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Home / Company / Communications / Newsroom / BT Employees raise over €210,000 for the Irish Cancer Society
BT Employees raise over €210,000 for the Irish Cancer Society
BT Shop for Change raises vital funds for cancer research and support services across the country. Tour de BT raises €25,000
Ireland's biggest charity shop takeover, BT Shop for Change has succeeded in raising €186,269 for the Irish Cancer Society.
The brainchild of BT Ireland employees, the event, now in its seventh year, saw more than 120 BT Ireland employees swap the office for the charity shop and compete against each other to generate the most sales in one day on October 18th in Irish Cancer Society shops around the country.
From in-store sales, auctions, on-street performances, bucket collections and flash sales, the entrepreneurial teams did everything possible to try and raise as much money as possible to help fund cancer research and support services run by the Irish Cancer Society.
In a separate event, over 70 BT employees took part in a gruelling 3 day cycle through Cork and Kerry in September and succeeded in raising €25,000 for the Irish Cancer Society. This brings the total raised to over €210,000.
Mark Mellett, Head of Fundraising, Irish Cancer Society said, "Thanks to BT Ireland staff and everybody who supported the 2018 BT Shop for Change event. This year the BT team created new and innovative ways to collect the best of pre-loved clothes and bric-a –brac; made our shops even more of a haven for bargain hunters and helped deliver record breaking sales. The addition of the cycle events saw them raise over €210,000. These funds will go long way to help ensure we can meet the increasing demands for our free cancer services and also help fund more research to find better ways to prevent, diagnose and treat cancer in Ireland."
Shay Walsh, Managing Director, BT Ireland added: "I could not be prouder of our fantastic employees who put months of effort into collecting high value stock to sell on the day and left no stone unturned in their endeavours to succeed. At BT we are committed to using our skills and resources to build a better world and it just shows, when our people get together as a team to achieve a goal, we can do incredible things.
"I would like to sincerely thank our customers, suppliers, the charity shop staff and the local communities for their generosity and support in making 2018 our most successful BT Shop for Change campaign ever."
For more information on the Irish Cancer Society visit www.cancer.ie #BTShopforChange
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10 STEPS TO A SUCCESSFUL ALASKA CRUISE!!
1. Find the perfect ship that's right for you! ..
When you are looking at booking an Alaska cruise vacation most people focus on the destination and overlook many aspects of the ship itself. Which ship you choose can affect your entire vacation. Cruise lines and individual cruise ships vary greatly in terms of atmosphere, facilities and value. Some ships cater to the adventure-oriented, nightclub/party-all-the-time ambience, some are more pampering offer a great spa, and others are ideal for curling up on deck with a good book. We suggest you work with one of our Alaska Cruise Specialists to find the right cruise for you. We'll discuss your budget, what you're looking for out of the holiday and help you decide on the perfect ship for you!
There is only one way to get the best price on an Alaska cruise: book early. When you book early you'll receive the best choice of staterooms (not only stateroom type, but choice of location), you'll have the best choice of dining times (in many destinations a specific dining time is sold out quickly), and you'll receive an early booking price. If your cruise price is reduced prior to the final payment date (usually 75 days prior to sailing) our Alaska Cruise Specialist will reduce your rate so you'll pay the best rate!
Some people say that it doesn't matter what your stateroom is like, since you'll only sleep there. Not so! If this is your honeymoon, a special anniversary, birthday or it's a trip on your Bucket List, you'll want every detail to be perfect. When you have a nicer stateroom you spend more time in it; sleep in a little later, order room service for breakfast, watch a DVD or relax with a book on your balcony. Don't assume anything: a king or queen-size bed and bathtubs are not in every stateroom on a ship. While some suites do have over-sized beds, most other staterooms have single beds that are pushed together for couples. Most staterooms have small (single-occupancy) showers, not bathtubs, so if you like to soak ask for a room with a bathtub. Most important, a nice stateroom makes you more inclined to enjoy things like room service and sipping morning coffee in your plush bathrobe. The ultimate luxury: a private balcony so you can leave your sliding-glass doors open and fall asleep to the sounds of the sea.
A bit of preparation pays off in a carefree trip. Whether you've been busy with work, the kids or just finished planning your wedding, it's easy to forget that life will go on while you're away. Such as the mail (stop it). And bills (pay them). I suggest taping a "To Do" list to your fridge and check things off as you go. Remember while packing to include film, extra batteries, sunscreen and travel-size toiletries. You'll find these items are more expensive to buy on board the ship, and you may not find your favourite products.
On most Alaska cruises, you'll want to schedule all kinds of activities on and off the ship. So will everyone else on board and usually at the same time. Shore excursions on many cruise lines can be pre-reserved, but still allow you to change your mind. Spa packages on many lines can be pre-reserved, however spa treatments are best to book the first day when you board as certain days are more popular and will book up quickly. For example, if you want to get anything done on the first day at sea, which is also the Captain's Welcome Aboard Cocktail Party and Dinner, you'll find appointments are booked up quickly. It's also a good idea to make your specialty restaurant reservations on the first day of your5 Alaska cruise so you don't lose out.
Some shore excursions are worth taking and others not so much. How do you know the difference? Just looking at the shore excursion guide you'll find activities that interest you. Stick to tours that offer something different! Take a helicopter flight over a glacier, scuba dive at night, go white water rafting or take a spectacular scenic train trip. A car and driver can be a more personal (and less costly) way to sight-see than on a motor coach. To make it more fun (and affordable), put a group together with some new friends you've met on board. Just make sure you're back to ship at least an hour before sailing... you don't want to miss the boat!
Ask our Alaska Cruise Specialists which ships offer their passengers more on board. Some ships and certain staterooms or suites include extras like terry cloth bathrobes, fruit baskets, complimentary champagne, etc. Our Alaska Cruise Specialists will make sure the ship is aware of your special occasion and we'll include a special Bon Voyage gift just for you! In addition, ask about honeymoon and anniversary packages that include special extras like a formal portrait in an engraved frame, a champagne breakfast in bed or side-by-side massages.
The last night of your Alaska cruise is a bittersweet time. You've had fun. You're going home. And then there's that little business of tipping to take care of. Many cruise lines now have an automatic gratuity charged to your shipboard account each day. This is great because it means you don't have to sit in your stateroom and decide how much to leave, which people to leave it for and whether you have enough small bills. The amount is deducted off your credit card, or however else you decide to payoff your stateroom account. Plus, if you feel the service wasn't up to par just contact the purser's desk and they'll adjust the amount for you.
On most Alaska cruises, you'll be assigned a dinner table (usually with other passengers) and time (6pm or 8pm) for the entire trip. If you prefer to dine alone our Alaska Cruise Specialists will arrange this for you. We recommend you take one night to dine in the specialty restaurant(s) on board. These restaurants usually offer a 5+ course meal that far exceeds that of most restaurants on land and that takes approximately 3 hours. After dinner take a dip in the hot tubs (since they never close) and you'll probably find yourselves alone under the stars. For more alone time, stay on the ship when everyone else goes ashore.


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Q: How to install win32ole for nodejs (i.e. making node-gyp work properly) Sorry, I'm a newbie of nodejs. I'd like to try the package win32ole in nodejs under Windows7, but when I run the installation command npm install win32ole in a command prompt window opened as administrator, many errors pop up.
My configuration is:

*

*Windows 7 64 bit (version 6.1.7601)

*Microsoft Visual Studio Express 2015 for Windows Desktop - ENU (imho having to install 20GB of software to try to make node-gyp work is like a certification of failure for a certain IT model)

*Microsoft .NET Framework 4.6

*both Python 2.7.9 and 3.4.3 installed, but I made python command point to 2.7.9

*nodejs version 4.2.1

*npm version 2.14.7

*node-gyp 3.0.3

*PYTHON environment variable set to C:\Python27\python.exe

*told to node-gyp where to find Python with command node-gyp --python C:\Python27\

*told to npm where to find Python with command npm config set python C:\Python27\python.exe
Here's the console output:
C:\Windows\system32
>npm install win32ole
Impossibile trovare il percorso specificato.
npm WARN engine win32ole@0.1.3: wanted: {"node":">= 0.8.18 && < 0.9.0"} (current: {"node":"4.2.1","npm":"2.14.7"})
\
> ref@1.2.0 install C:\Windows\system32\node_modules\win32ole\node_modules\ref
> node-gyp rebuild

C:\Windows\system32\node_modules\win32ole\node_modules\ref
>if not defined npm_config_node_gyp (node "C:\Program Files\nodejs\node_modules\npm\bin\node-gyp-bin\\..\..\node_modules\node-gyp\bin\node-gyp.js" rebuild )  else (node  rebuild )
Impossibile trovare il percorso specificato.
gyp: Call to 'node -e "require('nan')"' returned exit status 1. while trying to load binding.gyp
gyp ERR! configure error
gyp ERR! stack Error: `gyp` failed with exit code: 1
gyp ERR! stack     at ChildProcess.onCpExit (C:\Program Files\nodejs\node_modules\npm\node_modules\node-gyp\lib\configure.js:355:16)
gyp ERR! stack     at emitTwo (events.js:87:13)
gyp ERR! stack     at ChildProcess.emit (events.js:172:7)
gyp ERR! stack     at Process.ChildProcess._handle.onexit (internal/child_process.js:200:12)
gyp ERR! System Windows_NT 6.1.7601
gyp ERR! command "C:\\Program Files\\nodejs\\node.exe" "C:\\Program Files\\nodejs\\node_modules\\npm\\node_modules\\node-gyp\\bin\\node-gyp.js" "rebuild"
gyp ERR! cwd C:\Windows\system32\node_modules\win32ole\node_modules\ref
gyp ERR! node -v v4.2.1
gyp ERR! node-gyp -v v3.0.3
gyp ERR! not ok
npm ERR! Windows_NT 6.1.7601
npm ERR! argv "C:\\Program Files\\nodejs\\node.exe" "C:\\Program Files\\nodejs\\node_modules\\npm\\bin\\npm-cli.js" "install" "win32ole"
npm ERR! node v4.2.1
npm ERR! npm  v2.14.7
npm ERR! code ELIFECYCLE

npm ERR! ref@1.2.0 install: `node-gyp rebuild`
npm ERR! Exit status 1
npm ERR!
npm ERR! Failed at the ref@1.2.0 install script 'node-gyp rebuild'.
npm ERR! This is most likely a problem with the ref package,
npm ERR! not with npm itself.
npm ERR! Tell the author that this fails on your system:
npm ERR!     node-gyp rebuild
npm ERR! You can get their info via:
npm ERR!     npm owner ls ref
npm ERR! There is likely additional logging output above.

