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The course
This joint honours course in Comparative Literature and Culture and Drama allows you to combine the study of a wide spectrum of international literature and culture alongside drama and theatre. Choosing to study these complementary subjects at Royal Holloway means you will develop as a culturally-aware, creative and adaptable thinker, with impressive communication and presentation skills.
Comparative Literature and Culture offers you the opportunity to study a fascinating breadth of material with a focus on contexts – places, periods, and genres – to explore how key cultural shifts transform how we see, represent, and make sense of our changing world.
You can choose from an exceptionally wide range of fascinating options, spanning continents and centuries, from antiquity to the present day, covering novels, poetry, philosophy, cinema and art. You will read, watch, and compare texts from Ancient Greece to contemporary New York, from Cuba to Korea, from epics to crime fiction, and from tragedy to the avant-garde. Comparative Literature and Culture also enables you to study a varety of foreign texts originally written in many languages, all translated into English.
Choosing to study Drama at Royal Holloway will put you at the centre of one of the largest and most influential Drama and Theatre departments in the world. You'll create performances, analyse texts, and bring together a range of critical ideas to bear on both. On this course, the text and the body, thinking and doing, work together. There's no barrier between theory and practice: theory helps you understand and make the most of practice, while practice sheds light on theory. By moving between the two, you'll find your place as an informed theatre-maker, and by studying a variety of practices, by yourself and with others, you'll gain knowledge of the industry as a whole, and identify how your interests could fit into wider picture.
We are top-rated for teaching and research, with a campus community recognised for its creativity (rated 14th in the world, and 6th in the UK, for Performing Arts in the QS World University Rankings by Subject 2016). Our staff cover a huge range of theatre and performance studies, but we're particularly strong in contemporary British theatre, international and intercultural performance, theatre history, dance and physical theatre, and contemporary performance practices.
You will be taught by world-class experts who genuinely want to get to know you. We create a supportive environment, often using group work so you can try out new ideas and participate in lively discussions. Throughout your studies, you will receive personal guidance to ensure your course is aligned to your strengths, interests and career plans. As part of our close-knit international community you will be able to get involved with an array of cultural initiatives that take place on campus, and make the most of being within easy reach of London and its many events and attractions.
Our flexible degree programmes enable you to apply to take a Placement Year, which can be spent studying abroad, working or carrying out voluntary work. You can even do all three if you want to (minimum of three months each)! To recognise the importance of this additional skills development and university experience, your Placement Year will be formally recognised on your degree certificate and will contribute to your overall result. Please note conditions may apply if your degree already includes an integrated year out, please contact the Careers & Employability Service for more information. Find out more
Teaching & assessment
In Comparative Literature and Culture, you'll be taught through a combination of lectures and small seminar groups, where you'll be able to try out new ideas by giving presentations and taking part in lively discussions. You'll have access to online resources and the University's comprehensive e-learning facility, Moodle, for your own study time. You'll be assessed in different ways, from online comprehension tests and individual and group presentations, to coursework and examinations.
Our drama courses are 50% critical work and 50% creative/practical work. For most course units in Drama, you'll be assessed on two pieces of coursework, one of which is usually an academic essay or a research presentation, and the other an assignment like a performance or installation. You'll always hear back from us on how you've done.
- You'll work individually and as part of a team.
- You'll gasin practical skills working on model box set design, lighting design, acting, directing and stage management tasks, physical theatre and movement work, and work with schools and other community groups.
- You'll get more work-related skills in research, thinking and communication (written and verbal).
