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Our school serves over 800 students in grades K-8 who come from a high poverty/low income neighborhood, and one of the most historic in the city. One hundred percent of the student population qualify for free and reduced lunch. Our staff consists of teachers who are dedicated to instilling our motto of "Si se puede" (Yes, we can) in all students.
Music is new to the school, and the community is excited about the variety of musical opportunities being provided to them.
This is the first year the school district has had a full-time certificated K-8 music teacher. My goal is to provide students with a variety of music making experiences, while building community in the school and local neighborhood. All students deserve to be provided with the opportunity of discovering what music means to them through music making activities.
I believe music can be one way to bring a group of people together. It is a way to define your identity, something that students of all age groups can use to express themselves. Offering creative outlets provides balance to people of all ages - at home, work and in the community.
This past winter, I took photos and videos of my experience at the NAMM show. When sharing my experience with my students, they really wanted to learn more about the instrument that the two men were sitting on and hitting with their hands. “That’s so cool! What is that?” many students said after we completed our daily listening activity and they viewed the video. We discussed the percussion instruments we have in our room and why the cajon belongs in the percussion family, and how it originated from Peru while our World Music Drum ensemble music originated from Africa.
Drumming not only builds community and collaboration in our classroom, but also in our entire school.
In my classroom, students have been exposed to percussion ensembles through the World Music Drumming Curriculum. In addition, a Drum Bus Program arrives in the Spring, which facilitates drumming experiences while fostering collaboration and teamwork among all participants. Because of students’ exposure to both programs, during exploration time (I have opened up my classroom before school, during lunch, and after school to those who want to play instruments) I always have to turn students away because my room can’t fit everyone. The drums, including our one drum set, are always popular instruments. The addition of these instruments will provide more students the opportunity to drum.
All we need are two hands and a wooden box. With that alone, we are able to express ourselves individually or jam with a group of people. There is no right or wrong way, just create something and have fun! An added bonus is bringing people together through music and creating a positive community at our school.
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It’s said that triathlon is not about finding out about your limits; it’s about finding out what lies just beyond those limits.
It’s a philosophy that Mike Neill, former professional triathlete, hopes to bring to Sooke with the creation of the Human Powered Racing team.
Neill is the driving force behind Human Powered Racing, an organization dedicated to the concept of creating a team approach to what is arguably one of the most singular of sports.
“There’s no question that triathlon is a very individual sport. No one can complete a race for you. It’s something you can only do by yourself … for yourself,” said Neill.
“But training for the sport, developing the strength you need for it, that’s something that’s best done as part of a team.”
It’s why Neill emphasizes the fun and social aspect of the team concept, saying that when it’s a cold, drizzly weekend morning and it’s time to go for a training bike ride, the chances of actually getting out there is exponentially higher if there are friends and teammates waiting for you to join them.
“Misery loves company,” he said with a chuckle.
The Sooke team will train out of the SEAPARC Recreation Centre on Mondays and Wednesday evenings, between 6:30 and 8 p.m. and again on weekend mornings.
Human Powered Racing is a concept that started out in Victoria in 2006 under Neill’s supervision. With the expansion to Sooke, the organization has brought on coach Rob Dibden, an original member of the Human Powered Racing team.
Dibden was the director of youth development for Triathlon B.C. and represented Canada at the Age Group World Triathlon Championships. He has also been the race director of the Triathlon of Compassion and a collection of other events.
An aspect of the Sooke team that has Dibden excited is the inclusion of a youth component, an initiative that will allow adults to train alongside their children, if they wish.
The youth team will be made up of members aged six to 17 and, although their training regimen will be somewhat different, there will be the opportunity for the adults to work with the younger team members.
“There are other triathlon groups around, but we really limit the number of people on our teams. I think it’s important that you know the people on your team, and that we develop relationships that are going to inspire us to keep going,” said Neill.
“When all is said and done, with all the training and discipline and energy required for this sport, it’s still got to be fun. That’s why we have the team. So people can train and improve while they meet people and enjoy themselves in the process,” said Neill.
Anyone interested in jooining the team can do so by contacting the organization at humanpoweredracing.ca.

domain: sports


text:
Okay. Whew. It’s March. I’m a few days away from finishing my last Brave Writer Dart of the year (this one on Nim’s Island, that utter delight of a book), and I’ve scaled back on other freelance work in order to—dare I say it?—give myself a little break. It is a long. long time since I’ve had a real break. I want to work on my new novel, finish some stitching projects, and read a lot of books.
I’ve been feeling pretty wrung out, I must admit. I just answered a lot of messages on FB and IG (and comments here) and was horrified to see some of them have been sitting for months. I didn’t mean to be rude. I was just buried.
And now, like the daffodils exploding all over my neighborhood, I’m ready to emerge. I mean, sort of. Emerge and be sociable online again, and write posts and answer comments. But in another sense, I’m thinking the nice, quiet, soaking-up-the-good-nutrients life of a flower bulb sounds like heaven. I guess I’d better scrap the metaphors and, while I’m at it, the plans. The planning!
LOL LOL LOL I just realized that what I’m saying is I’m ready for low tide!
Which is funny, because the kids and I are definitely in high tide right now. We’re reading Beowulf, Wilding, and Moominpappa’s Memoirs. Lots of good rabbit trails. Lots of geometry.
How’s this for a quote? From Seamus Heaney’s brilliant translation of Beowulf:
“He is hasped and hooped and hirpling with pain, limping and looped with it.”
Oh we lingered long over those delicious verbs. Hirpling!
And they’re the right verbs for this moment in time: the whole world, it seems, is hasped and hooped and hirpling with pain. And no epic warrior coming to set things right—it’s going to take small actions from all of us, small ripples building up into great waves.
I wish you could see the sky outside my window right now. The light—it’s like it’s shining behind and through things, a luminous wash of gold, like something from an Elizabeth Goudge novel. Oh, I know what I’m thinking of: the “tide of gold” in The Scent of Water, the light moving across rooms in Mary Lindsay’s house, rooms that had once been part of a monastery infirmary. I reread that book (again) last month and have been on a Goudge kick ever since: the light, the woods, the skylark, the shipwrecked grain coming up near the water’s edge every year. And the small thoughtful or loving actions of individuals rippling out to change others’ lives. That’s what I love most about her work: the way one nearly invisible choice, one kind word, one hand held out to another human, can set in motion a cascade of events that makes life better for a community.
August 30, 2013 @ 7:35 am | Filed under: Poetry
Seamus Heaney has died. I’m grieved to hear this; I’ll miss the poems he had yet to write.
Six years ago I wrote about how his words have burrowed into my mind and taken root there:
We went to Balboa Park again today. This time we visited the Museum of Man, lingering particularly long in the Egyptian wing. The kids were fascinated by the mummies, but I was a little bothered by the sad remains of the Lemon Grove Mummy, the body of what seems to have been a girl around fifteen years of age, possibly pregnant, curled into a fetal position. Her skin sags loosely around her old, old bones. She was found in a cave near Chihuahua, Mexico, in 1966 by two teenagers, who stole her and smuggled her home to Lemon Grove, California. Apparently she sat in a garage for 14 years because the boys didn’t want their parents to find out what they’d done. Eventually she was discovered and donated to the Museum of Man. She’s a special part of the mummy display, but I felt uncomfortable gawking at her in her glass case: it seems like a violation of her humanity for her to be cached there in public view next to the interactive media display about how scientists determined her age and origin. She’s one of several mummies there, and all the others had struck me as simply fascinating until we got to the Lemon Grove girl. Maybe it’s because she wasn’t wrapped up in linens like the Egyptian mummies. She reminded me of the Irish Bog People, and Seamus Heaney’s poems about them.
Some day I will go to Aarhus
To see his peat-brown head,
The mild pods of his eye-lids,
His pointed skin cap.
In the flat country near by
Where they dug him out,
His last gruel of winter seeds
Caked in his stomach…
(—from “Tollund Man” by Seamus Heaney.)
And that made me think of grad school, where I first read Heaney’s poems, back in the early ’90s when I had no inkling that one day I would stand in a Southern California museum, recalling those lines while watching four blonde heads peer at a long Mexican teenager in a glass case…
(From a post called “Helixes.”)
In a 2009 interview, Mr. Heaney was asked about “the value of poetry was during times of economic recession.”
The answer, he explained, is that it is at just such moments of crisis that people realize that they do not live by economics alone. “If poetry and the arts do anything, they can fortify your inner life, your inwardness,” Heaney said. At first, that may seem like a quaint observation — one of those poet-as-holy-fool lines. Yet an effort to “fortify your inward side,” Heaney explained to another questioner, can act as a kind of “immune system” against material difficulties.
He has certainly fortified mine…his poems like the straw you bake into bricks to make them strong. Like these lines from “Postscript”:
…You are neither here nor there,
A hurry through which known and strange things pass
As big soft buffetings come at the car sideways
And catch the heart off guard and blow it open.
April 17, 2009 @ 7:56 am | Filed under: Poetry
Scott just sent me the link to this LA Times article about the great Irish poet Seamus Heaney.
In a recent interview, Heaney said he was often asked what the value of poetry was during times of economic recession. The answer, he explained, is that it is at just such moments of crisis that people realize that they do not live by economics alone. “If poetry and the arts do anything, they can fortify your inner life, your inwardness,” Heaney said.
At first, that may seem like a quaint observation — one of those poet-as-holy-fool lines. Yet an effort to “fortify your inward side,” Heaney explained to another questioner, can act as a kind of “immune system” against material difficulties.
I have a collected Heaney and a collected Keats Yeats* in a basket by my rocking chair for those moments during the day when I need a little fortifying.
Even better is hearing Heaney read his poems aloud. That rich voice, oh my.
When all the others were away at Mass
I was all hers as we peeled potatoes.
They broke the silence, let fall one by one
Like solder weeping off the soldering iron:
Cold comforts set between us, things to share
Gleaming in a bucket of clean water.
And again let fall. Little pleasant splashes
From each other’s work would bring us to our senses.
(Read or listen to the rest.)
The Poetry Friday roundup is at Becky’s Book Reviews today.
*I typed Keats by mistake. I meant Yeats. I’m a rather ardent Keats fan, too, but his poems reside on a shelf, not in my rocking-chair basket. Somehow it’s the Irish poets I return to the most often, those wry observers, mouths quirked to one side. Their lush imagery and the obvious delight they take in hunting the right word, like wall-builders seeking the perfect stone to fit into the next spot, knowing all the while that the wall won’t keep the evils out entirely but will, for a time, protect a quiet space of peace. More fortification, I suppose.