npm ERR! Please include the following file with any support request:
npm ERR!     C:\Windows\system32\npm-debug.log

Any clue on what I'm doing wrong?
FOLLOW UP
I guess there is nothing I'm doing wrong, the package node-gyp under Windows, as pointed out in a comment, has some issues: https://github.com/nodejs/node-gyp/issues/629

A: It's not possible with up to date node.js versions.
Use node winax

A: First of all you have a warning due to the node version
npm WARN engine win32ole@0.1.3: wanted: {"node":">= 0.8.18 && < 0.9.0"} (current: {"node":"4.2.1","npm":"2.14.7"})

It should be lower than 0.9.0
Have you installed node-gyp? I'm seeing a lot of error complaining it.
If not you can install it with this command
npm install -g node-gyp

redpajama_set_name: RedPajamaStackExchange


BSP's Gomantak Ayurveda Mahavidyalaay & Research Centre continued its tradition of serving humanity by hosting blood donation camp in association with Rotary Club of Ponda and Blood Bank of Hospiscio – Margao. The inaugural function was graced with prence of Chief Guest Dr. Rajiv Usgaonkar and Guest of Honor Dr. Vasundara Desai, BSP President Shri. P. K. Ghate and Principal, Dr. Mrs. Anura Bale. On this occasion Dr. Rajiv Usgaonkar appraised the gathering by motivational speech and encouraged the volunteers for donating the blood. Dr. Vasundara Desai gave detailed information about importance and procedure of blood donation. Anchoring of inaugural function and vote of thanks was done by Dr. Viraj M. Manerikar. This camp Witnessed and over whelmed response from the volunteers mostly comprised of college students. Out of 83 registered volunteers 38 were eventual found eligible for blood donation.


text:
Distance Learning Challenges Younger Students
Eva Allison
Sofia Sarak, Zack Beldotti, and Alyssa Ferro
Round Table reporters interview some of their younger siblings about the challenges they're experiencing with distance learning.
Sofia Sarak, Editor-in-Chief
Sofia Sarak is thrilled to be Editor-in-Chief for the 2020-2021 school year. Outside of The Round Table, Sofia is the founder and president of the Stamford Black Knights Chapter of the National English Honor Society, Assistant Drum Major of the marching band, the Community Service Coordinator of the Class of 2021, and a member of the Tri-M Music Honor Society. She has also been published in the Stamford Advocate on multiple occasions. Feel free to contact her at [email protected].
Eva Allison, Multimedia Editor
Eva Allison, a current senior at Stamford High School, is beyond excited to return to the Round Table for a second year. Outside of the paper, Eva is a costume assistant for The Strawberry Hill Players and for the Stamford All-School Musical, as well as a member of the Leadership Academy. She is also an award-winning and published poet.
New Schedule Change Receives Mixed Feedback
SEA Promotes "Blackout" to Highlight Safety Issues
Students React to Rising COVID Rates
Space Force Info Session Held
Wave Of School Threats Hits Nation
Halmeck Hosts Climate Change Seminar
All-inclusive awards ceremony to come to SHS
Agosto Discusses New Administrative Position
Figliuzzi Explains New Position
Astroworld Disaster: Is Travis Scott Responsible?

