text:
Bayard Rustin
Bayard Rustin | |
Rustin at a news briefing on the Civil Rights March on Washington, August 27, 1963
Born | West Chester, Pennsylvania |
March 17, 1912
Died | August 24, 1987 Manhattan, New York |
(aged 75)
Organization | Fellowship of Reconciliation, Congress of Racial Equality, Southern Christian Leadership Conference, Social Democrats, USA (National Chairman), A. Philip Randolph Institute (President) |
Movement | African-American Civil Rights Movement, Peace Movement, Socialism, Gay Rights Movement |
Religion | Quaker |
Partner(s) | Walter Naegle |
Awards | Presidential Medal of Freedom |
Bayard Rustin (/ˈbaɪərd/; March 17, 1912 – August 24, 1987) was an American leader in social movements for civil rights, socialism, pacifism and non-violence and gay rights. He was born and raised in Pennsylvania where his family was involved in civil rights work. In 1936, he moved to Harlem, New York City, and earned a living as a nightclub and stage singer, and continued activism for civil rights.
In the pacifist Fellowship of Reconciliation (FOR), Rustin practiced nonviolence.[1] He was a leading activist of the early 1947–1955 civil-rights movement, helping to initiate a 1947 Freedom Ride to challenge with civil disobedience racial segregation on interstate busing. He recognized Martin Luther King, Jr.'s leadership, and helped to organize the Southern Christian Leadership Conference to strengthen King's leadership; Rustin promoted the philosophy of nonviolence and the practices of nonviolent resistance, which he had observed while working with Gandhi's movement in India. Rustin became a leading strategist of the civil rights movement from 1955 to 1968. He was the chief organizer of the 1963 March on Washington for Jobs and Freedom, which was headed by A. Philip Randolph, the leading African-American labor-union president and socialist.[2][3] Rustin also influenced young activists, such as Tom Kahn and Stokely Carmichael, in organizations like the Congress on Racial Equality (CORE) and the Student Nonviolent Coordinating Committee (SNCC).
After the passage of the civil-rights legislation of 1964–65, Rustin focused attention on the economic problems of working-class and unemployed African Americans, suggesting that the civil-rights movement had left its period of "protest" and had entered an era of "politics", in which the Black community had to ally with the labor movement. Rustin became the head of the AFL–CIO's A. Philip Randolph Institute, which promoted the integration of formerly all-white unions and promoted the unionization of African Americans. The Institute under Rustin's leadership also advanced and campaigned for (from 1966 to 1968) A Freedom Budget for All Americans, linking the concepts of racial justice with economic justice; supported by over 200 prominent civil rights activists, trade unionists, religious leaders, academics and others, it outlined a plan to eliminate poverty and unemployment in the United States within a ten year period. Rustin became an honorary chairperson of the Socialist Party of America in 1972, before it changed its name to Social Democrats, USA (SDUSA); Rustin acted as national chairman of SDUSA during the 1970s. During the 1970s and 1980s, Rustin served on many humanitarian missions, such as aiding refugees from Communist Vietnam and Cambodia. He was on a humanitarian mission in Haiti when he died in 1987.
Rustin was a gay man who had been arrested for homosexual activity in 1953 (which was criminalized in parts of the United States until 2003). Rustin's sexuality, or at least his embarrassingly public criminal charge, was criticized by some fellow pacifists and civil-rights leaders. Rustin was attacked as a "pervert" or "immoral influence" by political opponents from segregationists to Black power militants, and from the 1950s through the 1970s. In addition, his pre-1941 Communist Party affiliation when he was a young man was controversial. To avoid such attacks, Rustin served only rarely as a public spokesperson. He usually acted as an influential adviser to civil-rights leaders. In the 1970s, he became a public advocate on behalf of gay and lesbian causes.
On November 20, 2013, President Barack Obama posthumously awarded Rustin the Presidential Medal of Freedom.[4]
Early life[edit]
Rustin was born in West Chester, Pennsylvania. He was raised by his maternal grandparents, Janifer and Julia Rustin. Julia Rustin was a Quaker, although she attended her husband's African Methodist Episcopal Church. She was also a member of the National Association for the Advancement of Colored People (NAACP). NAACP leaders such as W.E.B. Du Bois and James Weldon Johnson were frequent guests in the Rustin home. With these influences in his early life, in his youth Rustin campaigned against racially discriminatory Jim Crow laws.[5]
In 1932, Rustin entered Wilberforce University, a historically black college (HBCU) in Ohio operated by the AME Church. As a student at Wilberforce, Rustin was active in a number of campus organizations, including the Omega Psi Phi Fraternity. He left Wilberforce in 1936 before taking his final exams, and later attended Cheyney State Teachers College (now Cheyney University of Pennsylvania).
After completing an activist training program conducted by the American Friends Service Committee (AFSC), Rustin moved to Harlem in 1937 and began studying at City College of New York. There he became involved in efforts to defend and free the Scottsboro Boys, nine young black men in Alabama who were accused of raping two white women. He joined the Young Communist League in 1936. Soon after coming to New York City, he became a member of Fifteenth Street Meeting of the Religious Society of Friends (Quakers).
Rustin was an accomplished tenor vocalist, an asset which earned him admissions to both Wilberforce University and Cheyney State Teachers College with music scholarships.[6] In 1939, he was in the chorus of a short-lived musical that starred Paul Robeson. Blues singer Josh White was also a cast member, and later invited Rustin to join his band, "Josh White and the Carolinians". This gave Rustin the opportunity to become a regular performer at the Café Society nightclub in Greenwich Village, widening his social and intellectual contacts.[7] A few albums on Fellowship Records featuring his singing were produced from the 1950s through the 1970s.
Evolving affiliations[edit]
Following directions from the Soviet Union, the Communist Party USA (CPUSA) and its members were active in the civil rights movement for African Americans.[8] Following Stalin's "theory of nationalism", the CPUSA once favored the creation of a separate "nation" for negroes, to be located in the American Southeast.[9] In 1941, after Germany invaded the Soviet Union, Joseph Stalin ordered the CPUSA to abandon civil rights work and focus supporting U.S. entry into World War II. Disillusioned, Rustin began working with members of the Socialist Party of Norman Thomas, particularly, A. Philip Randolph, the head of the Brotherhood of Sleeping Car Porters; another socialist mentor was the pacifist A. J. Muste, leader of the Fellowship of Reconciliation (FOR).
The three of them proposed a march on Washington to protest racial discrimination in the armed forces. Meeting with President Roosevelt in the Oval Office, Randolph respectfully and politely, but firmly, told President Roosevelt that Negroes would march in the capital unless desegregation occurred. To prove their good faith, the organizers canceled the planned march after Roosevelt issued Executive Order 8802 (the Fair Employment Act), which banned discrimination in defense industries and federal agencies.
Rustin traveled to California to help protect the property of Japanese Americans who had been imprisoned in internment camps. Impressed with Rustin's organizational skills, Muste appointed him as FOR's secretary for student and general affairs.
Rustin was also a pioneer in the movement to desegregate interstate bus travel. In 1942, he boarded a bus in Louisville, bound for Nashville, and sat in the second row. A number of drivers asked him to move to the back, but Rustin refused. The bus was stopped by police 13 miles north of Nashville and Rustin was arrested. He was beaten and taken to the police station, but was released uncharged.[10]
In 1942, Rustin assisted two other staffers, George Houser and James L. Farmer, Jr., and activist Bernice Fisher as they formed the Congress of Racial Equality (CORE). Rustin was not a direct founder, but was "an uncle of CORE," Farmer and Houser said later. CORE was conceived as a pacifist organization based on the writings of Henry David Thoreau. It was modeled after Mohandas Gandhi's non-violent resistance against British rule in India and was influenced by his protege Krishnalal Shridharani's book War without Violence.[11]
As declared pacifists who refused induction into the military, Rustin, Houser, and other members of FOR and CORE were convicted of violating the Selective Service Act. From 1944 to 1946, Rustin was imprisoned in Lewisburg Federal Penitentiary, where he organized protests against segregated dining facilities. During his incarceration, Rustin also organized FOR's Free India Committee. After his release from prison, he was frequently arrested for protesting against British colonial rule in India and Africa.
Just before a trip to Africa while college secretary of the FOR, Rustin recorded a 10-inch LP for the Fellowship Records label. He sang spirituals and Elizabethan songs, accompanied on the harpsichord by Margaret Davison.[12]
Influence on the Civil Rights Movement[edit]
Rustin and Houser organized the Journey of Reconciliation in 1947. This was the first of the Freedom Rides to test the ruling of the Supreme Court of the United States that banned racial discrimination in interstate travel (Irene Morgan v. Commonwealth of Virginia). Rustin and CORE executive secretary George Houser recruited a team of fourteen men, divided equally by race, to ride in pairs through Virginia, North Carolina, Tennessee, and Kentucky.[13] The NAACP opposed CORE's Gandhian tactics as too meek. Participants in the Journey of Reconciliation were arrested several times. Arrested with Jewish activist Igal Roodenko, Rustin served twenty-two days on a chain gang in North Carolina for violating Jim Crow laws regarding segregated seating on public transportation.[14]
In 1948, Rustin traveled to India to learn techniques of nonviolent civil resistance directly from the leaders of the Gandhian movement. The conference had been organized before Gandhi's assassination earlier that year. Between 1947 and 1952, Rustin met with leaders of Ghana's and Nigeria's independence movements.
In 1951, he formed the Committee to Support South African Resistance, which later became the American Committee on Africa.
Rustin was arrested in Pasadena, California, in 1953 for sexual activity with two other men in a parked car. Originally charged with vagrancy and lewd conduct, he pleaded guilty to a single, lesser charge of "sex perversion" (as consensual sodomy was officially referred to in California then) and served 60 days in jail. This was the first time that his homosexuality had come to public attention. He had been and remained candid about his sexuality, although homosexual activity was still criminalized throughout the United States. After his conviction, he was fired from FOR. He became the executive secretary of the War Resisters League.
Rustin served as an unidentified member of the American Friends Service Committee's task force to write "Speak Truth to Power: A Quaker Search for an Alternative to Violence,"[15] published in 1955. This was one of the most influential and widely commented upon pacifist essays in the United States. Rustin had wanted to keep his participation quiet, as he believed that his known sexual orientation would be used by critics as an excuse to compromise the 71-page pamphlet when it was published. It analyzed the Cold War and the American response to it, and recommended non-violent solutions.