domain: literature


text:
Combating crime required a progressive, multifaceted and community-driven campaign, not police arrest quotas and the unnecessary use of force.
We are a scared society, too aware of the existence of a culture of violence and of our country’s violent past. We become desensitised to crime and immune to news of murder, rape and violence – until new incidents jolt us out of complacency once more.
Marikana made us look at the use of force by the police. The Anene Booysen case reignited discussions on gender-based violence. Oscar Pistorius has brought up issues of gun control, crime and, once more, gender-based violence. His trial will turn the world’s attention to our criminal justice system and to the efficiency of our police.
In 1996, the government recognised the need for intervention and introduced the national crime prevention strategy. It took a holistic approach to the complex issues of crime, violence, safety and justice. It focused on identifying the root causes of crime and recognised that the police alone cannot be expected to address this multifaceted issue. It called on a number of departments to work together, specifically health, social development and education.
This progressive approach was reiterated in the 1998 white paper on safety and security, which defined crime prevention as all activities that reduce, deter or prevent the occurrence of specific crimes, firstly by altering the environment, secondly by changing the conditions that cause them, and lastly by providing a strong deterrent in the form of an effective criminal justice system.
But crime rates escalated in 1998. There was a public outcry; the government needed to show it was taking immediate and visible steps to address crime and that community safety was a priority.
The number of police officials increased dramatically as mass recruitment was undertaken. For the average onlooker, this made sense: Surely having more police officials would be directly related to a reduction in crime?
Yet this was not the result. The mass recruitment meant that large numbers of inexperienced individuals were given great power and responsibility. Good police officers require proper training and years of experience. Without it, the result was poorer-quality investigations, police inefficiency and abuses of power.
To show that crime was being combated, a policy was adopted of setting individual targets, monthly station targets and shift targets. Today there is intense organisational pressure on station commanders to ensure that the area they are responsible for is “performing” well.
As a result, as Andrew Faull says in Missing the Target, the police concentrated on the “need to deliver on paper rather than in practice”.
The average officer is more concerned with meeting his or her daily arrest quota than with crime prevention. This is clearly demonstrated in Khayelitsha, where the number of arrests have been inflated. There are cases, for instance, of people being arrested for carrying pocket knives, only to have the case withdrawn in court because the individuals posed no immediate danger to anybody. The quota policy means that police officers have to go out and look for reasons to make arrests, rather than seek to protect the public.
At the public hearing of the Western Cape Community Safety Bill, Gareth Newham, from the Institute for Security Studies, said that two million young South Africans have had violent interactions with the police. These individuals no longer see the police as protectors. Relationships have been severed; there has been a loss of respect for the police.
Minimum sentences for serious crimes have been increased in the hope that this will act as a deterrent to committing crime. But this is futile when criminals do not believe that they will be prosecuted.
Successful prosecution is a problem globally: DH Bayley’s 1994 study found that Canada could only solve 45% of its reported crime, Britain 35%, Australia 30% and the United States 22%. The situation has not improved much since then – Statistics Canada says that in 2010 only 42% of crimes were solved.
Locking up criminals temporarily removes them from society, but at the end of their sentences they are likely to come out of prison more involved in criminality than when they went in, not less. The longer a person is in prison, the more difficult it becomes to reintegrate into society and the individual becomes more likely to commit a crime again.
Changing the design of areas can make it more difficult for crime to take place. Local government sees this as the preferred method of crime prevention and substantial amounts of money have been invested in closed circuit television and visible policing by metro police departments. Communities that can afford it have also invested in city improvement districts, private security and electric fencing. These methods may lead to the reduction of crime in specific areas, but they do not solve the overarching problem.
For all these reasons, the Campaign for Safe Communities calls for individuals, community organisations, research institutions, civil servants, students, businesses, security organisations, faith-based organisations and non-governmental organisations to join and support it. The campaign was born out of the 2012 commission of inquiry into policing in Khayelitsha, prompted by the active complaints of the civil-society organisations involved. The campaign will be launched in Cape Town on March 27.
We need a progressive, multifaceted and community-driven campaign to improve the safety of all people in South Africa.
Daniel Hofmeyr is the co-ordinator of the Campaign for Safe Communities and a legal researcher at Ndifuna Ukwazi

domain: sociology


Cadences - Music Definition
In music theory, a cadence is the harmonic link/s at the end of a musical phrase/section/piece. It is a harmonic function, thus, related to chords and it is related to a sort of sensation of ending or pause in music. If you want to have proper music education you must know that there two kinds of Cadences. One sounds conclusive and the other one sounds suspensive.
1- Authentique Cadence (Conclusive)
Authentique cadences are cadences that describe a full tonal confirmation, in which the tonic chord generally coincides with the first beat of the measure. There are two types of Authentique Cadences: Perfect and Imperfect
1.1- Perfect Authentique Cadences
Two chords, one is a Dominant Chord (V), sometimes(not necessary) it includes a 7th. The other one is a Tonic Chord. Both chords must have the root note on the bass.
1.2- Imperfect Authentique Cadences
It works same way as perfect. In this case, one of the two chords are inverted, meaning that one of the two chords do not have the root note on the bass.
2- Plagal Cadence (Conclusive)
Tow chords: One is a subdominant chord (IV), the other one is a tonic chord (I). Both in root position. The subdominant chord may also be exchanged by a II or VI degrees.
NOTE: Plagal cadences may also imperfect if one of the two chords are inverted.
3- Half Cadence (Suspensive)
This cadence is produced with the momentaneous repose of another degree different from the Tonic (I). The most common degrees for this moment of repose are the Dominant and Subdominant, althought they may also be produced on the II, VI, III degrees.
Important Note: As you can see in the previous example, cadences may be preceded by other chords/degrees.
4- Deceptive Cadence (Suspensive)
A deceptive cadence is a progression in which the dominant chord (V) resolves to a chord other than the tonic (I). Most of the times, the dominant chord (V) will lead to the submediant chord (vi in major keys, VI in minor keys). The name “deceptive” expresses that the resolution seems to resolve in a tonic chord. Instead it leads into a different chord/degree.
Practicing and getting used to the sound of music cadences
Even if you are not a pianist, Bach Chorals will help you master the art of music cadences.