- In your first year, you'll take a study skills course to equip you with the writing skills you'll need to make your degree count. Though the course doesn't count towards your final degree, you'll need to take it to pass on to your second year. In your final year, you will write a research-led dissertation.
Entry requirements
A Levels: AAB-ABB
Required subjects:
- At least five GCSEs at grade A*-C or 9-4 including English and Mathematics.
Where an applicant is taking the EPQ alongside A - levels, the EPQ will be taken into consideration and result in lower A-level grades being required. Socio - economic factors which may have impacted an applicant's education will be taken into consideration and alternative offers may be made to these applicants.
Other UK and Ireland Qualifications
International & EU requirements
English language requirements
All teaching at Royal Holloway (apart from some language courses) is in English. You will therefore need to have good enough written and spoken English to cope with your studies right from the start.
The scores we require
- IELTS: 6.5 overall. Writing 7.0. No other subscore lower than 5.5.
- Pearson Test of English: 61 overall. Writing 69. No other subscore lower than 51.
- Trinity College London Integrated Skills in English (ISE): ISE III.
- Cambridge English: Advanced (CAE) grade C.
Country-specific requirements
For more information about country-specific entry requirements for your country please visit here.
For international students who do not meet the direct entry requirements, we offer an International Foundation Year, run by Study Group at the Royal Holloway International Study Centre. Upon successful completion, you may progress on to selected undergraduate degree programmes at Royal Holloway, University of London.
Your future career
On completion of your Comparative Literature and Culture and Drama degree at Royal Holloway you will have proven analytical skills and be an adaptable thinker with impressive communication and leadership skills. Having made the most of the performance opportunities, you'll have considerable experience, be confident in performance situations and have technical, intellectual, imaginative, and practical skills. All of these skills and the experience gained will appeal to future employers.
Your degree not only gives you the directly relevant knowledge to enter the creative, media and arts sectors, but also a range of valuable transferable skills, thereby lending itself to roles in a diverse range of careers. You may also choose to continue your studies by means of a postgraduate degree.
We're committed to helping you enhance your employment and prepare for the choices ahead. Opportunities available to you include work placements, specialist training workshops, networking events and our annual festival of culture. Our industry links will help you to pursue work experience with theatres and creative arts agencies.
- Recent Comparative Literature and Culture graduates have launched careers in diverse roles such as content writing, photographic editorial, journalism, sales and marketing, teaching, publishing and retail buying.
- Recent graduates in the Department of Drama, Theatre and Dance have gone into careers in acting, writing, broadcasting (including at the BBC), literary agency, arts management, sound design, marketing/PR, teaching and community theatre work, as well as postgraduate study in a range of fields. Many of our graduates also start their own performing arts companies.
Fees & funding
Home and EU students tuition fee per year*: £9,250
International students tuition fee per year**: £17,300
Other essential costs***: There are no single associated costs greater than £50 per item on this course. Students stuying Drama, Theatre and Dance are required to purchase a pair of safety boots in the first year, for which a range of costs are available. Ticket costs for mandatory theatre trips are capped at £10.
How do I pay for it? Find out more about funding options, including loans, scholarships and bursaries. UK students who have already taken out a tuition fee loan for undergraduate study should check their eligibility for additional funding directly with the relevant awards body.
*The tuition fee for UK undergraduates is controlled by Government regulations. For students starting a degree in the academic year 2020/21, the fee will be £9,250 for that year. The Government has also confirmed that EU nationals starting a degree in 2020/21 will pay the same fee as UK students for the duration of their course.
**Fees for international students may increase year-on-year in line with the rate of inflation. The policy at Royal Holloway is that any increases in fees will not exceed 5% for continuing students. For further information see fees and funding and our terms and conditions.
***These estimated costs relate to studying this particular degree programme at Royal Holloway. Costs, such as accommodation, food, books and other learning materials and printing etc., have not been included.


