Three things are certain in life: death, taxes and tax increases - at least since Prime Minister Lee Hsien Loong gave a clear indication last month that tax rates will have to go up before long.
It is not yet known which taxes will rise, when they will rise and by how much. But Mr Lee's political aim of sounding the alarm in advance was, no doubt, to kick-start the work of persuading people on the principle of the matter - the need for a hike - so that when the specifics come, they will be less jarring.
Pundits are betting on a goods and services tax (GST) hike to be announced in Budget 2018. But one theory is that it may be years before anyone pays more than the current 7 per cent, as some believe the rise will kick in only after the next general election. After all, Mr Lee has said revenues are sufficient for this term, which ends in 2021, unless an election is called early.
Whether the tax hike takes effect before or after the election, the Government's priority now is to get Singaporeans on board. This Mr Lee has begun to do, listing three major items that need more funding: economic restructuring, infrastructure investment and social spending.
Economic restructuring is happening when technological change is accelerating and jobs are being disrupted globally. Concurrently, Singapore is reducing its reliance on foreign workers, forcing firms to raise productivity. Spending will be needed to retrain displaced workers and to help firms make productivity-enhancing changes to their work processes.
Infrastructure improvements - the second area - are expensive but vital for raising the quality of life and economic competitiveness. Projects take years, even decades, to realise. If work does not begin now, nobody will feel the effects for a time, but at some point, Singapore will fall behind. Upgrades in the works include the airport, the seaports and water infrastructure.
Finally, social spending will go north because an ageing population will require more healthcare expenditure.
Trying to keep expenditure constant will mean lowering the subsidy level per person, which would be unfair to the baby boomer generation. They are a bigger drag on national finances because of their size - but they have also contributed a larger share to the nation's progress during their working years.
None of the three reasons for raising taxes is controversial. The Government is likely to put out different permutations of these arguments at dialogue sessions with various segments of the population in the coming months.
That said, in an era of better-educated voters, to make the most convincing case, the Government may have to go one step further: by pre-empting and addressing difficult yet reasonable questions.
In economic restructuring, the Government will do well to show that the schemes are effective in helping employers and employees make the transition. It is a well-reported fact that during the implementation of the Productivity and Innovation Credit (PIC) scheme, for example, con men went around trying to get businesses to sign up for it in a fraudulent way - with the two sides splitting the gains, to the taxpayer's disadvantage. Under the PIC, the Government gave financial incentives to firms that invested in machinery and training, among other things.
Some of these con men were caught and convicted. Others had their applications rejected.
It will be useful if the Government can show that enforcement against such abuses is effective, and that money spent on economic restructuring in general yields fair returns.
In infrastructure, a growing view among experts is that Singapore can afford to be less averse to financing infrastructure through debt. This was done in the early post-independence years, when finances were tight. After the economy took off, the general approach has been to fund them using current revenues.
The advantages of paying upfront include savings on interest payments, and not having to face external scrutiny by prospective creditors. But a key disadvantage has to do with inter-generational fairness. The Government is making the present generation pay for long-term projects that benefit future generations.
Spreading out payments over the term of the debt would involve paying more money overall, but would arguably be a more equitable way of evening out the burden between Singaporeans today and in the future. It would reduce the need to increase the current tax burden.
Concerns about inter-generational fairness have also been raised in relation to the upcoming tax hike by some economists who say a bigger share of gains from the reserves can be used for current needs.
Finally, in social spending, one question is whether healthcare and other facilities being built to meet elderly needs today are designed so they can be re-purposed for other uses - in anticipation of the elderly population shrinking in the years after the baby boomer generation.
This is a point that environmental gerontologist Emi Kiyota of Japan has raised during her recent visits to Singapore as a visiting fellow of the Centre for Liveable Cities.
She notes that in the early years of dealing with its silver tsunami, Japan built many elderly-related facilities - not unlike what Singapore is now doing. Later on, there was a surplus of such facilities when the demographics shifted. She suggests that Singapore builds facilities that can be re-configured for other uses, to avoid wasting resources.
The broader question here is whether Singapore has given enough thought not just to the silver tsunami landscape, but the post-silver tsunami one as well.
This Government has a reputation for considering any major policy change from all possible angles. The questions above and others that people will pose in the months to come would have been considered at length. If the answers are communicated well, it will minimise the fallout from the tax hike.


text:
Chuck Baldwin
Elect Chuck and defeat the New World Order.
Christ died for
our articles about
A multi-chef broth
Restorationism
Devil's in the details
Brother Jed
Millennialism
Sankta Patriko
Televangelist
TheocracyWatch
The pearly gates
Charles Obadiah "Chuck" Baldwin is the founder and former pastor of the Crossroad Baptist Church in Pensacola, Florida, later moving to Montana in 2010 because it didn't have any freedom-hatin' city folk living there.[1] He is a prominent talk radio wingnut, and was the 2008 presidential nominee for the Constitution Party. He is a staunch paleoconservative, fundamentalist Christian, and rapture ready nut, but his pet issue is taking the fight to the New World Order and all its various manifest conspiracies — the United Nations, the North American Union, NAFTA and its superhighway, the Council on Foreign Relations, the Mexican-American border, FEMA concentration camps, etc. His writings and show make for a good game of NWO crank bingo. He also calls the American Civil War the War for Southern Independence. In stopped clock mode, he does oppose the Patriot Act, the War in Iraq, and the War on Drugs.
He was endorsed by Ron Paul in the 2008 elections.
In November, 2011, Bob Fanning who was running for Governor of Montana selected Chuck Baldwin as his running mate in the Republican primary.[2] Baldwin withdrew his candidacy for lieutenant governor on February 12, 2012, several months before the June primary.[3] He was replaced on the ticket by Joel Boniek, former State Representative.[4] Fanning went on to receive 2.3% of the vote in the Republican primary.[5]
Baldwin's radio show and columns
Baldwin's old campaign site, courtesy of the Internet Wayback Machine
On the Issues: Chuck Baldwin
Famous Fundies: Chuck Baldwin
↑ Baldwin, Chuck. "Why We Chose The Flathead Valley Of Montana." News With Views, 9 June 2011 (recovered 24 May 2017).
↑ http://www.timesexaminer.com/chuck-baldwin/934-i-am-now-a-candidate-for-montana-lieutenant-governor-
↑ http://chuckbaldwinlive.com/home/archives/4482
↑ Banks, Marnee (March 12, 2012). "Long list of candidates running for U.S. House & MT Governor". KRTV. http://www.krtv.com/news/long-list-of-candidates-running-for-u-s-house-and-mt-governor/. Retrieved February 12, 2015.
↑ "2012 STATEWIDE PRIMARY ELECTION CANVASS". Secretary of State of Montana. http://sos.mt.gov/Elections/2012/Primary/2012_PRIMARY_STATEWIDE_CANVASS.PDF. Retrieved February 12, 2015.
This politicians-related article is a stub.
You can help RationalWiki by expanding it.
United States 2008 presidential election articles on RationalWiki
Topics: Debate:Religious beliefs and public office - Mission accomplished - Same-sex marriage - United States Electoral College - Values Voter Debate 2007
Parties: Constitution Party - Democratic Party - Green Party - Libertarian Party - Republican Party
Candidates: Baldwin (Con) - Brownback (R) - Clinton (D) - Giuliani (R) - Huckabee (R) - Keyes (R) - McCain (R) - McKinney (Green) - Obama (D) - Paul (R) - Romney (R) • Running mates: Biden (D) - Palin (R)
Winner: Barack Obama
Retrieved from "http://rationalwiki.nom.pw/w/index.php?title=Chuck_Baldwin&oldid=2022324"
2008 US Presidential candidates
Christian apologists
Conservative wingnuttery
Conspiracy theorists
Creationists
Fundamentalists
Gun nuts
Homophobes
Leftists who turned right with age
Paleoconservatives
Perennial candidates
Racists
We're on a mission from God
Politicians-related stubs

redpajama_set_name: RedPajamaCommonCrawl


text:
/*
 * \file xf86drmMode.h
 * Header for DRM modesetting interface.
 *
 * \author Jakob Bornecrantz <wallbraker@gmail.com>
 *
 * \par Acknowledgements:
 * Feb 2007, Dave Airlie <airlied@linux.ie>
 */

/*
 * Copyright (c) 2007-2008 Tungsten Graphics, Inc., Cedar Park, Texas.
 * Copyright (c) 2007-2008 Dave Airlie <airlied@linux.ie>
 * Copyright (c) 2007-2008 Jakob Bornecrantz <wallbraker@gmail.com>
 *
 * Permission is hereby granted, free of charge, to any person obtaining a
 * copy of this software and associated documentation files (the "Software"),
 * to deal in the Software without restriction, including without limitation
 * the rights to use, copy, modify, merge, publish, distribute, sublicense,
 * and/or sell copies of the Software, and to permit persons to whom the
 * Software is furnished to do so, subject to the following conditions:
 *
 * The above copyright notice and this permission notice shall be included in
 * all copies or substantial portions of the Software.
 *
 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE
 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING
 * FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS
 * IN THE SOFTWARE.
 *
 */

#ifndef _XF86DRMMODE_H_
#define _XF86DRMMODE_H_

#if defined(__cplusplus) || defined(c_plusplus)
extern "C" {
#endif

#include <drm.h>

/*
 * This is the interface for modesetting for drm.
 *
 * In order to use this interface you must include either <stdint.h> or another
 * header defining uint32_t, int32_t and uint16_t.
 *
 * It aims to provide a randr1.2 compatible interface for modesettings in the
 * kernel, the interface is also ment to be used by libraries like EGL.
 *
 * More information can be found in randrproto.txt which can be found here:
 * http://gitweb.freedesktop.org/?p=xorg/proto/randrproto.git
 *
 * There are some major diffrences to be noted. Unlike the randr1.2 proto you
 * need to create the memory object of the framebuffer yourself with the ttm
 * buffer object interface. This object needs to be pinned.
 */

/*
 * If we pickup an old version of drm.h which doesn't include drm_mode.h
 * we should redefine defines. This is so that builds doesn't breaks with
 * new libdrm on old kernels.
 */
#ifndef _DRM_MODE_H

#define DRM_DISPLAY_INFO_LEN    32
#define DRM_CONNECTOR_NAME_LEN  32
#define DRM_DISPLAY_MODE_LEN    32
#define DRM_PROP_NAME_LEN       32

#define DRM_MODE_TYPE_BUILTIN   (1<<0)
#define DRM_MODE_TYPE_CLOCK_C   ((1<<1) | DRM_MODE_TYPE_BUILTIN)
#define DRM_MODE_TYPE_CRTC_C    ((1<<2) | DRM_MODE_TYPE_BUILTIN)
#define DRM_MODE_TYPE_PREFERRED (1<<3)
#define DRM_MODE_TYPE_DEFAULT   (1<<4)
#define DRM_MODE_TYPE_USERDEF   (1<<5)
#define DRM_MODE_TYPE_DRIVER    (1<<6)

