text:
SINSational Sweden: An Interview With Author, Daniel Ekeroth & His New Book On Swedish Exploitation Movies
The name Daniel Ekeroth might be familiar to a certain group of cult fans--author, musician and general fan of deplorable and decadent cinema, his new book, 'Swedish SensationsFilms' will be available in March of this year. I was able to interview Mr. Ekeroth about his works, his interest in all things trash and his upcoming book which looks to be a winner for exploitation fans everywhere. After the interview, there's a link to the official site with additional images and ordering info. Enjoy!
Venoms5: Hi, Daniel, tell us a bit about yourself from your early writing days regarding genre films and your numerous accomplishments during that time.
Daniel Ekeroth: Well, my earliest writing efforts came at the tender age of 10. A friend and I started a mag at school called 'Tokjournalen' (The Mad Journal), which basically delved into heavy metal, comics and horror films. It was made as part of a school project at first, but when the principal saw the content, he banned it. Not letting this discourage us, we made it anyway—and Xeroxed a bunch of copies by breaking into the teachers' office. Great memories! But to get "serious", I contributed a bit to the notorious Swedish genre film fanzines 'Black and Salong Finess' during the early 90s. Back then I was basically just a collector of videocassettes, who got in touch with people with broader horizons. So, the virus grew in me.
Then I got heavily involved with the fanzine 'Video Ferox', and wrote loads of stuff for them in the late 90's as well. Simultaneously I got into university, and studied cinema for a couple of years. For my masters thesis I wrote about Italian cannibal cinema and "NEKROMANTIK", so my fellow students and my teachers basically choked when reading my texts! Even greater times! Then a friend and I decided to start a publishing house while drinking beer in a seedy bar, and we wrote and produced 'Violent Italy', a book about Italian exploitation cinema, in about six months. Basically this was just to learn how to write an entire book, so after that I was ready to make something on my own.
I decided to explore my home country's history of exploitation film, and came up with the original version of 'Svensk Sensationsfilm' (Swedish Sensationsfilms) in 2003. Though this was a far inferior book than the new English version, I had found my style. I got approached by the Stockholm International Film Festival soon enough, and have been writing for them ever since. Simultaneously I played a lot of rock n roll, and completed the book 'Swedish Death Metal' in 2006. That worked very well, and I got a deal with the great publishing house Bazillion Points. With them I decided to make a new version of my book about Swedish trash cinema—and that is what is about to explode now. Gosh, I hope that long piece of history wasn't too boring for you guys!
V5: No, not at all, Daniel, it's great stuff, in fact. Your new book is called SWEDISH SENSATIONSFILMS. Give us a brief, energetic overview of what trash fans can expect from this new and ambitious tome.
DE: You are into a mad tome of delirious cinema for sure! To be frank, us Swedes didn't really know how to behave morally at all, and it shows in the films. Especially the 60's and 70's was just a whirlwind of sex, violence, inept scripts, insane dialogue and all sorts of madness. I have tried to sort out the kinds of films that made the sensational stuff their very excuse to exist, and believe me there were a lot of them! I decided to treat the films as they have treated me—ruthless, violent, sexy and without any morals at all. This is an attempt to gather a variety of different films into one encyclopedia, with a focus on their sensational aspects. It also serves as a guide to Swedish culture, and a love affair with everything that is sick, wild and wonderful.
V5: During the 1970s, a number of cultures relaxed, or expanded their cinematic limits of what was permissible on screen. How did Sweden fit into this exploitation movement and when exactly did it begin?
DE: Remember that Sweden put the world's first government board of film censors into practice in 1911, so we had our hands tied a little bit. After 40 years of censorship, the time got right for some action, though. Whereas Sweden wasn't a pioneer of cinematic violence, we held the international torch in the field of sexuality. The censors of Sweden were more concerned with violence than sexuality, so we managed to find our niche that way. It started with a nip-slip in "HON DANSADE EN SOMMAR" in 1951, and sex gradually started to get more accepted. And suddenly there were no rules! Sweden broke most taboos already in the late 60's—"I AM CURIOUS – YELLOW" (1967) let sexuality lose, "DOM KALLAR OSS MODS" (1968) portrayed actual on-screen intercourse and "Kärlekens Språk" (1969) showed it graphically. During the 70's the filmmakers just added violence to it, and let themselves go! We might not have had all the talent and the right tools, but we had the balls, and we showed them!
V5: Was the Swedish film industry following any trends by introducing sex and violence, were there political motivations, or was it simply time for change?
DE: As you know, Sweden stayed neutral in WW2 and obviously wasn't too keen on violence. That probably made sex a safer way to express yourself, as I stated above. Sweden was at the very front of sexual liberation, and the films just reflected what was going on in real life. So, when it comes to free sex, Sweden was a leader, not follower. Forget Woodstock and San Fransisco—in Sweden people went mental. When it comes to violence, however, it was trickier. The censors were dead against it, which finally made filmmakers stand up (and shout). Ingmar Bergman was a daredevil here; his explorations in on-screen vomit and graphic violence in (Oscar-winning) "THE VIRGIN SPRING" was an early kick in the teeth of the censors. But it took some time for Swedish directors to pick up on such harsh violence as seen in a genre such as the spaghetti-western.
However, in the 70's some wild directors wanted a piece of that action as well. A film like Bo A Vibenius "THRILLER" stood up against the censors; it was initially banned and later cut to pieces. However, the aim was also to get a lot of attention and sell a lot of tickets. Many people hated the censorship, so if they had problems with any part of your movie it was like a proof of its quality! A film that really is an example that politics had a lot to do with the release of cinematic fury is "DOM KALLAR OSS MODS". It was initially banned, which enraged the filmmakers who decided to pick a fight. The case ended up on the table of minister of culture Olof Palme, who simply ordered the censors to release the film. And if the politicians didn't agree with their own censors, it really was time for some change! Still, extreme violence wasn't really accepted until the mid-90's.
Horror and splatter films were especially taboo for a long time, and many films were banned and cut to pieces. However, in the 80's the government actually tried to use cinematic violence to influence kids. They picked up a street thug and made him the star of a violent film about teenage criminals called "STOCKHOLMSNATT", and showed this in every school in the country. The aim was to stop violence, but naturally it only started a national upraise in youth violence.
V5: Fascinating. At what point did you become interested, or attracted to this style of film?
DE: As far back as I can remember, I was always attracted to the morbid, wild, sensual and extreme. I bought my first KISS album at the age of 4 (in 1976), stayed up late to watch horror films shortly after and as soon as I heard about pornography I was curious yellow (and blue). This has never been an issue to me, and it was never a discovery or choice. It is just basic human feelings to me, and a recognition of the greatness of life. And I love it!
V5: How were these 'Swedish Sensationsfilms' greeted by audiences and critics alike?
DE: Same old story: the critics hated it and the audience loved it. People in power always want to control everything and keep things safe and bland. In those days, the critics were either conservative stiffs or left-wing intellectuals who both had a hang-up that film should be like theater. They simply didn't get the carefree attitude of sensationsfilms, and hated the fact that people obviously enjoyed them. Some films got away: "DOM KALLAR OSS MODS" and especially "I AM CURIOUS - YELLOW" were huge hits even internationally. Others faced worse fates: "THRILLER" was banned, cut and delayed for years. However, it eventually reached cult status and has influenced directors like Quentin Tarantino.
V5: How did these movies affect the Swedish film industry overall?
DE: Arne Mattsson's "HON DANSADE EN SOMMAR" showed a nipple and was very successful, so full frontal nudity wasn't far behind. Ingmar Bergman's "Jungfrukällan" took rape and revenge to an Oscar, so others followed that sleazy track. People wanted to see that, and I guess filmmakers wanted to do that. Come on, we all love it! Even the ones who try to ban it all watch it in their basements.
V5: Is there still a market for weird and wild cinema in Sweden today?
DE: Well, there sure is an interest in the sleazy and macabre stuff. But as with all aspects of media, there is the problem with an over flooded market. Anyone can go on the internet and find anything they want at any time, so the financial opportunities in sensation cinema isn't that great anymore. Swedish films are way too anxious nowadays, and the producers just follow safe old patterns in order to make a quick buck. You know, they just mass produce hundreds of similar cop-thrillers and comedies. Nothing is really daring anymore. Still, the entire world seems to have gotten off to the sight of Noomi Rapace being sodomized by an old geezer in "THE GIRL WITH THE DRAGON TATTOO". Though even this film is basically a wooden cop-thriller, it has some elements that might be a sign of a better tomorrow.
V5: How has exploitation movies changed in Sweden from their beginnings up to the modern productions of today?
DE: Since television broke through big time during the 80's, film has really been suffering. Cinema in general has changed towards bigger effect-computerized crap that just makes me sick. In Sweden it's just one boring cop-thriller after another, and most of them made for TV. The wonderful madness of real life isn't that common anymore, and the films are far more boring than they used to be.
V5: Christina Lindberg is a cult icon in exploitation circles here in America. Does she have a similar following in her native country, or does it reach much farther than that?
DE: I guess it is the same here. People within the right state of mind knows who she is, but the general public does not. To them, she is just the editor-in-chief of Sweden's largest aviation magazine. Strange, huh?
V5: Yes, very much so. That may come as a shock to her rabid fanbase here. For those unfamiliar with a wide array of Swedish Sensationsfilms (myself included), what are some of the finer examples for the curious who may want to sample what they have to offer?
DE: 50's: Naked breasts and nude swimming ("Hon Dansade en Sommar")
60's: On-screen humping: ("Dom Kallar oss Mods", "Kärlekens Språk")
70's: Oh, everything! Wild gangsters, rape, hard core porn, guys shooting rubber bands at their erect penises, one-eyed Christina Lindberg, lingonberry-cowboys… "Everything you hate", as Charles Foster Kane would have said! I guess Bo A. Vibenius' "THRILLER" and "BREAKING POINT"(1975) sums it up best...
80's: Violent teens, murdering Ninjas, terminating soldiers, horny teens, fucking non-stop… ("The Ninja Mission", "Stockholmsnatt")
90's: A cold, dystopian portrayal of urban life. ("Sökarna", "Kaninmannen")
Basically: if there's nudity: Sweden has been there, if there's porn: Sweden's been there, if there's violence: Sweden's been there, if there's madness: we are still here.
V5: Writing a book on any subject is a major undertaking. Was your reason for tackling this subject a desire to give these movies renewed exposure outside Sweden, or a love for the genre, or both?
DE: To be frank, just to amuse myself. I love these films, and while thoroughly exploring something you might as well write a book about it. You really discover new things when you have to work for it! I am also very proud to be able to present this clandestine field of "art" though, and I sure hope more people will discover these films.
V5: What other movies from the savage 70s are you particularly fond of, or any decade for that matter? What are some of your favorites?
DE: My main interest is Italian exploitation cinema. I actually moved to Italy for a while just to get hold of crazy films, and hang out with cool people such as Luigi Cozzi. "NEW YORK RIPPER" (Lucio Fulci) and "CANNIBAL HOLOCAUST" (Ruggero Deodato) are my favorites, but directors such as Sergio Martino, Umberto Lenzi, Joe D'Amato and Fernando di Leo are also among my very favorites.
V5: Awesome. I am partial to Italian exploitation as well. What are some film directors whose work you are fond of regardless of genre style?
DE: Bo A Vibenius, Abel Ferrara, Lucio Fulci, Ruggero Deodato, Arne Mattsson, Trey Parker and whoever made "WARGAMES".
V5: That would be John Badham. Tell us about your interest in music. I see you've written a massive tome on death metal that came out in 2008 as well as being a musician yourself.
DE: I love all sorts of music, but I grew up a metalhead…so I'll always stay a metalhead. Among my favorite bands are Venom, Velvet Underground, Bathory, Stooges, Black Sabbath, Judas Priest, Skinny Puppy, Birthday Party, Foetus, Thin Lizzy…oh, too many to mention. I don't really "play" music myself, since I am just a bass "player". But the basic fields I have tried to work in is punk rock (Diskonto), death metal (Insision, Dellamorte, Usurpress), black metal (Tyrant) and a lot of progressive outings in my youth.
V5: Going back to your new book, can you give us some interesting bits of info from the books pages that will no doubt sweeten the package for fans already familiar with Swedish exploitation cinema?
DE: Well, I guess nobody is prepared for "BREAKING POINT". A mad film set in a near future, in which the main protagonist fucks everyone in sight (on screen), shoots rubber bands at his erect penis, makes friends with kids and works on his model railroad! Further, what the hell is the world's most dedicated Mickey Mouse collector doing in my book???
V5: Thanks so much, Daniel for taking time to enlighten both me and anyone else unfamiliar with Sweden's contributions to exploitation movies. I hope your book is a success and more than a few eyes are opened by this written and visual journey into a seemingly untapped genre of cinematic decadence.
DE: Thank you for the interview! I hope you all will be having a great time reading it—I sure know I had a great time writing it! But don't forget watching the films. That's the real prize!
Click the link below to see even more skin and sin from Sweden and where to order this new book for US $19.95....
BAZILLION POINTS--SWEDISH SENSATIONSFILMS BOOK
Posted by venoms5 at 11:14 AM
Labels: Daniel Ekeroth Interview, Interviews
I find it hilarious that Bergman's light nudity was the beginning of the slippery slope for films like THRILLER lol.. Great interview and looking forward to picking up the book!
Thanks, Carl, I'm anxious to see the book, myself!
SINSational Sweden: An Interview With Author, Dani...
Assorted Bits & Pieces: Short Subject--Smoke (2007...


