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Booth Family Pledges More Than $4 Million for KU Hall of Athletics
LAWRENCE, Kan. – In honor of their parents' love of University of Kansas athletics and the sacrifices they made for their children, the family of the late Gilbert and Betty Booth have committed more than $4 million for a Hall of Athletics at Allen Fieldhouse.
Originally announced anonymously in February, the pledge to the Kansas University Endowment Association is from the Booths' children and grandchildren. Booth family members pledging their support are David and Suzanne Booth of Los Angeles and their children, Erin and Chandler; Mark and Lauren Bacich Booth of London and their children, Miles, Coco and Cyrus; Mark and Jane Booth Berkley of Tescott, Kan., and their children and spouses, Stuart and Tina Berkley, Elizabeth and Pete Reininga, and Melissa and Marko Ungashick.
Their gift will help fund construction of an addition to be built on the east side of Allen Fieldhouse, home of KU's basketball programs. The Hall of Athletics will feature memorabilia spanning more than a century of KU athletics programs, a ticket office and a store. Construction is expected to begin in 2005.
"The Hall of Athletics will be an outstanding facility that will honor the achievements of dozens of exceptional former KU student-athletes," said Lew Perkins, director of athletics. "With the support of the Booth family, we will now have a place for all Jayhawk fans to experience the history of KU's strong athletics traditions."
Betty and Gilbert were longtime residents of Garnett, Kan., until 1959. That year, although Jane and David had not yet completed high school, the family relocated to Lawrence so David and Jane could eventually attend KU.
"This wasn't a time when people were mobile," said Jane, who attended KU from 1963 to 1965. "Looking back, it was a huge sacrifice for them after living in Garnett for so long. We can't imagine how much they gave up for us."
Their new home at 1931 Naismith was just down the street from Allen Fieldhouse. Jane said that living so close allowed the family to feel like they were an integral part of the university, where they often attended cultural events and football and basketball games. An added bonus for Mark, liberal arts '78, was the proximity to KU men's basketball team members.
"It was very exciting to be a young boy who could go watch practices and get to know the players," Mark said. "The players were always very kind. They would occasionally let me win a game of `21′ and gave me a jersey now and then."
David, economics '68 and master's in business '69, added that a gift for Allen Fieldhouse was an appropriate memorial.
"When I get to see games at Allen Fieldhouse, I get flashbacks to my years at KU and the times I went to basketball games with my parents," David said. "KU athletics were more than just sporting events to us; they were a way of life."
Mark said the gift was the best way to honor two dedicated parents and Jayhawk supporters.
"We were fortunate to have wonderful parents who made us believe that anything was possible," Mark said. "KU basketball and Allen Fieldhouse were things they both loved. It is seems a fitting tribute to give this gift in honor of two very lovely people."
Gilbert was in the U.S. Air Force during World War II and attained the rank of sergeant. When he returned to Garnett, he ran a local IGA and sold cars. For many years he traveled the south-central portion of Kansas as a route manager for the Kansas City Star, retiring in 1981. He died in 1985.
Betty and Gilbert married in Garnett in 1944. Originally given emergency certification to teach in Pomona, Kan., during World War II, Betty earned a degree in education from Ottawa University in 1968. She taught from 1968 until 1980 at Kaw Valley rural school and also in Eudora. She died in 1995.
The Booth family's gift counts toward the goal of KU First: Invest in Excellence, the largest fund-raising campaign in KU history. KU Endowment is conducting KU First on behalf of KU through 2004 to raise in excess of $600 million for scholarships, fellowships, professorships, capital projects and program support. KU Endowment serves as the independent, non-profit fund-raising and fund-management organization for KU.


5th April 2009 marked a historic milestone for Hope Kuala Lumpur. On this day, Hope Kuala Lumpur City Center and Hope Petaling Jaya merged to become one entity in order to move forward towards the magnanimous task of fulfilling the Great Commission together. The main objective behind this merger is to pull our resources and synergise together to forge unity and team work towards a common purpose – church planting, which is the very DNA of God and Hope. It was aptly themed "Stronger Together". It was also on this special occasion that Senior Pastor Simon Eng announced the appointment of Ps Moses Wan as the Executive Pastor of Hope Kuala Lumpur.
Hope Kuala Lumpur can proudly look back to its humble beginnings. Then, a group of pioneers from Hope Singapore decided to relocate to Kuala Lumpur city and together with 2 other members resident in KL at that time started the church. On 23rd October 1993, the first ever Sunday Service was held in a pioneer's house.
Love and joy being the main ingredient undergirded by a strong conviction and commitment to fulfill Matthew 28:19-20, the church gradually grew. All praise and glory to our Heavenly Father, the seed church eventually grew into 3 centres ie in Serdang, Petaling Jaya & Kuala Lumpur City Center.
The vision for the city of Petaling Jaya saw its birth in 1998 and became a reality when she had her first service on 14 March 1999 at the Multipurpose Hall of a Spastic Centre. We had a record attendance of 150 people and 2 new souls on that day!
The church met at several locations to accommodate her growing congregation. So from the Spastic Centre, she graduated to a shop lot in Section 14, a Section 19 warehouse and finally, our very own premises in Section 17 in November 2004.
Today, we boast four congregations from the English, Mandarin and Nepalese language groups and a separate English Student Service. At the same time, she is faithfully supporting our centres in Teluk Intan, Ipoh, Mentakab, Kuantan, Kuala Bharu and Kuala Terengganu. We thank God that Hope Kuala Lumpur is here to impact the community for Jesus!


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ARCHiPELAGOS • VIII. IN TIMES OF INDIGENCE
Posted in: ARCHiPELAGOS.	Tagged: Abkhazia, Age of Pericles, Agora, Alexander the Great, Alexandria, Amélia Muge, António José Martins, António Quintino, Antigone, Antistrophe, Apollonius of Rhodes, Archimedes, Argo, Argonautica, Argonauts, Argus, Aristarchus of Samos, Aristotle, Atheism, Athenian democracy, Battle of Salamis, Black Sea, Bullroarer, Caesareum of Alexandria, Camões Prize, Catarina Anacleto, Charles William Mitchell, Church Fathers, Circe, Circe Invidiosa, Classical music, Classical period, Cleisthenes, Colchis, Ctesibius, Cybele, Cyril of Alexandria, Decline and Fall of the Roman Empire, Democracy, Dimitris Mystakidis, Dindymon, Doctor of the Church, Drum, Edward Gibbon, Epode, Eratosthenes, Euclid, Existence of God, Filipe Raposo, Francesco Jerace, French Revolution, Friedrich Hölderlin, Georgia, Golden Fleece, Greco-Persian Wars, Harris Lambrakis, Hélia Correia, Helen, Hellas, Hellenistic period, Henotheism, Hero of Alexandria, Hipparchus, Homer, Hypatia, Jason, Jean François de Troy, John William Waterhouse, José Manuel David, José Salgueiro, Konstantinos Volanakis, Kosmas Papadopoulos, Kyriakos Gouventas, Library of Alexandria, Lighthouse of Alexandria, Ludwig van Beethoven, Lusophone, Manos Achalinotopoulos, Maria Monda, Medea, Michales Loukovikas, Monolatrism, Monotheism, Musaeum, Napoleon, Nymph, Ode, Odyssey, Oligarchy, Orpheus, Ostracon, Paganism, Pan, Pan flute, Panentheism, Pastoral, Pedro Casaes, Peloponnesian War, Pericles, Pericles' Funeral Oration, Philipp Foltz, Phoenicia, Phrygia, Phrygians, Polis, Politeia, Politics, Rhea, Romantic music, Romanticism, Rui Vaz, Saint, Satyr, Serapeum, Seven Wonders of the Ancient World, Socrates of Constantinople, Strophe, Symphony No. 3 (Beethoven), Syrinx, Theism, Theodosius, Theophilus of Alexandria, Trojan War.	Leave a comment
VIII. IN TIMES OF INDIGENCE
● Without Gods ● We ● Spell
● The Aegean Islands ● The Ruin of Hellas
● We Talk About Shadows (Democracy)
● A Beginning
/PORTUGUÊS/ ARCHiPELAGOS • VIII. EM TEMPO DE INDIGÊNCIA
/ΕΛΛΗΝΙΚΑ/ ΑΡΧΙΠΕΛΑΓΟΣ • VIII. ΣΤΗΝ ΕΠΟΧΗ ΤΗΣ ΕΝΔΕΙΑΣ
Hélia Correia: The Third Misery & Indignation (excerpts)
17. Without Gods
– Hélia Correia / Amélia Muge
• Arranged by A. Muge, António José Martins, Michales Loukovikas
What's the use, […] what is the purpose
Of a poet in times of such indigence?
[…] without gods, without even
Feeling their absence, we are born,
And unable to remember, draining,
Sucking everything, even that which do not
Serve us as aliment, whatever circulates
In the bowels of the earth, its own lymph,
The one that the Argonauts even saw
Exuding, like blood, from rocks and stones
When everything sang, got injured and wounded.
Percussion: José Salgueiro / Violin: Kyriakos Gouventas
Argo, by Konstantinos Volanakis
● Hélia Correia (born 1949): a Portuguese novelist, playwright, and poet. She reinterpreted Hellenic myths from the point of view of female heroines, such as Antigone, Helen, and Medea. The sequence In Times of Indigence is mainly based on her acclaimed poem A Terceira Miséria (2012), a tribute to Greece, following in Friedrich Hölderlin's footsteps. She was awarded the Camões Prize, the most prestigious literary distinction in the Lusophone world, which she dedicated to Hellas, where poetry comes from, without which we would be nothing and have nothing, as she said, concluding her speech with the exclamation Long live Greece! Therefore it's a double pity that no one is interested in publishing The Third Misery in Greece. Well, this is a fourth misery on our part! ● Argonauts: heroes in Hellenic mythology who, in the years before the Trojan War, around 1300 BCE, accompanied Jason to Colchis, on the Black Sea coast, in present-day Abkhazia and western Georgia, in his quest to find the Golden Fleece. The term comes from their ship, Argo, named after its builder, Argus. Thus Argonauts literally means Argo sailors. ● While sailing by eastern Phrygia, they encountered stormy weather and, advised by a prophet, they climbed Mount Dindymon, sacred to the mountain mother, Cybele, whom the Hellenes identified with Rhea. There they offered sacrifices to the Dindymene mother and, commanded by Orpheus, they danced in full armour and clashed with their swords on their shields… Hence from that time forward the Phrygians propitiate Rhea with the rhombus and the drum. And the goddess responded: the trees shed fruit, the earth put forth flowers, and wild animals came up wagging their tails. And she caused yet another marvel; for hitherto there was no flow of water on Dindymon, but then an unceasing stream gushed forth from the peak, and the dwellers around called that stream Spring of Jason. And then they made a feast in honour of the goddess on the Mount of Bears, singing the praises of Rhea most venerable; at dawn the winds had ceased and they rowed away from the island. (Apollonius of Rhodes, Argonautica)
18. We
– Hélia Correia / Michales Loukovikas
• Arranged by M. Loukovikas
We, the abandoned ones, those who do not
Even perceive in what way to placate
And whom,
We, the dumbfounded,
Fraternized with all the landless, we,
The destined for a bleak starvation,
Barbarians with our feet in the black tar,
Heavy drinkers of petroleum, how can it be that
Once more the square,
The Agora, unites us?