/* Video mode flags */
/* bit compatible with the xorg definitions. */
#define DRM_MODE_FLAG_PHSYNC			(1<<0)
#define DRM_MODE_FLAG_NHSYNC			(1<<1)
#define DRM_MODE_FLAG_PVSYNC			(1<<2)
#define DRM_MODE_FLAG_NVSYNC			(1<<3)
#define DRM_MODE_FLAG_INTERLACE			(1<<4)
#define DRM_MODE_FLAG_DBLSCAN			(1<<5)
#define DRM_MODE_FLAG_CSYNC			(1<<6)
#define DRM_MODE_FLAG_PCSYNC			(1<<7)
#define DRM_MODE_FLAG_NCSYNC			(1<<8)
#define DRM_MODE_FLAG_HSKEW			(1<<9) /* hskew provided */
#define DRM_MODE_FLAG_BCAST			(1<<10)
#define DRM_MODE_FLAG_PIXMUX			(1<<11)
#define DRM_MODE_FLAG_DBLCLK			(1<<12)
#define DRM_MODE_FLAG_CLKDIV2			(1<<13)
#define DRM_MODE_FLAG_3D_MASK			(0x1f<<14)
#define  DRM_MODE_FLAG_3D_NONE			(0<<14)
#define  DRM_MODE_FLAG_3D_FRAME_PACKING		(1<<14)
#define  DRM_MODE_FLAG_3D_FIELD_ALTERNATIVE	(2<<14)
#define  DRM_MODE_FLAG_3D_LINE_ALTERNATIVE	(3<<14)
#define  DRM_MODE_FLAG_3D_SIDE_BY_SIDE_FULL	(4<<14)
#define  DRM_MODE_FLAG_3D_L_DEPTH		(5<<14)
#define  DRM_MODE_FLAG_3D_L_DEPTH_GFX_GFX_DEPTH	(6<<14)
#define  DRM_MODE_FLAG_3D_TOP_AND_BOTTOM	(7<<14)
#define  DRM_MODE_FLAG_3D_SIDE_BY_SIDE_HALF	(8<<14)

/* DPMS flags */
/* bit compatible with the xorg definitions. */
#define DRM_MODE_DPMS_ON        0
#define DRM_MODE_DPMS_STANDBY   1
#define DRM_MODE_DPMS_SUSPEND   2
#define DRM_MODE_DPMS_OFF       3

/* Scaling mode options */
#define DRM_MODE_SCALE_NON_GPU          0
#define DRM_MODE_SCALE_FULLSCREEN       1
#define DRM_MODE_SCALE_NO_SCALE         2
#define DRM_MODE_SCALE_ASPECT           3

/* Dithering mode options */
#define DRM_MODE_DITHERING_OFF  0
#define DRM_MODE_DITHERING_ON   1

#define DRM_MODE_ENCODER_NONE   0
#define DRM_MODE_ENCODER_DAC    1
#define DRM_MODE_ENCODER_TMDS   2
#define DRM_MODE_ENCODER_LVDS   3
#define DRM_MODE_ENCODER_TVDAC  4
#define DRM_MODE_ENCODER_VIRTUAL 5
#define DRM_MODE_ENCODER_DSI	6

#define DRM_MODE_SUBCONNECTOR_Automatic 0
#define DRM_MODE_SUBCONNECTOR_Unknown   0
#define DRM_MODE_SUBCONNECTOR_DVID      3
#define DRM_MODE_SUBCONNECTOR_DVIA      4
#define DRM_MODE_SUBCONNECTOR_Composite 5
#define DRM_MODE_SUBCONNECTOR_SVIDEO    6
#define DRM_MODE_SUBCONNECTOR_Component 8
#define DRM_MODE_SUBCONNECTOR_SCART     9

#define DRM_MODE_CONNECTOR_Unknown      0
#define DRM_MODE_CONNECTOR_VGA          1
#define DRM_MODE_CONNECTOR_DVII         2
#define DRM_MODE_CONNECTOR_DVID         3
#define DRM_MODE_CONNECTOR_DVIA         4
#define DRM_MODE_CONNECTOR_Composite    5
#define DRM_MODE_CONNECTOR_SVIDEO       6
#define DRM_MODE_CONNECTOR_LVDS         7
#define DRM_MODE_CONNECTOR_Component    8
#define DRM_MODE_CONNECTOR_9PinDIN      9
#define DRM_MODE_CONNECTOR_DisplayPort  10
#define DRM_MODE_CONNECTOR_HDMIA        11
#define DRM_MODE_CONNECTOR_HDMIB        12
#define DRM_MODE_CONNECTOR_TV		13
#define DRM_MODE_CONNECTOR_eDP		14
#define DRM_MODE_CONNECTOR_VIRTUAL      15
#define DRM_MODE_CONNECTOR_DSI          16

#define DRM_MODE_PROP_PENDING   (1<<0)
#define DRM_MODE_PROP_RANGE     (1<<1)
#define DRM_MODE_PROP_IMMUTABLE (1<<2)
#define DRM_MODE_PROP_ENUM      (1<<3) /* enumerated type with text strings */
#define DRM_MODE_PROP_BLOB      (1<<4)

#define DRM_MODE_CURSOR_BO      (1<<0)
#define DRM_MODE_CURSOR_MOVE    (1<<1)

#endif /* _DRM_MODE_H */

/*
 * Feature defines
 *
 * Just because these are defined doesn't mean that the kernel
 * can do that feature, its just for new code vs old libdrm.
 */
#define DRM_MODE_FEATURE_KMS		1
#define DRM_MODE_FEATURE_DIRTYFB	1

typedef struct _drmModeRes {

	int count_fbs;
	uint32_t *fbs;

	int count_crtcs;
	uint32_t *crtcs;

	int count_connectors;
	uint32_t *connectors;

	int count_encoders;
	uint32_t *encoders;

	uint32_t min_width, max_width;
	uint32_t min_height, max_height;
} drmModeRes, *drmModeResPtr;

typedef struct _drmModeModeInfo {
	uint32_t clock;
	uint16_t hdisplay, hsync_start, hsync_end, htotal, hskew;
	uint16_t vdisplay, vsync_start, vsync_end, vtotal, vscan;

	uint32_t vrefresh;

	uint32_t flags;
	uint32_t type;
	char name[DRM_DISPLAY_MODE_LEN];
} drmModeModeInfo, *drmModeModeInfoPtr;

typedef struct _drmModeFB {
	uint32_t fb_id;
	uint32_t width, height;
	uint32_t pitch;
	uint32_t bpp;
	uint32_t depth;
	/* driver specific handle */
	uint32_t handle;
} drmModeFB, *drmModeFBPtr;

typedef struct drm_clip_rect drmModeClip, *drmModeClipPtr;

typedef struct _drmModePropertyBlob {
	uint32_t id;
	uint32_t length;
	void *data;
} drmModePropertyBlobRes, *drmModePropertyBlobPtr;

typedef struct _drmModeProperty {
	uint32_t prop_id;
	uint32_t flags;
	char name[DRM_PROP_NAME_LEN];
	int count_values;
	uint64_t *values; /* store the blob lengths */
	int count_enums;
	struct drm_mode_property_enum *enums;
	int count_blobs;
	uint32_t *blob_ids; /* store the blob IDs */
} drmModePropertyRes, *drmModePropertyPtr;

static __inline int drm_property_type_is(drmModePropertyPtr property,
		uint32_t type)
{
	/* instanceof for props.. handles extended type vs original types: */
	if (property->flags & DRM_MODE_PROP_EXTENDED_TYPE)
		return (property->flags & DRM_MODE_PROP_EXTENDED_TYPE) == type;
	return property->flags & type;
}

typedef struct _drmModeCrtc {
	uint32_t crtc_id;
	uint32_t buffer_id; /**< FB id to connect to 0 = disconnect */

	uint32_t x, y; /**< Position on the framebuffer */
	uint32_t width, height;
	int mode_valid;
	drmModeModeInfo mode;

	int gamma_size; /**< Number of gamma stops */

} drmModeCrtc, *drmModeCrtcPtr;

typedef struct _drmModeEncoder {
	uint32_t encoder_id;
	uint32_t encoder_type;
	uint32_t crtc_id;
	uint32_t possible_crtcs;
	uint32_t possible_clones;
} drmModeEncoder, *drmModeEncoderPtr;

typedef enum {
	DRM_MODE_CONNECTED         = 1,
	DRM_MODE_DISCONNECTED      = 2,
	DRM_MODE_UNKNOWNCONNECTION = 3
} drmModeConnection;

typedef enum {
	DRM_MODE_SUBPIXEL_UNKNOWN        = 1,
	DRM_MODE_SUBPIXEL_HORIZONTAL_RGB = 2,
	DRM_MODE_SUBPIXEL_HORIZONTAL_BGR = 3,
	DRM_MODE_SUBPIXEL_VERTICAL_RGB   = 4,
	DRM_MODE_SUBPIXEL_VERTICAL_BGR   = 5,
	DRM_MODE_SUBPIXEL_NONE           = 6
} drmModeSubPixel;

typedef struct _drmModeConnector {
	uint32_t connector_id;
	uint32_t encoder_id; /**< Encoder currently connected to */
	uint32_t connector_type;
	uint32_t connector_type_id;
	drmModeConnection connection;
	uint32_t mmWidth, mmHeight; /**< HxW in millimeters */
	drmModeSubPixel subpixel;

	int count_modes;
	drmModeModeInfoPtr modes;

	int count_props;
	uint32_t *props; /**< List of property ids */
	uint64_t *prop_values; /**< List of property values */

	int count_encoders;
	uint32_t *encoders; /**< List of encoder ids */
} drmModeConnector, *drmModeConnectorPtr;

#define DRM_PLANE_TYPE_OVERLAY 0
#define DRM_PLANE_TYPE_PRIMARY 1
#define DRM_PLANE_TYPE_CURSOR  2

typedef struct _drmModeObjectProperties {
	uint32_t count_props;
	uint32_t *props;
	uint64_t *prop_values;
} drmModeObjectProperties, *drmModeObjectPropertiesPtr;

typedef struct _drmModePlane {
	uint32_t count_formats;
	uint32_t *formats;
	uint32_t plane_id;

	uint32_t crtc_id;
	uint32_t fb_id;

	uint32_t crtc_x, crtc_y;
	uint32_t x, y;

	uint32_t possible_crtcs;
	uint32_t gamma_size;
} drmModePlane, *drmModePlanePtr;

typedef struct _drmModePlaneRes {
	uint32_t count_planes;
	uint32_t *planes;
} drmModePlaneRes, *drmModePlaneResPtr;

extern void drmModeFreeModeInfo( drmModeModeInfoPtr ptr );
extern void drmModeFreeResources( drmModeResPtr ptr );
extern void drmModeFreeFB( drmModeFBPtr ptr );
extern void drmModeFreeCrtc( drmModeCrtcPtr ptr );
extern void drmModeFreeConnector( drmModeConnectorPtr ptr );
extern void drmModeFreeEncoder( drmModeEncoderPtr ptr );
extern void drmModeFreePlane( drmModePlanePtr ptr );
extern void drmModeFreePlaneResources(drmModePlaneResPtr ptr);