redpajama_set_name: RedPajamaCommonCrawl


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How can I make my writing accessible to readers?
June 2, 2006 1:08 PM Subscribe
How can I make my symbolic/abstract writing style more accessible to readers, so that they won't turn away from my stories in boredom?
My writing ("prose poetry" style) mostly features lots of "interior monologue" desciptions of what the characters physically feel, see, and smell, etc... etc... All of these details add up to significance for me personally. It seems to me that these express concrete meaning and themes. However, most readers don't seem to agree. To them, all the descriptions add up to nonsense and lack of cohesion. They find my fiction writing not only to be boring, but also believe that it doesn't mean anything at all.
To boil all this down to one question: How do I retain the symbolic descriptions in my stories, but do it in a way that engages the reader and makes sense to him?
posted by gregb1007 to Writing & Language (58 answers total) 40 users marked this as a favorite
Can we see a concrete example of your writing? That way we could try and rephrase or see what exactly it is that you're doing that is turning people off.
posted by agregoli at 1:12 PM on June 2, 2006
My suggestions:
1. alternate styles. using the style you mention only when necessary.
2. make it so beautiful (see "wombed in sin darkness I was too, made not begotten. By them, the man with my voice and my eyes a ghostwoman with ashes on her breath.) that even if they can't catch all your symbolic significance, they are still enthralled by your phrasing.
3. connect the words, symbols that you use during the "interior monologues" to sections of the book that aren't written that way. Make it interlocking, a puzzle, a challenge, rather than impenatrable pages of overly poetic prose.
4. read ulysses, then read it again, if you haven't already, which I asssume you have, but include it as a suggestion anyway just in case.
posted by milarepa at 1:15 PM on June 2, 2006
Post a sample?
I suspect, based solely on what you've said above and several years of reading slush, that you are guilty of one or more of the following:
- failing to connect the dots enough for your non-mind-reading audience to know what you're going on about
- details are too generic and/or vague to really grab the reader long enough for her to pay attention.
- your interior monologues are boring because your characters are boring, and boring people have boring thoughts; alternatively, your characters are interesting but what happens to them is boring
I suggest finding examples of what you are trying to do in other people's writing, and figuring out how they've structured their stories to make the internal monologue and symbolism work for the reader.
posted by joannemerriam at 1:45 PM on June 2, 2006
Sounds like you need to spend more time developing the story and less on the characters' thoughts/motivations. As a reader, I need something to grab my interest and give me a reason to keep reading. If the interior monologues don't consistently advance the plot I'd probably find them a bit distracting. But then I'm a science fiction guy, and don't have the patience for a lot of "serious" lit.
posted by InfidelZombie at 1:47 PM on June 2, 2006
agregogil, here's a sample paragraph:
As she keenly watched the woman on the bench, Zina suddenly became aware that this lady was going to run off to jump into a yellow taxi that garishly announced its arrival by brightly flashing its yellow painted exterior against the sultry sleepy evening darkness. The headlights' gleaming stare illuminated the lady's wrinkled face as she got up from the bench... Zena thought she might have been hallucinating when the lady briefly turned her face in her direction and whispered urgently: "Take the train to the shopping district, a young man awaits you on the platform." This was of course nonsense, Zena didn't know any young men in that area. She wasn't even sure that she could ask the lady, whom she didn't know either, for clarification.
Ironically, this paragraph is not the most offensive one, as far as prose-poetry goes. There are others that have less narrative and more interior monologue.
If you'd like to look at other paragraphs, see the full story at http://krenseby.blogspot.com/
posted by gregb1007 at 1:55 PM on June 2, 2006
It's hard to say without reading some of your writing. There are several different approaches to what you're describing, although I can't tell if you're interested in being formally complex or not. If you've not read Diane Williams, I would recommend her highly as someone whose stories are beautiful and allusive, difficult to understand, but ultimately pay off hugely. I think she's a good model of well-thought out writing that is demanding of the reader.
Thomas Pynchon also tends to write interior monologues that are filled with symbolic personalness. Give Gravity's Rainbow a look.
posted by OmieWise at 1:56 PM on June 2, 2006
After reading your paragraph, I might also suggest Virginia Woolf.
use less adjectives and adverbs. that'd go along way toward increasing comprehension and reducing the "turn-away" factor. however, that's a cop-out answer; much of my job is editing the (technical and PR) writing of others, so in my field simpler is always better. Maybe this doesn't apply for creative writing.
posted by luriete at 2:05 PM on June 2, 2006
After reading your work, I might also suggest trying to write shorter sentences. I am a fan of long sentences, but they can be hard to pull off, especially in succession. (For a good example of long sentences in succession, read Nabokov.)
The first sentence of the paragraph you posted, for example, I think could be about 3 sentences. You have too much going on. The sky, the taxi, zina realizing, the lady running, etc. Breaking it up might not seem as beautiful for you, but it would be easier, and therefore less boring (your word not mine) on the reader. Then, bring out the long sentences for when it's needed.
Most readers are smart, and can think for themselves, so drop a hint, and the reader will fill out the rest. I know a taxi is yellow, and how it arrives. My job as a reader to imagine and constuct - please do not insult my IQ or take away my joy.
Read J.M. Coetzee - any of his books. Start with Disgrace. (He won 2 Booker prizes and a Nobel for fiction) Short, powerful sentences writen in the present tense.
posted by bright77blue at 2:09 PM on June 2, 2006
Too many adjectives!
posted by DieHipsterDie at 2:10 PM on June 2, 2006
1 - join a writer's group where people will mark on your manuscripts what they think should change. If your writer's group can't help you write prose that readers find more accessible, find another group.
2 - the problem isn't internal monologue; it's passive voice, non-telling details, and uncertainty on the part of your main character.
Rewrite:
"A taxi arrived, its yellow painted exterior shining garishly in the sultry sleepy evening darkness. The headlights illuminated the lady's wrinkled face as she got up from the bench... The woman turned to her and whispered urgently: "Take the train to the shopping district, a young man awaits you on the platform." This was of course nonsense, Zena didn't know any young men in that area. Realizing the woman was going to get into the taxi, she struggled with her desire to ask the strange lady for clarification."
posted by mistersix at 2:10 PM on June 2, 2006
I think simplifying it could help, too.
I had to read through it a couple times to make sure I parsed everything correctly.
The sentence starting "Zina suddenly..." is long and a bit convoluted. The pace of the paragraph urges the reader to read quickly, and get involved in the plot. I got tripped up by the long over adverbed/adjectived sentence with no punctuation, strange tense and weird verb phrase.
If you're trying to be frentic and confused in your mood, you actually need shorter, faster paced, sentences that throw the reader further and further into the page.
posted by voidcontext at 2:14 PM on June 2, 2006
Indeed, I agree. Too many adjectives and it feels like you're running out of breath when you try and read it.
As she keenly watched the woman on the bench, Zina suddenly became aware that this lady was going to run off to jump into a yellow taxi that garishly announced its arrival by brightly flashing its yellow painted exterior against the sultry sleepy evening darkness.
I would drop so much here.
"As she watched the woman on the bench, Zina became aware that the woman was going to jump into a taxi..."
And then I don't even know where to go from there - the taxi is described as yellow twice, when most people would already assume it's garishness (I've never seen a bland taxi cab). Garish is the same as bright, cars don't really actively flash their sides (flashing in combination with a car makes me think lights, not color) and why wouldn't the exterior of the car have paint? It doesn't warrant a mention for me. Sultry sleepy evening darkness is kind of nice, but a comma or two (don't know if you were in a hurry and didn't put them in for us here) would help slow the reader down.
I have to say, I agree with recommendation to break up the sentenses, but the bit that breaks my concentration the most is this bit:
"Take the train to the shopping district, a young man awaits you on the platform." This was of course nonsense, Zena didn't know any young men in that area.
Your authorial voice breaks in and tells me what the old lady says is "nonsense". Instructions to take a train somewhere and meet someone aren't nonsense -- they might be incorrect or delivered to the wrong person or whatever but they're not nonsense. "Take the snail to the green monkey where an invisible octopus awaits you" is nonsense.
Plus your objection actually doesn't make sense. She doesn't know any young men in the shopping district? Neither do I, but I can still meet one there, that being the function of public transport systems.
I think stuff like this is better written in "free indirect style", i.e. the author uses the third person but incorporates the character's voice.
"Take the train to the shopping district, a young man awaits you on the platform." But she didn't know any young men! How strange. Should she ask the old lady for clarification?
That way your readers are a bit more inside her head, and your voice doesn't come in and tread on what you've just written.
Also? It helps if you characters actually have the same name at the end of the paragraph as they have at the start.
posted by AmbroseChapel at 2:31 PM on June 2, 2006
Yep, shorter sentences and fewer adverbs and adjectives will go a long way. Instead, put your creativity and vocabulary into finding the strongest verbs you can imagine.
Here's a rewrite, with fewer adverbs and adjectives:
As she watched the woman on the bench, Zina suddenly became aware that this lady was going to run off to jump into a yellow taxi that announced its arrival by flashing its yellow exeterior against the evening darkness. The headlights' stare illuminated the lady's wrinkled face as she got up from the bench. Zena thought she might have been hallucinating when the lady turned her face in her direction and whispered: "Take the train to the shopping district, a young man awaits you on the platform." This was of course nonsense, Zena didn't know any young men in that area. She wasn't even sure that she could ask the lady, whom she didn't know either, for clarification.
Your sentences are kind of long and confusing, too. Try to have one specific event or idea per sentence. Make sure any events described in a sentence are described in chronogical order.
This sentence fragment, for example, confuses me: "Zena thought she might have been hallucinating when the lady turned her face in her direction and whispered ..."
We have just read, "The headlights' gleaming stare illuminated the lady's wrinkled face as she got up from the bench," and it sounds like this might be what makes Zena think she might be hallucinating about, since that's the logical progression. Or is she hallicinating about what comes next?
Rewrite, with shorter sentences and events in chronological order:
Zena watched the woman on the bench and suddenly realized that the lady was going to run. A taxi had just arrived, its yellow paint garish in the dark of night. Its headlights lit the lady's wrinkled face. The lady dashed toward the car. She stopped, turned toward Zena and whispered: "Take the train to the shopping district, a young man awaits you on the platform." Zena thought she might be hallucinating. She didn't know any young men in the area. She didn't know the lady. She wasn't even sure that she could ask for clarification.
An even better next step would be to show us what people know, rather than telling us. She suddenly realized that the lady was going to run, but how did she realize it? Instead of telling us she felt like she was hallucinating, just leave us with the exact thoughts and let us draw our own conclusions.
The woman clenched her jaw, leaned forward, laid her hand on the bench with muscles tense. Zena suddenly realized that the lady was going to run. A taxi had just arrived, its yellow paint garish in the dark night. Its headlights lit the lady's wrinkled face. The lady dashed toward the car, stopped, turned toward Zena and whispered: "Take the train to the shopping district, a young man awaits you on the platform." Zena didn't know any young men. She didn't know the lady. She didn't understand.
posted by croutonsupafreak at 2:33 PM on June 2, 2006
=~ s/sentenses/sentences/
Oh and I forgot to say:
it feels like you're running out of breath when you try and read it.
This is the best way to test writing. Read it out loud.
Zena watched the woman on the bench. A yellow taxi announced its arrival by flashing its yellow against the evening darkness. The older women would soon disappear. Headlights illuminated the wrinkled face as she got up from the bench.Thinking she was hallucinating, Zena heard the women whisper: "Take the train to the shopping district. A man awaits you on the platform."
This was nonsense. Zena didn't know young men in that area. Unsure, she could not ask the women for details, who she did not know.
Bleh. Strip it down and start again. Here's a quick edit.
As she watched the woman on the bench, a taxi pulled up. The woman turned her wrinkled face toward the headlights, stood, and opened the taxi door. Before she climbed in, the woman looked at Zina and whispered, "Take the train to the shopping district. A young man is waiting for you on the platform."
Then the taxi drove off and Zina was stood in the dark wondering if she had been hallucinating. Zina didn't know any young men in that area and didn't know the woman. If there had been a woman.
Your symbolism, wherever it is, can't depend on excess adverbs. If you want to write prose poetry, cut cut cut.
posted by pracowity at 2:45 PM on June 2, 2006
Remember that people are animals. We respond to simple, basic things. We respond to our senses -- what we can hear, taste, smell, touch and see. Abstractions are fine and necessary, but they must be attached to concrete, sensory detail if we're going to be able to process them.
It's not enough to include lots of specific details. Your "yellow taxi" doesn't activate my senses. Is there a rough spot on the seat?
I'm not suggesting you include lots of gratuitous detail. The trick is to find away to include this detail so that it ties in with -- and furthers -- the point you're trying to make. Usually, this takes many rewrites.
We also respond to plot, by which I mean "What happens next?" This probably comes from the predator, prey experience. Where did that rabbit go? I'm trying to spear him? Shit! Where's the lion. Will he pounce on me?
We're social animals, so we respond to character. We yearn to learn about other people. But we want to know the simple things: what does she look like with her clothes off? does he have lots of money? does he find me attractive? is she scared? What's his guiltiest secret?
Again, it's fine to include abstractions, but see if you can tie them to the smell of a hot apple pie, the question of what's behind the door, or the guilt she feels for the lie she told her mother.
I agree with many here. Your modifiers -- adjectives and adverbs -- work against you. It's because they don't activate the senses. Usually, strong subjects and verbs are better at this. So lets start by taking them out:
As she watched the woman on the bench, Zina became aware that this lady was going to run off to jump into a yellow taxi that announced its arrival by brightly flashing its yellow exterior against the evening darkness.
I already like it better. "Keenly watched" needed to go, because it's a little hard to imagine. How does a keen watcher look different from a regular watcher. I know that there IS a difference, and if the whole thing wasn't overly adjective laden, I might allow it, but it's not an image that instantly activates my senses, so for now, it goes.
You've probably heard the old advice, "show don't tell." (Showing activates the senses; telling doesn't.) "garishly announced" is a perfect example. That's telling. It's like saying, "he's a very rich man." Don't tell me that, show me his yacht! In fact, you later do show me the garishness -- the bright yellow against the night sky -- so why tell at all? It's like you don't trust me to pick it up on my own, which feels insulting.
Same with "sultry sleepy evening darkness." Make me FEEL the sultriness, the sleepiness. What senses would you need to awaken to do so. It's not playing fair to tell me that the night is sultry or sleepy. Show me the evidence and let me judge for myself. Don't lead the witness!
Here's a quick rewrite, FAR from perfect. I only have a few minutes to do it. See how you can improve on it:
As she gazed at the woman on the bench, Zina realized that this lady was going to bolt into a yellow cab that scandalized the night like a splat mustard on a black evening dress.
You may or my not care for my histrionic metaphor, but I'm trying to engage the senses. Maybe you can do better. I didn't like the verb phrase "was going to run off to jump", so I replaced it with the stronger, and more evocative "bolted". I played similar games with some of the other verbs.
I might also play around with the order as follows, just because I think it's clearer:
As she gazed at the woman on the bench, a yellow cab appeared, scandalizing the night like a splat mustard on a black evening dress. Zina realized the lady was going to hail the cab and bolt.
You can continue to play games, as follows:
As she gazed at the woman on the bench, a yellow cab appeared, scandalizing the night like a splat mustard on a black evening dress. Was the lady was going to hail the cab and bolt?
Think of it as a game. Think of the words and phrases as tiles that you can plonk down on a table, re-arrange, replace, and endlessly shuffle with the end goal of turning the reader on.
You should put at least this much work into every sentence. If you don't find yourself lying awake at night, wondering about which verb is better, "kill" or "butcher", you're not doing your job.
posted by grumblebee at 2:45 PM on June 2, 2006
Awesome simile, grumblebee!
I agree with the general "Too many adverbs and adjectives" (but especially adverbs!) advice, but I'd also emphasize that verbs are really the bones of the story. So if you're going to use that many words, your verb better be strong enough to carry their weight.
"Became aware" is not anywhere close to strong enough to carry that many adjectives. It's not active, and it doesn't give the reader any sense of what's going on.
Strengthen the verbs.
posted by occhiblu at 2:49 PM on June 2, 2006
Great thread! It's very cool reading all the rewrites. A MeFi writers group????
(On non-preview, what grumblebee said!)
As she keenly watched tThe woman on the bench, Zina suddenly became aware that this lady was going to run off to jumped up. The headlights of into a yellow taxi that , garishly announced its arrival by brightly flashing its yellow painted exterior against the sultry sleepy evening darkness , . The headlights' gleaming stare illuminated washed the color from the lady's wrinkled face. as s She got up from the bench... Zena thought she might have been hallucinating when the lady briefly turned her face glanced in her Zena's direction and whispered urgently:, "Take the train to the shopping district, a young man awaits you on the platform."
This was of course nonsense, Zena didn't know any young men in that area. She wasn't even sure that she could ask the lady, whom she didn't know either, for clarification. Zena sat and watched the taxi drive away. She didn't know anybody in the shopping district. She didn't know the lady. She didn't understand.
Too many adjectives. But let me clarify that this is not because adjectives are bad, or because I dislike wordy writing. Overuse of adjectives becomes kind of a crutch, though -- it's verbiage rather than writing. Be vigilant for redundancy, including emotional redundancy.
posted by desuetude at 3:13 PM on June 2, 2006
I was given some advice like what you're asking for from a professional writer at a time when I really needed it, and it was very helpful.
E. G. O.
EGO, "eyes glaze over," just be sensitive to that point where an average readers eyes glaze over. That grammatically correct run on sentence? identify the EGO point. And simplify.
Imagine a smart friend of yours, that having just read your work, says "You had me, but then you lost me."
Identify that point, and again, not to over simplify, simplify.
posted by StickyCarpet at 3:15 PM on June 2, 2006
A lot of focus here on nuts and bolts; let me try to address the larger question with what little I've learned about storytelling:
My writing ("prose poetry" style) mostly features lots of "interior monologue" desciptions of what the characters physically feel, see, and smell, etc... etc... All of these details add up to significance for me personally.
How do I retain the symbolic descriptions in my stories, but do it in a way that engages the reader and makes sense to him?