• Voice: Amélia Muge / Vocals: Maria Monda, A. Muge • D. Bass: António Quintino
Guitar: Dimitris Mystakidis / Percussion: José Salgueiro / Piano: Filipe Raposo
● Agora: a central spot in ancient Hellenic poleis. Literally it means gathering place, assembly. The agora was the centre of political, artistic, spiritual and athletic life of the city. Later, it also served as an economic centre, as a marketplace, where merchants kept stalls or shops to sell their goods. This attracted artisans who built workshops nearby. From this twin function of the agora as a political and commercial space came the two Greek verbs ἀγορεύω, agoreúō, I speak in public and ἀγοράζω, agorázō, I shop, I buy.
An imaginary depiction of the Agora of ancient Athens at the time of Pericles
19. Spell
• Arranged by António José Martins, Filipe Raposo
All those – not in existence
Those who have left us terrified, alone,
With no proper tools and devices,
Without thinking,
Without these temperamental gods
Who liked to take sides during the battles.
Being transformed into pigs, by a spell,
Due to malevolence,
Oh, yes, exactly
Just like in the Odyssey,
– and the Greeks cannot remember –
What can we do so as to
Break the spell?
Circe Invidiosa, by John William Waterhouse
The ear of a pig
Plus a cat's paw
The eye of a mouse
A crooked branch
Half of the beak of a skylark
Rosemary dried
A pomegranate
A lame's nail
The leg of a frog
Grandma's tongue,
preferably twisted
A drop of spit
A cactus peak
And a fish scale
A pussy's fur
Wings of a fly bound in a bundle
A rubber check
A coin with a hole
The belch of a banker
An entire year's sweat
• Voice, vocal effects, recitation: A. Muge
• Percussion: José Salgueiro, A.J. Martins
Synthesizers: F. Raposo
● Odyssey: see Homer in ARCHiPELAGOS • VII. IMAGINARY ISLANDS.
20. The Aegean Islands
– Hélia Correia / Manos Achalinotópoulos, Amélia Muge
– A free improvisation
by Harris Lambrakis, M. Achalinotópoulos, A. Muge, Kyriakos Gouventas
• Arranged by Michales Loukovikas
[…] Only later […]
He who did not know how to be docile […]
Became conscious of the howl that was emitted
From all the islands, with their shorelines
And their deserted forests. […]
[…] Yes, that was
The initial misery, the desertion of
The gods. The second one, their death,
That on Pan's death was announced
With the lament of the forests, the mournful
Clamour of the Aegean Islands. […]
• Recitation: H. Correia / Voice: A. Muge / Vocal impros: M. Achalinotópoulos, A. Muge
• Instrumental impros: H. Lambrakis, ney; M. Achalinotópoulos, clarino; K. Gouventas, violin
Drones: K. Gouventas, viola; António Quintino, d. bass; Catarina Anacleto, cello
Pan and Syrinx, by Jean François de Troy.
● Aegean Islands: see ARCHiPELAGOS • I. THE ARCHIPELAGO REVISITED. ● Pan: the god of the wild, shepherds and flocks, mountains, and pastoral music, connected to fertility and spring. He had the hindquarters, legs, and horns of a goat, just like a satyr. The Greeks also considered him to be the god of theatrical criticism. His name originates from the Greek verb πάειν, páein (to pasture); the word panic is derived from his name, due to the sudden fear the people felt in the mountains hearing strange animal sounds. Syrinx, a nymph known for her chastity, was also panicked when she was chased after by Pan. In order to escape, she was transformed into hollow water reeds that made a haunting sound when the god's frustrated breath blew across them. He cut the reeds to fashion the first set of pan pipes, which are also known as syrinx. Pan became a significant figure in the Romantic movement in the 18th and 19th centuries, and also in the Neopagan movement of the 20th-century.
21. The Ruin of Hellas
We, the atheists, we, the monotheists,
We, anyone reducing sheer beauty
Down to petty chores, we, the poor but
Well-adorned, the poor but feeling cozy,
Who are always willing to delude ourselves
Amazed while gazing upwards, at the towers,
Supposing that inside we could reside,
Glory of eagles with no eagles there,
We suffer, yes, from the one and same indigence,
From the ruin of Hellas.
● Atheism: the absence of belief in the existence of deities, the rejection of belief that any deities exist. It is contrasted with theism, which is the belief that at least one deity exists. The etymological root for the word originated before the 5th century BCE from the Greek ἄθεος (atheos), meaning without god(s). The actual term atheism emerged in the 16th century. ● Monotheism: the belief in the existence of only one god that created the world, where he interferes and is all-powerful. A distinction may be made between exclusive monotheism, and both inclusive or panentheistic monotheism which, while recognizing various distinct gods, postulate some underlying unity. Monotheism is distinguished from henotheism, a religious system in which the believer worships one god without denying that others may worship different gods with equal validity, and monolatrism, the recognition of the existence of many gods but with the consistent worship of only one deity.
• Voice: Amélia Muge / Vocals: Maria Monda, A. Muge • Clarino: Manos Achalinotópoulos
D. Bass: António Quintino / Guitar: Dimitris Mystakidis / Ney: Harris Lambrakis
Percussion: José Salgueiro / Piano: Filipe Raposo / Violin: Kyriakos Gouventas
22. We Talk About Shadows (Democracy)
– Hélia Correia / Ludwig van Beethoven
• Adapted/Arranged by Michales Loukovikas
The Third Symphony (Eroica), Second Movement, first part
Marcia funebre, Adagio assai, Sotto voce (1804)
Yes, we talk about shadows. Thinking twice,
We did burn every thing: Alexandria,
The sages and the women, […]
The noble heart. We have on our shoulders
The apparatus of the destroyers, […]:
That kind of arrogance
Out of which the Occident has been lost.
The third misery is this one, […].
That of those who just don't listen nor ask questions.
[…] don't remember. And, contrary
To the exalted Pericles, they turn to
Be one with […] those who surrender,
Those who shall mix themselves like a liquid
Within a liquid mass, the form is lost,
The statue is turned into dust.
All the squares
Seem like agoras of yore, astounded
By the concentration of organisms,
By the use of the word, the passionate
And fervent word of democracy […]
Monument to Beethoven, by Francesco Jerace (1895)
• Voice: Amélia Muge / Vocals: Maria Monda, A. Muge, Rui Vaz, José Manuel David, Pedro Casaes
• Cello: Catarina Anacleto / Clarinet: Kosmás Papadópoulos / D. Bass: António Quintino
Ney: Harris Lambrakis / Percussion: José Salgueiro / Piano: Filipe Raposo
Violin, Viola: Kyriakos Gouventas
● Ludwig van Beethoven (1770 – 1827): a German composer and pianist, a crucial figure in the transition between the Classical and Romantic eras in Western art music. He remains one of the most famous and influential of all composers. ● His Third Symphony, a large-scale composition completed in early 1804, is one of his most celebrated works. Initially he dedicated it to (Napoleon) Buonaparte (its original title), who he believed embodied the democratic and anti-monarchical ideals of the French Revolution. He tore off the dedication when he learned that Napoleon had declared himself Emperor. The score was published in 1806 under the Italian title Sinfonia Eroica, composta per festeggiare il sovvenire di un grande Uomo (Heroic Symphony, composed to celebrate the memory of a great Man). When informed of Napoleon's death (1821), Beethoven said, I wrote the music for this sad event 17 years ago, referring to the second movement, Marcia funebre, funeral march; Adagio assai, very slow; Sotto voce, low voice: intentionally lowering the volume of one's voice for emphasis, giving the impression of uttering a truth which may surprise, shock, or offend. In music, it is a dramatic lowering of the volume, vocal or instrumental – not necessarily pianissimo, but definitely a hushed tonal quality.
Hypatia, by Charles William Mitchell (1885)
● Alexandria: founded circa 331 BCE by Alexander the Great, it became an important centre of the Hellenistic civilization. It was famous for its Lighthouse (Pharos), one of the Seven Wonders of the Ancient World, and its Great Library, the largest in antiquity, which was burned repeatedly by Romans, Byzantines, and Arabs. Its demise has become a symbol of knowledge and culture destroyed. It was part of a larger research institution, the Musaeum, where many of the most famous thinkers of the ancient world studied: Archimedes, Aristarchus, Ctesibius, Eratosthenes, Euclid, Hero, Hipparchus… Most of the books were kept as papyrus scrolls. Estimates range from 40,000 to 400,000 scrolls at its height. After the main library was destroyed, scholars used a daughter library in a temple, the Serapeum, located in another part of the city. ● In 391 CE the Serapeum and the remnants of the Great Library were looted and burned by army troops and Christian fanatics, at the decrees of the Emperor Theodosius and Pope Theophilus. In The History of the Decline and Fall of the Roman Empire, Edward Gibbon described Theophilus as the perpetual enemy of peace and virtue, a bold, bad man, whose hands were alternately polluted with gold and with blood. ● The Great Terror in Alexandria climaxed in 415 with the brutal murder of the philosopher, mathematician and astronomer Hypatia, instigated by Cyril, Theophilus' nephew and successor, counted among the Church Fathers and Doctors of the Church, and canonized as a Saint! In his Historia Ecclesiastica, Socrates of Constantinople, a contemporary Christian historiographer, testified that Cyril agitated a mob of 500 fanatic monks possessed "by a fierce and bigoted zeal [… They] waylaid [Hypatia] returning home and, dragging her from her carriage, they took her to the church called Caesareum [Cyril's headquarters], where they completely stripped her, and then murdered her with ostraka [potsherds]. After tearing her body in pieces, they took her mangled limbs to a place called Cinaron, and there burnt them."