/**
 * Retrives all of the resources associated with a card.
 */
extern drmModeResPtr drmModeGetResources(int fd);

/*
 * FrameBuffer manipulation.
 */

/**
 * Retrive information about framebuffer bufferId
 */
extern drmModeFBPtr drmModeGetFB(int fd, uint32_t bufferId);

/**
 * Creates a new framebuffer with an buffer object as its scanout buffer.
 */
extern int drmModeAddFB(int fd, uint32_t width, uint32_t height, uint8_t depth,
			uint8_t bpp, uint32_t pitch, uint32_t bo_handle,
			uint32_t *buf_id);
/* ...with a specific pixel format */
extern int drmModeAddFB2(int fd, uint32_t width, uint32_t height,
			 uint32_t pixel_format, uint32_t bo_handles[4],
			 uint32_t pitches[4], uint32_t offsets[4],
			 uint32_t *buf_id, uint32_t flags);
/**
 * Destroies the given framebuffer.
 */
extern int drmModeRmFB(int fd, uint32_t bufferId);

/**
 * Mark a region of a framebuffer as dirty.
 */
extern int drmModeDirtyFB(int fd, uint32_t bufferId,
			  drmModeClipPtr clips, uint32_t num_clips);

/*
 * Crtc functions
 */

/**
 * Retrive information about the ctrt crtcId
 */
extern drmModeCrtcPtr drmModeGetCrtc(int fd, uint32_t crtcId);

/**
 * Set the mode on a crtc crtcId with the given mode modeId.
 */
int drmModeSetCrtc(int fd, uint32_t crtcId, uint32_t bufferId,
                   uint32_t x, uint32_t y, uint32_t *connectors, int count,
		   drmModeModeInfoPtr mode);

/*
 * Cursor functions
 */

/**
 * Set the cursor on crtc
 */
int drmModeSetCursor(int fd, uint32_t crtcId, uint32_t bo_handle, uint32_t width, uint32_t height);

int drmModeSetCursor2(int fd, uint32_t crtcId, uint32_t bo_handle, uint32_t width, uint32_t height, int32_t hot_x, int32_t hot_y);
/**
 * Move the cursor on crtc
 */
int drmModeMoveCursor(int fd, uint32_t crtcId, int x, int y);

/**
 * Encoder functions
 */
drmModeEncoderPtr drmModeGetEncoder(int fd, uint32_t encoder_id);

/*
 * Connector manipulation
 */

/**
 * Retrieve all information about the connector connectorId. This will do a
 * forced probe on the connector to retrieve remote information such as EDIDs
 * from the display device.
 */
extern drmModeConnectorPtr drmModeGetConnector(int fd,
					       uint32_t connectorId);

/**
 * Retrieve current information, i.e the currently active mode and encoder,
 * about the connector connectorId. This will not do any probing on the
 * connector or remote device, and only reports what is currently known.
 * For the complete set of modes and encoders associated with the connector
 * use drmModeGetConnector() which will do a probe to determine any display
 * link changes first.
 */
extern drmModeConnectorPtr drmModeGetConnectorCurrent(int fd,
						      uint32_t connector_id);

/**
 * Attaches the given mode to an connector.
 */
extern int drmModeAttachMode(int fd, uint32_t connectorId, drmModeModeInfoPtr mode_info);

/**
 * Detaches a mode from the connector
 * must be unused, by the given mode.
 */
extern int drmModeDetachMode(int fd, uint32_t connectorId, drmModeModeInfoPtr mode_info);

extern drmModePropertyPtr drmModeGetProperty(int fd, uint32_t propertyId);
extern void drmModeFreeProperty(drmModePropertyPtr ptr);

extern drmModePropertyBlobPtr drmModeGetPropertyBlob(int fd, uint32_t blob_id);
extern void drmModeFreePropertyBlob(drmModePropertyBlobPtr ptr);
extern int drmModeConnectorSetProperty(int fd, uint32_t connector_id, uint32_t property_id,
				    uint64_t value);
extern int drmCheckModesettingSupported(const char *busid);

extern int drmModeCrtcSetGamma(int fd, uint32_t crtc_id, uint32_t size,
			       uint16_t *red, uint16_t *green, uint16_t *blue);
extern int drmModeCrtcGetGamma(int fd, uint32_t crtc_id, uint32_t size,
			       uint16_t *red, uint16_t *green, uint16_t *blue);
extern int drmModePageFlip(int fd, uint32_t crtc_id, uint32_t fb_id,
			   uint32_t flags, void *user_data);

extern drmModePlaneResPtr drmModeGetPlaneResources(int fd);
extern drmModePlanePtr drmModeGetPlane(int fd, uint32_t plane_id);
extern int drmModeSetPlane(int fd, uint32_t plane_id, uint32_t crtc_id,
			   uint32_t fb_id, uint32_t flags,
			   int32_t crtc_x, int32_t crtc_y,
			   uint32_t crtc_w, uint32_t crtc_h,
			   uint32_t src_x, uint32_t src_y,
			   uint32_t src_w, uint32_t src_h);

extern drmModeObjectPropertiesPtr drmModeObjectGetProperties(int fd,
							uint32_t object_id,
							uint32_t object_type);
extern void drmModeFreeObjectProperties(drmModeObjectPropertiesPtr ptr);
extern int drmModeObjectSetProperty(int fd, uint32_t object_id,
				    uint32_t object_type, uint32_t property_id,
				    uint64_t value);

typedef struct _drmModeAtomicReq drmModeAtomicReq, *drmModeAtomicReqPtr;

extern drmModeAtomicReqPtr drmModeAtomicAlloc(void);
extern drmModeAtomicReqPtr drmModeAtomicDuplicate(drmModeAtomicReqPtr req);
extern int drmModeAtomicMerge(drmModeAtomicReqPtr base,
			      drmModeAtomicReqPtr augment);
extern void drmModeAtomicFree(drmModeAtomicReqPtr req);
extern int drmModeAtomicGetCursor(drmModeAtomicReqPtr req);
extern void drmModeAtomicSetCursor(drmModeAtomicReqPtr req, int cursor);
extern int drmModeAtomicAddProperty(drmModeAtomicReqPtr req,
				    uint32_t object_id,
				    uint32_t property_id,
				    uint64_t value);
extern int drmModeAtomicCommit(int fd,
			       drmModeAtomicReqPtr req,
			       uint32_t flags,
			       void *user_data);

extern int drmModeCreatePropertyBlob(int fd, const void *data, size_t size,
				     uint32_t *id);
extern int drmModeDestroyPropertyBlob(int fd, uint32_t id);

#if defined(__cplusplus) || defined(c_plusplus)
}
#endif

#endif

redpajama_set_name: RedPajamaGithub


Endometriosis UK, the UK's leading endometriosis charity, runs support groups across the whole of Britain and Northern Ireland. These support groups allow those living with the chronic condition the chance to meet other people who are affected with endometriosis - an opportunity for them to share their experiences of living with the condition.
Endo Aware recently caught up with the group leader for the Manchester support group, Antonia, and fellow volunteer Amanda, to get an insight into how these support groups benefit those living with endometriosis.
Antonia was diagnosed with endometriosis in 2014 and took the volunteering role as Manchester's support group leader as a way to give back to the charity, who had helped her post diagnosis.
Since taking on the voluntary role in 2017, Antonia runs the monthly meetings where those affected can relax with a tea or coffee and share their experiences with endometriosis.
Offering Antonia support with the group is Amanda, who was diagnosed with endometriosis over a year ago. Amanda helps Antonia promote the events which the support group run, as well as attending the meetings for her own benefit.
Antonia has alternated the locations for the group meetings, hosting them at café's and libraries, to pubs and even weekend walks – as a way of making the group more sociable, as Amanda would say.
The group has also been given educational talks through various experts, who volunteer as guest speakers at the meetings.
From December the group will be involved in a 12 week art project led by START, an organisation who help people cope with their health problems through creative art.
Antonia sees this project as being a way to take people's minds off their condition.
The attendance levels at the support groups vary from a few people to 20 people as Antonia added.
Amanda would mention how the women, even though they are all affected differently by the condition, share the connection of living with endometriosis.
The monthly meetings take place at the Parkway 3, Parkway Business Centre, Princess Road, Manchester, M14 7LU, and usually take place on a Tuesday evening from 18:30-20:00 - but people can come and go as they please.