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- This event has passed.
Spring Book Sale Preview for Friends Members Only
Thu. April 12th, 2018 | 4:00pm - 7:00pm
If you’re a current member of the Friends of the Laurel County Public Library, don’t miss the special preview of the Spring Book Sale. There’s a great selection of gently used books, magazines, DVDs, audiobooks, and more.
If you aren’t a member and would like to be, you can join before you enter the sale, or by calling Susan at 864-5759.
- Thu. April 12th, 2018
4:00pm - 7:00pm
- Event Category:
- Susan Fawbush
- (606) 864-5759


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TOPEKA, Kan. (Sept. 14, 2004) – Sports Car Club of America, Inc. announced today that timing and scoring information for the 2004 SCCA National Championship Runoffs® Presented by Kohler will be broadcast live on the Internet through www.scca.com.
Beginning with practice on Monday, Sept. 20, continuing through qualifying and all 24 National Championship races from Mid-Ohio Sports Car Course, fans, friends and family can follow the progress of their favorite drivers online for the first time ever, as the action happens.
“We’re excited to continue our Live Timing & Scoring, which was a tremendous success in 2003,” SCCA Vice President of Marketing Garret Mudd said. “We thank Yokohama Tire for stepping in as the presenting sponsor, helping us continue this program for 2004.”
Like the wireless trackside iCard system and SPEED Channel television feed, live timing and scoring data will be taken from the AMB transponder system. SCCA has chosen a product developed by VFX Digital Solutions to deliver the data online. VFX has been broadcasting live timing and scoring for the SCCA SPEED World Challenge Championships since 2003, and also provides the service for the CART Champ Car World Series and Grand-Am.
For more information about the SCCA National Championship Runoffs Presented by Kohler, please visit http://www.scca.com/Club/Club.asp and select the “Runoffs” link.
Link to this article: http://www.scca.com/News/News.asp?Ref=140


