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Visible And Invisible: 'Servants' Looks At Life Downstairs
This is FRESH AIR. I'm Terry Gross. Many Americans have been introduced to the world of servants through the PBS series "Downton Abbey," whose fourth season premieres Sunday. At the beginning of the 20th century, domestic service was the largest single occupation in Great Britain. Our guest, British writer Lucy Lethbridge, has a new book about the service industry based on her review of many diaries, letters and memoirs of servants.
Her book looks not just at estates like Downton Abbey, which would employ dozens of servants, but also at more modest homes that might have a servant or two and even poorer families that would employ some part-time domestic help. Her book chronicles the evolution of service through the social changes of the 20th century and the tension between servants and other working-class Brits. She spoke to FRESH AIR contributor Dave Davies about her book "Servants: A Downstairs History of Britain from the Nineteenth Century to Modern Times." The book is in memory of her grandparents' live-in cook.
Well Lucy Lethbridge, welcome to FRESH AIR. Give us an idea of how big the service industry in England was, say, at the turn of the century, around 1900.
LUCY LETHBRIDGE: Well, at the turn of the century, it was absolutely enormous, and in 1900, it was calculated to comprise a third of all women who were in the workforce. So a third of all women working were in domestic service of some kind. Fewer men were employed because service by that time had become very feminized over the 19th century.
I think being a male occupation, it had become a female occupation, but when Roundtree did his survey of poverty, he found that so multitudinous were servants that in fact he drew the dividing line between the poor and the very poor at those who possess servants.
DAVIES: So even some of the poor would have a servant.
LETHBRIDGE: Yes, I mean, not a servant in the sense that we would visualize it, a sort of mob-capped maid or a footman, of course, but it would have been some form of domestic help: child care of some kind that was paid for; maybe laundry outsourced; something like that.
DAVIES: So service was a huge source of employment in England. Was this different in France or other European countries?
LETHBRIDGE: Well yes, I think it was different - it is different in atmosphere, I think, I mean, if that's not too complicated. I think the British had a very profound sense of the idea of a sort of social pyramid, a kind of noblesse oblige. So this filtered right down through the middle classes that those who could afford to had a sort of duty of care to the working class.
And it was a form of retaining social order, and I think you see it demonstrated very clearly in the British reluctance to take up new technologies in the home far - they were far slower in taking up these technologies than families in - on the continent and certainly in America because the idea of having people in the house living with you, doing this work, was so deeply rooted in the national psyche that it seemed vulgar to have a washing machine when you could employ two girls to do your washing.
DAVIES: Now so there are all different kinds of households that had servants. Let's talk about the big country estate, the Downton Abbey-type place. Give us a sense of sort of, you know, how many people might be employed and what the different jobs and hierarchies were.
LETHBRIDGE: Well of course this is what most people think of when they think of old-fashioned service. They think of the great big country house. And indeed the country houses, the large estates, employed vast numbers of people both outside and in. But to take simply one example, before the first of - before the Second World War, at Woburn Abbey the duke of Bedford had 80 indoor staff, and that included hierarchies of staff that waited on staff. It was a form of training.
I interviewed a wonderful woman called Edna Field(ph), who had been in service at 14 in the early '30s at Woburn, and she was there for three years, and she never set eyes on the duke and duchess of Bedford, who lived there, because her job was simply to wait on the housekeeper. She never left the servants' quarters, not once in three years.
DAVIES: You write, you know, at the top of the heap, I suppose, I mean, one of the most kind of elevated positions of the service was the butler. And you have some interesting observations about what it took to make a good butler and what kind of lives they lived. Do you want to share a bit of that with us?
LETHBRIDGE: Well, I was very interested in the butler. I read a lot of butlers' memoirs, and what I found particularly fascinating was how it revealed how butlers were so butlery, if that isn't too difficult, that it was very difficult to find the voice behind the butler. And to an extent, one saw how butlers, and indeed a lot of upper manservants or men in service at that sort of - at the higher level, colluded in their own caricature.
And of course they themselves were echoing the prevailing view of what it was to be a gentleman. And so that the butler is, as it were, the sort of echo chamber of the upstairs. So in the servants' hall, he is king, and - as the master of the house is king upstairs. And there is this - there is this pater familias role that you get that...
DAVIES: And what is the caricature of a butler?
LETHBRIDGE: Well, I think the caricature is somehow who's rather pedantic, rather gloomy, very serious, extremely conservative, who echoes the conservative values of his master but is often, and this is the other side of the coin, is often a Jeeves figure, is often also rather more intelligent. That is another - that's the other caricature, with which - which is a very old one, you know, the clever manservant and the silly-ass master, the Bertie Wooster, the master who relies...
DAVIES: A man who's so refined, he can school his master in what it means.
LETHBRIDGE: While retaining an absolutely conservative sense of the sort of reticence and importance of deference. And I think this is a role which butlers appear to have played to the hilt. I mean, all the accounts of butlers suggest that they were very happy with this work. Butlers are interesting, I think, because they certainly in the first part of the 20th century, the butler is a very anachronistic figure at a time when working-class men were increasingly politically active.
And the Labour Party had made it not impossible to imagine, and in fact there are examples of this, it's not impossible to imagine, say, a miner or a former miner or a trade union official or a factory worker becoming an MP and then possibly, after the war, going into the House of Lords. And that is impossible to imagine for a butler.
Often as educated and, as it were, possessing this rather conservative, dutiful mean, as they often do, because there was something about service that stuck people with an identity. It wasn't just a job; it was a whole identity. And it was a reason why their working-class peers often looked down on servants. They were despised from up and from down, and it locked them in their place in a rather unique way.
And I think the butler is a very interesting example of that.
DAVIES: You know, service is a job that is sort of fundamentally different from any other job. You know, if we go to an office, or if we go to a factory or we go to a mine, we come home and leave the job behind. In service, you're living with your employers and, depending on your role, can, you know, have some pretty intimate contact. You see them undressed. You overhear private conversations sometimes.
And I'm wondering how that affected the social relationships between master and servant.
LETHBRIDGE: Well, I think it made it very awkward. I mean, there are - there are, I have to say, as many examples of absolutely wonderful relationships between employer and servant as there are simply dreadful examples. But I think the intimacy of the home, especially a middle-class, a sort of average-sized home, which of course is where most servants were employed, you're jostling in a small space together, in close proximity, and it is - it must have been extremely difficult.
And I found accounts of people after the second world war, when people lost their servants, saying that in fact it had been a huge relief because for the first time the family could have intimate conversations or even have huge quarrels without worrying about the servants overhearing. So there was a sense in which the life of the family blossomed when they no longer had to share their space with people who were not family.
DAVIES: And you write that in some of the bigger houses, in the estates, some servants were required, once a member of the employing family entered a room, to turn their faces to the wall.
LETHBRIDGE: Yes, I think that that was not uncommon in the large houses, that servants - servants were in this rather curious position of being both required to be highly visible and completely invisible. So the high visibility of the servant with an elaborate uniform, you know, opening a door is very much a sort of indication of status. We use it all the time as a shorthand in films and television programs, a shorthand for grandeur.
But at the same time, the wheels of the house were oiled and required to be run without any apparent effort at all. So if you passed a servant sweeping the stairs, she either had to turn her face to the wall, or she nipped behind little doorways that were often - you'll see little hidden doorways on staircases particularly or along corridors if you've got back stairs because her presence was almost an admission that the house didn't run itself in a curious kind of way.
DAVIES: We're speaking with Lucy Lethbridge. Her book is "Servants: A Downstairs History of Britain from the Nineteenth Century to Modern Times." We'll talk more after a break; this is FRESH AIR.
DAVIES: This is FRESH AIR, and if you've just joined us, we're speaking with Lucy Lethbridge. She's a writer who has a book about the service industry in England in the 20th century. It's called "Servants: A Downstairs History of Britain from the Nineteenth Century to Modern Times."
You know, as you reviewed these diaries and letters that you describe in the book, we saw, you know, many servants who were very loyal to the families that employed them. But there was also a lot of resentment. And I want to talk a bit about some of the conditions that fed the resentment. Tell us a bit about living quarters, the kind of - what were the circumstances under which servants lived?
And I know this varied from house to house, but generally speaking?
LETHBRIDGE: Well, if you take the average home, which I would say, a sort of say this is an average quite prosperous middle-class home in a - in London or another large city, say with five bedrooms, the servants would either be clustered at the very top of the house or clustered in the basement, by where the kitchen was.
In even smaller houses than that, they would often sleep in the kitchen, where it was the warmest place, where the stove was. But servants' accounts of the sort of misery of rooms where you either froze or boiled, depending on the season, are very acute, and also I think this idea that I found lots of accounts of - in advice books of people suggesting how you should furnish your servants' rooms.
And there's an infantilizing idea that servants, you shouldn't give them too many pretty things because they won't know what to do with them. Coming from homes that are impoverished both aesthetically and financially, there's no point in giving them a nice rug or a picture because it will only give them ideas about their station.
So there's this very Spartan simplicity in the rooms that I think must have felt pretty miserable after a long day.
DAVIES: What were hours like?
