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Black History Month: Stag Hotel, Preston, NS
January 24, 2008
Stag Hotel Signboard
Originally uploaded by ocean.flynn.
In his publication entitled Black Nova Scotians John N. Grant (1980:31) described how the Stag Hotel 1, an Inn located in Preston, was sometimes the terminus of Lt. Governor Joseph Howe's carriage drives." (p. 31.) Stag Hotel is a clever play on words as the proprietor was William Deer, an African Canadian.
This inn is referred to at length in Manette's thesis (1990) where she describes and quotes Mrs. Deer. It is also in Brown's Illustrated History of Canada (Brown 1987: 287) but no mention is made of the fact that the owners were black.
The book by John N. Grant entitled Black Nova Scotians was produced by Nova Scotia Communications and Information Centre and published by the Nova Scotia Museum as part of the Education Resource Service Program presenting the history of the Black Nova Scotians both as a people and as an important chapter in the history of Nova Scotia. It asserts the unique heritage of Black Nova Scotians. It traces the history from the arrival of the first Black Loyalists in 1793, the Refugees of the War of 1812 through the period of slavery examinging the role of education and religion. Grant underlines the fact that mainstream white educators overlooked the existence of black history.
The Stag Hotel, was popular with Halifax sportsmen for its hunting and fishing. On May 28, 1873, Joseph Howe — ex-premier and new Lieutenant-Governor of the province — visited it for sentimental reasons. But the long drive was too much for his failing health, and he died three days later (Brown 1987: 287)."We inserted this image of a mid-19th century oil painting by an anonymous artist into a Google generated map of Preston, Nova Scotia. This image was uploaded from my Flickr account and is geotagged to a spot near the Black Cultural Centre in Cherrybrook, Nova Scotia. I am not sure of the exact location of the Stag Hotel in Preston although I know it is ten miles east of Dartmouth.
The words on the sign were written by Colonel William Charnley. He described the Stag Hotel kept by William Dear:
"Outside the House looks somewhat queer, Only Look-in, and there's no fear, But you'll find Inside, the best of Cheer, Brandy, Whiskey, Hop, Spruce, Ginger Beer, Clean Beds and food for Horses here: Round about, both far and near, Are Streams for Trout, and Woods for Deer. To suit the Public taste, 'tis clear, Bill Dear will Labour, so will his dearest dear (Brown 1987: 287) ."
Grant also included an illustration of the sign and the inn in his Black Nova Scotians.
Grant's (1980) helpful publication is a useful complement to Winks' drier read. I have incorporated many of my notes from this book into my chronology. In 1783, after the American Revolution, 50,000 Loyalists came to Maritimes. 3,000 were Black. Many, both black and white were disillusioned. Life was so difficult that many whites Loyalists chose to go back to the United States. The Black Loyalists couldn't. In Nova Scotia Black Loyalists who had been promised land were having great difficulty. Thomas Peters, a former sergeant with the Black Pioneers, went to England with a petition for land grants that had been denied Black Loyalists. Some of the most industrious Black Loyalists emigrated at that time to Sierre Leone from Nova Scotia. In 1796 543 Maroons arrived in Nova Scotia. Maroons had waged war with Britain for 140 years (1655 – 1796) in Jamaica. In Halifax the Maroons built Citadel Hill fortifications. Wentworth ordered special uniforms for them and named the officers but the Maroons had control of their own hierarchy. Money ran out and the Maroons became increasingly impatient with continual discomfort and hardships. The Maroons, as well, eventually agreed to go to Sierre Leone. They left in 1801. Only a few remained. Slavery did exist in Nova Scotia but by 1810 it was largely a dead issue. Although not completely abolished until the 1830's the law would not assist slave-owners to catch runaway slaves. During the War of 1812-1814 Cochrane promised freedom to to Chesapeake Bay area slaves who crossed over to British lines. He had planned to recruit the newly freed slaves to the army. The Black troops `the Colonial Marines' produced the desired effect on the side of the British. Many of them, 1500-2000 would later come to Nova Scotia. Their first winter was extremely difficult. The land given to them was not rich enough for agriculture but they had no other alternatives. The war economy of Nova Scotia was booming. But after the war was the slowdown. The 1815 smallpox epidemic added to the difficulties. In 1820s ome of the Colonial Marines were sent to Ireland Island in Bermuda and others emigrated to Trinidad. There were a few success stories among the Black community. Mr. Campbell, a successful businessman in the 1830's owned the chief livery stable in Halifax. His farm and stock were comparable to Lieutenant Governor Sir James Kempt. However, most remained as unskilled labourers. Cross-reference to [ Halifax Robert Field]. There is a wonderful story of the role black ministers played re: education and social change as well as an 1850 illustration of Richard Preston. There is also a beautiful story of how he found his mother in Preston. In 1901 there were 5,984 black Nova Scotians (1% of the population). In the same year there were 17,432 black Canadians. In 1873 a Depression hit Canada. Canada continued to experience the financial bust until the Klondike gold strike in the 1890's. The boom in the West did not help the Maritimes in general and was particularly devastating for the already vulnerable black Nova Scotians.Grant concludes by celebrating the lives of seven Black Nova Scotians including champion boxer: George Dixon, Dr. W. H. Golor college president, William Hall, VC (1826-1904) and B.A. Husbands, president of Halifax Coloured Citizens Improvement League.Webliography and Bibliography
Grant, John N. 1980. Black Nova Scotians. Halifax. Nova Scotia Museum.
Manette, J. A. 1990. Revelation, Revolution, or Both: Black Art as Cultural Politics. Toronto.
Brown, Robert Craig, Ed. 1987. The Illustrated History of Canada. Toronto. Lester & Orpen Dennys Limited.
CC Flynn-Burhoe, Maureen and Melanie G. H. 2008. "Popular 19th Century African Canadian-owned Stag Hotel and NS Premier Joseph Howe." >> Google Docs.Uploaded by ocean.flynn on 23 Jan 08, 12.32PM MST.
For Jinny and her PEI students Black History Month 2007
February 17, 2007
Black History Month on Prince Edward Island:
Hi Jinny, Here are some supplemental resources that I have been developing and/or uploading using Web 2.0 technologies since the fall of 2006. I am touched when PEI students are able to use some of my teaching, learning and research resources. I have made my home on other islands and even another continent, but I am deeply grateful that my childhood and youth unfolded in Charlottetown and Rocky Point and my family's story is rooted in Prince Edward Island.
I will use this page to keep track of additions to my Web 2.0 virtual villages on themes of Black History Month, African Canadian History, and the Positive Presence of Absence.
Flynn-Burhoe, Maureen. 2007. A Timeline of Show Boat, Pinky and Other Tales of Miscegenation. Speechless @ worpdress. Uploaded February 17th, 2007.
— . 2007. "Review of the DVD Pinky (1949)." Speechless @ worpdress. Uploaded February 16th, 2007.
— . 2007. "Memory Work, Memory Palace and a Homage to Sarah Harvie." Speechless @ worpdress. Uploaded February 10th, 2007
— . 2007. "John Beverley Robinson and the Abolition of Slavery in Upper Canada. Speechless @ worpdress. Uploaded February 9th, 2007.
— . 2007. "Flicktion in a Flickr of an Eye: 19." ocean.flynn @ Flickr. Uploaded January 10, 2007.
— . "Positive Presence of Absence: A History of the African Canadian Community through Works in the Permanent Collection of the National Gallery of Canada". Papergirls @ worpdress. Uploaded January 2nd, 2007.
— . "Jennifer Hodge da Silva (c.1963-1989) African Canadian filmmaker". Papergirls @ worpdress. Uploaded January 2nd, 2007.
— ."The Gallery as Memory Palace: M. C. Escher, Gainsborough, Tommy Simmons and Ignatius Sancho." ocean.flynn @ Flickr. Uploaded January 1, 2007.
— . 2006. "Atypical colonialist Pierre Savorgnan de Brazza 1852-1905 stoned in RPCongo". Papergirls @ worpdress. Uploaded November 30th, 2006.
— . 2006. "Sinking Neptune: some background reading for memory work praxis". Speechless @ worpdress. Uploaded November 16th, 2006.
— . 2006. "Anna Packwood, Dr. Carrie Best, Tommy Simmons." Speechless @ worpdress. Uploaded November 16th, 2006.
— . 2006. "Chronology of Show Boat: Some Memory Work for Neptune." Speechless @ worpdress. Uploaded November 16th, 2006.
— . 2006. "Neptune Sinks in 17th attitudes: what to do with distorted histories?" Papergirls @ worpdress. Uploaded November 15th, 2006.
— . 2006. "Anna Packwoods100th Birthday guests". ocean.flynn @ Flickr. Uploaded November 15th, 2006.
—. 2006. "Bateke Mask". ocean.flynn @ Flickr. Uploaded November 14th, 2006.
— . 2006. "Black Pupil as Mirror, the Other-Eye." ocean.flynn @ Flickr. Uploaded October 13th, 2006.
©© Flynn-Burhoe, Maureen. 2007. "For Jinny and her PEI students Black History Month 2007." Speechless @ wordpress. Uploaded February 17th, 2007. Creative Commons License 2.5 BY-NC-SA.
A Timeline of Show Boat, Pinky and Other Tales of Miscegenation
February 17, 2007
1812 One of the most powerful earthquakes to hit North American, struck New Madrid, Missouri temporarily reversing the flow of the mighty Mississippi according to a riverlorian.
1831 First show boat William Chapman
1863 President Lincoln, after two years of civil war declared the Emancipation Proclamation freeing American slaves.
1865-77 Reconstruction period: The period after the Civil War and the abolition of slavery.
1870 Fifteenth Amendment gave Black people the right to vote.
1880s and 1890s Fear of Black's political power led to lynchings . . .
1883 Mark Twain, Life on the Mississippi
1889 Chapter One of Ferber's novel Show Boat opens on an April morning in Natchez, Mississippi. Natchez is south of Cairo where Kentucky, Illinois and Missouri come together. It takes place over a 43 year period.
1893 Chicago World's Fair World's Columbian Exposition.
1896 Ziegfeld met actress, Anna Held in London. She encouraged him to develop a show similar to the Paris revue, the Folies-Bergére.
1900 Taylorist political economy
1907 First Ziegfeld revue, the Follies of 1907, opened at the New York Theatre. It was the first of a series of long-running musicals that transformed musical theatre. His musical revues combined beautiful, but scantily clad chorus girls and showgirls with good legs, comedians, innovative and extravagant staging. He spared no expense in hiring the best actors, singers, comedians, composers, lyricists, costumers and set designers.
