text:
Telugu Bhasha Parirakshana Samithi pledges to 'resurrect' the language
Eminent Telugu litterateurs who converged here under the banner of the 'Telugu Bhasha Parirakshana Samithi' have expressed deep anguish about the way the Telugu language and culture as a whole was losing its rightful place in the society and space in the administrative set up. They attributed it to the indifferent attitude of the Telugus themselves towards their mother tongue and pledged to launch a crusade not only to resurrect the language from its present shambles but to make it a vibrant and modern medium of communication as well.
Among the Telugu zealots who expressed their strong and prolific views in this connection at the meet held at Sindhuri Park were the former Chairperson of the Official Language Commission A.B.K. Prasad (in absentia), Dr. Rachapalem Chandrasekhar Reddy Chairman of the Board of Studies, Yogi Vemana University, Dr. Kasturi Viswanadham former Assistant Director, Central India Institute of Indian Languages, Mysore, Dr. Madabhushi Sampath Kumar of Madras University, G.V.S.R. Krishnamurthy Professor (retd), also of Madras University.
They regretted that the fate of Telugu which was once considered as the Italian of the East faced the danger of becoming a dead language caught as it were in the quick sands of western culture and our obsession for foreign languages.
They said that the very fact that government and the Telugu language lovers were forced to fight a losing battle to secure the status of the 'classical language' to Telugu clearly reflected the fate of one of the most ancient and dynamic languages in contrast to the languages of the neighbouring states.
It was in this context that the Parirakshana Samiti hammered out an action plan according to which it should make the government also a stake-holder in its movement and form an umbrella organisation roping into it all like-minded persons and organisations and lead a virulent campaign not only for an effective implementation of Telugu as the official language at all levels but also to make Telugu learning mandatory at the elementary school level itself.
It should also bring pressure on the government to give permission to the candidates to write in Telugu the competitive exams being conducted by the Central and State governments.
An Executive Committee of the Samithi has been constituted at the meet with the following as members: President: K.V.R. Murthy, Hon. President, Rachapalem Chandrasekhar Reddy, Vice-President: M. Venkaiah, General Secretary: Madabhushi Sampath Kumar, Secretary: Gaddipati Prabhakar Rao and Treasurer: K. Radhakrishna.


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Tell me I did okay.
You probably know that we moved about a month ago and have been bleeding money since then. Last week DH and I had a sit down and agreed that we had to stop spending money for awhile. But...I went to an amazing estate sale today and found a rug for our dining room and bought it. :eek! It is a 10x14 all wool chobi rug. The colors are great and work beautifully with our planned dining room decor. They were asking $400 and I got it for $350. Help me rationalize my shopping please! To clarify we don't have a dining room rug for our dining room so it was needed - just bad timing on the finances.
This post was edited by louislinus on Fri, Jul 11, 14 at 21:28
Yes, you had to buy that. It is perfect for you DR and that is an incredible price Now take a break and enjoy all you have done.
It will give you a chance to savor everything. Your home is lovely and you have great instincts and design sense. I hope you'll be there a long time and will enjoy making it your own for years!
I think it's a very handsome rug! I'm looking for one, and would have jumped at this. I love the geo-floral pattern.
Yes, bad timing. But I don't think it was a frivolous purchase if you would have eventually been shopping for a rug. This is a great bargain.
Love the rug! Wool is so much better than synthetic. If you had gone to a Dept store, you would have paid a LOT more.
holly-kay, I have the exact same tray. Got it at the DC Flea market (really an antiques sale event). It is on a plate stand in my kitchen.
Ya gotta rein it in. There will come a time that you will locate something and you have already purchased something and/or you don't have the money.
Set priorities and make yourself hold to them. It's like drinking alcohol, ya gotta know when to quite.
It's nice, but you need to slap your hands for considering this purchase.
OK...I am off my soapbox. Don't tell the missus that I butted in like this!
I would love to see a pic colorcrazy. DH brought one home for me from his travels last week. I am going to hang it in the dining part of our kitchen.
Sorry for hijacking your post Louislinus. Don't fret over purchasing the rug as you needed one at some point anyway and you got a beautiful rug for a song.
That was a money saving deal, you could never pass that up. Keep on!!!! lol
I keep telling DH bargain shopping is all about opportunity buys. I'll assume it was a bargain, i have no idea, so assuming you would be buying a rug of decent quality soon, that's a good buy if it doesn't cause any hardship.
Now this wouldn't apply to situations where the money is not available or causes any hardship, or items not needed. But in this case it seems like you found a good opportunity when you just were trying not to spend money. After going through all our renovations, I know what that feels like!
But seriously, if your not looking for anything at the moment then avoid the sales. I'm all for being on the lookout for things, but shopping just to look is usually not compatible with a spending freeze in my experience.
You did the right thing.
If it were just in a store, I could see concern but If I understand estate sales, wasnt like you could go buy it later. The colors really work for you and you could get a price break on top of it.
Seems like a logical, reasonable exception to your spending postponement.
Oh, that is one beautiful rug and a great buy! But I am not completely on board with the rationalization. When finances are tight, and especially if you have a preexisting agreement with your partner, I'd pulled out a phone at the estate sale and pitch my case before making the purchase. Then come to an agreement one way, or the other, together. I know that is what I would do, because of a certain $125 9'x15.5' rug in our bonus room, that was purchased the week of closing on our house. :)
Hope nothing gets in the way of your being able to enjoy your new rug. It is lovely.
OK, since you asked....it's a beautiful rug, but no, you didn't do okay under the situation you described. If you truly are having a money crunch for the time being, then this was a no-no that can strain a relationship. Too often one spouse disregards the seriousness of money issues and puts their wants above the relationship. A DR rug is beautiful, but it's not like replacing a furnace that goes out or paying the mortgage.
Now that being said, if your description of your agreement with your DH was tongue-in-cheek, and if instead it was just no spending unless we each find something that we both really think is a great deal, and we would be getting down the road anyway, then that's different, and I'd say "love the feeling of finding what you're looking for at a good price"!
My husband and I do the same thing. He would have been so mean and hateful if I had done that but he would have thought nothing about it had he found something he "just had to have" for his truck or some tool to put in the shop that he will never take out of the box once he inspects as there are dozens in there now and I doubt he even knows what most are for, but a rug! Yes. He would have pitched a fit about a "real" bargain. Men!
Incorrigible and not going to change just by a conversation about spending money, but then again I would probably be staying away from sales and stores and keeping my end of the bargain as I am wont to do whether he does or not. So, it's your marriage, you figure out whether what you do is right or wrong.
There have been many times when I have schlepped around needing a haircut or color (many times and would end up doing it myself, and I am pretty good at that) while he was off buying something for his truck or his tool shed, maybe a new pair of shoes he did not need (expensive shoes) or a suit that was originally 4 figures that he got on sale for 3 figures and maybe it did not fit him and he never bothered to alter it.
The only problem I see is that if you don't curb your spending now, after a few short years, your house is going to need upgrades and you will not have the discipline to save money for that purpose.
Like I said, it's your marriage. You must be the judge. Good luck and I hope it lasts for many years and that he and you respect each other's wishes and are forever happy.
P.S. Love the rug and it is worth a bit of a scolding and a couple days of cold shoulder while you shop sale catalogs. ;-)
This post was edited by patricia43 on Sat, Jul 12, 14 at 4:29
So true about estate sales......going just for fun isn't really a compatible behavior with a spending freeze. You almost always see something that tugs at you and could create buyers remorse or didn't buy remorse. Both can take up a lot of energy that can be used in a much better way.
That being said, if I had a brand new house with empty spaces, I'd be going unless there were truly serious financial issues. Good buys often come along in bunches, and the rug you bought is special. You couldn't begin to duplicate that if you went looking for a new one.
So, enjoy going while you still actually need things. It's a fun place to be. Just do it in a prudent way and don't be afraid to pass on a sale occasionally. There are always more.