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text:
News & Appearances
Old story, new beginnings
March 2, 2016 Christine Piper
Hard to believe it's been almost two years since my last post. In that time, I did a bunch of print, radio and TV interviews for After Darkness (which has sold thousands of copies and been nominated for several awards, including the Miles Franklin). I wrote a newspaper article about the WW2 internment of Japanese civilians in Australia, and recorded a radio segment about the mixed-race Japanese internees and their struggle with identity. I gave a talk in New York and in LA about my work. I started a script about a foreigner living in Greenwich Village. I wrote a short story about a teenager yearning to escape rural boredom and his drunk dad. I attended Tin House writer's workshop in Portland, Oregon. I started researching a new novel. Oh, yeah, and I had a baby.
About the new novel… Although I've been thinking about it/researching it for more than a year now, it's still in the R&D phase (yes, I'm a slow starter, but I've also been preoccupied with looking after a tiny human) – the most exciting phase for me, so full of hope and glory (without the weight of reality)! It's about the journey that two Australians take to attend the Chicago World's Fair of 1933. One character is an amateur naturalist involved in the transfer of aquatic wildlife to the fair, and the other is making the journey separately. It's an adventure, and also a thwarted love story. I'm writing it partly because I wanted to write something different to After Darkness – something lighter, that doesn't involve me being in a traumatised and wilfully obtuse man's head for months on end. In this new novel, I'll also be tackling the slightly daunting omniscient third-person mode of narration.
The idea for the novel came to me laterally. I've always loved early Art Deco posters, especially the world's fair posters, and I was looking at buying prints of the 1933 Chicago World's Fair: A Century of Progress. As I trawled the internet, I thought: Wouldn't it be good to set a novel at the Chicago World's Fair? There would certainly be plenty of drama and spectacle that would make great narrative fodder. I already had two characters in my head, and I felt that at least one of them was Australian, so I jumped on the internet to research links between Australia and the Chicago World's Fair – and bingo! I discovered that Taronga Zoo in Sydney donated lots of aquatic wildlife to the fair in 1933.
So why the picture of the fish (top)? He's pretty special – he's an Australian lungfish known as Granddad. He's one of the original fish that Taronga Zoo donated to the Chicago World's Fair, and – wait for it – he's still alive in Chicago today! Yep, he's thought to be the oldest aquarium fish in the world; his age is estimated to be about 100 years old (he was already fully grown when he was donated in 1933). He outlived the lungfish that came with him in 1933, and all attempts at breeding with him have proved fruitless.
Me with Granddad in the background.
Kris and I visited Granddad at Shedd Aquarium in Chicago in May. The lovely Karen Furnweger in the editorial/content management department (and author of a book about the history of Shedd Aquarium) furnished me with some vital information about the transfer of the fish from Australia to Chicago, and took me on a tour. Apparently Granddad usually wallows at the bottom of the tank and hardly moves (like most grumpy old men), but on the day we visited he was very active: swimming, taking gulps of air at the surface and foraging for food. A good omen, perhaps? Granddad and the other lungfish are of special interest to the amateur naturalist in my novel. I loved the idea of this ancient creature (lungfish are known as "living fossils") taking centre stage at a fair that's all about futuristic innovation – the clash of the old and the new. Fingers crossed Granddad stays alive until the publication of my book!
(There's also an eerie parallel with my own life: when I was 6-7 years old, my father worked in Tokyo as assistant trade commissioner, overseeing the transfer of koalas from Taronga Zoo to Tama Zoo in Tokyo. My sister and I have fond memories of that time: living in an apartment in Shibuya, getting lots of koala merchandise (stuffed toy, koala backpack), pretending to eat lacquered koala poo… Yes, one of the merch items was lacquered koala poo.)
And in something of a coincidence, Hollywood is all abuzz about Scorsese's new film portraying the serial killer H.H. Holmes who killed dozens of people at the 1893 Chicago World's Fair. It's based on the bestselling 2003 novel by Erik Larson: The Devil in the White City. Similar to my novel, but different enough that my book won't seem like a tired idea by the time it comes out… I hope!
In Fiction, Writing, novel Tags new novel, chicago world fair, chicago world's fair, chicago world fair 1933, chicago world's fair 1933, a century of progress, the devil in the white city, scorsese, h.h. holmes, h. h. holmes, granddad, lungfish, australian lungfish, shedd aquarium, karen furnweger, living fossils, taronga zoo, tama zoo, koalas, after darkness, amateur naturalist
A shot in the dark
May 1, 2014 Christine Piper
(This piece I wrote about winning the 2014 Vogel's Literary Award was first published on The Wheeler Centre website.)
I got the email at five am. Four fifty-seven, to be precise. I had just returned home from a very long day at The Writers Room in New York, where I have a desk. An hour earlier, working alone in the vast room used by journalists, scriptwriters, memoirists, essayists, academics, poets, short story writers and novelists, I had finally completed the second draft of my novel. It was several weeks overdue, and I still had another two essays and an introduction to write before I could submit my Doctor of Creative Arts thesis to the University of Technology, Sydney. But I was happy with the novel, which was the most important part. Exhaustion and euphoria chased me as I took the lift downstairs, unchained my bike and began the twenty-minute journey home.
The streets of New York are never quiet, not even at four am. As I pedalled through the East Village, college kids stumbled along the road and barkeeps shuttered their premises before turning home. A mild September wind slicked over me. It was that perfect time of year when heat and humidity wane yet the nights are still warm.
I mounted the steep slope of Williamsburg Bridge. On my three-gear bike, I was panting and reduced to a crawl, while lithe-limbed hipsters on fixies sped past me. Just before I reached the crest of the bridge, I paused to look back. Manhattan, in all its shimmering glory. A city full of possibilities. My husband I had had moved to New York six weeks earlier, two more hopefuls chasing a dream. It was our second time trying. Six years earlier, we'd arrived in the Big Apple but had failed to establish ourselves. This time, I'd won a green card through the Diversity Visa lottery program, and my husband had arranged a job transfer. Our fortunes had changed.
The sky was the colour of slate by the time I arrived home. I showered and prepared for bed, looking forward to a long, rejuvenating sleep. Then I remembered an email I had to send. I crossed to the kitchen bench and flipped open my laptop, then noticed an unread email at the top of my inbox. From someone named Annette at Allen & Unwin. 'I wonder if I could arrange a meeting with you to talk about your Vogel's entry?' she wrote. I froze.
I first heard about The Australian/Vogel's Literary Award when the Helen Demidenko/Darville scandal hit the newspapers in 1995. I was sixteen at the time – a bookish Year 11 student with dreams of being a writer. I'd like to enter that award one day, I thought. Over the years, I read many of the winning titles, and they always reaffirmed my desire to enter. I took creative writing classes during my undergraduate degree, and wrote a novella for my honours project. Then I began working full time, and hardly ever found the time for creative writing.
Sometime during my late twenties, I realised that if I didn't do something soon, I'd miss my chance to enter the award. Soon afterwards, I was accepted into a Doctor of Creative Arts degree at the University of Technology, Sydney, where I was mentored by Debra Adelaide and Delia Falconer. I began researching and writing a novel about the Japanese civilian internment experience in Australia – a topic I was interested in as my mother is Japanese (although no one in my family was interned). I thought I'd finish it within three years. Four at the most, giving me time to enter the award at least twice before I hit 35. After Darkness took me almost five years to create. When the May 2013 deadline drew near, I was midway through the second draft. I was 34. It was my last chance.
Despite my best intentions to deliver a polished second draft, in the weeks leading up to the deadline, I was feeling unwell and was unable to work on the manuscript as much as I'd hoped. I submitted it to The Australian/Vogel's Literary Award five minutes before midnight, utterly disappointed with what I'd done. 'I've blown my one chance,' I told my husband.
Then four months later, I got the email. A few minutes before five am. I didn't get the long sleep I'd hoped for that morning – I didn't sleep at all. The possibilities kept churning in my mind. Was I shortlisted? Had I won?
It was another two days before I finally talked to Annette, the publisher at Allen & Unwin, who confirmed that I had won. Several stressful, hectic months followed as I struggled to complete my thesis and then immediately began revising After Darkness for publication.
But I didn't know that then, as I stood in the kitchen of our Williamsburg apartment, day breaking around me. All I knew was hope, and the joy of chasing dreams.
After Darkness is available from all good bookstores in Australia/New Zealand. See www.christinepiper.com/after-darkness/
In Fiction, Creative non-fiction, Writing Tags allen & unwin, after darkness, christine piper, writer, novelist, novel, debut novel, vogel award, vogel's award, vogel's literary award, The Australian, fiction, contemporary fiction, historical fiction, new york, The Writers' Room
Habits I wish I had a year ago
October 11, 2012 Christine Piper
Now that I'm staring down the barrel of completing my doctorate/novel, I've developed several good habits that make me think: "Why, oh why, didn't I do these years ago?" For the sake of other writers, and as a memo to my future lazy self, I thought I'd share them here. Write every day, first thing in the morning
Last year I attended a workshop run by time management guru Hugh Kearns. At one point we split into small groups to discuss our approach to study and writing. Two women in my group were already academics, having completed their PhDs while working full-time and with several small children. I wanted to point out that I thought they were in the wrong workshop—the workshop for insanely driven high achievers was down the hall. The first woman said: "When I was finishing my PhD, I'd get up at 4 or 5am to do my writing, because with the kids it was the only time I had free." The other woman nodded sagely: "Sometimes even 3am." 3am?! Holy *#^@! While that's taking it a bit far in my books (I'm someone who'll happily sleep in till 10am), writers from different disciplines say the same thing: write every day, and write first thing in the morning. Why first thing? Because, not only will it mean you can't put it off, the quality of your writing will be freer and more creative then. Your thoughts are less likely to be fettered by what Julia Cameron calls your "internal censor". Pulitzer Prize-winning fiction author Robert Olen Butler advises 1–2 hours of morning writing 6–7 days a week. "If you let two or three days go by [without writing], it's as if you've never written a word in your entire life," he writes in "From Where You Dream: The Process Of Writing Fiction". He even advises against reading the newspaper, watching TV news—allowing any sort of conceptual language to enter your head—until you've done your morning writing. In "Turbocharge Your Writing", Hugh Kearns and co-author Maria Gardener recommend setting aside "two golden hours" every morning. I take this approach. I get into uni (late, about 10.30am, but I'm working on that), and the first thing I'll do is set my SelfControl timer (see below) for two hours. I won't check emails, open an internet browser or eat lunch until I've done two hours of fresh writing. Sometimes, if I'm really itching to read my emails, I'll say to myself: "Just one hour." More often than not, I'm quite happy to extend that to two or even three.
Pomodoro Technique
I first heard about this anti-procrastination technique two years ago. It involves breaking down tasks into 25-minute blocks of time, or "Pomodoros", with a mandatory five-minute break in between. A timer rings when the 25 minutes is up, and you have to stop what you're doing and take a break. It's supposed to help you focus on the task at hand, and the regular breaks keep your mind fresh. I heard about it, and thought: That wouldn't work for creative writing, that wouldn't work for me. A year or so later, I came upon it again in the context of psychologist Robert Boice's research on effective writing habits. His research found that regular, planned writing sessions resulted in not only a greater output than "binge writing", but regular writing also resulted in more creative ideas. That got me thinking, and feeling guilty, because I'm all about binge writing. I'd convinced myself that pulling all-nighters was the best way to come up with truly creative ideas. Seems I was wrong! Boice believes inspiration is the result of habitual writing, rather than the idea that precedes it. Since then I've been a total Pomodoro convert, and I've written 65,000 words in 9 months. Sure, a lot of that won't end up in the final draft (and yes, I do occasionally write crap to fill the rest of the Pomodoro), but I still have a helluva lot more useful material than if I binge wrote. What I love about it most? It's free. Download the 45-page booklet here, and read it cover-to-cover. It'll teach you how to take charge of distractions, both internal (eg your urge to Google "tonsil stones") and external (phone calls, colleagues bugging you, birthday cakes in the office, etc). It will help you break down big tasks into achievable goals, and to accurately estimate how long it will take to achieve them. I use this great (and free) Focus Booster electronic timer to time the 25-minute blocks. If you do only one of the things I mention on this page, do this one! (Well, do this in combination with the first point about writing every day.)
SelfControl app
This is a simple app for Macs that doesn't require much explanation. And boy, is it a godsend. Best of all, it's free! To set it up, type in a "blacklist" of banned websites (my list includes every single Google-related page, eBay, Etsy, ShopStyle, news and social media websites). Then when you set the timer for anywhere between 15 minutes and 24 hours, you'll still have internet access (eg for Dropbox and other research-related activity) but you won't be able to access those tempting websites. Be careful, because once you set the timer, nothing—not even turning off the computer—will stop the block on those sites (that's where smartphones and outdated search engines such as Yahoo! and MSN come in handy). Kris commented the app is actually the opposite of exercising self control, but as Paul Silvia points out in "How To Write A Lot": "The best kind of self control is to avoid situations that require self control."
Scrivener
This is a sophisticated program that's perfect for working on longer pieces—novels, scripts and doctoral theses. It's US$45 from Literature & Latte, which I think's a bargain, given I use it every day. It's also very stable. I've been using it for eight months and have still only scratched the surface in terms of its features, but my three favourite functions are: snapshots, composition mode and corkboard. Snapshots allows you to easily save different versions of the same document, instantly cutting out the fifteen different Word docs I have for a single scene. In composition mode, you enter a full screen in which other open programs are hidden so that you can concentrate on your writing. And corkboard gives you a macro view of your document, allowing you to move different scenes around.
Another great tool that needs little explanation. Working on both my computer at uni and my computer at home, I spent the first 2.5 years of my candidature emailing documents to myself and doing my head in in the process. I've found Dropbox especially useful to update reference entries on EndNote. I'm on a $100 per year storage plan, but it's free for smaller sizes. (Sign up to Dropbox for free using this link, and we both get extra space: http://db.tt/KA1khwMY)
Vedic meditation
I don't want to harp on about this too much for fear of sounding like the leader of a cult, but I started meditating earlier this year and it's helped me enormously—and in ways I didn't imagine. I became interested in vedic meditation (aka transcendental or mantra-based meditation) for the creative breakthrough it can provide. I heard about a friend's friend who's a musician and who often writes complete songs in one go after a vedic meditation session. Five months after doing a course, I'm not sure it's had a huge impact on my creativity—I'm still stuck on several plot holes (but it has allowed me to step back and make drastic changes I wouldn't have made as easily before). But there are two areas I have definitely reaped benefits: stress relief and maintaining focus. In regards to stress relief, I no longer sweat the small stuff—running 10 minutes late or forgetting someone's birthday doesn't bother me anymore. I have a slightly more positive outlook overall, too, which has in turn helped productivity. The second area it's helped me with is maintaining focus. When my meditation teacher told me: "You'll find that even though you're spending 40 minutes a day meditating, you'll have more free time than you did before," I thought: "What a load of bollocks." But, sure enough, in the first week of meditating I noticed I was finishing tasks quicker than usual, because I was less distracted overall.