1909 W.E.B. Du Bois, the first black man to earn a PhD from Harvard University called for the creation of a black encyclopedia.
1912, 1914 and 1919 Ziegfield Follies.
1912 James Weldon Johnson first published The Autobiography of an Ex-Colored Man which described passing.
1918 Blacks who had served in WWI ideas and scholarship challenged theories of racial determinism and supremacy.
1918 Basu (2002) claimed that the political economic systems from Taylorism, through Fordism, post-Fordism, and flexible accumulation (Harvie 1989) spawned various forms of racial prejudice. Fordism combined with Taylorism as form of political economy. Fordism peaked in 1950s. Taylorism-Fordism encouraged the incorporation of ethnic populations into a hierarchical workforce in what Wallerstein described as ethnicization of workforce (Balibar and Wallerstein 1991). The phenomena of passing and had a socio-economic component.
Frederick Winslow Taylor published The Principles of Scientific Management in 1911, but he started and did much of his work in the last two decades of the nineteenth century. About the installation of the assembly line, Henry Ford comments that "the idea came in a general way from the over-head trolley that the Chicago packers use in dressing beef" (81). Ford dissociates himself from Taylor here, but the consistency of the procedures used in a whole new ergonomics legitimates the hyphenated usage of "Taylorism-Fordism" which stretches, then, from the last decades of the nineteenth century well into the twentieth. Taylorism and Fordism constitute a new ergonomics, but more broadly, they contribute significantly to the twentieth-century culture of the United States. In fact, Antonio Gramsci claims that "Americanism and Fordism" represent an effort "unmatched in history" to create "a new type of worker and of man" (302). Whatever we make of Gramsci's reading of Taylorism and Fordism, it Is clear that he recognizes that economies of desire must be synchronized with the political economy, that the "new type of man" "cannot be developed until the sexual instinct has been suitably regulated" (297). (Basu 2002).
1920s Harlem Renaissance: Langston Hughes, Arna Bobtemps, Claude McKay, Countee Cullen, Zora Neale Hurston, Jean Toomer.
1920s Romantic cynicism replaces 19th century idealism?
1922 George Gershwin's wrote Blue Monday an opera about Harlem. Blue Monday was orchestrated by Will Vodery, "a prominent Negro musician of the time who worked as an orchestrator for Ziegfeld's follies and an accomplished conductor." (Crouch, Stanley (1999) "An Inspired Borrower of a Black Tradition" (NYTimes) January 1999.)
1926 Jerome Kern gets stage rights to Edna Ferber's Show Boat. He collaborates with Oscar Hammerstein II to write a musical comedy.
1926 Twenty six lynchings in the south.
1927 James Weldon Johnson book The Autobiography of an Ex-Colored Man was republished during the Harlem Renaissance with a major publisher. According to the Literary Encyclopedia entry, Johnson's book "influenced the form and content of later African American novels by authors ranging from Johnson's contemporaries to mid-century novelists such as James Baldwin and Ralph Ellison."
1927 The original production of Show Boat produced by Ziegfeld opened in December, 1927 at the Ziegfeld Theatre. It was the first great modern musical. It ran for 572 performances. "It was the second longest running musical of the 1920s." The music was written by? Jerome Kern and Oscar Hammerstein II (uncredited?). Tess Gardella plays Queenie.
1928 – 1929 Show Boat opens May 3, 1928 at the Drury Lane Theatre, London, England and plays 572 performances. It was directed by Felix Edwardes. Paul Robeson as Joe becomes the star of the musical.
1929 Stock market crash. The Depression struck.
1929 May 5 Universal Studios film version of Show Boat is released.
1929 Nella Larsen Passing.
1931 The Ziegfeld Girl: Alvina Casucci, danced on Broadway for ten years during the Depression with Ginger Rogers and Milton Birle. She danced nude as a mermaid in the 1931 Ziegfeld Follies. Ziegfeld lost his personal fortune through massive gambling debts and Wall Street losses (Kreuger:99). Ziegfeld's last show had to be financed by mobsters.
1932 The Ziegfeld revival. It was his last production. Show Boat played in New York, 180 performances at the Casino Theatre. Edna Ferber was moved by Paul Robeson, who replaced Jules Bledsoe playing Joe. The original Casino Theatre was built in an exotic Moorish design in 1882. (Kreuger:101)
1936 The Great Ziegfield, a film on the life of Broadway producer, Ziegfeld, produced by Henry Blanke and British director, James Whale, received the best picture award of 1936.
1936 Universal film directed by Englishman James Whale. Musical version of Show Boat with Paul Robeson, Irene Dunne and Hattie McDaniel. The Great Depression continues.
1930s Richard Wright: Black writers.
1940 Edna Ferber writes her biography A Peculiar Treasure.
1945 MGM film production ZIEGFELD FOLLIES (1945) directed by Vincente Minnelli. With a cast of top stars:William Powell, Fred Astaire, Lucille Ball, Judy Garland, Lena Horne, Esther Williams, Red Skelton, Gene Kelly, Fanny Brice, Edward Arnold. It was the first time Fred Astaire and Gene Kelly danced together. It made over $5 million.
1945 End of WWII. Returned Black servicemen demand integration and civil rights. Following World War II, returned Black servicemen demanded integration and civil rights. Basu (2002) claimed that the political economic systems from Taylorism (1900-), through Fordism (1918-), post-Fordism, and flexible accumulation (Harvie 1989) spawned various forms of racial prejudice. Fordism peaked in the 1950s. Taylorism-Fordism encouraged the incorporation of ethnic populations into a hierarchical workforce in what Wallerstein described as ethnicization of workforce (Balibar and Wallerstein 1991). The phenomena of passing and had a socio-economic component.
1946 Cidd Ricketts-Sumner wrote her novel Quality (1946). Ricketts-Sumner was an educated woman with an MA from Columbia University and some medical training. Quality like Show Boat dealt with the theme of miscegenation.
1947 Broadway production of Show Boat. check date 1946?
1948 South African author Alan Paton (1903-1988) wrote Cry, My Beloved Country about race relations in in this novel situated in pre-apartheid South Africa.
1949 Kurt Weill produced a shallow, melodramatic musical Lost in the Stars based loosely on Alan Paton's (1948) Cry, My Beloved Country.
1949 Elia Kazan directed the film Pinky based on Cidd Ricketts-Sumner's novel Quality (1946). Phillip Dunne (1908-1992) and Dudley Nichols (1895-1960), both activists in their own way, did the screen writing.
1949 Cid Ricketts-Sumner published But the Morning Will Come a book about passing.
1951 MGM Film version of Show Boat. Directed by George Sidney. Ava Gardner plays Julie. William Warfield plays Joe. The film grossed over $8 million. Frank Sinatra sang Ol' Man River.?
1951 Zolton Korda directed the film version of Cry, My Beloved Country. Author Alan Paton contributed to the screenplay version.
1951 Till the Clouds Roll By Tony Martin as Ravenal; Julie is Lena Horne.
1954 On April 8 the New York City Opera presented Show Boat at the New York City Centre. The musical was elevated to the role of great art. (Kreuger:198)
1954 Brown vs the Board of Education ended segregation in education in the U.S.A.
1959 Film Version of Show Boat starring Ava Gardner as Julie?
1965 Assassination of Malcolm X.
1966 Stage production at the Lincoln Centre.
1960s Revivals of musicals. The era of nostalgia. (Marks 1999) NYT 99/01/24)
1960s Motown glory years.
1971 Thomas Carey in role of Joe is a sensation in London.
1987 Harold Prince revival of Cabaret.
1988 Show Boat recording with Frederica von Stade and Teresa Stratas.
1989 In The Condition of Postmodernity (1989) human geographer David Harvey described "the shift in the understanding of time and space operative in the postmodern experience, a shift characterized primarily by an intensification of space-time compression. For Harvey, postmodernism is a cultural manifestation of late capitalism and a transformation of time and space that serves to accommodate a shift from a political economy based on Fordism to one based on flexible accumulation."
1989 Livent opens The Phantom of the Opera in December. Receipts for The Phantom of the Opera were $1.5 million. Livent developed their first educational program.
1991 Livent begins to manage the Ford Centre for the Performing Arts for the North York Performing Arts Centre Corporation.
1992 The Stephen Lewis Report (anti-Black racism in Ontario).
1993 World premiere of Livent's $10 million production Show Boat opened in October 17, 1993 at the North York. Livent, Drabinsky's production company uses Show Boat as a teaching tool.
1995-99 Dr. Henry Louis Gates develops the CD-ROM Encarta Africana in Microsoft's Encarta series.
1994 – 1997 The Broadway production of Livent's Show Boat opened October 2, 1994 to 'unanimous critical acclaim' (www.livent.com) played 951 performances over a 27 week period. Its receipts were $100 million. It attracted 1.5 million people. It won five Tony awards including Best Revival of a Musical.
1994 Pinky was released as VHS by Movies Unlimited in 1994 and on DVD 20th Century Fox Home Entertainment in 2006.
1995 Cry, My Beloved Country was produced by Miramax Films.
1998 Livent's Show Boat opens in Australia.
1998 U.S. businessmen Roy Furman and Michael Ovitz take control of Livent. They file for bankruptcy protection in November. Livent Inc. last annual financial balance sheet listed total revenue of $321,092,000; a loss of -44,131,000. It's operations were suspended in November, 1998. (Thomson Canada Ltd.)
1998 Hollywoodism; Jews, Movies and the American Dream ( aka Hollywood: An Empire of Their Own (USA: video title) a documentary was produced by Simcha Jacobovici. He referred to the film Pinky.
1999 Garth Drabinsky and Myron Gottlieb, co-founders of Livent, face criminal charges in the United States. They are accused of fraud.
1999 Broadway Musical Annie Get Your Gun, the 1946 hit musical with music by Irving Berlin, is revived in a "wholesale renovation" (Marks. 1999. "Rewrite a Classic Musical?" NYT).
1999 The Mississippi: River of Song a PBS seven-part radio series on Mississippi River music. (Rogers, J. 1999 www.ottawacitizen/990105/e010521.html)
2000 Livent's Show Boat's (www.livent.com) North American tour supposed to continue into 2000. It was sponsored by Canadian Airlines.