This post was edited by jjam on Sun, Jul 13, 14 at 14:09
Thanks all! Just to clarify DH is fine and not mad at all. I was just having some personal guilt. And we can still feed our kids, even after buying the rug. :) Only rice and beans but they won't starve. (I'm kidding!)
JJam - you are right that these good buys have been coming in bunches and I think that's what is crazy. It's like everywhere I go I am finding exactly what we need for a fraction of the price. For example, I have 4 year old twins who shared a room in our old house and now have their own room. They both needed some sort of toy storage in their room. Earlier this week I was at a closeout store and they had these super cute from Target toy boxes for $25 each! And then then I found at a garage sale a really sweet little antique dresser that had been whitewashed for $10! (DD's broke in the move.) So it's just been one thing after another. But you all are right that I just need to not go and avoid it all together for a few weeks to stop the madness.
You just have to keep your head about you with these things. If money is NOT a renewable resource for you, i.e.: there is no money coming into the household, then your forego such purchases. If you're putting off getting that furnace repaired or getting clothes or braces or whatever for the kids, or if you're credit card is maxed outâ¦then you forego such a purchase.
But there is reckless spending, and there is smart spending, even if the timing isn't perfect. Got to be conscious of which you're doing.
I started buying 2 years before I moved into my home or even knew I would be moving and building a new home!! I know it's crazy but I was on the internet looking at houseplans and my house is almost identical to the plan I was going to use, especially the exterior~this was 2001. I built and moved in 2006. My first purchase was a pair of antique mirrors I purchased in NC for the 2 vanities ' I would have' in the master bath.
I guess what I'm saying is when something is right it's *right* and you know it. Buying something even before you have the house is insane, but it's almost 7 years later and I 'm still loving the things I 'found' so many years before.

subset: commoncrawl


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You must have noticed that whenever you have friends and relatives over at your place, everyone mostly ends up in the kitchen because it is where everyone feels most comfortable. Having a kitchen island is such a blessing in these situations as it provides ample space for everyone to gather around, and that is why it needs to be well-decorated, with ambient lighting.
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BioCell Collagen® is a registered trademark of BioCell Technology LLC' Anaheim' California USA (US patents 6'025'327; 6'323'319; 6'780'841; other US and foreign patents pending).
OptiMSM® is a registered trademark of Cardinal Associates' Inc.
These statements have not been evaluated by the Food and Drug Administration (FDA). These products are not meant to diagnose' treat or cure any disease or medical condition. Please consult your doctor before starting any exercise or nutritional supplement program or before using these or any product during pregnancy or if you have a serious medical condition.
Serving Size: 2 Tablets
Amount Per Serving / % DV
Calories 15
Total Carbohydrate 1g / <1%*
Protein 1g / 2%*
Vitamin C (as manganese ascorbate) 20mg / 33%
Manganese (as manganese ascorbate) 5mg / 250%
Sodium 10mg / <1%
BioCell Collagen 1g / **
Type ll Collagen 600mg / **
Hyaluronic Acid 100mg / **
Glucosamine 750mg / **
(as glucosamine sulfate' glucosamine HCI' and N-acetyl glucosamine)
Chondroitin Sulfate 600mg / **
MSM (methylsulfonylmethane [OptiMSM]) 450mg / **
*Percent Daily Values (DV) are based on a 2'000 calorie diet.
**Daily Value not established.
Other Ingredients:
Stearic acid' modified cellulose gum' silica' and natural peppermint flavor.
(Contains: Shellfish (Shrimp and Crab).
2 tablets twice daily.
If you are pregnant' may become pregnant' breastfeeding' or regularly taking any drug such as acetaminophen' warfarin(Coumadin®)' or heparin' consult your health care professional before using this product.Do not use if either tamper-evident seal is broken or missing. Keep out of the reach of children.Contains shellfish (shrimp and crab).
Allergy / Dietary Needs
- Artificial Color Free
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Which fig in Pacific Northwest?
I have a birthday coming up and I'm going to get my first fig tree. I live in the Northwestern maritime climate near Seattle, and I'm thinking about either Brown Turkey or Desert King. Any advice or recommendations?
Figs that change color as they ripen appeal to me, but so does the red flesh of the Desert King, and I hear the Desert King is super reliable here.
Desert King, Brown Turkey, Lattarula, Neveralla, Peter's Honey (or Italian Honey) are [some] early varieties that will ripen reliably.
Check http://figs4fun.com and use your browser to search for the word "Washington" in the pages of the site.
Raintree nursery is a good resource, and is located a bit East of Olympia. I think that their recommendations are reliable and appropriate for Seattle. Their varieties should be well adapted for local climate.
Seattle is slightly cooler than Vancouver (WA) where I live, but it might help to know that Brown Turkey and Petite Negri both seem to do well here (my trees are still too young to know for sure). From what I have heard, you are also right about King.
I have Vern's BT - it is a 2 year old and has yet to
ripen fruit for me. The leaves are clearly different
from English BT; they are deeper lobed and less rounded.
I have heard that it is able to ripen in cooler climates.
From the pictures I have seen of the fruit Vern's BT
is larger, almost spherical shaped with a long neck. If
anyone actually has first hand experience, I would love
to hear it.
I live in San Francisco where we get even less summer heat than you guys, but still falls into the pacific north west category. In my climate, I highly recommend to skip the Brown Turkey. Not that tasty, and I don't consider it reliable ripening. Didn't work for me, and the figs just sit there for a long time without doing anything.
If you want a fig that changes color from green to purplish / brownish that is ultra reliable in terms of ripening and juicy, you've got to try Osbourne Prolific instead. That'll beat Brown Turkey anyday.
This year my Osbourne even ripened its figs during 14 consecutive days of fog, and mid 60s temperatures. The taste was still yummy. I even hear some people claim that Osbourne can even ripen a crop in partial shade.
From what I tried:
Osbourne and Desert King works.
Excell works too, but not to the same extent as Osbourne and Desert King in terms of ripening reliability under cool conditions.
I heard Laturalla works, but can not verify it yet. My Laturellas haven't bore any fruit yet.
Conadria hasn't worked for me.
I'm wondering if someone can provide an answer for this. I have a Desert Fig tree. The first year, it had some figs on it but they didn't ripen. This year, it had quite a few and they remain green and hard. I transplanted it to a much larger container once the fruit had set. Is it possible that I disturbed the roots and that's why it didn't ripen. Is there hope for next season?


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Decorated in a playful, inviting way, this one-level, 4 bedroom Villa, is truly unique in its kind. With unsurpassable views, the Ocean View terrace and outdoor dining area are the place to spend your time. The personalized interior decor is a joy in itself. Property rentals include preferential tee times and a special greens fee rate (if the owner has an active club membership for rental guests to enjoy access) and use of the Residents? Beach Club (subject to prior reservation and availability). Concierge Services include pre-arrival itinerary planning, airport transfers, pre-arrival grocery shopping, in-house spa services, babysitting service, car rental arrangement, restaurant reservations, booking of tours and excursions, etc. Staff works daily, 9 a.m. to 5 p.m. Rates exclude 16% tax, 5% service, & refundable security deposit (equal to 1 night's rent). Four Seasons guests are also required to pay hotel access fee of $225/villa/nt & 16% tax, 3% local tax, & 10% service charge & 25/day WiFi fee. This villa sleeps 8 people. There is a 10 night minimum stay over Christmas/New Years.
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High Speed Internet
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$ 22,260.00
Highest Price
$ 33,880.00
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Ocean view.
Time to Beach
10 minutes/300m.
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- - High Speed Internet
- - Pool, Indoor
- - Tennis Courts on Site
Available Activities
Additional Amenities
Air Conditioning, Ceiling Fans, Golf Course, Jacuzzi, Outdoor Dining, Satellite TV, Airport Transfers, Concierge Service, Cook, Maid Service, No Pets Allowed, Non-Smoking Property


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Posdata, te amo
Holly has always depended on her husband's practical advice to keep her going and despairs when she loses him to brain cancer, until a package arrives filled with advice for carrying on with her life without her beloved husband.