LETHBRIDGE: Well, I mean, the common a servant of all was what we would call a maid of all work. So she did a bit of everything. And she would be up at 5:30 or 6 lighting all the fires in the house, and she probably wouldn't go to bed until after her employers had had their dinner and washed it - and she would then have had to wash it up, so maybe 10.
I mean, the work was unbelievably hard and onerous, and if you were lucky...
DAVIES: And what, a half-day off?
LETHBRIDGE: A half-day off a week and every other Sundays, it was usually the form. And - but you would be quite heavily curfewed. You would be expected to come back certainly before 9 o'clock. So, you know, going out for the evening would be difficult because it would be curtailed. And, I mean, kindly employers were considerate and didn't leave their washing up for you on your day off or - but some weren't.
And if you think that these girls were, on average, about 13 or 14, and if they had come from very poor, particularly urban, households, were hideously undernourished, I mean, this was an incredibly long day. And the average housemaid, it was calculated in the 1890s, carried three tons of water every week up and down stairs.
And they were tiny, these girls. They were absolutely tiny. If you look at photographs of them, they were little shrimps of girls. So it was very, very arduous work.
DAVIES: And could they have a social life, meet someone and marry?
LETHBRIDGE: Well that was the way out of that sort of service, and if you had a - if you worked in a Downton-like house, then you would have plenty of opportunity because there would be quite a large body of male servants, and there would be visiting male servants so that the chances were that you would meet someone.
If you were, as most people were, working in a middle-class house and one of, say, three young girl maids, you had very little opportunity to meet anyone except the people that were regular, like the grocer's boy or the butcher's delivery man. Margaret Pall(ph) married a milkman simply because she saw him, he was one of the few men that she had the opportunity to see every single day, and that was a way of getting to know them.
And there were clubs for servant girls, but they tended to be all women and with rather sort of wholesome activities laid on like needlework and tennis. The Girls' Friendly Society was one such. And they did very good work, but it wasn't terribly exciting and fun for young girls.
DAVIES: Were the salaries such that you couldn't really, you know, save and move and, you know, get either an education or start a business or seek some other option?
LETHBRIDGE: Well no, I think that - but the salaries were quite low. I mean, what I found is I had a look at budgets for 1900 that had been compiled budgets for people on different incomes, and what they called the 10,000 a year, which is really in today's money pretty - a great deal of money, the man on 10,000 a year who employed, say, 10 servants spent less on the wages of his servants than he did on the keeping of his horses.
The expense of servants, from the employer's point of view, was their food. But - and of course they were what was called all found, so that they lived in, and they were fed and had accommodation. So of course the smallness of the wages was redressed at the other end by the fact that they had free accommodation and free food, and food was by far the highest proportion of anyone's budgetary expenditure before the Second World War.
DAVIES: You write that they had to wear uniforms, sometimes even required to wear a certain bonnet to church so that they could be clearly identified as servants and not ladies and gentlemen. This kind of - I don't know. Was this found to be demeaning?
LETHBRIDGE: Yes, I think this is one of the most bitterly demeaning things, because after all if you can't be equal in church, where can you be equal? And if there was one aspect of service I found most bitterly resented, it was the wearing of special bonnets in church for servant girls.
I mean, this again would be something that would be part of the large estate. The Church of England and the large estate are tied. They're part of a sort of English establishment that is absolutely rooted in English country life. And the idea, for example, that you couldn't go to church at all, you might wish not to go to church, would've been unthinkable. You had to go to church. You had to troop in after your master and his family, who would take their own pews in the front.
DAVIES: So if you didn't want to endure, you know, the loss of self-respect and the difficult conditions, what were the other options for a young girl, a working-class girl in Britain?
LETHBRIDGE: Well, there were beginning to be much - many more opportunities. I think that factory work of course is the main one, and a lot of girls did go into factory work. But it was not considered respectable. And so in more conservative working-class homes, you would prefer your child to go into service, what they call getting your feet under somebody else's table, because it was a place of safety.
Factories, there was something not considered a little kind of louche about factory work. You were working alongside men. Factory girls were considered to be rather loud and brash. They were often caricatured in the press. The press took a great delight in characterizing factory girls as vulgar in order to persuade woman that it was more respectable to go into service.
The middle classes were very worried that they were going to lose their servants to factories, and indeed a lot of working-class would have infinitely preferred to work in a factory because again you had the chance to meet men. Your hours were roughly nine to five, and so you knew exactly where you were. You weren't at the beck and call of some mistress who might make you stay up to 11 just because, you know, she had someone to supper.
And it was not considered as demeaning in many circles. But having said that, it was also not considered quite respectable to work in a factory so that there is this dilemma for young girls. And there's many accounts I found, especially of young girls in rural areas say oh, the only work around the place was a factory, and I couldn't have stooped so low.
GROSS: Lucy Lethbridge will continue her conversation with FRESH AIR contributor Dave Davies in the second half of the show. Her new book is called "Servants: A Downstairs History of Britain from the Nineteenth Century to Modern Times," I'm Terry Gross, and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross. Let's get back to the interview FRESH AIR contributor Dave Davies recorded with Lucy Lethbridge, about her new book, "Servants: A Downstairs History of Britain from the Nineteenth Century to Modern Times." It's based on diaries, letters and memoirs of servants. At the beginning of the 20th century, domestic service was the largest single occupation in Great Britain.
DAVIES: You know, in the early 20th century we saw, you know, there were some growing and powerful labor unions in Great Britain and a lot of movements, legislative movements, for social and economic equality.
How were these developments regarded by people in the service?
LETHBRIDGE: I think by career servants, by which, I mean people in the grander houses who were working their way up the hierarchy - like butlers, housekeepers, so on, with some suspicion. I mean servants tended to be conservative. They tended to echo the politics of their masters. Although, having said that, I did find many, many examples of servants who became radicalized by the experience of working below stairs, particularly women.
Many of your listeners will know Margaret Powell, who is the most, the best of servant memoirist really, who worked as a housemaid in the '20s and '30s. And she is a seething socialist. She can't escape from service. She has no money, only marriage offers her escape and she finally does marry. But she becomes politically radicalized by the experience.
And there were several others I found. There was a wonderful Indian servant called Razul(ph) Fazir(ph) who came over from Bangor and discovered socialism while working below stairs and various houses in Britain in the '20s and '30s. And I think, but I think that it was the working-class non-servants who gave servants a very, very hard time. They would get, people would shout flunky at them in the streets or skivvy, or slavey, and they were seen as propping up a hated class system - even though in most cases it was not their choice to go into service, it was a necessity.
DAVIES: You know, I want to talk some more about some of those particular resentments. But you write about a fascinating rally that was held when there was a campaign, I guess, in the parliament to establish national health insurance and thousands of servants turned out, no doubt, goaded by their masters to say terrible, we don't want this.
LETHBRIDGE: Yes. That is a very extraordinary thing, isn't it, that in 1911, Lloyd George's, the introduction of the Insurance Act, which required all employers of residential servants, people living in, to pay - I think it was sixpence or maybe even three pence a week - towards their health insurance. And this was to protect those servants who got thrown out when they were ill - and there were some very bad employees who would have done that. I mean servants were very unprotected. There was no pension system. They didn't have contracts. You know, it was only a very rudimentary union, which was also very frowned on by employers.
But what was so fascinating was that it seemed to strike at the heart for many employers, but also for many servants at what they called the sacred bond, which is this curious sort of mythical relationship between the classes. And again, I think this goes back to what I was talking about earlier, that this idea that there is a pyramid of order by which the leisured people at the top look after and are in turn cared for by this base of labor at the bottom, but that it is a co-dependency, a sort of loving co-dependency. And this is a very deep myth of an English Golden Age, an age that really lasted a very short time, indeed - from about 1830 to 1930. But nonetheless, it is seen as having a sort of deep and profound root in particularly rural lives and the lives of the great estates. And I think that this, the Insurance Act seemed to strike at this, it was the state and during the home. It's the state entering the home and touching on what would be considered almost family relationships, you know, an intimacy in which the state had business in meddling.
DAVIES: And yet, I'm struck by a number of women that you cite who felt embarrassed by the fact that they weren't independent because they were in service, that they were subjugated. You write of a cook who would go on vacation and just not tell people what she did for a living.
LETHBRIDGE: Yes, because it was considered certainly among the working-class. It was thought to be a humiliating copout, a sort of that you were a flunky, a lickspittle, you know, that you were sucking up to people you thought of as your betters, and that you weren't free. And I think that this also shows up a new age, you know, that this was a new age for women. And so that's servant girl saw women for the first time - women of the middle-classes - going out and going to universities, getting degrees, getting college or going to college, becoming secretaries, becoming typists, working in offices, and they felt that they were left behind in another world, a world their parents might consider more respectable. But for them themselves, that sort of world of deference was on the way out.
DAVIES: Lucy Lethbridge is our guest. Her book is called "Servants: A Downstairs History of Britain from the Nineteenth Century to Modern Times." You know, it's interesting that you write that in the 20th century, in a lot of rural places, there came to be these statehouses I guess they call them, kind of new homes that were built for aspiring middle-class families and they would have servants, far fewer than in the big estates. And I'm wondering kind of how the social relations were different when you compare the big house with many servants to, you know, a small house with, you know, two or three or four.
