else's voice.
GROSS: Because it's so processed?
Mr. BLECKMANN: It's so processed. It's so strange, like aliens come to this
world with a complete reverb chamber and EQ system that surrounds them.
GROSS: Hey, they have better technology on other planets. So since we won't
be able to tell it's you on the film, do you want to just do what you did?
Mr. BLECKMANN: Well, I did something like...(fake alien language spoken).
Perhaps something like that.
GROSS: It almost sounds like it was processed in some parts.
Mr. BLECKMANN: If you put enough reverb on it, yeah.
GROSS: So when you moved to American, you were 23.
GROSS: Were you already out in Germany when you moved to the States?
Mr. BLECKMANN: No. No. I still had a girlfriend when I moved here, and the
way I was outed in Germany was I was reviewed in a gay magazine for a record
that I did saying that I was gay, and I thought my life would end. I thought,
this is it. My life is over. I will have no career. And everybody will hate
me. I might as well just pack it up. And, first of all, nobody cares.
Nobody reads the thing, first of all. And then, secondly, nobody cares.
That's the most amazing thing. Nobody cares.
GROSS: So what year is this?
Mr. BLECKMANN: This was 1991.
GROSS: So this was a German gay magazine?
GROSS: So did nobody care because nobody cared about you, or did nobody care
because the atmosphere was that open that nobody cared that you were gay?
Mr. BLECKMANN: Yeah. Exactly. And most...
GROSS: Open? Open?
Mr. BLECKMANN: ...people--open and most people will say, `Oh, we already
knew. Hello, you were ice skating.'
GROSS: You were ice skating to showtunes.
GROSS: With glitter costumes. Yes. So do you still skate?
Mr. BLECKMANN: No. The last time I went skating was with a good friend of
mine, Maria Schneider, who used to be a figure skater herself.
GROSS: Oh, she's a jazz composer.
GROSS: An arranger. Yeah.
Mr. BLECKMANN: Yes. And we went figure skating in Central Park when the
Cristo installation was up, and that was really fun. But after an hour I
can't even stand it anymore because my feet start to hurt so much in my old
skating boots that I just had to stop.
GROSS: Right. OK.
Mr. BLECKMANN: And it's kind of depressing. You can do one trick and that's
it? You know, one little pirouette or one lame little jump. It's
just--that's no fun anymore.
GROSS: You've worked with like sound distortion and manipulation...
GROSS: ...and electronic music and stuff, and the German group Kraftwerk was
one of the...
GROSS: ...first groups to bring like the pop version of electronic music.
GROSS: And, you know, they had big heads. So did they have any influence on
you when you were younger?
Mr. BLECKMANN: Absolutely. I actually performed one of their songs on...
GROSS: No really?
Mr. BLECKMANN: Yes. With a little Cassio keyboard.
GROSS: Not the Autobahn?
Mr. BLECKMANN: No, it's called "The Model." "Das Model." I love them. I
think they're absolutely genius. I can't say enough about them. Yeah, I
tried to get tickets to their concert last time they were in New York, but it
was impossible. I just, I worship at their feet. They're amazing.
GROSS: What's the song that you do, "The Model"?
Mr. BLECKMANN: It's called "The Model." "She's a model and she's looking
good" is the first line of the lyric.
GROSS: Can you sing a couple of bars of it?
(Soundbite of Theo Bleckmann singing "Das Model" in German)
Mr. BLECKMANN: That's the song.
GROSS: That's like African clicking that you're doing as you hum, yes?
Mr. BLECKMANN: Yes. I'm trying to be my own Cassio.
GROSS: Have you studied a lot of world singing techniques?
Mr. BLECKMANN: Not really. I think a lot of this stuff is self-evident when
you start exploring.
GROSS: Uh-huh.
Mr. BLECKMANN: I've done a lot of just recording myself, exploring, seeing
what I can do. Let's say I would go through the alphabet. I'd start with the
letter A and I come up with every sound that I can on the vowel A. And then I
take the first one and I make three variations on the first one, etc. So it
becomes this tree of variations and then...
GROSS: Show me what you mean.
Mr. BLECKMANN: So let's say I have A, ah. Try to get a buzz in there a
little bit. Then I make a variation on that one, ah-ah-ah. Put a vibrato in
it. Or I go ah, ah, ah, ah. Do it staccato. Then I do another gravelly ah
on, maybe, on a slide, ahhhhaha. Etc. And then I do, you know, other ahs,
other sounds with ah that have different variations. So I write them down and
meticulously lay it out and see if I can combine them. So there's where the
click comes in, where I have--maybe I have (sings using ahs and clicks). Etc.