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Sounding Out! Podcast #38: Radio Frequencies, Radio Forms LIVE
CLICK HERE TO DOWNLOAD: Radio Frequencies, Radio Forms LIVE
Today's podcast is an archival recording of "Radio Frequencies, Radio Forms LIVE," a special program on WHRW, Binghamton University's free-format radio station, broadcast on December 15, 2014 from 6:00-7:30. Part original radio art broadcast and part "Behind the Artists' Studio" conversation, "Radio Frequencies" represents the culmination of a semester-long experimental collaboration between Professor Jennifer Stoever (BU English) and Filmmaker, Sound Artist and Professor Monteith McCollum (BU Cinema) and the students of their advanced transdisciplinary seminar "Resonant Frequencies: Exploring Radio Forms."
Over the course of the Fall 2014 semester, students learned the fundamentals of recording and editing while discussing radio history, sound production, sound art history, and theories of sound and listening to copious (and diverse) radio pieces ranging from Aimee Temple McPherson sermons to Norman Corwin's We Hold These Truths, the Suspense episode "Sorry, Wrong Number" to Delia Derbyshire's "The Dreams." McCollum and Stoever's students were creative, interested, driven and exceptionally talented; two from the course, Tara Jackson and Aleks Rikterman, went on to have some of their semester's work featured in the 2014 Mix for Wavefarm's annual 60 X 60 competition, the only two students alongside seasoned arts professionals, professors, radio producers, and Prix Italia Winners.
The WHRW broadcast features well-crafted recordings of the course's capstone project—4 collaboratively developed original 8-10 minute radio pieces—alongside fascinating live discussions between Monteith, Jennifer, and their students about radio as medium, broadcast vs. performance aesthetics, the process of recording, manipulating, and editing sounds, the students' radio influences, the role of the listener, the value of radio's past and their forecasts about its future. This podcast is a must listen for anyone interested in radio production and history, creative pedagogy, conversations about sound art, or just interesting and unexpected listening!
- "Amarilli," a suspenseful radio drama scripted, performed, recorded, edited, and mixed by Maggie Leung, Hyucksang Sun, and Daniel Hong.
- "The Parlor City," interwoven radio-verite stories about Binghamton, NY conceived, recorded, edited, and mixed by Yang Gao, Daniel Santos, and Ashley Verbert.
- "Untranslatable" an artistic sono-montage piece about language conceived, recorded, performed, edited, and mixed by Tara Jackson, Anna Li, and Michael Ederer.
- "Pura Vida: Solo Travel" a documentary interview montage conceived, recorded, scored, edited, and mixed by Aleksandr Rikterman and Garrett Bean.
Hosts and Executive Producers: Monteith McCollum and Jennifer Stoever
Opening Interview: Daniel Santos
WHRW Engineer: Tara Jackson
WHRW Program Manager: Daniel Kadyrov
McCollum and Stoever's course was made possible by a generous transdisciplinary team-teaching grant from the Provost's Office at Binghamton University, with thanks to Provost Don Neiman and Don Loewen, Vice Provost for Undergraduate Education
Monteith McCollum, Assistant Professor of Cinema at Binghamton University, is an inter-media artist working in film, sound, and sculpture. His films have screened at Festivals and Museums including The Museum of Modern Art, Hirshhorn, Wexner Center for the Arts and Festivals including SXSW, Slamdance, Hot Docs, Amsterdam & Osnabruck European Media Arts Festival. His films have garnered dozens of festival awards including an IFP Truer than Fiction Spirit Award. You can learn more about his work at monteithmcollum.com.
Jennifer Stoever is co-founder and Editor-in-Chief of Sounding Out! She is also Associate Professor of English at Binghamton University and a recipient of the 2014 SUNY Chancellor's Award in Teaching.
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Sounding Out! Podcast #10: Interview with Theremin Master Eric Ross – Aaron Trammell
The New Wave: On Radio Arts in the UK
In the UK there has never been much scope for radio art within the realm of public service broadcasting, leading artists to seek funding for their own independent projects, predominantly from the Arts Council of England (ACE) and other state funding bodies and charitable trusts. In this article, the final in Sounding Out!'s series Radio Art Reflections, I will consider this recent avenue of practice, because its results – in terms of audience composition, artistic output and the wider cultural context of the form – shed light on both the particular context of radio art practice in the UK, and also have implications for the wider struggle for sustainable independent media networks against the diminished imaginative horizons of a public broadcast culture endlessly inured to 'unavoidable' cuts and the free market enclosure of the digital commons.
In the name of 'austerity' such cuts have been inflicted upon broadcasters worldwide. The loss of key radio arts programmes like Australia's Listening Room, as discussed in the last post by Colin Black, is by no means the exception, even in an age of expansion in digital spaces. As De Lys stated way back in 2006 it may be considered "[i]ronic that the 'rationalization' of radio arts by public broadcasters occurs at the same time that audio arts activity and the creative use of sound are expanding exponentially in community spaces, in galleries, games, and online." (De Lys, S and Foley, M; 2006, "The Exchange: A Radio-Web Project for Creative Practitioners and Researchers" Convergence; The International Journal of Research into New Media Technologies, 12; 129, Sage)
Elsewhere, institutional affirmation through public broadcasting connects local, national and international art radio broadcasters, as it also empowers two long running international radio art competitions that continue today: the Prix Italia set up by RAI, in 1948, to engage creatives to work with radio and create new works for the medium; and the The Karl Sczuka Prize for Radio Art, established by SWR in Germany in 1955, notable (sadly) for how so few women artists have ever won the awards. For Kersten Glandien, contributing to the Reinventing The Dial symposium back in 2009, the availability of public radio funding in the 80s and 90s enabled a heyday of commissions and festivals, events and prizes (Glandien, K; 2009. Keynote Paper given at Reinventing the Dial Symposium. Canterbury Christ Church University).
No such radio art competition or open call for new radio art work has ever been run by the BBC, highlighting its resistance to the form. At present the BBC runs just one experimental programme that has been on air for 20 years: Between The Ears on BBC Radio 3, which leans towards more narrative-centered features reflecting Black's issues with ABC's Soundproof discussed in the last article.
The first experimental art radio station in the UK went on air in Liverpool for a week in 1995, Hearing is Believing on 105.8FM. As Scanner wrote at the time it offered the chance for listeners to hear "sound works, performance and innovative documentaries that would never receive airplay on even the most 'progressive' FM bands. Remember, BBC Radio still has problems playing certain works of Stockhausen because they contain randomly-culled shortwave radio signals."(The Wire, 1995). That inspired the London Musicians Collective to run its own month long arts station in Resonance 107.3FM in 1998. I was part of its action group and then its steering group as the station went full time in 2002.
Tight regulation across public and commercial radio in the UK also meant that artists were late to explore the medium. Trevor Wishart reminisced with me at Radio Without Boundaries about a radio piece he made with the BBC in mind that took over 28 years to be played on the radio in the UK, being not sufficiently 'musical' for a music station and not 'dramatic' enough to fulfill the conventions of drama.
In this context, community radio has been an important if limited platform and nurturing site for new radio art. There are now over 200 such stations in the U.K. but only two dedicated to the arts community: Resonance FM and Soundart Radio at 102.5 FM, the latter based in Devon since 2006. Soundart Radio exists on a hand-to-mouth basis via small grants to provide training for disadvantaged groups. Resonance FM, by contrast, has achieved regular funding by walking a line between its community status and its avant garde roots. Its success is due largely to its location and the exceptional work of volunteer artists and musicians who have developed innovative programming without budgets.
Arts Council England increased Resonance's funding as it became a 'national portfolio organisation' in 2012. The station may tower over other most community stations, but its yearly funding is still only comparable with that of many regional arts festivals. Moreover, radio art is only a small part of what Resonance broadcasts, and is mostly scheduled as discrete programmes such as Radia, and as less frequent one-off programming such as Remote Performances a collaboration between London Fieldworks, the Live Art Development Agency and ACE, broadcasting 20 live mostly music based performances for a week from Glen Nevis, Lochaber, Scotland.