2006 Pinky was released as VHS by Movies Unlimited in 1994 and on DVD 20th Century Fox Home Entertainment in 2006.
©© Flynn-Burhoe, Maureen. 1999-2007. "A Timeline of Show Boat, Pinky and Other Tales of Miscegenation." Creative Commons Copyright License 2.5 BY-NC-SA
Review of DVD Pinky (1949 [1994, 2006] )
February 16, 2007
Black and white films as popular culture provided an nonthreatening space where viewers could experience vicariously the extremes of hatred in the form of injustice, violence, cowardice, and despair, or idyllic romance, heroism, and hope. With the appearance of film classics on VCR in the 1990s — and now on DVD — we can imagine how previous generations spent their leisure hours, and perhaps how popular culture formed and informed their identities and by osmosis some of our own. I watched Pinky, one of the award-winning films1 of 1949 by controversial director Elia Kazan2, and recognized blatant stereotypes that had survived well into the 1950s and 1960s and were in no way limited to the southern states: the rebel girl who refused to conform to suffocating limitations based on gender, geography and race, the deified family doctors, the Black Mammy and preacher who had internalized prejudices and avoided overstepping their assigned status, the grumpy but kind and wealthy spinster, the wise judge, the bigoted but upright citizens of small-town America and white spinsters and matrons with formidable undeserved power to sway public opinion through gossip.
The overt racism of most of the cast of small rural town Alabama in the 1940s cut across lines of colour. The ubiquitous role of a heavy-set, weary but wise black maid was played by Ethel Waters (b. 1900) as Granny Dysey Johnson, who worked for a wealthy widow Miss Em (Ethel Barrymore) in her fine southern mansion. Granny Dysey lived a form of internalized racism which we only began to name in the post-colonial period. Her rejection of her granddaughter's white fiancée was as adamant as Mrs. Woolly insistence that a store clerk interrupt her transaction with the 'colored' Pinky to serve a white customer first. The main character, the granddaughter Patricia 'Pinky' Johnson, played by Jeanne Crain (b. 1925), was ashamed of her black blood and "passed" for white, leaving her home in Alabama for a northern nursing school. While taking care of the ailing Miss Em they developed mutual respect and learned from each other. Gradually Pinky came to accept her black roots while refusing any limitations they placed on her, no easy feat in the 1940s in Alabama.
When Miss Em bequeaths her estate to Pinky the town turns against her. Neither the black nor white population want her to take possession of the mansion. Mrs. Wooly, Miss Em's cousin who feels she was defrauded out of her inheritance challenges the will in a court of law.
Oddly enough Jeanne Crain is very Caucasian, which is quite confusing in scenes such as when Pinky and her grandmother literally walk the gauntlet of angry jurors following the verdict in her favour. Crain earned an Oscar nomination for Best Actress for her role, one of the few serious roles she played. Apparently Lena Horne had wanted this role but was rejected to avoid unsettling contemporary audiences who would have been uncomfortable with the affection between the coloured Pinky and her white Bostonian fiancée.
Following the judge's decision to accept the will as valid, Pinky and her fiancée Dr. Thomas Adam returned to Miss Em's stately mansion. We see them from the second floor looking small and insignificant in the spacious foyer. As they walk from room to room they become more and more distant from one another. Dr. Adam calculates the value of expensive heirlooms and plans on the disposal of Miss Em's valuable belongings. In an off-handed way he informs Pinky of his new position in Denver, which would be their new home. He had to leave his medical practice in Boston since the story of the court case had made the news there too. Once they were married she would no longer be Pinky Johnson. Her new identity would be as Mrs. Thomas Adam. She could leave all of the small-town bigotry, humiliations and injustice behind her. But this announcement had the opposite effect on Pinky who felt that the magnanimous gift from Miss Em had to be met with an equally grand gesture on her part. In the closing shots we see the estate transformed into a bustling clinic and child care facility.
The author of the novel on which this film was based was Cid Ricketts-Sumner, an educated woman with an MA from Columbia University and some medical training. She was one of a small group of people willing to discuss complex racial relations, hybridity4, miscegenation and the phenomena of passing3 in her novels Quality (1946) and But the Morning Will Come (1949).
In 1927 Zeigfeld's Show Boat opened and became the longest running musical of the 1920s. The unlikely themes of this modern musical5 included hybridity, miscegenation and the phenomenon of passing. By the time Ricketts-Sumner published her second book But the Morning Will Come (1949) on the theme of passing, her first was already in film. Renamed Pinky, it was directed by Elia Kazan with script writing by Phillip Dunne (1908-1992) and Dudley Nichols (1895-1960), both activists in their own way. Show Boat was making another comeback with a Broadway version in 1947 and an MGM film version in 1951.
1 Academy Awards, USA: Oscar for Best Actress in a Supporting Role, Best Actress in a Leading Role Jeanne Crain (b. 1925), Best Actress in a Supporting Role Writers Guild of America, USA: WGA Award (Screen) for The Robert Meltzer Award (Screenplay Dealing Most Ably with Problems of the American Scene).
2 Pinky was referenced in Hollywoodism: Jews, Movies and the American Dream (1998).
3Other books about passing include Nella Larsen's Passing (1929) and James Weldon Johnson's (1912 [1927]) The Autobiography of an Ex-Colored Man. Qualls (1949) claimed Sumner lacked writing skills evident in the way in which she inserted profound lectures on race unconvincingly delivered by her female character Bentley Churston, a high school graduate married to a part-Negro husband. James Weldon Johnson 1912 book about passing, The Autobiography of an Ex-Colored Man, was republished with a major publisher in 1927 during the Harlem Renaissance. According to the Literary Encyclopedia entry, Johnson's book "influenced the form and content of later African American novels by authors ranging from Johnson's contemporaries to mid-century novelists such as James Baldwin and Ralph Ellison."
4 Basu interprets literature on similar themes and identifies various forms of prejudice according to contemporary political economies. His references to the work of Deleuze, Guattari, Hardt, Foucault, Balibar, Wallerstein and Nella Larsen drew my attention to the impact of shifts in political economies on the changing face of racism.
In the incorporation of different peoples into a global economy, racism operates through what Wallerstein calls an" 'ethnicization' of the work force," a process which adjusts different "human genetic and social pools" to the "hierarchical needs of the economy" at different times and in different places (Balibar 1991:33-34). Perhaps Deleuze and Guattari come closer to the phenomenon being addressed here in their assertion that racism operates "by the determination of degrees of deviance in relation to the White-Man face" (1987:178); that is, the deviance from the physiognomy of whiteness. Commenting on the above passage from Deleuze and Guattari, Michael Hardt suggests that we speak of racist practice "not in terms of exclusion but as a strategy of differential inclusion" (146) (Basu 2002:1).
5 South African author Alan Paton's (1903-1988) Cry, My Beloved Country (1948) about race relations in this novel situated in pre-apartheid South Africa was turned into a shallow melodramatic musical called Lost in the Stars (1949) by Kurt Weill. In 1951 Zolton Korda directed the film version of Cry, My Beloved Country. Author Alan Paton contributed to the screenplay version.
Selected webliography and bibliography
Abel, Elizabeth, Barbara Christian, and Helene Moglen, eds. , 1999. Female Subjects in Black and White: Race, Psychoanalysis, Feminism. Berkeley: University of California Press.
Balibar, Etienne, and Immanuel Wallerstein. 1991. Race, Nation, Class: Ambiguous Identities. London: Verso.
Basu, Biman. 2002. "Hybrid embodiment and an ethics of masochism: Nella Larsen's Passing and Sherley Anne William's Dessa Rose." African American Review. Fall.
Basu, Biman. The Commerce of Peoples: A Reading of African American Literature.
Butler, Judith. 1999. "Passing, Queering: Nella Larsen's Psychoanalytic Challenge." Abel, Elizabeth, Barbara Christian, and Helene Moglen, Eds. Female Subjects in Black and White: Race, Psychoanalysis, Feminism. Berkeley: University of California Press. 266-84.
Butler, Octavia. 1988. Kindred. Boston: Beacon Press.
Deleuze, Gilles. 1991. "Coldness and Cruelty." Masochism. New York: Zone Books. 9-138.
Deleuze, Gilles, and Felix Guattari. 1987. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press.
Fauset, Jessie. 1926 [1990] Plum Bun. 1926. Boston: Beacon Press.
Flynn-Burhoe, Maureen. 1999-2007. "A Timeline of Show Boat, Pinky and Other Tales of Miscegenation."
Ford, Henry. 1922 [1973]. My Life and Work. New York: Amo.
Foucault, Michel. Essential Works of Foucault, 1954-1984: Ethics, Subjectivity, and Truth. Ed. Paul Rabinow. New York: New P, 1997.
Foucault, Michel. Language, Counter-Memory, Practice: Selected Essays and Interviews. Ithaca: Cornell UP, 1993.
Foucault, Michel. Politics, Philosophy, Culture: Interviews and Other Writings, 1977-1984. Ed. Lawrence Kritzman. New York: Routledge, 1990.
Foucault, Michel. Power/Knowledge: Selected Interviews and Other Writings, 1972-1977. Ed. Colin Gordon. New York: Pantheon, 1980.
Gramsci, Antonio. 1992. Selections from the Prison Notebooks. New York: International.
Hardt, Michael. 1998. "The Global Society of Control." Discourse 20:3: 139-52.
Hardt, Michael, and Antonio Negri. 2000. Empire. Cambridge: Harvard University Press.
Harvey, David. 1989. The Condition of Postmodernity: an Enquiry into the Origins of Cultural Change.
Henderson, Mae. 1999. "The Stories of (O)Dessa: Stories of Complicity and Resistance." Abel, Elizabeth, Barbara Christian, and Helene Moglen, eds. Female Subjects in Black and White: Race, Psychoanalysis, Feminism. Berkeley: University of California Press. 285-304.
Kazan, Elia. 1949 [1994, 2006]. Pinky.
Larsen, Nella. 1928 [1991] Passing. 1928. Salem: Ayer.
McDowell, Deborah. 1986. "Introduction." Quicksand and Passing. New Brunswick: Rutgers UP. ix-xxxv.
Morrison, Toni. 1988. Tar Baby. New York: Knopf.
Naylor, Gloria, and Toni Morrison. 1985. "A Conversation." Southern Review NS 21. July. 567-93.
Parry, Benita. 1988. "Problems in Current Theories of Colonial Discourse." Oxford Literary Review 9: 27-58.