Cleisthenes
● Democracy (δημοκρατία, rule of the people) was conceived in classical Greece as a system of government where the citizens exercised power directly, not through representatives. The first democracy in the world was established in Athens in 508 BCE under Cleisthenes as a direct, participatory system, in which the citizens voted themselves on legislation and executive bills, while those selected for office served collectively. The selection was done mostly by lot, not election, because the latter favours the rich, noble, famous, educated, eloquent, and handsome. Allotment was regarded as the most democratic means to prevent the corrupt purchase of votes and give citizens a unique form of political equality. In this way more and more citizens were engaged in politics, ruling and being ruled in turn, as Aristotle wrote. Elected rather than chosen by lot (therefore coming from the higher classes) were the ten generals, due to their necessary expertise in matters of politics and war, and also those who handled large sums of money: any embezzlement could be recovered from their estates. The contempt the first democrats felt for those who did not participate in politics is obvious in the word idiot, from the Greek ἰδιώτης, i.e. a private person, someone who is not actively participating in politics. We do not say that a man who takes no interest in politics is a man who minds his own business, Pericles declared; we say that he has no business here at all. ● Pericles (c. 495 – 429 BCE): a prominent, influential statesman, orator and general, between the Persian and Peloponnesian wars, whose name is connected with the Golden Age of Athens.
Pericles' Funeral Oration, by Philipp Foltz (1852)
23. A Beginning
What are the arms at our disposal, if not these
We find inside the body: our own thinking,
The idea of polis, but redeemed
From a great abuse, the very notion of home and
Of hospitality, too, and of commotion
From which we see the rise of the poem, from which
We'll see the rise of the collection of our deeds
And misdeeds as humans, a beginning.
• Voice: A. Muge / Vocals: Maria Monda • Cello: Catarina Anacleto / D. Bass: António Quintino
Ney: Harris Lambrakis / Percussion: José Salgueiro / Piano: F. Raposo / Violin, Viola: Kyriakos Gouventas
● Polis literally means city in Greek, but referring mainly to the body of its citizens rather than its area; it can also mean citizenship. The Hellenic term that specifically means the totality of urban buildings and spaces is ἄστυ (ásty). Before the Battle of Salamis e.g., the Persians managed to occupy the ásty of Athens, but not the polis, as the citizens boarded the ships of the Athenian fleet and left. In modern historiography, polis is used to indicate a Greek city-state, though this term is inadequate. The Greek poleis were not like the Phoenician city-states, which were ruled by a king or a small oligarchy, with their inhabitants being mere subjects. Thus the term polis came to signify state: politeia in Hellenic means city, but also state, republic, polity, government, governance, etc. while politeuma means regime. Not to mention politics…
The Library of Alexandria during its heyday, its acme
>> ARCHiPELAGOS • IX. NOSTALGIA AND NOSTOS
<< ARCHiPELAGOS • VII. IMAGINARY ISLANDS
Chronicle 10. THE… "SUN LANGUAGE"
Posted in: MEDITERRANEAN periplus.	Tagged: Abbasid, Absurdist fiction, Alain Daniélou, Alexander the Great, Alphabet, Altaic languages, Anatolia, Anatolian languages, Andalusian classical music, Ankara, Anthology of Indian Classical Music, Arabian Peninsula, Arabic, Arabic music, Arabs, Ararat rebellion, Armenian Genocide, Asia Minor, Assyrian genocide, Atatürk Centennial, Âşık Veysel Şatıroğlu, Baghdad, Balkans, Barack Obama, Barbarian, Baroque, Berbers, Bernard Mauguin, Byzantine Empire, Byzantine music, Byzantium, Cairo, Caliphate, Calligraphy, Cappadocian language, Carian language, Caucasus, Chauvinism, Chinese, Cilicia, Classical music, Classical period, Colonialism, Common practice period, Constantinople, Coup d'état, Crusades, Cultural assimilation, Culture, Cuneiform, Dacian language, Delphi, Dersim Rebellion, Dialect, Dimitrie Cantemir, Divide and rule, Echos, Education, Egyptians, Emirates, Enlightenment, Ethnic, Ethnic cleansing, Eurasia, European Cultural Centre of Delphi, European Union, Finno-Ugric languages, Flamenco, Franz Kafka, French Institute of Anatolian Studies, French language, Genocide, Granada, Greek genocide, Greeks, Gregorian chant, Hattians, Hector Berlioz, Hellenes, Hellenic languages, Hellenization, Henry Kissinger, Herodotus, Hieroglyph, Hittite language, Hittites, Homer, Hormoz Farhat, Human rights of Kurds in Turkey, Ideology, Illyrian languages, Imperialism, Improvisation, Indians, Indo-European languages, Indo-Iranian languages, International Delphi Meeting on Musicology, International Music Council, Ionians, Iranian languages, Iraq, Isaurian language, Islam, Islamism, Istanbul, Italian language, Jews, Johann Sebastian Bach, Johannes Brahms, Jordan, Justice, Kemalism, Kitab, Koçgiri Rebellion, Kurdish languages, Kurdish question, Kurdistan, Kurdistan Workers' Party, Kurds, Language, Layali, Lebanon, Libya, Linguistics, Luwian language, Lycaonia, Lycian language, Lydian language, Macedonia, Maghreb, Maghrebis, Mahatma Gandhi, Mediterranean, Megali Idea, Menachem Begin, Mesopotamia, Michales Loukovikas, Milyan language, Mode, Moldavia, Mongolia, Mongolic languages, Muhammad, Musical Atlas, Musical Sources, Mustafa Kemal Atatürk, Mutual intelligibility, Mysian language, Mysians, National Question, Nationalism, Near East, Neoliberalism, Nile, Nobel Peace Prize, Nobel Prize, Norwegian Nobel Committee, Oman, Ottoman classical music, Ottomans, Palaic language, Paleo-Balkan languages, Palestine, Pamphylia, Pamphylian Greek, Paphlagonia, Patriarch, Periplus, Persians, Peter the Great, Phanar Greek Orthodox College, Philip II of Macedon, Phoenicia, Phrygian language, Phrygians, Pisidian language, PKK, Pontic-Caspian steppe, Propaganda, Pruth, Pruth River Campaign, Racism, Religion, Renaissance, Rhapsode, Rodolphe d'Erlanger, Romantic music, Rome, Sack of Constantinople (1204), Sakha language, Sanskrit, Saudi Arabia, Schism, Science, Secular music, Self-determination, Seljuks, Sheikh Said rebellion, Shimon Peres, Sidetic language, Simon Karas, Sitar, Sociology, Soviet Republics, Spanish language, Sumer, Sun Language Theory, Syria, Taboo, Taqsim, Taurus Mountains, The Trial, Thracian language, Trojan language, Tunisia, Turkic, Turkic languages, Turkish language, Turkish nationalism, Turkish War of Independence, Unesco, Unesco Collection: A Musical Anthology of the Orient, United Nations, Ural–Altaic languages, Uralic languages, Venice, World music, Yakut, Yemen, Yitzhak Rabin, İbrahim Necmi Dilmen, İsmail Beşikçi.	Leave a comment
/ΕΛΛΗΝΙΚΑ/ Χρονικο 10. Η… "ΓΛΩΣΣΑ-ΗΛΙΟΣ"
Calligraphic tree of life, Turkey (1897-98)
● Linguistics à la Turca ● İsmail Beşikçi and the Kurds ● Egyptian, Graeco-Byzantine, Arabo-Persian and Turkish Music ● Assimilation Through Religion
and Language ● Arabic Music Schools
"HITTITES, SUMERIANS, EGYPTIANS, Romans, Indians and Chinese: they all owe their existence to the Turkic race; their cultures and languages have been created by the Turks. Arabs and Jews are of Turkic origin; the prophet Muhammad was a Turk, as well. And all the languages of the world are derived from Turkish, the mother of all languages. The Kurdish language is non-existent; it is just a corrupt dialect of Turkish; the Kurds are nothing but Turkish highlanders"…
Psychotic megalomania? Absolutely! But also a… university thesis, or even more: an official state policy! This aphorism might very well be the starting point of a synopsis about the official Turkish ideology on the national question. Everyone in the Eurasian zone – except the Hellenes, the Persians, and… barbarians – owe almost everything to the Turks: their very existence, their language and culture, let alone their music!
"What about the Hellenes?", some "Romioí" anxiously insist on asking, as they refuse to accept that they have either… never existed, or – most likely – are included among the "Romans" of the above citation quoted from the gold-bound kitabs of the sages.
"The question on the origin of the Yunanlılar [Ionians] has been clear since the time of Homer", is the smug reply. "The great rhapsode was also a Turk called Omer. Besides, the Europeans have preserved his name almost intact: Homer"!
Well, I'm not referring to freaks of a sick mind. It is perhaps hard to believe but these ideas are championed by academics! The "Great Idea" (Megale Idea) has died out in Greece(?), but in Turkey it is alive and well, and (desires to be) the master of the world…
The Kurdish languages belong to the Iranian and Indo-Iranian branches of the Indo-European family. Therefore, they are related to the Persian (Farsi), Indian Sanskrit, Hellenic and most European languages. Even… worse (for the Turkish "linguists"), the ancient languages in the Anatolian area, still spoken or extinct, such as Hittite, have also been Indo-European.(a)
Nationalism: "one country, one people, one language!" vs. Reality: the Anatolian peoples-tongues.
(a)Most probably by the 1st century BCE, the native Anatolian languages were extinct, since the area was heavily Hellenized after the conquests of Alexander the Great. This makes Anatolian the first known branch of Indo-European to become extinct. The languages that are attested (written in cuneiform or hieroglyphs) are the following:
Hittite in central Anatolia; Carian; Lydian; Cappadocian; Pisidian; Sidetic in Pamphylia; Palaic in Paphlagonia; Isaurian on the Taurus Mountains; the Lycian branch, where Milyan is included; the Luwian branch, centered in Cilicia, but also extending northwest, where the Trojan language perhaps belonged; possibly Lycaonian; or the subsequent Pamphylian. Other Indo-European tongues in the peninsula were Phrygian and Mysian, probably belonging to the Paleo-Balkan languages, together with Thracian, Dacian, the Illyrian branch, and others, indicating that the Phrygians, and possibly the Mysians, went to Anatolia from the Balkans.