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text:
NANNI BALESTRINI (1935-2019)
I close my eyes and start to sing
threads are entangled and transformed into spots whose dance moves ever more slowly
I sang my repertoire then I started monologues
with my eyes closed I walked back and forth in the cell four steps forward four steps back
I invented dialogues for two characters that spoke different languages
like at the cinema when the film ends
there are those who make love who smoke there are those who merely exist
Nanni Balestrini, the radical Italian experimental visual artist, poet, and novelist known for recombinatory, revolutionary works that borrow from mass media, has died at age eighty-three. A key figure of the Italian literary Neoavanguardia (New Vanguard, or Gruppo 63) and part of the leftist Autonomia Operaia movement in the late 1960s and ’70s, Balestrini imparted the explosive politics of that era through collage and cutup processes focused on and made with collective language. His influential texts include the poetry book Blackout (1979), recently translated into English by Commune Editions, and his first novel Vogliamo tutto (We Want Everything, 1971), which was reissued by Verso in 2016. In addition to novels, poems, and collages, he also engaged in audiovisual work, as in Tristanoil (2012), a 2,400-hour video adaptation of his influential algorithmic novel Tristano (1966) first displayed in Documenta 13.
Born in Milan in 1935, Balestrini immersed himself in the city’s proletariat circles, becoming an editor and writer at numerous working class journals. In 1968, he cofounded Potere Operaio, a group committed to factory workers. Through his participation in avant-garde movements, like the Autonomia, that centered art in their activist interventions, Balestrini achieved national importance by dissolving public and private space in literature and visual art—categories that often bled together in Balestrini’s extensive oeuvre. In 1979, at the violent apogee of the internecine revolutions surging throughout Italy, Balestrini was arrested for alleged association with a leftist terrorist organization; unable to prove his membership, authorities released the artist, who fled to France, rumoredly by skiing down Mont Blanc. In his later years, he split his time between Rome and Paris. Balestrini’s art has been widely exhibited, including in the Forty-Fifth Venice Biennale; Balestrini gave a reading at the fourteenth edition of the Istanbul Biennial in 2015. A group exhibition at Laura Bulian Gallery in Milan titled “The Severed Language” includes Balestrini and is currently highlighted with an Artforum Critic’s Pick by Francesca Pola.
Asked by Rachel Kushner, in an interview for The Nation in 2016, how he feels about the unrest that he documented in his work decades ago, Balestrini said: “Everything is different; everything has changed. That period bequeaths us only an imperative: that we need to change the world, and that this is possible, necessary, and urgent—even if we don’t immediately manage to realize it as we’d like.”
I hear that Nanni Balestrini died last night
His book “The Unseen”, about prison and repression, militancy and the state, was an important book for me and my comrades in London. And then there was “We Want Everything”, about the revolutionary moment of 1969, a period which was inspirational to us. His writing is full of a fervour and realism that you see rarely in revolutionary literature. He wrote about violence, conflict, he had found a form that could match the activity of struggle – it wasn’t just that he set aside punctuation and embraced indirect speech; it was like a power of a storm pushing under calm waves. And it was clearly a product of that struggle, a work that bore witness to activity and in turn inspired it.
Last year, I finished translating The Golden Horde, the book he put together with Primo Moroni. It’s a volume that collected together writings from those movements building up to 1977, weaving them into a commentary, attempting an account of almost 20 years of political activity and generational turmoil, remaining honest to the flaws of those moments without betraying the revolutionary intentions. And when I finished, I went up to Rome to meet Nanni. And I was surprised – by this point I’d read his poetry, his other novels, I’d held more of that violent discourse in my head and hands – but when I met him there he was, the small, elderly poet and editor, Nanni with his clippings and wordsmithery, humble, quiet, happy to talk about those years of wonder. We sat in a small bar and talked for a few hours. He told me about how his father had owned a factory, and he took no interest in it – I noted the irony, for someone who would largely be remembered for writing about factories, for a book that literally includes a birds-eye view of a factory on its inside cover.
What you don’t immediately get from his more well-known works, from the period 1969–1979, is that he didn’t think of them as literature but as reportage – even if reportage filtered through the experience of the avantgarde, of that odd tendency of Neo-Kantian aesthetics that has been coincidentally prevalent in Italian communism. Three of the more well-known books are essentially other people’s narratives: “We Want Everything” is the account of the militant worker Alfonso Natella; “The Unseen” is Sergio Banchi’s memoir, told to Nanni when they were in exile in France together; “The Editor” is about Giangiacomo Feltrinelli, a close friend, who brought him into mainstream publishing.
He used to say that over that decade, there was no real literature in Italy, by which he meant nothing good. Just think about that for a moment – Umberto Eco (with whom he was friends), Italo Calvino (with whom he wasn’t), Elsa Morante (whose work he loathed)… He thought that for those ten years, everyone with anything to say did so by other means, by journalism or essays, militancy and organising. For him, the real work in those years was the editing – he was the editor, the curator, the typsetter, ordering the words, laying them on the page, newspaper after newspaper, not only Potere Operaio but many of its successors; he helped small publishers find the machinery necessary, tidied up their texts, brought them into a network, got the books out. Plenty of those books were literally pulped in the end, after the mass arrests.
He wrote a lot more after those years, good and fierce poems that not only try to reckon with a political past but also an artistic one, that deserve a place in our accounts of modernism. Here’s to Nanni – a modest man with violent words, a poet who tried – in his own way – to dedicate himself to the struggle for freedom.
Nous apprenons la mort de Nanni Balestrini. Nous ne le connaissions pas personnellement mais sans ses livres, “Nous voulons tout” et plus particulièrement “Les Invisibles”, lundimatin ne serait probablement pas exactement lundimatin. Le seul hommage valable à nos yeux c’est de vous inviter à lire ces livres.
MORT DE NANNI BALESTRINI, AGITATEUR INTELLECTUEL ET CULTUREL
Après avoir passé sa vie entre l’Italie et la France, le militant politique a disparu lundi à Rome. Il laisse derrière lui nombre de poèmes et œuvres artistiques engagés
Lundi s’est éteint à Rome Nanni Balestrini, poète, écrivain, essayiste, «agitateur culturel», militant politique. Une figure notable de la scène intellectuelle italienne et européenne, qui incarne à lui seul le «destin» de la génération qui «vint au monde» avec Mai 68, en vécut tous les espoirs et toutes les désillusions.
Au début des années 60, Nanni Balestrini, né à Milan le 2 juillet 1935, est déjà connu comme poète : il figure, avec entres autres Edoardo Sanguineti ou Antonio Porta, à l’avant-garde des Novissimi, et est reconnu comme l’initiateur et le «poumon» du Groupe 63, auquel appartiennent Umberto Eco, Alberto Arbasino, Furio Colombo ou Giorgio Manganelli. C’est un «alchimiste» qui, attiré par les expérimentations musicales de Berio ou Stockhausen, «mixe» toutes sortes de textes, d’images et de sons, mêle l’activité poétique aux arts visuels, au théâtre, à la musique, à la danse, à la peinture, à la bande dessinée, aux événements sociaux et, dans sa vie, se rend sensible à toutes les manifestations intellectuelles, artistiques ou politiques, de Radio Alice, soutenue par Gilles Deleuze et Félix Guattari, à Alfabeta,la revue de critique littéraire qu’il fonde.
Après Mai 68, où il s’est engagé corps et âme avec ses camarades de Potere operaio (pouvoir ouvrier), il publie un «roman» – un «montage créatif» de documents bruts restitués sans syntaxe ni ponctuation – qui, traduit partout, lui donne une aura internationale: Nous voulons tout !, dont le titre même résume l’esprit de la revendication fondamentale, mais insaisissable et indécidable, de ceux qui voulaient «un autre monde».
Poursuivi après les «années de plomb» pour association subversive et constitution de bande armée, comme nombre de militants de Pouvoir ouvrier et d’Autonomie ouvrière, il se réfugie en France, où, notamment, il crée les éditions Manicle, expose ses œuvres picturales, réalise des performances, publie le premier numéro de la revue Change international. En 1984, reconnu non-coupable, il peut retourner en Italie, où il continue son œuvre d’infatigable «expérimentateur» de toutes les formes artistiques. En 1988, il publie avec Primo Moroni l’extraordinaire Horde d’or, document inclassable (montage de tracts, affiches, discours, chanson, films, théories…), traduit récemment en français aux Editions de l’Eclat, qui rend raison de l’histoire politique des années 1968-1977.
Robert Maggiori (Liberation)
On Nanni Balestrini, the Most Radically Formalist Poet of the Italian Scene
In the late 70s, Nanni Balestrini conceived the idea of a musical poem in collaboration with Demetrio Stratos, the singer of Area, whose exceptional voice was part of the Italian rebel movement’s sound. Then Demetrio died, while Balestrini was forced to exile in France. It was 1979, when the Italian State banned, arrested, and persecuted a group of intellectuals, workers, and activists known as Potere Operaio (Worker’s Power). The poet was one of them.
In fact, on the 7th of April, 1979, dozens of activists, workers, and writers were arrested under the false accusation of being the leaders of the Red Brigades, the militant organization responsible for the kidnapping and murder of Aldo Moro, President of Democrazia Cristina, the nation’s governing party. Those activists, workers, and writers were actually guilty of a different crime: the crime of supporting the progressive movement of autonomia operaia.
That day was a watershed in the history of Italian society. In this country, “1968” had lasted for ten years. This is the historical peculiarity of Italy: the long-lasting wave of social struggle had countered capitalist aggression until 1977, and beyond. After nine years of continuous social conflict and cultural mobilization, the year 1977 was marked by a widespread insurrection of a sort, more Dadaist than Bolshevik, more poetic than violent.
In Bologna, Rome, Milan, and many other cities that year, thousands and thousands of students, artists, unemployed young people, and precarious workers staged a sort of ironic rebellion which ranged from carnivalesque parades to acts of semiotic sabotage to skirmishes with police to peaceful and not so peaceful occupations of entire quarters of cities.
After the ’77 insurrection of creativity, the Stalinists of the Red Brigades converged with the apparatus of the State in the attempt to annihilate the movement, and to enlist as many militants as possible in the project of military assault against the so called “heart of the State.” The convergence of State apparatus and red terrorism resulted in the isolation and in the final defeat of the movement.
If we want to understand the peculiarity of this enduring wave of social movements in Italy, reading the poems and the novels of Nanni Balestrini can be useful — even if Balestrini has never been a storyteller or a chronicler of neorealist descent.
Instead, Nanni Balestrini is simultaneously the most radically formalist poet of the Italian scene and the most explicitly engaged in a political sense. He follows a methodology of composition that may be named recombination, as he is always recombining fragments taken from the ongoing public discourse (newspapers, leaflets, advertising, street voices, politician’s speeches, scientific texts, and so on). But simultaneously he is remixing those fragments in a rhythmic wave that reverberates with passions and expectations and rage.
The peculiarity of the Italian movement of what would be called autonomia may be found in the concept of refusal of labor. Workers’ struggles were viewed from the point of view of their ability to destroy political control, but also and mainly from the point of view of their ability to advance knowledge and the technological replacement of human labor time in the process of production. The reduction of labor time has always been the main goal of the Italian autonomist workerist movement.
The words “operai e studenti uniti nella lotta” (workers and students united in the struggle) were not simply a rhetorical call for solidarity, but the expression of the consciousness that the workers were fighting against exploitation and students bore the force of science and technology: tools for the emancipation of time from the slavery of waged work.
In this social and political framework, literature was conceived as middle ground between labor and refusal of labor. Literature may be viewed as labor, according to the structuralist vision purported by the French formalists of Tel Quel, but literature may also be viewed as an attempt to emancipate the rhythm of language from the work of signification. Poetic language is suspended between these two attractors.
This double dimension is the defining feature of Balestrini’s poetics: formalism of the machine, and dynamism of the movement. Cold recombination of linguistic fragments, and hot emotionality of the rhythm. Although the event is hot, this poetical treatment transforms it into a verbal crystal, and the combination of verbal crystals gives way to the energy of a sort of a-pathetic emotion.
Since the sixties, Italian culture had been traversed by the cold fire of a certain kind of sperimentalismo that was named Neoavanguardia, in order to distinguish that movement from the historical avant-garde that in the first decade of the century burnt with a passional fire, aggressive and destructive. Italian sperimentalismo was inspired by Husserl’s phenomenology and the French nouveau roman; it was influenced as well by Frankfurt School critical theory, and by the colors of Maoism spreading everywhere in those years.
Umberto Eco, Edoardo Sanguinetti, Alberto Arbasino, and many others were involved in Neoavanguardia, whose style was based on the elegant game of quotations, winking and hinting. Then, from its cold fire emerged the angelical and diabolical face of Nanni Balestrini, cool head and warm heart. Or, contrarily, cool heart and hot head, who knows.
Anyway, Balestrini managed to keep a cold experimental style while dealing with very hot subjects and verbal objects. Angelic cool of the recombinant style, and diabolical hotness of the events, of the characters, of the gestures. Violence is often onstage in his writings. The well-intentioned violence of the autonomous of Fiat workers in Vogliamo tutto (We Want Everything); the livid violence of the precarious, marginalized, and unemployed in La violenza illustrata; and the mad violence without historical or social explanation in I furiosi and Sandokan. In those novels violence is recounted without sentimentality and without identification. No condemnation, no celebration, a purely rhythmic interpretation of good and evil, of the progressive and of the aggressive forces that explode in the streets, in the factories, in the campuses, and in daily life.
According to a widespread common place, the 70s are recorded as the decade of violence. Yes, since 1975 many people have been killed on both fronts of the battle, when a bill passed by the Parliament allowed policemen to shoot and kill if they felt in danger. All through the years 1969-76, activists and students were killed by fascists and cops. At a certain point they decided to react, to build molotov cocktails and take up the gun. As a consequence, cops and fascists and some politicians and corporate persons were attacked, some killed.
It must be said that in those years violence was highly ritualized and charged with symbolic meaning. Nevertheless, in the following decades, and particularly in the recent years of this new century, violence is far more pervasive than it was in the seventies. It is less emphasized, less advertised, less ritualized, but it percolates in the daily behaviour, in labor relations, in the rising tide of feminicide and child abuse, and in the wave of political hatred that never becomes open protest, never deploys as a movement, but flows through the folds of public discourse.
Balestrini was literary witness in the theatre of social conflict, but simultaneously he was an actor on the stage. Nevertheless he has managed to be ironic and distant, while being involved body and soul. This is why his literary gaze is both complicit and detached. His poetics have nothing to do with the psychological introspection, or dramatic expressiveness. His work consists in combining words and freezing actions into dance. The narration strips events of their passional content, pure gesturing devoid of content. But the dance turns into breathing and breathing turns into rhythm, and emotion comes back from the side of language.