You know, it's endless. It's an endless game of just trying to find sounds
and see what you can do. Sort of like a painter taking their colors and
putting them together and mixing them to different degrees and seeing if this
one works next to that one and let's put, you know, more white into that and
more this and more that. So it's very simple. But then--and this goes back
to Meredith--then the hardest part is, what does it mean? What is this about?
Is this just a cool effect or what am I trying to say here, and this is what
I'm constantly struggling with and working on is, why. Why this sound? Why
that sound? What does it mean to me? And that's when the work starts to, I
think, to jam and get more--a deeper place for me.
GROSS: Theo Bleckmann, thank you so much for talking with us, and thank you
for demonstrating some of the things that you can do with your voice.
Mr. BLECKMANN: Thank you for having me. It's a pleasure.
GROSS: Theo Bleckmann's new CD is called "Berlin: Songs of Love and War,
Peace and Exile."
Coming up, why your credit card interest rate may be going up even though your
bank interest rate has gone down. This is FRESH AIR.
Interview: Harvard Law professor Elizabeth Warren on credit card
If you look closely at your credit card bill during this economic downturn, or
actually read the fine print in the contract updates you get in the mail, you
may be in for some surprises. Here to explain is Harvard law school professor
Elizabeth Warren. She specializes in credit card law and bankruptcy law.
Yesterday she talked with us about credit rating agencies and the mistakes
they often make when calculating your credit score.
Elizabeth Warren, welcome back to FRESH AIR. How are credit card companies
responding to the credit crunch that resulted from the subprime mortgage
meltdown and the resulting financial crisis?
Professor ELIZABETH WARREN: They're trying to improve their revenues, and
they're using two principal tools right now. The first is that they're
increasing interest rates and fees all over the place. So you've been making
payments on a regular basis on your outstanding credit card at 9.9 percent.
Hey, welcome to the new world. It's now 18.9 percent. Not because the
likelihood you would repay has changed, not because interest rates have
changed--indeed, they've fallen--but because the company needs the money. And
they think that in this time of economic pressure on families, you'll be less
likely to bolt at a higher interest rate than you were before. So...
GROSS: Because you're more desperate for the money.
Prof. WARREN: Well, or just more worried that you can't find it somewhere
else. That's exactly right. So, you know, if they got you, then they're
going to squeeze you. And that's part of what's going on right now.
GROSS: Gee, it's so counterintuitive that interest rates would have fallen in
the bank but interest rates are going up with the credit card agencies.
Prof. WARREN: Isn't that stunning? And always remember, interest rates are
just the visible sign of what's happening. The major credit card issuers this
spring sent out letters all across America just plain old raising interest
rates, and they did it in a way so that they would minimize the number of
people who saw it. So I actually saw some of these letters. They look like
kind of your standard form: `We have blah blah blah blah blah.' You know,
`Dear customer,' you know, it's on a mimeographed sort of thing, and down in
the fifth paragraph it just says, `and if we don't hear otherwise from you,
we're going to raise your interest to 18.99 percent.' And hope that they don't
hear otherwise from you. Or in some cases, they don't care, because under
their contract they can just change the interest rate whenever they want
So lots of those went out. But always keep in mind, Terry, as we talked about
before, there are lots of ways to raise the revenues, and so a large part of
what they're doing is, well, is trying to squeeze in all the other areas that
are not as visible. So what used to be a $29 charge becomes a $39 charge.
What used to be a $15 charge moves to a $20 charge. All of these have
ratcheted up.
GROSS: You're talking about late fees and things like that.
Prof. WARREN: Late fees, over limit fees, pay to play fees, fee fees. I
mean, they've just--they've tucked them in everywhere because the credit card
contract is only partly about interest and much more--increasingly about all
the kind of tricks and traps and ways you can squeeze a nickle here and a
dollar there, and $20 here and $50 there. That's where the real growth in
revenues has been in the last four or five years. And, boy, is that happening
now big time in order to try to bring revenues, suck revenues into the
companies to offset losses as people are losing their jobs, as people can't
make their other payments, as people are getting into financial trouble,
they're putting the big push in fee areas, in double cycle billing and
trailing interest rates, and everything that the typical customer cannot see
until it's simply too late.
GROSS: So a couple of things you've given us to look out for. One is that
increasing fees, but also the interest rate that you signed up for might have
been raised by a lot very recently because of the credit crunch.