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Copywriter's 'one buck, one pluck' cancer promise
Going bald for charity is nothing new but senior GPY&R copywriter Alex Wadelton has avoided the easy route, swapping a razor for tweezers and promising a pluck for every buck.
In a bid to raise funds for children's cancer charity Camp Quality the Melbourne creative has promised to pluck a hair from his head for every dollar donated.
With an average of more than 100,000 hairs on a human head there is a lot of fundraising potential sprouting from Wadelton's noggin.
He has created a campaign, 'One Buck, One Pluck', and a website to drive his painful cause explaining: "I would rather I be in pain then the kids be in pain".
His campaign comes as Camp Quality celebrates its 30th year of providing children with cancer the chance to escape their disease with a bit of childish fun.
For every donation received Wadelton will film himself plucking the hairs from his head as proof.
Want to see Wadelton with half-a-head of hair or even a quarter? Donate here at http://onebuckonepluck.com

subset: commoncrawl


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Ultraspan Otago Ltd. designs, manufactures, and constructs commercial steel buildings and sheds of all types throughout Canterbury, Otago, and Southland. We not only take pride in our workmanship and project delivery — we also take great pride in our team and the solid relationships that we build with our clients.
We design and construct all of our structural steel buildings from start to finish. This includes every aspect of the design and construction, including concrete foundations, floor slabs, block work, pre-cast walls, wall cladding, and roofing. We use our own plumbers, electricians, painters, gibstoppers and flooring specialists. We are a single point of contact that will sort every aspect of your project ourselves or subcontract people to do it for us.
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There are a number of reasons to choose an Ultraspan building over the others out there. The strength of our product, our clear span technology, and our experience just to name a few.
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At Ultraspan, we have experts in all aspects of steel building design, engineering, fabrication and construction. For every major project Ultraspan delegates an overall project manager with other designated personnel responsible for each element of the manufacture and construction.
Subcontractors are brought in for specialist trades. This way we are able to provide a complete design, engineering, fabrication and construction service from concept to completion.
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The Ultraspan product has been used in commercial and industrial building construction in the South Island of New Zealand for over 20 years. In April 2013, we took over the New Zealand distributorship for Ultraspan buildings from Mike Hedges Builders Ltd and we incorporated Ultraspan (Otago) Ltd. Previously, Mike Hedges Builders had designed and built literally hundreds of commercial buildings with the Ultraspan product during their tenor.
Ultraspan (Otago) Ltd is family owned and operated. We have a very experienced staff of excellent project managers, qualified builders, designers, tradesman, and administration.
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We offer a wide range of products and designs for any steel building, shed, or garage configuration that you may require. We know that no two projects are the same and most of our clients prefer a custom designed solution. Our past client's projects have covered almost every sort of industrial, commercial, and rural building, shed, barn, hangar, garage, or workshop you can think of.
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Read more about the services that we provide...
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Ultraspan is a member of HazardCo™ and follow their Health and Safety manual, policies and on site procedures. Weekly tool box meetings are held on site and fortnightly site hazard checks are completed. A culture of good safe work practises has been embraced by the Ultraspan workforce and is fully encouraged and supported by our Management.


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Please specify the product's required option(s).
Conquer Front Wheel Riser Block and Skewer for Indoor Bike Trainer
The Conquer riser block is designed to keep your bike stable and level while using on an indoor bike trainer. It has padded feet to protect flooring and prevent slipping.
Out of stock


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Tax Advisory Services – Corporate
We are a leading firm of UK based lawyers and tax advisers who specialise in providing both international and UK corporate tax advice to international and UK domestic clients. We practice across the whole area of both direct and indirect corporate taxes including taxes on corporate profits such as corporation tax and diverted profits tax as well as VAT and stamp taxes.
We have specific and longstanding expertise in acting for clients from many jurisdictions worldwide including most countries in Europe, the United States, countries of Central Asia and the Far East including Singapore and Hong Kong as well as Australia and New Zealand. Since the early 1990's we have advised clients from Russia and other countries of the CIS region including, in particular, Kazakhstan, Kyrgyzstan, Ukraine and Georgia. We are qualified in the practice of both UK and Russian tax law and have extensive knowledge of other tax systems. We work regularly with advisers from other jurisdictions on a regular basis.
We have worked with clients across a wide range of industries sectors. Specifically we have extensive experience of working in oil and gas, mining (especially the gold sector), pharma and food distribution and retail, hotels, real estate and ports, transportation (commercial shipping and aircraft). We have also worked in telecoms (especially the mobile sector), films and media.
Typical examples of the work we do to assist clients include the following:
- Proposing a new structure for an international group in order to maximise the flow of dividends, interest and royalties through the use of double taxation agreements and EU Directives;
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- Advising international groups on various VAT issues arising out of the international supply of goods and services;
- Advising on the implications of the OECD BEPS project for international groups of companies and the growing importance of the question of 'substance';
- Advising on UK stamp duty and stamp duty reserve tax issues arising on the transfer of shares and loan capital;
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- Advising on the scope and wording of tax warranties and indemnities on share and asset sales.
Contact our Corporate Tax team
telephone: 020 7691 4000
or email: firstname.lastname@example.com