Balestrini is not uttering words that come out from his soul (does Balestrini have a soul?). Words are but verbal objects proceeding from the outside world. Voices are broken, fragmented, assembled in sequences whose rhythm is sometimes gentle, aristocratic, and ironic; sometimes furious, violent, and crazy. The act of the poet does not consist in finding words, but in combining their sound, their meaning and their emotional effect.
Since the 60s Balestrini started writing poetry for computer, and his declared intention was already in those years to make poetry as an art of recombination, not an art of expression. The computing poet combines verbal detritus and musical waste grabbed at the flowing surface of the immense river of social communication. He assembles decontextualised fragments that gain their meaning and their energy from the explosive force of the combination (contact, mixture, collage, cut-up).
Following this poetic methodology Balestrini has traversed five decades of the Italian history, transforming events and thoughts into a sort of opera aperta (work that stays always open to new interpretations). He has shaped furies and utopias, euphorias and tragedies that have marked the history of the country.
Franco Bifo Berardi (LITERARY HUB)
‘I Am Interested in Collective Characters’: An Interview With Nanni Balestrini
I’ve been an admirer of Nanni Balestrini for many years, ever since I first read The Unseen, a funny, strange, and devastating novel about Italy’s Movement of 1977. His 1971 novel, We Want Everything, has just been translated into English. In September, I finally met Balestrini—or, rather, he met me: He’d taken a taxi all the way to Fiumicino Airport, on the outskirts of Rome, to await my arrival. We made our way into the city and had lunch. Balestrini is 81 but looks about 60, and he’s more of a refined dandy and perfect gentleman than any anarcho-communist I’ve ever met. When I excitedly launched into a series of questions about his life in the movement, he said, “This is lunch, not a biographical study,” and worried about what kind of wine to order. Everything in its place.
RK: I wanted to ask how you built the voice that appears in We Want Everything. I know The Unseen, for instance, is largely Sergio Bianchi’s story.
NB: We Want Everything is the story of a real person, Alfonso; he told me everything that’s in the book. He is a collective character, in the sense that in those years, thousands of people like him experienced the same things and had the same ideas and the same behaviors. It’s for this reason that he has no name in the book. I am interested in collective characters like the protagonist in The Unseen. I think that unlike what happens in the bourgeois novel—which is based on the individual and his personal struggle within a society—the collective character struggles politically, together with others like him, in order to transform society. Thus his own story becomes an epic story.
RK: With Alfonso, you seem to have hit the jackpot in terms of these thousands that you talk about who migrated from the South, went to Fiat, worked, revolted… he’s incredibly funny and insightful. Can you recount a bit about how you met him?
NB: You’re trying to get me to give Alfonso his individuality back, to break him out of his collective figure. I really can’t respond to questions like that.
RK: I’m assuming you were attending meetings, protesting outside the factory gates, talking to workers, inquiring about their conditions and lives?
NB: As is the case with a lot of the comrades who participated in the 1970s movement, the great workers’ struggles were at the center of our activism. That is how I knew about the Fiat struggle that’s talked about in the book—I followed it at close quarters; I lived it together with the protagonists. It was something that I saw and experienced.
RK: Today, particularly in the United States, there is a growing interest in the women’s movement that was starting to take form just after the “Hot Autumn” of 1969, and in particular much talk about Lotta Femminista and Maria Dalla Costa’s The Power of Women and the Subversion of the Community. Looking back from this vantage point, would you have anticipated that the ideas emerging from Italian feminism would be such a lasting achievement from that era? Perhaps because the factory is essentially gone, but the family remains, for better or worse.
NB: The factory has not disappeared; it has just lost its centrality to society by way of automation. For feminism, as for communism, the stages through which the bases of great social transformations are realized cannot be moved through rapidly. That’s always a vain hope. It takes long periods—generations, if not centuries. But it is important that there is a tendency that way which is maintained despite the halts, reverses, and backward steps.
RK: You were a fugitive, then an exile. Now you again live in Italy. Autonomia, an era that you documented so critically, has seen a resurgence of interest among leftists. Do you tend to think much of the past?
NB: I consider myself lucky to have been through an extraordinary and happy period. It would be senseless to search that period for something that could be applied politically in a radically different situation like the one we’re living in 40 years later. Everything is different; everything has changed. That period bequeaths us only an imperative: that we need to change the world, and that this is possible, necessary, and urgent—even if we don’t immediately manage to realize it as we’d like.
Rachel Kushner (THE NATION)
Nanni Balestrini and the Poetry of the Italian Autonomia
Today’s ongoing debate about the relationship between art and activism is one that too often seems to arrive at a dead end. These two grand abstractions – too grand, too abstract perhaps? – seem to repel one another with an almost magnetic indignation. The possibility of fusion is frustrated by difficult questions, the reductiveness of political language, the vulgarity of propaganda, the sheer ugliness of naked ideology.
Few can claim to have confronted and surpassed this dilemma more effectively than the writer and artist Nanni Balestrini whose poetic craft has, for decades, been intimately embedded in the realities of Italian social movements. His art was born from a particular set of struggles that emerged in the 1960s and 70s, most notably the wave of protests and occupations that would lead to the formation of Autonomia Operaia, a leftist movement which challenged the Communist glorification of work. This disparate group, too often reduced to its concluding apocalyptic violence, has been largely abandoned as a strategic political model. But it is in the artistic sphere, and in Balestrini’s poetic work in particular, that the imaginative legacy of this generation lives on in its most vivid and urgent manifestation.
One of the most important examples of this, and the most interesting for both artists and activists today, is Blackout, first published in 1979 and, as of this week, now finally available in English translation thanks to Commune Editions. The text is a perfect example of how literature can expand outside of its usual social boundaries: the private space, the isolated ‘intellect.’ The poem – split in four ‘chapters’ – tells the story of the movement’s birth to its final moments, the dark days in which the ‘lights’ went out. It is a pastiche of the epic, a meditation on the collapse of movements, the loss of hope, community and love.
Blackout is structured through a series of repetitive leitmotifs, composed by the poetic organization of cut up fragments from books, magazines, other poems, transcriptions of radio broadcasts, protest slogans, government reports, even tourist guidebooks. These are then (re)assembled in an ‘intertextual’ collage. This extract from the second verse of the first section is typical of the style:
for days a poster illuminated the walls of Milan
dark clouds swollen with rain transitory showers that lasted the evening then two rainbows
a river of blue jeans
in heaven at last a glimmer of light there will be no flood
a segment of Milan is deadlocked
Each phrase asks the reader to speculate as to its origins, each contains its own individual energy or aura. ‘A segment of Milan is deadlocked’, for example, reeks of journalistic detachment, made all the more obvious by its strange amputation here. Meanwhile, the poster which ‘illuminated’ the walls of Milan has a romanticism, youthful and futuristic. Then there is the ‘glimmer of light,’ in heaven, opposed, of course, to the blackout of the poem’s title. ‘Could this be from the Gospels?’ asks the reader.
At the same time the fragments also have a collective identity by virtue of their position in the verse. Sticking with these first two examples, the difference in tense – past to present – serves to reinforce the distance between the newspaper cutting and presumed activist pamphlet. So too does the physical space between them (not to mention the conflicting rhythms). From this example alone we can see that each poem, collectively, has its own identity, established by the act of remixing. Later, several fragments return in new contexts, entering into new textual relationships:
a river of blue jeans
a carpet that smothers the bleachers and descends to completely hide the lawn
thousands hundreds of thousands of voices for communicating
a carpet of shoulders of heads and arms that seem like agitated waves under gusts of wind
for days a poster illuminated the walls of Milan
There’s that ‘river of blue jeans’ again, but this time it’s attached to the physical images of a crowd, surrounded by ‘shoulders of heads and arms’ and ‘hundreds of thousands of voices.’ It is a powerful, audio-visual device. The images of protesters seem tangiable, animated, emerging from darkness as if through a cloud of smoke or tear gas which characterised those demonstrations. Repetition here is used to draw attention to the synchronicity of experience – the multiplication of demonstrations – almost like the clarinets of Steve Reich’s New York Counterpoint jutting in and out of one another.
This formal device is central to understanding the poem’s political message. Balestrini, in form and here in content, is signifying historical memory, the resistance of the movement to its own silencing by the state, by repression. His biographical experience – he himself was accused of supporting terrorism and later found innocent – is entwined entirely with the larger social dynamic. This becomes more explicit as the poem moves forwards and the fragments begin to unite around concrete depictions of struggles:
feminists sneer every time a male gives orders
it is the world of use-value that conflicts with the factory and production
above all the manager feels their contempt on his skin
Fiat fears their hatred of the factory
there are gays that make faces they write Long Live Renato Zero on the walls
by 1979 even hope is exhausted the factory is no longer the place where the fight for power is waged
study travel play become an artist or go to India
they are not thinking about the day they will leave Fiat
Many of these themes resonate with today’s ‘European crisis.’ We read about feminism, homophobia, post-industrial economics, about young people who “come from another planet”, cities “disrupted by immigrants dehumanized in the ghettos where the quality of life is tragic.” But it is the collection and collision of these issues, approached from different angles, spoken in different dialects, that is most significant. Balestrini himself seems virtually absent, present only the space between lines, in the silences. The voices of the poem are subsequently able to develop a kind of autonomy, a chorus constantly shifting in rhythm, intonation and emotion.
We experience rage:
after a few minutes the night was illuminated by fires the streets invaded by looters
there are those who make love who smoke there are those who merely exist
the Fiat bosses have never seen the workers laugh and it is an outrage to our Lady
with regard to articles 252 253 254 of the penal code we order the arrest of
the reentry of the 85-ton cylinder is now expected by
And so on. Balestrini’s organisation of these fragments engenders a poetics that is polyphonic, multi-vocal, and embedded in a specific time and place. The cold factory instructions for example, the ’85 ton cylinder,’ obtain a new meaning in the poem, become connected with mass media, with the language of crowds and, ultimately, with the movement itself. This is collective narration, where the job of the poet is to assemble voices rather than express a single, mysterious, idea.
The result is a duality. The intense attention to structure, the formal regularity combines with the rhythms of speech, of popular discourse in a synthesis, a kind of dance in which movement and grace precludes the idea of closed Hegelian resolution. As the philosopher Bifo Berardi, also a one-time participant in autonomist groups, puts it in his introduction: “This double dimension is the defining feature of Balestrini’s poetics: formalism of the machine, and dynamism of the movement. Cold recombination of linguistic fragments, and hot emotionality of rhythm [emphasis my own].”
This is particularly evident in the later verses in the series, which describe a figure alone in a prison cell, symbolising the collapse of the movement’s dreams. Blackout ceases to be connected to action, industrial sabotage, and mutates into its more common meaning, “a momentary loss of consciousness or vision.”
I was afraid when the snow came into the cell
like at the cinema when the film ends
white threads stirred at the window’s double bars and drifted through the openings
guards on the night shift shouted at me to remove the cover from the window
it was like looking through a milky glass sheet
The cut-up public discourse – the image of the cinema, an audience – is deployed to divert ‘spectacle’, forging a remarkable empathy with the unnamed protagonist who the reader has only just encountered. The emotional rhythm appears intimate precisely because of the ambiguity and inherent distance of the source materials.
So while the cold logic of Balestrini’s assembly line is still there – the rigidity of prison bars, welding machines, the confines of the sonnet and villanelle – here it is used not to depersonalize but quite the opposite, to give flesh and bone to the figure described. Their punishment, like that of the poet’s friends, is negated through a language that transcends rigid boundaries, violating the rigid divisions between ‘inside’ and ‘outside,’ enacting, in other words, a prison-break.
Balestrini’s particular techniques of appropriation, assemblage, and rhythmic assault are a unique intervention in poetry, a radical evolution of the avant-garde cut-ups pioneered by earlier artists like Jean Arp and Vladimir Mayakovsky. But while Surrealism, Dada, Zaum all sought psychological liberation, Balestrini, inspired by the politics of autonomia, calls for a renegotiation of the binary between individual and collective, in which society itself is reconstituted by poetic logic.
What would such an experiment look like today? Perhaps a 21st Century response to Blackout would recompose Internet fragments, juxtaposing election manifestos, tweets, scientific surveys and blog posts. Or perhaps it would intervene against finance, jamming stock market argot with the slogans of occupiers, the rhythms of graffiti.
At the core of Balestrini’s poem is the idea that while machines have revolutionized society, their alienating power must be reclaimed by the artistic energies of social movements: a multitude. In a recent Talk Real interview Maria Hlavajova spoke about art’s capacity to “add affects” to “concepts we need, like democracy and equality.” The idea is a neat one, but too one-directional. What Balestrini’s poetry proposes is almost the opposite, a poetics in which concepts like democracy and justice evaporate altogether, hollowed out by history. While the consequences of this are dire, violent, he suggests there is a unique opportunity to build something new, something eternally suspicious of abstraction. A true humanism, perhaps.
The translation of Blackout is a quiet event and one that will be destined, for now at least, to remain in the corners of both the activist and literary worlds, so separate, so seemingly irreconcilable. Today’s social movements, lacking in institutional power, are far from the point of canon-building. Nonetheless, for both its historical ambition and formal inventiveness Balestrini’s work remains a vital resource for individual artists seeking to escape the paralysed aesthetics of the contemporary art world.
JAMIE MACKEY (POLITICALCRITIQUE)
what the fuck do I care about the Law
a fifty-year-old woman with a shopping bag enters a store saying today
she shops for free
the shelves of the new supermarket Fedco glistened white and empty
while a mush of various foods stained the floors
when I left the area was on fire and the flames seized the small amount
the looters had left behind
jets of black water from the broken hydrants swept away what remained
of the plunder to the center of the street
we’re going to take what we want and what we want is what we need