LETHBRIDGE: Well, I think as we mentioned before, I think the proximity is a difference, isn't it? I think you have much closer contact with someone in a small house. And it's very difficult, I mean the relationship can become more intimate but, of course, it can actually become very tricky. And so I think that that was one aspect. But it was very difficult also I think in the 1930s when they were building new homes like this - the '20s and '30s - to conceive of a world where middle-class housewives would not have help because this is the, it is the conundrum of both that age and this. That if women are to avail themselves of the new opportunities opening up for them, then they are going to have to have help running the home. And this is the sort of chaffing feeling that runs through all accounts of middle-class - what we might call sort of villa life - in the, before the Second World War: How can I so relieve myself of the burden of running a home that I will be free to concentrate on the inner life that is becoming available to me? You know, free to go to evening classes, free to perhaps even take a job, unless I have a decent cook who will prepare a good breakfast for my husband in the morning.
DAVIES: You write that there were a couple of cases where women went into service specifically to write about it. One, Monica Dickens, who was actually a descendent of Charles Dickens in the 1930s goes and poses as a servant. She was an actress, right, so she could pull this off? What did she observe and what - how were the 1930s different from an earlier era?
LETHBRIDGE: Yes, so she's going in for a lark. And I think what is interesting about her - and also another one called Celia Fremlin, who also posed a servant during the same period to do some research for mass observation - is that they essentially sees service by this stage a sort of service that their parents would've known as something so anachronistic, like a sort of ridiculous pantomime that has gone on working, you know, has gone on playing well beyond its time when all the players on the stage are ancient and decrepit. And they are part - they feel themselves to be part of a whole new world, a sort of modernist world, a kind of streamlined, much more mechanistic world.
So they go into service in a sort of spirited anthropological investigation. But what Monica Dickens fines and describes actually brilliantly, is a world of sort of middle-class households, the unbelievable sort of dingy primitiveness of the average middle-class house, you know, where he still had grates that needed blacking and stoves that needed to be lit. You know, this was when, you know, most middle-class houses in America would've had electric ovens, and certainly on the continent this would've been the same and electric toasters and so on. But still, the middle-class English household went on grinding away with this, keeping up appearances, really, by having a maid to open the door, to light the fires, to keep things going. And it's a wonderful picture of the sort of inter world dinginess of certain aspects of English life, I think.
DAVIES: You know, of course, there were a lot of social changes in, brought on by World War I, and then in the '20s and '30s. But you're right that it was really World War II that really changed service forever. And it's very touching to read that some of those that had the most difficult time with the change were these experienced veteran servants.
LETHBRIDGE: Yes. I think, I mean certainly, if you had been a career servant, I think the postwar period must've been quite difficult because you suddenly found your world no longer taken seriously. And that's why it's actually marvelous that there was than this moment in the late '60s and early '70s where that world although, in time it's not all that long ago. In spirit, it seems so far away and so archaic that there's a huge appetite for the memoirs of servants. So you get people like Jean Rennie and Winifred Foley and Margaret Powell writing these memoirs of life as it was lived and it seems as distant as another world although, it was easily within living memory, and suddenly they have their moment again, their moment to tell their story and that is very moving.
But, yes, if you had lived all your life as a, in a world of deference, when suddenly that world of deference disappears, you must be left wondering what exactly your identity is, what was it all for.
DAVIES: Well, Lucy Lethbridge, it's been fun. Thanks so much for spending some time with us.
LETHBRIDGE: Thank you very much. I've enjoyed it.
GROSS: Lucy Lethbridge spoke with FRESH AIR contributor Dave Davies. Her new book is called "Servants: A Downstairs History of Britain from the Nineteenth Century to Modern Times." You can read the first chapter on our website, freshair.npr.org.
Coming up, Ed Ward reviews a box set of country music recorded for Sun Records in the 1950s. This is FRESH AIR.
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Composite of drilling rig image from Rome, Pennsylvania and hundreds of images taken by a Hop Bottom, Pennsylvania resident of the volume of truck traffic passing in front of a neighbor's home over four days of the operation of a nearby shale gas well pad. © Nina Berman/Marcellus Shale Documentary Project 2015.
The nightmare situations preppers imagine are already happening—to people whose wealth and status don't protect them. Above, Hurricane Maria relief efforts in Puerto Rico, October 2017 (Agustín Montañez / National Guard)
From the music video for "Unforgettable," by French Montana, featuring Swae Lee (FrenchMontanaVEVO / Youtube)
Wizkid performing at Royal Albert Hall, London, September 2017 (Michael Tubi / Alamy Live News)
The cover of L'antinorm, published by the Homosexual Front for Revolutionary Action (FHAR), February 1973. The subtitle reads "Workers of the world, stroke yourselves!"
Jair Bolsonaro, at a debate about violence against women in Brazil's chamber of deputies, September 2016. Photo by Marcelo Camargo/Agência Brasil.
The front page of the Canard, February 28, 2018. Courtesy of Le Canard enchaîné.
Selling drugs in the shadow of an abandoned factory, North Philadelphia. Photo by George Karandinos.
Bundle of $10 bags of heroin. Photo by Fernando Montero Castrillo.
On a dilapidated Havana street, an elderly man searches through the garbage. February 2018, Havana, Cuba. Photo by David Himbert / Hans Lucas Studio.
A state employee reads the newspaper at the reception of the Defense Committee of the Revolution (CDR). March 2016, Havana, Cuba. Photo by David Himbert / Hans Lucas Studio.
A street vendor selling tropical fruits in front of a Benetton shop in Old Havana. May 2017, Havana, Cuba. Photo by David Himbert / Hans Lucas Studio.
At the University of Bristol, February 28 (Bristol UCU / Facebook)
Students rally in support of the lecturers' strike, February 23 (Bristol UCU / Facebook)
Part of a much larger painted banner in Bristol, February 28 (Bristol UCU / Facebook)
AMLO mural in Mexico City, 2007 (Randal Sheppard / Flickr)
MORENA supporters at a rally in Itzapalapa, Mexico City, April 2015 (Eneas De Troya / Flickr)
Audience members waiting for the program to begin at a MORENA rally, March 2016 (Eneas De Troya / Flickr)
MORENA supporter leafletting against energy reforms, 2013 (Eneas De Troya / Flickr)
Andrés Manuel López Obrador on the campaign trail during his previous presidential run, May 2012 (Arturo Alfaro Galán)
Courtesy of Robert Greene
At a protest against the alleged Pizzagate conspiracy, Washington, D.C., March 25, 2017 (Blink O'fanaye / Flickr)
[W]hen we refer to all Kurdish fighters synonymously, we simply blur the fact that they have very different politics. . . right now, yes, the people are facing the Islamic State threat, so it's very important to have a unified focus. But the truth is, ideologically and politically these are very, very different systems. Actually almost opposite to each other. —Dilar Dirik, "Rojava vs. the World," February 2015
The Kurds, who share ethnic and cultural similarities with Iranians and are mostly Muslim by religion (largely Sunni but with many minorities), have long struggled for self-determination. After World War I, their lands were divided up between Iraq, Iran, Syria, and Turkey. In Iran, though there have been small separatist movements, Kurds are mostly subjected to the same repressive treatment as everyone else (though they also face Persian and Shi'ite chauvinism, and a number of Kurdish political prisoners were recently executed). The situation is worse in Iraq, Syria, and Turkey, where the Kurds are a minority people subjected to ethnically targeted violations of human rights.
Iraq: In 1986–89, Saddam Hussein conducted a genocidal campaign in which tens of thousands were murdered and thousands of Kurdish villages destroyed, including by bombing and chemical warfare. After the first Gulf War, the UN sought to establish a safe haven in parts of Kurdistan, and the United States and UK set up a no-fly zone. In 2003, the Kurdish peshmerga sided with the U.S.-led coalition against Saddam Hussein. In 2005, after a long struggle with Baghdad, the Iraqi Kurds won constitutional recognition of their autonomous region, and the Kurdistan Regional Government has since signed oil contracts with a number of Western oil companies as well as with Turkey. Iraqi Kurdistan has two main political parties, the Kurdistan Democratic Party (KDP) and the Patriotic Union of Kurdistan (PUK), both clan-based and patriarchal.
Turkey: For much of its modern history, Turkey has pursued a policy of forced assimilation towards its minority peoples; this policy is particularly stringent in the case of the Kurds—until recently referred to as the "mountain Turks"—who make up 20 percent of the total population. The policy has included forced population transfers; a ban on use of the Kurdish language, costume, music, festivals, and names; and extreme repression of any attempt at resistance. Large revolts were suppressed in 1925, 1930, and 1938, and the repression escalated with the formation of the PKK as a national liberation party, resulting in civil war in the Kurdish region from 1984 to 1999.
Syria: Kurds make up perhaps 15 percent of the population and live mostly in the northeastern part of Syria. In 1962, after Syria was declared an Arab republic, a large number of Kurds were stripped of their citizenship and declared aliens, which made it impossible for them to get an education, jobs, or any public benefits. Their land was given to Arabs. The PYD was founded in 2003 and immediately banned; its members were jailed and murdered, and a Kurdish uprising in Qamishli was met with severe military violence by the regime. When the uprising against Bashar al Assad began as part of the Arab Spring, Kurds participated, but after 2012, when they captured Kobani from the Syrian army, they withdrew most of their energy from the war against Assad in order to set up a liberated area. For this reason, some other parts of the Syrian resistance consider them Assad's allies. The Kurds in turn cite examples of discrimination against them within the opposition.
Proclamation of the reclaiming of Alcatraz by the Indians of All Tribes, November 1969 (National Parks Service)
Entrance to Alcatraz in 2008 (Babak Fakhamzadeh / Flickr)
Letter from the Indians of All Tribes to the National Council on Indian Opportunity, January 1970 (National Parks Service)
Sign on Alcatraz during occupation, 1969–60 (National Parks Service)
Members of the People's Guard on motorcycles, 1920. Courtesy of Eric Lee.
Armed group of the Menshevik People's Guard, 1920. Courtesy of Eric Lee.
Eleven-year-old Liza Greenberg, daughter of David and Suzanne Nossel. Photo by Todd Gitlin.
Protest against neoliberalism in Colombia, 2013