Open funding for artists directly from community radio stations is very limited and ad hoc. The Community Media Association was able to offer small commissions for Modulate, an open call to encourage artists to team up with community stations to encourage more arts diversity and address the fact that around "70 per cent of the community radio sector's programming is music-based" (CapeUK, 2008, p.08). Meanwhile, Art Transmission was a welcome one-off project early this year run by Francis Knight who commissioned three sound artists including Jane Pitt and Xentos Jones to work with young boxers and steam railway enthusiasts to make radio works for the small community station BRFM on the Isle of Sheppey. A recent CapeUK report concluded that Community radio "offers creative and artistic freedom to their contributors unmediated by the editorial control exercised in commercial or public service broadcasting." (CapeUK, 2008, p.20).
It would be naive to imagine editorial constraints do not exist in the community radio sector. This is perhaps why several British artists have gone it alone to retain autonomy by running their own short durational arts stations as Restricted Service Licenses for projects which run for up to 28 days and can broadcast up to 25 watts, such as Kaffe Matthews Radio Cycle (2003) and Tom McCarthy and INS Calling All Agents (2004), Celestial Radio (2008), Boat Radio (2012), Writtle Calling (2012), Radio Boredcast (2012) and The Dark Outside (2012-14) all funded by The Arts Council. This marks an increasing trend in the UK of artists-curated FM stations.
Grants for the Arts from ACE offers a way for artists to receive funding to make new work. My own group Radio Arts has, through funding from ACE and Kent County Council, been able to recently commission new radio art works for broadcast from Colin Black (AU), Arturas Bumsteinas (LITH), Iris Garelfs (GER), Anna Friz (CAN), Louise Harris (UK),Olivia Humphreys (UK),Langham Research Centre (UK), GX Jupitter- Larsen (US), Carlo Patrao (PORT), Mikey Weinkove (UK),Joaquim Cofreces (Argentina), Esther Johnson (UK), Michael McHugh (UK), Gregory Whitehead (USA), as well as Radio Arts members Genetic Moo, myself and James Backhouse (UK). Radio Arts ran a series of workshops, a radio art showcase exhibition and will be running a forthcoming live event and online gallery and further workshops next year alongside broadcasts of the new works to be heard on eight partner stations in four countries.
However, such work can only continue with further funding. For me it is important to move away from the current creative commons ethos, where no one is ever paid to participate. We should allow sound and radio artists to gain a fee to produce new radio work, particularly as the Artist Network in the UK is campaigning for artists to be paid in galleries.
Another interesting area which has taken off from Japanese radio artist Tetsuo Kogowa is micro broadcasting, the use of small range transmitters allowing artists to broadcast in a localized space of up to one watt, without the need for a license, either by building the transmitters or buying them readymade. These work well for radio installation and have allowed me to continuously play works as discrete stations and produce surround works allowing a different voice or sound to emanate from each radio in the installation. For eight years, mostly unfunded, I worked on Switch Off a PhD radio art project documented on my blog creating eight different fictional stations as micro broadcast installations each imaging a future use for FM when it has been abandoned in the UK these works explored radio art practice from a post digital perspective.
Micro broadcasting these works proved to be a very liberating way of sharing radio art work in galleries and outside of conventional radio broadcasts and allowed me to really experiment without constraint, whilst the web has brought me closer with other international artists and communities to share practice and projects. Having used radios as a readymades for multiple and surround installations my experience has led me to new ways of thinking about installation work such as a bespoke transmitting book Spiritual Radio 2014, which broadcasts itself and awaits the listener to find its frequency.
Following this line, many online arts stations have been set up by galleries and arts spaces, often as temporary projects. Online arts station Basic FM started in 2011, and was a project of Newcastle independent cinema Pixel Palace having hosted Vicki Bennett's Radio Boredcast at the AV Festival (2012). It "presented an audio gallery that exhibited the work of those making interesting noise: sound collage, found sound, spoken word, discourse, dialogue and discussion, musique concrète or original, remixed and detourned musics" (Basic FM, 2014, website). Run by one part-time member of staff and funded by the Arts Council to run for thirty months until 30th Sept 2014 Basic FM did not carry on due to lack of further funding, a real loss after it steadily building up its reputation as the third full time arts station in the UK.
It seems that in the UK the lack of artistic airspace on public and community radio has been sidestepped by radio artists who have forged their own stations to redefine public space in myriad forms. And there are possibilities in the future. The latest temporary UK arts station call comes from the well regarded CCA Gallery Glasgow Radiophrenia next year, while London's Tate Britain is currently running a family programme Radiocity and its community programmes have commissioned myself and Jim Backhouse from Radio Arts to run a series of workshops called Reclaim the Waves from the end of February, working with the local Westminster community to document the changing city and produce a participatory radio installation for exhibition.
Magz Hall is a sound, radio artist and founder of Radio Arts an artist led group who promote radio art. Her work has been exhibited in the British Museum, the Sainsbury Centre, MACBA Barcelona, Denmark, Italy, Germany, Norway, Morocco, Canada and the USA and broadcast internationally. Her ambisonic soundtrack of Hong Kong Airport at the British Museum was described as "extraordinary and rich." Radio Mind (2012) an "intriguing and beautiful work" was commissioned by the Lightworks Festival. Her most recent work Spiritual Radio (2014) "looks like a hardback on life support" (TLS) was commissioned for 'Unbinding the Book'a touring exhibition. A senior lecturer at Canterbury Christ Church University and a founder of London's arts station Resonance FM, she has just completed a practice based PhD on radio art at CRISAP, LCC, University of the Arts London entitled Radio After Radio: Redefiningradioart in the light of new media technology through expanded practice.
Images courtesy of the artist.
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LMGM's "Lost: Choirboy" & El Jefe's "Muñoz & La Mission: A Sermon. . ." (in memoriam José Esteban Muñoz)
Come, let us sing of great men. Well, just one man, not men—and masculine gender is not essential for our purposes. Come to think of it, his greatness isn't nearly as important as his fierceness, his queer significance, his brown sensibility. But we're still committed to singing—or at least to music—well, to sound and noise, in any case. José Esteban Muñoz often wrote about queer scenes where music and sound were central to participants' world-making activities. His archives buzzed with the sounds of West Coast punk, vogue-ball house, cruisy toilets, genderqueer burlesque, and salsa echoing down the barrio streets. And so, for this Round Circle of Resonance, we at La Mission are here to make some noise about a badass thinker who deeply impacted the way we dance/sing/talk/write/sweat about dance music, identity, and politics.
And this is just the beginning of our cacophonous, four-part response to Muñoz's intellectual holler. The first installment, written by La Mission's resident essayist / deranged propagandist LMGM (Luis-Manuel Garcia) provides a brief introduction to our collective, some reflections on Muñoz's relevance to our activities, and a frame for the next three missives from our fellow cultists. It is backed with a rousing sermon-cum-manifesto from our charismatic cult-leader/prophet, El Jefe (Pablo Roman-Alcalá). In the coming weeks, our Naked Mennonite/randy dramaturge (Mandie O'Connell) will prepare and film a urinary performance piece; and our saucy Choir Boy/Linguist (Johannes Brandis) will compose a dirge to our dearly departed José (August 9, 1967- December, 4, 2013).
LMGM a.k.a. Luis-Manuel Garcia
Lost: Choirboy (in memoriam José Esteban Muñoz)
La Mission
Named after San Francisco's Latino barrio, La Mission is a satirical utopian doomsday cult, a music label, a queer situationist art-gang, a magazine, and a group of dancers with a very dirty sense of humor. We release music on vinyl, publish DIY 'zines, and make performance art, aiming to re-politicize genres of dance music that have been important to queer people of color. La Mission's identity is perhaps best summed up by cult-leader El Jefe's manifesto-sermon, "The Sermon for the Steps of the Ziggurat in our Hearts," published in our first La Mission magazine:
La Mission is a Community. La Mission is a Collective. La Mission is a Cult. La Mission is a Situationist Art Gang. La Mission is a Anarcho-Syndicalist terror cell. La Mission is a Family. La Mission is You. La Mission is Us. La Mission is gonna strip you butt nekkid, gonna check all your body cavities, gonna give you a shower, gonna give you a goodie bag, gonna give you a clean sheet and a towel. You at home with us now children, you understand me? You home with us now.