Rustin took leave from the War Resisters League in 1956 to advise Martin Luther King Jr. on Gandhian tactics. King was organizing the public transportation boycott in Montgomery, Alabama, known as the Montgomery Bus Boycott. According to Rustin, "I think it's fair to say that Dr. King's view of non-violent tactics was almost non-existent when the boycott began. In other words, Dr. King was permitting himself and his children and his home to be protected by guns." Rustin convinced King to abandon the armed protection, including a personal handgun.[16]
The following year, Rustin and King began organizing the Southern Christian Leadership Conference (SCLC). Many African-American leaders were concerned that Rustin's sexual orientation and past Communist membership would undermine support for the civil rights movement. U.S. Representative Adam Clayton Powell, Jr., who was a member of the SCLC's board, forced Rustin's resignation from the SCLC in 1960 by threatening to discuss Rustin's morals charge in Congress.[17] Although Rustin was open about his sexual orientation and his conviction was a matter of public record, the events had not been discussed widely outside the civil rights leadership.
March on Washington[edit]
Despite shunning from some civil rights leaders,
[w]hen the moment came for an unprecedented mass gathering in Washington, Randolph pushed Rustin forward as the logical choice to organize it.[18]
A few weeks before the March on Washington for Jobs and Freedom in August 1963, Senator Strom Thurmond railed against Rustin as a "Communist, draft-dodger, and homosexual," and had the entire Pasadena arrest file entered in the record.[18] Thurmond also produced a Federal Bureau of Investigation photograph of Rustin talking to King while King was bathing, to imply that there was a same-sex relationship between the two. Both men denied the allegation of an affair.
Rustin was instrumental in organizing the march. He drilled off-duty police officers as marshals, bus captains to direct traffic, and scheduled the podium speakers. Eleanor Holmes Norton and Rachelle Horowitz were aides.[18]
Despite King's support, NAACP chairman Roy Wilkins did not want Rustin to receive any public credit for his role in planning the march. Nevertheless, he did become well known. On September 6, 1963, Rustin and Randolph appeared on the cover of Life magazine as "the leaders" of the March.[19]
After the March on Washington, Rustin organized the New York City School Boycott. When Rustin was invited to speak at the University of Virginia in 1964, school administrators tried to ban him, out of fear that he would organize another school boycott there.
From Protest to politics[edit]
After passage of the 1964 Civil Rights Act and 1965 Voting Rights Act, Rustin advocated closer ties between the civil rights movement and the Democratic Party and its base among the working class.
With Tom Kahn, Rustin wrote an influential article called "From protest to politics" that analyzed the changing economy and its implications for African Americans. Rustin wrote that the rise of automation would reduce the demand for low-skill high-paying jobs, which would jeopardize the position of the urban Negro working class, particularly in northern states.
The needs of the African-American community demanded a shift in political strategy, where the blacks would need to strengthen their political alliance with mostly white unions and other organizations (churches, synagogues, etc.) to pursue a common economic agenda. It was time to move from protest to politics, wrote Rustin.
A particular danger facing the African-American community was the chimera of identity politics, particularly the rise of "Black power" which Rustin dismissed as a fantasy of middle-class black people that repeated the political and moral errors of previous black nationalists, while alienating the white allies needed by the African-American community.[20] Rustin's analysis of the economic problems of the Black community was widely influential.
Influence on William Julius Wilson[edit]
Rustin's analysis was supported by later research by William Julius Wilson. Wilson documented an increase in inequality within the Black community, following educated Blacks moving into white suburbs and following the decrease of demand for low-skill labor as industry declined in the Northern USA. Such economic problems were not being addressed by a civil rights leadership focused on "affirmative action", a policy benefiting the truly advantaged within the Black community. Wilson's criticism of the neglect of working-class and poor African Americans by civil rights organizations led to his being mistaken for a conservative, despite his having identified himself as a Rustin style social democrat. Wilson has served on the advisory board of Social Democrats, USA.[21]
Labor movement: Unions and social democracy[edit]
Rustin increasingly worked to strengthen the labor movement, which he saw as the champion of empowerment for the Negro community and for economic justice for all Americans. He contributed to the labor movement's two sides, economic and political, through support of labor unions and social-democratic politics.
He was the founder and became the Director of the A. Philip Randolph Institute, which coordinated the AFL-CIO's work on civil rights and economic justice. He became a regular columnist for the AFL-CIO newspaper.
On the political side of the labor movement, Rustin increased his visibility as a leader of the American social democracy. He became a national co-chairman of the Socialist Party of America in early 1972. In December 1972, when the Socialist Party changed its name to Social Democrats, USA (SDUSA) by a vote of 73–34, Rustin continued to serve as national co-chairman, along with Charles S. Zimmerman of the International Ladies Garment Workers' Union (ILGWU).[22] In his opening speech to the December 1972 Convention, Co-Chairman Rustin called for SDUSA to organize against the "reactionary policies of the Nixon Administration"; Rustin also criticized the "irresponsibility and élitism of the 'New Politics' liberals".[22] In later years, Rustin served at the national chairman of SDUSA.
Foreign policy[edit]
Like many liberals and socialists, Rustin supported President Lyndon B. Johnson's containment policy against communism, while making criticisms of the conduct of this policy. In particular, to maintain independent labor unions and political opposition in Vietnam, Rustin and others gave critical support to U.S. military intervention in Vietnam, while calling for a negotiated peace treaty and democratic elections. Rustin criticized the specific conduct of the war, though. For instance, in a fundraising letter sent to War Resisters League supporters in 1964, Rustin wrote of being "angered and humiliated by the kind of war being waged, a war of torture, a war in which civilians are being machine gunned from the air, and in which American napalm bombs are being dropped on the villages."[23]
The plight of Jews in the Soviet Union reminded Rustin of the struggles that blacks faced in the United States. Soviet Jews faced many of the same forms of discrimination in employment, education and housing, while also being prisoners within their own country by being denied the chance to emigrate by Soviet authorities.[24] After seeing the injustice that Soviet Jews faced, Rustin became a leading voice in advocating for the movement of Jews from the Soviet Union to Israel. He worked closely with Senator Henry Jackson of Washington, who introduced legislation that tied trade relations with the Soviet Union to their treatment of Jews.[25]
Rustin maintained his strongly anti-Soviet views later in his life, especially with regard to Africa. Rustin co-wrote with Carl Gershman (a former director of Social Democrats, USA and future Ronald Reagan appointee) an essay entitled "Africa, Soviet Imperialism & the Retreat of American Power," in which he decried Russian and Cuban involvement in the Angolan Civil War and defended the military intervention by apartheid South Africa on behalf of the National Liberation Front of Angola (FNLA) and National Union for the Total Independence of Angola (UNITA). "And if a South African force did intervene at the urging of black leaders and on the side of the forces that clearly represent the black majority in Angola, to counter a non-African army of Cubans ten times its size, by what standard of political judgment is this immoral?" Rustin accused the Soviet Union of a classic imperialist agenda in Africa in pursuit of economic resources and vital sea lanes, and called the Carter Administration "hypocritical" for claiming to be committed to the welfare of blacks while doing too little to thwart Russian and Cuban expansion throughout Africa.[26]
Human rights: Gay rights[edit]
Throughout the 1970s and 1980s, Rustin worked as a human rights and election monitor for Freedom House.[27] He also testified on behalf of New York State's Gay Rights Bill. In 1986, he gave a speech "The New Niggers Are Gays," in which he asserted,
Today, blacks are no longer the litmus paper or the barometer of social change. Blacks are in every segment of society and there are laws that help to protect them from racial discrimination. The new "niggers" are gays.... It is in this sense that gay people are the new barometer for social change.... The question of social change should be framed with the most vulnerable group in mind: gay people.[28]
Death and beliefs[edit]
Rustin died on August 24, 1987, of a perforated appendix. An obituary in the New York Times reported, "Looking back at his career, Mr. Rustin, a Quaker, once wrote: 'The principal factors which influenced my life are 1) nonviolent tactics; 2) constitutional means; 3) democratic procedures; 4) respect for human personality; 5) a belief that all people are one.'"[29]
Mr. Rustin was survived by Walter Naegle, his partner of ten years.[30][31]
Despite the fact that he played such an important role in the civil rights movement, Rustin "faded from the shortlist of well-known civil rights lions," in large part because of public discomfort with his sexual orientation.[18] However, the 2003 documentary film Brother Outsider: The Life of Bayard Rustin, a Sundance Festival Grand Jury Prize nominee,[32] and the March 2012 centennial of Rustin's birth have contributed to some renewed recognition.
According to Daniel Richman, former clerk for United States Supreme Court justice Thurgood Marshall, Marshall's friendship with Rustin and Rustin's openness about his homosexuality played a significant role in Marshall's dissent from the court's 5–4 decision upholding the constitutionality of state sodomy laws in the later overturned 1986 case Bowers v. Hardwick.[33]
Several buildings have been named in honor of Rustin, including the Bayard Rustin Educational Complex located in Chelsea, Manhattan;[34] Bayard Rustin High School in his hometown of West Chester, Pennsylvania; Bayard Rustin Library at the Affirmations Gay/Lesbian Community Center in Ferndale, Michigan; the Bayard Rustin Social Justice Center in Conway, Arkansas. In July 2007, with the permission of the Estate of Bayard Rustin, a group of San Francisco Bay Area African-American LGBT community leaders officially formed the Bayard Rustin LGBT Coalition (BRC), to promote greater participation in the electoral process, advance civil and human rights issues, and promote the legacy of Mr. Rustin. In addition, the Bayard Rustin Center for LGBTQA Activism, Awareness and Reconciliation is located at Guilford College, a Quaker school.[35] Formerly the Queer and Allied Resource Center, the center was rededicated in March 2011 with the permission of the Estate of Bayard Rustin and featured a keynote address by social justice activist Mandy Carter.[36]
A biographical feature movie of Bayard Rustin was entitled Out of the Past.[37]
A Pennsylvania State Historical Marker is placed at Lincoln and Montgomery Avenues, West Chester, Pennsylvania; the marker commemorating his accomplishments lies on the grounds of Henderson High School, which he attended.[38]
In 2012 Rustin was inducted into the Legacy Walk, an outdoor public display which celebrates LGBT history and people.[39]
Rustin was posthumously awarded honorary membership into Delta Phi Upsilon, a fraternity for gay, bisexual and progressive men.