subset: commoncrawl


text:
Looking back on my Hugo reading and preparation this year, I'd class 2015 as solid but not spectacular (2014 was much stronger, which makes it all the more unfortunate that its Hugo nominations were hijacked by the puppies). I enjoy the process of reading and considering in preparation for my nominations, but I'm always a little relieved when it's over--bring on the nominees, and let's hope that this year they give off light as well as heat.
Previous posts in this series:
- Sorcerer to the Crown by Zen Cho (review) - Cho's pastiche of Georgette Heyer's regency romances, crossed with a reconsideration of Susanna Clarke's Jonathan Strange & Mr. Norrell, is laudable first for being able to carry both of those antecedents without being crushed by the weight of reference. On the contrary, Cho manages to infuse her story and setting with its own unique flavor, drawing on Malaysian mythology as well as the less savory aspects of empire that the novels she's drawing on are prone to ignore. Sorcerer to the Crown is not without its flaws, chiefly a less-than-engrossing plot and an occasionally too-passive lead, but it's never less than a lot of fun--and frequently quite funny--to read, and its handling of issues of race and gender is nuanced and interesting.
- The Lie Tree by Frances Hardinge (review) - As I wrote in my review of The Lie Tree, I prefer Hardinge in full-on secondary world fantasy mode, but there's no denying that she draws the Victorian setting of this supernatural mystery as impeccably as she does any of her invented worlds. Her heroine, a troubled, emotionally repressed young woman who finds an outlet for her frustrated intelligence in spreading malicious lies, is also a typically vivid and compelling creation, and the fevered pitch that The Lie Tree builds up to as her manipulations take hold of a small community is everything we've come to expect from a Hardinge novel--psychologically astute, perfectly drawn, and quietly horrifying.
- Persona by Genevieve Valentine (review) - It's been nearly a year since I read Persona, and since then I've found that the novel has a surprising staying power. Partly it's just that nobody in genre is doing what Valentine is doing--telling a political thriller story in which power is rooted not just in appearance, but in looks, charisma, and fashion choices. That Valentine takes these subjects--which tend to be dismissed as trivial or (gasp!) girlish--and makes them deadly serious is an unusual and refreshing choice, and in addition Persona has two memorable, savvy protagonists to root for, as they make ruthless choices but also long for human contact.
- Kelly Robson - Robson made a big splash this year with her novella "The Waters of Versailles", which has been nominated for a Nebula award, and takes an unusual but fascinating approach to its setting of the pre-Revolutionary French court. I also enjoyed her Clarkesworld story "The Three Resurrections of Jessica Churchill", which offers an interesting twist on its body-snatching premise. First year of eligibility.
- Iona Sharma - I enjoyed Sharma's novella "Quarter Days" (from GigaNotoSaurus), about magician-lawyers in post-WWI England, whose protagonists include people of color trying to find a place for themselves in that society. Her Strange Horizons story "Nine Thousand Hours" takes place in the same universe, and this time revolves around an enlisted magician whose war-spell has had a terrible, unforeseen consequence. First year of eligibility.
- Alyssa Wong - Sometimes a single story is enough to put a writer on the map, and Wong's "Hungry Daughters of Starving Mothers" (already nominated for the Nebula) is one such story. It has a simple premise--a vampire trying not to be--but complicates it first by changing the rules of how vampires function, and second by introducing several complex relationships between older and younger women, none of whom are exactly what they seem. Second year of eligibility.
- JY Yang - Yang has had several interesting stories in the first few years of her career, each completely different from the others. "Tiger Baby" (Lackington's) is a slipstreamy fantasy about a girl chafing against a restrictive life, who believes she has a beast within her. "Storytelling for the Night Clerk" (Strange Horizons), is a cyberpunk-ish heist story. And "Patterns of a Murmuration, in Billions of Data Points" (Clarkesworld), is also a cyberpunk story, but with a much more mournful tone. Second year of eligibility.
- Isabel Yap - Yap came to my attention relatively late in this year's Hugo reading period, but once she did it was clear that she was an author to watch. "The Oiran's Song" (Uncanny) is a brutal, punishing horror story about powerless people trying to survive in a hellish situation. It's hard to believe that it comes from the same author who wrote "Milagroso" (Tor.com), a gentle story about tradition and family relations that explores an interesting SFnal concept in a setting that is full of fascinating local detail. Second year of eligibility.