Prof. WARREN: Right.
GROSS: So you're suggesting that we check and see what is our interest rate
now. It might be higher than we think it is.
Prof. WARREN: Right. And then there's a third one.
GROSS: Yeah.
Prof. WARREN: And that is, there's more marketing of lousy products. So the
offers to buy credit insurance that sounds like, you know, `We're going to
play on your fears. These are dangerous times. You're nervous you might lose
your job, you know. You could get sick. You don't have health insurance.' So
there's a lot more marketing. There's been a real step-up in marketing of
what are really lousy credit products. And I say they're lousy because
they're very high-priced relative to the amount of insurance you're getting.
You may be getting, you know, somewhere in the neighborhood of $5,000 worth of
insurance and yet paying in the neighborhood of $20 a month. You know, you
could do a lot better by getting some other kind of insurance somewhere else.
So partly it's about the pricing of this insurance. And partly it's about,
quite frankly, many of these so-called insurance policies are designed to try
to, shall we say, never pay. You know, that you can't come up with the right
documentation. You really can't come up with the right set of conditions that
makes it so that the insurance company will pay off. Or if they pay off on
some of these, it sounds like, when you read the promotional literature, what
they're going to do is, if you lose your job they'll cancel your $6,000
outstanding credit card. No, it's if you lose your job, they'll continue to
carry your $6,000 balance, but they'll suspend interest for six months.
That's not very much protection. So there's a real step up in these revenue
generators. They're, frankly, just crummy deals.
GROSS: Have you been getting any new come-ons in the junk mail at your home?
Prof. WARREN: So I got a new one this morning. And the new come-on was a
gift card that, if I would sign up for what was described as a wonderful
opportunity with my credit card company, I had this $15 gift card that I could
go use. And gift cards have become the new freebie, I think, the new way to
seduce people in because as soon as I use the gift card, what happens is it
trigger my having signed up for a year's worth of this really lousy, in my
case, this really lousy credit insurance that would cost me money, far more
than the $15 I would have gotten on the gift card.
GROSS: Elizabeth Warren, thank you so much.
Prof. WARREN: It's always a pleasure to talk to you.
GROSS: Elizabeth Warren is a Harvard law school professor.
Coming up, our book credit Maureen Corrigan has a new novel to recommend.
This is FRESH AIR.
Review: Maureen Corrigan on Joseph O'Neill's "Netherland"
Joseph O'Neill writes regularly for The Atlantic Monthly and is the author of
two novels and a memoir, "Blood Dark Track," that was a New York Times notable
book. But book critic Maureen Corrigan says that O'Neill's latest novel is in
a class by itself. For one thing, it got her interested in the game of
cricket. Here's her review.
Mr. MAUREEN CORRIGAN: The strategy is so obvious, so inevitable, you wonder
why it took so long for a writer to carry it out. What I'm talking about is
the idea to write a novel about post-9/11 New York City as viewed through the
scrim of F. Scott Fitzgerald's masterpiece "The Great Gatsby." Gatsby is the
great American novel about dreaming, over-reaching, and loss, but what many
people forget is that it's also a great novel about New York City. Remember
that immortal ending where our wistful narrator, Nick Carraway, talks about
how when "the green breast of the new world, Manhattan, appeared before Dutch
sailors' eyes, it was the last time in history when man beheld an object
commensurate with his capacity to wonder"? It's all over, Carraway is saying
in that ending: the age of discovery, the vision of America as a land of
endless potential, the promise of roaring '20s New York City. It's finished,
kaput. We live in a permanent state of aftermath, which is where Joseph
O'Neill's marvelous novel "Netherland" begins.
Our narrator here is, loosely speaking, a latter-day Dutch sailor who's washed
up on the ragged shores of lower Manhattan. Hans van der Broek is an equities
analyst whose English wife, Rachel, has left him and gone back to England,
taking their young son with her. In the shuddering wake of 9/11, Rachel tells
Hans that she's been questioning the narrative of their marriage. He in turn
burrows into a dank apartment in the infamous Chelsea Hotel, long-time home to
suicidal rock stars and other desolation angels of the city. Through a fluke
encounter with a cab driver, the drifting Hans is drawn into the fraternity of
cricket players in New York City. Hans had played the sport as a child in
Holland, but he discovers that in contemporary New York the leagues are
populated by tribes of all nations. His teammates are from Trinidad, India,
Pakistan, Sri Lanka, Jamaica, Guyana. Hans, in short, is the only pale face
among them.