Qualls, Youra. 1949. "World They Never Made: Only the Anatomy of Disaster: Reviews of Alien Land by Willard Savoy and But the Morning Will Come by Cid Ricketts Sumner." Phylon (1940-1956). 10:2:185-187.
Ricketts-Sumner, Cid. 1946. Quality.
Ricketts-Sumner, Cid. Tammy
Ricketts-Sumner, Cid. 1949. But the Morning Will Come. Indianapolis: Bobbs-Merrill. 302 pp.
Sullivan, Neil. 1998. "Nella Larsen's Passing and the Fading Subject." African American Review. Fall.
Williams, Sherley Anne. 1987. Dessa Rose. New York: Berkley.
Williams, Sherley Anne. 1990. "Meditations on History." Black-Eyed Susans/Midnight Birds. Ed. Mary Helen Washington. New York: Anchor. 230-77.
©© Flynn-Burhoe, Maureen. 2007. Review of the DVD Pinky (1949). Copyright Creative Commons License 2.5
Memory Work, Memory Palace and a Homage to Sarah Harvie
February 10, 2007
I situated Janelle walking past one of CBC's heritage moments paintings in the room devoted to members and Presidents of the first Royal Canadian Academy. The water court is visible behind her with Orson Wheeler's bronze larger-than-life, portrait bust of the African Canadian sleeping car porter and community activist, Tommy Simmons, highlighted by natural sunlight beaming through three floors of Moshe Safdie's glass and pink granite open architecture.
Robert Harris, RCA (Wales, 1849 – Quebec, 1919) was part of the first Royal Canadian Academy painters formed in 1880. In this painting entitled The Meeting of the School Trustees (1885) he immortalizing Kate Henderson's1 confrontation with self-righteous Victorian values of rural Prince Edward Island. Kate came to represent progressive thought. One of the "women fighting invisibly at her side" (Williamson 1970) was Sarah Harvie.
In the Bog, on Rochford Street, was an integrated school for the underprivileged. On Prince Edward Island in the 19th century, the gulf between the rich and the lower classes was enormous. Nowhere was this more obvious than in the Bog area of Charlottetown where many Black Islanders lived. For over fifty years in the Bog School (1848 – 1903) Sarah Harvie, trained more than two thousand children. Sarah, who was African Canadian, was highly respected for the positive influence she exerted on the locality (Hornby 1991). One can imagine the 1860 meeting in Charlottetown similar to the one portrayed here. Some protested the fact that children of "respectable parents" were sending their children to Sarah Harvie to benefit from her progressive teaching (Hornby 1991).
On the same street as the Bog School was Robert Harris' family church, St. Peter's. Harris who returned often to his Island home, was very attached to this Church. His brother was the architect of St. Peter's Chapel and Harris contributed numerous paintings to decorate the interior. It is from here that Harris was buried in 1919. In the 1880's Church meetings must have been heated when, against the wishes of more conservative members, St. Peter's Chapel became a Chapel of Ease for the poor people of the Bog2.
The Bog was razed in a redevelopment project shortly after the school's closing in 1903. With the local community scattered many black Islanders became part of an exodus. Within ten years the Island lost most of its African Canadians. The majority went to Boston, joining thousands of African Canadians moving south in search of community and opportunity (Hornby 1991).
In the 1950s when I was growing up in Charlottetown the Bog and its residents were forgotten. The Harris brothers were remembered in architecture, paintings and exhibitions. The fine Victorian mansion called Beaconsfield was the work of Harris the architect. The Harris connection to Charlottetown was revitalized in the Confederation Centre (1967). So it is to them that I link Sarah's story in my memory palace, the National Gallery of Canada.
1. The name of the one-room school teacher is on the book visible in on the scribbler on the desk in the foreground.
2. In the 1870's Harris did sketches of "urchins" from the Bog. In 1904 he sketched Sam Martin's bridge. Martin, a former slave of a Loyalist was the founder of Charlottetown's black in the early 1800's. Harris himself had little sympathy with the impoverished.
Selected Webliography and Bibliography
Harris, Robert, RCA. 1885. A Meeting of the School Trustees 1885 Robert Harris RCA (Wales, 1849 – Quebec, 1919)
Hornby, Jim. 1991. Black Islander: Prince Edward Island's Historical Black Community. Charlottetown, Prince Edward Island. Institute of Island Studies. no.3.
Tuck, R.C. 1988. "St.Peter's Basilica" The Island Magazine. My information was based on a telephone call with Canon Tuck March, 1997.
Williamson, Moncrieff. 1970. Robert Harris (1849 – 1919) An Unconventional Biography. Toronto: McClelland and Stewart Limited.
Flynn-Burhoe, Maureen. 1997. "Memory Work, Memory Palace and a Homage to Sarah Harvie." The Positive Presence of Absence: a History of the African Canadian Community through Works in the Permanent Collection of the National Gallery of Canada. Creative Commons License 2.5
Editors please note. This is authored using Google Docs technologies which allows for editorial collaboration. For questions, comments, corrections and concerns see Speechless.
John Beverley Robinson and the Abolition of Slavery in Upper Canada
February 9, 2007
He died on this day over a century ago and his obituary appeared again in the weekend Globe and Mail in 2007 reminding all Canadians that Attorney General John Beverley Robinson was part of our shared heritage. He was the attorney general of Upper Canada and a staunch defender of the the power elite called the Family Compact (Globe and Mail 2007: S8). But more importantly for me he was the Attorney General of Upper Canada in 1819 who declared that Blacks residing in Canada were free and protected by British law. (See Act Against Slavery) and ("Black History Canada." In the southern United States slavery was not legally abolished until 1865 with the end of the Civil War.
I spent a lot of time walking slowly through the National Gallery of Canada notepad in hand examining details in each painting and its label looking for clues that would unravel parallel histories hidden by our desire to honour our Victorian heritage as Anglo-Canadians. I'm not sure when it was not enough for me. Perhaps it happened before I began to work here in this privileged place, the physical repository of our material culture, a shared communal archives, shared communal memory. It was a slow and difficult shift from thinking from a place of cognitive certitude to one of critical revisiting distorted histories. It wasn't popular with docents or staff. But I had no choice. Perhaps I was already in a process of undermining my own job at the gallery from the moment I began asking inconvenient questions.
It's why I stood for a long time in front of this small, well-crafted painting of John Beverley Robinson1 (1791-1863) in Room 104 of the Canadian collection.
This c. 1846 portrait of Attorney General John Beverley Robinson by George T. Berthon hung in the National Gallery of Canada's Room A104. When I was researching for the Positive Presence of Absence: a History of the African Canadian Community through Works in the Permanent Collection of the National Gallery of Canada, I included this painting. In 1819 Attorney General John Beverley Robinson in Upper Canada declared:
"Since freedom of the person (is) the most important civil right protected by the law of England … the negroes (are) entitled to freedom through residence in (Canada) and any attempt to infringe their right (will) be resisted in the courts."
It loosely covered the early 1800s with paintings by Robert Whale's View of Hamilton and St. Thomas Railway, , the unattributed painting entitled View of Halifax, Paul Peel's oil paintings based on his cross country tour with Governor Simpson and his painting of Amherstberg. There is also the Croscup room, a painting of a ship in a storm, a folk artist's detailed painting of Miq'maq, portraits of Lt. Prevost Wallace, and of course the portrait of Robinson.
I was offered the possibility in 1997 of writing a 1500 word brochure touching on highlights of my research. The project was never realized and in a way I am glad for the power of the research was in its sources and the nonlinearity of its telling. Fifteen hundred words were never enough to make an ocean-liner-institution change its course. Web 2.0 is not limited by time and space.
So when I saw this obituary almost ten years later it reminded me of my memory palace, the NGC and of Black History Month. To be continued . . .
A selected webliography and bibliography
2007. "John Beverley Robinson." Obituaries. Died this day. Globe and Mail. January 31. S8.
Berthon, George T. c.1846. "Sir John Beverley Robinson." Gallery A104. National Gallery of Canada. cybermuse.
Flynn-Burhoe, Maureen. 1995-2007. "Sir John Beverley Robinson." Positive Presence of Absence: a History of the African Canadian Community through Works of the National Gallery of Canada.
Flynn-Burhoe, Maureen. 2007. My personalized cybermuse.
The Ontario Black History Society. 1981. Black History in Early Ontario. The Book Society of Canada. 1981:20.


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White Eagle is a practicing Medicine Man who has been blessed by the Great Spirit Father with both Healing and Vision Medicine. Being part Algonquin and Arapaho, He carries forward a mixture of both traditional and nontraditional Medicine techniques. Ever seeking to serve the will of The Great Spirit, White Eagle endeavors to enable all of the Great Spirit's children to learn of His love and in the many ways in which we may allow His Light and Love to enrichen our well-being and lives. Ever in a constant vigil in seeking ways to serve the Will of the Great Spirit, White Eagle has left the normal order of the societies that we live in to walk totally the path of a Shaman in order to embrace and help in the initiation of the New Order of the Great Spirit's Will and Consciousness in humankind. In the last period of time much information about the coming events as pertaining to the reawakening of Spirituality has been provided to Him by His guides, or Angels so to speak, as well as by The Creator Himself in order to bring forth a new and heightened life in the Spirit of each of His creation. This document is a product of this endeavor as given by the Great Spirit for him to do in answer to his prayer for guidance in his daily meditation. As a Shaman, White Eagle is a Priest, Healer, Teacher, Visionary, Counselor, and Ceremonial Leader but perhaps most important, a Guide in the way of discovering the Truth and Perfect Child within each of us.
In the traditional way a Shaman would give a person a Medicine Name usually around the birth time as a vision would be given them however, several years ago during one of his daily Meditations the Great Spirit said for him to start naming people with a Name that describes His Original thought as He Created each of them. This Name describes the perfect pattern of each self as He created them and describes what they not only have always been but also that which they are and ever will continue to be (or better said What Does not Need Fixing). The Medicine name as described by White Eagle helps us understand why we have certain likes or dislikes and habits that are most normal for us, as well as abilities in which we can easily excel and use in our growth. White Eagle explains the Name as well as its Medicine and tendencies but always reminds us that we are ever in growth as to become greater channels of the Great Spirit's Light and Love and to do this we are ever learning new Medicine to add to that of our beginning so as to please The Creator. This is our true desire of our inner child.