text:
The greatest and most undeniable economic achievement of the euro is to have saved the European economy from fracturing in the economic and financial crisis unleashed by the collapse of Lehman Brothers. We know from the example of the 1930s how tempted national governments are to believe in times of economic crisis that devaluation and protectionism will serve the interests of their electors, and how devastating it is for all involved when national governments succumb to that temptation. The European single currency has acted and will continue to act as a powerful bulwark against any such tendencies.
Those who claim to regard the euro as simply a straitjacket from which national governments would do well to liberate themselves as soon as possible are in essence claiming that currency manipulation and economic nationalism are the royal road to prosperity. I do not believe that for a moment. Nor, ironically, do most of the euro's fiercest critics when they are talking about any other topic than the single European currency.
But the economic advantages of the euro have not simply been in warding off potential harm. Lower inflation, the elimination of exchange risk, increase in trade within the eurozone and more integrated European financial markets have all contributed to the underlying culture of monetary stability and economic predictability that the euro has brought to Europe. Well-run European economies, in particular Germany, have taken advantage of this stability to improve their economic performance, responding appropriately to the incentives and disciplines offered by the eurozone system.
Other member states of the eurozone have responded less successfully than has Germany to the challenges of the euro system. It is now more widely recognized that increasing debt in order to finance unproductive government operating expenditure is a dead end that undermines sustainable growth. But it is very difficult indeed to believe that these countries would have fared significantly better outside the eurozone.
The case of Italy is a particularly instructive one. Mario Monti, supported by an overwhelming majority in the Italian parliament, is carrying out those economic and financial reforms in Italy which it is now widely recognized earlier Italian governments culpably failed to implement. Without such reforms, the Italian economy could not possibly prosper, inside or outside the eurozone. I find it ironic that many of those commentators who are loudest in calling for wholesale reform of the traditional European economic model give such a grudging welcome to this reform when it arises from the workings of the eurozone.
Germany's role in confronting the sovereign debt crisis of the eurozone over the past two years has attracted considerable criticism, much of it unfair. Accusations of German dictatorship and inflexibility are well wide of the mark. If there is a criticism to be made of German Chancellor Angela Merkel, it is that she has often seemed to lack a strategic vision for the governance of the eurozone. But maybe she has one that for political reasons she may be slow to articulate.
The German position has greatly evolved over the past 18 months in regard to the nature, extent, and duration of financial assistance to be offered to eurozone members actually or potentially in difficulty. Nor is there any reason to believe that this evolution has yet come to an end. In common with her predecessors in the German chancellery, Ms. Merkel firmly believes that Germany's economic and political future lies within the European Union, of which the euro is such a central expression.
But she does not yet appear to have found a sustainable political balance between the imperative need to stabilize the eurozone and the understandable reluctance of her electors (and those of other core states) to support financially members of the eurozone that, to some extent at least, are the authors of their own misfortunes. Merkel is not wrong to argue that economic reform in countries such as Greece should be a precondition of financial support from the rest of the eurozone. But it is an argument that if carried to its logical extreme could easily provoke irreparable short-term damage in the supposed interests of long-term improvement.
When the euro was introduced in 1999, national governments sought to keep for themselves the greatest possible national autonomy for economic decision-making. Looking back, we can see that this was an inadequate approach. Much of the past 18 months has been devoted to repairing the gaps in the euro's original structure of governance. The process is not yet complete, but remarkable changes of approach from all member states of the eurozone are already plain for all to see. Now we must look to growth and how it can be re-established on a sustainable basis, particularly in the periphery
The Fiscal Compact [in response to the European debt crisis] is a necessary part of the future. However, the process needs to go further if the future of the euro is to be assured. In the minds of some honest outside observers, there is still a genuine question mark over the long-term future of the eurozone.
But the placing of a question mark is emphatically not the same as the giving of an answer. After all, none of the predictions of destruction frequently expressed in the past have been fulfilled to date. In fact, our progress, though faltering, has increasingly brought home to us all that we must unite more rather than less if Europe is to prosper in the future. This must mean that we should combine economic analysis and prescription with political advocacy of a true union of the peoples of Europe. This will entail a degree of cohesion between eurozone states that reflects a political union rather than a temporary marriage of convenience.
Global markets are not yet convinced about the lengths to which the eurozone core countries will really go to maintain the currency, recognizing that to achieve this end will require not merely discipline in the periphery but also growth. There has been, for example, a relative silence about the mechanisms, let alone their implementation, that might be used to provide aid (perhaps through loans for infrastructure expenditure). Also, there is a lack of clarity about the prospects and conditions for any "mutualization" of public debt. In the latter regard there has been what has been described as "conditional" mutualization of sovereign debt in the European Monetary Union, but the debt overhang problem has had less attention than is required.
So, much remains to be done in both the political and economic spheres, and both of course overlap. To maintain general support for the project, firefighting is indispensable but not sufficient. We need a vision of a future that expresses an unambiguous support for ongoing integration.
On the political front it may be difficult at a time when understandably all attention seems to be focused on the debt crisis and the euro. In addition, the fate of the so-called Constitutional Treaty and the tortured process leading to the ratification of the Lisbon Treaty might well be expected to reduce the appetite of national governments to contemplate any further substantial reform. However, surely reform is indispensable in order to address the undoubted reality of the democratic deficit? The plain fact is that the European Parliament, worthy though its efforts are, has not provided the legitimacy required. What is needed are two further changes.
The first of these is a democratic election of the president of the European Commission [the executive arm of the EU] combined with further steps to legitimize nationally each of the commissioners to be appointed by him. The election of the commission president is essential.
In turn, he should be empowered to choose his commissioners from national slates while maintaining the requirement that each nationality be represented. He should be required to take account in his selection of each of the commissioners of the political balance required both in the college and to reflect public opinion in the member states individually. The selection of those to be included in national slates could be through the national parliaments or through some form of electoral primary system such as the one in the United States.
The second requirement needed to address the democratic deficit is greater engagement by national parliaments in the deliberations of their representatives in the Council of Ministers on proposals for legislation made by the commission. This is necessary both to improve the quality of legislation and to alert electorates to the full consequences of such legislative proposals. The often unseemly backroom technocratic fixing that currently takes place between the commission and the member states should give way to greater national engagement and the test of open public transparency.
Peter Sutherland is a former European Commissioner and former head of the World Trade Organization. He is a member of the Nicolas Berggruen Institute's Council for the Future of Europe.
© 2012 Nicolas Berggruen Institute/Global Viewpoint Network/Tribune Media Services. Hosted online by The Christian Science Monitor.


text: ANNAPOLIS, Md., June 26, 1935 (AP) -- Negotiations have been started by the Evans Products Co. of Detroit for the purchase of the Washington, Baltimore & Annapolis Railway, which was recently sold at auction here. The company manufactures buses and trucks that operate either on rails or on the highway, and it is understood the concern plans to operate 100 passenger and freight units between Washington, Baltimore and Annapolis. ... The "auto railer" consists of front and rear steel pilot railroad wheels attached to a conventional type of bus or truck. The pilot wheels are raised for operation over highways but can be let down when the vehicle reaches the tracks. The vehicle runs on its own tires over the rails with the pilot wheels guiding it along the track.


text:
The Handwriting on the Wall
In today's passage, we saw the great and mighty dependent on the very people they conquered for insight into the Lord's ways. God so often uses the meek, the powerless, and even the subjugated to show those who think they ...Read More
For the most part, God's hand of providence remains hidden, and we do not know how things will turn out for us before they actually occur. At times we must trust the Lord and do the right thing even if ...Read More
Most of us would likely be considered ordinary people who will never make the history books. From a human perspective, we may not seem all that "great." Yet from God's perspective, ordinary is what we want to be. He brings ...Read More
The Holy City
The New Testament makes it clear that we are living in the period of restoration when God is calling His children back to Himself. Jews and Gentiles alike are hearing the gospel and running to Him in faith. Each of ...Read More
Apportioning the Restored Land
By faith we "are fellow citizens with the saints and members of the household of God" (Eph. 2:19). In the kingdom, one Christian is not "more of a citizen" than another Christian. There is not one class of believers that ...Read More
The Lord Returns to His Temple
The various elements of Ezekiel's vision in today's passage are not meant to be taken in an absolutely literal sense, so we are not surprised that there is no record of the glory cloud returning to the post-exilic temple. But ...Read More
Ezekiel Sees a New Temple
God's revelation is progressive. He revealed Himself slowly over time, disclosing only those truths that His people needed in each generation, saving a fuller revelation of His plan for the future when His people were ready to receive it. This ...Read More
Egypt Falls to Babylon
Idolatrous pride led to Egypt's attempt to thwart God's will in raising up Nebuchadnezzar to discipline Judah, and our own pride can lead to us making decisions that are against the Lord's revealed will. When this happens, we show that ...Read More
The Judgment of Tyre
Bible critics read Scripture superficially and find "errors" that do not reflect a fair reading of all the evidence. Nebuchadnezzar destroyed Old Tyre, and it remains uninhabited. Moreover, the island city-fortress of Tyre has never been the same since Alexander's ...Read More
The Death of Ezekiel's Wife
Today's passage illustrates that God is working for the ultimate good of His people even in tragedy (Rom. 8:28). Sometimes, achieving those ultimate goods means suffering in the short term, but one day we will see that the suffering was ...Read More