There you go—hope that helps. And let me know what handy habits you've picked up to help your writing.
In Fiction, Writing Tags dropbox, focus booster, meditation, pomodoro technique, procrastination tips, scrivener, self control, selfcontrol, time management, writing habits, writing tips
Stranded: the evolution of a story
July 5, 2012 Christine Piper
Everyone remembers their first time. The first time a story they wrote is accepted for publication. Even though, as a journalist, I'd had fifty-odd articles already published, when my first short story was finally accepted for publication I felt a rush of emotion. Was I happy? Yes, because writing fiction is much more personal than writing a commissioned article. But most of all I was relieved. I finally had a publication to add to my pathetically brief literary CV, and I was now eligible to apply for all those grants and retreats only available to published authors. It immediately validated all the hours I had spent slaving at my desk. Because the sad truth is that no one (friends, family, colleagues) takes you seriously as a writer of fiction until you have something published. A book would be better, but I'm working on that!
Getting my first story, Stranded, published has not been easy. I first wrote it in 2008 when I enrolled in a Gotham Advanced Fiction Writing course while I was living in New York. I started with an image I'd had in my head for a while: while riding on a train in Sydney years earlier, I sat next to a young Asian man in a suit. He spread his hands across the briefcase on his lap, and I remember the beauty of those hands. They were delicate, manicured—a piano player's hands. I was struck by the intimacy I felt staring at his hands—a moment of intimacy between strangers in a public place (although he never acknowledged me, nor do I think he even realised the weirdo next to him was staring at his hands).
Even in its earliest stages, the story I wrote had very little to do with the real-life moment that sparked it—although the theme of intimacy between strangers remains. Stranded opens with a Japanese businessman discovering a blonde hair on his suit one day. He removes it, goes to work, and is surprised to find another (or the same?) blonde hair on him later that day. The second discovery causes the businessman to reflect on the affair he'd had with a young woman who'd prostituted herself for money and gifts (a phenomenon known as enjokosai in Japan), making him think about how the affair had abruptly ended.
I did a rough draft, got lots of helpful feedback from my Gotham classmates, did a revision that my teacher, Michael Backus, thought was a big improvement, but then I was stumped. A lot of people had a problem with the ending. I like story endings to be suggestive rather than didactic, but it's hard to achieve without coming off sounding vague and pointless.
I put it aside for several months, and over the next few years I went back to it again and again, reworked it and sent it to other people to read. The writing became clearer and more polished, and a lot of people thought it was good. But the problem of the ending and the significance of the hair in my story came up again and again. I wanted the repeated appearance of the hair in Stranded to allude to the randomness of life, but it seems that, even though life is random, in fiction, randomness doesn't work. I eventually put my artistic concerns aside, bit the bullet and added a plot line that explained the appearance of the blonde hair.
In 2011, I started to send it out to different publications and competitions in Australia. I thought I had a good shot at some of them, so was crestfallen when the rejections rolled in, one after another. Even though I'd heard from other now quite famous authors that they also had dozens of rejections before they were finally published, I was still crushed when it happened to me. The failures felt personal—it was as if they were rejecting me.
At the same time, I was editing the story and writing different endings. I started to keep a spreadsheet to keep track of all the publications/competitions I was sending it to. It seemed like I had sent it to twenty places before it was finally accepted, but in reality I only sent it to five:
The ending was a persistent problem, and I now realise it was because I wrote the story without a "message" in mind. I shied away from writing a short story with a message or moral, because it struck me as fake, and I wanted readers to make their own interpretation of the story. But now, after reading a lot of guidebooks on writing and critiquing a lot of stories, I realise that nearly all good stories have some sort of a message—but the best ones have a message that's hidden in the story and isn't obvious.
I finally decided to write an ending that cast a sort of moral judgement on the Japanese businessman, Mr Takeda. I personally preferred an earlier ending I'd written, and Kris agreed with me, but I decided to take a risk. I sent it the inaugural Margaret River Short Story competition minutes before the 5pm (in WA) deadline on New Year's Eve 2011, and didn't think about it for a while. I had toughened up as a writer, and no longer expected success. So I was delighted to get an email seven weeks later saying my short story had been shortlisted in the competition, and would be published in an anthology put out by Margaret River Press. A couple of weeks after that I received a phone call saying that I'd been awarded second place! Interestingly, the editor who chose the stories and awarded the prizes, author and Edith Cowan University academic Richard Rossiter, commented about my story that "in spite of the ending"... there is "little sense of moral judgement for Mr Takeda's transgression":
Set in Japan, Christine Piper's Stranded is a tightly written account of an affair between an older man, Mr Takeda, and a (much) younger woman, Naoko. He pays her for both sex and company. They have little in common except for one thing. As Naoko says, 'We're two loners, aren't we?' The title brings together the erotic elements of the affair—a strand of blonde hair, representing the sort of woman who is probably not available to Mr Takeda—and the conclusion. Mr Takeda is on his way to see Naoko with an expensive Christmas gift, a Hermès bag. He is very excited by his purchase and the anticipation of seeing his young lover, but the world changes when he catches sight of himself in a display window: 'a greying man holding a brightly wrapped gift'. This is a very economical story with a strong sense of character and place. It interrogates the values of appearance and surface, with little sense of moral judgement for Mr Takeda's transgression—in spite of the ending.
You can read my short story, Stranded, in the fiction anthology Things That Are Found In Trees and Other Stories (Margaret River Press, 2012). It's only $13.99 plus $2 shipping: www.margaretriverpress.com/catalogue/fiction/things-that-are-found-in-trees-and-other-stories
Or you can buy it in eBook format for $4.09: www.kobobooks.com/ebook/Things-that-found-trees-other/book-3J6kiRvkb06dLR5v9hh__g/page1.html?s=Dr9IM1dqb0KcFjoZyQpxEQ&r=1
I'll be doing a short reading at the Sydney launch of Things That Are Found in Trees and Other Stories.
Where: Gleebooks (upstairs, 49 Glebe Point Rd, Glebe) When: Saturday July 7, from 4pm RSVP online: www.gleebooks.com.au/default.asp?p=events/2012/jul/Launch-A-Taste-of-Margaret-River-an-afternoon-of-food-and-wine-and-literature_htm or phone: 02 9660 2333 What: Double launch -- the fiction anthology Things That Are Found in Trees and Other Stories & the cookbook Chefs of the Margaret River Region... because fine fiction and fine food go so well together!
In Editing, Fiction, Japan, Short stories, Writing Tags creative writing, enjokosai, Fiction, Gotham, gotham writing, Japan, short stories, short story, Stranded, Things That Are Found In Trees, writing fiction
Inside the Iowa Writers' Workshop summer fiction course
August 1, 2011 Christine Piper
Someone recently asked me to write about the "inner workings" of the Iowa Writers' Workshop and the summer program in particular. As I recently wrote an acquittal report for the funding I received from the Copyright Agency Limited (www.copyright.com.au) to attend the special 3-week May session in fiction at Iowa, I thought it might be of interest to others thinking of applying for this course in the future. What I've written is fairly dry, but I have gone in to some detail about what goes down during class. I hope it's of some help:
Structure of the course: There were 10 students in the course, and during the three weeks we met as a group with our teacher twice a week (on Tuesdays and Thursdays, from 2pm to 5pm). Our first group session was a general introduction session, but in the following five sessions we workshopped students' stories. At each session we workshopped two students' stories (up to 35 pages or 10,000 words each), meaning that each student only workshopped once over the three weeks, for a little more than an hour each (about 1 hour 10 min). The student handed out copies of their story in the session that preceded their scheduled workshop, and in that time we were required to read each story at least twice, then write a page of comments to give to the student. (I was happy with the feedback I received on the 8,300-word novel extract I workshopped—although I would have liked more detail in some cases, overall I thought everyone's observations were quite astute.) Each week, the teacher also handed out essays about the writing process that we then spent discussing for 20-30 minutes in the following class.
My favourite part of the course was the round-table discussions we had when workshopping students' stories. Although I have since learned it is par for the course for creative writing workshops in the United States, it was the first time I had been in a creative writing group where the author has been a "fly on the wall" while others are analysing his or her story. (My experience at creative writing courses in Australia has been that participants direct questions at the author while discussing his or her story.) During the one hour in which we dissected each story, the author was not allowed to say or ask anything. This is an effective mode of operation as class participants are less likely to verbally censor themselves and more likely to enter into a deep discussion about the story's themes. At the end of the hour, the author had about 10 minutes to ask specific questions.
My fellow students: One of the most rewarding aspects of attending the course was finding a like-minded group of writing peers. The 10 students in this year's course were an impressive and diverse group of people, including: a New York Times journalist who was awarded the Pulitzer Prize for Investigative Reporting in 2008 for investigations done in China; a New Zealander currently teaching at a university in Oman; a Vietnamese-American completing his PhD in English literature; a former Beijing journalist who immigrated to the United States 15 years earlier; a retired engineer; and a current student of the Master of Fine Arts (creative writing) course at the Iowa Writers' Workshop.
Our teacher: The Iowa Writers' Workshop is known for the calibre of its teaching staff, and the teacher who taught our three-week course, Lan Samantha Chang, was no exception. Lan Samantha Chang is the author of two novels and one novella/short-story collection. She is also a 1993 graduate of the Iowa Writers' Workshop and has been Director of the Iowa Writers' Workshop since 2005—the first woman and the first Asian-American to hold the position.
The fact that Lan Samantha Chang was teaching this year's Special May Summer fiction session was a huge drawcard for me, as she has written a historical fiction novel (Inheritance, 2004) loosely based on her family's experience, and she is also well placed to advise about publishing opportunities, fellowships and further training in the US.
During the workshop sessions, Lan Samantha Chang was adept at leading the class into deep discussion about each student's story. Although she was incredibly busy organising the Iowa Writers' Workshop 75th Anniversary Reunion (to mark the 75th year since the start of the Workshop) on June 9 to 12, 2011 http://iww75th.uiowa.edu/reunion.html, Samantha Chang put aside time to meet each student in our course for a one-hour one-on-one session to discuss any problems or queries we had. During my meeting with her, we brainstormed possible plot ideas for my novel together. I also inquired about the value of me applying for the Iowa Writer's Workshop Master of Fine Arts degree in the future (after completing my doctorate at UTS). She said if I had published a book there would be no point in applying for the MFA at Iowa, adding that she thinks I will be able to publish my novel in a few years' time.
Being part of a tradition: The Iowa Writers' Workshop is the oldest creative writing course in the United States (it was established in 1936, although "verse-making" was taught at the University of Iowa as early as 1897) and possibly the oldest in the world. Because of the Workshop's long history, during my three weeks studying at the Workshop I was buoyed by the knowledge that I was part of a creative writing tradition. I spent hours perusing the bookcase in the Glenn Schaeffer library that contains all 3,500 published books by former students of the course, included those written by esteemed alumni such as Tennessee Williams, Raymond Carver, John Cheever and Michael Cunningham.
I was also able to use the University of Iowa library facilities and borrowed Master of Fine Arts theses written by previous students, including Paul Harding (2010 Pulitzer Prize winner), Robert Olen Butler (1993 Pulitzer Prize winner), Jane Smiley (1991 Pulitzer Prize winner), Australian author Nam Le (2010 PEN/Malamud Award winner) and John Irving (author of The World According to Garp and The Cider House Rules). The most impressive was Flannery O'Connor's thesis, which she wrote in 1947 at the age of 22. O'Connor is widely regarded as one of America's best short-story writers, and when I read the stories she wrote for her Masters thesis at Iowa I was astonished by the complexity and maturity of her voice, and the difficult themes (such as racial discrimination) she chose to tackle at such a young age. At 22, she had the voice of a much more mature, experienced writer—and this realisation both inspired and daunted me.
Literary tradition in Iowa City: Although I was slightly apprehensive about staying in what I thought would be a small Midwestern town, I was pleasantly surprised to discover Iowa City is a fairly cosmopolitan city of 70,000 residents with a vibrant literature and arts culture. It's the sort of place where people read Penguin classics in the park and have The Wall Street Journal delivered to their homes. Iowa City is also one of four UNESCO "Cities of Literature" worldwide (the others are Edinburgh, Melbourne and Dublin), meaning literature, drama and/or poetry play an important role in the city (http://cityofliteratureusa.org). When I wasn't in class, I attended readings at the famous Prairie Lights bookstore (www.prairielights.com), which opened 1978, and perused the shelves of the three second-hand bookstores located downtown.
Activities outside class time: As 70 per cent of the students in my course did not come from Iowa City or nearby, we spent a lot of time in each other's company and continued the workshopping process outside of class. We also spent time at the grungy Fox Head Tavern, known as the favourite haunt of Writers' Workshop students and teachers.
Negative experiences: It is difficult for me to name negative experiences that arose from my attendance at this course, but if any it is related to the inadequacy of information given to me before the start of the course. Despite calling the university a month before my arrival, I still encountered difficulty trying to discover information such as the cost of the course, the exact day the course would begin and end (I only discovered this after arriving in Iowa) and how many face-to-face hours the course involved—I was transferred to four different sections of the university during my phone call but was still unable to have all my questions answered.
I gratefully acknowledge the funding I received from the Copyright Agency Limited (www.copyright.com.au) that allowed me to attend the Iowa Writer's Workshop Graduate Summer Program Special May Session in Fiction.
In Fiction, Short stories, Writing Tags CAL, Copyright Agency Limited, creative writing, Iowa, Iowa City, Iowa Writers' Workshop, Samantha Chang, University of Iowa, Workshop
May 17, 2011 Christine Piper
In creative writing circles, the Iowa Writers' Workshop at the University of Iowa is known as the writer's Mecca. Why? Because it's the top-ranked Master of Fine Arts (creative writing) program in the United States. Here, I talk about the process of applying and being accepted as an international student in the 3-week creative writing program.
In Fiction, Short stories, Travel, Writing Tags CAL, Copyright Agency Limited, creative writing, fiction writing programs, international student, Iowa Writers' Workshop, MFA, University of Iowa
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Q: How to inject HTTP call using mono.cecil I am trying to push HTTP call using mono cecil but getting issue while caling
Actual Code in C#:
var res = client.GetAsync(urlParameters);