In addition to the naming vision, White Eagle has also been given abilities in vision such as looking inside ones body to detect illness or infirmary, finding objects that are considered lost, going backwards or forwards in time as well as others. White Eagle has also been given the ability to Channel or so as to say, allow another person's guides to speak to them through the body of him as well as to channel his own personal guides in an advisory capacity about all matters current and past that are having an immediate influence on one. White Eagle lives in what might best be described as altered states and does not use or condone the abuse of any drugs nor of anything or of anyone. Another of the abilities that has been given to White Eagle is for him to walk in another's moccasins in a past life review in order to release carryover problems that often occur from past lives. This process takes several days to complete and the product is specific documentation and a channeled review. White Eagle's knowledge of the Spirit world also provides dream state interpretations as well.
As a Healer, White Eagle has many abilities in working with energy, potions, and teas as well as Medicine stones. There have been many instances whereby he has cured someone's headache or hiccups with a single thought. White Eagle will also be the first one to thank another for healing themselves and as he says that he takes no credit but full responsibility in such matters as he only invokes the Will and Love of The Creator. White Eagle guides people in the process of meditation and from time to time holds workshops in learning the Medicine Wheel Way as well as about Plant Spirit, Animal Spirit, and Mineral Spirit Medicines and how we can use them to enrichen our lives.
White Eagle sometimes kids around about being a Native American Ghost Buster, but know well that he takes these matters very seriously. Unlike some others, he uses the unlimited potential of Love to help in problems with discarnates, or entities, and possession as they are very dynamic in the well-being of all involved. White Eagle is not a Witch or Witch Doctor, although he has much knowledge about such things and will refuse any who are not aspiring to the highest ideal which is To Walk in Balance and With Harm to No One, Including Oneself! If possible White Eagle will record personal readings on cassette tape and asks that each provide their own tape for use. He says that one receives what they are willing to invest in any matter. He asks that each desiring a reading, prepare and bring a written list of questions to be answered for their own use, as he does not want to see them. White Eagle also makes many ceremonial items and personal items such as Prayersticks, rattles, shields, earrings, necklaces, as well as paintings.
Often White Eagle will speak of only charging a commitment to change when asked about receiving money for his services. However, as all truly know, one must be willing to give something away to receive more of anything at any point in time. Gifts or donations of money or other things that might support the work will be welcomed by him. As White Eagle recognizes that in a respectful sharing way, those who have resources to share will be the first to benefit in the sharing process. However lack of money or resources are often manifestations of symptoms of other Spiritual dilemmas and he would never deny his services to anyone because of their lack of a comfortable money supply. Each one should feel comfortable with whatever they feel they should provide as it is a contribution not a fixed price. White Eagle sees it only as a contribution to God and the Church.

subset: commoncrawl


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Wells Fargo's (WFC) Financial Network, its independent-advisor unit, has raised its bonus awards for 2012 to encourage its roughly 1,100 advisors to grow their sales at a robust pace, according to FiNet President John Peluso (left). To be eligible for the award, advisors and teams must hit certain targets of net new assets and best-practice results, the executive said in a recent interview with AdvisorOne.
"This is part of our quality hurdles, and there is also a scoring system tied to several best practices," said the FiNet executive. "This includes having written investment plans for clients, using bank solutions, employing written continuity plans and taking other steps to build client loyalty."
Advisors who join FiNet by June 30 are eligible for the Voluntary Growth Opportunity Award program in 2013.
In 2011, the Innovation and Growth Team—consisting of 16 executive-level managers—was introduced to complement such efforts. The team is "focused on looking at ways to ensure business growth by designating a specific leadership team and resources for this goal," Peluso said.
"In general, FiNet's yearly growth target is to help FAs open up between 75 to 100 new practices a year. And we believe this is sustainable," he said. "Including solo practitioners and teams, this entails about 140 to 200 advisors per year joining FiNet."
An important trend, both he and experts say, is that larger teams—with above-average yearly fees and commissions—are exploring and moving to independence. "We should continue to see this trend and strong organic growth, i.e., same-store sales," Peluso said.
"We want mature business owners to join us, and we are best positioned to help them grow the business," said the executive, who joined the industry in 1988 at Wheat First Securities. "We hope to grow in the double digits going forward, in terms of revenue."
The average production of FiNet's rougly 1,100 advisors is about $530,000, or $1.05 million per team. Prospective FiNet reps that Peluso and his colleagues at Wells Fargo are talking to these days are generating even greater production, he says.
"The pipeline is bigger and better in terms of independent reps and teams," said Peluso. "This started in the second half of 2011 and is continuing in the first half of 2012."
Still, going independent is not for everyone, he admits, and that "is a long-term trend." Nonetheless, there are probably three out of every 10 advisors exploring this option today versus about 1 out of 10 in the past five to 10 years, he says.
"Not all advisors are capable and want to run a small business," Peluso said. "FiNet is about making that move as simple as possible. There are myths in the marketplace [about going independent] and through a partnership with us, we demystify this process."
Check out John Peluso's profile as a 2012 IA 25 honoree.
Read the full Peluso interview at the end of May in Research magazine's upcoming June issue.


text: I have a few projects with very bad flutter echoes. I tend to lean to to poly's in large rooms to break up the flutter and I can get some mid to LF absorption out of them as well, which is often needed in the large rooms. They are cost effective and fairly easy for a wood shop to construct . I do not want to reduce the reverb time of these rooms any more then they are now. I have one room that already has too much absorption were hardwood poly's tend to absorb. I'm thinking maybe two layers of skins on the poly's might help, and then would green glue help or make it worse?


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Why Copyright Shouldn't Be Considered Property... And Why A Return To 1790 Copyright May Be Desirable
from the bold-moves deptWe recently mentioned that Jerry Brito of the Mercatus Center at George Mason University was publishing a book about the "free market case for copyright reform," called Copyright Unbalanced: From Incentive to Excess. It's now available at Amazon. They also have a free chapter available on the site. Brito was kind enough to send me an advance copy of the short book, and it's a worthwhile read.
Not surprisingly, it fits in quite well with our ongoing discussion of the recent RSC paper by Derek Khanna, and more specifically our recent discussions on why it makes little sense to assume that copyright is property in economic terms. As we've noted, it has some property-like attributes and many non-property-like attributes. Ignoring the non-property-like attributes, even though they have vast economic implications, is a huge mistake, and basically means ignoring fundamental economics.
Those posts have led to some interesting (and some less interesting) discussions in the comments. And, in a bit of perfect timing, Brito's latest edition of his "Surprisingly Free" podcast is with law professor Tom Bell and makes one of the absolute best arguments I've heard -- from the legal perspective -- for why it's an absolute mistake to claim that copyright is property, contrary to the claim of some of the amateur lawyers in our comments. Seriously, just listen to the podcast, but I'll highlight a few snippets.
Copyright is not quite like other types of property. It has some similarities, to be sure, but at its root it is fundamentally different than tangible property like fields and houses and cars and computers. And that's because it is non-rivalrous in consumption. Copyright is a special kind of economic good and special kinds of rules should therefore apply to it. Among those rules, you should have those that take into account that you can have too much copyright....That, of course, is really no different than what we've said for a while. It has property-like attributes, but many non-property like attributes as well. Brito then makes the argument that copyright is a form of property, and then Bell highlights a few more differences about where copyright originates legally speaking, and also highlights some similarities.
I don't want to get into a semantic discussion, but I am not completely comfortable with calling copyright property. Simply saying property. I don't even like the phrase intellectual property. I prefer intellectual privilege. I think copyright is a privilege, because it's created by statute, it doesn't exist in a state of nature, it's not recognized by common law. It's purely the creature of statute and you can't say that about the sorts of property rights we enjoy in our persons and in our farms and our cars and computers. Those rights, the rights in those forms of tangible property... you can't deny they're protected at the common law. And many people, me among them, would say that they're protected in a state of nature....Brito points out, in response, that there are other "intangible" forms of property, naming taxi medallions and tradeable emissions permits. Bell points out that those often are not considered property.
Important ramifications follow from what you call copyright. Me? I like to say it's a privilege that has certain property-like aspects and indeed the best things about copyright -- and there's a lot to like about copyright -- are those features that most resemble property. It's alienable, you can transfer it to other people, you can go to the copyright office and check to see who owns the copyright. There is something like trespass afforded to people who suffer wrongful use of their property. Wonderful things. That's the best thing about copyright.
I was just talking to someone who works out here in Southern California in the local regional air quality control board, and we got into this conversation, and he said "we don't call them property, we don't even call them privileges, we call them permits" I said "well you can buy and sell permits" and he said "there are some things that are like property, but we don't call them property, because we don't want the state thinking, for example, we can't change the rules without suffering a takings claim." And that's true of copyright as well. Look, if Congress decides tomorrow, that we're going to just stop copyright -- they won't, but they might say, per some of the suggestions, of our reformers in our book -- we're going to tinker around the edges, and maybe, just once, around the edges, trim back the restrictions. If they did that, would they face a takings claim? No, no! It's just not part of common law...This is interesting, because I had actually believed that copyright likely would be covered by a "takings" claim (i.e., a prohibition under the 5th Amendment on "taking" away some property). But as Bell notes, since copyright is not subject to common law, it seems wrong -- and to him, preposterous -- that it would be subject to a takings claim. Of course, just watch: I bet if copyright is trimmed back, the entertainment industry will bring a case under this very theory.
Bell then goes on to point out why, if such a "takings" claim was allowed, there would be a pretty big Constitutional problem very quickly. And it stems from the "limited times" clause under copyright. You'd have a bit of a conflict there, wouldn't you?
Let's recognize, that if you take that approach to copyright, you pretty quickly run into a tough paradox. And it's that the Constitution, says that "only for limited times" shall lawmakers protect these works of authors. So if you're a fan of real property, intangible property, as I am, you don't want to hear about lawmakers saying "we're putting a fuse on your property rights in your house or your car or your computer. We're going to let you have property rights for, oh, maybe 20 years and then 'poof' it's gone, anybody can take it." No, we would take exception if the federal government said that policy with regard to our 401ks or our houses or cars, and for good reason. Yet that's the policy we have copyrights, and it's by design. It's in the Constitution. It's as if the Constitution had a clause that said 'oh also, property rights in your farms and factories and houses -- yeah, we're going to end all those after 34 years.' That's not how they treat tangible property. We're glad of that. And yet that is how we treat copyright and I think we should be glad of that.From there, Bell goes on to talk about the recommendations he makes in the book for how copyright should be reformed -- and he definitely goes pretty far out there with them:
- Reinstate the Founders' Copyright Act,
- Withdraw the U.S. from the Berne Convention,
- Develop misuse doctrine into an escape from copyright,
- Focus copyright policy on consumers' costs, not producers' profits, and
- Reconceive "IP" as "Intellectual Privilege."