text:
Odd Christmas (Ft. Nicki Minaj, Big Sean, Plies, Rick Ross, Beyonce, J. Cole, Jay-Z, Kanye West, Tyler The Creator, Kreayshawn, Lil B, Chris Brown, Birdman, Lil Wayne, Drake, Wyclef, Rihanna & More) [Spoof]
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text:
I love a good rummage through the goodies at charity shops, and I've been meaning to do a post about some of the gems I've found already this year.
My number one absolute favourite thing I've found has been sitting in a cardboard box in my kitchen for a couple of weeks now, but today I got it out and used it for the first time. And here it is! (Or part of it anyway…)
I picked up this beautiful tea set consisting of six cups, saucers, side plates and one larger serving plate for the princely sum of… wait for it… £6.50!
I couldn't believe it! Everything was in stunningly good condition, and in some charity shops you are lucky to get just a cup and saucer for that much! Ever since people have started upcycling cup and saucer sets into candle holders or pincushions the prices have gotten worse, but I bought this tea set to be used and loved, and that's what I'll do with it!
Once I got it home I couldn't resist googling it. The pattern is called "Fragrance" and it was made by Colclough Bone China in the early 1960s, which makes the condition of my set even more remarkable! It's not really worth anything much, replacement pieces can be bought online for just a few pounds, but I just love it and that makes it very valuable to me!
This afternoon was the perfect time to christen my lovely new/old tea set as my mum and my ten year old nephew came over to enjoy a nice cup of tea and a slice of cake after a good rummage though… more charity shops of course! (I should point out that although he is quite a boisterous lad, he takes his tea and cake very seriously and can be trusted with fine china if his sisters aren't there to annoy him!)
My star find today was what my Gran always called a gazunder, because it gazunder the bed!
I have to say that I'd normally think twice about taking home something that has almost certainly contained someone else's urine in it at some point, but I've been on the lookout for a chamberpot to give to The Redoubt Military Museum for their "Home Front" display focusing on what it was like to live in wartime Britain in the 1940s. I go to a knitting group (Knit for Victory!) at the Redoubt once a fortnight, and we're supposed to be contributing items knitted to vintage patterns to display at the museum. We got to talking about what household items were common at the time, and a gazunder was mentioned but no one still had one… until now! It was only £4.50 and if the museum folks don't want it I think I'll keep it and plant something leafy in it.
Today was one of the few times I've come home from a charity shop binge without adding to my button collection. I love buttons. Vintage buttons, handmade buttons, wooden buttons, pretty much any kind of buttons! I try to keep the vintage and more unusual ones separate, as well as any that are particularly small, but all the others I sort into different colours and store in glass jars in my livingroom. It does my heart good to see them sitting there, but I really must try to use more of them up!
I did bring home some interesting fabric, but the bottom of my wardrobe is already exploding at the seams with the stuff! Today I got a nice big piece of purple corduroy, and last week I got a huge bag of curtain remnants for £5, but yesterday I found a whole load of brand new crushed velvet scarves for 99p each! How could I resist this?
The answer of course is that I didn't even try. In fact, I bought two of each colour. BUT when I showed them to my mum she fell in love with them and took two home with the intention of wearing them at some point, so maybe that is delayed self-control by proxy, or something. Hmm.
This next purchase isn't second hand but it is vintage-esque style and I bought it this week so what the hell, I'll include it in this post anyway.
Just to show that I have a teeny tiny modicum of self control, here is something I saw in the same shop that I wanted so badly my bones hurt, but I still walked away without buying it.
Isn't it glorious? I may still go back and get it.
And finally, Mr BAM deserves an honorable mention for the beautiful bunch of Fairtrade roses he got me for Valentine's Day last week.
I'm lucky to have him, and I know it! And what did I get him? A mug with a collage of words on it about computer games arranged in the shape of an Xbox controller (with a few subliminal messages from me hidden in there about switching his game off and making me a cup of tea!)
Ain't love grand? 😉


text:
You've seen the image before. A hot summer day, everyone sweating, and a fire hydrant is opened up. Water goes everywhere and kids scream in delight. While we all view that as classic summer fun, a recent article in the New York Times suggests that the city of Chicago isn't eager to join in on the fun because opening up a fire hydrant is illegal. And now the city is looking for way to crack down on it.
Chicago has been going through a heat wave recently, with heat indexes climbing up to 108 degrees on some days. The city has taken issue with the opening of fire hydrants because it affects the way the Chicago Fire Department operates and how it extinguishes fires. Chicago's Department of Water Management released a few figures that have the city worried. Over 18,000 fire hydrants were opened illegally in 2010 and open fire hydrants lose nearly 34,000 gallons of water per hour. The resulting total damage adds up to "hundreds of thousands of dollars" every year as well as low water pressure for several citizens.
Alternatives to opening fire hydrants have been offered, including by Alderman Edward Burke of the 14th Ward. His plan involves a new bill that calls for the opening of water recreational facilities, such as pools and spray parks, though locals are unconvinced that these facilities will ever be opened. Not to mention that the cost of a full water park has a price tag of $400,000.
Alderman Robert Maldonado of the 26th Ward of Chicago supports Burke's new bill. But he also has reservations that echoes the complaint many in the community have. "It's a tradition of decades and decades and decades to open up those fire hydrants," argues Maldonado.
It's a tough decision for city planners and officials to make. Opening fire hydrants is part of the city's colorful history and one of the more fruitful methods for combating growing heat problems. But it's also a costly expenditure for the city and its citizens, and alternatives like Burke's water facility bill may hopefully offer the compromise many are seeking.


text:
LONDON (Reuters) - British police are investigating how an intruder breached the security of the Tower of London and stole a set of keys from the tourist attraction and home of the crown jewels.
Locks to the Tower's drawbridges and other rooms have been changed and "a staff disciplinary procedure is underway" after a man was caught trespassing in the early hours of November 6 and escorted from the premises, according to a royal palaces statement.
The stolen keys did not provide access to the Tower itself, Historic Royal Palaces said in a statement, but admitted a lapse in security.
"Our well-established security systems and procedures are robust. However on this occasion, these procedures were not carried out to the expected standard," it said.
The Tower was begun by William the Conqueror in the 1080s and has been used by British monarchs as a home, place of execution and a prison for traitors ever since. Henry VIII had Anne Boleyn executed here.
The crown jewels on display at the palace include a solid gold crown weighing over 2 kg (4.4 lb) and the 105 carat Koh-i-Nur ("Mountain of Light") diamond.
A police spokesman said the incident was under investigation.
The Tower is traditionally staffed by ceremonial custodians, known as Yeoman Warders (nicknamed "Beefeaters"), former members of the British armed forces whose elaborate scarlet and gold tunics are one of the best known symbols of the capital.
The warders give tours and carry out the Ceremony of the Keys, the traditional locking up of the Tower of London that has taken place on each and every night, without fail, for at least 700 years and is a popular tourist attraction.
A young warder foiled a more audacious theft in 1671, when a gang of thieves attempted to make off with the crown jewels by smuggling them out under the cloaks and down their trousers.
Reporting By Alessandra Prentice, editing by Paul Casciato