In 2013 Rustin became an honoree in the United States Department of Labor Hall of Honor.[40]
On August 8, 2013, President Barack Obama announced that he would posthumously award Rustin the Presidential Medal of Freedom. The citation in the press release stated:
- Bayard Rustin was an unyielding activist for civil rights, dignity, and equality for all. An advisor to the Reverend Dr. Martin Luther King, Jr., he promoted nonviolent resistance, participated in one of the first Freedom Rides, organized the 1963 March on Washington for Jobs and Freedom, and fought tirelessly for marginalized communities at home and abroad. As an openly gay African American, Mr. Rustin stood at the intersection of several of the fights for equal rights.[41]
At the White House ceremony on November 20, 2013, President Obama presented Rustin's award to Walter Naegle, his partner of ten years.[4]
- Interracial primer New York, N.Y.: Fellowship of Reconciliation, 1943
- Interracial workshop: progress report New York, N.Y.: Sponsored by Congress of Racial Equality and Fellowship of Reconciliation, 1947
- Journey of reconciliation: report New York : Fellowship of Reconciliation, Congress of Racial Equality, 1947
- We challenged Jim Crow! a report on the journey of reconciliation, April 9–23, 1947 New York : Fellowship of Reconciliation, Congress of Racial Equality, 1947
- "In apprehension how like a god!" Philadelphia: Young Friends Movement 1948
- The revolution in the South" Cambridge, Mass. : Peace Education Section, American Friends Service Committee, 1950s
- Report on Montgomery, Alabama New York: War Resisters League, 1956
- A report and action suggestions on non-violence in the South New York: War Resisters League, 1957
- Civil rights: the true frontier New York, N.Y.: Donald Press, 1963
- From protest to politics: the future of the civil rights movement New York: League for Industrial Democracy, 1965
- The city in crisis (introduction) New York: A. Philip Randolph Educational Fund, 1965
- "Black power" and coalition politics New York, American Jewish Committee 1966
- Which way? (with Daniel Patrick Moynihan) New York : American Press, 1966
- The Watts "Manifesto" & the McCone report. New York, League for Industrial Democracy 1966
- Fear, frustration, backlash: the new crisis in civil rights New York, Jewish Labor Committee 1966
- The lessons of the long hot summer New York, American Jewish Committee 1967
- The Negro community: frustration politics, sociology and economics Detroit : UAW Citizenship-Legislative Department, 1967
- A way out of the exploding ghetto New York: League for Industrial Democracy, 1967
- The alienated: the young rebels today and why they're different Washington, D.C. : International Labor Press Association, 1967
- "Right to work" laws; a trap for America's minorities. New York: A. Phillip Randolph Institute 1967
- Civil rights: the movement re-examined (contributor) New York,A. Philip Randolph Educational Fund, 1967
- Separatism or integration, which way for America?: a dialogue (with Robert Browne) New York,A. Philip Randolph Educational Fund, 1968
- The Report of the National Advisory Commission on Civil Disorders, an analysis New York, American Jewish Committee 1968
- The labor-Negro coalition, a new beginning Washington? D.C. : American Federationist?, 1968
- The anatomy of frustration New York, Anti-Defamation League of B'nai B'rith, 1968
- Morals concerning minorities, mental health and identity. New York, A. Philip Randolph Institute, 1969
- Black studies: myths & realities (contributor) New York, A. Philip Randolph Educational Fund, 1969
- Conflict or coalition?: the civil rights struggle and the trade union movement today New York, A. Philip Randolph Institute, 1969
- Three essays New York, A. Philip Randolph Institute, 1969
- Black rage, White fear: the full employment answer : an address Washington, D.C. : Bricklayers, Masons & Plasterers International Union 1970
- A word to black students New York, A. Philip Randolph Institute, 1970
- The failure of black separatism New York, A. Philip Randolph Institute, 1970
- The blacks and the unions (contributor) New York, A. Philip Randolph Educational Fund, 1971
- Down the line; the collected writings of Bayard Rustin Chicago Quadrangle Books 1971
- Affirmative action in an economy of scarcity (with Norman Hill) New York, A. Philip Randolph Institute, 1974
- Seniority and racial progress (with Norman Hill) New York, A. Philip Randolph Institute, 1975
- Have we reached the end of the second reconstruction? Bloomington, Ind. : The Poynter Center, 1976
- Strategies for freedom: the changing patterns of Black protest New York, Columbia University Press 1976
- Africa, Soviet imperialism and the retreat of American power New York, Social Democrats, USA, 1978
- South Africa: is peaceful change possible? a report (contributor) New York, New York Friends Group, 1984
- Time on two crosses: the collected writings of Bayard Rustin San Francisco : Cleis Press, 2003
- I Must Resist: Bayard Rustin's Life in Letters (City Lights, 2012)
See also[edit]
- American Civil Rights Movement (1896-1954)
- Civil resistance
- List of civil rights leaders
- Nonviolent resistance
- Timeline of the American Civil Rights Movement
- Notes
- ^ Brock, Peter; Young, Nigel (1999). Pacifism in the Twentieth Century. New York: Syracuse University Press. pp. 230–1. ISBN 0-8156-8125-9.
- ^ Lerone Bennett Jr. (November 1963). "Masses were March Heroes". Ebony: 35. ISSN 0012-9011. Retrieved September 19, 2010.
Chief of Staff of mammoth operation, Bayard Rustin, (with cigarette), presides at news conference
Available via books.google.com with Advanced Search issn:0012-9011 date Nov 1963 - ^ De Leon, David (1994). Leaders from the 1960s: a biographical sourcebook of American activism. Greenwood Publishing Group. p. 138. ISBN 0-313-27414-2.
- ^ a b Justin Snow. "Obama honors Bayard Rustin and Sally Ride with Medal of Freedom". metroweekly.com. Retrieved November 21, 2013.
- ^ Spartacus Educational: Bayard Rustin Biography Biographical sketch at www.spartacus.schoolnet.co.uk, 12/5/2010.
- ^ D'Emilio 2003, pp. 21, 24.
- ^ D'Emilio 2003, pp. 31–2.
- ^ Kazin, Michael (August 21, 2011). The Concise Princeton Encyclopedia of American Political History. Princeton University Press. p. 112. ISBN 978-1-4008-3946-9. Retrieved November 6, 2011.
- ^ August Meier and Elliot Rudwick. Black Detroit and the Rise of the UAW.
- ^ Rustin, Bayard (July 1942). "Non-Violence vs. Jim Crow". Fellowship. reprinted in Carson, Clayborne; Garrow, David J.; Kovach, Bill (2003). Reporting Civil Rights: American journalism, 1941–1963. Library of America. pp. 15–18. Retrieved September 13, 2011.
- ^ David Hardiman (2003). Gandhi in His Time and Ours: The Global Legacy of His Ideas. C. Hurst & Co. Publishers. p. 256. ISBN 978-1-85065-712-5.
- ^ from liner notes, Fellowship Records 102
- ^ Podair 2009, pp 27
- ^ Peck, James (September 1947). "Not So Deep Are the Roots". The Crisis. reprinted in Carson, Clayborne; Garrow, David J.; Kovach, Bill (2003). Reporting Civil Rights: American journalism, 1941–1963. Library of America. pp. 92–97. Retrieved September 13, 2011.
- ^ "Available online from". AFSC. March 2, 1955. Retrieved November 1, 2013.
- ^ Bayard Rustin – Who Is This Man, State of the Reunion, radio show, aired February 2011 on NPR, 1:40–2:10. Retrieved March 16, 2011.
- ^ Lewis 1978, p. 131.
- ^ a b c d Hendrix, Steve (August 21, 2011). "Bayard Rustin, organizer of the March on Washington, was crucial to the movement". The Washington Post. Retrieved August 22, 2011.
- ^ Life Magazine, September 6, 1963.
- ^ Staughton Lynd, another civil rights activist, responded with an article entitled, "Coalition Politics or Nonviolent Revolution?"
- ^ Wilson's The Declining Significance of Race won the American Sociological Association's Sydney Spivack Award. In The Declining Significance of Race: Blacks and Changing American Institutions (1978) Wilson argues that the significance of race is waning, and an African-American's class is comparatively more important in determining his or her life chances. His The Truly Disadvantaged, which was selected by the editors of the New York Times Book Review as one of the 16 best books of 1987, and received The Washington Monthly Annual Book Award and the Society for the Study of Social Problems' C. Wright Mills Award. In The Truly Disadvantaged: The Inner City, the Underclass, and Public Policy (1987), Wilson was one of the first to enunciate at length the "spatial mismatch" theory for the development of a ghetto underclass. As industrial jobs disappeared in cities in the wake of global economic restructuring, and hence urban unemployment increased, women found it unwise to marry the fathers of their children, since the fathers would not be breadwinners. His When Work Disappears: The World of the New Urban Poor, which was selected as one of the notable books of 1996 by the editors of the New York Times Book Review and received the Sidney Hillman Foundation Award. His The Bridge Over the Racial Divide: Rising Inequality and Coalition Politics reaffirms the need for a coalition strategy, as Rustin suggested. In Wilson's most recent book, More Than Just Race: Being Black and Poor in the Inner City (2009), he directs his attention to the overall framing of pervasive, concentrated urban poverty of African Americans. He asks the question, "Why do poverty and unequal opportunity persist in the lives of so many African Americans?" In response, he traces the history and current state of powerful structural factors impacting African Americans, such as discrimination in laws, policies, hiring, housing, and education. Wilson also examines the interplay of structural factors and the attitudes and assumptions of African Americans, European Americans, and social science researchers. In identifying the dynamic influence of structural, economic, and cultural factors, he argues against either/or politicized views of poverty among African Americans that either focus blame solely on cultural factors or only on unjust structural factors. He tries "to demonstrate the importance of understanding not only the independent contributions of social structure and culture, but also how they interact to shape different group outcomes that embody racial inequality." Wilson's goal is to "rethink the way we talk about addressing the problems of race and urban poverty in the public policy arena." [1]
- ^ a b "Socialist Party Now the Social Democrats, U.S.A.". The New York Times. December 31, 1972. Retrieved February 8, 2010. (limited free access)
- ^ Rustin 2012, pp. 291-2
- ^ Podair, Jerald E. "Bayard Rustin: American Dreamer" (Lanham, MD: Rowman & Littlefield Pub., 2009). ISBN 074254513X
- ^ Podair 2009, pp. 99
- ^ Bayard Rustin and Carl Gershman (October 1977). "Africa, Soviet Imperialism & The Retreat Of American Power". Social Democrats, U.S.A. Retrieved November 1, 2013.
- ^ "Freedom House: A History".
- ^ Osagyefo Uhuru Sekou (June 26, 2009). "Gays Are the New Niggers". Killing the Buddha. Retrieved 2 July 2009.
- ^ "Bayard Rustin Is Dead at 75; Pacifist and a Rights Activist", New York Times
- ^ "Brother Outsider — A Closer Look at Bayard Rustin, by Walter Naegle". Rustin.org. Retrieved November 1, 2013.