Major point. All those details may be as significant as the whole world to you, but you had better make sure that they are significant to the reader. How do you do this? I can't really tell you – it depends on how universal the significance is. If it's something everyone can sympathize with, maybe a light touch is all that's needed. If it's coming from someplace personal and particular, maybe you need to lay some groundwork and sell why it's important. Or maybe you'll find you should abandon the details in question entirely if they just don't resonate.
Minor point. Interior monologues tend not to be so much about people just observing things. They tend to be about people processing things. What does the taxi mean to Zina? Is she right?
Hopefully this is of some use.
posted by furiousthought at 4:00 PM on June 2, 2006
Another thought: beware of words that seem to be concrete but are, in fact, abstract. Examples: yellow and bird. There really isn't such a thing as a bird in the real world. Bird is a platonic category -- an abstraction. In the real world, there are hawks and sparrows and canaries. Even these are abstractions in a way, but they get closer to something we can actually see, smell and touch than "bird."
A confused writer might think he's specifying by referring to a "yellow bird," but yellow is another abstraction.
In general, watch out for abstract modifiers. Colors, for instance. a red car doesn't tell me much -- it doesn't engage my senses. Same with a sweet drink (though sweet is somewhat less abstract), a loud noise, a smooth table and a stinky smell.
Those "mirror neurons" don't fire when I read "stinky smell." I get the idea, but nothing happens in my nose.
You can get away with such modifiers when they're used in surprising ways, such as with a blue apple. I am forced to play an interesting mental game with my concept of apple when I read that. I actually have to paint it blue in my mind.
So again, that rule against adjectives and adverbs is not because they are intrinsically bad. It's because there are so many weak, vague ones. There are great ones, too but it's so easy for forget about them, that it's easier to tell beginning writers to forgo them altogether.
Think about greasy hair, dung-tinted walls and rasping voices. Notice in these instances, the modifiers are tied to specific sense-words or real-world objects and the words they are modifying are more generic. If the subject itself is specific, say a saxophone, it probably doesn't need a modifier.
gregb1007, you mentioned that your writing, "express concrete meaning and themes." Maybe I'm taking your use of the word "concrete" too literally, but that implies themes that are clear and stateable -- like "love conquers all" or "truth can kill." I don't think all writings needs such overt themes, but since you say that, if I was your writing teacher, I would ask you -- when working with you on a specific piece -- to state your intended theme. If you couldn't say it clearly, we'd work on that. We'd refine it until you could.
I bring this up, because it will -- or should -- affect many of your other choices. Do you even need to mention the yellowness of the cab? Does that further elucidate your theme, or is it gratuitous detail? Maybe the reason why the readers don't get you is because they are lost in a sea of detail. Even if you take everyone's advice here and tighten things up, this still could happen. The ultimate question is: does each specific detail serve your ultimate aim? If it doesn't, trash it. As Hemmingway said, "You must kill all your darlings."
Maybe you meant that you write all these details and that, upon reading it back, YOU are able to divine a theme. That's fine, too. I think many fiction writers work that way. They don't set out with any specific theme or aim. They just get lost in the details. Then, in the editing process, they see a theme (or plot or larger aim of some kind) emerge from the details. But since this is a somewhat random (or unconscious) process, it must be nurtured if it is to survive and penetrate into the reader's consciousness. If the writer likes the emergent theme, he must then re-evaluate each detail and keep it or chuck it, depending on whether or not it helps or harms the theme.
posted by grumblebee at 4:17 PM on June 2, 2006 [4 favorites]
Ah, grumblebee, we know ye by ye wordcount.
grumblebee, unfortunately I don't have any specific goal when I start out to write. I just pursue random trains of thought. Freewriting essentially. Transforming that into a coherent story doesn't come easy. As you can guess, even if after some refining work, it still doesn't become as coherent as readers would want it to be. (Ironically as a reader of my own writing, the incoherency doesn't bother me so much - the details, feelings, interior monologue seem interesting to me.) The task of making my text interesting to others is a real challenge. Unfortunately, it would probably take more work than I already have put in. As you said, it's probably wise to come up with a more clear theme and throw out the descriptions/events that don't support it.
While much of what has been said here is spot on, but I wonder if some of it might not be missing the point a bit.
especially comments like this:
Not to second guess gregb1007's intentions, but these characteristics could be read as being completely intentional in that Zina's thought process could be repetitive, awkward, convoluted, tripping over itself. word choice in an interior monologue can be just as reflective of the person having the monologue as they are of the author.
posted by juv3nal at 4:30 PM on June 2, 2006
As you can guess, even if after some refining work, it still doesn't become as coherent as readers would want it to be.
Consider thinking about the best grammatical structures for you writing.
(innocently) greg: Are Zina and Zena related?
Snarky question, yes. But what I'm really asking is: How much rereading, rewriting, editing, polishing, put-it-away-and-come-back-to-it-latering are you really doing?
posted by rob511 at 5:07 PM on June 2, 2006
Well, I've certainly do some editing in that I've smoothed out a few contradictions and removed a few superfluous details and sections. Then there's the general spellchecking, grammar corrections, etc... etc.
However I haven't obsessively rewritten. That means that I didn't change much of the imagery and details and the way they fit into my sentences. Most of the text in the story is unchanged from what I had jotted down in my freewriting sessions.
I hear you, but none of it will be interesting to the reader if it's that hard to follow - I've seen it done but it's very difficult.
Language is fun because it is malleable - I'm not saying he should drop his style entirely, but a reader shouldn't feel like they are gasping or repeating themselves if they try and read it aloud (a great test of writing, as others have said).
I would consider changing your process. Rewriting is an unfortunate evil and an awful pain in the neck, but revisiting things first plopped on paper can yield a much better version. Few things are perfect when we first spew them out.
posted by agregoli at 5:19 PM on June 2, 2006 [1 favorite]
"Most of the text in the story is unchanged from what I had jotted down in my freewriting sessions."
It reads like it, and I'm sorry that I don't mean that in a complimentary way. Your writing sample is inaccessible to the reader because it's unreasonable for the reader to be expected to follow your "freewriting." The end result of jotting things down on a page is markedly different from writing to be read. Decide which of those is your goal, and apply your efforts appropriately. Either "freewrite" and damn your readers, or focus less on trying to preserve your initial output and more on writing for the reader. They're not utterly contradictory goals, but it takes an enormous talent to be able to achieve both.
posted by majick at 6:30 PM on June 2, 2006
Well, following some of the wonderful suggestions here, I went back to my story and decided it to focus it around one theme. The story now refers to most of the details and symbols in terms of that theme.
The result is that the reader can follow a clear narrative that makes sense.
I also cut out much of the interior monologue description of feelings and sensations. Some of it was redundant anyhow. That change has increased the ratio of action/plot: description/symbols. The narrative seems to progress a bit more rapidly, now that it is less lagged down by detail.
On the downside, it felt somewhat wasteful to cut out a lot of the descriptions and symbols. I like all of them and it's a shame to discard some of them from the story. Maybe I'll get another chance to use them later.
zina, transfixed,
watches the shriveled wench
rise from the rickety bench,
face-raisin'd beaming by headlight attached
to the yellow yellow yellow yellow
Yellow Cab [radio dispatched]
'take the next train to the mall'
she states
'at the next stop a gentleman awaits!'
do her bidding? zina ponders
ummm...it seems a bit shady
'i don't know no boys, and i don't know dat lady'
posted by troybob at 9:40 PM on June 2, 2006 [2 favorites]
troybob, love the rap rewrite.... sounds great!
posted by gregb1007 at 10:37 PM on June 2, 2006
On the downside, it felt somewhat wasteful to cut out a lot of the descriptions and symbols. I like all of them and it's a shame to discard some of them from the story.
Yup, that's the Hemingway "kill all your darlings" thing. It's hard at first, but -- maybe this is just with me -- it gets fun after a while. Once the story crystallizes in my mind, once I really know what it's ABOUT, I get a sort of wicked pleasure in trashing ANYTHING that doesn't belong. Strangely, the harder I worked on a gratuitous bit, the more beautiful or evocative the bit, the more I enjoy cutting it. It feels like a heroic act. It makes me feel strong.
And you're right, you CAN often use that stuff later. The bit itself is good, and, since it came from you, it probably connects to many other things inside you. The connection will occur again, at a more appropriate times. There are some bits I've cut four times out of four different pieces of wring. Then suddenly it slots right into the fifth piece. Other bits are still looking for their homes.
posted by grumblebee at 10:47 PM on June 2, 2006
If it hasn't already been mentioned, don't use the word "suddenly", it adds nothing. I have also noticed that people who do use it, tend to use it often. If you drop it, in all its instances from an entire text, it will often change nothing.
Not that I know what I am doing when it comes to writing, though.
posted by 517 at 11:18 PM on June 2, 2006
One of the editors was still clutching the threatening note.
He probably thought it was just another short story.
posted by weapons-grade pandemonium at 12:21 AM on June 3, 2006
What I tell you three times is true: Not rewriting is the highway to Sucksville. Not rewriting is the highway to Sucksville. Not rewriting is the highway to Sucksville.
You see, first write round, your attention is (necessarily) focused on your ideas. As long as you get them all onto paper in any form, you win the drafting game. But you do not win the someone-will-care-to-read-this game until you review and revise from a reader's perspective, rather than a thinker's. You need to see how the text builds up those ideas, assuming no foundation; how it channels attention onto one idea and away from another; how it's paced. You also need to catch the 'duh' moments, such as telling us that a yellow taxi has a yellow exterior. So don't think of your first draft as a text. Think of it as notes toward a text, and work hard to create that text once you have discovered the notes.
As guides to that creation, I second the above advice about specific verbs, specific nouns, and specific in-text motivations/connections for the symbol. I'll add two suggestions.
First, get and study Joseph Williams's book Style: Toward Clarity and Grace, which worked wonders for my reader-sense.
Second, take some striking poems that you like, and futz with them to ruin their effect. (Bonus points for especially small, damaging edits.) Aside from being rather diverting, this will sharpen your eye for detail and plant some standards of awkwardness as guardians in your gut. (Due credit to William Matthews's exercise Smash Palace, in The Practice of Poetry, ed. Robin Behn and Chase Twichell.)
posted by eritain at 1:04 AM on June 3, 2006
Erm, I think "kill your darlings" was Faulkner. And it is the best but hardest advice to take.
A lot of good comments here and I don't want to get repetitive but had to say one thing: while there has been a lot of hate for adjectives here, and I agree, they should be used as sparingly as possibly, the real hate should be reserved for adverbs. NEVER NEVER NEVER use adverbs, unless you absolutely must. Ruthlessly pruning them may hurt, but it always improves your text.
posted by CunningLinguist at 7:15 AM on June 3, 2006
And pay lots of attention to rhythm and how the sentences stack up against each other. Listen to how the grafs sound, both the music of the words and the beat the sentences create. A long and convoluted sentence can work better if it's followed by one that's short and punchy.
Adverbs work in very, very few situations - it's best for developing writers to avoid them. Adjectives should only be used when necessary ("wrinkled" for example is necessary here - it gives us an instant mental image of the woman), and when a more-specific noun won't do the work.
You also need to go over every sentence to see if there's a shorter (and therefore punchier) way to say what you need to say that still retains the style you want - for example, not only is "keenly" unnecessary, but "As she keenly watched the woman on the bench" is unnecessary, since you're about to describe what she sees. We know Zena sees it because the limited-to-her-viewpoint narrator is telling us about it.
Be careful what adjectives you take out. What works about "the sultry sleepy evening darkness" is the rhythm and specificity of the three-adjective image. That's good. But in "the headlights' gleaming stare illuminated" the "gleaming" is not a good adjective, because it adds no information, partly because readers know headlights gleam (although I think that's slightly the wrong nuance, since gleam is something I associate more with non-light-sources reflecting light, but anyway), but mostly because you immediately use the word "illuminate."
Trust your readers to fill in the between-the-lines stuff (like you did with "wrinkled") and you'll be fine.
posted by joannemerriam at 8:26 AM on June 3, 2006
CL, thanks for correcting my Hemingway with your Faulkner. I just googled "kill all your darlings," and found this page, which agrees with you. But it also claims the advice might have come from Mark Twain or F. Scott Fitzgerald.
And apparently, Samuel Johnson coined a more verbose version: "Read over your compositions, and wherever you meet with a passage which you think is particularly fine, strike it out."
posted by grumblebee at 9:04 AM on June 3, 2006
Adverb explosion!
There are a lot of times when adverbs lend a comic effect but I don't think you're going for that. Kill them. And just go ahead and take "suddenly" out of your vocabulary because it never works. Ne-ver.*
*okay now someone post a good use of it and make me look dumb.
posted by Optimus Chyme at 9:57 AM on June 3, 2006
I know I'm a broken record, but "suddenly" doesn't work because it doesn't connect to one of the senses. You can't really see suddenly. People do have a sense of time, but it's vaguer than the other senses.
Suddenly is also redundant. When two sentences collide, the effect is sudden by default.
He opened the box. A rat leapt out.
This adds nothing:
He opened the box. Suddenly, a rat leapt out.
posted by grumblebee at 10:37 AM on June 3, 2006
Which, when compared to "kill all your darlings," is a great lesson in writing in itself!
posted by CunningLinguist at 10:39 AM on June 3, 2006
"Suddenly" isn't *always* extraneous. Usually, but not always.
"While I nodded, nearly napping, suddenly there came a tapping..."
You need it there, no?
Metrically, yes, but it doesn't add to the story.
posted by pracowity at 11:52 AM on June 3, 2006
While I nodded, nearly napping, something started gently tapping...
While I nodded, nearly napping, something started tap tap tapping...
While I nodded, nearly napping, I awoke to someone tapping...
While I nodded, nearly napping... What's that sound? Is someone tapping?
Suddenly is supposed to convey a sense of surprise. It's a little warning to the reader to pay attention because something interesting and unexpected is about to happen. Maybe, it's simply a sign that the story is going to shift to a new direction or subplot.
Hopefully, after those "suddenly" markers have been edited out, the prose itself will still indicate those surprises and shifts on its own.
Suddenly is supposed to convey a sense of surprise. It's a little warning to the reader to pay attention because something interesting and unexpected is about to happen.
Would you feel more surprised if something interesting and unexpected happened or if that same thing happened but someone warned you beforehand?
posted by juv3nal at 12:37 PM on June 3, 2006
It's a little warning to the reader to pay attention
I recognize the impulse, but you need to stifle it. Trust your skill as a writer and -- more important -- trust the reader's intelligence. Don't give him little warnings or indications of what you're trying to do. Just do what you're trying to do.
And don't ever "convey a sense of surprise." The events of your story will either BE surprising or not. No cutting corners.
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Old books on how to write stories? July 27, 2012
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text:
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3 Apr 2021 $673.21 $754.11 $1,427.32 $297,985.46
4 May 2021 $674.91 $752.41 $1,427.32 $297,310.55
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7 Aug 2021 $680.03 $747.29 $1,427.32 $295,275.59
8 Sep 2021 $681.75 $745.57 $1,427.32 $294,593.84
9 Oct 2021 $683.47 $743.85 $1,427.32 $293,910.37
10 Nov 2021 $685.20 $742.12 $1,427.32 $293,225.17
11 Dec 2021 $686.93 $740.39 $1,427.32 $292,538.24
2021 Total $7,461.76 $8,238.76 $15,700.52
12 Jan 2022 $688.66 $738.66 $1,427.32 $291,849.58
13 Feb 2022 $690.40 $736.92 $1,427.32 $291,159.18
14 Mar 2022 $692.14 $735.18 $1,427.32 $290,467.04
15 Apr 2022 $693.89 $733.43 $1,427.32 $289,773.15
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17 Jun 2022 $697.40 $729.92 $1,427.32 $288,380.11
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19 Aug 2022 $700.93 $726.39 $1,427.32 $286,980.02
20 Sep 2022 $702.70 $724.62 $1,427.32 $286,277.32
21 Oct 2022 $704.47 $722.85 $1,427.32 $285,572.85
2023 Total $8,637.14 $8,490.7 $17,127.84
2024 Total $8,902.5 $8,225.34 $17,127.84
100 May 2029 $859.77 $567.55 $1,427.32 $223,911.08
101 Jun 2029 $861.94 $565.38 $1,427.32 $223,049.14
102 Jul 2029 $864.12 $563.20 $1,427.32 $222,185.02
103 Aug 2029 $866.30 $561.02 $1,427.32 $221,318.72
104 Sep 2029 $868.49 $558.83 $1,427.32 $220,450.23
105 Oct 2029 $870.68 $556.64 $1,427.32 $219,579.55
106 Nov 2029 $872.88 $554.44 $1,427.32 $218,706.67
107 Dec 2029 $875.09 $552.23 $1,427.32 $217,831.58
108 Jan 2030 $877.30 $550.02 $1,427.32 $216,954.28
109 Feb 2030 $879.51 $547.81 $1,427.32 $216,074.77
110 Mar 2030 $881.73 $545.59 $1,427.32 $215,193.04
111 Apr 2030 $883.96 $543.36 $1,427.32 $214,309.08
2039 Total $14,016.84 $3,111 $17,127.84
273 Oct 2043 $1,330.01 $97.31 $1,427.32 $37,207.68
274 Nov 2043 $1,333.37 $93.95 $1,427.32 $35,874.31
275 Dec 2043 $1,336.74 $90.58 $1,427.32 $34,537.57
276 Jan 2044 $1,340.11 $87.21 $1,427.32 $33,197.46
277 Feb 2044 $1,343.50 $83.82 $1,427.32 $31,853.96
278 Mar 2044 $1,346.89 $80.43 $1,427.32 $30,507.07
279 Apr 2044 $1,350.29 $77.03 $1,427.32 $29,156.78
280 May 2044 $1,353.70 $73.62 $1,427.32 $27,803.08
281 Jun 2044 $1,357.12 $70.20 $1,427.32 $26,445.96
284 Sep 2044 $1,367.42 $59.90 $1,427.32 $22,354.02
2044 Total $16,306.58 $821.26 $17,127.84
293 Jun 2045 $1,398.81 $28.51 $1,427.32 $9,890.78
294 Jul 2045 $1,402.35 $24.97 $1,427.32 $8,488.43
295 Aug 2045 $1,405.89 $21.43 $1,427.32 $7,082.54
299 Dec 2045 $1,420.14 $7.18 $1,427.32 $1,423.40
300 Jan 2046 $1,423.40 $3.59 $1,426.99 $0.00
2045 Total $1,423.4 $3.59 $1,426.99
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text:
Waiting For Dredging, Great Lakes Ports Close As Water Drops
By Mike Simonson
Tuesday, January 15, 2013, 5:30pm
ListenDownload
Shipping companies are making a case to Congress for more money to dredge Great Lakes ports and waterways. With water levels near a record low, ports are losing the battle against sediment.
Picture a football field with dirt piled a mile and a half high. That's how much the backlog of dredging is in the Great Lakes. Lake Carriers Association Vice-President Glen Neckvasil says the Army Corps of Engineers has had enough money to keep pace with sediment in only six of the last 25 years. He says this means lakers are sailing with light loads: "... extremely so. Right now, looking at the end of December there, ships - that if the water levels were high, it could carry 72,000 tons of cargo - were carrying less than 61,000 tons."
Neckvasil says the problem is all over. "It's a system-wide problem. It depends on what trade route you're in. Sometimes the St. Mary's River is what sets your draft, other times it might be the discharge port."
In 2011, three Great Lakes commercial ports closed because their harbors were too shallow. Army Corp of Engineers spokeswoman Marie Strum says two of those ports, Waukegan, Illinois and St. Joseph, Michigan, are still closed, "The situation now is even more critical because of the low water levels on the Great Lakes... really, throughout the system. Our harbors are suffering from the drop in low water levels and are really feeling it in navigation."
Strum says they have to prioritize which harbors are dredged and which are left to fill in. "What happens in a harbor if we don't dredge? Will it close? Will there be groundings? Will people lose their jobs? Will a company go out of business or shutdown and lay-off people? So these are all factors that we take into account."
Neckvasil says the Army Corps needs $90 million a year just to keep pace with dredging, but has been getting about a third of that.
Tribal Conservation And The Great Lakes
Stresses And Breakthroughs: A Great Lakes Resource Update
2 Great Lakes Seeing Highest Water Levels Ever
Judge Approves Foxconn Water Diversion
Highlighting Research From The Shores Of Lake Superior