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This is a list of notable people from Rockhampton, Queensland, Australia.

{| border="1" cellpadding="4" cellspacing="0" align="left"
! Name of resident !! Year of Birth/Death !! Notable For
|-
| Graeme Acton
| 1950–2014
| Australian cattle baron and campdrafting promoter.  Founder of Acton Land & Cattle; brainchild behind Rockhampton's annual Paradise Lagoons Campdraft, which is claimed to be Australia's richest competitive campdrafting event.  Died from injuries sustained during a campdrafting event.
|-
| Christine Anu
| 1970
| Australian performer and radio presenter.  Anu spent her teenage years living in Rockhampton, graduating from Emmaus College in 1987.  Her performance in the school production of South Pacific led to an audition with the NAISDA, marking the start of her career.
|-
| Archibald Archer
| 1820–1902
| Queensland politician, and one of the Archer brothers.  Sat in the Queensland Parliament from 1867 until 1886, serving as the 12th Treasurer of Queensland from January 1882 until November 1883.  Archer was also an advocate for the Central Queensland Territorial Separation League.
|-
| Duncan Armstrong
| 1968
| Swimmer, Olympic gold medallist at the 1988 Summer Olympics.
|-
| Steve Baxter
| 1971
| Australian entrepreneur and investor. Appears as one of the 'sharks' on Shark Tank.  Although born in Cloncurry and raised in Emerald, Baxter was a student at North Rockhampton State High School before leaving school at the age of 15 to join the army.
|-
| John Bean
| 1963–2011
| Australian cinematographer.  Attended Glenmore State High School. Began his career with WIN Television in Rockhampton, before moving onto a 20-year career with ABC Television.  Killed alongside ABC reporter Paul Lockyer and pilot Gary Ticehurst in a helicopter crash in 2011.
|-
| Alexander Belonogoff
| 1990
| Sportsman, Rowing.  Won a silver medal as part of the crew competing in the quadruple scull at the 2016 Summer Olympics.
|-
| Leanne Benjamin
| 1964
| Ballet dancer, principal dancer with The Royal Ballet in London.
|-
| George Birch
| 1862–1917
| Co-founder of the Birch, Carroll and Coyle cinema chain, now trading as BCC Cinemas – part of the Event Cinemas group.
|-
| J. T. S. Bird
| 1842–1932
| British-born journalist, author and gold prospector.  Worked at Torquay Chronicle and The Recorder in the United Kingdom before joining The Morning Bulletin in Rockhampton.  Discovered gold on The Ridgelands goldfields near Rockhampton in 1867.
|-
| Wayne Blair
| 1971
| Indigenous Australian writer, actor and director, best known for directing the film The Sapphires and appearing in ABC's Redfern Now.
|-
| Paul Braddy
| 1939
| Queensland politician and 28th Deputy Premier of Queensland.  Lived in Rockhampton from 1965 until 1995.  Served a term as an alderman on Rockhampton City Council from 1979.  Entered Queensland Parliament in 1985 after winning a by-election in Rockhampton.
|-
| Gerard Brennan
| 1928
| Chief Justice of the High Court of Australia.
|-
| Thomas Busby
|
| Australian singer, best known as one-half of Busby Marou.
|-
| Peter Byrne
|
| Queensland television personality, best known as a Rockhampton-based weather presenter for WIN Television from 1990 until 2012; and presenter of the weekly Rewind segment on Channel 7 from 2012 until present.
|-
| John Cani
| 1836–1898
| Italian-born Roman Catholic Bishop – the first Bishop of Rockhampton, consecrated in 1882.  Proposed the construction of St Joseph's Cathedral, but failed to live long enough to see the cathedral's completion in 1899.
|-
| Tara Cheyne
| 1986
| Australian politician, representing the seat of Ginninderra in the Australian Capital Territory Legislative Assembly.
|-
| Enith Clarke
| 1911–1995
| Australian classical pianist.  Also the wife of Alexander Sverjensky from 1943 until their public divorce in December 1950.
|-
| Ben Condon
| 2000
| Sportsman, Rugby league - North Queensland Cowboys.  Although born and raised in Roma in South West Queensland, Condon moved to Rockhampton prior to commencing studies at Rockhampton Grammar School where he graduated from in 2017.
|-
| Cyril Connell, Snr.
| 1899–1974
| Sportsman, Rugby league.  Played as halfback in the first Queensland to defeat New South Wales in 1922.  Married his first wife at St Joseph's Cathedral in 1927, while living in Rockhampton.
|-
| Cyril Connell Jr.
| 1928–2009
| Sportsman, Rugby league – Australia and Queensland.  Began his playing career with Rockhampton Brothers in 1947.
|-
| Brad Cooper
| 1954
| Sportsman, swimming. Won gold at the 1972 Summer Olympics in sensational circumstances following the disqualification of Rick DeMont.  Born in Singapore, Cooper moved to Rockhampton at a young age.  Joined Rockhampton Swimming Club and began winning medals at the age of 7.
|-
| Joel Coughlan
| 1988
| Sportsman, Para table tennis.  Won a silver medal after competing in the Men's team - class 9-10 gold medal final at the 2020 Summer Paralympics in Tokyo.
|-
| Steve Crear
|
| Sportsman, Rugby league – Australia and Queensland.  Best known for playing in the 1977 Rugby League World Cup.
|-
| Kylie Cronk
| 1984
| Sportswoman, softball.  Won bronze at the 2008 Summer Olympics in Beijing.
|-
| George Curtis
| 1845–1922
| Queensland and Australian politician.
|-
| Anna Daniels
| 1981
| Australian author, comedian, radio producer & television presenter.
|-
|William Knox Darcy
| 1849–1917
| Mining magnate.
|-
| Anderson Dawson
| 1863–1910
| Australian politician.  As the 14th Premier of Queensland, Dawson is credited with being the first leader of any Labour government anywhere in the world.  After entering Federal Politics in 1901, Dawson became Australia's 5th Minister for Defence in 1904.
|-
| Jason Day
| 1987
| Australian professional golfer.  Moved to Rockhampton at the age of eight, where he attended St Joseph's Catholic Primary School and then Emmaus College while living in the suburb of Park Avenue.
|-
| John Dingwall
| 1940 - 2004
| Australian screenwriter and director, best known for Sunday Too Far Away, Buddies, Phobia and The Custodian.
|-
| Mick Dittman
| 1952
| Australian jockey, best known for riding winning horse Gurner's Lane in the 1982 Melbourne Cup.  Also rode the winning horses in three Golden Slippers, two Cox Plates and one Caulfield Cup.  Inducted into the Australian Racing Hall of Fame in 2002.
|-
| Sid Domic
| 1975
| Sportsman, Rugby league – Brisbane Broncos, Penrith Panthers, London Broncos, Warrington Wolves, Wakefield Trinity and Hull FC.  Following his rugby league career, Domic became an Indigenous artist.
|-
| Helen Donaldson
| 1968
| Australian opera singer.
|-
| John Doyle
| 1977
| Sportsman, Rugby league – North Queensland Cowboys and Sydney Roosters.
|-
| James Duhig
| 1871–1965
| Roman Catholic Archbishop, serving as Rockhampton's Roman Catholic bishop from 1905 until 1912.  When he was nominated to Rockhampton by Pope Pius X, where he was consecrated by Michael Kelly, Duhig became the youngest Roman Catholic bishop in the world.
|-
| Jamie Dwyer
| 1979
| Sportsman, Field Hockey – The Kookaburras, gold medal in 2004 Summer Olympics.
|-
| Albrecht Feez
| 1825–1905
| Queensland politician.  Sat in the Queensland Parliament from 1880 until 1883. Prior to this, Feez served as Rockhampton Mayor in 1879.
|-
| Lala Fisher
| 1872–1929
| Australian poet and writer.
|-
| Paddy Fitzgerald
| 1896–1984
| Australian brewer; Managing Director of Castlemaine Perkins (makers of Queensland's popular XXXX beer) from 1977 until 1979.
|-
| James Flint
| 1862–1894
| Australian architect.  Flint designed a number of Rockhampton's heritage-listed buildings including The Criterion Hotel, Rockhampton Club, Kenmore House and Yungaba Migrant Hostel.  Flint was also on Rockhampton Municipal Council and a member of the CQ Separation League.
|-
| Frank Forde
| 1890–1983
| Australian politician, served as 15th Prime Minister of Australia in July 1945.  Holds record for shortest serving Prime Minister.
|-
| Harold Livingstone Fraser
| 1890–1950
| Australian aviator, served in 5th Light Horse Brigade of the First Australian Imperial Force during World War I.
|-
| Leonard Fraser
| 1951–2007
| Convicted serial killer.  Sentenced to life in prison in 2000 for the abduction, rape and murder of a young girl and further sentenced to three indefinite prison terms in 2003 for the murders of two women and the manslaughter of another.
|-
| Vince Gair
| 1901–1980
| Australian politician, served as 27th Premier of Queensland from 1952 until 1957.