- ^ Patricia Nell Warren (February 15, 2009). "Bayard Rustin: Offensive lineman for freedom". Outsports.com. Retrieved November 14, 2013.
- ^ "Brother Outsider – Home".
- ^ Murdoch, Joyce; Price, Deb (May 8, 2002). Courting justice: gay men and lesbians v. the Supreme Court. Basic Books. p. 292. ISBN 978-0-465-01514-6. Retrieved October 13, 2011.
- ^ "H.S. 440 Bayard Rustin Educational Complex" at InsideSchools.org
- ^ "The Bayard Rustin Center for Lgbtqa Activism, Education and Reconciliation – Community – Greensboro". Facebook. September 21, 2011.
- ^ [2][dead link]
- ^ "Out of the Past at imdb.com".
- ^ "Bayard Rustin Marker". Hmdb.org.
- ^ http://www.legacyprojectchicago.org/2012_INDUCTEES.html
- ^ "Hall of Honor Inductee, Bayard Rustin". The Department of Labor's Hall of Honor. United States Department of Labor. Retrieved 12 October 2014.
- ^ "President Obama Names Presidential Medal of Freedom Recipients". Office of the Press Secretary, The White House. August 8, 2013. Retrieved August 8, 2013.
- Bibliography
- Anderson, Jervis. Bayard Rustin: Troubles I've Seen (New York: HarperCollins Publishers, 1997).
- Bennett, Scott H. Radical Pacifism: The War Resisters League and Gandhian Nonviolence in America, 1915–1963. (Syracuse Univ. Press, 2003). ISBN 0-8156-3028-X.
- Branch, Taylor. Parting the Waters: America in the King Years, 1954–63 (New York: Touchstone, 1989).
- Carbado, Devon W. and Donald Weise, editors. Time on Two Crosses: The Collected Writings of Bayard Rustin (San Francisco: Cleis Press, 2003). ISBN 1-57344-174-0
- D'Emilio, John. Lost Prophet: Bayard Rustin and the Quest for Peace and Justice in America (New York: The Free Press, 2003).
- D'Emilio, John. Lost Prophet: The Life and Times of Bayard Rustin (Chicago: The University of Chicago Press, 2004). ISBN 0-226-14269-8
- Haskins, James. Bayard Rustin: Behind the Scenes of the Civil Rights Movement (New York: Hyperion, 1997).
- Kates, Nancy and Bennett Singer (dirs.) Brother Outsider: The Life of Bayard Rustin (2003)
- King, Martin Luther Jr.; Carson, Clayborne; Luker, Ralph & Penny A. Russell The Papers of Martin Luther King, Jr.: Volume IV: Symbol of the Movement, January 1957 – December 1958. University of California Press, 2000. ISBN 0-520-22231-8
- Le Blanc, Paul and Michael Yates, A Freedom Budget for All Americans: Recapturing the Promise of the Civil Rights Movement in the Struggle for Economic Justice Today (New York: Monthly Review Press, 2013).
- Podair, Jerald E. "Bayard Rustin: American Dreamer" (Lanham, MD: Rowman & Littlefield Pub., 2009). ISBN 978-0-7425-4513-7
- Levine, Daniel (2000). Bayard Rustin and the civil rights movement. New Jersey: Rutgers University Press. p. 352. ISBN 0-8135-2718-X.
- Lewis, David L. King: A Biography. (University of Illinois Press, 1978). ISBN 0-252-00680-1.
- Rustin, Bayard. Down the Line: The Collected Writings of Bayard Rustin (Chicago: Quadrangle Books, 1971).
- Rustin, Bayard; Bond, Julian (2012). I Must Resist: Bayard Rustin's Life in Letters. City Lights Books. ISBN 978-0-87286-578-5.
External links[edit]
Wikimedia Commons has media related to Bayard Rustin. |
- Anonymous; Rustin, Bayard (October 7, 1982). "Interview with Bayard Rustin, 1982" (41:03:24 minutes, video interview with synchronized transcript). Open Vault Media Archives, WGBH. Bibcode:301258.
- Works by or about Bayard Rustin in libraries (WorldCat catalog)
- Bayard Rustin – Who Is This Man?
- FBI file on Bayard Rustin
- Bayard Rustin, Civil Rights Leader, from Quakerinfo.org
- Brother Outsider, a documentary on Rustin
- Randall Kennedy, "From Protest to Patronage." The Nation
- Biography on Bayard Rustin High School's website
- Bayard Rustin at the Internet Broadway Database
- "Bayard Rustin". Find a Grave. Retrieved June 10, 2013.
- 1912 births
- 1987 deaths
- 20th-century African-American activists
- 20th-century Quakers
- Activists from Pennsylvania
- African-American Christians
- African-Americans' civil rights activists
- American anti–Vietnam War activists
- American Christian pacifists
- American Christian socialists
- American Quakers
- American social democrats
- Cheyney University of Pennsylvania alumni
- Community organizing
- Converts to Quakerism
- Democratic socialists
- LGBT African Americans
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- Martin Luther King, Jr.
- Members of Social Democrats USA
- Members of the Socialist Party of America
- Nonviolence advocates
- People from Chester County, Pennsylvania
- Presidential Medal of Freedom recipients
- War Resisters League activists


text:
ooohhh... downtown disney... duh
ooohhh... downtown disney... duh
What's the parking lot east of Test Track?
Probably CM parking...I'm not sure, though
Por favor mantanganse alijado de las puertas.
I said it before and I'll say it again... it completely bursts my bubble to see that The Land, and Figment's building desings are just facings..... endcaps....
I suppose common sense should imply you can't fit all that stuff into those little triangles but still, from an in the park view, you'd never know that they're not whole.
It reminds me of childhood skyway rides... I was like... "Ummm... there's exhaust fans on top of Peter Pan... "
Last edited by Tampa; 06-13-2005 at 11:08 PM.
I find the pictures of not great quality.
WDWRadio Moderator
Another thing i like is all of the resorts you can see.
So far i've counted
-Old Key West
-The Contemporary
-The Polynesian
-The Grand Floridian
-Saratoga Springs
-Yacht and Beach Club_Boardwalk is just out of sight)
-Wilderness Lodge
-The Wilderness Camp and Lodges
-Port Orleans Riverside
-Port Orleans French Quarter
-Animal Kingdom Lodge
60% of the time it works everytime
here's a satalite view of Epcot from Loric:
This is kinda fun. While tracking the monorail line between EPCOT and MK, I caught myself humming the opening titles of Beetlejuice.
"The society that draws too great of a distinction between its scholars and its warriors will end up having its thinking done by cowards and its fighting done by fools." --probably Thucydides
I just got that.. took me a second.
Wow! That's definately cool Sam! Thanks!
"What ARRRRGH you doing?"
"What are you doing?"
"No, What ARRRRGH you doing?"Cap'n Jack lives again!"I'll try anything once or twice, that's the kind of mouse I am"
Tokyo Disneyland
and a very under construction
Hong Kong Disneyland

subset: commoncrawl


text: !!!Die AutobahnenDespite what some people in and outside Germany still claim and believe, they were ''not'' a brainchild of UsefulNotes/AdolfHitler. As a matter of fact, the democratic government of the UsefulNotes/WeimarRepublic had planned several of them (the first one between Cologne and Bonn was finished in 1932). However, after TheGreatDepression, they were practically broke, so Hitler could claim they were his idea when he had them built (as preparation for UsefulNotes/WorldWarTwo, of course, where they proved to be worse than useless for the Third Reich). Nowadays nobody sane in Germany wants to start a war in Europe, but people still like their Autobahn very much. There's still for a (small) part no speed limit on them, which was unique in the world for quite some time. People who wanted to change this (like the [[PoliticalSystemOfGermany Green Party]]) faced too much resistance and gave up on the issue. "Freie Fahrt für freie Bürger!" (Free driving for free citizens!) is a slogan used by car lobbyists and enthusiasts alike (though might attract giggles from juvenile English listeners). The car lobby in Germany is roughly comparable in power to the [[AmericanGunPolitics American pro-gun lobby.]] There are strict speed limits on the more dangerous parts, and a list of other rules are in place to allow as smooth travel as possible. One of these is that every vehicle has to be able to drive at least 70 km/h (43 mph). Another is that it is illegal to run out of fuel, or insult other drivers[[note]]For the latter one, just as for stopping in a dangerous curve for no reason, the penalty may be even ''imprisonment''[[/note]]. Travel is done in the right lane with one only being permitted to use the left lane for passing. ''No'' passing in the right lane is permitted. During TheSeventies, many new Autobahnen were built - during this decade, the network almost doubled its length. In 2010, Germany had about 13,000 kilometers of Autobahn, one of the densest networks in the world, and the third longest, after the United States and China.!!!Der deutsche Michel[[NationsAsPeople The US have Uncle Sam, France has Marianne, Germany has (aside from the female Germania) Michel]]: A guy who's for some reason always wearing a night cap. The origin is not completely clear; some people claim it had to do with the archangel Michael (patron saint of Germany), but that's not proven. So or so: As the cap hints at, this Michel guy is generally seen as pretty relaxed, laid-back, a BigEater and drinker, and especially, someone who likes to sleep[[note]]This latter trait was in the 19th century portrayed as a metaphor for the Germans' apparent docility towards their multitude of kings and princelings[[/note]]. ''Gemütlich'', as we say. And admittedly, very far from [[NationalStereotypingTropes German stereotypes]] (except maybe {{Oktoberfest}}) like the ruthlessly efficient {{Prussia}}, let alone ThoseWackyNazis[[note]]Although one of ''their'' slogans was "Germany, awake!"[[/note]]. Sometimes still used in caricatures, as stand-in for the German people, if nowhere else.!!!Das ReinheitsgebotForeigners used to put all kinds of stuff into their beer, a practice that Germans seem to find simply disgusting. The ''Reinheitsgebot'' ('purity law') was an old Bavarian law stating that beer has to be made of clear water, barley (malted or otherwise), and hops. Otherwise, it could not be sold as beer in Bavaria. The law first appeared in medieval times, as many brewers were prone to putting narcotic, hallucinogenic, or downright poisonous stuff into their brew--stuff like belladonna, poppy seeds, wormwood, and nutmeg. Modern Germany adopted a variant form of this law, which required that the barley be malted and also allowed a few other ingredients (such as explicitly permitting yeast,[[note]]previously ignored as it was not known to ''exist'' when the law was first promulgated[[/note]] malted wheat,[[note]]As much of Germany had a tradition of brewing various forms of wheat beer[[/note]] and cane sugar to be added to the mix), and also allowing foreign beer to be sold in the country. Oddly enough, ''Greece'' (not traditionally a beer-drinking country) has the same law: the first king of modern Greece was Otto (how's ''that'' for a Greek name?), a member of the Bavarian Wittelsbach dynasty. In other countries, adherence to the ''Reinheitsgebot'' by a brewer is often viewed as a point of pride, indicating a dedication to quality; the American Samuel Adams beers at one point ran an ad to this effect, and the Tsingtao Brewery in China historically adhered to it, as well.