Converted using https://cecilifier.me/
    var lv_res32 = new VariableDefinition(assembly.MainModule.ImportReference(typeof(System.Threading.Tasks.Task)));
    CodeInsight_WorkThreadFunction_.Body.Variables.Add(lv_res32);
    var Ldloc33 = il_CodeInsight_WorkThreadFunction_.Create(OpCodes.Ldloc, lv_client13);
    il_CodeInsight_WorkThreadFunction_.Append(Ldloc33);
    var Callvirt34 = il_CodeInsight_WorkThreadFunction_.Create(OpCodes.Callvirt, assembly.MainModule.ImportReference(TypeHelpers.ResolveMethod("System.Net.Http", "System.Net.Http.HttpClient", "GetAsync",System.Reflection.BindingFlags.Default|System.Reflection.BindingFlags.Instance|System.Reflection.BindingFlags.Public,"", "System.String")));
    var Ldloc35 = il_CodeInsight_WorkThreadFunction_.Create(OpCodes.Ldloc, lv_urlParameters10);
    il_CodeInsight_WorkThreadFunction_.Append(Ldloc35);
    il_CodeInsight_WorkThreadFunction_.Append(Callvirt34);
    var Stloc36 = il_CodeInsight_WorkThreadFunction_.Create(OpCodes.Stloc, lv_res32);
    il_CodeInsight_WorkThreadFunction_.Append(Stloc36);