There's also the "misuse" doctrine aspect, which is fascinating, in that he thinks it could act as a form of "training wheels" for a world without so much reliance on copyright:
How can misuse doctrine open an escape from copyright? The doctrine bars claims of copyright infringement that arise under conditions of misuse. It does not, however, bar claims premised on violations of common-law rights, such as trade secrets or the contractual terms of a license. In effect, misuse doctrine corrects the overweening power that results from combining copyright privileges with common-law rights, by negating only the former. Suppose for instance that a copyright holder wrongly tried to squelch rights protected by the First Amendment and the fair use doctrine by including in its license a clause forbidding public criticism of the work. A court might remedy that misuse by denying the considerable enforcement powers afforded by the Copyright Act even while leaving the underlying contract in force. In practical terms, the dispute would become a matter of state contract law rather than federal legislation. Repeated applications of the same doctrine in other cases would eventually encourage the development of business models premised solely on contract law, tort law, trade secret law, and other common-law devices. Misuse thus opens an escape from a world where copyright comprehensively regulates access to expressive works to one where only common-law rules applyI'm not sure I fully agree with that -- and I can actually see how contract law could create a worse scenario (in which things like fair use, first sale, etc. would not be allowed). But it is a thought-provoking discussion.
One other point that was quite interesting. Bell argues that when you claim that copyright is "property" you actually harm real property rights, because things like fair use, first sale and other such "exceptions" suggest that it's equally fine to create similar exceptions to real property, and that's a road that we shouldn't want to travel down.
If you'd actually like to see that discussion live and want to see some sparks fly, the Cato Institute is hosting a discussion of the book with Brito and Bell, and moderated by Jim Harper... but also with the RIAA's Mitch Glazier to (I am guessing) argue strongly against all of this. I imagine that ought to be entertaining, and it appears they'll be streaming the whole thing live online, Thursday at noon ET, 9am PT. Should be a fun time.
Filed Under: 1790, copyright, copyright unbalanced, economics, jerry brito, law, policy, property, tom bell


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by Michael Schneider, Pittsburgh Supercomputing Center
With 85 percent of U.S. power consumption coming from fossil-fuel combustion, researchers at the National Energy Technology Laboratory face the challenge of developing technologies for high-efficiency, low-emission combustion. In simulations at the Pittsburgh Supercomputing Center, they're making progress toward this goal.
* * * * On the voyage home to Ithaca, Odysseus and his sailors had to navigate between Scylla and Charybdis — dangerous rocks and a whirlpool. Maneuver to avoid one peril and you risk the other. Researchers at the National Energy Technology Laboratory in Morgantown, West Virginia know the feeling. Their job is to steer the course of environmental stewardship in the face of accelerating demands for electrical power around the globe.
"America is running short of electricity," said a front-page story in the Wall Street Journal last Spring (May 11, 2000). The information age — temperature controlled machine rooms and offices — and surging appliance purchases have juiced power consumption. Summertime U.S. peak demand is now about 700,000 megawatts, up from 525,000 in 1989, a rise that threatens to outstrip capacity, now about 780,000 megawatts. Complicating things is that deregulation of the electric utility industry has spawned uncertainty about the return on investment in new plants.
Adding fuel to the fire, literally, developing countries are a burgeoning market for energy. One recent projection holds that over the next few years 300 megawatts of new electric generating capacity will be installed somewhere in the world each day!
What about acid rain? What about greenhouse gases? These and other environmental imperatives drive research to provide clean-power options for the world's energy. At present, 85 percent of U.S. consumption and 90 percent of the world's comes from fossil fuel, and as the president's commission of science and technology advisors reported last year, the current best opportunity for environmental progress in power generation is high-efficiency, low-emission combustion.
"The challenge is to convert fuel to energy without creating pollutants," says George Richards, who leads NETL's combustion dynamics team. The workhorses of electrical-power generation are the jet-engine-like gas turbines that convert fossil fuel into megawatts of electricity, and the mission of Richards' team is to help develop the engineering knowledge to make 21st century turbines more efficient, cleaner and cheaper to operate. In a recent series of simulations at the Pittsburgh Supercomputing Center, they've made progress toward this goal.
Lean, Pre-Mixed Combustion
The power industry began to shift its new installations toward low-emission technology about 10 years ago, says Richards, and many new power plants employ low-emission turbines. The key to these advanced systems is "lean, pre-mixed combustion" — mixing the fuel, typically natural gas, with a relatively high proportion of air prior to burning. This substantially reduces nitrogen oxide pollutants (known as NOx) while allowing high-efficiency operation. The high efficiency reduces carbon dioxide, a major greenhouse gas, and lowered NOx alleviates smog and decreases other byproducts that affect air quality.
But a nasty problem bedevils these systems. With a lean-fuel mix, the combustor flame burns on the thin edge of not having enough fuel to keep burning, and a phenomenon analogous to a flickering candle sets up pressure oscillations — like a series of very rapid small explosions rather than a steadily burning flame. These oscillations can resonate with the vibration modes of the combustion unit and, literally, shake it to pieces.
"This instability is a major issue that every turbine developer using pre-mix combustion has to face," says Richards. "It comes up in every conceivable stage — in development, during engine commissioning, in engine-fielding applications. It comes up in permitting these engines and in keeping them operating. It's a very tricky problem. I'm happy to say that there's been a lot of progress, and we can now see fielded engines using these incredibly clean combustors. But we also know that avoiding instability places very tight restrictions on how the engine can operate. Adding desirable features, like fuel flexibility, or a wider operating range, can lead to the same old problem."
To zero-in on the problem, NETL researchers conducted extensive experiments with their Dynamic Gas Turbine Combustor. This state-of-the-art test facility makes it possible to adjust parameters involved in turbine-combustor design — such as location of the fuel injector relative to the flame — and to observe and measure what happens.
The experiments revealed an unexpected result. Changing the location of a nozzle component called the "swirl vane" affected the pressure oscillations. The swirl vane — so-called because it swirls the air flow to create aerodynamics that mix the fuel and air — sits upstream of the fuel injector. In experiments comparing two swirl-vane locations, with other parameters unchanged, when the swirl vane was moved two inches farther upstream the pressure oscillations virtually disappeared. Why?
What to Measure?
The objective, stresses Richards, is to understand the physics behind the observed data, so it can be incorporated rationally into turbine design. Moving the swirl vane gave better performance in one set of conditions, but the data was inconclusive when it came to explaining the results. Prior research suggested that the time lag between when fuel is injected and when it burns is a key factor for the oscillations, but presumably, since the fuel-injector didn't move, the swirl-vane would have little or no effect on this.
"You can place the swirl vane either closer to the flame or farther away," says Richards, "and it makes a difference. But we didn't know why. We had some conjectures, and we tested those, but we still couldn't prove what was going on. There's subtle effects, like decay of turbulence and swirling flow, that impact the important time scales — multiple, simultaneous processes, and you can't interpret the experimental data without quantifying the contributions from these simultaneous events."
To sort out the details, Richards and his colleagues turned to simulations on PSC's CRAY T3E. In recent years, the NETL team worked with consultants for FLUENT, commercial fluid-dynamics software, to develop 3D modeling that realistically simulates experiments in the experimental combustor. In summer 1999, with help from PSC scientists, they adapted FLUENT to the CRAY T3E and ran a series of simulations replicating the experiments.
Each computation — one for each experiment — required about a week of computing on 20 T3E processors to simulate 30 milliseconds of combustion. Each produced 20 gigabytes of compressed data, an enormous amount of information, which itself created a huge post-processing task.
When the results were in, they told an interesting story: The aerodynamics in the nozzle are such that moving the swirl vane, with no change to the fuel injector, significantly affects the time lag between injection and burning. In the two cases of interest, moving the swirl vane two inches upstream slows this lag time by a millisecond, and that millisecond makes a big difference in combustion stability.
"We looked at the simulations," says Richards, "and said 'ah-ha.' It was obvious. The change in this time lag from the point of injection is what we need to measure. That's a whole different universe to work in from where we were, a definite conclusion. It helped us set up the next set of experiments in which we've been trying to make a verifiable measurement of those time scales. And we've made some progress on that."
Flame Volume & Reaction Rate
Along with focusing their analysis of the swirl-vane results, the CRAY T3E simulations also provide the NETL team with a way to look deeper yet at the physics of turbine combustion. A key factor in combustor stability is the flame's reaction rate, the speed of burning, which varies with time. The NETL group would like to know what drives this variable. Does the volume of the flame change, such as when a candle-flame flickers, or does the flame volume stay constant as the burning-rate varies?
"We don't know which occurs in practical systems," says Richards. "We want to use these simulations and identify the dominant mechanism. It's probably some of each, but is it 90/10, 50/50 or 20/80? We may find that it's different under different conditions. That's where the simulations really help. If we show that you go from one mechanism to the other in the same combustor, depending on operating conditions, you'd have to do different things to make the system quiet. With simulations, and going back and forth iteratively with the experiments, we're learning a lot about fundamental physics."
More information, including graphics: http://www.psc.edu/science/richards.html


text:
Ron Johnson, the Apple executive that pioneered its Apple retail stores, will now bring that glossy, high-tech spirit to . . . JCPenney?
JCPenney announced that Johnson, Apple's senior vice president of retail, will succeed its chief executive officer Myron Ullman III in November. Johnson joined Apple in 2000 and there have been 300 stores opened under his leadership, according to his Apple bio. He previously worked for Target as vice president of merchandising and has an MBA from Harvard.
News of Johnson's hire sent JCPenney stock prices soaring as its market value rose by $1 billion, according to Reuters. The hire also reportedly cost the 109-year-old company a lot -- it had to lure Johnson to its Plano, Texas, headquarters with $50 million in stock to make up for Johnson's lost $50 million in Apple shares set to mature in 2012. (His JCPenney stock matures in January 2012.)
U.S. & World
News from around the country and around the globe
An Apple spokesman said the company is actively looking for Johnson's replacement.
Many are hailing this as a coup for JCPenney, but the retailer paid a king's ransom to get Johnson, including wooing him for the better part of a year. Johnson's experience at Target also makes sense for the retailer. That he was successful at creating Apple's retail stores is also good, but we don't know how much of that will be able to transfer to a mid-range clothing and housewares retailer. Either way, it will be interesting to see if Johnson can make JCPenney's dull retail experience seem new again.