[[note]]The city of [[UsefulNotes/WhyMaoChangedHisName Qingdao]] was briefly a German possession before World War I, much like Hong Kong for Britain (though on a much shorter time scale), and Tsingtao Brewery was originally founded as a joint Anglo-German venture. Tsingtao has since begun to add rice to the mash, but this was because barley at one point became prohibitively expensive in China--[[SarcasmMode thank you, Chairman Mao]]![[/note]]!!!Our first national hero: ArminiusArminius, son of Segimer, was a Germanic man from the tribe of the Cherusci. At the time he lived (around the beginning of our chronology), most of today's Germany (everything west of the Elbe river, to be precise) was part of TheRomanEmpire. Originally, he served as a ''ductor popularium'', a leader of Germanic auxiliaries, in [[TheGloryThatWasRome the Roman army]]. During this time, he acquired useful military skills, learned Latin, became a Roman citizen and even member of the knight class. For unknown reasons though, one day [[DefectorFromDecadence he had enough of civilization]], it seems. Around A.D. 8, Arminius had become one of the tribal leaders. At the same time, a Publius Quinctilius Varus was the Roman legate in the area where the Cherusci lived. If Arminius feared for his power, or whatever his reason was, he didn't show it, but instead kept the contact with Varus - hence knowing exactly what Varus was up to, while the Roman didn't suspect a thing. By A.D. 9, a Germanic uprising happened, and Varus took the legions XVII, XVIII and XIX to quell it. He got some warnings (by Arminius' father-in-law Segestes!), [[WhatAnIdiot but decided not to care about them.]] At the area of Teutoburg forest [[WhereTheHellIsSpringfield (it still isn't completely clear where that was)]], the three legions were [[CurbStompBattle defeated and utterly annihilated]] by the Germanics led by Arminius. [[RedemptionEqualsDeath Varus took his own life after losing the battle.]] Emperor Augustus would shout his famous "Vare, Vare, redde legiones!" (Varus, Varus, give me back my legions) when the message came to Rome. The German uprising spread, and the Romans had to give up the whole area between Rhine and Elbe.Roman historian Tacitus called Arminius "the liberator of Germania". And indeed, the Romans would never conquer Germania again, and some centuries after, the Germanics even went on to destroy the empire, founding their own states instead. Ironically, Arminius was almost completely forgotten at that time. Only in the 15th century, with the growing German nationalism, opposition to Roman Primacy and the Reformation he was rediscovered, and many texts written about "Hermann", who even got an honourable mention by Martin Luther (as he was called now, although Hermann wasn't his Germanic name, which is in fact unknown) and Thusnelda (his wife, who'd later inspire the term "Tussi", meaning roughly "broad" in German). Some people even speculated that Arminius was identical to the better-known [[Literature/{{Nibelungenlied}} Siegfried]].!!!Nation without identity?Germany is held accountable for UsefulNotes/WorldWarI, and after [[ThoseWackyNazis those other guys]] came around almost nobody in Germany dared being a nationalist. This continues to this day: Prepare that GodwinsLaw may - no, will - be involved in discussions about German patriotism/nationalism. Only in the last few years society doesn't bash anyone who dares show a tiny bit of pride or even contentment for being a German, we have to thank the 2006 [[TheWorldCup World Cup]] being held in Germany for that. TheGreatPoliticsMessUp brought about the end of Communism in East Germany. Those who lived there have a different idea of German identity. !!!Das Wunder von BernThe most favorite sports in Germany are: [[TheBeautifulGame Football]], [[TheWorldCup football]], [[UsefulNotes/EuroFooty football]][[note]]what Americans call "soccer" – incidentally, American "gridiron" football has a minor following in Germany thanks in no small part to osmosis from US troops stationed there during [[HistoryOfTheColdWar the Cold War]][[/note]], tennis (preferably with Boris Becker and Steffi Graf), car racing (preferably with Michael Schumacher) and boxing (preferably with Henry Maske, or the Klitchko brothers). This love goes back to (at least) the 1954 FIFA World Cup, first time when Germany won TheWorldCup. Which, probably, no one expected, for good reasons: The [[GermanicEfficiency German]] football team had to play Hungary's Golden Team (which hadn't lost a game in 4 years!) in the group stage. But [[MagnificentBastard trainer Sepp Herberger decided to play Hungary with his reserves]], losing 8-3. However, this just meant that Germany had to play another game against Turkey (which they had defeated easily just before), but then got to the easier side in the knockout stage, defeating Yugoslavia and Austria (who had suffered from a hard game at 40°C against Switzerland) before the finals, a rematch with Hungary (who had to [[UnnecessaryRoughness literally fight]] Brazil and later confront reigning champions Uruguay). The match was played in heavy rain, which the Germans had christened "Fritz Walter-weather", as their team captain was known for playing his best football under those conditions. In addition, the Germans were equipped with footwear supplied by Adidas, which had produced a hitherto unheard of design of boot with exchangeable, screw-in studs that could be adapted to any weather. This enabled the German players to wear their regular boots despite the adverse weather.Despite Germany now playing with the main team, Hungary got a 2-0 lead only eight minutes into the game. Still, the Germans fought back and leveled the score in the next 10 minutes. After this, the Hungarians attacked several times, but German keeper Toni Turek pulled off several fine saves. The decision came in the 84th minute: German striker Helmut Rahn, nicknamed "The Boss", reached the ball on a speculative German attack 20 yards in front of the Hungarian goal, deceived the Hungarian defender by shooting with his weaker left foot, and scored Germany's third goal. Germany was the new world champion, for the first but not for the last time.Most of the TV recording is unfortunately LostForever, including the whole soundtrack. Fortunately, the {{radio}} comment by Herbert Zimmermann has survived (and always was better known anyway, since few Germans had TV then). His [[LargeHam emotional reporting style]] stands out even today ("Deutschland im Endspiel der Fußballweltmeisterschaft – das ist eine Riesen-Sensation – das ist ein echtes Fußball-Wunder" - "Germany in the football finals - that's a huge sensation - that's a real football miracle"; "Gott sei Dank! Es steht nur noch 2:1." - "Thank {{God}}! It's only 2-1 now."; "Halten Sie mich für verrückt, halten Sie mich für übergeschnappt" - "Call me crazy, call me nuts"; ) and especially his comments when Germany scored the winning goal ("Aus dem Hintergrund müsste Rahn schießen, Rahn schießt - TOR, TOR, TOR!" - "Rahn has to shoot from the background, Rahn shoots - goal, goal, goal!"), when Turek saved one last time ("Turek, du bist ein Teufelskerl, Turek, du bist ein Fußballgott" - "Turek, you're a MagnificentBastard; Turek, you're a football god") and after the final whistle ("AUS! AUS! AUS! Das Spiel ist aus. Deutschland ist Weltmeister, schlägt Ungarn 3 zu 2!" - "Over! Over! Over! The game is over! Germany are World Champions, beat Hungary 3–2!") In 2003, a movie about the match was made in Germany, with the very same title: ''Das Wunder von Bern''.!!!Made in GermanyIn 1887, the UnitedKingdom passed the ''Merchandise Marks Act 1887'', which states that imported products must be labeled with their country of origin. The purpose was of course for British consumers to be able to distinguish British-made products from the "inferior" stuff produced on the continent, and buy accordingly patriotic, for the benefit of Britain's own economy, because originally, British factories did put out the best stuff and the German ones were pumping out cheap crap (they had a reputation rather like China today). [[HoistByHisOwnPetard This backfired]], though, as German products were getting steadily better, and by 1900, said consumers began to associate the label ''Made in Germany'' with ''good'' quality. It helped too that "Made in Germany" had always been a selling point for a particular class of product--artificial dyes and pigments, which although a British invention (the first synthetic colour was mauveine, extracted from coal tar by William Henry Perkin in 1856) were perfected by the Germans.Today, the worldwide export of its products is one of the most important pillars of the German economy. For some time, Germany exported more than even the US - not in percentages, in absolute numbers! The stigma turned cachet ''Made in Germany'' can arguably seen as significant factor which contributed to this development.!!!Das SchwarzbrotBelieve it or not, Germany has more than 300 different kinds of bread, which is the world record. Pretty much every little region has a local special bread which is produced nowhere else. And most of them are made of whole grain, which is supposed to be healthier than white bread - better for the teeth, the stomach, and whatnot. Germans are generally reluctant to eat refined flour. Some say that this health consciousness is the result of a large-scale marketing campaign initiated by [[UsefulNotes/AdolfHitler you know whom]] in order to advertise whole grain bread as a war preparation. Combined with the fact that Germany also holds the world record for the most different kinds of sausages (see below), this means you could eat a different bread/sausage combination without repeating one, every day, for several decades. Nowadays brown bread can be sold officially as "Schwarzbrot" (black bread), but most people still use this term for bread made of whole grain.!!!Die Wurst[[RunningGag Believe it or not, Germany has more than 1,500 different kinds of sausages, which is the world record.]] (Some people called the Germans disparagingly "sausage-eaters" for this. The Germans still like their sausages.) For unknown reasons, the sausage is also part of many German proverbs and other sayings: "Es geht um die Wurst" (everything's at stake), "Das ist mir Wurst" (I don't care), "Extrawurst" (special treatment), "durchwursteln" (muddling through), "mit der Wurst nach der Speckseite werfen" (to throw a sprat to catch a mackerel). There's even one of [[{{Grimmification}} Grimm's]] FairyTales titled "The story of the bird, the mouse and the bratwurst". And the [[http://en.wikipedia.org/wiki/Hanswurst Hanswurst]], a once popular coarse-comic figure from German stage comedy, whose name also was used as an insult. (Later replaced by the internationally better known harlequin.)!!!Der Döner[[OverusedRunningGag Believe it or not, Germany has more than 16,000 Döner shops, which might be some kind of record.]] Donner or shawarma or gyros in other countries was invented in it's modern form (thinly sliced, spit-roasted meat and veggies with sauce and spices in one or the other kind of bread) in Berlin by Turkish immigrants, and quickly conquered the German fast food landscape. Today it keeps its dominating position, having a higher sales volume than all UsefulNotes/McDonalds in Germany (which takes second place), and Döner shops in even many villages. Germans in other countries cite Döner as one of the things they miss the most [[note]]along with, and often surpassed by, beer, bread, cheeses, fish dishes and sausages[[/note]].----


text:
Paris Hilton and Rick Solomon sure look like they're getting along in the homemade sex video that's circulating on the Internet. But the couple have long since parted, and now Solomon has filed a $10 million slander lawsuit against the heiress, her parents, and her publicist, alleging that they falsely suggested he committed crimes connected with the video. He says that Hilton's defenders hinted that she was underage at the time of the taping (she was actually 19), and said that he ''took advantage of an incapacitated young woman.''