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There once was a time–so I'm told–when the only feast at strip clubs was for the eyes. And when food eventually popped up it was in the form of a lunchtime buffet: the greasy fried things, limp hot dogs, and meatballs of questionable provenance sitting for hours in a hot dish left visitors with a flaccid appetite. But that's changing, as strip club owners have realized that all that ogling can build up quite a hunger. And why deprive these "dance aficionados" a good meal.
As a result high-quality, titillating grub has emerged in various strip clubs around the country. Sure, some eaters might have a hard time taking any restaurant seriously when it's served a few feet away from where women named "Roxy" and "Cherry" are gyrating against a chrome pole. But a few strip clubs have added some edibley enhanced menus that could rival restaurants where people (normally) keep their clothes on. So, here, without further ado, is the highly subjective list of the top five strip club restaurants in the United States.
Just to get you in the mood, click here for a striptease soundtrack for your reading enjoyment–if you've never seen someone remove their clothes to this song then you haven't been, uh, eating at enough strip clubs yet.
[Flickr photo by PinkMoose]
•Robert's Restaurant at Scores, New York City
"Where else can you have a hot topless woman literally feed you a great piece of steak?" said Scores manager Edward Norwick when he was explaining why having a great in-house restaurant is an excitable experience in more ways than one. Welcome to Scores, where topless women from three elevated pole-studded posts writhe and chef Will Savarese cooks up hearty man-food for the big-spending clientele at Robert's Restaurant, located inside the club (with views of the rest of all the action). Savarese, who has manned the stove at acclaimed restaurants Le Cirque, Aureole, and Le Cote Basque, is masterful with brick-thick cuts of juicy steak as well as creamy truffle-oil risotto, miso-glazed Chilean bass, and tender Moroccan-spiced lamb chops.
•Alluvia at the Cheetah, Atlanta
Sure, some randy Atlantans are lured to this strip club for reasons other than eating (food), but get a whiff of chef Bill Toro's dishes and another part of your body might soon be rumbling. Think pan-seared duck with caramelized garlic risotto, pastrami-crusted tuna and lobster dumplings doused in a Vietnamese pho broth, and, of course, what's stripclub grub without a juicy 16-ounce filet mignon–all in a white-table-cloth atmosphere. Reserve the chef's table for some special attention and eye-popping sightlines of the main stage.
•Delilah's, Philadelphia
Skip the evening buffet of finger foods and go directly to the restaurant at this Philadelphia riverfront strip club, which takes itself seriously enough to lure the Zagat folks in for a rating (at least we assume they stopped by to dine). Dishes like lobster ravioli sprinkled with a Cognac-cream sauce, steamed little neck clams, and–fittingly enough–a melt-in the-mouth 12-ounce strip steak will dazzle even the most impotent taste buds. And if that doesn't do it, the gooey, decadent warm lava chocolate cake is the happiest of endings.
•Casa Diablo, Portland OR.
It's not as demonic as you might think at this Portland, OR club/restaurant where Girls Gone Wild and PETA have collided to make one of the coolest strip club dining experiences in the country. The club's motto, "The meat's on stage, not on the plate," should be a clue as to what you're getting into here. As the tattoo-clad ladies gyrate in their sexy pleather getups, guests munch on things like veggie burgers, "meatball" sandwiches, and tofu nachos. That's right, no animals were harmed in the making of libido-laden experience. The fare here isn't going to win any Michelin stars (and let's face, it vegan cuisine never will), but Casa Diablo wins points for having the courage to eschew the meat = masculinity formula.
•Sam's Hofbrau, Los Angeles, CA.
As with the case of Casa Diablo, not every restaurant–or, strip club restaurant, for this matter–needs to serve highly stylized, elevated cuisine to get the attention of flesh-loving foodies. Enter Sam's Hofbrau. Located near downtown Los Angeles, Sam's, as the name suggests, serves up a hearty bite of mitteleuropa to go along with the dancing Heidis. But it's not all Teutonic all the time. After all, this is southern California, so guests can indulge in a carne asada burrito or variations on the theme of taco while ogling the dancers. Wash it all down with one (or two) of the 24 beers available, but leave your lederhosen at the door.