He strikes up a friendship of sorts with an umpire, a Trinidadian named Chuck
Ramkissoon. Ramkissoon thinks big. He harbors an ambition to erect a
state-of-the-art cricket field on the grounds of the derelict Floyd Bennett
Field in Brooklyn. The listless Hans gets caught up in this fantasy, but as
he becomes more entangled with Ramkissoon, he discovers that, like Jay Gatsby,
Chuck Ramkissoon is yet another flowering of that all-American hybrid, the
go-getter with the soul of a dreamer disastrously crossed with the brain of a
con man.
If you're going to invoke Gatsby as often as O'Neill does in
"Netherland"--and, by the way, catching all those references to ferry boats,
Jewish front men, and death by drowning is undeniably part of the insider fun
of reading this novel--you'd better be able to acquit yourself honorably
against the sheer gorgeousness of Fitzgerald's prose. That O'Neill does. And
believe me, I can't think of many novelists I would put within spitting
distance of Fitzgerald.
O'Neill is a wide-ranging stylist, capable of whipping out unexpected but
precisely right words like peregrinating, and also adroit at muted comedy,
like when Hans looks at Ramkissoon's hairy chest and spots a necklace's gold
drool. But where O'Neill really soars is in his appreciation of the shadowy
spaces in and around New York City. Like Fitzgerald, O'Neill is a poet of
retrospection, a mood that suits Hans in his depression and New York City
directly after 9/11. Hence we're treated here to haunting descriptions of the
aforementioned Floyd Bennett Field, with its runways overgrown with grass and
ghosts of dashing aviators; Greenwood Cemetery, with its graves of Tiffany's
and Steinways, and even lowly Flatbush Avenue, which Hans describes as being
crammed with hole-in-the-wall premises devoted to the beautification of those
body parts that continue to thrive after death: hair palaces, nail palaces,
barbershops, African hair-braiding specialists, and wig and hairpiece
suppliers.
In the decades since its publication, "The Great Gatsby" itself has become
something of a green light for novelists, a literary ideal to be reached for,
but never quite grasped. O'Neill in "Netherland" runs faster, stretches out
his arms farther, and approaches the glow of greatness.
GROSS: Maureen Corrigan teaches literature at Georgetown University. She
reviewed "Netherland" by Joseph O'Neill. You can read an excerpt from
"Netherland" on our Web site, freshair.npr.org, where you can also download
podcasts of our show.
(Credits)
GROSS: I'm Terry Gross.
Elizabeth Warren: Foreclosures Threaten Economy
The rate of home foreclosure is now three times its historic rate — "so large that it threatens the entire economy." Congressional Oversight Panel chair Elizabeth Warren discusses the problem — and possible solutions.
What Does $700 Billion Buy Taxpayers?
Congressional Oversight Panel chair Elizabeth Warren is charged with making sure the bailout funds are in the best interest of the American people.
Your Credit Report: Know Its Perils, Keep It Clean
Prof. Elizabeth Warren, a specialist in bankruptcy and contract law at Harvard Law School, reports that one in four credit reports contain errors significant enough to affect a credit score.


text:
NS NEWPORT
Newport, RI 02841, USA
Last Updated : 2/6/2019
THE NAVY AND NARRAGANSETT BAY
From its infancy during the Revolutionary War to its present day sophistication, the United States Navy has been an integral part of
Narragansett Bay. As the first commander in chief of the Continental Navy, Rhode Islander Esek Hopkins used the bay as a haven for his small fleet between combat engagements.
After the revolution, American men of war were common sights in the upper and lower bay, even though the Navy was small and often engaged in other conflicts on the high seas, such as the war with Tripoli, the War of 1812 and the Mexican War. However, there were periods when naval activity in the bay area was at a standstill. Following official recognition of U.S. independence in the Treaty of Paris, there was a general demobilization of the armed forces; the Navy, in consequence, was virtually forgotten.
During the Civil War, the Navy came back to life in Newport. To avoid capture by the Confederates, the government transferred the faculty and students of the U.S. Naval Academy from Annapolis to Newport, where it operated for about four years. When it moved back to Annapolis, the Navy had become more organized and had acquired a degree of permanence.