In fact, the lawsuit alleges, Hilton was an active participant in the taping, even saying ''Hi'' to the camera. ''Hilton repeatedly posed and preened in front of the camera,'' the lawsuit alleges. It goes on to claim that in a portion of the video that has yet to hit the 'Net, Hilton takes the camera into a well-lit bathroom in order to show off her bod in better lighting.
Hilton and her family -- along with Siri Garber, the publicist named in the suit -- declined to comment to the Associated Press. In the suit, Solomon denies having anything to do with the release of the three-and-a-half-minute clip that is now widely available for download on the Internet.


text:
That "Ring Round the Moon" is set in a hothouse seems appropriate. The atmosphere is stifling and airless, and whatever grows is forced and artificial.
Written by Jean Anouilh in 1946, the play takes place in the rarified world of the French upper class before World War I.
The play's brittle comedy depends on the nuances of social class. Its efforts at profundity are concerned, above all, with rich peoples' games. Even the play itself is a self-conscious game, and uses one of the hoariest comic devices identical twins.
One of the twins, Hugo, is engaged in an elaborate deception. He hires a beautiful dancer to shake his brother of his obsession with a woman he himself loves. In the 1950s, conceits like this seemed rather daring. Now, they're a bit tiresome.
To exert any real grip on a contemporary audience, "Ring Round the Moon" needs to be staged with a special elegance. It has to make up in style what it lacks in substance. And Gerald Gutierrez' production, presented by Lincoln Center, is fatally short on style.
With John Lee Beatty's elegant set and John David Ridge's gorgeous costumes, it does have a sumptuous look. But neither the direction nor the acting come close to the kind of haughty confidence that the play demands.
Gutierrez never makes us believe that we are in an enclosed world with its own codes and meanings. Even the accents, sometimes British, sometimes American, wander back and forth across the Atlantic.
The stage tricks involved in Toby Stephens' playing of both twins are labored, and the attempts to liven things up with knockabout comedy are heavy-handed.
The acting, meanwhile, is fatally uncertain, with only Marian Seldes as the old matriarch and Richard Clarke as the butler having a clear sense of what they are doing.
All in all, this "Moon" sheds little light on the mystery of why Gutierrez wanted to revive the play at all.
Like a meal in a expensive French restaurant, the Broadway season is ending with a fancy dessert, one of those things where a chateau is constructed out of chocolate, ice cream and meringue.
Jean Anouilh's 1947 "Ring Round the Moon" takes place "in the winter garden of Madame Desmermortes' chateau in France in the spring of 1912" (that about says it all) and centers around identical twins interested in the wrong girls on the eve of a ball.
If you're going to revive fluff like this - the sell-by date of which had already passed in 1947 - it's wise to give it a new twist. This production is pretty much old wine in old bottles.
It's the performers who energize the thing, to a point. Toby Stephens commands the stage with cheeky verve and articulate charm.
He has a lot to do, too: He's both Hugo, a debonair Lothario who has no heart, and twin Frederic, shy, timid, lovelorn. Watching Stephens vanish with an arrogant flourish at one side of the stage and come in with a hangdog, moping gait at the other side a second later is a real pleasure.
Hugo is dismayed that Diana, a cold-hearted heiress, has snagged Frederic. He has hired Isabelle (lovely Gretchen Egolf), an impoverished ballerina, to impersonate an alluring society belle at the ball in order to divert his brother's emotions.
The twins are nephews of the imperious Madame, who is brought to life by Marian Seldes in a wheelchair ordering everyone about and explaining life and love and reminiscing about the mad, violent days of her aristocratic youth.
Seldes is a high, ironic comedienne of the grand old school, able to pierce with a quip or flatten with a glance. She clenches her jaws and hollows her cheeks after each devastating utterance, but the woman becomes, in Seldes' hands, less a monster than a matchmaker, and a better one than Hugo.
Among the minor parts of the farcical pattern are Isabelle's pushy and vulgar mother, played by Joyce Van Patten with a shrill broadness out of keeping with the rest of the play, and a daffy adventuress called India, to whom Candy Buckley brings the right note of comic mischief.
And then there are Diana, performed with beautifully sharp chic by Haviland Morris, and her father, the "melancholy millionaire" Messerschmann, touchingly incarnated by the suave, sad-eyed, baritone-voiced Fritz Weaver. Messerschmann is a paradox-loving philosopher-businessman straight out of George Bernard Shaw, but Anouilh also makes him Jewish and lends him some stereotypical traits of the Jewish financier.
Despite Messerschmann's benevolent function, I find Anouilh's use, here and elsewhere, of such Jewish stereotypes to be not critical of but complicit with anti-Semitism.
In general, I find Anouilh's shallow cynicism unnourishing. "Every country has its special weaknesses, its favorite way of being false," wrote Eric Bentley. "Anouilh [is the] French way."
Turning certain plays from French into English is like dragging vampires into the sunlight. They shriek, they curdle, they shrivel, while shedding the elegant, arrogant authority they display in their natural element. There is in particular a French brand of theatrical whimsy, extensively practiced around the middle of this century, that usually turns into dust in the mouths of American actors, however capable.
Such a metamorphosis can be witnessed firsthand at the Belasco Theater, where the Lincoln Center production of Jean Anouilh's ''Ring Round the Moon'' (''L'Invitation au Chateau'') opened last night. This 1947 play, the story of one perversely enchanted evening of a grand ball, is an uneasy example of those Gallic fantasias, equal parts preciousness and cynicism, in which Anouilh specialized. It is the sort of work that makes you say, if you're feeling charitable, ''Oh, those worldly, romantic French.''
The surprise of the new revival isn't that it doesn't come off, but that anyone thought it might in the first place. When the work was first seen in New York in 1950, after a widely praised production by the young Peter Brook in London, its title had an explanatory appendage: ''a charade with music,'' not words to inspire confidence in Broadway theatergoers.
Brooks Atkinson, while finding much to like about the play in his review in The New York Times, also wrote, ''It gives an impression of being enervated at the source.'' The production closed after 69 performances and has seldom been seen on these shores since.
The current incarnation, directed by Gerald Gutierrez, uses the original and still creditable adaptation by Christopher Fry, the eminent British playwright and a natural soul mate to Anouilh and Giraudoux. Mr. Fry gave Anouilh's sententious declarations on the mysteries of love and life a Wildean ring, and the play's presiding grande dame (played here by Marian Seldes) can indeed come across as a worldlier version of Lady Bracknell. Well, sort of. Characters aren't all that fixed in ''Ring Round the Moon,'' and Anouilh lets the wind of allegory and fancy blow them where it will. To work, the whole enterprise has to register as a sustained magician's illusion, a trick of the light. The straightforward, farcical approach brought to bear on this latest interpretation, which features opulent but too, too solid sets and costumes by John Lee Beatty and John David Ridge respectively, suggests someone stepping on a soap bubble in hobnailed boots.
Set in the winter garden of a chateau in the spring of 1912, ''Ring Round the Moon'' has only a trifle of a plot, but what there is defies easy summary. At its center is a patrician pair of identical twins (both played by the dapper English actor Toby Stephens). One, Frederic, is sweet and innocent, while the other, Hugo, is sour and devious.
Frederic is engaged to the rich and ravishing Diana (Haviland Morris), who really loves Hugo, who in turn decides to save his brother from a loveless marriage by smuggling Isabelle, a poor but honest young ballet dancer (Gretchen Egolf), into the party given by his aristocratic aunt, Mme. Desmermortes (Ms. Seldes). . . . Oh, never mind.
The main thing you need to know is that ''Ring,'' like much of Anouilh's work, pits the forces of innocence, embodied by a girl of great purity, against those of an iniquitous and sophisticated society. However, unlike similarly themed Anouilh works (''Antigone,'' ''The Rehearsal''), this one lets love triumph, though not before introducing some chilly currents of sadism and social oppression, including a bizarre premonition of the Holocaust to come.
In other words, ''Ring'' is, by the standards of American theater, neither fish nor fowl, and its ambiguities seem to have stymied Mr. Gutierrez, who was so good at bringing out the complexities of ''The Heiress'' and elucidating those of Edward Albee's ''Delicate Balance.'' As one often felt with his production of ''Ivanov'' recently, Mr. Gutierrez seems to have given up on achieving an all-embracing tone.
Instead, he has given his greatest attention to self-contained broadly comic sequences, like a leadenly erotic tango between two illicit lovers played by Candy Buckley and Derek Smith. Mostly the actors, who include such worthy performers as Frances Conroy, Joyce Van Patten, Fritz Weaver and Simon Jones, have been left to find their own way.
Ms. Conroy, who at least seems to be enjoying herself, provides a few smile-making sparks as Capulat, the romanticizing spinster companion to Mme. Desmermortes. Mr. Jones, as the ballerina's stuffy, nervous patron, brings a naturalistic centeredness to his role, which definitely puts him in a minority. And Ms. Van Patten, as Isabelle's absurdly affected mother, appears to be channeling Shelly Winters, which doesn't make a whole lot of sense here.
Mr. Stephens, a rising star in London, cuts an undeniable swath through the evening, and you always know which twin he is supposed to be. But the actor, who brings to mind a Hugh Grant without humor, is so intensely mannered here that he starts to seem grotesque in ways more appropriate to the M.C. role in ''Cabaret.''
Isabelle is one of those roles that was made for the young Audrey Hepburn or Claire Bloom, or possibly Julie Harris, who did well by Anouilh in the 1950's. (Ms. Bloom in fact created the role in London.) The character must positively shimmer with profound, otherworldly simplicity, or else the play has no center. And Ms. Egolf, while she has a swan-necked look that does recall Hepburn, is also very obviously of this world.
Ms. Seldes, who was originally to play Mme. Desmermortes only at matinee performances, assumed her role full time after Irene Worth suffered a stroke. (Ms. Worth is expected to return to the part.) She plays her imperious character with an augerlike sharpness and a surprising restraint, and the show's funniest moments come when she is barking orders about the manipulation of her wheelchair.