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Super Cute, Super Affordable Furniture for Your Living Room
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Loft Stacking Cubes
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Which one is your favorite?
Your Chicago Interior Designer & Interior Stylist

domain: design


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Music is an illusive and difficult to characterize wonder. It is something other than a lot of sounds hung together, it is an enchantment that draws out our feelings and makes an inclination in our souls. Interestingly, one individual’s music, is someone else’s aggregation of irregular commotions. The fact of the matter is no sort of music is superior to another kind.
Suppose you are a high-temples admirer of old style music (OK, that might be a stretch, yet play along – you may get the hang of something). You’re truly into your Bach and Chopin, yet you may not acknowledge overwhelming metal or hip jump. To you they might be vacant irregular sounds without importance. To you the magnificence of traditional music appears glaringly evident dislike that other stuff. Black Urban Gospel Radio
In any case, the youthful urban child feels a similar route about their hip jump. To them hip bounce is genuine and important. The verses are not simply words, they pass on an implying that addresses their feelings of trepidation, situations, and dreams. The music contacts them in an individual manner – a way that little else in their day by day life can.
The truth of the matter is that music is an enthusiastic encounter that mirrors the sort of individual that we are. What attracts us to a specific class or melodic style is basically the longing for comprehension and acknowledgment. Every one of us is a turn in pursuit the glove that will make us feel the passionate help that we need inside.
For one individual they may need to feel typical and comprehended. They will probably look out music that fills this void. They will acknowledge verses that are an impression of their lives and decisions. For another, they may search out music that makes them feel propelled. Some are attracted to cherish tunes, while others to the blues.
Every one of us needs to feel associated throughout everyday life, and that is more significant today than in whenever previously. Our general public moves so quick, and the soundness of family and network of days gone by may not be available in our lives today. Every one of us is scanning for that melodic perfect partner that will make us feel finished.
Music is close to home. The sort of music we acknowledge does not rely upon the music itself, yet how the music fits us as people. Nobody kind of music is superior to another. Each is a one of a kind individual encounter that will contact a few people such that makes them feel like everything is ok. A wide range of music are legitimate. You could conceivably value a style – truth be told, you might be exhausted by it or even insulted. In any case, you can not expel any kind of music. Each speaks to a voice which must be heard in our general public.
Since no sort of music is superior to another, that at last implies that no tune is superior to another, and in this way no artist or artist is superior to another. Every craftsman has something to bring to the table, an individual point of view that is unique in relation to everybody else’s. Beyond any doubt we as a whole have our inclinations, and a specific artist may have better projection or have the option to hit a note better. In any case, those are specialized components. Music is an enthusiastic reaction to an assortment of acoustic components. It’s not about how a tune sounds, it’s about how you hear it, it’s about how it fits you.
Try not to be tight in your energy about music. Quest far and wide for melodies that address you. Tune in to the verses, feel the beat, let the music envelope you. Music can make understanding crosswise over social obstructions. Extend past your customary range of familiarity. Tune in to craftsmen and styles that may appear to be unfamiliar to you. You may simply discover a glove that accommodates your hand superior to anything you at any point envisioned.


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Chaz Bono Talks About His Hot New Bod
BY Diane Anderson-Minshall
February 18 2013 2:04 PM ET
On the latest episode of his webseries Gwissues, gay host Howard Bragman chatted with LGBT rights advocate and former Dancing With the Stars contestant. In his first interview since starting a new fitness regimen and losing 45 pounds, Bono talks about his weight loss journey, his desire to return to acting, and his search for true love.
Gwissues is a Youtube series that airs on Gwist.tv, and is hosted weekly by Bragman, one of the most reknown Hollywood publicists, known for helping celebrities come out.
- 7 Immediate Examples of Backlash to Indiana's 'Religious Freedom'
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- 12 Celebrities Who Said the “F” Word
- Michigan Woman Sues Planet Fitness Over Trans-Inclusive Locker Room
- 12 Celebrities Who Lovingly Embrace Their LGBT Children