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Hanging Trough Systems, commonly used for vine crops facilitate crop work, keep the plants from contact with the floor of the greenhouse and allow the introduction of outside air and CO-2 under the plants.
Growing on heated concrete flood floors is gaining popularity, especially in areas where control of run-off irrigation water from the greenhouse is an issue.
Successful greenhouse vegetable growing is more than a structure; it involves design expertise and proper selection of structure and operating systems that work together to create an optimum growing environment. Our team of growing, design, and engineering specialists will guide you through this process and provide specifications for every critical element of the vegetable growing environment:


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Everyone loves a good road story, which in some sense is what Cory Branan's 2012 album Mutt was. Not so much in the literal sense, mind you, but in the sense of a long and adventure-filled journey and the return trip home. For Branan, it was a question of finding a home first.
Although Branan grew up a restless kid from a family of musicians and played in various punk acts, he didn't write his first song until he was 25, and that was only because the songs of John Prine had rekindled his interest in the country and roots music he'd heard growing up in Southaven, Miss., just south of Memphis. For Branan, true country and old-school punk have something in common: They tell it like it is.
"It's trying to tell a story with the least amount of bullshit," says Branan. "There's a reason why punks like Johnny Cash. There's not much distance between what he was trying to do and what the Clash were trying to do."
His first two albums, 2002's The Hell You Say and 2006's 12 Songs, received plenty of critical praise for their generally stark country/folk ballads. He sprinkled a few up-tempo numbers in there as well, like the Stax-inflected ode "Muhammad Ali" and the spunky, 99-seconds of power pop called "She's My Rock-n-Roll." Aside from a split LP with Jon Snodgrass, Branan didn't release another full-length album for six years, 2012's Mutt. For most of that time, he worked on the songs for Mutt, but he was also burdened by the task of finding a label. That period also corresponded with a nomadic time in Branan's life.
"I left Memphis, and I lived in Los Angeles, Brooklyn, Austin, and Fayetteville, Ark., kind of just trying to find a town that's like Memphis — but not Memphis — and no luck, only to end up in Nashville with my wife," says Branan. Today, the pair are the proud parents of a one-month-old little boy.
During that time, Branan, then in his mid-30s, turned to face his fears and demons and made a break from who he was in favor of who he wanted to be. Mutt's representative of that shift. The LP is aligned around ideas of failure, redemption, and acceptance. On "Bad Man," he confesses, "It's not love that I have for you, but it'll have to do," over a rising anthemic piano part worthy of Springsteen. In the midst of "The Freefall," he cops to spending much of his time with "three-chord girls" who "everyone knows exactly how they go." And Mutt closes with "Lily," in which he addresses the difficulty of rediscovering life's wonders, singing, "The best trick's to see the magic once you've seen the wires."
"It's about what to do with the pieces after you've sort of disappointed yourself and made your peace with the fact your life isn't going to be what you thought it was going to be as a kid," Branan says.
Although Mutt was years in the making, Branan is nearly ready to release his latest as-yet-untitled disc. "This one that I'm working on now — the songs aren't put together in a certain order like Mutt is. They were of a certain mind-set," he says.
Branan laid down all the tracks for the forthcoming album quickly — in just three days last spring. But as a new Music City resident, Branan wasn't prepared for the worst allergies of his life. It shut him down for two months and delayed the new album. But he expects it out this summer and to feature 11 songs, along with some bonus tracks for those who buy the vinyl. Among those are some crowd favorites including "Sour Mash."
"A lot of the songs that people ask for at shows and know the best, they're not even cut," Branan chuckles. "They're songs they've heard at shows, and they know of because once you've played it and someone records it on their shitty iPhone, it's pretty much released.
"[The album's] got some disparate stuff on it," he continues. "It's got a few left-field things on it, but in general there's a lot more country. It's a lot more of a roots record. There's a little bit of rockabilly. Some rock, like the last album. And a little bit of almost '70s Neil Diamond."
Branan, who turns 40 this year, has more of a big-picture perspective these days. He's found a home, a family, and a happiness he hadn't known before. That ain't bad for a guy who readily admits he didn't know what he was doing just a few years ago. These days, he's buoyed by the belief that if he remains true to his muse and writes from the heart, he'll find an audience to sustain his career, eventually.
Branan says, "I'm taking the long road obviously, and I shoot myself in the foot all the time, but I'm making the music that I want to make, and maybe it's a little harder and it takes a little longer, but I sleep OK at night."