● Nationalism cries out: "one country, one people, one language!", versus Reality, depicted in the above diverse mosaic of Anatolian countries, peoples, and languages.
Against this panspermia of ancient native Indo-European Anatolian languages and dialects, the Turkic languages (Turkish is just one of them) are relatively newcomers in Asia Minor, and belong to the Altaic family, together with the Mongolic tongues. Some linguists group the Altaic and Uralic (or Finno-Ugric) languages together (in the Ural-Altaic family). No such hypothesis connecting the Altaic and Indo-European languages has been put forward. It doesn't matter much to Ankara's "scientists". So, they teach linguistics this way… à la turca:
Subject: The Sun Language Theory
"As is well known, the word soleil means sun in French. In the Turkic dialect of Yakut [Sakha] we can find the corresponding word silai. As the 's' of the Yakut dialect turns to 'g' in the other Turkic dialects,(b) it is self-evident [!] that the word comes from a Turkic root meaning light. Nevertheless, the Turks prefer the more common Turkish word günes. But the proof of the Turkic origin of the word soleil has been a revelation of a great linguistic and scientific truth, from which most important conclusions are derived"…
Signed (unashamedly): İ. N. Dilmen, professor.
● The theory that Anatolia might be the cradle of the Indo-European languages was distorted into a pseudo-theory they had a Turkic/Turkish origin though: a) the most popular hypothesis postulates their root in the Pontic-Caspian steppe and expansion by early 3rd millennium BCE; b) the earliest evidence of Turkic tongues as a separate group comes almost four millennia later in an early 8th century CE inscription found in Mongolia; c) the first reference to "Turks" appears in Chinese sources of the 6th century CE; d) Anatolia was invaded by the Seljuks in the 11th century, ultimately resulting in permanent Turkic settlement in the peninsula.
● Above: a Hattian pair of long-horned bulls
(copper, c. 2300-2000 BCE)
(b) This text makes clear that, according to Dilmen (and "linguists" à la turca), there are no Turkic languages; they are all Turkish dialects. He defined Yakut (or Sakha) as a dialect, although it is considered a language. Nationalist stranglehold on social sciences is very well known (Dilmen is a "very good" example). That's why there are no universally accepted criteria for distinguishing a language from a dialect. The most common and most purely linguistic criterion is that of mutual intelligibility. It seems logical but it's far from scientific:
Once I was in Granada with two Italianas searching for a good place to listen to flamenco. I still remember my amazement when I heard the girls asking passers-by for information: they spoke Italian, the others answered in Spanish, and there was no problem of mutual intelligibility! What does that mean? That Italian and Spanish are dialects? If so, of what language?(!)
Since I don't like to be branded as "nationalist", I invoke a Turkish scientist in the true sense of the word, the sociologist İsmail Beşikçi, a man who's spent most of his life in Turkish state prisons not because he has committed any crime, but because he's had the courage to publicize his documented views. Beşikçi has been persecuted/prosecuted, just because he initially criticized (and polemicized later on) the Turkish ruling ideology as it was set forth in such "scientific" theses – and even more because he has studied in depth and wrote extensively about a taboo subject: the Kurdish question.(c)
Kurdish musicians (1890)
(c) The on-going war between Turks and Kurds dates back to the "Turkish War of Independence", which established a Turkish nationalist state that has repressed the human rights of Kurdish people. The Kurds felt betrayed because they had taken part in almost every "dirty job" of the Turks from the late 19th century to the 1910s, mainly in the first ethnic cleansings of the 20th century, as they thought that they "cleared" the place for themselves. The perpetrators of the Armenian, Greek, and Assyrian Genocides (1.5 million + 900.000 + 400.000 = almost 3 million dead) were Turks, Kurds, Arabs and Caucasian Muslims: in fact, it was the genocide of heterodox people by the Islamists. But the Turks were primarily nationalists; so, they also turned against the Kurds, who finally rebelled. Major historical events, before the PKK revolt, include the Koçgiri, Sheikh Said, Ararat, and Dersim rebellions (1920, 1925, 1930, and 1938).
Note that Beşikçi was born a Turk, not a Kurd. So he deserves our admiration even more.
The citations quoted above (except that reference to Homer) are from Beşikçi's Historical Thesis on Turkey / The Sun Language Theory and the Kurdish Question, which cost him three years in prison, since he was "reckless" enough not to deny the existence of a nation… The first thing he took into account was the nature of the positions adopted by Turkish "scientists", under the "guidance" of Mustafa Kemal (Atatürk), in 1930. Based on official documents, speeches and "scientific" theses, Beşikçi analyzed the formulation and development of the ideology of Kemalism, exposing its unscientific, racist and chauvinistic nature. In one of his numerous apologies (i.e. speeches in defense of himself), he attacked the official "Justice" of the Kemalist regime:
"As a repressive state mechanism, this court threatens writers and intellectuals with imprisonment, favours police measures and secret trials, condemns scientific thought, prefers the secret services' reports against truth and sociological findings, imposes verdicts without – at least – taking into account the defense of the accused and, using loopholes, accepts colonial oppression and tyranny, denying the reality of the existence of the Kurdish nation, something that is an objective fact above the will of people and institutions.
"This court essentially acts as an administrative and political body with a seemingly 'independent function' and 'independent judgment'. It functions like the gendarmerie, police, national security service and other similar services, attempting to impose the hegemony of the official ideology through its verdicts. Rejecting an objective truth, your court is lying, considering the conclusions drawn by systematic societal research, the reliable knowledge, and the rights we advocate, as incriminating evidence.
"This court acts like the gendarmerie, police, national security
and other services, attempting to impose the hegemony
of the official ideology through its verdicts." (İsmail Beşikçi)
Mustafa Kemal (Atatürk)
"In its verdicts regarding my books, your court states that 'the sacred memory of Atatürk is stained'. What does that mean? It means that the Kurdish masses – men, women and children – will be continuously sent to exile, to the gallows, will be slaughtered, that laws and decrees will be shamelessly adopted on this logic – but anyone who criticizes such phenomena will be tried on the grounds of 'libeling the sacred memory of Atatürk'. How can one consider genocide, exiles, the complete assimilation enforced in Kurdistan by the Kemalist regime as 'sacred memory'? The division and partition of Kurdistan, the implementation of the tactics 'divide and rule' against the Kurdish nation, may be 'sacred memory' only for the imperialists and colonialists.
"The Turkish universities, on the other hand, as slaves of the official ideology, reject in principio scientific thought obscuring and denying the reality of the Kurdish nation. They consider the official ideology, which is based on fraud and indifference towards objectivity, as the only irresistible and definite reality. Thus they present this official ideology as scientific and legal. It is at this point that the 'independent' court and 'independent' judgment intervene, trying under threat of punishment to prevent any criticism of the university professors who, through political charlatanism, demand material and social privileges"…
This trial took place in 1979, just one year before the so-called "democracy" was overthrown in a coup of the army, the mighty pillar supporting at that time the regime. More trials and convictions preceded and followed for Beşikçi. Even if he could live two or three lives, he would not have time enough to serve the 200 plus years in prison imposed on him in total. Released in 1999, he was sent back to court in 2010 – that is, even after the collapse of Kemalism – for "propaganda" because of an article entitled The Rights of Nations to Self-Determination and the Kurds, which cost him 15 extra months in jail.
In January 1981, he sent a Letter to UNESCO from his prison, stigmatizing the decision of the Educational, Scientific and Cultural Organization of the United Nations to declare that year as The Atatürk Year.(d) A new conviction followed. Undeterred, he continued sending letters from the dungeons to international organizations that, of course, ended up in the hands of Turkish judges, who imposed new sentences. A letter to the Journalist Union of Switzerland e.g. cost him 10 years!
(d) Note that: a) Kemal is the only person to receive such recognition by the UN "Educational, Scientific and Cultural Organization"; b) education, science and culture have suffered much from his policies; c) the recipients of this recognition were, in fact, his heirs governing Turkey at the time: the military putschists; it was as if they were rewarded by UNSESCO for their… coup d'état in the previous year!
But even in his trials (where we lose count, indeed) with his apologies (several of these speeches were put together in his testimony, Defense), he persevered with remarkable courage and selflessness in order to defend the rights of the Kurdish people, relying on the public sense of justice; a sense that has ceased to govern the decisions or actions even of the "competent" international organizations.
We imagine spontaneously that we have before us İsmail B, personifying Josef K, Kafka's main character in The Trial. But our association is rather incongruous: Beşikçi has not been a surreal figure of absurdist fiction but an indomitable hero of free thought and scientific knowledge, a symbol of our time – exactly because people like him are so rare today. However, he had the misfortune to be born in Turkey. Therefore, he will never be awarded a Nobel Prize!(e)
(e) He was nominated for the Nobel Peace Prize in 1987 but… what can one expect from a Nobel Committee that has awarded the prize to persons such as Henry Kissinger (1973), Menachem Begin (1978), Yitzhak Rabin and Shimon Peres (1994), Barack Obama (2009), and the neo-liberal European Union (2012) – but has not honoured Mahatma Gandhi?
Âşık Veysel
I'm certainly not to blame for politicizing the issue of linguistics à la turca, as it is an issue profoundly political. Lay, if you will, the blame on Alain Gheerbrant who "cast the first stone" by paralleling Mustafa Kemal to Âşık Veysel (see Chronicle 9). No doubt, there are even worse cases. One thing is to credit "exclusively" the Turks with Anatolian music; another thing is to do the same with the music of Constantinople; especially if we bear in mind that the Ottomans described this music as Arabo-Persian; it was called Turkish, or even Ottoman, only after the Republic was established…
● There are cases of "friendly fire" on this issue, which is, nevertheless, anything but crucial. It's just a matter of orderliness and correct terminology. See e.g. the starting point of Stéphane Yerasimos, the Greek-born director of the French Institute of Anatolian Studies, when he presented an album with old "Ottoman" music featuring, among others, compositions by Dimitrie Cantemir, who was anything but Ottoman: (f)
Cantemir on a Romanian stamp
(f) Cantemir was a great intellectual (philosopher, musicologist, composer, linguist, ethnographer, geographer, historian), and prince of Moldavia where he learned Greek and Latin and acquired a profound knowledge of the classics. He lived in forced exile for 23 years in Constantinople, where he studied at the Patriarchate's Greek Academy, wrote about music and also composed. How is it possible to classify his music as "Ottoman" when the composer also fought against the Ottomans as an ally of Peter the Great in the Russo-Ottoman War (the Pruth River Campaign) of 1710–11?