|-
| Tim Glasby
| 1989
| Sportsman, Rugby league – Melbourne Storm.
|-
| Matthew Gohdes
| 1990
| Sportsman, Field Hockey – The Kookaburras.
|-
| Ben Goodson
| 1878–1941
| Sportsman, Cycling. Goodson represented Australia at the World Championships in Glasgow in 1897, and in Montreal in 1899.
|-
| Jake Granville
| 1989
| Sportsman, Rugby league – North Queensland Cowboys and Brisbane Broncos.
|-
| George Gray
| 1903–1967
| Australian politician.  Gray was elected to the Australian House of Representatives in 1961.  He died whilst in office in 1967 forcing a by-election.  Gray's widow Bray Gray was an alderman on Rockhampton City Council from 1973 until 1991
|-
| Thomas Griffin
| 1832–1868
| Australian police officer, executed for the double murder of two fellow police officers while they were on duty escorting a large sum of money between Rockhampton and Clermont.  In a case of grave robbery, Griffin's body was illegally exhumed and decapitated, his head stolen.
|-
| Duncan Hall
| 1925–2011
| Sportsman, Rugby league – Australia and Queensland.  Began his playing career with Rockhampton Brothers in 1944
|-
| Ernestine Hill
| 1899–1972
| Journalist, Editor, Poet, Author and one of the first female commissioners of the ABC, appointed to the role in 1942.
|-
| Paul Hoffmann
| 1970
| Sportsman (cricket), Australia Country representative 1993 and Scottish Saltires Cricket World Cup 2007.
|-
| Hector Hogan
| 1931–1960
| Australian athlete.  Won bronze medals at the 1954 Commonwealth Games, 1956 Summer Olympics and 1958 Commonwealth Games.
|-
| Glen Housman
| 1971
| Sportsman, Swimming, Olympic silver medallist in the 1500m freestyle at the 1992 Summer Olympics.
|-
| Sir Raymond Huish
| 1898 - 1970
| Ex-servicemen's leader, best known for his lengthy tenure as state president of the RSL, serving in the position from 1930 until 1967.
|-
| Beatrice May Hutton
| 1893–1990
| Architect, first female architect to be admitted to any of the Australian Institutes of Architecture.
|-
| Ben Hyne
| 1994
| Sportsman, Rugby Union.  Best known for playing for the Brumbies.
|-
|Kym Ireland
|1955
|Sportswoman, Field Hockey – The Hockeyroos, played at 1984 Summer Olympics.
|-
| Drew Jarvis
|
| Television presenter, best known for hosting children's programs The Shak and Lab Rats Challenge.
|-
| Kevin Johnson
| 1942
| Australian singer-songwriter.  Johnson is best known for the Australian Top 5 (and UK Top 40) 1973 hit Rock and Roll, I Gave You The Best Years of My Life which has become one of the most covered songs written by an Australian musician.
|-
| Jess Jonassen
| 1992
| Sportswoman, Cricket – Southern Stars.  Played in the winning Ashes team against England in 2015.
|-
| Margaret Jones
| 1923–2006
| Australian journalist.  Jones' father worked on the Rockhampton Harbour Board for more than forty years.  After Jones finished her schooling in Rockhampton, she embarked on an extensive journalism career, most notably working as a foreign correspondent.
|-
| Rees Jones
| 1840–1916
| Queensland politician and solicitor.  Sat in the Queensland Parliament from 1888 until 1893.  In 1864, Jones established what is now Queensland's oldest law firm, Rees R & Sydney Jones.
|-
|  Henry Kellow
| 1881–1935
| Scottish-born Australian literary critic, author and teacher.  Long serving headmaster at the Rockhampton Boys Grammar School.
|-
| De-Anne Kelly
| 1954
| Australian politician, served as Minister for Veterans' Affairs from 2004 until 2006.  Moved from Rockhampton to Mackay in 1994.
|-
| Judah Kelly
| 1997
| Australian musician, best known for winning the 2017 season of The Voice Australia.
|-
| Nick Kenny
| 1982
| Sportsman, Rugby league – Brisbane Broncos.
|-
| William Kidston
| 1849–1919
| Australian politician, served as 17th Premier of Queensland from 1906 until 1907.
|-
| Mark Knowles
| 1984
| Sportsman, Field Hockey – The Kookaburras, gold medal in 2004 Summer Olympics.
|-
| Rod Laver
| 1938
| Sportsman, Tennis.  Ranked as the world's No. 1 tennis player from 1964 until 1970.  The winner of eleven Grand Slam titles, Laver is widely regarded as one of the best tennis players in history.  Rod Laver Arena in Melbourne was named in his honour in 2000. A bronze statue in his likeness was also unveiled in his honour at Melbourne Park in 2017.
|-
| James Larcombe
| 1884–1957
| Queensland politician.  Served as 31st Treasurer of Queensland, Attorney-General and cabinet minister.  Elected in 1912 and retiring in 1956, Larcombe holds the record for the longest serving member in the Queensland Parliament.
|-
| John Leak
| 1892–1972
| Australian recipient of the Victoria Cross.  Rockhampton's John Leak monument, unveiled in 2012, is named in Leak's honour and is now the venue for the city's annual Remembrance Day commemorations.
|-
| Helga Lewandowsky
| 1930
| German politician (SPD). Member of the Landtag of Lower Saxony from 1970 till 1986.
|-
| Karni Liddell
| 1979
| Swimmer, bronze medallist at the 1996 Summer Paralympics and the 2000 Summer Paralympics.
|-Justin Loomans (born Rockhampton 22 May 1975) is an Australian former professional rugby league footballer of the 1990s. He played for the North Queensland Cowboys in their inaugural season and later played for the South Sydney Rabbitohs. He primarily played on the wing or at centre.
| Jens Hansen Lundager
| 1853–1930
| Australian photographer.  Settled in Rockhampton after immigrating to Australia from Denmark in 1879, establishing a business in East Street.  After a fire destroyed the shop in 1892, Lundager relocated to Mt Morgan where he served as the town's mayor and editor of the Mount Morgan Argus.
|-
| Jeremy Marou
|
| Australian singer, best known as one-half of Busby Marou.
|-
| Lorna McDonald
| 1916
| Australian historian and author who moved to Rockhampton in 1963; mother of Miles Franklin Award-winning author Roger McDonald.
|-
|Edith McKay
|1891–1963
|author
|-
| Grant McLennan
| 1958–2006
| Singer-songwriter and co-founder of independent Australian band The Go-Betweens.  Born in Rockhampton, McLennan moved to Cairns as a small child after his father's death.
|-
| Fergus McMaster
| 1879–1950
| Co-founder of Qantas. Inducted into the Australian Aviation Hall of Fame in 2013. A William Dargie portrait of McMaster hangs in the Qantas board room in Sydney.
|-
|Don McMichael
|1932–2017
|Born in Rockhampton, he became a marine scientist and senior public servants in national parks, the environment and museums.
|-
| Anna Meares
| 1983
| Cyclist, gold medal winner at 2004 Summer Olympics and 2012 Summer Olympics.  Flag-bearer at 2016 Summer Olympics. Younger sister of Australian cyclist Kerrie Meares.
|-
| Kerrie Meares
| 1982
| Cyclist, winner of two gold medals at 2002 Commonwealth Games.  Older sister of Australian cyclist Anna Meares.
|-
| Matt Minto
| 1990
| Sportsman, Rugby league – Newcastle Knights.  Nephew of former Brisbane Broncos player Scott Minto.
|-
| Scott Minto
| 1973
| Sportsman, Rugby league – Brisbane Broncos.  Uncle to former Newcastle Knights player Matt Minto.
|-
| Alma Moodie
| 1898–1943
| Concert violinist.
|-
| John Moore
| 1936
| Australian politician, served as Minister for Defence from 1998 until 2001.
|-
| Cameron Munster
| 1994
| Sportsman, Rugby league – Melbourne Storm.
|-
| David Nicholas
| 1991
| Australian cyclist.  He won silver and gold at the 2012 Paralympics and gold at the 2016 Paralympics.  Nicholas was born in Rockhampton but currently lives in Proserpine prompting Whitsunday MP Jason Costigan to publicly criticise Rockhampton for attempting to lay claim to Nicholas.
|-
| Francis Hodgson Nixon
| 1832–1883
| Australian journalist, editor and writer.  Nixon was known for writing under the pseudonym of Peter Perfume and wrote 1865's The Legend and Lays of Peter Perfume. After working on various newspapers, he moved to Rockhampton in 1879, becoming editor and proprietor of the Daily Northern Argus. He took his own life in Rockhampton in 1883. Grandfather of Australian poet and playwright Mona Brand.
|-
| Duncan Paia'aua
| 1995
| Sportsman, Rugby Union – Queensland Reds. Born in New Zealand, moved to Melbourne as a young child before his family settled in Rockhampton in 2002.
|-
| Alexander Paterson
| 1844–1908
| Australian politician.  The first person to be elected to represent Capricornia after successfully contesting the 1901 Federal Election.
|-
| James Grant Pattison
| 1862–1946
| Journalist, known for his Early Days and On The Track newspaper series written under the pseudonym of "Battler".  Released the book Battler's Tales of Early Rockhampton in 1939.  Son of Queensland politician, William Pattison.