domain: celebrity


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Impact of delayed admission to intensive care units on patients with acute respiratory failure.
Am J Emerg Med. 2017 Jan;35(1):39-44
Authors: Hsieh CC, Lee CC, Hsu HC, Shih HI, Lu CH, Lin CH
BACKGROUND/PURPOSE: To determine the impact of delayed admission to the intensive care unit (ICU) on the clinical outcomes of patients with acute respiratory failure (ARF) in the emergency department (ED).
METHODS: This retrospective cohort study included non-traumatic adult patients with ARF and mechanical ventilation support in the ED of a tertiary university hospital in Taiwan from January 1, 2013, to August 31, 2013. Clinical data were extracted from chart records. The primary and secondary outcome measures were a prolonged hospital stay (>30 days) and the in-hospital crude mortality within 90 days, respectively.
RESULTS: For 267 eligible patients (age range 21.0-98.0 years, mean 70.5±15.1 years; male 184, 68.9%), multivariate analysis was used to determine the significant adverse effects of an ED stay >1.0 hour on in-hospital crude mortality (odds ratio 2.19, P<.05), which was thus defined as delayed ICU admission. In-hospital mortality significantly differed between patients with delayed ICU admission and those without delayed admission, as revealed by the Kaplan-Meier survival curves (P<.05). Moreover, a linear-by-linear correlation was observed between the length of ICU waiting time in the ED and the lengths of total hospital stay (r=0.152, P<.05), ICU stay (r=0.148, P<.05), and ventilator support (r=0.222, P<.05).
CONCLUSIONS: For patients with ARF who required mechanical ventilation support and intensive care, a delayed ICU admission more than 1.0 hour is a strong determinant of mortality and is associated with a longer ICU stay and a longer need for ventilation.
PMID: 27742520 [PubMed - indexed for MEDLINE]

domain: medical


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People & Conservation
The Cape Peninsula has a rich social history to compliment its natural wonders ranging from the Stone Age to more modern times such as the two World Wars.
As custodians of the 25 000 hectare Table Mountain National Park that incorporates many of these historically significant sites, Park management is also tasked with protecting this valuable cultural heritage.
To this end the TMNP has developed a Heritage Resource Management Plan (HRMP) which outlines all the sites of cultural significance as well as identifies those most urgently demanding protection. Download the HRMP
A glance at our Cultural History
Traces of early stone age tools give evidence that early hunter gatherers lived on the Cape Peninsula around 600 000 years ago.
Later inhabitants – the San (hunter-gatherers) - harvested food from the seashore and evidence of their presence are the middens (prehistoric refuse heaps) that are found in a number of caves in the park and reveal a great deal about their lifestyle.
About 2000 years ago the Khoi Khoi migrated from the north, displacing the San, bringing with them their herds of cattle and sheep. It was the KhoiKhoi who were the dominant tribe when the Europeans sailed into Table Bay.
Other evidence of these early inhabitants is the rock art in Peer's Cave in the central section of the Park.
Early European Explorers
The first in a steady stream of Europeans to visit the Cape Peninsula was the explorer Bartholomew Dias who set sail from Portugal in 1487 to find a sea route to the riches of the East. And in 1488 they had unwittingly rounded the Cape of Good Hope.
It was a full 10 years later that Vasco da Gama set sail from Portugal, rounded the Cape and reached India, making him the first person to open the sea route from Europe to the East and proving that rounding the Cape of Good Hope did indeed provide hope of reaching the riches of the East.
Commemorative crosses have been erected to honour Dias and Da Gama at Bordjiesrif and near Platboom, respectively, in the Cape of Good Hope. Ever since, the Cape of Good Hope has been an important landmark for mariners and Table Bay at the foot of the majestic Table Mountain became, and still is, a haven where seafarers could seek shelter and take aboard fresh supplies of water and meat bartered from the Khoikhoi
Settlers & Slaves
In 1652, the Dutchman, Jan van Riebeeck, stepped ashore at Table Bay tasked with establishing a refreshment station for the Dutch East India Company and their ships that sailed the route to the Dutch East Indies. A fort (the Good Hope Castle) and gardens were established at the foot of Table Mountain. A viticulture industry was initiated and land was granted to settlers to grow crops. And so began European settlement at the Cape.
Tragically, European occupation of the Cape resulted in the virtual extermination of the Khoenkhoen tribes through slaughter and the introduction of European disease such as small pox against which these peaceful herders had no defense.
These European settlers have left a rich architectural history scattered around the Park such as the Kings Block House on Devil's Peak - an early fort built by the British in 1790 to guard against attack from the south west – and in the deep south an old farmstead, dating back to 1780, has been lovingly restored and is now the TMNP's Buffelsfontein Visitor Centre.
Other sites of interest include the lighthouse at Cape Point, the dams on top of Table Mountain, relics from both World Wars, Maclears Beacon (the highest point in the Park) and of course the numerous shipwrecks that litter the coastline.
However some of the most fascinating heritage sites have deep spiritual significance to the Muslim population of Cape Town. When slavery was rampant in the Cape slaves were imported from Malaysia and the east. Among these were prominent holy men whose Kramats are found in the Park such as those at Oudekraal and Signal Hill.
Probably the most well known heritage site in the Park is Rhodes Estate. Cecil John Rhodes was a powerful and controversial character who could be called the father of conservation on the Cape Peninsula having acquired land spanning the eastern slopes of Table Mountain from Devils Peak to Constantia Nek. On his death this land was bequeathed to the people of Cape Town and protected from development. This land, with the exception of Kirstenbosch National Botanical Gardens, is now managed by the TMNP.
For more information on the rich cultural history of Cape Town and the Peninsula please refer to the following museums:
- Iziko Museums of Cape Town: www.museums.org.za/iziko or call: +27 (0) 21 481 3800
- The Slave Lodge on Adderley Street – call +27 (0) 21 460 8242
- District Six Museum – call +27 (0) 21 461 8754
- Bo-Kaap Museum – call +27 (0) 21 481 3939
Have a question? Why not ask on the forums?
Hoerikwaggo Tented Camps
Partly cloudy< br>Min: 13°C / Max: 27°C

domain: geography


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The absolute most navigate to this website usual video gaming device which permits customers to participate in activities online, is actually the game console. These games consoles allow the players to attach to the world wide web with a cable box, or by means of cordless Net. hookup, as well as they typically operate on personal computers like computers as well as laptops, or even computer.
Many pc suppliers are currently making video games with using the Web. Some game business have actually taken this measure. Some popular video game gaming consoles, which perform the market today, use World wide web link to assist the gamers play their video games.
One form of activity consoles, which is acquiring appeal is the role-playing game. These types of video games require the player to play a personality and make a tale, as opposed to engage in battle with foes. Various other popular sorts of video games that are more involved in combat feature very first person shooters.
In multiplayer games, the characters are actually hooked up by a Web connection and engage. Some examples of multiplayer online activities are MMORPGs, or even hugely multi-player on the web part participating in activities.
Some of the more recent and preferred types of computer game on call today are actually the free of charge online games. Free internet activities provide the gamer along with the very same entertainment and satisfaction that a video game console offers, while allowing the gamer to take part in a wide array of tasks without buying an activity.
One of the greatest techniques to remain energetic as well as delighted us by participating in video games. A computer game is actually a video game that includes input coming from the gamer, interactivity with the interface or even operator tool, or even aesthetic output for a gamer, utilizing graphics and seem to create the player’s scenery even more practical or interactivity that creates the gamer technique or respond to the character’s actions.
Computer game are played on a console body and permit a player to manage a personality in an online world via using a key-board, computer mouse, joystick or other input device. There are a lot of kinds of video games. A few of all of them are console style activities where the gamer regulates a character and controls or takes part in action in a real atmosphere.
Other sorts of computer game are multi-player video games. This means that there is yet another player controlling a character in a digital setting if you want to socialize or fight with the player character during that atmosphere. The primary difference in between these pair of types of video games is actually the player handles one character in one atmosphere while a various personality commands one more in a fully various setting.
Some video games have an outline that assists to make the gamer thinking about playing. Various other video games provide action series that are actually active as well as the player needs to navigate and also play around the environment to get the character to hit its goals as well as accomplish the mission properly. In some cases the gamer may also control the character according to their dreams or even transfer several instructions to finish an activity.
A lot of computer game are actually set in environments that are even more realistic than ones in real life, producing the video game gamer a lot more engaged with the video game and also helps them preserve relevant information far better. This results from the fact that when the player is playing a video game she or he is actually playing in a real life environment as well as engaging along with the various other gamers in the environment.
It has been actually verified that gamers that are actually associated with computer game are actually far better than those who are actually not, at taking in brand-new information and also maintaining it longer. This is considering that when the computer game gamer is actually engaged along with the video game they possess a more significant interest in it and also can end up being much more engaged with the game in a split second.
Video activities are additionally very entertaining and offer folks a lot of hours of enjoyment. One can easily not refuse the reality that most of the games today are pretty stimulating as well as may maintain a person amused for hrs.
There are great deals of alternatives when it happens to playing video recording games. Some individuals adore to participate in video recording games alone while others like to participate in along with other people in a multiplayer kind video pc gaming setting.
Participating in computer game gives the players a feeling of belonging as well as emotion of success. They likewise often tend to possess a lot of strength as well as are actually understood to waste a ton of electricity when they bet hrs. This produces the player craves for even more sessions to continue participating in activities. This is good for the physical body, it may also lead to a bad habit like too much eating, drinking, smoking cigarettes and also over-eating.
Online video activities are known to possess a lot of habit forming attributes. This implies that they can definitely make the player addicted to it.
The majority of the time, the habit forming attribute of computer game is caused by the fact that they demand the gamers to invest a lot of time and effort on a singular video game and thus build an emotional reliance on that particular specific video game. As soon as the player ends up being dependent on it after that he/she will experience that it is actually just about inconceivable to remove it. This makes it extremely difficult to get rid of the obsession.
Also, a gamer receives used to a video game really easily and if he/she ever ceases playing that game, it often tends to change itself with something else. This makes it complicated to obtain that gamer to try an additional brand-new activity and consequently, the obsession becomes extremely challenging to do away with.