The year 1869 marked the beginning of one of the most significant and best-known Navy landmarks in Narragansett Bay. In that year, the secretary of the Navy authorized establishment of an experimental torpedo station at Goat Island. The station was responsible for developing torpedoes and conducting experimental work on other forms of naval ordnance. Its fame, importance and contributions made during its 83 years are legendary in the Rhode Island area. A major economic and military installation in Rhode Island from the day of its establishment, the Torpedo Station reached its peak importance in World War II when more than 13,000 employees worked around the clock to manufacture
80 percent of the torpedoes used by the United States during the war. The station was the largest single industry ever operated in Rhode Island. In 1951, it was replaced by the Naval Underwater Ordnance Station on the base, and Goat Island was transferred to the city of Newport. Redevelopment of the island included a causeway, luxury hotel and restaurant, marina, shopping facilities and apartments.
A Sailor learned most of his trade on the job until the last two decades of the 19th century. In the 1880s a new concept of shore-based training for officers and men was developed, and again the Navy turned to Narragansett Bay.
In 1881, the Navy acquired Coasters Harbor Island from the state, and on June 4, 1883, the island became home to the Navy's first recruit training station. On Oct. 6, 1884, the Naval War College was established on the island. By the turn of the century, classroom lecture notes of the college's second president, Alfred Thayer Mahan, had been published in book form, "The Influence of Sea Power Upon History," and the Naval War College had taken its place at the forefront of maritime strategic thought.
The advent of steam-powered ships made it necessary for the Navy to set up coaling stations for the fleet. Just before the turn of the century, one of the largest coaling stations in the country was established at Melville and it attracted many battleships and cruisers to East Passage anchorages to "coal ship."
By 1913, the Navy had acquired Government Landing in downtown Newport and had constructed the naval hospital on the mainland of Aquidneck Island adjacent to Coasters Harbor Island. This extension of the Navy was accelerated several years later when the United States entered World War I. As thousands of recruits flooded into Newport, the Navy acquired Coddington Point to accommodate overflow from the training station on Coasters Harbor Island. After the war, the Washington Disarmament Conference drastically reduced the Navy's budget and curtailed expansion of naval facilities.
The threat of a major war against the Third Reich perked up naval activity once again in Narragansett Bay. In 1940, the base developed rapidly. Coddington Point was reactivated to house the many thousands of recruits being trained at Newport, Coddington Cove was acquired as a Supply Station, and new fuel facilities were built at Melville, along with a PT-boat training center and a net depot. In November 1942, then-Lt. j.g. John F. Kennedy completed PT-boat training at Melville. A memorial stone there marks the site of this former training area. The area went into a military growth boom. Anchorage Housing was built, Sachuest Point was acquired, a harbor defense unit and communications station were constructed on Jamestown Island and Congress appropriated money to build a naval air station at Quonset Point on the west side of the bay. By the time the air station went into operation in 1941, plans had been completed for another facility adjacent to Quonset. In 1942, the Davisville Advanced Base Depot, predecessor to the former Davisville Construction Battalion, was established. Narragansett Bay became one of the Navy's largest installations at the time in the brief period of three years.
After the war, many temporary units in the bay area began to deactivate. In 1946, the entire naval complex on Aquidneck Island was consolidated under a single military command, designated as U.S. Naval Base Newport.
The Navy in Narragansett Bay adjusted to peacetime by increasing its activities in the fields of research, development, and training and preparing for modern warfare. Except for the brief period during the Korean War, when more than 25,000 Sailors trained at Newport, the Navy applied its efforts to these three major areas.
In 1951, the Torpedo Station was permanently disestablished and the manufacture of torpedoes was awarded to private industry. A new research and development facility, the Naval Underwater Ordnance Station, replaced the Torpedo Station. In February 1966, the Ordnance Station and the Naval Underwater Weapons Systems Engineering Center were combined to better coordinate all underwater programs pursued at the naval base. A merger in 1970 with another naval activity in New London, Connecticut, created what is now the Naval Undersea Warfare Center.
In 1952, the Naval Training Station at Newport was disestablished by the transfer of recruit training to Bainbridge, Maryland. However, the Fleet Training Center and Naval School Command, established several years earlier at Newport, continued to provide specialized training to fleet personnel. The Officer Candidate School, which opened in 1951, became the Navy's primary source for junior Naval Reserve officers.
Piers 1 and 2 were built in 1955 and 1958, respectively, to accommodate ships of the Cruiser-Destroyer Force and Service Force. Naval supply and public works facilities were expanded at this time to support the fleet, and Headquarters, Commander Cruiser-Destroyer Force, Atlantic, was established at Newport in 1962. This command moved to Norfolk, Virginia, in July 1973.