text:
Jade Rectangular Dining Table
Available After September 18, 2020
Measurements61" W x 35" D x 30" H
155 cm W x 89 cm D x 77 cm H
- White
- Glossy
- Modern design
- Side support stretchers
- Stainless steel legs
- Super white Starphire glass top
- Includes a 61" rectangular glass top
- Maximum number of chairs 6
- Stainless steel
- Glass
Use the Jade's style to bring your family back to the dinner table. This Rectangular Dining Table is comfortable enough for daily use and stylish enough for more formal occasions.
Important Notes
About Stainless Steel and Metal: The stainless steel and metal are complete with a polished finish. During the hand polishing process, slight imperfections are created. These small nicks, welded spots, and scratches are considered normal and add a unique look to each piece.
On Display at Your Local Store
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Art historian and museum curator Jennifer Cahn wasn't sure what to expect when she was asked by the Kinsey Institute to select the works for the organization's fourth annual juried art show.
The show, opening Friday, is about sexuality, naturally, this being the Kinsey Institute, the famous Bloomington, Ind., research center founded by Alfred Kinsey, the man who raised the curtain on 1950s American sex.
But Cahn certainly never expected to receive over 700 submissions, the most ever for the show. Though she was given carte blanche to select the final group, something any judge likes to have, she found making her selections difficult because she was faced with distinguishing between porn, art, erotica and aesthetic value. That's tough for anybody.
"We try to avoid making the distinction here," explained Catherine Johnson-Roehr, who runs Kinsey's art operation. "Anybody who comes here, or sees the online galleries, sees that it is a wide range of art and some of it might fit a particular person's definition of porn."
Take, for example, the institute's recently acquired engraving from 1526 depicting a scene from Genesis, Potiphar's wife trying to seduce Joseph. Joseph is depicted nude with quite an erection. Porn? Art? Both? "It's fuzzy," Johnson-Roehr said.
Exactly. So Cahn created her own criteria.
"The distinguishing factor to me was that I was looking for work with the strongest aesthetic qualities," she explained. "And I was aware that there are lots of topical issues out there and I wanted to make sure as many voices got a say as possible. Some [works] have to do with ageism; how old can you be and still be sexually attractive? I picked things dealing with the forbidden — S and M and voyeurism and public sex."
Drawing lines this way may seem arbitrary and sometimes it is, Cahn said. "It's about personal background, what society and culture did you grow up in, the mores and values of your world. I tried to be as objective as possible but I knew there would be times when my life story would enter into how I look at things and what kind of art I like."
The draw of homemade erotica
Cahn said said she was intrigued by submissions that seemed homemade. Works that seemed slick sometimes struck her as prurient.
"Homemade work done in a bedroom by a lover was erotica. When it was a professional photographer in a studio, for me, that was making porn. It sounds corny but those aren't about love. It is about sex devoid of emotion. Even a homemade image that has other emotions like anger, resentment, repression, those to me were beautiful and fascinating. The commercial ones were not."
That's an interesting observation given two recent news items. A German archeologist announced he had found a new "Venus," a small carved figure of a woman equipped with enormous breasts and exaggerated genitals dating from about 35,000 years ago, so long ago that whoever made it was sharing Europe with Neanderthals. This may make it the oldest known piece of figurative art ever found, about as close to eternal as you can get on the human scale.
I am sentimental about Playboy, not only because I saw my first naked woman in its pages but also because it published some of the best journalism of the last century. But judging from its June issue, its editors are hoping a less-sophisticated magazine will bring the ads and the readers back. Maybe that will work. I hope so. But it could be that the success of the revolution Hugh Hefner helped create, giving people permission to enjoy and show off sex, is responsible for the magazine's straits.
"One thing that struck me, and it brings sense to why Playboy is cutting back, is that people are producing high-quality work at home," Cahn said. "And I think homemade erotica can be much more powerful than something you buy on the newsstand." You could say we might be returning to the stone age.
For all the challenge in her task of judging, she said, "in the end, I thought, 'This is a beautiful show.' I felt proud of America, that people with such varied interests and abilities were free to submit their work. That's democracy."
Brian Alexander is the author of the book "America Unzipped: In Search of Sex and Satisfaction," now in paperback.
© 2013 msnbc.com Reprints


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Henry Wadsworth Longfellow
Henry Wadsworth Longfellow (27 February 1807 – 24 March 1882 / Portland, Maine)
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"Nobody thrills like Nicholson does. Nobody." - J.A. Konrath, Origin
The first book in the After post-apocalyptic thriller series from an international bestselling author. Look for the other books, the free prequel After: First Light, After: The Echo, After: Milepost 291, After: Whiteout, and After: Red Scare.
A massive solar storm erases the world's technological infrastructure and kills billions. While the remaining humans are struggling to adapt and survive, they notice that some among them have...changed.
Rachel Wheeler finds herself alone in the city, where violent survivors known as "Zapheads" roam the streets, killing and destroying. Her only hope is to reach the mountains, where her grandfather, a legendary survivalist, established a compound in preparation for Doomsday.
Other survivors are fleeing the city, but Zapheads aren't the only danger. Rogue bands of military soldiers want to impose their own order in the crumbling ruins of civilization. When Rachel discovers a 10-year-old boy, she vows to care for him even if it means her own chances of escaping are lower.
And the Zapheads that were once simple to evade are evolving, developing communal skills even as they lay waste to the society they will eventually replace.
Scott Nicholson is author of more than 30 books, including The Red Church, The Harvest, Creative Spirit, and The Skull Ring. His website is authorscottnicholson.com.


text: kitzg Posted December 11, 2001 Jim Beam Brands was named the first Distiller of the Year to be awarded by the just released January issue of Wine Enthusiast magazine. Beam won International Distiller of the Year as well recently from the International Wine and Spirits competition. In a press release today, Beam Brands' President, Richard Reese is quoted as saying, "Our flagship Jim Beam bourbon brand has never been stronger...." The company says Knob Creek is in the super-premium class from the firm that is growing at double digits. Share this post Link to post Share on other sites


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Embroidery Patterns
SMALL PACK Embroidery Patterns - LUCHA LIBRE
|These are the baddest embroidery patterns you'll find! Create your own wrestling hero by customizing a mask with extra details like lightning bolts, or create your own. ¡Que fantástico!
Choose iron-on transfer, downloadable PDF with COLOR Guides, or combo of both for a special price!
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text: Footwear is a key connection between rider and bike. It's where energy is transferred into forward motion, and a perfect fit combined with a proven design elevates any cycling experience. Giant works with our pro riders to design footwear that optimizes the natural motion of your foot and offers just enough torsional flex to give you superior power transfer with less pressure and strain. The result: You can sprint faster, hammer up climbs and ride all day with more comfort and ease.