"This project of performing Ottoman music on original instruments", Yerasimos wrote in the booklet, "arose from a simple question: why not apply the method that has been already successfully followed in Europe for several decades, and try to re-discover the spirit and the performing style of the Ottoman music of the great period – the 17th and 18th centuries?"
Constantinople / from Byzantium to Istanbul, by Stéphane Yerasimos
● The Empire that substituted the once powerful Byzantine Empire after its downfall was Ottoman, indeed, as it was controlled by this tribe. But is this sufficient reason to classify also the music of post-Byzantine Constantinople under the same heading? My objection is due to the explicitly ethnic import of the term Ottoman as it means Turkish. On the contrary, the term Byzantine is supranational, referring in general to "the eastern part of the Late Roman Empire that, after the fall of Rome, continued as its successor until 1453." In both these empires, the Byzantine and Ottoman, culture was a collective work of all ethnicities living within their boundaries. Ethnic identities can be found only in cultures that have been cultivated by peoples distinguished for the originality of their contributions to human civilization. If e.g. there has been no Phoenician civilization, given that the Phoenicians were heavily influenced by the Egyptians, Mesopotamians and Hellenes, in the same way there's been no Ottoman civilization either. Let alone that, compared to the Ottomans, the contribution of the Phoenicians, especially in the spread of the alphabet, has been far more important.
QUITE DIFFERENT APPROACH ADOPTED ALAIN DANIÉLOU, Gheerbrant's compatriot and namesake. As an adviser to UNESCO's International Music Council, he supervised several outstanding recordings of world music, such as Unesco Collection: A Musical Anthology of the Orient; Musical Atlas; Musical Sources; and Anthology of Indian Classical Music / A Tribute to Alain Daniélou. As a producer of the Cairo recordings, Taqâsîm and Layâlî, on instrumental or vocal modal improvisations, he formulated a thought-provoking synopsis that begins as follows:
Alain Daniélou playing sitar (1987)
"The melodic system peculiar to the Arabic-speaking peoples of the countries bordering on the Eastern and Southern shores of the Mediterranean is the result of a long evolution. It derives from the adaptation by the Arab conquerors of the ancient Greek, Persian, and Egyptian systems, which gradually developed into a unified and highly original art.
"'Until the 13th century the theorists refer to Greek theories, but subsequently there arose a distinctly independent theory and an art, cultivated at the court of the Caliphs, which became increasingly refined and elaborate. Until the end of the 19th century, this art continued to develop under the influence of fresh Persian and Byzantine elements, which had become more prominent owing to the Turkish domination' (d'Erlanger)."
"The melodic system of the Arabic-speaking peoples of the Mediterranean
derives from the adaptation of the ancient Greek, Persian, and Egyptian
systems"… "Until the end of the 19th century, this art continued to
develop under the influence of fresh Persian and Byzantine elements."
(Alain Daniélou, Rodolphe d'Erlanger)
The conclusions we can draw are quite astonishing, indeed: until the eve of their empire's downfall, the Ottomans – at least in the domain of music – were still under the influence of the empire they had abolished half a millennium before! It was natural that the Arabic-speaking peoples, then vassals of the Ottomans in the region, were equally influenced. In this way, the Byzantine echoe echoed and resonated throughout the Mediterranean: the Christians, mainly in the western part of mare nostrum, were influenced through Byzantine ecclesiastical chant, at least until the 11th century when, due to the Schism, Gregorian chant became obligatory for the Catholics; the Muslims of the Ottoman Empire in the Orient were also influenced – not by ecclesiastical chant, of course, but by the erstwhile Byzantine secular music.
Persian influences may be considered natural, because the Iranians had already realized their self-determination, having their own independent state. But what can anybody say about Byzantine music, especially secular, which – supposedly – ceased to exist as soon as the state that gave birth to it was erased from the map? How could it possibly influence the Mediterranean on the eve of the 20th century, and even impregnate it with "fresh" musical elements?
Trying to resume what Alain Daniélou and Rodolphe d'Erlanger have said, and the thoughts they have provoked, we can imagine a historical model as follows: the Arabs (those coming from the Arabian Peninsula) were cultivated adopting the ancient Hellenic, Persian, and Egyptian cultures. They knew, therefore, very well that their empire would not last long if they were not able to assimilate the civilized Mediterranean peoples they had conquered. It was an indispensable prerequisite to safeguard their caliphate and stay in charge.
The Arabs knew their empire would not last long if they did not
assimilate the ancient peoples they had conquered. This could
only happen through religion (Islam) and language (Arabic),
breaking the ties of these peoples with their glorious past.
All they needed was a combination of incentives and coercion.
Under the circumstances, this could only happen through religion, first of all, and secondarily (but equally important), language. It was absolutely necessary for the Arabs to break the ties of these ancient peoples with their glorious past, making them convert to Islam and (even better) adopt Arabic. Hence they could exert undisputed control over their vast empire. A combination of incentives and coercion was all they needed. It was a rather moderate tactic compared with the one endorsed by the Christians to convert the Hellenes, unleashing an outright violent campaign, a long, widespread genocide (see Chronicles 23–24).
When the Ottomans took over the Caliphate, they also adopted Arabic culture that had sprung out like an amalgam from these ancient civilizations. Note that this synthesis started bearing fruit only in the 13th century, after Constantinople fell for the first time to the Crusaders and Venetians in 1204. No similar cultural renaissance took place during the Ottoman period. That's why there still were "fresh Persian and Byzantine elements" into the Court music and art until the last days of the Ottoman Empire. What exactly was the Ottoman contribution? It was not so much musical but mainly political – through this wide, unified area – allowing these "elements" to have a great impact on every corner of the empire.
Salah el Mahdi
ACCORDING TO THE TUNISIAN PROFESSOR Salah el Mahdi, who spoke at the International musicological symposium at Delphi on Rhythms, Modes and Scales of Mediterranean Music in 1988,(g) the Near East was influenced by the "old Turco-Byzantine music, extending to the Balkans and Caucasus":
(g) The European Cultural Centre of Delphi's English text concerning this International Meeting renders the Grecian musical term τρόπος (mode) as… manner. Strangely enough, no one there noticed it…
"Arabic culture is an integral and significant part of Mediterranean culture", he said. "The modes of Arabic music are classified into four major schools:
"a) The Maghreb School; it is represented by the Arabo-Andalusian musical heritage introduced into this area by the Arabo-Andalusian refugees in the 14th and 15th centuries. This music survives today across North Africa, along with the old music of the Libyan people of this region.(h)
(h) Ancient Libya: The name referred to a) the region west of the Nile Valley, corresponding more or less to the modern Maghreb (North Africa except Egypt); b) the country immediately west of Egypt; or c) to the whole of Africa that was still more or less a terra incognita. Herodotus wrote that the Phoenicians carried out the first periplus of "Libya" (Africa) on behalf of the Egyptians. Talking about the Libyan people, Mahdi most probably referred to the Berbers and the rest of the Maghrebis.
"b) The Near East School; it is represented by the musical heritage of Syria, Lebanon, Jordan, Palestine and, of course, Egypt. In part, this school has influenced Libya and Tunisia, which thus participate in two schools, as they are found in between. The Near East School has been influenced by the old Turco-Byzantine music, extending to the Balkans and Caucasus.
"c) The Arabo-Persian School; it is represented by the Abbasid musical heritage that was created in their great capital, Baghdad. It's been the musical act in Iraq, Iran and all the [former] Soviet Republics of Central Asia as far as China.
"d) The Arabian Peninsula School; it includes Saudi Arabia, Yemen, all the Emirates and the Sultanate of Oman, and has had a twofold influence: from India and Africa."
Now that we are sufficiently informed, and also have the necessary standard of comparison, we may have some fun enjoying Bernard Mauguin's sophistries:
"Born in the shadow of Islam, Turkish classical music has been confused early in its history with art music of Persia and the Arab peoples. This common origin has been the cause of a persistent misunderstanding and, in general, little distinction is made between these various musical forms, which are usually grouped together under the vague heading of 'Oriental music'…
"However, just as a knowledgeable listener can easily distinguish a work of Bach from a work of Berlioz, he could never confuse the playing of a Turkish musician with that of an Arab or an Iranian musician. Classical Turkish music has its own distinct personality"…
Wow! We are talking about such colossal differences: those between Bach and Berlioz! Who would have the guts to disagree? But these are differences of eras, between two composers (one baroque, the other romantic) who created in the same tradition of Occidental "classical" music during the so-called common practice period (baroque, classical, romantic). Racial differences (i.e. German vs. French) were rather insignificant. The same applies to the distinction among Turkish, Arab and Iranian musicians: their main difference, especially before the creation of national states, was also a difference of eras. If Mauguin compared Bach not with Berlioz but with Brahms, he would have noticed that they too are "easily distinguishable". However, such a comparison between two composers of common origin (both Bach and Brahms were Germans) would have deprived him of any pretext for his chicaneries.
Bach vs. Berlioz: not German vs. French music but
baroque vs. romanticism (plus genius vs. average…)
No doubt that if instead of Western theorists we had their Oriental colleagues, things might have been even worse, since everyone would have "trumpeted one's own merchandise". Mahdi in Delphi e.g. spoke of Turco-Byzantine music because he was not a Turk; that's why he gave no due emphasis to the role of Persian music theorists, something that the Iranian Hormoz Farhat did; but he in turn "forgot" the contribution of Byzantine musicians, which Simon Karás put forward at the forefront – and so on…
What the Orient needs is an era of Renaissance and Enlightenment – sine qua non – something that the Occident intentionally obstructs for its own interests. These interests, I'm afraid, are served, consciously or not, by those Western theoreticians who can't see the forest for the trees (or, if you like, focus on the finger and can't see it's pointing to the moon), i.e. focusing on the secondary (the local differences in music), and minimizing the primary (its common features). The classic recipe: divide et impera! Or rather: διαίρει καὶ βασίλευε, as the one who first adopted this tactic was probably Philip of Macedon…
>> Chronicle 11. "MUSIC IS THRACIAN AND ASIAN"
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Next Chronicle 11. "MUSIC IS THRACIAN AND ASIAN" ● "Barbarian" Contribution to Hellenic Instrument Making and Playing ● Antiquarianism-Ancestor Worship ● Multi-String Instruments and Psalteries ● Diapason, Harmony, Polyphony ● Music, Poetry, Nation ● Folk and Erudite Music ● Hydraulis ● Crusades

redpajama_set_name: RedPajamaCommonCrawl


Dr. Wachara Riewpaiboon, Dean of Ratchasuda College, Mahidol University attends the Third AUN-DPPnet Executive Board Meeting 2018/2019 (S1) from 18 – 20 July 2018 at Renaissance Hotel Kuala Lumpur, Malaysia.