domain: hobby


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thank you very much for your kind comment. I'll fix the layout problem, - you're absolutely right with this stone. I've to look for descent replacement in my stone bucket. (Collected them recently at the local mountains. It's latite.) - With the Kribs it's the problem that there have been three couples when I rescaped the tank. They live there since three years, but I'm looking for an option to give them away. They already spawned successful several time and I had to bring the little ones to my local trader when they had 1 cm length...
The Kribs are strongly after the Hyphessobrycons but they don't get them. But the aggressive behavior of the Kribs forces the Hyphessobrycons to form a proper swarm.
The plastic cup is my CO2 misting machine ;-) It'll be replaced as soon as I've done my DIY job for a proper device. When changes are done I'll provide you with new pictures for seeing the improvements and for giving further advice.
Yes, the Kribs, while nice, will cause issues for you.
Might consider checker board cichlids as an option, or remove all the cichlids, and try something like Crystal red shrimp and keep the tetras which look well suited in the tank.
If the moss does not grow well or looks so-so, it's 99% a CO2 issue.
The needle wheel option as suggested will look better and the powerhead can be hidden(see needle wheel threads I recently posted on snipping the impeller, this works very well without further modifications).
Then the chamber CO2 can be removed.
As far as the design, I think sitting down and thinkign about all the types of plants that would look good with this design is a good study to do.
Petite Anubias are small etc and can crawl over the rocks, D. diandra was suggested, Rotala sp Green is another that creeps over things nicely.
Water changes+ Excel + dosing will help a lot.
From there, it's just CO2.........a trim once every 2-4 weeks etc.
thank you for your nice feedback. Yes, of course I have to get rid of the kribs... but I want to give them into good hands and have to find somesbody. Otherwise it'll be a good challenge to maintain the tank.
For the layout I agree that Anubias petite might look better than the odd java fern. also nice stems for the background are worth a try. For starting the tank I wanted to take simple plants like the Vallisneria. - They will be removed in a few weeks. With the moss I had issues because the pieces my online shop delivered have been brown and smelly already... But I hope that some pieces will recover. Mosses in the tank are M. tenerum, christmass moss and plain java moss. Aside from that I try Eleocharis accicularis, HC cuba and a hairy little lawn like plant (the name slipped from my mind)
As I wrote before, the rocks are Latite from the local area. - Photos from my collection trip can be seen at Sieben Berge.
I looked for stones that where situated in places where they had much contact with rain an sun, so that they are a little eroded and look more "aged" or mature.
It's hard to find the right ones. - So it will take while with proper replacement of not fiitting stones as the top ston on the right side.
Until now all plants develop good, I've no algae issues aside from a little bluegreen on the glass, but not enough to mention really.
During the day plants start to pearl a little but not to much. I realized that the Hyphessobrycon Amandae are littlle stressed by the CO2 build up during the day, so I reduced CO2 a little. And it is also quite a low light tank with 112 l and 36 W lighting.
For Ferts I use Ferrdrakon liquid fertilizer.
Please keep in mind that it all still has to mature. - It has been planted 5 days or so ago, pictures and movies are from second day.
All in all it was my first try to get into the topic as I set up a larger tank (300 l) during the next weeks...
great news, I found a new home for the kribs. As soon as I can catch them, they are out! I'm now thinking about shrimp and maybe some fish. - I'd like to add a good replacement for the kribs, as they did a wonderful job, keeping the swarm of tetras together. what do you think about Papiliochromis Ramirezi? - I have seen very good ones at the local dealer...But I'm not to sure about it.
Also I ordered yesterday a powerhead (JBL ProFlow Maxi 500) for CO2 misting and also a JBL ProFlow Maxi 1000 for the 300l tank that will arrive mid of June...
couldn't wait for the new powerhead and modified my old eheim 300 mini. I just made a little hole in the cover and inserted the CO2 tube. The effect is great, but quite noisy. So I want to suggest a modification. As it makes an unpleasant sound every time a bubble enters the pump, I would glue an injection needle to the tube and connect that to the pump inflow. I hope that the sound then is more steady...
I'll get needles from the pharmacy on monday and will give it a try...


Suitable for the storage of valuables such as jewellery, cameras and other valuable items
Certified by Sold Secure to Domestic Safes Silver Level
Electronic lock with external emergency power connection
LED internal light
Base or rear fixing available
6mm steel door and 3mm steel body
Three sizes available
One removable shelf as standard
Flock lining on shelf
All models are fitted with a motorised electronic lock which has a 2nd user function and an external emergency power connection. In common with other certified safes there is no key over ride.
All models are fitted with an anti-tamper vibration alarm. An audible alarm is triggered should the safe be physically attacked or when 3 wrong codes are entered.
Each model is fitted with a removable shelf as standard. Shelves are not adjustable.
The HomeStar range has the option of base or rear fixing
CONSTRUCTION AND DESIGN
Door thickness: 6mm steel with anti-drill plate protecting the whole of the lock mechanism. Body thickness: 3mm steel with anti-drill plates protecting bolt ends and the lock from above.
The HomeStar range is tested and certified by Sold Secure to Domestic Safes Silver level.


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3-Ingredient Pumpkin Chocolate Chip Cookies
There Are Only 3 Ingredients in These Pumpkin Chocolate Chip Cookies
When I heard that you could make pumpkin chocolate chip cookies with only three ingredients, I was so intrigued. I wondered how they would taste without any eggs, or milk, or oil, and I knew I had to test them for myself. Well, I'm happy to say they are in fact absolutely delicious, and we made them even better with an easy cold brew cream cheese frosting that is out of this world! Stay tuned to find out how to make them.
Image Source: POPSUGAR Photography / Nicole Iizuka

domain: food


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Captain Davd Barfield prepares for a short notice deployment of a composite Air Force squadron to Vietnam. The news is unsettling because of the present hurdles encountered with his marriage. He must leave at a time when he knows it could be devastating to his relationship with Leslie and their future.
The deployment gets of to a rocky start with his immediate encounter with the misson planning by the Operations Officer and the Commanding Officer. He tries to maintain a loyalty to this quickly formed unit and relies heavily on his co-pilot and friend, Zack Williams. David’s newly formed crew and “B” flight undergo the metamorphous of personality adjustments. Bonded quickly by the rigors of the mission and the requirements of Lieutenant Colonel Norwood, they become a cohesive group.
After flying half-way around the world, the squadron lands at DaNang, Vietnam, and are assigned operationally to the First Air Commando Group. The living is harsh, with eight Officers to a tent, and only the rudiments of human conveniences. The mission assignments require maximum flying skill in the mountainous regions of the I Corps area, as they support the Special Forces. Their are stringent and ridiculous requirements, established by the Squadron Commander, has a drastic effect upon morale in the unit. His puppet Operations Officer does nothing to alleviate the oppressive requirements or the missions which place the crews in harms way daily. The story is a study in the dynamics of personalities engaged in war and rebellion.
After the loss of a crew from David’s flight to hostile fire, he rebels against the Colonels egotistic requirements. His flight, loyal to David, also begin to defy the system and the chain of command. This only places ‘B” flight in the position of being assigned the most hazardous missions. This comes to a head as David accuses the Commanding Officer of the deaths in the unit. He knows there will be retribution from this dangerous man who is devoid of integrity.
David writes Leslie that there is hope for their marriage and she indicates she agrees. The letters keep the ties and love together during this six-month deployment. Zack Williams, faces his own conundrums of life. His father, from whom he is estranged, has cancer with only a few months to live. He tries to sort his life and the love he left behind, realizing he will resign his commission as soon as they get back to the States.
David is goaded into a dangerous mission by Colonel Norwood that has severe consequences. The mission haunts David, even after returning to the States. Here he must recuperate his body, his spirit, and his marriage. The conflict requires difficult decisions about his future. The resolutions changes his life.