|-
| William Pattison
| 1830–1896
| Queensland politician.  Sat in the Queensland Parliament from 1886 until 1893, serving as the 15th Treasurer of Queensland from November 1888 until November 1889.  Prior to entering state politics, Pattison was Mayor of Rockhampton in 1874.
|-
| Henry Pearce
| 1917
| Australian politician, sat in the Australian House of Representatives from 1949 until 1961.
|-
| Rex Pilbeam
| 1907–1999
| Queensland politician.  Mayor of Rockhampton from 1952 until 1982; Member for Rockhampton South from 1960 until 1969.
|-
| Jonah Placid
| 1995
| Sportsman, Rugby Union.  Although born in Orange, Placid was raised in Rockhampton, attending Allenstown State School and TCC.
|-
| Rod Reddy
| 1954
| Sportsman, Rugby league – St. George Dragons, Illawarra Steelers, Queensland Maroons and Australian Kangaroos.  Coach of the Adelaide Rams.  Father of soccer player Liam Reddy, netball player Bianca Reddy and rugby league player Joel Reddy
|-
| Fred Rhodes
| 1877–1964
| Australian writer, best known for his 1937 work Pageant of the Pacific.  Originally working in Queensland as a master mariner and harbourmaster, Rhodes refused a transfer to Thursday Island in 1921, deciding to remain in Rockhampton. He became a writer, becoming known for his contributions for local newspapers using the pseudonym "Historicus".  He also wrote a serial called Broadcasting the Tea Race in 1934.
|-
| Matthew Robinson
| 1980
| Actor/performer, starred in Pippin, appeared in Blue Heelers, Stingers; Pratt Prize winner.
|-
| Joshua Rose
| 1981
| Sportsman, Soccer – Central Coast Mariners FC and Melbourne City FC in the A-League.
|-
|Alex Russell
|1987
| Australian actor, best known for appearing in the films Chronicle, Carrie, Believe Me.  Although born in Brisbane, Russell grew up in Rockhampton where he graduated from Rockhampton Grammar School in 2004.
|-
| Zach Russell
| 1989
| Singer, former member of boy band The Collective.
|-
| Natasha Ryan
| 1984
| A teenage girl believed to have been killed by Rockhampton serial killer Leonard Fraser but was discovered alive in Rockhampton five years later, while Fraser was on trial in Brisbane.  The story sparked considerable international media interest.
|-
| Storm Sanders
| 1994
| Australian tennis player.
|-
|Christopher Saunders
|1971
|Australian tenor- Only Australian singer to excel in Opera, Operetta, Oratorio and Lieder. Studied with Vera Rozsa and Nicolai Gedda and worked with many of the top classical singers in Europe. Sang with all the major companies and performed regularly with the BBC. A specialist in Mozart and Schubert his voice was regularly described as honeyed and sweet and compared to the great singers of the Golden Age Career cut short by PTSD and health problems. He advocates and helps disabled people. Advocate for PTSD in civilian and military life.
|-
|Gretel Scarlett
|1987
|Actor, singer, dancer, theatre performer; starred as Sandy in 2013/14 Australian production of Grease.
|-
| Mary Schneider
| 1932
| Australian singer and songwriter. Known as Australia's "Queen of Yodelling".  Mother of Melinda Schneider. Mary and her siblings, including Rita Schneider were born in Rockhampton but the family relocated to Brisbane following their father's death from tuberculosis
|-
| Anthony Seibold
| 1974
| Sportsman, Rugby league.  After his playing career which included stints at the Broncos and Raiders, Seibold became a coach.  Seibold has been an Assistant Coach at the Storm, Sea Eagles and the Rabbitohs as well as for the Maroons.
|-
| Belinda Sharpe
| 1988
| Rugby league referee. In 2019, Sharpe became the first woman to referee a top-grade men's National Rugby League match.
|-
| Jamie Simpson
| 1986
| Sportsman, Rugby league – South Sydney Rabbitohs and Huddersfield Giants.  Simpson also attracted media attention in 2017 after he posted a photo of a "Parents with Prams" sign at Stockland Rockhampton and jokingly called for the silhouette to be changed from female to male, mocking a controversial trial in Melbourne to change the silhouettes on electronic pedestrian crossing signals from male to female.
|-
| Matt Sing
| 1975
| Sportsman, Rugby league – Penrith Panthers, Sydney Roosters and North Queensland Cowboys.  Born in Winton, Sing grew up in Dysart before moving to Rockhampton and attending North Rockhampton State High School, alongside Sid Domic.
|-
| Bevan Slattery
| 1971
| Australian entrepreneur.  Also known for leading the Doing It 4 Allison campaign against the downgrading of Gerard Baden-Clay's murder conviction to manslaughter.<ref>Rocky IT entrepreneur on Baden-Clay High Court win , Kerri-Anne Mesner, The Morning Bulletin, 31 August 2016. Retrieved 3 April 2017.</ref>
|-
| Zac Smith
| 1990
| Sportsman, AFL – Gold Coast Suns and Geelong Cats.  Born in Biloela, Smith moved to Rockhampton at the age of 10.  Originally playing in the local soccer competition, he was eventually convinced by a schoolmate to try AFL.  Not realising he had actually played an AFL game, Smith's father initially thought an AFL Capricornia manager had dialled the wrong number when they attempted to discuss his son's ability.Zac Smith signs with GC17 , AFL Capricornia website, 2 February 2009.  Retrieved 9 August 2017.
|-
| Alfred Songoro
| 1975
| Sportsman, Rugby league – Papua New Guinea Kumuls
|-
|Joshua Staines
|1997
|Sportsman, Church Soccer - St Pauls
|-
| Wendy Strehlow
| 1958
| Australian actress, best known for her Logie Award-winning role as Judy Loveday on A Country Practice on Channel 7.
|-
| Bert Tabuai
| 1974
| Sportsman, Rugby league – North Queensland Cowboys.  Attended North Rockhampton State High School.
|-
| Anthelme Thozet
| 1826–1878
| Botanist and ethnographer.
|-
| Olivia Tjandramulia
| 1997
| Sportswoman, Tennis.  Although born in Jakarta, Tjandramulia was raised in Rockhampton.Rockhampton star's dad accuses Tennis Australia of bias , Guy Williams, The Morning Bulletin, 5 February 2015. Retrieved 24 August 2017.
|-
| Kenrick Tucker
| 1957
| Cyclist, 1978 Commonwealth Games gold and silver medallist.
|-
| Perc Tucker
| 1919–1980
| Queensland politician.  Sat in the Queensland Parliament from 1960 until 1974. Served as Opposition Leader in 1974.  Townsville Mayor from 1976 until his death in 1980.  Opened in 1981, the Perc Tucker Regional Gallery was named in his honour.
|-
| Michael Usher
| 1970
| Journalist from Seven News.
|-
| Tamika Upton
| 1997
| Sportswoman, Rugby League - Brisbane Broncos.
|-
|Jenine Vaughan
|1972
| Singer and television presenter, best known for her country album Gypsy Man.  Winner of the Toyota Star Maker Quest at the 1988 Golden Guitar Awards.  Awarded 'Best New Talent' at the 1989 Golden Guitar Awards. Nominated for Best Country Album at the 1989 ARIA Awards.
|-
| Stephen Weigh
| 1987
| Sportsman, Basketball – Cairns Taipans, Adelaide 36ers and Perth Wildcats.
|-
| Rhys Wesser
| 1979
| Sportsman, Rugby league – South Sydney Rabbitohs.
|-
| Annie Wheeler
| 1867–1950
| Volunteer welfare worker assisting local soldiers in World War I, became known as the 'Mother of the Queenslanders'.
|-
| Tracey Wigginton
| 1965
| Notorious convicted murderer, dubbed the "Lesbian Vampire Killer".The dark secrets of Queensland's lesbian vampire killer, The Courier-Mail, 11 November 2015. Retrieved 20 February 2018.
|-
| Guy Williams
| 1984
| Sportsman, Rugby league – Lézignan Sangliers and Brisbane Broncos.  Played in the local QRL team, attended CQU and worked as a journalist for The Morning Bulletin.  Williams also coached Cameron Munster when he was in the Berserker Street State School Under 11's team.
|-
| Graham Wood
| 1947
| Internet entrepreneur, philanthropist, environmentalist and founder of Wotif.com.
|-
| Keith Wright
| 1942–2015
| Disgraced Australian politician and convicted rapist.  Represented Rockhampton in the Queensland Parliament from 1969 until 1984, serving as Opposition Leader between 1982 and 1984.  Represented Capricornia in the Australian House of Representatives from 1984 until 1993.  In December 1993, Wright was convicted and jailed for eight years after being charged with indecently dealing and child rape.  In November 1994, Wright was sentenced to a further 12 months for additional sex offences.
|-
| Craig Zonca
| 1984
| Australian radio and television personality.  Best known as a breakfast host on ABC Radio Brisbane, a weather presenter on ABC Television and as a former presenter of The Country Hour''.
|-
|}