Earlier in 1973, a Shore Establishment Realignment study directed the closing of the Quonset Point Naval Air Station, a drawdown of facilities at Davisville, the movement of the active fleet from Newport, and a cutback of personnel and activities. Five previously independent commands were disestablished and their personnel absorbed by a new activity — the Naval Education and Training Center.
A ceremony on Oct. 1, 1998, established Naval Station Newport as the primary host command, taking over base operating support responsibilities from the Naval Education and Training Center. The commanding officer, NS Newport, reports directly to Commander, Navy Region Mid-Atlantic.
The base continues to evolve as the Navy seeks ways to improve training and increase efficiency. As a result of the 2005 Base Realignment and Closure Commission study, NS Newport acquired additional units and personnel. In July 2008, the NS Newport Vision 2035 Master Plan was published, outlining the future direction for the Navy's organization and infrastructure needs. NS Newport is the Navy's world-class Center of Learning Excellence.
Naval Station Newport
Center for Service Support
Coastal Riverine Squadron 8
Defense Institute of International Legal Studies (DIILS)
Explosive Ordnance Disposal Mobile Unit 12 Detachment-Newport (EODMU 12 DET Newport RI)
Fleet Logistics Center Norfolk-Newport Detachment
Marine Corps Detachment Newport (MARDET)
National Oceanic & Atmospheric Administration Ship (NOAA) Henry Bigelow (R225)
Naval Academy Preparatory School (NAPS)
Naval Criminal Investigative Service, NE field Office
Naval Facilities Engineering Command
Naval Health Clinic New England-Newport
Naval Justice School
Naval Leadership and Ethics Center
Naval Undersea Warfare Center (NUWC)
Navy Band Northeast
Navy Operational Support Center Newport
Navy Supply Corps School
Office of Naval Intelligence Detachment-Newport
Officer Training Command Newport
Region Legal Service Office
Senior Enlisted Academy
Space and Naval Warfare Systems Center Atlantic
Surface Warfare Officers School Command (SWOSCOLCOM)
U.S. Army Reserve Center
Arriving on Board Naval Station Newport
Fleet and Family Support Center (FFSC)
Island Express Base Supply Store
Naval Computer and Telecommunications Area Master Station (NCTAMS LANT) Newport
The Naval War College Museum
Navy Exchange (NEX) Newport
Navy Gateway Inns & Suites
Navy-Marine Corps Relief Society (NMCRS)
NMCRS Thrift Shop
Ney Hall - Military Dining Facility
Joint Personal Property Office Northeast, Detachment 2, Newport
Personnel Support Detachment - Newport
Post Office: U.S. Postal Service
Public Affairs Office (PAO), Naval Station Newport
Religious Opportunities
Safety Office Naval Station Newport
School Liaison Officer (SLO)
Staff Judge Advocate (SJA), Naval Station Newport Command Services
Veterinary Clinic - Public Health Command (PHCD) Newport
Morale, Welfare & Recreation
Morale, Welfare and Recreation (MWR)
MWR Services and Facilities
User Guide - Operators Manual
NUWC Division Newport to mark its 150th anniversary
New NROTC Midshipmen Participate in New Student Indoctrination at Navy's Only Boot Camp
Daughter of USS Gerald R. Ford's Former Navigator Receives Wings Over America Scholarship
Revving Up for Motorcycle Safety
Officer Training Command Trains Local Emergency Services in Fleet Damage Control
FORD HOLDS FIRST SAFETY CULTURE WORKSHOP


text:
Роберт Эдисон (; 3 июня 1868, Новый Орлеан, штат Луизиана — 24 марта 1931, Голливуд, штат Калифорния) — американский актёр театра и немого кино. Дебют Эдисона в кино состоялся в 1914 году, когда он снялся в фильме Сесиля де Милля «Зов Севера».

Роберт Эдисон заменил актёра Рудольфа Кристианса во время съемок фильма «Глупые жёны» режиссёра Эриха фон Штрогейма (1922), после того, как Кристианс умер от пневмонии. Эдисону пришлось сниматься спиной к камере, чтобы можно было использовать отснятые эпизоды с умершим актёром. Он также участвовал в нескольких бродвейских постановках.

Похоронен на кладбище Hollywood Forever.

Избранная фильмография
 1922 — Глупые жёны / Foolish Wives
 1922 — Пленник Зенды — полковник Запт
 1923 — Десять заповедей
 1926 — Волжский бурлак
 1927 — Чикаго
 1930 — Огни опасности

Примечания

Похороненные на кладбище Hollywood Forever

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