Bishop's Stortford is an historic market town in the East of Hertfordshire, near to the boundary with Essex. It has a population of approximately 38,000 people. Thinktrees Ltd (formerly P.F.Melarange Arboricultural Consultancy Ltd) was commissioned to inspect all of the trees owned and managed by the Town Council for the purpose of tree risk management.
A full inventory was made, which included 1099 individual trees recorded across 22 sites, comprising predominantly areas of public open space, cemeteries, allotments and recreational areas. Several areas of woodland were also surveyed.
The tree data, which included details regarding their condition and management requirements, was recorded and stored using specialist tree management software 'MyTrees', a Geographical Information System (GIS). On completion of each survey, tree work schedules and tree location plans were produced to assist in the contract management phase of the project. The bespoke schedules and plans were designed to meet the specific requirements of the client. The layout and information included within them is intended to facilitate contractors in the process of tendering for and completing any necessary works.
As with all tree risk management, the project is ongoing. Each tree has a re-inspection interval which is dependant upon it's size, condition and target i.e. what would be harmed or damaged if it were to fail.
Thirty-seven ash trees (excluding those within woodlands) were recorded on land managed by the Town Council. The potential is great for these trees to be affected by ash die-back disease (Hymensocyphus fraxinea). Consequently, annual monitoring is scheduled to inform future management decisions.