References

Rockhampton

Rockhampton

redpajama_set_name: RedPajamaWikipedia


The Osian Asian Film Festival, with a retrospective on the master's oeuvre, gives an opportunity to Delhi audience to experience the magic of his cinematic genius on the large screen.
Ritwik Ghatak's cinema vividly illustrates the idea that it is about the flow of time. It is memory that links his characters to themselves and others around them as they swim against the murderous tides of history and politics. Time and remembrance flow out of each other. Seldom has such a thought been expressed with greater feeling or perception than in the eight feature films Ghatak made between 1952 and '74.
Nagarik (1952, released after his death in 1976) deals with mass displacement and people carrying memories of better days. The present - in Calcutta - is a constant struggle for dignity and increasingly elusive daily bread; the past evokes happier times spent in probably pastoral surrounding which are now a part of a newly formed country and hence out of bounds.
Nowhere in world history has there been such mass displacement of people from their native habitat as in the twentieth century. And India's partition in 1947 saw the largest migration of a people ever. It is this sense of uprootedness and exile, of not quite belonging in a new found land and being spiritually nourished by humane values of another time and place that Ghatak evokes with unmatched passion and purity.
Ajantrik (1957) a film that does not bear the scars of partition, but recalls nevertheless, a lost world through the interaction of a mofussil taxi driver with tribals of the Chota Nagpur belt in erstwhile Bihar. He manages to create an enduring bond between nature, man and machine by discovering and sharing his knowledge of life's fragility, and indeed perishability of all man-made objects and simultaneously transfiguring qualities present in myriad living phenomena. Bimal's 1926 Chevrolet jalopy named Jaggadal (behemoth) often displays 'human qualities' and becomes 'temperamental' as it grows older. After years of reliable service, it breaks down and is sold off as junk. Life continues, Bimal becomes wiser despite his loss of livelihood.
There is lucidity in Ghatak's cinematic vision that renders complex ideas simple. Early training in his gentleman-scholar father's library reading the epics - namely Ramayana, Mahabharata, Puranas, Upanishads, Jatakas amongst others; and, soon after the writings of Marx, Engels and other western philosophers and a grounding in group theatre with Indian People's Theatre Association (IPTA) - the cultural arm of the Communist Party of India - made him realize the value of communicating with very large audiences.
He, therefore, from his very beginnings in cinema eschewed the esoteric and the exotic.
He grew up in the lush green countryside of what was once East Bengal where women were maternal, full-bodied as in the temple sculptures of India. Women in his film answered to this ideal. Nita, the nurturing mother figure in Meghe Dhaka Tara (1959) who saves a largely ungrateful family before succumbing to TB; Anusuya, the lonely upper class woman who finds herself through Brighu a popular actor in the mass theatre movement in Komal Gandhar (1961); Sita an unfortunate woman promising and bountiful as nature from Subarnarekha (1965); Basanti and Rajar Jhee from Titash Ekti Nadir Naam (1972) all represent the many aspects of matritva (or motherhood).
Unlike other film makers in the world espousing the Communist cause to whom religion was anathema and who took refuge in existentialism like Wajda and Godard, or a considered atheism like Eisenstein, political ideology and aesthetic expression were fused effortlessly in Ghatak's cinema. Long before Fidel Castro discovered the virtues of non-interference with the religious beliefs of his party members in Communist Cuba, Ghatak had informed the Committee examining the ideological positions of IPTA and the CPI 'song squad' it would be imperative to remember that the Indian people, and certainly the proletariat who had been sustained culturally/spiritually by the epics would be best served if the party and its operatives read and appreciated these great books.
Characters in his films bear names like Ram, Sita, Anusuya, Nita, Brighu, Neelkantha from Hindu mythology. But his message is secular (worldly, but non-interfering in matters religious) and even revolutionary. He had taken to heart what an anonymous Communist had observed in despair: "they, (meaning the party leaders) had forgotten that revolutions were meant to bring happiness to the people". He was at loggerheads with the CPI for not understanding the needs, both spiritual and material, of the revolutionary masses and, after his expulsion from party ranks for allegedly being a Trotskyite made the sparkling serio-comedy Komal Gandhar in an effort to understand the malaise.
Unlike Jean Paul Sartre who spoke only of an individual's accountability to himself for his conduct, for society only caused derailments and hence alienation, Ghatak felt a human being always had to be socially responsible. A scene from Subarnarekha exemplified this idea. Ishwar Chakravarty leaves Nabajiban colony for a more economically stable life with his little sister and another foundling and is accused by his old friend Harabilash - a schoolteacher - of being a coward for leaving behind his fellow victims of the partition to an existence of deprivation and despair.
Jukti, Takko Aar Goppo (1971-74) his last will and testament, made as he was dying by degrees, found Ghatak examining the same idea in a slightly different light. Neelkantha Bagchi, a derelict intellectual, in conversation with a young ultra-left Naxalite observes how soon after the Independence he witnessed intellectual after intellectual turned cowardly just for the sake of material gain.
What makes Ghatak truly unusual is his commitment to - social responsibility, romantic love, nature rejuvenating itself despite man's (insensate) intervention, each succeeding generation transforming itself yet retaining its ties invisibly with the past. These ideas are often expressed singly or in unison in his penultimate masterpiece Titash Ekti Nadir Naam filmed soon after the formation of Bangladesh.
Basanti, who brings up the son of her now deranged childhood sweetheart Kishore, chooses not to remember, having tasted pain in love and in everyday existence. She rescues Rajar Jhee, the woman Kishore married on one of his fishing trips years ago, from the queries of a prying village panchayat (local self-government). Rajar Jhee cannot remember - despite her best efforts - her supposedly lost husband Kishore's village having travelled over water in search of him for several years with her son.
Ultimately, Ghatak's cinematic journey is about remembering, forgetting, traveling, savouring life across the landscape of experience. It is also about illuminating moments of which the truly giving can be a part.


Nearly 30 preschoolers graduated from St. Francis Preschool on Friday, May 26. The celebration marked a major milestone for the children who are now prepared to enter kindergarten. The preschool is part of the St. Francis Intergenerational Center in Ewa Villages. The participants in the adult day care program at St. Francis Intergenerational Center — or "grandfriends," as they are affectionately known — joined the celebration.
As a father of three sons, Jerry Correa, St. Francis Healthcare System's CEO, gave an encouraging message to parents. Jerry and Melissa Ah Ho-Mauga, Vice President – Client Services, who oversees the preschool, personally congratulated each of the graduates and presented them with a certificate.
Happy to show off what they learned, the children enthusiastically performed lively songs for their family and friends. The memorable event concluded with refreshments for all!


text:
Lamario Williams, BMD Class of 2017, wins ASAHP Scholarship of Excellence
Published: November 21st, 2016
Janelle Chiasera, CDS Chair; Lamario Williams; Kari Dugger, BMD Program DirectorLamario Williams, an undergraduate student in the UAB School of Health Professions' Biomedical Sciences program (BMD), was chosen as a recipient of a 2016 ASAHP Scholarship of Excellence.
The Association of Schools of Allied Health Professions (ASAHP) awards the Scholarship of Excellence annually to 12 students across the nation who not only excel in their academic programs, but who also have significant potential to take on future leadership roles in health professions.
"I am extremely honored and humbled to have won this award with such a distinguished group of students," said Williams. "It gives me the confidence to know I can be a leader in the healthcare field as a physician scientist someday."
He is a recent UAB School of Health Professions' Student Spotlight. The profile looks at his December 2015 trip to Kathmandu, Nepal, where he volunteered at Stupa Community Hospital.
Williams (a double major in BMD and Biophysics) recently won a PhysCon MSI/HBCU Travel Award to present his poster "Statistical Analysis of the Differences Between Fibroblasts and Mesenchymal Stem Cells" at a conference in San Francisco. And in 2015, he won a Research Award from the UAB Department of Physics.
The ASAHP Scholarship of Excellence is a $1,000 cash award that is in partnership with CastleBranch.
The Biomedical Sciences program is in the UAB Department of Clinical and Diagnostic Sciences.
Students/Faculty Programs Alumni
shp@uab.edu
School of Health Professions Building
1716 9th Avenue South

redpajama_set_name: RedPajamaCommonCrawl


text:
<meta http-equiv=Content-Type content="text/html; charset=windows-1252">
<meta name=Generator content="Microsoft Word 15 (filtered)">
<title>June 29</title>

June 29

Be Willing!

If ye be willing and obedient, ye shall eat the good of the
land. Isaiah 1:19

A healthy body. Enough money to
pay all your bills and extra to invest in the work of the gospel. A godly
marriage and happy, healthy children. Peace of mind. God has prepared a banquet
full of blessings for you.

But those blessings are not just
going to fall in your lap. You must be willing as well as obedient if you're
going to eat the best from God's table.

So, be willing!

Don't be willing for Satan to put
sickness on your body. Be willing, instead, to be well! In honor of Jesus'
sacrifice at Calvary, refuse to accept anything less than divine health.

Don't be willing to live in lack,
but be willing instead to live in divine prosperity and abundance. Refuse to
allow Satan to stop the flow of God's financial blessings to you.

Be willing to receive God's best
plan for your marriage and your children. Don't settle for the "norm"
in the world. Live above it in a home full of love and harmony, a home that is
what God meant it to be.

Don't allow Satan to substitute
anxiety and ulcers for the peace and undisturbedness that Jesus bought for you.
Be willing and obedient to cast all your cares on Him, for He cares for you.

Refuse to be robbed of the
banquet of blessings that have belonged to you since you became a believer. Be
willing to eat the good of the land!

Scripture Reading: Deuteronomy
8:5-20

redpajama_set_name: RedPajamaGithub


text:
import { Component } from 'react'
import PropTypes from 'prop-types'
import { createRoutes } from 'react-router'

import { isToggleEnabled } from '../feature-toggles'

export default class FeatureToggle extends Component {
  render() {
    if (isToggleEnabled(this.props.name)) {
      return this.props.children
    }

    return null
  }
}

FeatureToggle.propTypes = {
  name: PropTypes.string.isRequired,
  children: PropTypes.node.isRequired,
}

function createRoute(defaultProps, props) {
  return { ...defaultProps, ...props }
}

function createRouteFromReactElement(element) {
  const type = element.type
  const route = createRoute(type.defaultProps, element.props)

  if (route.children) {
    const childRoutes = createRoutes(route.children, route)

    if (childRoutes.length) {
      route.childRoutes = childRoutes
    }

    delete route.children
  }

  return route
}

FeatureToggle.createRouteFromReactElement = (element) => {
  if (isToggleEnabled(element.props.name)) {
    return createRouteFromReactElement(element)
  }

  return null
}


text:
Civitacampomarano es una localidad y comune italiana de la provincia de Campobasso, región de Molise, con 613 habitantes. Allí nació en 1770 el famoso escritor y político Vincenzo Cuoco.