text:
Heidi Goldfein is WBEZ's Program Director. An acclaimed journalist, Heidi received her masters in journalism from Northwestern University.
She began her career in radio and television as a reporter, host, and producer, working for both commercial news radio and public television, where she was honored with a Chicago Emmy Award. She joined the WBEZ news staff after working abroad as a host for the Voice of Israel.
At WBEZ, Heidi produced several well-known programs, Airplay, One Flight Up, Speaking of Health and Medicine, Mara Tapp, and Artistic License among them. Her WBEZ reporting has been heard coast to coast on NPR and has earned the Illinois Associated Press Award, the Peter Lisagor Award, and a national Public Radio News Director Award. She has one of the most recognizable voices on 91.5 FM.
She has served as Morning Edition Host, Weekend and Midday Anchor, your guide to upcoming programs throughout the day and the voice of special programming and election coverage as well. Heidi oversees WBEZ's programming and directs what you enjoy when you tune in to our station. In addition, she works closely with our colleagues at national producing organizations like NPR, PRI, BBC, CBC, PRX and APM to acquire the finest programs produced elsewhere.


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|Astralis Bionic
|Homegrown Sounds
|Price (MSRP)
No Longer Available
|Type / Tags
|Synth (Analogue / Subtractive)Synth (FM)
|Copy Protection
Like Baby Bion, Astralis Bionic is based around the Bion Oscillator and SoundScaper, but adds an Arpeggiator, Modulation Sequencer and Gate Sequencer (Trance Gate). As a result it is capable of everything Baby Bion does with the addition of complex Tempo synced Rhythms. It uses slightly more CPU than Baby Bion but is still a lightweight Synth considering its features. The uniquely developed Dual Oscillator provides over 3,500 different waveforms which can be mixed in many flexible ways including FM, giving many more possibilities. The Oscillator and Filter code has been highly optimized for excellent performance using SSE instructions where possible.
Main features:
- Dual Oscillator - The Oscillator provides 2 waveforms which can be mixed using on of the many modes which includes A+B, A-B, Various FM Modes, Dual Pitch, Split and Distorted.
- Filter - Cascadable up to 8 times and includes Low Passes, Hi Passes, Band Passes, Comb, Low Shelf, Hi Shelf and Peak.
- 32 Stage Envelopes - Capable of Repeating Sections, One Envelope is for volume and the second is for the Filter and general purpose, assigned via the Modulation Routing.
- Drive - Auto Volume Distortion.
- Arpeggiator - With many modes include classic Arp modes, and additionally a voice muter for skipping selected pulse.
- LFO - Uniquely Developed LFO with standard Shapes, plus custom shapes with Smooth Control.
- Microtuner - Microtuner uses most standard Scala files of any size for custom tunings.
- Modulation Sequencer - Used via the Modulation Routing to effect any destination.
- Gate Sequencer/Trance Gate - Can be used on both Envelopes.
- SoundScaper - Comb / Delay / Reverb Effect for creating interesting soundscapes.
- Flanger/Filter - Switchable between Flanger and Filter effect, LFO has over 300 predefined shapes with smooth control as well as standard shapes.
- Stereo BPM based Delay - Synced delay.
- FX Routing - 3 different Paths available.
- Modulation Routing - Multiple options for assigning Modulators to Destinations.
- Stereo Spread - Allows setting a random value to the Pan of each voice.
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Party Blog
All 1 18 1950's 2 21 3 4 4th 4th of july 5 6 7 8 9 Activities Adult Adults Adventure Age Alien Aloha America American Angry Animal Animal kingdom Animals Anniversary Anytime Astronaut Authentic Baby Baby shower Back to school Bake Baking Ball Balloons Banners Baseball Basketball Batman Bears Beer Beer can Birds Birthday Blindfold Blues Bored Boy Boys Bridal Bridal shower Bride Budget Bug spray Bunnies Bunny Buster Cake Cakeballs Cakes Camp fire Camp out Camping Candy Candy hole Catepillar Celebrate Celebration Celebrity Champagne Cheer Children Chocolate Chocolate shell Christmas Christmas tree Cinco Classic Classic decorations Cocktail Cocktails College Color Colorful Comic Comic book Company Cookie Cookies Costume Craft Crafts Crazy Create Creative Cupcake Cupcakes Custom Customize Decor Decorate Decoration Decorations Dessert Desserts Disney Donkey Drink Eagle Easter Eggs Elderly End of season Engagement Event Events Face paint Face painting Fall Family Faq's Favorite Feast Fiesta Firework Fireworks Flag Flavor Flavor combinations Flip flops Flower Food Football Freedom Friends Fun Future Game Games Garlands Gathering Gender Gender reveal Ghost Girl Girlfriends Girls Golf Goodies Gotham city Graduation Grill Grub Guests Guys Halloween Happiness Happy Happy people Hawaii Hawaiian Heart Heat Help Hero Hole Holiday Holiday party Home run Homebrew Hot Housewife Housewives Hula girl Ice Ice cream Ice cream social Idea Ideas Imagination Independence Information Invitation Invitations Island Jelly beans Jewelry Jolly ranchers Jordan almonds July Jungle Kid Kids Kwanaza Ladies Lady Lady bug Laffy taffy Laws Lei Life savers Lions Lips Logo Love Love bug Lovebug Luau Make room Man Man party Man party idea Mascot Mascots May Mayo Memorial Mermaid Mexican Mexico Moms Monster Monsters Moon Movie Mrs. Mustache Mustaches Mystery Necktie Neighborhood Neighbors Night Nighttime Number Old Outdoor Outer space Palm tree Parties Party Party decortation Party ideas Party pinata Party planning Pattern People Pet Petting zoo Pies Pig Pinata Pinata bat Pinata cakes Pinata garland Pinata questions Pinata. sweet Pinatas Pink Pizza Planning Platonic Play Player Poker night Popular Princess Pro Process Pumpkin Puppy love Question Rabbit Recess Red Retro Reveal Rock candy Rocket Rocket fuel Romantic S'mores Safety School School bus Shark Shell Ship Shower Sleepover Slumber Slumber party Snack Snack time Snacks Snakes Soccer Soiree Solar system Sombrero Space Space station Special Spider Spiderman Sport Sports St. patty's Star Stars Step by step Suckers Summer Summertime Sun Super Super hero Superhero Suprise Surprise Suspense Swap Swap party Sweet Sweet tooth Sweet treats Swing Swinger Team Thanksgiving Theme Tips Toppers Toppings Toys trinkets Traditional Treats Tropical Tuesday Turkey Unique Usa Valentine Valentine's Valentine's day Villain Volleyball Walk the plank Water Watermelon Wedding shower White Young Zoo
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Hightech & High Heels
Sumptuous gowns from the 3D printer, bodysuits that emit lightning-like electrical flashes – the Dutch designer Iris van Herpen translates new technologies into spectacular fashions
Lights out, gown on. At this spring's Met Gala, where the most spectacular evening dresses of the year come together at the Metropolitan Museum of Art in New York, actor Clair Danes was clearly the star, or to be more precise, her dress was – because it shone in the dark like a homage to Cinderella. That textile conjuring trick was made possible by the glass-fiber coating New York designer Zac Posen had applied to the pale-blue organza fabric of the gown. His creation fit the motto of the evening and the name of the fashion show celebrating its opening night to perfection: Manus x Machina: Fashion in the Age of Technology. The show is devoted to the big questions currently occupying the industry: How does progress influence fashion? What is already doable? Dutch designer Iris van Herpen has plenty of answers. The exhibition included a number of her creations, which demonstrate that these days a lot more can be done than a little illumination.
A visit to Amsterdam. Iris van Herpen is just 32 years old. Her rather small studio is right on the harbor front in the west of the city, with a romantic view of an old cargo ship. In the past four years, van Herpen has acquired a reputation for being an expert on the connection between fashion and technology. A slight woman, with long, fair hair and a high forehead, van Herpen regularly does something many industry watchers have long missed: She surprises. In ever-new ways and materials, she combines knowledge from different areas of research. Van Herpen collaborates equally with architects, photographers and dancers, and biologists, physicists and other scientists from elite universities.
The results are clothes hitherto unheard of: robes seemingly made from shimmering soap bubbles; bony, skeletal dresses; bodysuits that emit lightning-like flashes; black cocktail dresses produced entirely on 3D printer.
A graduate of ArtEZ, the Academy of Art and Design in Arnhem, van Herpen uses high-pressure blowers to mold plastic so that one dress ultimately looks as though it was fashioned from squirted, shock-frozen water. For her Magnetic Motion collection in fall 2014, she used a special adhesive to affix metal powder to the surface of shoes and textiles to simulate magnetic effects and volcanic eruptions.
In 2013, in the Embossed Sounds collection, she showed dresses that emitted sounds when touched and could be played like wearable, electronic instruments. Herpen's designs regularly win her major prizes and they are equally often exhibited in museums.
Her designs featured in the Manus x Machina show included her feather-studded, silicone Bird Dress, which has three bird sculptures growing out of it.
My work is not futuristic. I'm showing what is already possible
Creative chaos reigns at her studio in Amsterdam, and in the middle of it all, a new bird dress is now taking shape. A member of van Herpen's team is using a sponge to polish, millimeter by millimeter, the surface of the silicone skin onto which the feathers will later be attached.
"This bird model is for a well-known star," the designer comments briefly, without giving away exactly for whom it is intended. Iris van Herpen is discreet. While others may describe her as the "alien of fashion", or a "high flyer," she herself finds it hard to relate to such epithets. "Many see my work as futuristic. But I am not future-oriented at all. I focus on the here and now. With my fashions, I want to show what's possible."
Van Herpen is associated especially with 3D printing as her special field. Back in 2010, she presented a top that came entirely out of the printer. While that piece was still stiff, rigid, the printed dresses she produces today are eminently wearable. "Sitting down on a chair or running in a dress from the 3D printer is no problem today," she explains, "we print in many different fabrics and qualities, similar to a digital picture – there, too, you have different resolutions." Since van Herpen's ambition is to always keep abreast of the latest technological advancements, she reads trade journals and is constantly researching on the Net. Companies she collaborates with also update her regularly. "I remember my first 3D model very well," she says. "I produced a 2D drawing on paper, which the computer experts then translated millimeter by millimeter into codes. Today, it seems incredible that we had to use a two-dimensional sketch to get there. These days, I work with experts, who translate my ideas straight into files on the computer, and they are then sent to the printer." The file making is still the most complicated part of her job. When she starts on a new collection, she designs the 3D dress first because the coding can take several months, but the actual printing only a few days. None of her printed dresses could have been made by hand in their final form, says the designer. The best example of this is her Cathedral Dress from 2012: a garment that resembles a wood carving with complex interlaying of several of cathedral facades.