La Mission was first formed in 2012, in a small café in the Neukölln district of Berlin. The collective initially began with just three of us—Pablo Roman-Alcalá, Mandie O'Connell and Luis-Manuel Garcia—but like any good charismatic doomsday cult, it quickly expanded to include a broad network of lovers and collaborators, led by a core of four instigators (Johannes Brandis joined us later in the year). After a fundraising run in the fall of 2012 (witness our surrealist fundraising video here), we held our first two performances in the winter and spring of 2013, which involved experimental performance art pieces held in unusual spaces. The performances incorporated music and text from our vinyl EPs and their corresponding 'zines, which were released at around the same time. These multi-channel productions were also conceptually coherent, with (kunst/WORK)001 introducing La Mission's "mission" and (kunst/WORK)002 focusing on the relevance of utopianism to dance music. After a "quiet spell" where we released an out-of-series vinyl record of "lost remixes," 2014 has been dedicated to preparing the next volume in the series (due in February 2015), which examines the depredations of capitalism, forced austerity, and false scarcity on music.
Hearing José
La Mission has no idols, but we do have influences—and José Esteban Muñoz is foremost among them. We share with Muñoz a focus on queer nightlife-worlds, a non-classical take on utopianism, a commitment to intellectual interventions outside of academic channels, and a certain brassy tone of voice. His revival of Ernst Bloch's notion of a utopia based in real-life struggles was crucial in helping us reconcile revolutionary politics with dancefloor utopianism; or, put differently, Muñoz helped us find the critical politics latent in the queer, brown, sweaty gatherings that form the core of our scene of commitment. As "EDM" continues to blow up into a primarily white, hetero, cis, mainstream phenomenon, his insights have helped us maintain clarity and critical focus.
From the outset, we have also been profoundly influenced by Muñoz's lifelong theorizations of brownness, affect, and (dis)identification. Since three of our four core members are Latina/os in varying states of stripped identity, we have been especially interested in Muñoz's notion of the "brown commons," as he was developing the concept in the last years of his life. In promotional texts that circulated ahead of his speaking engagements on the topic, he described brownness as "an expansive sense of the world, a feeling and being in common that surpasses the limits of the individual and the subject." Notably, he understands brownness and the brown commons as being shaped not only by suffering and struggle, but also by thriving, providing a pool of resources for a better, more vibrant kind of life.
The significance for La Mission's project in dance music culture should be clear already, but we also take great inspiration in how Muñoz developed an expansive view of brownness and the brown commons, using Latina/o experience as an entry-point for "a vaster consideration of the ways in which people and things suffer and experience harm under the duress of local and global forces that attempt to diminish their vitality and degrade their value." We here at La Mission are committed to exploring brownness for its potentials for lateral solidarities among people of color, who may have diverse cultural backgrounds but nonetheless share post-migrant experiences of struggle, devaluation, displacement, and inauthenticity. In fact, Muñoz's work was a direct inspiration for the "Brown Corner" in our La Mission 'zine (a parody of the "ladies' corner" and "kid's corner" of American mid-century lifestyle magazines). Published bilingually and featuring post-migrant authors, the Brown Corner reflects on aspects of brownness, as both specific to their contexts and generalizable to a wider "commons" of brown experience. In the process, we hope to highlight shared feelings, narratives, and resources for brown survival in a world of white supremacy.
Singing into the Horizon
Brother Muñoz, what are we supposed to do with the vinyl records, the zines, the performance videos we had been accumulating for you? We're trying to sing our way into a queer utopian horizon, and we had been counting on your voice. We know you're not coming back. As a radical lefty utopian doomsday cult, we're not so invested in the afterlife, anyway. But it still sucks for us and everyone else you left behind, left in the "here and now" that we struggle to turn into something less suffocating. The party was just getting started, dammit. Besides, we had such a kickass choirboy outfit picked out for you.
LUIS-MANUEL GARCIA aka "LMGM": LMGM/Luis-ManuelLMGM/Luis-Manuel is a Canadian of Peruvian-Colombian origins, currently an Assistant Professor in Popular Music at the University of Groningen (NL), after migrating between Toronto, Berlin, Chicago, and Paris. He has managed to turn his love of electronic dance music into a PhD in Ethnomusicology at the University of Chicago, and into post-doctoral fellowships at the Max Planck Institute for Human Development and the Freie Universität Berlin. On the side, he writes about food and dances every chance he gets.
Muñoz & La Mission: A Sermon for the Imagined Sanctuary We Built Together
Welcome. La Mission is a family. A family of chosen comrades, chosen brethren, chosen hermanos, chosen сестры, chosen lovers, chosen students, chosen teachers, and chosen arms. Arms, linked and brandished through common thought, common feeling, common goals. It is with a heavy heart that we find ourselves here, remembering one of our family who (though never officially an acolyte or collaborator) was one who contributed to the ecstasy that we have felt and will feel for many years. José Esteban Muñoz was said to be a believer. Ernst Bloch and the New Revolutionary Epoch. Our utopias were described and imagined and realized and experienced. Rise up, my brown brethren, and let us celebrate Brother Muñoz's legacy!
The words and deeds of this fellow freedom-fighter, who infiltrated the bourgeois güero academy and infected it with a polylateral program for de- and reprogramming, has been our parallel and our inspiration. Colleague and comrade. A representative of our struggle. Not quite a patron saint—that honor we've reserved for communarde Louise Michel—but no less a visionary. As queers, as minorities stripped of identity, as angry and happy children in revolt for something better, we must all learn from each other as equals.
Brother Muñoz made utopia political again and located that utopianism in performance. La Mission's performances bring forth utopias from our queer future through fleeting mindfuck happenings in the present. Through the work of Sister O'Connell and her band of terrorizing miscreants, we present a non-narrative and non-paternalistic path towards redemption, one of our own making. Can I get a "Fuck, yeah!"?
Brother Muñoz loved music and dancing and life-worlds connected by the beat and said, "Take Ecstasy with Me." He revealed to us the connections between collective dancing and feeling utopian. In his spirit, La Mission's music strives to bring forth utopia through that ever-lasting beat. Through disassociation and reassociation, through transcendental repetition, and through getting the fuck down! Can I get a "Fuck, yeah!"?
Brother Muñoz believed in learning and critical thinking. Analysis and the great revolutionary trek through the jungle of our critically thinking minds. La Mission's tracts enact utopia through a constant vomiting out of our recently digested learnings into the baby-bird mouths of those who read them. The brother was also a hilarious motherfucker, and from this we realize that it is not through the shrill screams of egoism disguised as activism that we will prevail. It is through the joy of laughter combined with thought that we will win our bread. Can I get a "Fuck, yeah!"?
Brother Muñoz loved fucking. La Mission's fucking creates utopias through the ecstatic act in and of itself. If you aint fucking to make yourself a Temporary Autonomous Zone of happiness, then you aint doing it right. Can I get a copulatory "Fuck, yeah!"?
It is not all loss, though. The ideas live on. Caminamos juntos. On the dancefloor. In the reclaimed Torre David skyscraper and the Taller Tupac Amaru collective; in the informal classrooms and the sweaty bedrooms. Our hearts must burst after sagging, our heads must fill after hanging low, and our linked arms will raise! Oh honey, please don't give your heart to a world system based on exploitation of the luckless, give your heart to US!
All images courtesy of La Mission
PABLO ROMAN-ALCALA: Yo. I am Pablo aka "Beaner" aka "Skirtchaser" aka "El Frijolero" etc. I am an internationally working musician and dj who has enjoyed a modicum of success, but who doesn't like what has happened to the musical landscape vis-a-vis "conservatism" in respect to both Money and Art. I mean the relationship of the two, okay? It sucks. And I want to change it.