The host is University of Malaya, under the support from the Nippon Foundation, Japan. Dean Wachara Riewpaiboon informed the meeting about the academic status of 2 MA students of Ratchasuda College who are getting the scholarship. This scholarship scheme is for the students with disabilities who take courses inn Master Degree in Public Policy and Disabilities.


Three years ago a contact told me about a new US cruelty-free skincare brand with a "cleaner beauty" manifesto. A range free, she said, of what the founder called "the suspicious six" – silicone, essential oils, chemical sunscreens, sulphates, fragrance, dyes and alcohol. Despite broadly loathing the clean-living cult and being sufficiently numerate to know that's seven, I was intrigued.
Soon, on a New York trip, I spent a small fortune on Drunk Elephant (so named because the key ingredient, African marula fruit oil, apparently makes elephants happily legless), in the name of research. I've been evangelical ever since, because it works. Take C-Firma (£80), a fixture in my morning routine. This serum (more an ungreasy oil) has a high (15%) concentration of vitamin C and other antioxidants to brighten and protect, hyaluronic acid to hydrate, that marula oil to moisturise. It works so brilliantly on all but the very oily or very sensitive, that I witness a downturn if I skip for even a week. There are more serums, both terrific, if pricey: TLC Framboos Glycolic Night (£90), a pH-balanced combination of alpha and beta hydroxy acids (plus soothing white tea to soften their blow) brightens and smooths the oily and dry alike; and B-Hydra Intensive Hydration (£52), a unique fluid-gel for plumping fine lines, adding glow and retaining water. I love both, but with so many good alpha hydroxy acid tonics and hydrating serums available, you may want to shave costs there (C-Firma is unique to the brand).
The moisturisers are extraordinarily good, too. Lala Retro Whipped (£60) may be my all-time favourite dry skin day cream – thick, rich, ungreasy and packaged hygienically in an airless jar. Protini Polypeptide (£68) is suitable for everyone, leaving skin firm, smooth and matte. The superb C-Tango Multivitamin Eye Cream (£64) is among few you'll see me recommend. The brand-wide exclusion of silicone means you can mix and layer at will, without the infuriating peeling so common elsewhere, providing a perfect base for makeup. Nitpicking, I can take or leave the cleansers (they don't fully remove makeup), likewise the Marula Luxury Face Oil (lovely though it is), but all told, Drunk Elephant has arguably beauty's best hit rate. Finally, it's here, at Space NK and Cult Beauty. Can you tell I'm excited?


Set of (8) 500 series greenteeth, dish style (783557). The extra teeth are an additional $55.60.
Tow Kit for 337 stump grinder (337-357tp). The tow bar can be attached and removed quickly and easily. This option is an additional $265.


The Progressives-led government will try again to pass an updated Legal Practitioners Bill in what is likely to be the government's final Legislative Assembly meeting of its current term, Premier Alden McLaughlin confirmed last week.
The controversial bill – which government has failed to approve in at least four attempts over the past 15 years – was pulled from the legislature's agenda at the last minute in October after complaints from a number of local attorneys.
The next meeting, scheduled for the second week in January, will be the final meeting of the administration before the dissolution of parliament set for March 29, 2017, Mr. McLaughlin said.
Premier McLaughlin, a lawyer by trade, said he was determined to approve the lawyers bill despite opposition from political detractors.
A group of Caymanian lawyers who opposed the latest version of the bill wrote to Financial Services Minister Wayne Panton last week urging the government to abandon the current draft of the Legal Practitioners Bill and instead revert to a draft written in 2013.
The proposal was circulated to lawmakers in the waning days of the interim People's National Alliance administration before the May 2013 general election, but never made it to the House floor.
Representatives of the Cayman Islands Law Society said at the time that the 2013 version of the bill would have significant negative impacts on the expansion of Cayman-based law firms' overseas operations and their competitiveness in the global financial services industry.
Both the Law Society and the Caymanian Bar Association, the two largest lawyers' representative groups in Cayman, supported the 2016 draft of the Legal Practitioners Bill, with more than 75 percent of their memberships asking lawmakers to approve it.
"It is a widely held view that neither organization now represents the interests of the entire profession and that both are, to all intents and purposes, dominated by the larger, multi-jurisdictional offshore law firms and their discrete interests," the letter to Minister Panton read. Four local attorneys – Sammy Jackson, Selena Tibbetts, Anthony Akiwumi and Vaughan Carter – were listed as authors of the letter.
The Legal Practitioners Bill is essentially an attempt to modernize the practice of law in the Cayman Islands, in part to comply with internationally accepted anti-money laundering and terrorist financing rules. The current law that governs lawyers operating in the jurisdiction took effect in 1969.
The latest draft sought to create a new self-regulatory body called the Cayman Islands Legal Practitioners Association, with eight attorneys appointed as members, five of whom must be Caymanian. The association was to be responsible for promotion and training of Caymanian attorneys and ensuring all attorneys practicing in Cayman are suitably qualified.
The bill also sought to create a separate business staffing plan regime for local law firms, including rules that seek to ensure Caymanian lawyers are "properly considered" for promotions, including in law firms' overseas operations.
Legislation governing the practice of law and lawyers' conduct is considered critical to prepare for the mid-2017 Caribbean Financial Action Task Force review of the Cayman Islands' protections against money laundering and terrorism financing.
The dispute over the latest draft of the bill centered on law firms that want to expand their presence in overseas financial services markets on the one hand, and on the other hand, Caymanian-born attorneys who fear they will be left behind in that expansion and believe that globalization will lead to outsourcing.


text:
The Tragic True Story Of The Nika Riots
Photo Edit Magic/Shutterstock
By Engrid Barnett/Aug. 8, 2022 2:40 pm EST
Emperor Justinian came to power in the Eastern Roman Empire (aka the Byzantine Empire) in A.D. 527. with one goal in mind: to reassemble the former Roman Empire, according to WBUR. He ruled from Constantinople and lived within a generation (just 50 years) of the fall of Rome and the Western Roman Empire. Historian Mike Dash explains, "[Justinian] felt, I think, fairly strongly that the Roman Empire had taken a huge hit before his reign, and that it was his duty, really, as emperor to try and reconquer as much of that as possible."
At the start of his reign, Justinian ruled alongside his uncle, Justin. But within four months, his uncle died, and he became the sole ruler, as reported by ThoughtCo. Like Uncle Justin, Justinian remained dogged by whisperings about his humble beginnings and unimpressive family history. Because he lacked titles and noble blood, he faced constant challenges from the Byzantine Empire's senators, some of whom didn't think he deserved their respect. Fanning the flames of discontent were many of Justinian's empire-building plans, which required near-constant military campaigns, increasingly burdensome taxes, and ambitious building projects.
As resentment bled through to all levels of society, the Eastern Roman Empire became a tinder box poised for a spark. This spark came in the form of chariot races held in mid-January of A.D. 532, leading to one of the most violent episodes in Constantinople, the Nika Riot.
The most violent event in Constantinople's history
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The Nika Riot exploded at the Hippodrome where massive crowds gathered to watch chariot races, according to ThoughtCo. While the revolt in A.D. 532 was far from the first public unrest to break out at the Hippodrome, it left the deepest impression due to its culmination in an outright slaughter of the masses.
The name for the riot came from the Latin "Nika!," which adoring crowds screamed for their teams. Translated as a mixture of conquer, victory, and win, it took on new significance during the revolt. In the past, the crowd was split into manageable dueling loyalties to the Blues and the Greens, as reported by WBUR. Traditionally, the emperor chose between the two, and in previous competitions, Justinian had purportedly always sided with the Blues. But with tension palpable in the capital, he refused to support either side. This fatal error represented the spark needed to light the city on fire, literally. It also dangerously united both factions against the emperor.
Bringing the violence to a halt required a steady, fearless hand — not Justinian's strong suit. But Empress Theodora was made of a different mettle (via Smithsonian Magazine). She shamed him into remaining in Constantinople and fighting when exile held greater appeal. But this came at a steep public cost. Tens of thousands of men, women, and children perished once Justinian ordered his military to restore order to Constantinople, making it among the most violent events in the imperial city's history.
A controversial emperor and empress fueled discontent
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To say Emperor Justinian was a controversial figure is an understatement, as reported by ThoughtCo. He inherited a powder keg of partisanship, and his best intentions only made things worse. His desire to return Rome to its former glory came with an astronomical price tag, which meant raising taxes on the citizens of the Byzantine Empire. The increase in taxes led to pain for average people and anger directed towards the emperor.
What's more, Justinian set out to end corruption within the government, as ThoughtCo notes, which proved an undertaking fraught with political and physical danger. Politically minded families had entrenched themselves in the nation's upper echelons over the course of many generations, and they weren't going to give up their power and influence easily. In his attempt to drain the Roman swamp, Justinian excited plenty of resentment, which reached the boiling point during the Nika Riots.
Besides heavy taxation and unpopular reforms, Emperor Justinian had also raised eyebrows by marrying a low-class courtesan named Theodora. The daughter of a bearkeeper, she rose to fame through entertainment of the most salacious sort. As the historian Procopius put it, "There was no shame in the girl, and no one ever saw her dismayed" (via WBUR). In fact, a law had to be put in place to even permit the marriage, as per World History Encyclopedia. But although she was cut from the same temptress' cloth as Cleopatra, she proved Justinian's unlikely savior rather than his stereotypical downfall.