As an added bonus to the new leave policies, leave history is now viewable. Now your team can see exactly how much leave they accrued, used, and on what date. Simply click the leave balance number to see the leave history for that type.


Founded in 2008, the six-piece band, Les Gromechkos, often tell tales surrounding their life, observations and experiences in Hong Kong through a musical blend of ska, rock, self-proclaimed gypsy punk and French musette. Their performances are often lively and theatrical, and can light up an entire room or be enjoyed with a beer – along with the guys in old-school suspenders and fedora hats/newsboy caps. Their new album '香港故事' or 'Hong Kong Tales' takes listeners around the vibrant and historic city of Hong Kong and honor it's sites with creatively chosen instruments – accordion, flute, keyboard, bass & drum. These choices help shed some new light on our city in a different way, both making fun and bringing excitement out of absurd everyday situations. It's difficult not to talk about every single track solely on the fact that I want to convey the band within so many different dimensions (all their songs are actually very very different!) However I've decided on five which I think listeners would like.
Le Cracheur de Flute de Sham Shui Po (Track 2) has an infectious rhythm – infusing rap and beatbox into their work along with the flute, and the tinkle on the piano. Yet, that isn't enough frenzy on the track – the boys sung in three different languages – English, Cantonese *and* French.
Makumbreizh (Track 3) is a tropical feel good track that speaks a lot about the heart of love. The marimba adds to the song, while still playing notes slightly out of tune and so do the adding and taking away of instruments and voices – the crash cymbal, the layering of voices and the riffs on guitar and bass.
Wanchai Cowboy (Track 5) is a saloon style song with a particular Western feel to it (except when it turns slightly Latin too!) – quite simply a good song to get you on your feet. What's strange yet intriguing about Wanchai Cowboy is how the guitar and the piano almost have a little song going on on their own – they sound fragmented and disconnected from each other.
La Gromechkienne (Track 7) start off as a classical melody and lead into a latin sort of atmosphere once again, but alas, the wah wah effect on the guitar and the accordion continuously manage to change the style and genre throughout the piece.
Tai O Fish Market (Track 11) the steady baritone register and sea shanty rhythm that is featured in track 11 is a great reflection on the relaxed and island-living association with Tai O.
Hong Kong needs a good representation, especially in a more modern and exciting way, rather than a traditional red lantern and smoky temple stereotype. Les Gromechkos have managed to achieve this in the best way possible – through another language and another culture, they portray Hong Kong as a feel good place where each step in each district is another journey of its own.


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Latest Ransomware Demand Successful: University of Calgary Pays $20K to Decrypt Sensitive Files
When a business is targeted for a ransomware attack, paying the ransom can often seem like the most reasonable response to getting data decrypted and begin the process of restoration.
The problem is, it isn't always that simple. After all—cyber criminals are a criminal element, and just because they say they will follow through with their promises doesn't mean they always will. Take the recent Kansas Heart Hospital ransomware attack, for example. In the KHH case, the attackers extorted a second ransom after receiving the first payment for their original demands; while hospital officials declined to pay the second ransom, the fact that the hackers demanded it in the first place is testament to the fact that in the world of cybercrime—and especially ransomware—the criminals definitely have the upper hand.
U of C Agrees to Pay $20,000 CDN to Ransomware Attackers
In the case of the most recent institutional attack on the University of Calgary, the university chose to pay $20,000 CDN in return for the promise of decryption keys that allegedly held the access to the ransomed files and data. As of the first week of June 14, 2016, it was not yet confirmed whether all keys were valid and if they had actually been used, but the university stated that it had restored email to faculty and staff and that its IT department was working on restoring the remaining files. It was also confirmed that at least some of the decryption keys were valid.
Ransomware Attacks Up 20% In Canada In the Last Three Months Alone
The attack on the University of Calgary is one of the country's biggest disclosed ransomware attacks, leaving at least 100 systems affected by encryption. According to industry statistics, Canada has seen an increase in ransomware by about 20% in just the last three months.
Paying the Ransom Is Just the Beginning…
For the U of C, paying the ransom and obtaining the decryption keys was a strategic decision based on sound profit and loss analysis and disaster response. As of June 14, 2016, more than two weeks since the attack, the university had not yet restored all files.
The decryption process takes longer than most organizations expect, as it is a time-consuming process that demands the utmost care to avoid compounding the damage. It is important to note that decryption methods do not magically restore all systems or guarantee the recovery of any data—when restoring a system post-ransomware attack, an IT department must make sure that all affected systems are fully operational and free of any remaining threats. The process is not straightforward, and it takes quite a bit of time to restore files and systems to pre-attack functionality.
Cloud-Based Services Can Help With Business Continuity in the Wake of a Data Disaster
The university did confirm that faculty and staff were able to take advantage of the cloud-based Microsoft Office 365 platform, which the university had begun to migrate to before the attack took place. In addition to providing reliable connectivity and remote access, cloud-based systems are often a part of any comprehensive business continuity plan in a post-disaster environment.
If you're looking for business continuity and data disaster response services that will allow your business to function and stay connected shortly after a disaster takes place, email migration to a cloud-based system can be a good place to start. Cloud-based services allow users to access email and other important files from remote locations that may be the only safe access points after a cyber attack has occurred.
Haxxess Enterprise Corporation is your local IT industry and security expert and always at the forefront of the latest IT innovation and IT security news. If you think you may have been targeted by ransomware or if you need help protecting your business information from the latest cyber security threats and attacks, reach out to us. Contact us at (705) 222. -TECH or send us an email at [email protected] for more information.