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Freedom Back: Sounding Black Feminist History, Courtesy the Artists– Tavia Nyong'o
"New Wave Saved My Life*"-Wanda Alarcon
A Brief Review of Australian Radio Art
Welcome to the second part of Radio Art Reflections, a series on radio art that brings together the thoughts of three practitioners who have been researching the field from Canada, Australia and the UK.
In the first part Canadian sound and radio artist Anna Friz discussed how transmission art has shaped her practice and how it has become an important current within the expanded territory of radio art. Following this, musician and sound artist Colin Black reflects on the particularities of Australia's radio art history, analyzing the effects of ongoing cutbacks at the Australian Broadcasting Corporation. Black fears a distinctive Australian soundscape-based radio art is in danger of being lost, while identifying a current renaissance in narrative based radio features which currently shape ABC radio output, and considers the potential of ABC's new Creative Audio Unit.
– Guest Editor Magz Hall
As an artist growing up in rural Australia, I was hugely influenced by how state-owned radio engaged with sound-based practitioners. For decades, radio not only gave voice to some of the more exploratory artists and their works, it allowed artists and audiences from all over this vast continent to find a space in which experimental works could, with financial support, gestate, be realized and propelled onto a world stage, often receiving international acclaim for their distinctive perspective.
In recent years I have come back to those works as a PhD researcher, interviewing thirty five international practitioners, theorists and producers on Australian radio art thereby gaining a new appreciation of its particular aesthetic practices and approaches. This article draws on some of these interviews to highlight national and international perceptions about where Australian radio art has been, while also demonstrating its potential to influence a new generation of artists to explore beyond mainstream media formats.
While there are a few early examples of Australian radio art, consistant programming and commissioning of radio art effectively commenced in the 1980s with the formation of the ABC Arts Unit during 1984-85 and the acoustic arts programme The Listening Room, which aired from 1988 to 2003. Although long-decommissioned, The Listening Room was still one of a very few signposts that my interviewees cited when trying to understand the properties of Australian radio art. The Listening Room's founding executive producer Andrew McLennan, who expanded the boundaries of ABC radio from 1976 onwards, had a clear take on the aesthetic framework of the show, stating in one internal ABC report (c1990) that the programme was a:
… venue for the exploration, the cross-pollination of radio forms. … you can hear new radio plays, audio essays, acoustic features, sound documentaries, new music, sound-scapes and sculptures, audio installations, acoustic art forms …
This approach was broader than that of other international radio art programs. Here is a quote from the formative executive producer of Deutschlandradio Kultur, Götz Naleppa, who took a much more "aesthetic" approach for his well-known Klangkunst programmes in Germany:
The difference to other radio-art-forms like radio-play is simple: sound-composition [a term Naleppa prefers to radio art] shares with them the same elements: sound, text (voice) and music. But in radio-play text (dialogue) is in the foreground and the other elements SERVE it (often in an illustrative way). And in (radio)sound-composition we have the same elements – but they are EQUAL, they are simply MATERIAL in the hands of the composer [Götz Naleppa, e-mail message to author July 28, 2005].
Of the two, The Listening Room clearly had a wider scope. Thus a number of ABC works, like On the Raft, All at Sea (by Robyn Ravlich and Russell Stapleton), placed the text in the foreground as the narrative is primarily driven by the use of spoken dialogue and the other elements are used to serve the text in a chiefly illustrative fashion. By definition Naleppa would call this a "radio-play" and not necessarily neues hörspiel or radio art, and definitely not a radio "sound-composition."
Extract from On the Raft, All at Sea (2002) by Robyn Ravlich and Russell Stapleton (courtesy Robyn Ravlich and ABC Radio)
Alongside this inclusiveness of a wide scope of work, my research uncovered a range of other ideas about the identifiable properties of Australian radio art. Austrian Elisabeth Zimmerman claims that with Australian work there is "a certain tradition" that favours the "use of environmental sounds … but in a very composed way." Andrew McLennan supports Zimmerman's viewpoint and states: "it's always hard to say and it is probably a bit of a cliché … [however he] often think[s] of it as quite environmentally driven." Douglas Kahn, an American, is more skeptical, observing that "The Australian stuff was much broader range … I don't think you can say that there was an Australian aesthetic because there were so many different artists that were brought in to do things." Although later Kahn does state that a common thread heard in Australian work was its "really high quality production values … really nice complex mixes … people playing the mixing board like it was a piano in a really sophisticated way." Kaye Mortley from her Australian French background describes Australian work as "radiophonic art, of various sorts, more experimental in nature, some produced by composers." While not a composer, Australian Virginia Madsen supports Mortley's viewpoint when she describes her own work as "experimental … it combines music, theatre performance, and documentary really." The common theme that emerges from my research is the openness and commitment to experimentation that exists alongside a highly professional approach to the art form within Australian radio art culture.
My interviews also indicated that radio art plays a role in the perceived amorphous and multi-faceted notion of national identity, while confirming Kahn and Nicholas Zurbrugg's earlier observations that radio art has critically contributed to the overall arts ecology in Australia. As a practitioner, I would also describe my own work as having an experimental approach that is influenced by the high quality production levels of programs like The Listening Room. While much of my work is environmentally driven, my artistic focus is to create multi-faceted, intimate aural geographies in which human imprint is present.
Extract from Alien In The Landscape (2007) by Colin Black (courtesy DeutschlandRadio Kultur). This extract features synchronous field recordings made by a Rodes NT4, X-Y configured stereo microphone and Fender Stratocaster with additional strings attached as pictured below.
When The Listening Room was decommissioned in 2003, explorative radio was forced in two directions: ABC Radio National programmed some word-based works, while ABC Classic FM aired another set of works that Kate Dundas (Director of ABC Radio) has called "Shorter-form pieces, maybe perhaps down the sound-based acoustic end or radiophonic end of the spectrum."Budgets were dramatically reduced and diverted, resulting in the effective abandonment of regular commissions and airtime for long-form sound-based works. In 2012 ABC management decommissioned book readings and Creative Instinct (a "feature program that reflects and explores the creative world") and The Night Air (described as "aural equivalents of the avant-garde cut-up: a montage of interviews, location sound, music and found audio"). Moreover management oversaw the dismantling of the Airplay programme, which included "hour-long dramatic fictions [sic] experiment with form" effectively ending an 80-year tradition of Australian radio drama. In replacing these programmes, the Creative Audio Unit (CAU) was planned and American-style low budget radio production techniques for dramatic short stories (as championed at the 2012 ABC run Radio Beyond Radio conference) were put on the table as the future of radio.
In 2013 the ABC recruited a whole new team (who collectively had very little direct engagement with prior radio drama and The Listening Room production budgets and procedures), to setup, oversee and run the CAU. This transition was so atypical of past ABC changes that it raises questions as to whether this was an orchestrated act of cultural amnesia. It is perhaps not surprising that one of the major challenges this new team faces is the lack of resources, which impedes the magnitude of new works commissioned. This also raises questions as to how the previous budgets from Airplay, The Night Air and Creative Instinct have been reassigned. Another challenge is this unit's extremely wide area of responsibility (that was previously spread across a number of ABC Units) ranging from radio drama and essays on the Radiotonic programme (effectively replacing the entire radio drama department) to what it claims to be a "portal into radio art, performance, soundscapes and composed audio features" on its Soundproof programme.
While Soundproof makes gestures to re-stimulate radio art activities in Australia, in sampling its first twenty episodes it becomes apparent that a very large percentage of airtime is heavily driven by the spoken dialogue narrative, more in line with radio drama or documentary. Furthermore, the episodes that contain the more interesting sound works seem to be frequently interrupted by extended contextual dialogue and therefore, for the most part, present only extracts or shorter form radio art works. Therefore, as a practitioner who runs the risk of being excluded from future CAU activities, I would nevertheless argue that for the most part, the CAU is doubling up on its focus on radio drama and documentary style productions and has not to date reached its goal of fully exploring and presenting sound rich radio art features, as it claims (please see Soundproof episode mp3 downloads dated between 11 May to 21 September 2014). Moreover, Soundproof is much more constrained, even backward-looking, when compared to its predecessors and is therefore aiming to attract a much less adventurous radio audience. More glaringly, the first twenty episodes lack a strong presence for new Australian works when compared to The Listening Room that broadcast sixty-four Australian works with a total duration of fifty hours in its first year of operation. As an inquisitive listener it seems that, to date, Soundproof has forgotten its own lineage without offering anything new or innovative and in doing so, has also forgotten audience members like myself in Australia and throughout the world.