A history of partisanship and violence
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Rome had long entertained the public with gladiatorial matches and chariot races, per Smithsonian Magazine. Little had changed in the Eastern Empire. Gladiatorial competitions and chariot races drew massive crowds attracted to gory spectacle. Historian Mike Dash explains, "[Chariot races] were the NFL and the MLB rolled into one in terms of sporting entertainment" (via WBUR).
Chariot races involved up to a dozen four-horse teams racing at breakneck pace seven times around the Hippodrome. In the process, teams collided, and riders got mashed up in the fray. Gruesome injuries and deaths proved commonplace with charioteers thrown into the stone spina separating the racetrack's center or drug behind their chariots until their horses could be stopped. Many died in their early 20s.
As Smithsonian Magazine details, at the height of the Roman Empire, four teams competed in these contests: the Whites, Reds, Blues, and Greens. But by Justinian's time, the field had narrowed to two teams. Audience members turned out in support of their teams and to bet on who would win. Whether they favored the Blues or the Greens, many participated in nasty tricks, like throwing curse tablets onto the racetrack. Covered with nails, audience members hoped they would throw off enemy racers resulting in their teams' win. The violence pulsing beneath the surface of the partisan chariot races had generally remained confined to the Hippodrome. But the addition of a controversial emperor and unpopular policies threatened to change this.
A perfect storm of violence engulfed Constantinople
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To achieve his goals of reconstructing the glory of the former Roman Empire, Justinian appointed an army of tax collectors headed up by John of Cappadocia, according to Smithsonian Magazine. Taxing the wealthy seemed to be the goal, with some 26 new taxes put in place affecting the Byzantine Empire's wealthiest citizens. As a result, John of Cappadocia soon rose to the ranks of one of the most hated men in the empire, per ThoughtCo.
Coupled with Justinian's harsh treatment of the Greens and Blues after fighting broke out on January 10, the emperor faced spiraling violence that spread rapidly, as reported by WBUR. The initial fighting broke out between the Blues and Greens like most Hippodrome riots. But unlike previous instances where the emperor took a side, ensuring the support of at least one faction, Justinian remained above partisanship. He sent in the Imperial Guard to restore order, and they seized seven perceived leaders of the revolt for execution.
Several days later, people gathered for the executions of the men. But in an odd turn of events, the gallows crafted for the job collapsed beneath the weight of those facing death. Two men were saved, after both the Blues and Greens joined together to help save them. United by the effort, both factions would remain united, next turning their frustrations on those in charge.
The next chariot race tipped off the conflict
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At the next chariot race, all hell broke loose, as reported by WBUR. The crowd cheers of "Nika, nika!" weren't meant to inspire the charioteers. Instead, the chant spoke of the victory the Blues and the Greens realized they could achieve by uniting against the emperor.
The Hippodrome held a maximum of 100,000 people and was roughly four times bigger than a football field. This translated into a big problem concentrated in one location. The Hippodrome also contained a clandestine tunnel that headed straight to the Imperial Palace. This permitted Emperor Justinian and Empress Theodora to access the imperial box at their leisure, including their ability to slip away to safety during the escalating violence.
Officials responded by shutting down the Hippodrome in the hopes this would help the crowd disperse and go home. But this didn't happen. Instead, rioters spilled out into the streets where they started burning down Constantinople. As Procopius observed, "Fire was applied to the city as if it had fallen under the hand of an enemy." Two days passed with no slowing of the violence. Justinian and Theodora remained locked in the Imperial Palace, hoping the crowds would grow tired and eventually go home. At his lowest point, Justinian considered plans to flee the city (via Smithsonian Magazine).
Empress Theodora refused to leave
The Nika Riot lasted for nearly one week, per Smithsonian Magazine. By day four, rioters looked for Emperor Justinian's replacement. At the time, Justinian issued orders to Hypatius and Pompeius, nephews of former Emperor Anastasius, to leave the Imperial Palace and return to their homes, per ThoughtCo. Justinian had come to suspect the two young men's motives. Unfortunately, they got swept up as unwilling participants in the revolt when the mob descended on Hypatius' house, as per Procopius' "History of the Wars" (via Fordham University). Soon, he sat on the Hippodrome's imperial throne.
Justinian seriously contemplated leaving Constantinople at this point, and he had the wealth to do it. But Empress Theodora refused to go. In one of the most celebrated speeches ever spoken by an ancient heroine, she argued, "If you, my lord, wish to save your skin, you will have no difficulty in doing so ... But consider first whether, when you reach safety, you will regret that you did not choose death in preference. As for me, I stand by the ancient saying: the purple is the noblest winding sheet" (via Smithsonian Magazine). In other words, she was ready to live and die as an empress.
Whether Justinian felt shamed into action or his respect and love for his wife overcame him, it's unknown. But no matter the motivation, he heeded the empress' words, discarding all chances at escape. With Theodora's encouragement, he and his allies delved wholeheartedly into developing a strategy to regain control of the Hippodrome and the city.
Emperor Justinian made a dramatic appeal to the masses
In one of the gutsiest moves of the Nika Revolt, Emperor Justinian appealed directly to the people of the Byzantine Empire, per "History of the Later Roman Empire," by J.B. Bury (via the University of Chicago).
Addressing a huge crowd in the Hippodrome, he started by holding up a copy of the Gospels, using the collection of holy writings to swear an oath. Among the promises he made was full compliance with the demands of his subjects, as well as an amnesty extending to all of those involved in the insurrection. An incredible amount of bloodshed could have been prevented had the crowds listened to him. But those gathered wanted to hear nothing of it.
Instead, they hurled insults and accusations at him, screaming "You are perjuring yourself" and "Long live Hypatius!" But the emperor kept full command of himself. Having tried to deal directly with the citizens of Constantinople, he looked at other avenues to regain control of the empire.
Justinian resorted to insinuation and bribery
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In the wake of the week-long riots, Constantinople appeared unrecognizable, according to "History of the Later Roman Empire," by J.B. Bury (via the University of Chicago). The mob had destroyed much of the city, including the Praetorium, the baths of Alexander, the hospices of Eubulus and Samson, and the church of St. Irene. One thing was for sure. Justinian had to find a way to end the Nika Riots, and he needed to do it quickly. After huddling with his allies, he developed a plan so sneaky it just might work. Realizing he needed to find a way to pit the Blues and Greens against each other once more, he sent out Narses, a faithful eunuch, with a coin-filled purse.
After slipping into the Hippodrome, Narses fraternized with the Blues, convincing many among their ranks through bribery and manipulation to abandon the fight. By turns, he reminded them that Hypatius' uncle had always supported the Greens, and it was naïve to think his nephew wouldn't do the same.
Next, he played on their nostalgia, reminding them that Emperor Justinian and Empress Theodora had always been robust supporters of the Blues. The faithful eunuch's insinuation into the crowd did the trick, and Blues vulnerable to persuasion began to give way, making way for the next step in Justinian's plan.
After bribery came the bloodbath
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After Narses' attempt to soften up the resolve of the Blues, Justinian's military allies, Mundus and Belisarius, entered the arena, according to "History of the Later Roman Empire," by J.B. Bury (via the University of Chicago). Those among the Blues that hadn't heeded Narses' appeal would pay for it in a devastating way. Although Emperor Justinian had found no loyalty among the palace guards and other forces that traditionally supported the emperor, he still made the most of the forces available to him.
The troops under Justinian's leadership proved vastly outnumbered, but they were highly effective in the throng of tightly packed people. What's more, most were of Gothic or Thracian ethnicity, which meant they had no allegiances to either the Blues or the Greens, notes Smithsonian Magazine. Even though large parts of the crowd were also armed, they caved under the pressure of a professional military assault. The discipline and weaponry of Mundus and Belisarius won the day.
An estimated 30,000 civilians or 10% of the citizenry of Constantinople died that day, stuffed into the Hippodrome like sardines and unable to escape. Soon, the Hippodrome's stones ran scarlet with the wave of death unleashed by Justinian's allies. Procopius observed with the chill of a detached historian, "This was the end of the insurrection in Byzantium" (via WBUR).
Justinian punished his political rivals
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Justinian's nephews, Justus and Boraides, understood that ending the conflict required destroying the perceived ringleaders, per "History of the Later Roman Empire," by J.B. Bury (via the University of Chicago). Unfortunately, this meant targeting Hypatius and his brother, Pompeius. Although it was well known that the men had been compelled by the mob to participate in the insurrection, Justinian also realized their existences represented serious threats to his rule ... however tenuous their genealogical grasp of the throne.
Despite Hypatius' and Pompeius' tears and pleas that they had no choice in the events of the week, they were murdered the next day. Unceremoniously, their bodies were thrown into the ocean. Only death ensured these potential political weapons would be laid to rest. But both men's families were allowed to live.
Emperor Justinian also made an example of 18 senators implicated in leading the conspiracy against him by seizing their property and banishing them. But Emperor Justinian wasn't one to hold grudges. In the aftermath of the riots, he pardoned all 18 senators, restoring their possessions to them. He also offered restitution to the children of Pompeius and Hypatius.
The Nika Riots strengthened Justinian's rule
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The death toll in Constantinople proved devastating and so was the damage from the Nika Riots, according to ThoughtCo. Arrests continued well after the unrest, and many families lost everything as a result of their connections with seditious actors. Officials also realized that playing with fire eventually led to serious burns. So, they shut the Hippodrome down for half a decade, suspending chariot races during that time.
But not everyone in the Byzantine Empire would suffer after the insurrection. Justinian had showed his resolve and courage, and it wouldn't go unnoticed. He gained a massive amount of respect from the public while conveniently neutralizing most of his enemies. Realizing he would stop at nothing to maintain power, any remaining political rivals lacked the stomach to stand up to him.
The same went for Empress Theodora, as reported by ThoughtCo. She enjoyed newfound respect, going down in the history books as courageous and eloquent even as she faced death at the hands of an unforgiving mob. Over the next three decades, Justinian would continue his vision of reuniting the former Roman Empire, and he would also take domestic precautions to avoid future issues (via WBUR). This included creating laws to curb the senatorial class' power even as he undertook massive public works projects to rebuild the damaged city. Emperor Justinian and Empress Theodora's legacy would prove one of great controversy and impressive brilliance unmatched by any of their successors.


"GPZ TORQKIT MAX" Allison 1000 Master Kit with all TORQKITS. Fits Allison 1000, 1999-2010. Torqkits have more clutches than the stock clutch count. *Pro Series on C3 clutch. Requires some machine work on the backing plate.