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Javed Iqbal Movie-Everything That We Know So Far
By Talal Farooqi
Background and theme of Javed Iqbal
Yasir Hussain First Look in the Movie
Ayesha Omer First Look in the Movie
Pakistan is working on a movie named Javed Iqbal who is a serial killer and a rapist. The film star will be Yasir Hussain with the role of a serial killer and Ayesha Omer is doing the role of a police officer who is investigating Iqbal. The title of the story is "Untold Story of a Serial Killer Javed Iqbal". Abu Aleeha directed and wrote the movie. Javed Ahmed from KKF Films has produced this movie.
Javed Iqbal is a serial killer who is famous because of the sexual abuse and murders. He murdered 100 young boys, ranging from 6 to 16 years in age. He did not only killed but also cut them into pieces and dissolved them into acid to get rid of the evidence. After some time, the court proved him guilty. The authorities sentenced him to death in the same manner as he killed the innocent young boys. Before carrying out any sentences, Iqbal died by suicide. Now we are looking forward to the picturization of the incident. The releasing date of the Javed Iqbal Movie is not confirmed. The theme of the movie seems intense.
In the Javed Iqbal movie, Yasir Hussain has the role of the lead character, Javed Iqbal. Yasir Hussain, recently, shared a poster of Javed Iqbal Movie on Instagram. In the poster, it shows that Yasir Hussain is wearing a monochrome sweater and dressed like a killer when he was publically arrested. The poster shows him as a criminal and Yasir Hussain's appearance has a great deal of familiarity with the actual criminal.
After actor Yasir Hussain posted his first look on Instagram, Ayesha omer also takes apart and reveals her look like a police officer who is investigating Javed Iqbal in Javed Iqbal Movie. A picture of Ayesha Omar is circulating on the internet where she is in a Police officer uniform with a stern and serious look. Her looks are exciting to the viewers about what is to come.
Talal Farooqi
I'm a mass media graduate with a great deal of interest in blogging and copywriting. I'm told that I'm good with words. So, feel free to check out my work and I hope you have a good time reading my pieces of writing.
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Mike Bloomberg Targets Coal Industry With $30 Million Donation To Sierra Club
Mikey Bloomburg getting off of his private jet. which, as we all know, emits no CO2.
This is from Deneen Borelli.
The United Mine Workers Union and its employees
endorsed and voted for Obama.
Now they are getting screwed by Obama as thanks for their blind support.
The progressive mob is driving the coal industry into bankruptcy.
President Obama is leading the charge by having the Environmental Protection Agency issue regulation after regulation targeting coal-fired power plants.
Now billionaire and former New York City Mayor Michael Bloomberg is adding his significant financial weight in an effort to kill the coal industry. Bloomberg recently announced Bloomberg Philanthropies is donating $30 million to the Sierra Club's anti-coal campaign.
Bloomberg's latest donation adds to the $50 million he gave to the Sierra Club in 2011.
According to the Sierra Club, its Beyond Coal grassroots campaign is responsible for closing 187 coal-fired power plants in the U.S. and with its new funds, its goal is to shut down half of the remaining units by…
Big brother, Climate change, Health, Oil & Energy, Statism, US News2015, anti, Bloomberg, bloomburg, carbon, coal, coal-mine, coal-mining, collectivist, democrats, Dems, donation, electricity, elite, elitist, energy, fascist, hypocrite, jets, Michael Bloomberg, millions, power, private, sierra club, socialist
FBI: Sheldon Silver – NY Assembly Speaker – Arrested
Excerpted from AP — New York Assembly Speaker Sheldon Silver – a Manhattan Democrat – was arrested Thursday on public corruption charges, accused of using his position to obtain millions of dollars in bribes and kickbacks masked as legitimate income.
" An Orthodox Jew of eastern European descent, Silver has lived all his life on Manhattan's Lower East Side. He lives with his wife Rosa a few blocks from their children and her parents. He graduated from the Rabbi Jacob Joseph High School on Manhattan's Henry Street. He was athletic and captain of the basketball team. He spent his undergraduate years at Yeshiva University and obtained a law degree from Brooklyn Law School. .." Wikipedia
The 70-year-old Silver was taken into custody around 8 a.m. at the FBI's New York City office, FBI spokesman Peter Donald confirmed. Silver faces five counts, including conspiracy and bribery charges. He was expected to make a court appearance later Thursday… According to a criminal complaint, Silver "received more than $6 million in outside income from two law firms since late 2002." Authorities said Silver abused power.
"Silver used the power and influence of his official position to obtain for himself millions of dollars in bribes and kickbacks masked as legitimate income earned by Silver as private lawyer," the complaint said…
The Democrat from Manhattan's Lower East Side has served as speaker for more than two decades. The arrest sent shock waves through Albany as a new legislative session has begun and it came just a day after Silver shared the stage with Gov. Andrew Cuomo during his State of the State address.
U.S. Attorney Preet Bharara took over the files of New York's Moreland anti-corruption commission after Cuomo closed it in April. He said in October that investigations into Albany's pay-to-play politics are continuing. The commission and Bharara were looking into lawmakers' earnings outside their state salaries. Silver's outside income has long been a subject of discussion and controversy. Last year, he reported making up to $750,000 for legal work, mostly with the trial firm of Weitz & Luxenberg.
When the commission began to investigate public corruption in 2013, including outside income earned by Silver and other state legislators, "Silver took legal action and other steps to prevent the disclosure of such information," the complaint said. Following news of his arrest, NYGOP spokesman David Laska released a statement saying it was "another sad day for New York" and called on Silver to "immediately resign from the State Assembly."
US News(D), assembly, Dem, democrat, Dems, Manhattan, Moreland, new york, NY, NYS, sheldon silver, Speaker, state, Weitz & Luxenberg


Stratasys (NASDAQ: SSYS) is a global leader in applied additive technology solutions for industries including Aerospace, Automotive, Healthcare, Consumer Products and Education. For nearly 30 years, a deep and ongoing focus on customers' business requirements has fueled purposeful innovations—1,200 granted and pending additive technology patents to date—that create new value across product life cycle processes, from design prototypes to manufacturing tools and final production parts. The Stratasys 3D printing ecosystem of solutions and expertise—advanced materials; software with voxel level control; precise, repeatable and reliable FDM and PolyJet 3D printers; application-based expert services; on-demand parts and industry defining partnerships—works to ensure seamless integration into each customer's evolving workflow. Fulfilling the real-world potential of additive, Stratasys delivers breakthrough industry-specific applications that accelerate business processes, optimize value chains and drive business performance improvements for thousands of future-ready leaders around the world.
Stratasys Rehovot headquarters is located in the Rehovot Science Park and is equipped with all necessary equipment and infrastructure relevant to color additive manufacturing. This includes: chemistry, application and customer support labs as well as color measurement devices and calibrated monitors, and most importantly with state of the art color 3D- printers and resins, some of which are currently being developed and tested prior to market release.
Nur Arad, Ph.d, Expertise: Inkjet colour printing, polyjet c olour printing.
Yoav Bressler, M.Sc, Expertise: Printing and colour management.


In March, two months before the national constitutional convention at Uluru, the Nobel Prize–winning Saint Lucian writer Derek Walcott passed away. The singular poet's work defined my adolescent search for identity as I clumsily navigated the privileges and anguish of walking between "two worlds". Walcott's epic poem 'Omeros' provided me with a luminous and challenging account of this antecedent struggle. His poetry made me feel not so alone in that dawning realisation of the dilemmas facing cultures like mine. In those exhausting weeks leading to Uluru, Walcott's prose about the colonial experience was often in my mind, and the themes of 'Omeros' – displacement, coexistence and redemption – resonate in the Uluru Statement from the Heart.
The Uluru Statement, delivered at the heart of the nation, at the base of the Rock, at Mutitjulu, the home of the children of Uluru, was the culmination of a Referendum Council–led process of deliberative dialogues across Aboriginal and Torres Strait Islander communities over six months. It was a dramatic departure from the conventional wisdom on "recognition". Indigenous people called instead for "voice, treaty, truth": a single alteration to the text of the Constitution enshrining a voice, and extra-constitutional reforms in legislation enabling a Makarrata and, consequently, truth-telling. The winds of discontent in the Indigenous community about the recognition project had been swirling for half a decade, as had the irony of displacement in a national campaign to be "recognised". Uluru brought clarity and coherence to a discursive process that has rambled on for ten years. Even so, I found it jarring to hear the outcome described as "unexpected". The reform proposals are not new, just newly urgent. The Uluru Statement sits in a continuum of Aboriginal advocacy for structural reform: the Yirrkala Bark Petitions of 1963, the Barunga Statement of 1988, the Eva Valley Statement of 1993, the Kalkaringi Statement of 1998, the report on the Social Justice Package by ATSIC in 1995 and the Kirribilli Statement of 2015.
The Uluru convention disrupted the recognition project: it was decisive and left no doubt about what people wanted. It talked directly to the people, avoiding the very Australian ritual of prime ministerial ceremonies where statements that Aboriginal people have toiled over, with hope and purpose, have been reduced to the unedifying status of Parliament House relic. The haughty condescension of the political elite about "overreach" was to be expected, given that it is they and their predecessors who have presided over this state of affairs. It's unsurprising that their preferred form of recognition was a mere acknowledgement, a statement of fact in the Constitution, a proposal that had already been rejected by the Australian people, including the majority of Aboriginal and Torres Strait Islander peoples at the time, at referendum 18 years ago. This is the tin ear of the Australian state: How can it be otherwise?
The one thing my people have never given up on, despite forensically documenting in our collective memory the capacity of law to oppress, is the capacity of law to redeem. These reforms have been a long time in the making. The dialogues built upon the constitutional apprenticeship of a 2011 expert panel and a 2015 parliamentary committee that focused primarily on non-discrimination. But six years is a long time in Aboriginal years: four prime ministers, four constitutional recognition processes and a rapidly depleting Aboriginal domain. 2017 is another country. Time does not stand still. Aboriginal communities are not the same as they were in 2011.
The word "recognition" and its minimalist form were overwhelmingly rejected by the dialogues. Nor did the dialogues find persuasive the idea that inserting the word "benefit" into one of the Constitution's heads of power could incontrovertibly bind the federal parliament to pass only beneficial laws. The Australian polity does not want to surrender parliamentary sovereignty. Aboriginal peoples don't want to cede sovereignty. The dialogues negotiated a way through these two points. In the absence of an ironclad guarantee that any reform of the race power or the multiple variations of replacement power could ban the federal parliament from passing discriminatory laws or another Northern Territory intervention, the dialogues threw up a novel idea that not a single constitutional lawyer had contemplated: that a "voice" to the parliament could monitor the use of the race power and the territories power. And, more practically, the voice could have multiple functions, the most important being direct input into decisions that are made about law and policy that affect Aboriginal and Torres Strait Islander peoples.
The need for this structural reform was voiced at the regional dialogues, which also provided a contemporaneous confirmation that public servants are in the driver's seat on Indigenous affairs. As in the protection era, we are rendered childlike figures, sidelined players in our own lives, in a era of new protectionism where our disadvantage sustains a billion-dollar industry of which very little hits the ground or changes the direction of the indicators known as Closing the Gap. The Commonwealth's Indigenous Advancement Strategy gutted an already vulnerable sector. We are going backwards.
The passage of time, the passing of old people and the pressure of forced assimilation preyed on the minds of many at the dialogues and at Uluru. We frequently heard that this was the "last throw of the dice". The urgency of the situation is why the Uluru Statement was issued directly to the Australian people. Our fellow Australians share our people's cynicism about the capacity of our liberal democratic state to effect reform. If our democratically elected representatives won't listen to us, then maybe the people who elected them will.
The surprising, or perhaps unsurprising, quiet contemplation in the regional dialogues was about "truth".
Our Aboriginal and Torres Strait Islander tribes were the first sovereign Nations of the Australian continent and its adjacent islands, and possessed it under our own laws and customs. This our ancestors did, according to the reckoning of our culture, from the Creation, according to the common law from "time immemorial", and according to science more than 60,000 years ago.
Region after region, this word "truth" came to the fore. The dialogues spoke of the wound caused by the silencing of the Aboriginal experience after the arrival. In North Queensland they spoke about how their ancestors saw Cook, telling one another with smoke, yet the history books still say he "discovered" us. Frontier wars, massacres and forced racial segregation on reserves and missions are not commonly known by fellow Australians. Some spoke of statues being erected to honour early Australian explorers, one in north Australia holding a gun to commemorate the opening up of the frontier for the telegraph line, while the descendants of the massacred families suffer only sadness and hurt at having to see it. They spoke of the sensitivity of these "one way" commemorations of Australian history.
Anangu elders did not lightly give us permission to use the name "Uluru" in the Statement from the Heart. Yolngu elders did not lightly give us permission to use the word "Makarrata".
As my Referendum Council colleague Galarrwuy Yunupingu wrote last year in his powerful Monthly essay 'Rom Watangu', Makarrata is a peacemaking event, it is a process to bring about reconciliation, it is a quest for peace and harmony. Our people are getting old. Too many bark petitions, too many statements. This is bad faith. The reconciliation process has stalled because it failed to do what reconciliation should do: talk about the truth. As Galarrwuy explained, Makarrata is about the aggrieved party calling out another party for an alleged wrong. On 26 May 2017, a day before the 50th anniversary of the 1967 referendum, an aggrieved party assembled at Uluru and called upon the Australian people to meet with them. The Uluru Statement provides a framework for these grievances to be resolved peacefully, but they must be worked through. Then we can have peace. The exigency of Uluru was for Aboriginal people to have a voice in the land of its ancient jurisdictions.
Megan Davis is a Cobble Cobble woman from Queensland, a pro vice chancellor and professor of law at UNSW, and a member of the Referendum Council.
Don WatsonCould Donald Trump finally force Australia to critically examine its feudal obligations to the US?