I sometimes wonder what the conclusions from my research study would be if it were only focused on current practice. Would today's Australian radio art still play a role in the perceived multi-faceted notion of Australian national identity? Would it still be perceived to have an experimental approach with high quality production levels that favour the use of environmental sounds? Is it still a critical contributor to the overall arts ecology in Australia? Audience members who have little prior knowledge of Australian radio art, may think so or may not conceive of its potential to do so. However, given sustained support, the space for experimentation and a clear inventive vision for the future, building on the legacy of past achievements, Australian radio art clearly has the potential to regain its status on a world stage.
Featured Image: Beastman mural on Brisbane Radio by Flickr User JAM Project
Dr Colin Black is an internationally acclaimed composer/sound artist having won the 2003 Prix Italia Award and achieving the final round selection in the 2010 and 2011 Prix Phonurgia Nova for his creative feature length works. As a result of this acclaim, Black has received multiple national and international commissions to create innovative long-form works for broadcast across major Australian and European networks. Black's curator credits include, international festival/showcases of award winning Australian acoustic art and radio art at London's Resonance104.4fm, Kunstradio (ÖRF, Austria) and Toronto's New Adventures In Sound Art. In 2013 he also curated the Australian Broadcasting Corporation's Sound Fix: Your Weekly Dose of Transmitted Audible Art series. He is a PhD graduate of the Sydney Conservatorium of Music where he was a recipient of the University of Sydney Postgraduate Awards Scholarship. More recently Black has been engaged as an academic lecturing at the University Technology, Sydney; moreover he has authored a number of conference papers and peer reviewed journal articles including "An Overview of Spatialised Broadcasting Experiments With a Focus on Radio Art Practices" in Organised Sound. Black is also the founding member of The International Radio Art (and Creative Audio for Trans-media) Research Group. For more information see: www.colinblack.com.au
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My stepmom
I am venting a bit about my stepmom. She has only been my stepmom for a few years. I had another stepmom for most of my life, whom I loved dearly. She passed away when I was in high school. My dad dated different women a while later and eventually met my stepmom. We are only a few years apart in age, but she seems so much older so we have always gotton along well.
The problem is lately I feel as if she is hogging my dad! We live close to eachother and my dad used to stop by all the time when he was out running errands. Then she would call his cell nonstop. After a while the visits stopped. We did start doing dinner at my house once a month with them.
The problem is the holidays. 4th of July last year I wanted to have a party, but she said they were going to her familys. In October I had a birthday party for one of my kids and she was concerned that the date would interfere with a family party on her side. For Thanksgiving she told me in front of my dad that day was not open because they go to her familys each year. I looked at her and said "well maybe I would like to see my dad on some holidays!" She looked shocked.
I did end up having Thanksgiving a day early so they could attend.
Me and my dad have been talking about getting a summer vacation together with all my siblings (some of whom live out of state) and their kids. We have not all gotton together with the kids ever! It has been too hard to schedule. Anyways my dad was so excited about the idea and we were discussing it at our monthly dinner. Then stepmom chimes in with "well it can not be on ____ or ____ or ___ because my family has ____"
IMHO she can see her family any damn time. My family all lives out of state and it is hard to all get together so if she has to miss one of her family functions too bad....right? I mean if they are able to come out during the 4th of July or something then can't she attend our family function and see her family at all the other holidays?
Anyways the following month my stepmom called to say they were not coming to dinner because she had something going on with babysitting for her cousin. So I called my dad and told him he was still welcome to dinner. And he came. She called a zillion times while he was here! I finally looked at him and said "geez...she does not even loosen up the collar...does she?" My DH then joked with my dad about having a curfew.
Well I think my dad got it. My stepmom called me a few days later telling me that they were fighting and my dad was being mean. She then asked me about me and dh's comments and I said "well you did call and awful lot so I was joking around with my dad".
What do you think I should do with stepmom? I want to get along with her, but I also want some holidays with my dad!
i don't think it was approriate of your DH to make such comments. you guys could gossip when dad was gone, don't need to critisize SM in dad's presence. also i remember the issue with visits. dad has a young child. and i remember in the past he was leaving his child with mom and coming spending weekends wiht you and your stepkids like taking your stepkids running errands. it was probably way more fun for him than sitting home with a baby. i assume those visits stopped because SM didn't like it. i completely understand her.
on the other hand stepmom has to alternate holidays so some holidays are with your dad's family and some wiht hers. she cannot monopolize all holidays. i wonder if she does it because she feels resentful over those times when dad was spending weekends wiht you and your DH's kids, and she was sitting home with his baby. those things probably still are in her heart and probably still hurt. i suggest he talks to her about it.
I can understand having a dad that doesn't stand up to his wife. My father was that way. My mother ran the show or else. My brother allows the same thing from my SIL.
I don't think a little teasing form you DH is harmful with you dad. If he wants to go home and repeat it all to his wife then so be it.
I would sit them both down and be completely honest....Tell dad and SM that you love your father and want to see him more. Tell them that you don't want to cause trouble between them and you don't understand why having more time with THEM (don't just single out dad) would do that. If feelings have been hurt in the past you are sorry for that and would dearly love for things to be better.......I believe that if you approach it with your heart on your sleeve and in the spirit of true, honest love for your dad then you should have no regrets about saying it and then figure that you have done your best.
My DH and SD are flying to Ca. this weekend for his sister's 60th birthday. I would not dream of telling him that he couldn't see his family. I don't want to go but I won't make him feel like he can't. I refuse to live with the regrets of standing in the way of his relationships with his family. If he was going there 5 or 6 times a year I would feel differently but twice, for us, is what we can afford and he has my blessing. His father has passed. His mother is 83. He needs to go.
It sounds as though you and his wife are in some sort of competition for his time and affection. I imagine there are other issues going on. Perhaps she feels insecure - as though he would rather spend time with you and your husband, instead of her. You say that you are close in age, but get along well because she seems so much older. (seems older, or "looks" older)? My guess is that she does not want to share him so much with you. That she feels threatened, somehow. Do you have female friends that are around that make her feel threatened somehow...could that be why she calls constantly?
It sounds as though it would be a relief for her to find a counselor to talk her through what is bothering her, and what is making her feel the way she is feeling. It would be awful to struggle so internally with whatever it is with this situation that is creating the anxiety. If she can come to peace with whatever it is, I imagine all will be smoother for everyone...especially her.
I think the important thing is for you to be there for your dad. That was so kind of you to move your Thanksgiving. Keep inviting him, make certain you can contact him without her interference. She seems awful controlling and insecure. Make the most of your time alone with him, try to schedule a lunch now and then.
As to the vacation -- ask him when he is alone -- if the family cant schedule it so she wouldnt miss her family's stuff would he come alone.
FD: My dad did not spend weekends at my home, it was just stopping by during the day or evening. And I understood that my stepmom wanted him home more, but I did not feel that his stopping by should stop altogether!
Thermometer: I do think my dad should speak up more. But the problem is my stepmom controlling his time. If she was not so insecure she would not feel the need to control his time so much.
Bnicebkind: My stepmom looks much older than our age. And most of the time she acts much older.
KKNY: I am able to contact him on his cell without her interference. I just wish that I could see him more and have him around on more holidays.
I did call him today to make Christmas plans and asked if they would like to come over for lunch on Christmas Day. I figured that would give them the evening free to do dinner with her family. He said it sounded good and he needed to talk to her.....so we will see what happens.