Note: the email address below is the Corrections Victoria general email; the prison does not have its own general email address.
The information below is specific to Beechworth Correctional Centre.
Please also refer to the general information about visiting a prisoner which is the same for all prisons in Victoria. This includes details of how to arrange to visit a prisoner for the first time, what identification you will need to take with you and what you cannot take into prisons.
From the Hume Highway take the Beechworth exit (Great Alpine Road B500). Turn left at Tarrawingee and head to Beechworth. As you enter the township (about 650 metres past the 60km per hour sign) look to the left for Malakoff Road and a red post box. Turn left into Malakoff Road. Beechworth Correctional Centre is located approximately 3.5km along Malakoff Road on the left.
Transport for visitors is provided on weekends and public holidays from the V/Line bus stop. Prior arrangements must be made with the prison if you wish to be picked up. You must provide details of children and indicate if a car seat is required.
To visit a prisoner, you must be on their approved list (refer to Arranging a visit in the general information for prison visitors). Once you are on the list, you can visit at any of the times below.
It is recommended that you phone the prison before you commence your journey to the prison.
Prisoners may have four adult visitors and a reasonable number of children on every visit day.
If more than four visitors arrive, they may share the visiting time as long as only four adults are visiting at one time.
There is no time limit for visits, but visitors must leave by the close of visiting hours.
Visitors will be checked in through the visitors' reception centre where names are taken, identification is checked and any approved property is booked in. The prisoner will then be called for a visit. No prisoner is permitted in the visit centre before their visitor.
Lockers are available in the visitors' reception centre for the temporary storage of visitors' personal items. Mobile phones are not to be brought into the visit centre and must be left in the lockers.
Food and drink items may be purchased from the visit centre kiosk during visits.
Throughout the visit, it is the responsibility of visitors to ensure any children are well-behaved and remain in the visit centre. Failure to do this may result in the general manager terminating the visit.
No prisoner will be allowed to wear any clothing that has visible brand names.
Refer to Property & money for details about how much money can be deposited for a prisoner and in what format.
At Beechworth Correctional Centre money may be brought in during visits, but only in cash.
The Beechworth Correctional Centre was commissioned in January 2005, after the historic 144-year-old Beechworth Prison closed in December 2004. Situated 270 kilometres north-east of Melbourne, Beechworth is the furthest from Melbourne of Victoria's prisons.
Read Beechworth Correctional Centre Visitor Information.


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Hyundai i10 hatchback (2010-2013) review
"The Hyundai i10 ticks all the boxes, is cheap to run, fun to drive and very practical - there aren't many better city cars around."
Cheap to buy and run
Fun to drive
Dull interior
No diesel option
Tiring on motorways
The Hyundai i10 micro-car was a big success when it was launched in 2008, with the Government Scrappage Scheme helping it rack up some impressive sales. The latest i10 now offers a version of its 1.2-litre engine with more power and a tweaked exterior that adds the grille from the Hyundai ix35 SUV and slightly different rear lights.
It still feels a bit cheap inside but there's lots of space for four adults to sit in relative comfort and it's surprisingly fun to drive. And above all else, it is still great value for money – even compared to new ultra-cheap competition from the likes of the Dacia Sandero. The Hyundai i10 is available in three main specifications – the entry-level Classic, mid-range Active and top-of-the-range Style. You also get Hyundai's excellent unlimited-mileage/five-year 'Triple Care' warranty package.
MPG, running costs & CO2
Latest version is cheaper to run and insure than ever
The i10 is now cheaper to run than ever, with the current 1.2-litre engine and five-speed manual gearbox helping it to return 51.4mpg in combined fuel economy. CO2 emissions don't fall below the magic 100g/km mark for tax-free motoring, but it will still only cost you £20 per year to tax. If you're after an automatic, though, running costs are higher. All i10s come with Hyundai's excellent five-year Total Care package, including a comprehensive warranty, roadside assistance and annual vehicle health checks, so general maintenance and upkeep should be pretty cheap too.
Fun and nippy to drive around town
Zipping around town in the i10 is fun thanks to its light, precise steering, strong engines and comfortable suspension. The 1.2-litre four-cylinder petrol engine isn't that fast, but it is pretty agile when nipping through busy traffic and crowded city streets. It's not too bad on the motorway either, but only having five gears means you have to work the engine hard to keep up with the flow of traffic. However, the gearbox is smooth and easy to use and overall, the tall micro i10 with its skinny tyres drives pretty well.
Soft ride and roomy cabin, but it's hardly a luxury car
The i10 does a good job of ironing out most bumps and potholes that it encounters, especially at lower speeds. Its small dimensions make it harder to handle big bumps when driving at faster speeds, however, and the ride does get a bit choppy as a result. The suspension is tuned for comfort and is reasonably well cushioned.
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The engines are suitably quiet when being driven around town, but start to get intrusively loud when taken up to motorway speeds – which is partly down to the lack of a sixth gear. Interior room is pretty good considering the car's size, with two adults able to fit in the back without being too cramped. And the i10's high roof also means lots of headroom, too.
Above-average boot and five-door flexibility
The i10's compact city car dimensions turn out to be more practical than many rivals. The boot offers a decent 225 litres of space, more than you'll get in the Kia Picanto, Toyota Aygo, Suzuki Alto or Nissan Pixo. It's nearer in size to the much bigger MINI Clubman, in fact. You'll only find more boot space in the VW Group's Volkswagen up!, Skoda Citigo and SEAT Mii – which all use the same underpinnings.
The i10's five-door body is very practical, with reasonably wide door openings to make getting in the back much easier. It's high and square shape means loads of rear space. If you go for the Comfort or Style models, you'll also get some extra storage under the boot floor for storing valuables out of sight.
Good build quality and generous warranty give total peace of mind
Hyundai ended its march up the rankings in the 2013 Driver Power customer satisfaction survey, dropping seven places in manufacturers rankings to come 14th. The i10 fared even worse, tumbling all the way down from seventh to 135th in the list of the top 150 cars. That's quite a shift in fortunes, especially as there hasn't been any recalls or major problems reported. Owners cited poor ride quality, performance and handling as key issues, while the i10 wasn't as solid on reliability as it has been in previous polls.
Hyundai still offers an excellent five-year, unlimited-mileage warranty, with the Triple Care package ¬adding in free roadside assistance and annual vehicle health checks, so if something does go wrong it should be fixed quickly and cheaply. The interior plastics are a bit shoddy, but that's the price you pay for it being cheaper than most of its competition. Unfortunately, it does also lag behind in the safety stakes, – with most new cars routinely securing a full five-star Euro NCAP crash safety test rating, the i10's four-star performance is a bit of a stumbling block. Newer rivals like the VW up! and Skoda Citigo certainly do hit the modern standard.
Price, value for money & options
Low prices and lots of kit offer great value
For a long time, the i10 was one of the cheapest cars in the UK, but now the likes of budget brand Dacia are changing that. The i10 does remain the cheapest city car out there, and it remains excellent value for money, providing a high level of equipment and accessories for the money.
Resale value on the used car market should be pretty strong simply because it's such a bargain in the first place. Insurance premiums are also among the lowest of any new car on the market, and even base models come fitted with air-conditioning, electric windows and a six-speaker stereo.
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It's the beginning of the month and therefore time for another wallpaper! Unlike last month I remembered this time and it will be for the iPad. I played around a little and tried to figure out whether a monochrome/toned or colour version of the image would be more suited, but simply couldn't decide. Which is why I included both of them. The image itself was taken during my last trip to Norway, in nice morning light in an area called Signaldalen. I did a write-up on that trip which you can read in these two posts. Feel free to download the wallpapers from here. During that specific trip I also took a series of images which I called "Mountain Sketches". I do enjoy them very much and will release them soon also in an e-book. If you are interested you may want to have a look at the images in this post and for the e-book please stay tuned for updates here on the blog.


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Home / European Works Councils / Facts & Figures / EWC by country of headquarters & choice of applicable law
EWC by country of headquarters & choice of applicable law
Similarly as in the case of sectors, we observe a high variation in numbers of EWCs depending on the country where the company in which they are set up has its headquarters. Looking at the headquarters of the companies having an EWC, we see that the vast majority of EWCs are active in companies having their headquarters in the 'old' member states. Germany is in the leader position, followed by France and the UK. What is more, EWCs are also frequently active in non-European multinationals having their headquarters in the US, Switzerland, Japan or Canada. (De Spiegelaere and Jagodzinski (2015) EWC Facts and Figures).
It seems that national traditions and corporate culture (country of origin/headquarters of an MNC) do have an impact on the establishment of EWCs. The national distribution of EWCs by country of headquarters of the parent company shows significant variations between the EU member states.
As can be seen in this figure, the highest number of currently active EWCs is found in German companies, followed by US-based multinational enterprises operating in Europe, and British, French and Swedish companies.
Choice of applicable law
EU directives are not directly applicable in EU member states. They have to be transposed and implemented through national legislation (see Jagodzinski (2015) Variations on a theme? Implementation of the EWC Recast directive). Every country therefore decides autonomously how to implement the EU regulations on European Works Councils. At the same time, the EWC regulation covers multinationals active in at least two member states, giving rise to the question of which rules these EWCs have to follow.
In the majority of cases (67% of all EWCs), EWCs are established according to the rules of the headquarter country. Yet this is not always so. First of all, if the headquarters of a company is established in a non-EEA country, the agreement establishing an EWC has to choose a national legislation whose rules it will follow. Secondly, even if companies are headquartered in a European country, the negotiating parties are still entitled to agree to establish their EWC according to the national rules of another European country.
Non-EEA headquartered companies
In about 23% of cases, the country of headquarters is a non-EU country. These EWCs have to make a decision on the national law that will be applicable, and most choose the UK, Danish, Belgian or French EWC implementation laws. Less popular choices have been the Irish, Dutch and Italian implementation laws; only rarely have other implementation laws been chosen.
European MNC choosing another applicable law
Companies headquartered in one of the EEA states can also, given an agreement, choose to establish their EWC according to a national law other than that of their headquarter country. 6% of EWCs with their headquarters in Europe do not choose the law of their headquarter country as the applicable law; instead they generally choose for their EWC the Irish or French implementation laws.
All Facts & Figures