This code generate these IL
|       > IL_0000: ldloc V_2
|       > IL_0000: ldloc V_1
|       > IL_0000: callvirt System.Threading.Tasks.Task`1<System.Net.Http.HttpResponseMessage> System.Net.Http.HttpClient::GetAsync(System.String)
|       > IL_0000: stloc V_3

And when I run the code I am getting below error:
Hello from OtherUnhandled exception. System.InvalidProgramException: Common Language Runtime detected
an invalid program.
   at QualityInsight.CodeInsight.WorkThreadFunction()
   at System.Threading.ThreadHelper.ThreadStart_Context(Object state)
   at System.Threading.ExecutionContext.RunInternal(ExecutionContext executionContext, ContextCallback callback, Object state)
--- End of stack trace from previous location where exception was thrown ---
   at System.Threading.ExecutionContext.RunInternal(ExecutionContext executionContext, ContextCallback callback, Object state)
   at System.Threading.ThreadHelper.ThreadStart()

Can anyone help here...

redpajama_set_name: RedPajamaStackExchange


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Home » UK » England » Beeston Castle
Beeston Castle: Buried Treasure and Beautiful Views
Beeston Castle, in Cheshire, England, enjoys a truly remarkable view over the rolling Shire counties and the lush green hills of North Wales.
Many castles are built on rocky outcrops, but Beeston takes this to an extreme: it's balanced upon a huge crag of sandstone that offers breathtaking vistas over (apparently) eight different counties.
Beeston was originally built as a bastion of power for the Earl Ranulf of Chester. As it's a little-out-of the way, it was never a site of significant historical importance, but it's steeped in persistent rumour – persuasive legends tell of the buried treasure of Richard II, who hid bags of gold somewhere on-site.
Today, English Heritage lavish the castle with the attention it deserves, and the site is open to the public.
I thought I'd give you a flavour of Beeston Castle by giving you four tall (but true!) tales from the castle's history. So here we go..
A modern bridge leading visitors into the main castle. Credit: Paul Albertella, CreativeCommons (CC BY 2.0).
4. Beeston Castle: Inspired by castles of the crusades
Beeston Castle was built in the 120s by Earl Ranulf of Chester – a gifted fighter, and a favourite of King John of England. Ranulf was an experienced soldier, and had battled within the Fifth Crusade, defending the Christian faith. Resultantly, as a reward for his loyal service, Earl Ranulf was gifted with the lands around Beeston Castle.
Fertile farmland surrounds – as viewed from the castle. Credit: Berit, CreativeCommons CC BY 2.0.
After King John's death, the throne passed to his infant son Henry – and England was governed by Henry III's crooked advisors. One of these advisors, Hubert de Burgh, was particularly corrupt. He began confiscating lands from English nobles to constrain their power – and Earl Ranulf feared that his property was next in line.
To protect his land, his family, and also to show his power, Earl Ranulf decided to build a mighty castle. And so Beeston was born.
The design of Beeston Castle, it's alleged, was inspired by the fortresses and castles that Earl Ranulf had encountered during the crusades. Unusually – as was the 'new' fashion – the castle was equipped with no discernible castle Keep – instead, he built sizeable outer and inner baileys.
In addition to this unique design, the inner bailey of the castle was further fortified with a deep, nine metre, inner ditch – a unique additional line of defence, common within crusade fortresses in Eastern Europe. The original round, flanking towers of the castle would also have bourne similarities to crusader castles.
3. A Castle Further Fortified in Early Modern Times – but Destroyed During the Civil War
Beeston Castle enjoyed a relatively tranquil history up to the English Civil war. Its rural spot meant that it wasn't too closely intertwined with national politics, or any form of local battle – most of these shenanigans were fought out in neighbouring Chester.
This photo gives some sense of the scale and size of the castle walls. Credit: Wendy Mann, CreativeCommons CC BY 2.0.
During Medieval times, the castle passed from hand to hand, and was fortified and strengthened by Henry III, and then by Edward I, who used the castle as a base before proceeding to Chester to engage in his successful capture of Wales.
After the 1400s, Beeston's out-of-the-way location meant that the castle fell into ruinous slumber, unaffected by goings on elsewhere in England. The beginning of the English Civil war in the 1600s, however, changed all that.
The start of the Civil War transformed Beeston from a rural outpost to a strategic goldmine. This was as the castle, from its rural position, was in commanding distance of strategic sites which included Chester.
Beeston made a desirable base for armies seeking to capture some of England's most important cities. Resultantly, in 1643 (when the Civil War began) the Parliamentary forces rushed to the castle to secure its defences and to station themselves against any Royalist attacks.
Beeston certainly had impressive defensive potential – look at these strong walls, the round turrets and the deep, rocky moat. Credit: Credit: Paul Albertella, CreativeCommons (CC BY 2.0).
During the Civil War, control for the castle was hard-fought. Multiple battles meant that the castle passed from Parliamentarian hands, back to besieging Royalists, then back to the Parliamentarians, and then again to the Royalist cause.
Indeed, the Royalists held the castle until King Charles I had been captured (at which point, of course, the war was over). They then surrendered the castle, in a terrible state.
Sources tell us that the Royalist sympathisers last to leave the besieged castle were so desperate for food that they were forced to eat cats. Yowl.
When the castle finally surrendered, Parliament ordered a 'slighting' – as it had done for so many other British castles. This was an intentional destruction of the castle's defensive outposts, to prevent any further uprising.
A bleak view of the ruins of Beeston Castle. Credit: Berit, CreativeCommons CC BY 2.0.
2. Myths of Buried Treasure in Beeston Castle Well
One rumour – which seemingly won't go away – is that a vast buried treasure is hidden somewhere in Beeston Castle.
The story goes that Richard II secured bags and bags of gold somewhere in the castle – most likely in the deep well – and that these riches are still hidden to this day. (If you're wondering why Richard II never collected the booty, he secured the bags, left for Ireland, and was promptly murdered in 1399).
In the age of the internet, speculation has become frantic, and over-eager whisperers have put insane values upon this hidden treasure of anything up to $1billion. Ridiculous! 🙂
The whole thing looks a bit suspect, especially because historical records show that Henry IV reclaimed gold from Beeston Castle during the c15th.
However, to be fair to this crazy story, there's some truth in it: Richard II did commonly hide treasure in castle wells. In addition, Beeston Castle has well that's thought to be more than 124m deep, and which has never been explored fully. Added to that, secret passageways and tunnels have been uncovered within the well, although no treasure has been uncovered as yet.
The rolling hills, viewed from atop Beeston Castle. Credit: Wendy Mann, CreativeCommons CC BY 2.0.
English Heritage – as a serious heritage organisation – are usually quite distasteful of wild myth and rumour. However, they've dedicated quite a bit of time to exploring this old legend, to the extent that they recently lowered cameras into the well to identify the blockages, and to try and see any changes in stone-work. So perhaps these myths aren't as odd as they originally seem. . .
There's another, even odder myth attached to Beeston Castle – a prophecy that, one day, the castle will save the whole of England. This prophecy evidently hasn't come true as yet — but, who knows what could happen, eh?!
1. A Strange Tale of Follies and Kangaroos
Beeston Castle has also inspired some eccentric characters. The Victorian aristocrat John Tollemache purchased the castle and the surrounding estate in 1840, and was absolutely enchanted with the ruined majesty of the old castle. However, in extravagant Victorian times, simply restoring the old castle wasn't enough for Tollemache.
Note the different colour of the bedrock layer of Beeston Castle. Credit: Berit, CreativeCommons CC BY 2.0.
Tollemache decided to build his own, mock-castle residence on a the hill opposite Beeston Castle. He called this folly 'Peckforth Castle', and spent £52,000 on its development – an absolute fortune, especially in those times. The two 'castles' were designed to complement each other – mimicking each other across the ravine – both sporting large sandstone towers, defensive crenellations, and deep, dry, rocky moats.
The whole concept rather has overtones of another massive folly built across the valley from an existing castle – Neuschwanstein Castle in Bavaria, Germany.
Anyway, nowadays, Peckforth Castle is a venue for hospitality, although it's been badly damaged in recent years by fire.
Tollemache was evidently extremely eccentric, and his eccentricities continued with the annual Beeston Castle Fete, that was organised from the mid 1800s (and continues to this day). The fete was held in the castle, and was originally intended to raise money for neighbouring widows and children, as part of the Victorian fetish for the 'deserving poor'.
However, truly bizarrely, one of the star attractions of the fair were imported kangaroos, brought to Britain to live (probably in considerable discomfort) within the castle ruins. Perhaps Tollemache wanted to achieve the ambience of some surreal Victorian fairytale — but I can't imagine anything stranger.
The modern entrance building, which you'll encounter as you enter Beeston Castle, was built in Victorian times, in a mock-Medieval style. The purpose of the building was for ticket-clipping Victorian tourists coming to the site – either to tour the castle, or to experience one of the legendary fairs.
If you've enjoyed this piece on Beeston Castle, I think you might also enjoy reading about the ruins of one of England's most notorious old castles. Alternatively, I've written about lots of other castles in England.
Visiting Beeston Castle:
The castle affords brilliant view of the countryside, so go on a clear day
The site is well managed by English Heritage
There's ample parking, although this is charged
There is interpretation, guidebooks, toilets, and a small gift shop
Beeston Castle is an incredible English castle, boasting brilliant views and the secret promise of buried treasure. Are you able to finally find it?


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Lucy Angela Hughes-Hallett (born 7 December 1951) is a British cultural historian, biographer and novelist. In November 2013, she won the Samuel Johnson Prize for nonfiction for her biography of the Italian writer  Gabriele D'Annunzio, The Pike. The book also won the 2013 Costa Book Award (Biography) and the Duff Cooper Prize.

Biography
Lucy Hughes-Hallett has written three works of nonfiction: Cleopatra, Heroes and The Pike: Gabriele d'Annunzio.
She has also written a novel, Peculiar Ground, set partly in the 1660s and partly during the Cold War. In her collection of short stories, Fabulous, she reimagines stories from classical mythology, the Bible, and folklore, setting them in modern Britain.

Hughes-Hallett was a Vogue Talent Contest prizewinner in 1973 and subsequently worked for five years as a feature writer on the magazine. In 1978 she won the Catherine Pakenham Award for Young Female Journalists for a profile of Roald Dahl. Since then she has written on books and arts for all of the British broadsheet newspapers including The Sunday Times and The Guardian. She was television critic of the London Evening Standard for five years.

She has judged the WH Smith Award, The Duff Cooper Prize, The Encore Award, the RSL Jerwood Award, the Rathbones Prize, and the Hawthornden Prize.

In 2021 she was the Chair of the Judges of the International Booker Prize.

She is a fellow of the Royal Society of Literature and an Honorary Fellow of the Historical Association.

In 1984, she married publisher Dan Franklin. They have two daughters.

Selected publications
 Hughes-Hallett, L. (1990). Cleopatra: Histories, Dreams and Distortions. New York: Harper & Row.
 Hughes-Hallett, L. (2004). Heroes: Saviours, Traitors and Supermen. London: Harper Press; Heroes (no subtitle), New York: Alfred A. Knopf
 Hughes-Hallett, L. (2013). The Pike: Gabriele D'Annunzio, Poet, Seducer and Preacher of War, London: Fourth Estate; Gabriele d'Annunzio: Poet, Seducer, and Preacher of War, New York: Alfred A. Knopf
 Hughes-Hallett, L. (2017). Peculiar Ground: A Novel, London: Fourth Estate
 Hughes-Hallett, L. (2019). Fabulous: Stories, London: Fourth Estate

References

1951 births
Living people
Fellows of the Royal Society of Literature
Alumni of the University of London
People educated at St Mary's School, Calne