Oh, and if anyone is wondering why we do not go there to visit there are a few reasons.
First they have a ridiculous amount of pets and it drives my allergies and my ss's allergies absolutely crazy! My sm is not much of a housekeeper and their home is very cluttered and dusty and their home is very small and there is nothing for my kids to do there. So we have always used the pet excuse for them to just come here (didn't want to be insulting about the housekeeping issues). And before my sm my dad always kept the home tidy, so that is why I am saying my sm is not much of a housekeeper.


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AnnaLynne McCord can also be seen in the upcoming indie "Scorned"
"90210" thesp Annalynne McCord has inked with Alchemy Entertainment for representation.
McCord recently signed on for a recurring role on the upcoming season of TNT's "Dallas."
She can be seen next on the bigscreen in the Anchor Bay pic "Scorned," which bows this February.
McCord is also repped by Morris Yorn Barnes Levine Krintzman Rubenstein Kohner & Gellman.
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1 person found this helpful
"Delphi, it is how we used to be..... "
- Comp & Benefits
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I have been working at Delphi
The people are great and nice to work with!
There is NO leadership and management waits around waiting for someone else to make a decision. There is so much potential there and so little respect. There is no growth opportunity.
Grow up and actually lead.
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"It was a great place to work 15-20 yrs ago, but no longer - finacially not strong and unstable. "
- Comp & Benefits
- Work/Life Balance
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I have been working at DelphiPros
The heritage of Harrison radiator with long history of innovation. Plenty of resources and experiences. It's a good place to start a career.Cons
It's no longer a leader in the thermal business due to lack of R&D support for a long time. Employee benefits have been reduced dramatically recently. It has gone though down-sizing and there is little opprotunity for career advancement.Advice to ManagementAdvice
Need to value people and talents.
"Rewarding Internship Experience "
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I worked at DelphiPros
As an intern I was given some of the most interesting and exciting projects, not only within the department I applied for. I got to work with interns and experienced colleagues from multiple corporate functions, had real responsibilities and handled cases that had real impact. It was invaluable exposure. The people I worked with were incredibly friendly, helpful, and competent, and I felt truly valued and appreciated for the work I was doing. Our manager and senior executives were also extremely approachable. They very often took time to guide our projects and sometimes had lunch with us to hear our professional interests. Overall, I felt very happy and fortunate that I took this internship. It was really a unique, unparalleled experience.Cons
At times cross organizational communication was lacking.Advice to ManagementAdvice
Continue to be open and receptive to interns and to prepare them for full-time positions at Delphi.RecommendsApproves of CEO


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Frontenac County Court House, located in Kingston, Ontario, Canada, was built 1855-1858 and was designed by architect Edward Horsey in a Neoclassical style. Original image converted to B&W and has five textures courtesy of Shadowhouse Creations added
Camera: Canon EOS 5D; Lens: Canon EF-24-105mm f/4.0L IS USM
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Really appreciate both your kind comments and the Fave, Mother. Thank you. – Gene
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Thnak you very much, Irene, for this honour. Much appreciated. – Gene
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Tessa Wegert | June 10, 2004 | Comments
Pay-Per-Call advertising is poised to take off. It could prove to be an important media platform for small to mid-sized businesses.
Several years ago, a small travel company approached the interactive agency where I worked. The firm was interested in advertising online. This company was in the business of reselling vacation packages and accommodations at branded hotel chains. The company was housed in an unremarkable gray room crowded with cubicles where customer service people manned the phones. It was your stereotypical telemarketing firm at its worst.
The company's business strategy was simple: wait for newspaper and Yellow Pages ads to take effect, then turn incoming consumer inquiries into sales. Business was slow and online advertising was booming, so naturally discussions turned to promoting the service online. The company had no Web site to speak of, but that was of little concern to them. They came to us to help them drive consumer phone calls.
At first, my fellow media buyers and I were rather at a loss. A campaign around a telephone number? What would banners link to? How would we track consumer response?
After setting up a unique phone number, creating ads that capitalized on the company's branded packages and buying up some banner inventory for a test run, we realized what seemed like a harebrained scheme actually made good sense. Here was one of those very rare businesses for which having a Web site wasn't critical to growth and success. Having an online presence, however, was.
Years later, those of us still immersed in this business have seen seemingly every trend in interactive advertising one could imagine. Yet the concept hatched by that little travel business has remained untouched. That is, until Ingenio, a search engine and directory monetization company, announced the introduction of its Pay-Per-Call Advertising Platform.
Pay-Per-Call, scheduled to launch this summer, was designed to bridge the gap between the Internet and telephony for businesses just like the one above. It's based on search engine marketing and the concept of paid search, except the action the advertiser pays for is a call rather than a click. When an Internet user calls the toll-free number displayed in an advertiser's paid search ad, Ingenio tracks the action and charges the advertiser according to the price bid for search engine placement. The process can be tracked in real time, so advertisers can easily monitor ROI.
The first engine to offer Ingenio's Pay-Per-Call platform will be FindWhat (an agreement was inked in April). FindWhat supplies paid search results to portals such as Excite, NBCi, Search.com and MetaCrawler, along with Yellow Pages directory SuperPages.com.
For small businesses and companies whose bread and butter is sales acquired through inbound calls, the system is sure to prove highly popular. Many small and mid-sized companies don't have the infrastructure in place to handle Web-initiated sales or customer service inquiries. Others cater only to local clients, or carry offers that change daily. Such variables make an involved consumer site both a complicated venture and an unnecessary expense.
When businesses such as these do have sites, they're generally vehicles for driving phone calls anyway. This platform eliminates that extra step to steer consumers directly to a customer service or sales rep who can manage the caller and close the deal with a human touch. The Pay-Per-Call approach to advertising promises to give advertisers much more control over a sale.
The marriage between Ingenio's service and self-serve, small-business-friendly paid search advertising also makes this media buy more accessible and manageable than most. What's the level of consumer response that can be expected? Well, how many times have you, as a consumer, found yourself hunting online for phone numbers, or longed for personal interaction when inquiring about a product or service?
There's already small business interest in the Pay-Per-Call product. Ingenio recently commissioned Jupiter Research (owned by this site's corporate parent) to survey small business advertisers. Forty-eight percent expressed an interest in the ad solution, while another 40 percent said they would allocate new ad dollars to fund Pay-Per-Call advertising.
I know that travel client of mine would have been very interested in an ad platform that had consumers "dialing-up."
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Tessa Wegert is a business reporter and former media strategist specializing in digital. In addition to writing for ClickZ since 2002, she has contributed to such publications as USA Today, Marketing Magazine, Mashable, and The Globe and Mail. Tessa manages marketing and communications for Enlighten, one of the first full-service digital marketing strategy agencies servicing such brands as Bioré, Food Network, illy, and Hunter Douglas. She has been working in online media since 1999.
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Try a liquid fiber dietary supplement. Choose a supplement that includes soluble fiber and fruits such as prunes, which are extremely good for your intestinal tract. These drinks can help ensure efficient digestion -- the body's absorption of nutrients and effective elimination -- which can aid in weight loss.
How to Lose Weight With Fiber Drinks
Although you can't digest fiber, it's a healthy plant-based food that helps clear the intestinal tract and ensure its proper function. A diet rich in fiber can assist you in losing weight because fiber makes you feel full faster and for longer periods. There are a number of ways to lose weight by incorporating fiber drinks into your diet.
Make your own fiber drinks. Create a concoction of fiber-rich fruits such as raisins, raspberries and bananas. Incorporate vegetables such as raw carrots for an extra dose of healthy fiber. Try different combinations of these fruits and vegetables to add variety to your drinks. Use a juicer or blender to achieve optimal results.
Take your time. Although fiber is extremely good for your digestive system and can help you lose weight, be careful to monitor your intake. Ingesting too much fiber too soon can cause diarrhea and excess gas. Talk with your physician before you begin any new dietary regimen.
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- Photo Credit fruit and juice image by Cristina Bernhardsen from Fotolia.com
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