Yet while Ms. Seldes is perfectly comfortable delivering arch epigrams about the ways of the upper crust, she exasperatedly switches on the automatic pilot when her character turns into a benevolent, Olympian matchmaker at the play's end. Who can blame her? An air of uncertainty pervades the production. Even the ethereal, spell-casting music of Francis Poulenc seems to wander in at random.
When ''Ring'' was first seen on Broadway, Mr. Atkinson wrote that there was ''something incomplete'' about the play, as though its author ''only half believes in it.'' Nearly half a century later, no one in this production has come close to finding the faith to make ''Ring Round the Moon'' whole.
Lincoln Center Theater's revival of Jean Anouilh's "Ring Round the Moon" is a real heartbreaker, but it's for all the wrong reasons. Christopher Fry's adaptation of Anouilh's comedy has not often been staged since its original London and Broadway productions in 1950, and it's easy to see why: The play is uncommonly delicate, a poetic mixture of farce, romance and comedy of manners that must also accommodate a whiff or two of mortal thoughts (it was written in the shadow of World War II). Fry subtitled his sparkling adaptation "A Charade With Music," and indeed it has the sweeping rhythms of a dance -- not for nothing is the play's heroine a ballerina. Unfortunately, what's onstage at the Belasco Theater more often than not has two left feet. Gerald Gutierrez's largely miscast production betrays the play's gossamer sensibility; what should taste like a spun-sugar confection goes down more like chewy taffy.
The disenchantments begin even as the curtain rises on John Lee Beatty's set, a rather literal-minded reworking of Oliver Messel's famed London original. Beatty's garden gazebo manages the singular feat of seeming both flimsy and oppressive. The airiness that is the soul of the play is lost -- the characters cavort in this chamber like trapped moths. (The play cries out for the liberating imagination of a Bob Crowley.)
The young British actor Toby Stephens plays the central roles of the twins Hugo and Frederic, and here, too, delicacy is lacking. Stephens comes from sturdy theatrical stock -- he's the son of Maggie Smith and Robert Stephens -- and he's definitely an actor in the grand English tradition. As such, he does not have a natural, light touch, as anyone who saw him in the Almeida Theater Co.'s recent Racine plays at BAM could attest (and surely the producers did).
Stephens does have an authentic upper-crust charm, and is amusingly snippy as the heartless Hugo, whose scheme to wean his twin brother from his love for Diana Messerschmann (Haviland Morris) -- who in turn loves Hugo -- sets the carousel of the plot in motion. But as the lovesick Frederic, he's really just Hugo sulking -- there's no soul in his Frederic, no romance. His performance is professional but artificial, and more artifice is the last thing this sweet piece of whimsy needs.
The play is set in 1912 France, at the chateau of the twins' aunt Madame Desmermortes (Marian Seldes), an imperious woman whose reliance on a wheelchair hasn't kept her from ruling her little fiefdom with an iron fist.
Guests at the chateau include Diana's father, Messerschmann (Fritz Weaver), a Jewish business magnate who controls the destinies of his fellow visitors; Lady India (Candy Buckley), Messerschmann's mistress and Desmermortes' niece; and his secretary Patrice Bombelles (Derek Smith), who also happens to be India's lover.
Hugo has invited to the chateau a beautiful ballerina from Paris, Isabelle (Gretchen Egolf), in the hopes that by turning her into the belle of the ball he can turn Frederic's head, curing him of his hopeless love for Diana. But the sensitive Isabelle, as fate would have it, falls instantly for Hugo himself, and it takes some sorting out before she is united in bliss with the equally sensitive Frederic.
With everyone either in love, trying to get out of it or observing it with variously cynical, practical or sentimental attitudes, the play is a comic poem on the struggles of romance. It also contains wry reflections on the elusive nature of happiness: Diana's riches can't win her the love of Hugo and her father's constitution is so poisoned by the excesses delivered by his wealth that he has been relegated to a diet of unsalted, unbuttered noodles.
But the subtle strains of melancholy and the affectionate tone that suffuses the comedy mostly are muted here. Emblematic of the production's clumsiness is the bull-in-a-china-shop performance of Joyce Van Patten as Isabelle's mother. Her character is supposed to be silly and pretentious but Anouilh observes even her with a measure of sympathy, but you'd never guess it from this production, which turns her into a crass buffoon with an American accent. When she complains to Isabelle, "There's not an ounce of poetry in you," it's preposterous -- she should talk?
Indeed all the characters in "Ring Round the Moon" are dusted with poetry, even the most fiercely pragmatic or comically cynical. And yet virtually none of the performers in this production gives lyrical or graceful performances. The fault is the director's; Gutierrez plays the comedy too heavily and lets the tender essence of the play evaporate.
Morris' Diana is a flat, shallow interpretation of a character whose haunted depths are revealed in a striking monologue in the second act, when she recalls a traumatic childhood experience of anti-Semitism; this feeling should infuse the rest of the performance but doesn't. The pathos of Messerschmann himself is only hinted at by the gruff Weaver. Buckley's India, replete with tongue-in-cheek English accent, isn't even convincing as a small-L lady, and her business with Smith's Patrice is overcooked.
The beautiful, dark-eyed Egolf has a graceful, willowy presence and comes very close to capturing the ethereal spirit of Isabelle. But the role requires an actress who can suggest infinite feeling with the subtlest of inflections, and Egolf ultimately cannot (merely to look at a photo of Claire Bloom in the original production is to be enchanted).
The estimable Seldes is gloriously entertaining as she dishes out Desmermortes' eloquently phrased, Lady Bracknellesque put-downs, but she is not entirely right for the role. Her astringent delivery of the part's waspish witticisms ultimately obscures the essential goodness of the character. (Irene Worth was to have played it, with Seldes gallantly doing one performance a week, but Worth had to withdraw due to a stroke.)
While Simon Jones strikes just the right, straightforward note in his small role, it's really only Frances Conroy, also in the small part of Desmermortes' companion, who manages to walk the fine line between tender feeling and high comedy that runs through the play. Her overwhelmed effusions about the young lovers' fates are both brilliantly funny and tinged with a real pathos. She isn't onstage for long, but Conroy makes the most of her time.
Sadly, the same can't be said for the production itself. This revival of a lovely play about romantic opportunities seized is a theatrical opportunity lost.


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Remember Me is promising action\adventure from French studio DONTNOD Entertainment. It is one of the most interesting releases of the summer and, possibly, even of the year. Neo-Paris of near future, where every citizen has a chip, that keeps his memories. The main character — Nilin — is former memory-hunter, but now she can't even remember who she is and how she became involved in all this mess. Entertaining fights with the ability to make your own combos. Well, Remember Me is very intriguing title. At the beginning of the winter we've sent a list of questions to developers, and recently we've finally got answers. So now you'll know all about … Hey! Who stole my memory?
Hello! Please introduce yourself to our readers.
Hi, I'm Jean-Max Moris, Creative Director at DONTNOD Entertainment
Tell us about your studio. How many people are working in Dontnod Entertainment, what were you doing before, where you located? Is Remember Me your first project? Why did you decide to release a new IP at dusk of the current generation consoles? Don't you wanted to wait for the arrival of nextgen?
When the development of the game started? How did you come to the concept of this project? Why you decided to change the name of the game from Adrift to Remember Me? What meant the first name, what are trying to say now?
Wow, there's a lot of questions here?, so let me try and cover them all off .
DONTNOD Entertainment was formed in June 2008 initially with five like-minded individuals — Herve Bonin, Aleksi Briclot, Alain Damasio, Oskar Guilbert and myself — brought together with a desire and passion to create innovative and compelling AAA games. Since then the studio has grown to a point where we have had around 100 people working on Remember Me. Today we are more around 75.
While Remember Me is DONTNOD Entertainment's first title as a studio it is being created by a team with a wealth of experience working on such titles as 'Alone in the Dark'; 'Heavy Rain'; 'Ghost Recon Advanced Warfighter 2' and 'GTA3'. For me personally I previously worked at UbiSoft.
The early stages of development began in 2008 when the studio was formed, but we ramped up production in 2010. Initially the concept for the game was quite different and explored the theme of global warming and at this time the project was known as Adrift. But then we began to think about the recent explosion in the use of social networks and began to wonder what could happen if this ability to share experiences became even more prevalent and reached a point where you could digitize these memories and no longer simply share but actually trade and purchase them. This was when Remember Me became the game it is today. Very different from Adrift.
Why are we not developing the game for next generation hardware? Well, that's simple, when we started and even as we moved into full production we didn't have any visibility on future hardware, including WiiU so the only real options were PS3, Xbox 360 and PC. Is there a risk releasing a new IP at the end of a hardware cycle? There's a risk attached to launching a new IP at any time, but the bottom line is if you have a unique and compelling title that is going to excite gamers, as I believe we do with Remember Me, then you have a good chance of success. Plus, the console installed base has never been so big, so there have never been as many potential buyers for our game as there are today!
Please tell us more detail about the setting. Why Paris, why 2084? How mankind came to such a life? Why all the people in future have memory chips?
There's no denying that we settled on 2084 as it is the next logical step after George Orwell's novel '1984'. The book depicts a very vertical authoritarian society, the kind of society which is now pretty much non-existent in Western Europe and North America. But we believe a new insidious, horizontal form of control has emerged. Since the revolution of instant content sharing, people have been uploading more and more of their personal data onto social networks. What is being done with all that data, most people don't care to know, because the «cool" benefits outweigh the perceived threat to individual freedom.
In Remember Me, the last barriers of intimacy have been brought down, and people are now uploading their raw memories directly onto the network. As people exchange memories and dilute their very selves, we ask fundamental questions about identity and in that way, we are also exploring the favorite themes of another great writer: Philip K. Dick.
Initially we began thinking about setting the game in North America or Asia, but then settled on Paris as it would not only provide us with a unique setting — there aren't many games that have used our city as a backdrop — but also mix Paris' distinctive architecture and well known landmarks with our sci-fi vision. As to the reason why the Paris of 2013 became the Neo-Paris of 2084, I'm afraid you will have to play the game to discover this.
The main heroine of the game, Nilin — what kind of person is she? It's clear, that you cannot talk about her past, because it's the main intrigue of the game, but still: how was image of this girl created? And what means her strange name?
Nilin is a really interesting character — she is physically strong, agile and in possession of a unique ability allowing her not just to steal memories, but remix them and change the course of events. Yet she is also emotionally very vulnerable when we first meet her as she is unsure of who she is, who she was and who she can trust. In Remember Me we invite the player to join Nilin on her voyage of self-discovery.
Building a relatable action-adventure character is quite a challenge. We have worked hard at finding the right balance between attractive looks and resonating character traits. We didn't want to depict a hypersexualized female character, as is often the case in video games. Sure, she is not ugly, but she is more of the girl next door type. Sure the kind of girl it would take some guts to talk to?