Evolución demográfica

Referencias

Enlaces externos

 Página web oficial de Civitacampomarano (en italiano)

Localidades de la provincia de Campobasso


text:
#Author interview – Mary-Jane Riley
After She Fell, amreading, author interview, books, Mary-Jane Riley, The Bad Things
I am delighted to welcome Mary-Jane Riley on the blog today.
Mary-Jane Riley wrote her first real story on her newly acquired blue Petite typewriter. She was eight. It was about a gang of children who had adventures on mysterious islands, but she soon realised Enid Blyton had cornered that particular market. So she wrote about the Wild West instead. When she grew up she had to earn a living, and became a BBC radio talk show presenter and journalist. She has covered many life-affirming stories, but also some of the darkest events of the past two decades.
Welcome, Mary-Jane. Tell us a little bit about you…
I was one of those children who read widely and voraciously – my three brothers were away at school and so I was pretty much an only child and quite lonely, too. The local library and my Great Aunty Alice were my saviours. The library because I could borrow just about anything I wanted (though sometimes I had to smuggle books past my Mum and Dad), and Great Aunty Alice because she introduced me to Agatha Christie and thriller writer Alistair McClean. And all this reading meant I wanted to write my own stories, so I used to bash away at my Dad's old (very old) typewriter until my parents gave me a Petite typewriter – I don't know if they're around any more, but they were a child's typewriter and I have never forgotten it. But of course life got in the way and my love of writing fiction lay pretty dormant until after my children were born. By then I was a journalist but still wanted to make my own stories up, so I began writing short stories for women's magazines. I tried my hand at a romantic novel with absolutely no success. Then one day an idea for a thriller popped into my head (honestly). I wrote it, that got me my agent, but it took another book – The Bad Things – to get a publishing deal, first with Germany and then with Killer Reads/Harper Collins. Then, of course, I had to write a second book. I felt that Alex, the journalist protagonist from my debut novel, still had a story to tell, so I sent her from Suffolk to North Norfolk to help a friend whose daughter was found dead at the bottom of a crumbling cliff. Did she fall or was she pushed?
Your inspiration for After She Fell?
I live in Suffolk and am totally in love with the East Anglian landscape. There really are wide open skies and a vista that goes on forever! The Bad Things was set in a Suffolk coastal town in the winter, so I wanted to set the next book during the summer. I also wanted to go to a small village, again on the coast, but one that suffered from coastal erosion. I wanted the village itself to feel as though it was decaying. And I wanted to point up the fact that rural life isn't always idyllic, particularly for young people. There also needed to be a clash between the village youth and more privileged kids – so what better than bringing a private boarding school into play. And I've always had a fascination with boarding schools – midnight feasts, close friends, lots of sports – but after writing After She Fell I'm really glad I didn't go to one! So Alex went to Hallow's Edge to look into the death of her friend's seventeen-year-old daughter who had been a pupil at The Drift boarding school. Her death was ruled a suicide, but there are so many ways to fall….
Do your own plots ever give you nightmares or make you paranoid?
Only when I can't resolve a plot point! Then I tend to wake in the night and wrestle with it – often to no avail. It's usually a long walk with my dog that helps me untangle stuff. But, seriously, for the last few years I worked on the BBC News Website and covered a lot of crime stories – some of them pretty grim. I think fact rather than fiction can be the stuff of nightmares.
When I was working I used to do early shifts, so did most of my writing between about 5pm and 7pm (children have left home), and I still find that a good time for me. I try and do a couple of hours in the morning too, which works as long as I ignore the housework/washing/shopping! If I start on any of that it gets difficult to sit my bottom in front of the computer. And two hours is about as much as I can do in one chunk. I usually tell myself I'll do half-an-hour and that usually morphs into more. I have a computer in a spare bedroom and I like to do most of my writing in there with no music or radio. I also try and write outside sometimes when the weather's nice, or on the dining-room table for a change. Not on the table, obviously. In a notebook. Or on an iPad.
Mostly a panster in that I have an idea, a 'what if' question and a couple of characters and then plunge in… I actually enjoy the physicality of typing! But I usually have a couple of false starts and then, at about 20,000 words I have to stop and make notes (longhand) about what I have done, how the characters are developing and what's going to happen in the next 20,000 words. By then I also hope to have more than a vague idea of how it's going to end. So, as you can see, it's a bit of a rollercoaster ride – to use a well-worn cliché!
Do you do any research? If so, any sites or sources you care to share?
I do as much research as I need to! For After She Fell, I had to look into the whole boarding school thing – mainly Google, but I also know people with children at a couple of boarding schools, and in fact one contact gave me the low-down on – no, I'd better not say… I went to North Norfolk and to Happisburgh (re-named Hallow's Edge in the book) and Mundesley (fish and chip lunch – delicious!). Then there was looking into post-mortems. The effects of drowning. Drugs. Overdoses – I only hope no-one looks at my search history too carefully. Also, as part of the book is told from the dead teenager's point-of-view (in the weeks leading up to her death), I asked my youngest daughter and the seventeen-year-old son of a friend to read some of those chapters.
Both. I do read a lot of crime, thriller and suspense fiction because I love it. I also review books for the Mystery People e-zine, so have two or three of those a month. I like a bit of literary, a bit of romance, a bit of dystopian, and I LOVE well-written zombie fiction…
Ruth Rendell and PD James – both of whom I interviewed when working for BBC radio. Patricia Highsmith of course. Daphne Du Maurier. Kate Atkinson. Louise Doughty (I so wish I could have written Apple Tree Yard) and Lee Child. Stephen King. And I recently re-read Valley of the Dolls by Jacqueline Susann, which was just as fabulous as when I sneaked it past my parents to read under the bedclothes.
Thank you, Mary-Jane, for joining us today.
You can connect with Mary-Jane on Facebook, Twitter, and Instagram.
THE BAD THINGS: What would you do if you had the chance to talk face-to-face with the person who tore your family apart? Would you take it, or let the past lie? Alex Devlin took it. And wished she hadn't.
The Bad Things is available from Amazon UK and Amazon US.
AFTER SHE FELL: Journalist Alex Devlin understands the pain of not knowing. It took fifteen years to find out the truth about what really happened when her four-year-old niece and nephew were abducted. Now her old friend Catriona Devonshire needs help. Catriona's seventeen-year-old daughter Elena was found dead at the bottom of a cliff near her exclusive boarding school in North Norfolk. The death has been ruled a suicide, but Catriona is not convinced. When Alex arrives at Hallow's Edge to investigate, she quickly finds that life at the boarding school was not as idyllic as the bucolic setting might suggest, and uncovers a culture of drug-taking, bullying and tension between the school and village. No one is quite who they seem to be, and several people might have had reason to want Elena to fall.
After She Fell is available from Amazon UK and Amazon US.
3 thoughts on "#Author interview – Mary-Jane Riley"
Mary-Jane Riley (@mrsmjriley) said:
Thank you so much for having me!
CPhilippou123 said:
Thank you for joining me today 😊
Suzanne Smith said:
I loved After She Fell, it's such a great book. I loved reading the interview and learn more about the author.


Discusses the efforts of information technology managers at SunTrust Bank's online services department to deal with the surge of electronic-mail inquiries from customers. Initiatives of the bank's electronic service call center to satisfy clients' questions; Factors behind the surge in incoming electronic mail from customers.
The article reports that SunTrust Banks confirmed launches of about 200 new Operation Hope financial-counseling centers in SunTrust branches as of 2020, expanding the customer base of the former to 150,000 customers per year.
The article reports on the financial performances of several U.S. and Canadian banks on its economic status stating the increase of individuals who use money-transfer transactions in banks and banking industries includes SunTrust Banks Inc., Regions Financial Corp. and Fifth Third Bancorp.


text:
My Life in Art
Konstantin Stanislavski
Reference - 520 Pages
ISBN 9780415436571 - CAT# RU44775
ISBN 9781315823720 - CAT# YE47227
May 8, 2018 by Routledge
For Instructors and Students Companion Website >>
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Author(s) Bio
Konstantin Stanislavski was a Russian director who transformed theatre in the West with his contributions to the birth of Realist theatre and his unprecedented approach to teaching acting. He lived through extraordinary times and his unique contribution to the arts still endures in the twenty-first century. He established the Moscow Art Theatre in 1898 with, among other plays, the premiere of Chekhov's The Seagull. He also survived revolutions, lost his fortune, found wide fame in America, and lived in internal exile under Stalin's Soviet Union.
Before writing his classic manual on acting, Stanislavski began writing an autobiography that he hoped would both chronicle his rich and tumultuous life and serve as a justification of his aesthetic philosophy. But when the project grew to 'impossible' lengths, his publisher (Little, Brown) insisted on many cuts and changes to keep it to its deadline and to a manageable length. The result was a version published in English in 1924, which Stanislavski hated and completely revised for a Soviet edition that came out in 1926.
Now, for the first time, translator Jean Benedetti brings us Stanislavski's complete unabridged autobiography as the author himself wanted it – from the re-edited 1926 version. The text, in clear and lively English, is supplemented by a wealth of photos and illustrations, many previously unpublished.
Stanislavsky was the co-founder (with Nemirovich-Danchenko) of the Moscow Art Theatre, which took the international theatre world by storm when he began producing the plays of Anton Chekhov in 1898. (Nemirovich-Danchenko went on to set up the Moscow Art Theatre School, which is still running today.)
He is the author - with the help of his translator Elizabeth Hapgood, who also edited his scattered writings and became 'co-author' - of My Life in Art; An Actor Prepares; Building a Character; Creating a Role; and various other marginalia (put together, I suspect, postumously).
Jean Benedetti is the author of many books about acting and Stanislavsky, including The Art of the Actor (2005); Stanislavsky: An Introduction (2E 2004); and Stanislavsky and the Actor (1998). All these were co-published with Methuen and, I think, commissioned by them. Initially working as an actor, director and television writer, he turned to teaching and became the Principal of Rose Bruford College, still a highly respected drama school.
'This wise and delightful book … is packed with sage, practical counsel to actors and actresses.' – The Times Literary Supplement
'The Stanislavski system of acting is good. What is better is the Stanislavski philosophy of art that believes in the infinitude of man ... Even those who are not primarily interested in acting will find in Stanislavski's writing an extraordinary illumination of art.' – The New York Times


It's not often that a major purchase in 1762 turns into a major headache in 2017. But that is what happened with the First Church's clock in Ipswich.
The First Church (uppercase C: the institution) built its first church (lowercase c: the building) in 1634, the year that Ipswich was founded. The church stood on the highest point in town and was the town's first public building – besides being a house of worship, it also served as a meeting house and even as a fortress guarding against French or Indian attacks.
By the middle of the eighteenth century, a modern town needed a public clock. People needed to organize their businesses and activities on a common schedule: a public clock signals the beginning of scheduling – without which life today would be impossible. Before then, the church bell had been rung every day at 5.00 am, noon and 9.00 pm, which at least did something to keep people within a common timeframe. A town clock had become a necessity, but there were no capable American clockmakers at the time, so the Ipswich clock had to be ordered from England. The maker is not recorded, but construction and stylistic details suggest it was John Hawting of Oxford.
Then in 1846 (here comes another church), the First Church built the fifth church and relocated the clock into the new steeple where it continued to keep the town clicking along like (ahem!) clockwork. And then – calamity! In June, 1965, the church was destroyed by lightning and the clock reduced to a jumble of cogwheels lying in the ashes. Parishioners gathered them up, put them in a box and promptly forgot about them.
Fifty years later, a tower clock expert comes on the scene. Donn Lathrop heard about the pile of clock parts, inspected them and volunteered to take them to his Vermont workshop and put them back together again. And he did just that. Today the clock is back in town in full working order and probably more accurate than at any time in its history – it loses just one minute in 24 hours.
And here's the problem. There's no question of the clock's importance: it's the first town clock and it's one of the earliest in New England. But it's huge. It's around eight feet high and six feet wide. It can't be fitted into the tower of the sixth church (are you still keeping count?) and for the time being it's sitting in a hallway outside the pastor's office. The Town Hall can't find room to display it, nor can the Ipswich Museum.
Wow! It should be pn display somewhere.