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Welcome to Arthouse Wijn-Ton…
Artistic delights prevail in abundance.. both inside and out.. bringing about a state of relaxation and bliss...
Still in progression.. yes she grows.. to become a landmark in the mudane... To open eyes as to the vast abundance of creativity that exists...
To create an insight into what could be.. to inspire and delight.. to bring forth gifts from those otherwise overlooked...
E mail: firstname.lastname@example.com
" We are all gifted.. we are all beautiful..."
" They reveal themselves with their own words... "
" Remove the rock from the river.. let the river flow free... "
Spirit is always at home.
Wherever I find myself,
I know that I rest in the arms of Spirit, protected and comforted.
I look around my life and realize that the home in which I live
is also the dwelling place of Spirit, both in form and formless.
I let order and the wholesome nature of Spirit become manifest
in my home, tending to its needs consciously and joyfully,
seeing it as a selfless service to the One Power.
I keep my home clean and inviting, creating a space in
which to celebrate my life and the lives of all I love.
I give thanks for the beautiful place in which I live, and
I continually move through my life in a state of gratitude
for all that Spirit gives to me all creation in its lavish opulent way.
It is good, and so it is...
Skills and Experience…
Skills and experience include: Painting and drawing in a variety of media. Artistic metalwork. Ceramics. Landscaping artistic ornamental gardens. Laying artistic floors/mosiacing. Ornamental plasterwork/sculpture. Doing and reading scale drawings. Singing/songwriting. Playing guitar ( mediocerly albeit :-D ). Undertaking art projects with children and youths.
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Update on creative endeavours etc. 🙂
With the lead up to crimbo, there hasn't been an awful lot of time for creative endeavours, I have nearly finished drawing no eight for my colouring book. The dreaded lurgy has put that one on hold for a while … Continue reading
Posted in Adult colouring book., Art therapy, Arthouse Wijn-Ton., Arthouse., Aspien woman., Autistic Savant., Calm in the storm., Drawing., Fine Art., Healing journey, Interior Design, Live music., Music, Oil paintings, Original song., Ornamental garden., Outsider art, Paintings, Pondering., Post brain hemorrhage/creative endeavours., Ragdoll cats., Salford Royal hospital., Sculpture, Subarachnoid haemorrhage., Uncategorized Tagged art therapy, Arthouse, arts, Drawing., Drawing. Fine art. Post subachnacraniod hemorrhage creative endeavours. Salford Royal Hospital. Adult colouring book., Guitar, illustration, Life lessons., New life., outsider art, Ragdoll cats., Singer, singing, songwriter, Spiritual journey, To "be 4 Comments
Life, thoughts and creative endeavours
Firstly, my apologies for again getting wrapped up in life events and creativity and neglecting to update here sooner. I found out that a long standing friend and fellow artist, passed away at home on his own, it knocked me … Continue reading
Posted in Adult colouring book., Art garden, Art therapy, Arthouse Wijn-Ton., Autistic Savant., Calm in the storm., Drawing., Fine Art., Interior Design, Landscape gardening, Live music., Music, Oil paintings, Ornamental garden., Outsider art, Paintings, Pondering., Ragdoll cats., Uncategorized, Workshop/studio Tagged acoustic guitar, art therapy, arts, Guitar, illustration, Interior design., live music, music, Oil painting. Autistic ( artistic ) savant., outsider art, painting, Ragdoll cats., Singer, singing, songwriter, Spiritual journey, Video, Workshop. 1 Comment
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New features for browser-based, expressive content
- Recent Updates
- May 14, 2020 — This is a beta release of Flash Player 32, code named Evans.
- Download Flash Player 32 beta
The Adobe® Flash® Platform runtimes, Flash Player and AIR®, together enable businesses to efficiently deliver rich customer experiences across multiple digital touch points. With Flash Player and AIR, content can easily and consistently move between the browser, standalone applications and native operating systems to reach users on the devices of their choice. Since the Adobe runtimes share a common codebase, developers can reuse code to deploy game console quality 2D and 3D games, rich media applications with premium high definition video and scalable date driven applications though both AIR and Flash Player.
Flash Player is a cross-platform, browser-based application runtime that provides uncompromised viewing of expressive applications, content, and videos across browsers and operating systems.
Flash Player Beta Features
Thank you for your interest in the Flash Player beta runtime for Windows and Mac OS. Please see our release notes for details on new features, recent fixes and known issues.
Your feedback is a critical component for a successful and stable release. We encourage you to let us know if you encounter any problems with this beta release or have suggestions on how we can improve Flash Player. Feedback can be provided to us via our public bug database and our Flash Player beta forum.
Announcement: Adobe is constantly working to improve the quality of the Flash Runtime. We now allow beta customers to provide anonymous usage data to help in this process. Please see our FAQ for additional details.
Getting Started
Follow these steps to get started with the Flash Player beta:
- Download the Flash Player beta
- Review the release notes to learn how to implement the new features
- Check out the ActionScript 3 API documentation for Flash Player beta
- Send us your feedback and bug reports (English only)
Ask questions and share your feedback in the Flash Player beta forumPlease note that your submission of comments, ideas, feature requests and techniques on this and other Adobe maintained forums, as well as Adobe's right to use such materials, is governed by the Terms of Use.
Below you will find references and links to help you participate in the Flash Player community.
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Ask questions, discuss, and share feedback with other users and the engineering team in the online forums.
Please note that your submission of comments, ideas, feature requests and techniques on this and other Adobe maintained forums, as well as Adobe's right to use such materials, is governed by the Terms of Use.
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Keep your eye on developing conversations and news in the blogging community on Adobe Feeds.
Review the Flash smart category on Adobe Feeds
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Learn more about Flash Player in the Adobe Developer Connection.
If you want to learn more about releases on Labs as well as other Adobe technologies, visiting a user group or connecting with an Adobe Community Professional is a great place to start.
Product Details
- Is Flash Player beta supported on Windows 8 or 10?
- Flash Player is supported on Windows 8.1 (IE 10+) and Windows 10 (IE 11 and Microsoft Edge). It comes pre-installed with IE/Edge and any updates that are distributed via Windows standard update mechanisms.
- As a developer, how do I make sure my Website content, created using Adobe Flash technologies, is compatible with Microsoft Windows 8 guidelines?
- Please read the developer guidance for websites with content for Adobe Flash Player in Windows 8 (Internet Explorer).
- Why are ActionScript workers Flash Player only?
- Given that the work to enable concurrency on mobile will require more time, we did not want to block the introduction of concurrency. So we decided to introduce it first to Flash Player, we plan to introduce concurrency support in a future version of Adobe AIR.
- What is the difference between the released version of Flash Player on adobe.com and the beta version of Flash Player download on labs?
- The released version of Flash Player is now available to the public on adobe.com. We are continuing to develop and release updates to Flash Player on a regular basis and therefore plan to continue to post beta updates to labs and via 'Background Update'.
System Requirements
Current system requirements for Flash Player release version are available on Adobe.com.
For the Flash Player beta, we are making the following adjustments to our minimum requirements to ensure that users have optimal experiences with the new features:
- 32- and 64-bit (unless noted): Microsoft® Windows® XP (32-bit), Windows Vista® (32-bit), Windows 7, Windows 8.1 and Windows 10
- Latest versions of Microsoft Internet Explorer, Microsoft Edge, Mozilla Firefox, Google Chrome and Opera
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- Latest versions of Mozilla Firefox or Google Chrome
Release Notes
The Flash Player beta is designed for evaluation purposes only. We do not recommended that this release be used on production systems or for any mission-critical work.


text:
President Barack Obama and Israeli Prime Minister Benjamin Netanyahu spoke by phone on Monday and discussed recent developments on Iran, Israeli-Palestinian negotiations, and other regional issues, the White House said on Monday.
"The two leaders agreed to continue their close coordination on a range of security issues," the White House said. (Reuters)


text:
'Jeeves' sparkles with humor, great performances
Drawing once again from the wellspring supplied by British humorist P.G Wodehouse, First Folio Theatre premieres another effervescent Margaret Raether adaptation of a Wodehouse tale.
Artistic director Alison C. Vesely and the impeccable trio of Jim McCance, Christian Gray and Kevin McKillip reunite for "Jeeves Takes a Bow," an enjoyable midwinter romp that is every bit as entertaining as their previous two collaborations: 2008's "Jeeves Intervenes" and 2010's "Jeeves in Bloom."
Droll quips (expertly timed) and a dollop of slapstick animate the comedy underscored by mistaken identities and lovesick suitors. There's also a giddily staged madcap chase and a full-blown musical production number -- a new and welcome addition to First Folio's Jeeves series -- which Vesely and company pull off with great humor.
The farce unfolds in the posh Manhattan apartment (sumptuously designed by Angela Miller) of Bertie Wooster (a slightly daffy, always endearing Gray). He's an agreeably inept British aristocrat who, as one character observes, "suffers from the twin handicaps of a large fortune and an atrophied brain." On holiday in New York City, Bertie has discovered a fierce independent streak, which manifests itself in an injudicious choice of socks (which are a punch line worth waiting for), much to the chagrin of Jeeves, played to deadpan perfection by McCance, who makes it difficult to imagine anyone better suited to the role.
A gentleman's gentleman, Jeeves' primary duties -- besides mixing cocktails and announcing visitors -- consist of extricating the bumbling Bertie from various peccadillos, often involving disgruntled women and instigated (at least in part) by old school chums.
One such chum is Nigel Bingham Binkersteth (another fine comic turn by McKillip, a terrific physical actor), also known as Binky. Binky informs Bertie that he has given up his position with the British embassy to become an actor. Additionally, he has been pursuing (under Bertie's name) an aspiring actress named Ruby LeRoy -- think Miss Adelaide from "Guys and Dolls" -- played by First Folio newcomer Jennifer Shine, a charmer with a baby-doll voice and bow lips. Ruby is the star of "Naughty Natalie," a musical set in the Old West. The show is financed by well-groomed gangster Knuckles McCann (a spot-on David Rice), a "miniature gorilla masquerading as a man," who's protective of his investment and his star.
With Binky masquerading as Bertie, Bertie is forced to take on the identity of Binky, a ruse that is almost uncovered with the arrival of Wooster family friend Vivienne Duckworth (a deliciously tweedy Lydia Berger Gray, whose character is described as someone "Ibsen dreamed up in one of his less frivolous moments"). Vivenne is in town researching a book on America's seedy underbelly which requires her to investigate New York's dens of iniquity. Knuckles offers to serve as her guide.
Of course things go awry, forcing the ever-capable Jeeves to intervene.
All in all, First Folio's production runs like a well-oiled machine, powered by pros who have made Wodehouse's characters their own.
"Jeeves Takes a Bow"★ ★ ★ ½
Location: Mayslake Peabody Estate, 1717 W. 31st St., Oak Brook, (630) 986-8067, firstfolio.org
Showtimes: 8 p.m. Wednesday, Friday and Saturday; 3 p.m. Sunday through March 3
Running time: About two hours, with intermission
Tickets: $26-$37
Parking: Free lot adjacent to the estate
Rating: For most audiences


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|2019-08-11 15:25:21 by Thomas Klausner | Files touched by this commit (3557) |
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