She is a positive character who inspires the people around her, who champions her ideas and uses her powers to achieve good things in a world gone adrift.
As for her name, I guess we just had too much to drink and thought of too many palindromes. One for the name of our studio, and one for our main character!
What is the role of Yoshinori Ono, producer of Street Fighter, in Remember Me development? He helps you with fighting-component or his influence is more significant?
Ono-san has a supervisory role on the Remember Me project providing insight into the game creation process based on his 20 years of experience working for Capcom.
The combat system was entirely designed by DONTNOD, but exchanging with Ono-San is always beneficial, as he knows a lot about fighting, obviously!
Remember Me reminds such series as Uncharted, Batman: Arkham dilogy, Assassins Creed. What your game and those series have in common, and what is in Remember Me unique?
It is always nice to be viewed in such illustrious company as the games you reference and as they are all action adventure titles it is obvious that Remember Me will share some common traits with them, but I prefer to not talk about references or potential comparisons, as it is a dangerous game to play for a game developer :)
What makes Remember Me unique? Nilin, the setting, the themes we explore and the memory gameplay are all things we believe will make the game stand out.
In game trailers opponents don't have any firearms: rifles, shotguns, etc. (yes, there is one helicopter with machine guns, but we talk about people, not vehicles). Why? Was this decision dictated by gameplay or story? Is future society more humane?
In Neo-Paris, weapons are forbidden. People don't need guns when they are all happy thanks to the Sensen, and so it is easy to ban them. Control over people is exerted through the power that Memorize has over the memories that are exchanged over the network. They know who you are and who you like to hang out with. No need for prisons and no need to point guns at you to scare you anymore.
Maybe this is what Facebook has in store for us ?
Let's talk a bit about the Combo Lab system. It seems very original, don't you afraid that players will not love it? After all, with the «modular» combo animation becomes ragged and less spectacular. And the most cunning players will surely find an opportunity to create ultimate «press X to win» combos…
During the game will Nilin acquire new skills and abilities, or will all of the basic skills be available from the beginning? Will we get upgrades on the key points of the plot, or will it be experience-based RPG system?
The Combo Lab is something we feel will appeal to both those who enjoy the intricacies of a deep combat system and the more traditional action adventure gamers. For the former they can dig into a system that allows for 1000s of different combo possibilities and fine tune the combat their way, but for the latter we have an intuitive interface that will allow them to adapt their combos at any time during the game to best tackle any given situation.
The basic premise to unlocking more Pressens, the building blocks used to create combo chains, is that the more Nilin fights the more she remembers. Success in combat will be rewarded with Procedural Mastering Power (PMP) which can then be used to unlock Pressens & later S-Pressens.
These S-Pressens are really the coolest moves and you will feel really powerful using them.
Is Remember Me completely linear game? Or is there some sandbox-element: additional tasks, big locations and some freedom of choice? Or do you want the player to closely follow the storyline without derogation to the side?
While we do encourage the player to deviate from the path to a certain extent to uncover pick-ups, it is true to say that Remember Me is a linear experience. This was a choice we made at the beginning of the project so we could tell the story of Nilin and ensure the player is immersed in the narrative, which does mean controlling the action, and therefore the emotion.
Theme of memory and memories is quite popular in the arts. What kind of media inspired the team during the development process?
No media inspired Remember Me directly, but Remember Me is made by a team of individuals who all have their personal influences.
When it comes to relating those to the game, they include: Ghost in the shell, Blade Runner, Memento, Philip K. Dick's works in general, Strange Days, etc.
What is the planned duration of the single player campaign? Can we wait additional game modes: challenges, co-op or other kind of multiplayer?
Remember Me is in line with the length of single player campaign modes from other titles in the action/adventure genre. Co-op or multiplayer modes were never part of our thinking for Remember Me as they would detract from the story we are telling.
It is very popular now to male some DLC. Do you have plans for additional after release content? Or probably you already have plans for a sequel?
For us the focus is still making sure we have the best possible single player experience. We'll turn our mind to these other things once the game is done.
There is half a year before the game release. By what percentage is it ready? What is done and what remains to be done?
We are at Beta stage and are therefore pretty much content complete so from now until submission it is time to iron out any bugs and make the game as polished as it can be.
What do you personally think is the key feature of Remember Me? What is capable to attract the attention of the players and make it one of the best games in 2013?
It is really hard to pick just one, so I am going to have to pick a few things that make Remember Me unique, namely: our main character Nilin, the setting of Neo-Paris; the memory gameplay mechanic, including memory remixes and the Combo Lab.
Thanks for your answers! We are looking forward to the release.
Thank you for taking the time to send your (thorough) questions. I look forward to reading you.
The creator of the cult gangster action game Mafia: The City of Lost Heaven Daniel Vavra about one of the prettiest and biggest role-playing games of next-gen.
There were Novgorod Pirates that were bothering us in Infinite Space for DS, not to mention fairly regular additions to the library of titles with an overly stereotypical representation of Russian history, majority of which is an obvious propaganda. For the developers of The Mandate, on the other hand, it's more of an exotic and appealing setting that allows to fuse together the core mechanics of the old-school RTS/RPG with an array of fresh and innovative features.
Last year the founder of People Can Fly and father of Painkiller and Bulletstorm, Adrian Chmielarz, left the studio to establish a new company that goes by the name The Astronauts. Distancing itself from a familiar genre of shooters, his new studio has recently been working on a gloomy adventure game The Vanishing of Ethan Carter. We couldn't miss an oportunity to ask Adrian a couple of questions about his new project.
I'm fairly convinced that Witcher 3 is going to be amazing. During the last half of the year we've talked to developers three times, discussing not only the new Witcher, but also another ambitious RPG that's been developed in CD Project RED for two years already. We've seen Witcher 3 with our own eyes, and it DID have all the promised fixes, improvements and the open world. No doubt – CDP does everything the right way, and our latest talk with CEO Marcin Iwinski is just another proof of that.
City Interactive are making a shooter which is to become a step forward for the war against fascists setting.
As soon as Lords of the Fallen was announced, it was labeled as «German Dark Souls». At a first glance this observation does seem correct — both games are harcore RPGs that focus on combat and exploration. But as soon as we dig deeper we see that LotF developers have quite different priorities than their Japanese colleagues. What are the differences between LotF and Dark Souls, what weapons can player crush skulls with, what are the «educated guesses» and how did RPG development accents shifted told us Tomasz Gop, executive producer of Lords of the Fallen.
We would like to present the interview with WB Games Montreal, which is to pass the important test - developing of Batman games series.
What happens if you try to turn turn-based tactics in a third-person shooter? We will know the answer very soon, because The Bureau: XCOM Declassified will release this week. While waiting, we decided to find out what should we expect from The Bureau and to ask some questions straight to the developers.
He says he's not a storyteller, yet his games never cease to amaze us with their deep plot and their intricate questions. He keeps positive outlook on things, yet his paintings are colored in gloomy dark crimson tone. Our previous interview with the famous designer was timed to launch of OZ campaign, and now, during conversation about a green-eyed girl travelling between two worlds, I realized that I am not so worried about the fate of little gun-wielding Dorothy. We'll definitely see her comeback — she has her loyal Tin Woodman in the person of a modest storyteller from Shanghai.
Interview with the developers of the promising zombie project called ROAM. Ryan Sharr, the team leader and former employee of Gas Powered Games, answered our questions.
We really do like to talk with The Creative Assembly's representatives, the authors of the cult strategy series Total War. The studio's employees are not only true professionals that are doing fine games, they're also very passionate and intelligent people. This time questions on the upcoming Total War: Rome 2 (and not only) from GameStar.ru have been answered by Al Bickham, Studio Communications Manager, and Jamie Ferguson, Lead Battle Designer.
The interview with the developers from Ubisoft Montreal about one of the most awaited games of 2013 — Watch Dogs. While looking like any other action game, Watch Dogs is planning to discuss the ideas of modern dependence on technology and information with a serious face. And while there's GTA 5 and another sequel of our favourite Assassin's Creed, Watch Dogs will surely take its place among the greatest.
Satellite Reign is notable because of its developer, who was involved in development of original Syndicate and Syndicate Wars. We talked to Mike Diskett about his new game, cyberpunk and why this topic is so relevant now. Details — in this interview.
Most recently, Pencil Test Studio has successfully ended the Kickstarter campaign. We decided to talk to the developers about developing process, how difficult it is to make a game from clay and why community is so important.
The announcement of Shadow of the Eternals is a great news to both ED fans and gamers that didn't have a chance to play it — a team lead by founding father of Silicon Knights is now determined to develop a spiritual successor to famous ancestor. About reasons for using CryENGINE 3, larger storyline scale and choosing the main cast, about connections between the SotE and ED speaks Denis Dyack, founder of Precursor Games.
American McGee is preparing something big: concept art from Alice-sequel and the new project called OZombie began to appear in the Internet. To learn more about these new games, we have addressed the list of questions to Mr. McGee personally. We could not figure out specific details, but still we had a nice chat.
We talked to the key developers of Torment: Tides of Numenera about similarities between the new inXile game and Planescape: Torment, how to start a successful Kickstarter campaign and why it is very difficult to sell the hardcore RPG to publisher.
What horrors do horror developers play, how is personal nightmare born, what are the inspiration sources and how to scare the hell out of veteran gamers — Jared Gerritzen, сreative director at Zombie Studios, kindly agreed to answer these and other our questions.
Will the new team be able to carry over the unique atmosphere of one of the most intelligent stealth-series out there to their new title? Why is there other actor replacing fans-favoured Stephen Russel? Will the new game be able not to stain the reputation of one of the most difficult stealth series? The answers to all of these questions you will find in this interview.
Kai Fiebig on working with TDE universe, dark and mature stories, battle maps with a twist and roleplaying system in Blackguards.


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Wed, Aug 29, 12 at 20:48
This is a wisteria plant. I'm pretty sure the lacing is from Japanese beetles since I've seen them on the plant but what are the other white marks from? |
Follow-Up Postings:
Maybe galls. The plant's response to insect damage. Do the white marks look like growths on the leaves? |
- Posted by jtriggs1941 z5/6 Ohio (My Page) on Sun, Sep 9, 12 at 18:28
Yes, they look like they sit on top of the leaf. |
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A distinctive kind of baked dish where onion shells are baked with a rich mixture of rice, paneer and Cashewnuts.
Preparation Time: 10 MinutesCooking Time: 25 Minutes Makes 5 to 6 onion cups Show me for onion cups
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