La Mexicana, Inc. is a leading manufacturer and distributor of a complete line of quality Mexican food products located in Seattle, Washington. Since 1955, our exclusive focus on the Hispanic food industry has enabled us to provide our customers with the highest quality products and services in the region. To assure freshness we distribute our tortillas oven-fresh to local Hispanic restaurants and retail stores throughout the Pacific Northwest. In addition, we compliment the superior products we manufacture with hundreds of offerings from the finest names in the industry.
Copyright 2011, La Mexicana, Inc. All rights reserved.


text:
April 6, 2021 April 5, 2021 by S K
Shaun?
Upon hearing this, the Shen family suddenly felt shocked, and they all looked towards the apron.
Cuiping's words were too shocking.
That son-in-law who they regarded as rubbish came here in a military helicopter?
How is this possible?
Everyone's eyelids jumped wildly, looking in the same direction very nervously.
Especially Elvira!
At this moment, she stared at the figure walking down from the helicopter, wanting to know if he was Shaun.
It's a pity that there is a crowd of people over there, and they can only see a figure roughly.
Upon hearing this, Cuiping said with disdain:
"Stupid girl, you must be mistaken, how can the waste be eligible to come in a military helicopter?"
"That is China's highest-level military helicopter. The person who can be personally picked up by this helicopter must be a figure of the God of War. Is it a wasteful match?"
"In my opinion! That must be a certain God of War who was also invited to participate in today's exhibition. It is definitely not that little boy!"
The Shen family all looked contemptuous, and they didn't think that the person who got off the helicopter would be Shaun.
"But he is really alike!"
Cuiping said weakly, his profile and back at that moment were exactly the same as Shaun.
At the same time!
Shaun got off the helicopter and ordered Ye Shihao impatiently:
"Let them all go away!"
Those big guys had been driven away without even seeing Shaun's face.
Then, Shaun asked:
"My wife, is she here?"
Ye Shihao nodded and said:
"There is a bastard who dared to impersonate you and I have given him a lesson."
"He is just a beaming clown, don't bother! Let them in!"
Shaun said lightly:
"Remember, don't reveal my identity!"
After welcoming Shaun into the jewelry exhibition, Ye Shihao walked towards the door again, planning to let Mr. Mingzhe and others in.
Everyone in the Shen family was outside, but they were also as anxious as ants on a hot pot.
"Mr. Mingzhe, since the other party has not pursued it anymore, shall we go?"
"Yeah, in case they weren't looking for you, then we are in bad luck!"
The people of the Shen family showed anxiety and want to leave.
Mr. Mingzhe snorted coldly, and said with extreme conceit:
"Impossible, they must have been looking for me! And when they will know they have made a mistake, all of them will kneel down and beg me for forgiveness!"
"Yes, yes, they insulted Mr. Mingzhe you like that, you must not spare them lightly!"
Cuiping immediately slapped her horse and said with a flat face:
"Now we are going to investigate to the end!"
At this moment, they saw Ye Shihao come out with a smile on his face and said flatly:
"Everyone, I did make a mistake just now! Please come in quickly!"
Upon hearing this, the Shen family was completely stunned!
Mistaken?
In other words, is it really Mr. Mingzhe who is invited by Jinding?
"You blind dog!"
Mr. Mingzhe jumped into thunder, and shouted at Ye Shihao:
"Now it is clear that I am the person who was invited? Dog thing! Did you dare to hit me? Apologize to me immediately!"
Ye Shihao glanced at him diagonally, and a touch of hostility suddenly appeared in his eyes but thinking of Shaun's request, he could only swallow:
Apologize!
Everyone in the Shen family was shocked when they heard this.
Ye's Family Patriarch, who was just so vicious, bowed and apologized now?
Mr. Mingzhe was right. Ye Shihao and others must have never met Mr. Mingzhe, so they misunderstood.
Now that I figured it out, I apologize with sincerity.
Hearing Ye Shihao apologize, Mr. Mingzhe smiled triumphantly and said condescendingly:
"Fortunately for you! If I hadn't brought a guest today, you must have to kneel and apologize now!"
"Go away! Don't stand in our way!"
Domineering!
When all the Shen family saw Mr. Mingzhe's high profile, they all thought he was domineering.
He even dared to reprimand the Patriarch of the Tangtang Ye's Family!
This is incredible!


The Junior Academy at Detroit Service Learning Academy serves over 300 students from Grades 6-8 with intense instruction, character education, and critical thinking exercised all in a safe and secure environment. The Junior Academy has established a relationship as one of the best middle schools in the city of Detroit and our state.
Junior Academy staff members are highly qualified and highly motivated to develop positive relationships with students and to provide a rigorous and standards-based curriculum for all.
The vision and purpose of Junior Academy is to prepare middle school students for life-long learning as well as develop and practice study habits that yield to academic success and preparation for high school and beyond. This vision creates a connection to the overall well being of the school.
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Junior Academy also provides extracurricular activities such as boys' and girls' basketball, girls' volleyball, cheerleading, dance, Student Council, National Junior Honor Society, and Academic Games to broaden student horizons and develop a competitive spirit full of school pride.
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Read the JA mission statement and uniform policy.
The Detroit Service Learning Academy takes pride in servicing all students and is especially proud of the progress that has been made within its Special Education Department with students. The model that is practiced at the Detroit Service Learning Academy is that of "full inclusion," which encourages General Education and Special Education teachers to work together for the common good of all students. The Special Education teachers collaborate with the General Education teachers within the general education classroom setting to reach all students. In addition, the Special Education teachers conduct small group sessions to reinforce concepts taught during general education classes.
Our Special Education Department consists of a Special Education Director, School Social Worker, Speech and Language Therapist, Psychologist, seven Special Education teachers and five Special Education Paraprofessionals.
The Detroit Service Learning Academy determines the existence of a Specific Learning Disability (SLD) by using a four part process, identifying a Pattern of Strengths and Weaknesses (PSW) called the Aptitude Achievement Consistency Model which is based on the Cattell Horn-Carroll Theory (CHC). A more detailed approach to this model can be accessed through the Wayne County RESA website.