"The basis for the 3D-printed dress was a transparent, multilayered polyamide onto which we applied a copper finish," she says, describing the process, "the dress will change color over time, because copper tarnishes – and that produces new effects." These kinds of approaches make the industry gape in wonder, but they are not individual strokes of genius. Anyone in fashion who is working with new technologies is forced to rethink, to open up, to network and compare notes. For an industry increasingly plagued by copyists, collaborative creation is a particular challenge. And although van Herpen's ideas start out in her studio in an old coffee and chocolate warehouse on Amsterdam's waterfront, the final results are an international collaboration. "It takes half a professional life to be really good at file making," she explains, "and if you don't have the time to become an expert yourself, you have to work with other people who are experts." This is evidently new territory. "Fashion shuns such collaborations," says van Herpen, "the industry is very self-protective."
She, however, firmly believes that her strategy will pay off in the long run. "The value of the knowledge I can gain this way is priceless. I don't think anyone in the fashion industry knows as much about new technologies as we do here in my little studio."This could make her the trailblazer for a big movement. The old structures of the fashion business no longer work, as competition from ever-growing and ever-improving clothes chains, such as Zara, Cos and Uniqlo, undermines the old established fashion houses. Designers are having to set themselves even more clearly apart from their competitors by offering something different, something that cannot be had on the mass market – for instance, by availing themselves of technological expertise like that of a van Herpen. For van Herpen, everything is moving forward far too slowly. "In medicine, 3D printing is very much more advanced than it is in fashion," she has observed, "there's simply not enough demand for it in our segment."
Are fashion companies afraid of new technologies? Or are they just not interested in technology? She shakes her head. "The problem lies with the fashion industry's tempo – every six months, there has to be a new collection ready for the market. But you need time if you want to really get into something like 3D printing. And in fashion, time is something no one has." And that goes for her, too, which faces her with a dilemma. She solves the problem by dividing her work into short- and long-term projects. "Some of the new materials we are developing take a year and more to complete. Some are ready at the wrong time, and we only use them three years later. If I only thought in the usual six-month rhythms of the fashion industry, I would never make any headway. My collections are like temporal snapshots of my work."
Right now, no one knows more about new technologies than we do here at my little studio
This concept works for her because Iris van Herpen is a small, privately run company that can work without pressure to show a return. Others don't have this flexibility and so for lack of time, continue to use the techniques they already master.
A glance at the industry reveals that major technical innovations are primarily implemented where the seasonal rhythm plays a minor role. In sport and denim fashions, for example, almost every company is experimenting with new technologies.The use of laser, ozone and infrared techniques is now commonplace at jeans manufacturers, and sports clothing is equipped to deal with perspiration, odors and even bacteria. Sports shoes are knitted from technical superfibers that weigh practically nothing, and the soles have built-in intelligent computer chips to record things like the wearer's running time.In the near future, Adidas, Under Armour and Nike even plan to launch made-to-measure models that can be produced in store for the customer on a 3D printer.
Van Herpen also believes that customized fashion is the future. "Old school," is what she calls today's off-the-peg clothes with their standard sizing. "With 3D printing, made-to-measure clothes are really easy to produce. All you have to do is make minor adjustments to the file and out of the printer comes a dress that suits the customer perfectly." Despite this optimistic view of the future, she still believes that the sewing machine will survive. "Haute couture dresses sewn by hand right down to the last detail will still be around in a hundred years' time. What we are in the process of inventing is not set to replace an old handicraft but to become an additional new option. Instead of three ways to produce a dress, there will be seven, and they will be intermeshed."
The impulses for such extra options don't necessarily have to come from the fashion industry. "Technology companies, like Apple and Google, are very interested in fashion and already investing in this area," says van Herpen, "and they could greatly influence how clothing is made in the future." A first, up-to-the-minute example of such a collaboration between a high-tech company and a design studio was on show at the Met Gala. Working with evening gown specialist Marchesa, the computer manufacturer IBM designed a dress that featured 150 LED lamps that light up in different colors in tune with the mood of the party. But there's still a long way to go yet. As the down-to-earth van Herpen puts it: "Right now, we see an awful lot of gimmicks used when technology is combined with fashion. But over time, we will recognize the benefits of technology and be able to take something really interesting from our experiences."
This story first appeared in Lufthansa Exclusive, the frequent traveller magazine. For more information about Lufthansa Miles & More offers, please click here.


text:
Yoga For Acne!which Ones?how Fast?how Long?!
Entry posted by aanabill ·
1109 views
question for you part 2
hello friends!
holistic living and healthy diet is known to have a positive effect on us,acne sufferers.
so having a balanced diet and having an active life(both physically and mentally) is important.
also eliminating food items that cause u problem is a must.(different people seems to have different intolerance..so don't go by what others are following.check for yourselves what suits you and what doesn't but make it a point to share your unique experiences and ideas/concepts.it'll not only help others in practicing the better routine and gaining inspiration but also give you the due encouragement and thumbs-up.
personally,i feel very relieved and at peace when my fellow bloggers/members here discuss and suggest things or approve of what i'm up to.)
now,here comes a tricky(am not sure if it's a grave issue to discuss) question!
but i'm pretty sure that many of us have the same question in our mind.
we all wanna know how much or how long to carry on to see some positive results.
with food and diet,
1) how long should we eliminate a food item?
2) how long after maintaining a balanced diet do you think body comes back on the right track?
3) does small tricks and home-recipes detox or cleans the system sufficiently?or are drastic measures always needed for one and all?
(things green tea,lemon water,some say oil pulling, fasting or simple/raw food does help they say!)
as for lifestyle,
4)BIG QUESTION EVERYWHERE : how long should regular(or 3-4 times a week in most cases) exercise or yoga(asanas,meditation,pranayama etc) take to show results?
(i'm not talking about losing weight,which people think is so obvious.i understand why! but the overall health benefit like relaxed body and mind,quality sleep,quality skin and overall health)
5) how long does it take to come back on right track of life if all aspects including a good diet,proper sleep,proper lifestyle is maintained?
1 week? 2 weeks?
1 month?
6 months???!
what do you think?
this post is for discussion.
u can add your valuable comment.whatever you feel is right.
with or without any try or evidence.=)
please add your comment.
i'm positively eager to hear from you all.also,add anecdotes if u have any.


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50 Mile Mountain Bike Race: 8-13 hr a week 6.5 month
Drew EdsallAll plans by this Coach
26 Weeks
Plan Specs
cycling mountain biking
Refund Policy
This plan is protected by our Refund Policy and may, with the author's approval, be exchanged for a plan of equal value from the same author.Still have questions about this plan?
Plan Description
This 26 week training plan will incrementally build your fitness so you are at your peak fitness for a 50 Mile Mountain Bike Race at the end of the training plan. This training plan can be used with power and/or heart rate training.
This training plan is 5 days a week with off days on Monday and Friday. Workouts on Tues-Thurs are shorter and can be done indoors or outdoors. Workouts on the weekends are longer and are preferably done outdoors. The workouts during this training plan are 8-13 hours a week.
You will be working on a combination of building your fitness with a variety of types of rides (long, short and intense, mountain bike specific, etc.), and will also work on your pacing and nutrition for a 50 mile race.
This training plan has three phases to it:
Phase 1: Weeks 1-8
Rides during the week are shorter and more intense. You can do these indoors or outdoors. Rides on the weekend are meant to be outdoors and are focused on fun, moderate-hard rides
Phase 2: Weeks 9-16
Rides get longer. During the week they can be done indoors or outdoors, but on the weekend the rides begin to increase rapidly to start prepping you early on with Base miles for the 50 mile race
Phase 3: Weeks 17-Race day
Rides get more and more specific to what you will encounter at a 50 mile race. You will be given race specific long rides every Saturday that work on combination of fitness, pacing, and nutrition strategy for your race day.
The plan focuses on the athlete looking to start training specifically for a 50 mile race. You can add races throughout the plan as needed.
Average Weekly Breakdown
|Weekly Average
|Longest Workout
|10:06 hrs
|5:30 hrs
|Workouts Per Week
|Weekly Average
|Longest Workout
|10:06 hrs
|5:30 hrs
Sample Day 1
Today is an easy ride. Do not over do it! Tomorrow will be tough, and this ride will make sure you are prepared for the hard ride tomorrow. RPE for this ride should be a 3-4 out of 10(see attachment with start up for basics on RPE).
Sample Day 2
BT: Warm up with 20 minutes of easy to moderate spinning. Then ride a 30 minute time trial on flat course. Punch HR monitor 'lap' button 10 minutes into Time Trial. Average heart rate for last 20 minutes predicts Lactate threshold heart rate (LTHR). Follow the instructions in the attachment that came with your program purchase for details on what to do with this number.
Sample Day 3
Ride Zones 1-2 only today. Within the ride include 20 minutes of one legged work, where one leg does 90% of the work while the other leg "loafs". While perfoming this drill, attempt to push your toes to the front of your shoe at the top of the pedal stroke, and scrape dirt off your shoes at the bottom of the pedal stroke. Attempt to eliminate all dead spots and become more efficient!
Sample Day 5
Ride all zones today. Push the climbs, relax and recover on the downhills. Aim to progressively get faster as the ride goes on. Finish off with 10-15 minute cool down easy in Zones 1-2 only.
Sample Day 6
Ride Zones 1-3 off road. During this ride focus on "flowing" through the trails. Look ahead and into the trail, brake before/after and not into the turns, and think/plan ahead.
Sample Day 8
Warm up well with 20-30 minutes of spinning and 3-4 x 60-90 second accelerations to Zones 4-5. Follow this with 2 x 20 minute intervals building up to Zones 3-4. Within each 20 min interval criss cross from Zone 3 to Zone 4 every 2 minutes. Take 15 minute rest between intervals. Finish off with easy spinning in Zone 1 only.
Sample Day 9
Ride Zones 1-2 inlcuding 3-5 x 30 second accelerations to Zones 3-4. Take 2 minutes rest between each effort. These should not be extremely hard. Save your energy for the harde workouts later in the week.