redpajama_set_name: RedPajamaWikipedia


Though Ireland's top contemporary dance artists (some of whom are practitioners for more than two decades) had never heard her name until very recently, she has lived on in the memories of those she taught, inspired and came into contact with her. Born in Bad Homburg vor der Höhe, Germany in May 1891, her father, Terence Brady was from Cavan, Ireland, and her mother, Elisabeth Wendland, was German.
When Erina Brady was in her twenties, the Republic of Ireland was emerging as a new nation and recovering from civil war. On the continent, Erina was writing articles for the Swiss press, canvassing for Irish self-determination. She got a job with the new Irish government as a typist with the League of Nation in Geneva. Her father, who made sure that his cosmopolitan daughter had a grasp of the Irish language, was the guiding force behind this.
Erina came to modern dance through Dalcroze Eurhythmics and the movement choirs of Rudolf von Laban. Around 1920 she encountered the challenging work of Mary Wigman, the founder of psychologically intense Ausdruckstanz, who would quickly become her guru. Trainingwith these greats in Dresden, Erina Brady watched them perform, met them first hand, and became deeply influenced by their epic modern choreographies.
In a 1941 article about a modern dancer named Erina Brady, found by Jim Brady in the biscuit tin, another relative he had never heard of, her father, Terence Brady is described as "a lecturer in Greek in Latin". However, it has since emerged that in fact this black sheep of the prominent Cavan family left the priesthood in 1888 to marry a young German woman he met in the USA on a fundraising trip for St Patrick's boys' school, Cavan, of which he had been Dean, and Bursar. Elaborating on Erina's Cavan background Jim Brady reveals: "The priest leaving the priesthood wouldn't have gone down well. I'd imagine that in the 1940s it was a little bit of a shock to find this lady coming from Germany and saying that I'm the priest's daughter".
When she arrived to Ireland before the outbreak of World War Two, Erina was going to bring news of her father's recent death to his Cavan family, and she hoped, reconciliation. With this in mind, soon after her arrival, Erina visited her eldest living relative, cousin Tom, who was a bank manager, in Navan. According to Brady family lore, he notoriously slammed the door in her face.
But Erina did not let this harsh experience deter her from her idea of setting up her Irish School of Dance Art at 39 Harcourt Street, beginning by getting her children's classes going. She recruited both Catholic and Protestant little students, to whom she imparted her ecumenical philosophy of free body movement.
One of these tiny 1940s pupils, Elizabeth Moore shares that "in my mind even though I was very young. I can see that studio. You went in, changed in the little cloakroom, went down a passageway and opened a door into this big, bright studio – indeed which Erina lived in because there was a little bed in a niche in one wall".
Erina was just one in a wave of refugees to neutral Dublin, fleeing the war, and mixed happily in the thriving Bohemian milieu of "Emergency" Dublin. (A state of "Emergency" was declared in Ireland when World War Two broke out, and the era was officially referred to as "The Emergency"). Because Dublin, like Lisbon, and Switzerland, was neutral during World War Two, it attracted a racy international crowd. These Bohemian refugees naturally invited suspicion from the Irish Department of Defence, who were keen to safeguard Irish neutrality.On the one hand, Erina's flamboyance, secrecy, and German background gave rise to suspicion. But on the other hand, Erina found kindred spirits in 39 Harcourt Street which was full of interesting Irish artists who warmly embraced her, as one of their own. Hugh Barden, for example. He made sets for Erina's shows, and became a life-long friend. Another ofErina's housemates was film-maker Liam O Laoghaire, who founded the Irish Film Society. An Irish language enthusiast at the time, O Laoghaire was enthralled by this exotic woman who turned up from Germany full of Irish patriotism and able to speak Irish.
Initially the Department of Defence mistook Erina for a well known spy and "letterbox" (a person who re-posted letters). Detective James McGuire intercepted Erina's May 24th, 1941 postcard inviting the Hempels – the German Legation to Dublin - for tea to her studio. You never would have guessed it from her youthful appearance, but it was the week of Erina's 50th birthday. Frau Hempel had young children, and was interested in promoting the holistic German dance of expression taught at Erina's Irish School of Dance Art. Unfortunately for Erina, her intercepted invitation coincided with the bombing of Dublin's North Strand by the German Luftwaffe, when Dublin was mistaken for Liverpool and many Dubliners were killed. As far as the detectives were concerned, this unfortunate coincidence gave them more cause to suspect that Erina's so-called dance school could possibly be a front for something much more threatening to Ireland.
"Although the source or extent of her income cannot be ascertained, apart from school fees she appears to have plenty of money, and I have been informed that she sometimes entertains lavishly, giving what is known as "Bottle and Pyjama" Parties at her flat", notes McGuire on 23 June, 1941.
Politically, like a country in neutral gear, "Emergency" Ireland could go in any direction. On the one hand, people feared a German invasion, on the other, that the British might take over once more. While the Irish Department of Defense were on edge, artistically, Dublin became a hotbed of cutting edge Modernism. Erina was at the centre of this milieu, which included The White Stag Art Group, under the leadership of avant-garde painters Basil Rakoczi and Kenneth Hall.
Rakoczi was also monitored by the detectives. Others in their milieu were interned in the Curragh, and some were even deported on suspicion of anti-Irish activity. Erina's friends and fellow bohemianswere pacifists, who came to Ireland from Britain to avoid the war. Referred to by many in Dublin as the "corduroy panzer brigade", The White Stag Art Group practiced what they called "New Subjectivity" in their modernist art, and attracted Irish artists into their circle. Erina was best friends with Rakoczi, and would open his exhibition of Irish landscapes in 1945. They were interested in all aspects of the human being and started a "Society for Creative Psychology" in Dublin. Young Irish artist Patrick Scott also first exhibited his work with the White Stag Art Group.
The momentum was building towards her ultimate goal of creating the Erina Brady Dance Company of her dreams. To this end, she gave "dance demonstrations" around Ireland, accompanied by Jacqueline Robinson. Through Park House Protestant School, Erina was delighted to find 17 year old June Fryer, another dancing star who would help to realise her vision of holistic modern dance for Ireland. June would become Ireland's first modern dancer.
In May 1945, when the war in Europe was finally coming to an end, Eamon De Valera was still walking the tightrope of neutrality, offering controversial condolences to Edouard Hempel, the German representative to Ireland, on the death of Adolf Hitler. Soon after, as Ireland's Tuberculosis epidemic raged, modern dance seemed to be going mainstream when De Valera opened Erina Brady's choric dance fantasy, "A Propaganda Ballet Against Tuberculosis", on May 28th, 1945. The production was part of the Irish Red Cross Society's Tuberculosis Exhibition at the Mansion House.
After the war, Ireland was hurtling headlong into the dark ages of the repressive 1950s in which Erina Brady's holistic ideals of modern dance and the body hadn't a hope. Unfortunately that Bohemian exodus included Erina's now worldly young hopefuls, June and Jacqueline.
Despite her best attempts to get the seed she had planted to take hold, by setting up a Dublin Dance Theatre Club in 1948, not even the Trojan modernist Erina Brady could sustain her vision now. In a last ditch effort, she decided to take her work to London. In Spring 1948 she brought her Erina Brady Dance Group to debut The Voyage of Maeldune at the Rudolf Steiner Hall in London. Alas, instead of the great launch, and beginning she hoped for, this would be their last performance together.Erina did her best to hide her disappointment as her two great hopes left her: June took up further training with Sigurd Leeder and went to teach at Oxford Theatre School. Jacqueline went first to Nottingham, and then to Paris where she would set up L'Atelier de la Danse.
Erina had pulls towards Brione, Switzerland, where her elderly mother lived in the eponymous Casa Erina. This is where Erina eventually returned, giving up on Ireland. Erina was as secretive about her personal life as she was about her family history. All we know for sure is that her good friend Hugh Barden visited her from time to time. Erina Brady died quietly in Switzerland in 1961 at the age of 70.
There are at least fifteen contemporary dance companies in existence in Ireland today – all of which are the inheritors of the great Erina Brady.
Deirdre Mulrooney lives as a freelance journalist and a documentary maker in Dublin. This text is based on her hour long documentary on Erina Brady entitled "Dance Emergency" for TG4 (Jan 2015). Her half hour documentary "1943 – A Dance Odyssey" was broadcast on RTE One (April, 2013). She wrote a book about German choreographer Pina Bausch and a history of dance «Irish Moves».
This text was kindly provided by the German magazine TANZ where it was published in April 2015.


text:
Skip to main content D.C., Md. & Va. The District Maryland Virginia Local Crime & Public Safety Local Education Obituaries Local Transportation Weather
Prez of state education board resigns from county commission
By Ovetta Wiggins
Ovetta Wiggins
Local reporter covering Maryland state politics
Charlene M. Dukes, who was recently elected president of the state Board of Education, has stepped down as a member of a commission that was created to advise Prince George's County Executive Rushern L. Baker III on education policies.
Christian A. Rhodes, a top advisor to Baker on education issues, said Dukes resigned because she did not want to have conflict of interest by serving in both positions.
Dukes, who is also president of the Prince George's Community College, has been replaced by Leslie T. Fenwick, the dean of education policy and leadership at Howard University School of Education.
Fenwick has more than 25 years of experience in higher education, public policy, philanthropy and urban PK-12 schools, according to her bio on the university's Web site. She served as associate dean of the school of education and chair of the department of educational leadership at Clark Atlanta University, where she worked for 13 years.
The board, which has met twice since Baker made his appointments, has been discussing its charges, including developing an outreach agenda to improve the school system's image and working with education experts to study "evidence-based and other education innovations occurring in the state and across the country."
Members have talked about ensuring that their work does not conflict with the work of the Board of Education, noting that they are also trying to engage residents who may not have children in the school system.
Future agenda items: What should Baker's role be in the county's education system?
The commission meets the last Tuesday of each month at the County Administration Building.
Ovetta Wiggins Ovetta Wiggins covers Maryland state politics in Annapolis. She came to The Washington Post in 2003 and previously worked at the Philadelphia Inquirer and the Bergen Record in New Jersey. Follow
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text:
POLOS AUTO BODY INC
1. Facility Overview
2. Facility Location
GILBERTO L FLORES
Address: 23 Pleasant Street, New Rochelle, NY 10801
POLOS AUTO BODY INC (Facility# 7124589) is a health facility registered with New York State Department of Motor Vehicles (DMV), Vehicle Safety Services.
Facility Number 7124589
Facility Name POLOS AUTO BODY INC
Owner Name GILBERTO L FLORES
Street Address 23 Pleasant Street
County WEST
Facility License Type
Original Issuance Date
Last Renewal Date
Repair Shop Body (RSB)	 2018-09-25 2020-08-31
City NEW ROCHELLE
Search nearby facilities on maps
Click to show facilities on Google Maps
Facilities in nearby locations
SAFEWAY COLLISION	 5 Pleasant St, New Rochelle, NY 10801 D&G AUTO REPAIR INC
SAFEWAY TOWING	 5 Pleasant St, New Rochelle, NY 10801 ELITE TOWING & FLATBEDDING CORP
RUDY AUTO BODY	 23 Pleasant St, New Rochelle, NY 10801 RODOLFO FRANZE
PROFORMANCE INDUSTRIES	 55 Plain Ave, New Rochelle, NY 10801 DENT ERASER INC
PALMER AVENUE TOWING CORP	 41 Potter Avenue, New Rochelle, NY 10801 GEORGE J MANGANIELLO
ACURA OF WESTCHESTER	 2155 Palmer Av, Larchmont, NY 10538 WESTCHESTER AUTOMOBLE CO INC THE
NEW ROCHELLE AUTO BODY INC	 43 Potter Ave, New Rochelle, NY 10803 FRANK R BOMBACE
EAST COAST AUTO BODY INC	 4 Valley Pl, Larchmont, NY 10538 SILVANO ANGILLETTA
LASER FRAME AND BODY REPAIR	 74 Potter Av, New Rochelle, NY 10801 MARTIN P GOLDSMITH
NOTOS AUTO REPAIR INC	 62 Potter Av, New Rochelle, NY 10801 ANTHONY NOTO
Please comment or provide details below to improve the information on POLOS AUTO BODY INC.
Data Provider New York State Department of Motor Vehicles (DMV), Vehicle Safety Services
This dataset includes 38 thousands vehicle safety service facilities that are currently licensed by the New York State Department of Motor Vehicles (DMV), Vehicle Safety Services, in accordance with Vehicle and Traffic Law. Each facility is registered with facility number, facility name, owner name, location, license issuance date, renewal date, etc.
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Bowling Green, OH (July 31, 2018) – The Wood County Committee on Aging is looking for volunteers for a Friendly Visitor program. The purpose of this program is to reduce isolation and loneliness in homebound older adults.
Volunteers will communicate and visit weekly with an older adult in Wood County, spending a minimum of four (4) hours per month with the assigned senior participant while providing emotional support and building a meaningful relationship with them.


Wheat Grass is the freshly sprouted first leaves of the wheat plant. These new leaves are packed with nutrients, antioxidants and other goodies. It contains up to 70% chlorophyll, a green pigment which works as an alkaliser.
Wheat Grass is especially high in vitamins A, C and E, as well as iron, magnesium, calcium and amino acids.