Do you sometimes have the feeling that there are two bodies on the mat: the body you have, and the body you fantasize about?
cross-cultural studies (the attempt to understand how asana feels in the bodies of different practitioners depending upon their power within the hunger games of global capitalism).
Psychoanalysis, I'll admit, is a rather greasy and chipped lens through which to view yoga. It's atheism and materialism will alienate many. It can be a killjoy to most "spiritual" aspirations and all feel-good marketing. Plus, large swaths of the Indian intelligentsia charge that Western academics like Wendy Doniger and Jeffrey Kripal have been using it to extend the habit of pathologizing their culture, ever since the colonial invention of "Indology".
I'd like to do my best to set the politics of this gingerly aside (and to defer the issue of whether psychoanalysis offers any cross-cultural validity) and simply use it to see if it offers compelling insight into why some of us might feel a tad schizoid on the yoga mat, practicing in or with a body we may hate with one breath, and exalt with the next.
Psychoanalytic insights into how early family structures influence the formation of the self now have widespread cultural currency. We know that how a child is cared for or neglected, how her space is invaded or respected, how she is made to feel guilty for existing, or like she's the very centre of the universe — this is crucial history for understanding the kind of body and world she feels herself to occupy as an adult. If yoga is pursued by many today in an attempt to feel comfortable in their skin, well-regulated in relationship, mindful of their needs without feeling needy, interdependent as opposed to co-dependent — the broad findings of psychoanalysis can be very useful. But I'll focus on just one of its findings here.
Decades later, in her amazing work on the psychology of anorexia nervosa, Suzie Orbach extended Winnicott's idea of the "false self" into the idea of a "false body". She suggests that as soon as the body reveals itself as needy, vulnerable, farting, menstruating, asymmetrical, or in pain, a sense of shame might overcome the person that can only be managed by fantasizing a body that must be incapable of producing these dark things. The false body is toxically vitalized by the anxious hope to please others through the performance of beauty and strength. The "truer" body — that vessel of aches and pains, fear and trembling, insomnia, frustrated urges and uncertain purpose — doesn't go away, of course. It is still the lived-in body, wearing the fantasy as a disguise.
[W]here the developing child has not had a chance to experience its physicality as good, wholesome and essentially all right, it has little chance to live in an authentically experienced body. A false body is then fashioned which conceals the feelings of discomfort and insecurity with regard to the hidden or undeveloped 'inner body'. The 'false body' is, like the 'false self', precarious. It works as a defense against the unaccepted embryonic real body. Again, like the false self, it is malleable. In attempting to gain external acceptance, the "false body' is fluid and manipulable. The woman in the 'false body' becomes used to trying to reform it along approved-of lines. It does not provide the individual with a stable core but a physical plasticity expressing a complex of inner feelings.
If you find this idea resonant (or not) — if you've felt in practice the dual bodies that psychoanalysis seems to describe so well — I'd love to hear from you in the comments, or privately at threadsofyoga@gmail.com.
Muktibodhananda. Hatha yoga pradipika: the light on hatha yoga : including the original sanskrit text of the Hatha Yoga Pradipika with English translation. Munger: Bihar School of Yoga, 1985. Print.
Orbach, Susie. Hunger strike: the anorectic's struggle as a metaphor for our age. New York: Norton, 1986.
Winnicott, D. W.. The maturational processes and the facilitating environment; studies in the theory of emotional development,. New York: International Universities Press, 1965. Print.
And: shouts to Melanie Klein, Anna Guest-Jelley, Chelsea Roff and Roseanne Harvey, who are doing such excellent work on the body-image front in yoga culture. Their work is opening a big door for me and many others. And to Rachael Blyth for referring me to Orbach: thank you so much.
I would say that injuries might be happening as much from attachment to a "youthful" body as there is to a body we "want" rather than one we actually have. I do not have a particularly robust body, and that is something I've had to learn to accept–that many people can do things that I just can't. But also as a middle-aged practitioner, there were practices I was actually–and perhaps luckily–taught were no longer appropriate for people my age. One teacher actually told me that the Ashtanga series was only appropriate for the young, as otherwise all the jumping made people wreck their knees. Another told me that Chaturanga was particularly dangerous for the shoulder joints, so he only teaches Plank pose. So as we age, we need to adapt our practices to suit our changing bodies, even as we still challenge ourselves to stay as strong and flexible as possible. It's a tricky line to walk, of course, but we're individuals, so there are no rules to follow (and frankly as the wife of a medical researcher, I can tell you there is still much that is not understood about the human body). Our Western culture tells us when we are children that we can BE anything we want if only we set our minds to it (how many children's movies and books have this message?). It also tells us that we can have the body we want if we do/buy the right things, and also that we can stay young by doing/buying things. These are obviously all illusions that we must let go of not just to attain contentment (the real aim of yoga) but to appreciate and work what what we actually do have.
Yes, I absolutely feel like I hurt myself by practicing in the body I fantasized, rather than the body I have. And, after almost two years of working in the injured body, I finally feel like I have a better embodied practice. In that way, the pain encouraged me to stay contained.
A point somewhat related to your last few paragraphs – I've been practicing for a long time (more than 20 years). But, I took up more intensive asana practice about 10 years ago partially due to an seeming inability to meditate on a regular basis – something about sitting on the cushion felt unworkable to me. Yoga gave me the opportunity to be present in my body in an accessible way that felt beyond my capabilities in meditation. So working through the body helped me "straighten out" my inner being. And now I'm able to meditate regularly and (for the most part) easily. In that way I suppose I also agree with Saraswati. But integration is still a fantastic struggle, so I look forward to hearing what others have to say on this topic.
I've asked friends in Satyananda's lineage why he would so sideline yama and niyama in his commentary, and wasn't satisfied with their response, which simply parroted his assertion. But if I read the text in order, it very much does invoke purification of mind, with even more structures than Patañjali. I read this as clearly situating ethics, generosity, meditation, and all the energetic containment and purification structures of niyama a clear prerequisite for the HYP's kundalini and bandha-focused asana.
Satyananda's "schizophrenia" threat then can read as a modernist resistance against a classical yogic mental discipline. Maybe it's a skillful elision, recognizing that moderns will join the discipline more fully from a body foundation rather than a difficult ethical and lifestyle inquiry. Or maybe he sees his meditation students chafing against ideas that they must purify the mind. In this sense he repeats a Tantric resistance to Patañjali, which constructs the narrative of a past "purer" time in which people could meditate (enter dhyāna), but now in these degenerate times, we need stringer and faster methods.
Stronger and faster, and something we can do because we're unable to meditate. Sounds familiar.
Thank you, Sean. That fills in some gaps. I wonder how prevalent Satyananda's gloss is in Hatha culture. Something to ask James Mallinson!
Just stumbled upon this. It is definitely one for the philologist. The passage on the ten yamas and ten niyamas (which is first found in some late first-millennium Vaiṣṇava tantras) is not found in most manuscripts of the Haṭhapradīpikā. It is inserted in some, but was probably not in the oldest recensions (for why not, read on). So Satyananda and Rieker are both right. But although the original HP did not give lists of yamas and niyamas, it did not say they should be ignored and refers to them in passing when at 1.38 (in a verse derivative of Dattātreyayogaśāstra 32c-33d) it says that a restrained diet (mitāhāra) is the best of the yamas and ahiṃsā the best of the niyamas. In the interpolated passage both mitāhāra and ahiṃsā are yamas, which is why I think it is not original (although I am yet to find a list of niyamas which included ahiṃsā and the HP is not always coherent, so I may be wrong).
The more brahmanical haṭha texts (e.g. Vasiṣṭhasaṃhitā + some Yoga Upaniṣads) teach the yamas and niyamas, listing, like the HP interpolation, ten of each (unlike the Pātañjalayogaśāstra, which teaches five of each). The haṭha texts of Nāth/tantric orientation (HP, Gorakṣaśataka, Vivekamārtaṇḍa, Śivasaṃhitā etc.) do not teach the yamas and niyamas. This does not mean that they had no rules, however, as, like the many 6-aṅga tantric systems of yoga, which also do not teach the yamas and niyamas, they would have been part of larger systems in which certain ethical principles were enjoined.
Ha. So my question is — wouldn't they sell more clothes with "Gentle is the New Advanced?" Did you pitch them?
Oh man, this feels very true to me. This false body follows me around EVERYWHERE, and it has since I was very young. I'm a woman; I've always judged myself against a fantasy standard I wish I could embody but only partially manage. Sometimes it follows me to asana practice, but sometimes it is repelled by that same practice and I relax in to the home of my true body. It's harder now as I age, and my true body, that I was learning to recognize, has started to change. A whole new kind of denial is now arising in me.
Dear Matthew, thank you so much for your post. And for your book "Threads of Yoga" that I have enjoyed enormously. It voices so many things that I have thought or not thought maybe but sensed, but not had the words to even think about.
I have practiced yoga for 20 years and spent 12 years in the ashtanga hype.
I can translate the idea of practicing in another body as a struggle to stay out of really feeling my body – as I spent many years of intense home-practice doing. Thinking I was practicing, but really numbing the connection to what was "really" going on. Ujjayi has that capacity to create an almost trancelike state, that feels enormously addictive and that, in stead of bringing in touch with deeper emotional layers and patterns, numbs them out. I did not want to feel myself. And I went for a practice that effectively helped me numb and control…for a while anyway. Yoga became part of my survival-strategy in stead of a way out (or in if you want).
I think it started out okay. Yoga was really an eye-opener in the start. That I could be in my body in a novel way, not run away from pain and discomfort. Get to know it. Be curious. It changed with ashtanga, that triggered a side of me, that felt in control and that could present an image to the world that fit with the way I wanted to see myself. A dream of invulnerability, strength, youth, immortality really, I practiced with a painful body, day after day, following the series, always pain in my lower back, my neck, and lying to myself about it. Not wanting to let go of my addiction.
The end-result for me was several serious injuries that woke me up. For about a year I had no choice (pain) but to just be in my body, realizing that I was not in control. The fantasy died then and the insight from that has stayed with me.
I am struggling right now to put this into words, but what I have realized I was caught so much up in, was exactly that, the idea of "having" a body in stead of being one. And having my life fall apart, my body fall apart taught me a valuable lesson: That I had invested seriously in NOT being vulnerable, not falling apart, not showing myself, and that I had used yoga as a tool for it. Something about the patriarchal hierarchical structure of ashtanga, that just fits so well with the physical culture of the western world and that works together with the old patterns of child not allowed to be embodied. While we are told and tell ourselves the opposite.
I am really interested in, how to practice differently (which I am today), but also how to teach differently so as not to feed into this culture of buying perfection.
I think it is thought-provoking that we as women, I being one of them, buy into a culture, that promotes the idea of perfecting bodies. I read a book by Carol lee Flinders called "The Values of Belonging" and found it a very helpful lens for this whole discussion. Anyway … I am really happy that this discussion is happening. Bows!
This is totally fascinating. I've noticed a split in the body I have and a fantasy body. For me, the dichotomy is simply 'injured' and 'not injured.' When I'm practicing with an injured body, I remember the non-injured one, and try to work back to that. When I'm not injured, I fear the remembered injured body, and try to design / constrain / devote my practice towards the ideal of non-injury. I feel a sense of devotion or thanks to all the tiny details in practice that have (in my mind) kept me injury-free that day. It becomes almost a game of micro-management in figuring out the puzzle of what makes the body present itself that day as injury-free. It's a continuous game of trial and error. There are some moments when it all makes sense, and I've figured out the solution to the puzzle, and then there are moments when the bubble bursts and I'm back to the Injured Body. Then the game begins again. Trial and error, until another solution presents itself, and the NonInjured Body returns. So in practice I'm either puzzling over one self or fearing the other.
There are days when the bow at the end of practice feels like a bow to the universe to keep this tenuous connection going with the Uninjured Body. As if to say, thank you (Universe, Powers that Be, The Way, The Force) for keeping this Good Body here; please let it be here again tomorrow. Though I try to control it (by figuring out a 'solution' to the injury) the Injured Body always returns, with another injury, or the same one, returning.
As an aside, I feel that a split personality is intrinsic to living in a commercialized society. There is always a split between the ideal self that the advertiser wants for you, and the actual self that you have for yourself. It is very hard to know one's real self, the authentic self, when the messages all around us every day present never-ending variations on an Idealized self. Physical and personality ideals are presented constantly via advertising and entertainment. They're impossible to avoid, so it takes a solid inner practice of some sort to filter them out and connect back to a deeper, truer self. It takes *work* not to internalize the Ideal / false selves we are socialized to emulate. This applies to the yoga world as well, in terms of yoga advertising imagery and idealism.
These are some really amazing and important points. I also feel this fantasy body idea is encouraged by teachers or practitioners who lack knowledge regarding the physical body, pathology, injury, aging, and other circumstances which may inform each student's practice. Fantasy terminology is perpetuating fantasy body.
So true. One of my favorite yoga teachers is having her labrum repaired at this very moment. Another teacher at the studio, upon hearing of her injury, said, "What happened, were you just not listening to your body?" This fantasy, which Matthew speaks of often, that if we "listen" there is somehow no way we can be injured, is one of the more pernicious myths perpetuated by some teachers.
Why do we injure ourselves? It's such a complicated issue. Not including our childhood experiences or society pressures – nature demands it. All animals confront their nature in nature. The strongest survive. This is inherent in us. Primal. Rationalizing it takes it to a level where it encounters another need: that to examine and dissect everything. We are stuck in between. Better said perhaps – from where I stand at this moment – finding the center of gravity in between, taking the physical practice of yoga to where I am challenged but not hurt, to where I learn to be (and know the difference) between discomfort and pain. And floating peacefully in that space without clinging to it since that space can also turn into a fortress and keep me from further experiences. Ahhh… to be human..
Conscious and careful address of the stretch reflex (most every yoga student FEELS it) would allow us to direct the "real body/fantasy body" dialectic in service of moksha.


text:
La  est l'une des cinq circonscriptions législatives que compte la préfecture de Tochigi au Japon. Cette circonscription comptait  électeurs en date du .

Description géographique

La première circonscription de la préfecture de Tochigi regroupe la majeure partie de la ville d'Utsunomiya, le sud-est de Shimotsuke et le district de Kawachi.

Députés

Notes et références

Voir aussi

Articles connexes
 Chambre des représentants du Japon

Circonscription législative au Japon