FARE Action Week 2001, Semaine d'action, Settimana d'azione, Aktionwoche 30.03. – 8.04.2001.W: Football Against Racism in Europe – FARE. Vienna [Austria], Vienna Institute for Development and Cooperation, 2001.
FARE Action Week 2001, Semaine d'action, Settimana d'azione, Aktionwoche, , Semaña de acción 12. 04. – 21.04.2002. W: Football Against Racism in Europe – FARE. Vienna [Austria], Vienna Institute for Development and Cooperation, 2002.
FARE Contacts. W: FARE. Footbal Against Racism in Europe. Vienna [Austria], 2009.
FARE meets Blatter. W: Tatort Stadion. Die Ausstellung. [Niemcy], 3.06 – 22.06.2002.
FARE's European Partners. W: Turn 'Round. Fight Racism. Football Against Racism in Europe, 2004.
Is Europe on the "right path"? Right-wing extremism in Europe. "FES against ring-wing extremism", nr 2, 2010.
FIFA Conference Against Racism. Buenos Aires 6 July 2001. Zurich [Szwajcaria], Fédération Internationale de Football Association, 2001.
L. Földi: Mapping study on campaigns against hate speech online. W: G. Titley, E. Keen, L. Földi: Starting Points for Combating Hate Speech Online. Three studies about online hate speech and ways to address it. Strasburg [Francja], Council of Europe,Youth Department, 2014.
Football Against Racism... W: Ballbesitz ist Diebstahl! Das Bündis Aktiver Fußballfans. Niemcy, FARE-Aktionswoche gegen Rassismus und Diskriminierong im Fußball, 2003.
Football Against Racism in Europe. W: Information Folder. Season 2007/2008. Vienna [Austria], 2007.
Football Against Racism in Europe [FARE]. W: Show Racism the Red Card. Austria, Annual Review, 2002.
Football Against Racism in Europe. W: Tatort Stadion. Niemcy, 19.02 – 15.03.2003.
Football Against Racism in Europe. W: Tatort Stadion. Niemcy, 28.04 – 23.05.2003.
Football Against Racism in Europe. W: United Against Racism. Conference Against Racism in European Football. Agenda. Suported and Promoted by UEFA, FARE, The FA, 5.03.2002.
16. Football for Equality. Challenging racism and homophobia across Europe. Vienna Networking Conference. Conference report. Wiedeń [Austria], FairPlay am Wiener Institut für Internationalen Dialog und Zusammenarbeit, 2011.
Football Heads East. London [Wielka Brytania], Football Against Racism in Europe, 2012.
Fotbalul contra Rasismului [na zdjęciu osoba w koszulce Stowarzyszenia "NIGDY WIĘCEJ"]. W: Victor Daghi: Anul Fotbalistic 2009. Chișinǎu, Wyd. Revistǎ editatǎ de Federația Moldoveneascǎ de Fotbal, 2009.
Fotoreportaż [zdjęcia z warsztatów graffiti współorganizowanych przez Stowarzyszenie "NIGDY WIECEJ"], "Oś", nr 21, 01.2010.
Free Your Mind Award 2002. W: Football Against Racism in Europe. The FARE Network, 03.2003.


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Home/ENTERTAINMENT/5 Female Characters of Hindi Cinema which were Strong AF!
Aastha Upadhyay Send an email June 15, 2020
It's no more the, 'All Men World' anymore
Cinemas have always played a major role in inspiring our lives. Nothing inspires or touches us more than the characters we see on the silver screen. In a male dominant society, rarely a strong women-centric role gets written in the Indian cinema. Luckily , slowly and gradually the trend is changing. Many successful and strong characters have been written which are strong AF! And truly inspire us.
Here is the list of 5 strong female characters of Indian cinema from the past
1. Gita of Swadesh
When most of the youth in the villages seem to be migrating to urban cities for better jobs and opportunities. The simple character of Gita (played by Gayatri Joshi) from Swadesh sets an example of an empowered woman who can make her own decisions. Gita, the highly educated village girl gave up lucrative offers in the city and chose to stay in the village to teach kids and reform the village.
2. Michelle in Black
Rani Mukherjee's character Michelle as a visually and hearing impaired protagonist in the movie Black is one of the most powerful portrayals of a physically handicapped person in Indian cinema. The relationship of Michelle with her aging teacher (Amitabh Bachchan) and how she helps him to rediscover life is very liberating and it shows the true strength of a woman.
Read more: 5 reasons why Netflix's The Last Dance docu-series is a must watch
3. Rosie of Guide
The character of Rosie played by Waheeda Rahman in the 1965 classic showed women in a different light. At a time when women were expected to be dutiful and follow their husbands, Rosie left her cheating and unsupportive husband and decided to choose her passion for dancing. Rosie was one of the rare characters who stood for what she believed in and made her own choices.
4. Preeti Sabharwal from Chak De India
All the girls in the movie Chak De India did justice to their character. Just one girl stood out and gave answers to the male dominant society. Preeti Sabharwal (Sagarika Ghatke) who portrayed the character of an independent, self-respecting, and dignified hockey player who refused to give up her career for her celebrity boyfriend. She taught all the ladies to stand up for themselves. She was also an inspiration to all the ladies who sacrifice their dreams because of their partner's different priorities.
5. Radha of Mother India
A mother character has always been depicted as sacrificing, loving and all-forgiving. Because that is what moms are supposed to be. But Radha (Nargis) in Mother India played a very challenging, different and strong character who killed her own son when he became an outlaw. She was a perfect example showcasing a woman's strength, will power and sense of righteousness.
Have a news story, an interesting write-up or simply a suggestion? Write to us at info@oneworldnews.com
Female characters from Indian cinema Indian cinema Strong female characters in Indian cinema
Aastha Upadhyay
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Great Content, Super high-quality and keep it up 🙂
Aastha Upadhyay says:


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Norway, 6 countries back Mindanao peace process
by Nadarajah Sethurupan | @ | May 16, 2016 7:35 am
Norway has joined 6 other countries in supporting the peace process in the southern Philippines despite a deadly clash that killed 44 members of an elite police force, at least 17 Muslim rebels, and 7 civilians. "It is now more important than ever to put every effort into the peace process," Norwegian Foreign Minister Børge Brende told the Philippines, according to a statement by the Philippine Department of Foreign Affairs on Wednesday, February 11.Brende added: "Armed conflict is a serious threat to development and has negative consequences far beyond the actual battlefield. A lasting settlement in Mindanao would benefit the entire population of the Philippines."
Norway belongs to the International Monitoring Team (IMT) for the peace talks between the Philippine government and the Moro Islamic Liberation Front (MILF). It also serves as vice chair of the Independent Decommissioning Body in charge of decommissioning the MILF's firearms.
The peace process between the Philippine government and the MILF aims to end a 4-decade-old Muslim secessionist movement in the southern Philippine island group of Mindanao.
The bloodbath in Mamasapano, Maguindanao, however, cast doubts on the peace process.
'Unyielding commitment' praised
Because of investigations into the clash, for instance, the Philippines' House of Representatives will no longer meet the March 2015 deadline to pass the proposed Bangsamoro Basic Law (BBL), a landmark in the negotiations.
Chief government negotiator Miriam Coronel-Ferrer had estimated that the peace process would be delayed by at least a month, following the Mamasapano clash
The BBL aims to create an autonomous Muslim region more powerful than the one in place.
Despite these hitches, Brende praised both parties for "their unyielding commitment to the peace process."
Philippine Foreign Secretary Albert del Rosario is expected to discuss the situation in Mindanao, as well as the welfare of 25,000 Filipino seamen, during his official visit to Norway from Wednesday to Thursday, February 11.
Like Norway, 6 other countries – Australia, Canada, Libya, Spain, Switzerland, and the United States – backed the peace process.
In a letter to Del Rosario, Abobaker I.W. Ataweel, charge d' affaires of the Libyan Embassy in Manila, said he hopes "the people of the Philippines will triumph over this tragic incident and continue the pursuit to attain the peace in Mindanao."
(Rappler)
Filed under: Peace Talks
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