text: Cheap Tricks #22: Carry a Water Bottle But... If you are going to be out all day shooting, it's a good idea to carry a water bottle. Dealing with dehydration while carrying a lot of heavy equipment can be dangerous. But when you are carrying a water bottle be sure to keep it on the outside of your bag. If you thought a leaky pen inside your camera bag was bad try a leaky water bottle or how about a soda bottle? Always carry liquids outside your camera bag. Prev Next


text: TV Justin Timberlake and Lady Gaga on SNL: The Best Sketches (VIDEO) 2:20 PM PDT 5/22/2011 by Aaron Couch FACEBOOK TWITTER EMAIL ME Though Timberlake and Gaga more than hold their own, guest appearances from Jimmy Fallon to Bradley Cooper boost SNL's season finale. Saturday Night Live wrapped on Season 36 last night with host Justin Timberlake and musical guest Lady Gaga. As if those two weren't enough star power for the evening, Jimmy Fallon and Bradley Cooper made unexpected appearances as well. Here are four of the best sketches from last night's season finale. 1. 3-Way Digital Short Justin Timberlake and Andy Samberge may have topped their Emmy-winning digital short D--- in a Box last night when the two reprised their roles in a slimey early 90s rap duo. In their new song 3-Way, the pair sings about sharing an illicit act with a woman played by Lady Gaga. The chorus goes like this: "It's not gay when it's a three way. With a honey in the middle there's some leeway." 2. Nicholas Cage on Weekend Update Andy Samberg as Nicolas Cage questions the real Bradley Cooper as to why he was not asked to star in The Hangover Part II. "It's basically a shot for shot recreation of my life," the faux-Cage says. "I am the human hangover." Cooper tries to make peace. "Maybe you were too busy," says Cooper. I mean, you're in every movie."You're like a dangerous Eugene Levy." 3. Jimmy Fallon as Barry Gibbs Jimmy Fallon made a surprise visit to resurrect his impersonation of Bee Gee Barry Gibbs, who in the SNL world is the inexplicable host of a current affairs program. 4. What's That Name? Timberlake and Gaga appeared as themselves on a gameshow where they win money for charity for identifying the names of people. It gets awkward when Timberlake can't name the woman he had a fling with two weeks prior. FACEBOOK TWITTER EMAIL ME Aaron Couch email@example.com AaronCouch


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Lion Light
🦁 Light
The cutest in our line up, the Zoonimal headlights are bright, fun and incredibly easy on and off your bicycle. This adorable Panda makes a great pair to our little tokyobike, but for those young at heart, these will go with any bicycle.
Available in:
- About ZOONIMAL
- Details
ZOONIMAL was established as an accessory manufacturer for bicycles in 2010. Inspired by animals and their unique personalities, ZOONIMAL's first character was a cow shaped bicycle light—Poly, followed by Leon the Panda, Ruru the Pig, and many others. The company gradually evolved into other bicycle accessories and e-books.


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Submerged from Uppercut Games presents a story of sibling responsibility, in a world far removed from our own. The story of Miku, and her quest to save her brother is set against a backdrop of a world destroyed by some long distant catastrophe, which has seen the ruination of the human race and its civilisations.
The game opens with Miku bringing her brother Taku to the remains of a drowned city, attempting to find somewhere safe in order to heal the grievous wound across his abdomen. Once secured, she ventures out into the ancient ruins in order to find supplies of medicine, food and other essential resources in order to treat Taku's trauma.
This once magnificent city of concrete and steel is now overgrown with lush vegetation, and both flaura and fauna is tainted with an otherworldly blue candescence that seems to permeate the very ocean itself. Utilising your small fishing boat and telescope, you must search the skyline for items of interest and the elusive supplies required to treat your brother.
Once you detect the supplies, they are highlighted on your map and as you navigate throughout the fog of war on the map is lifted piece by piece. Sailing to each of the buildings that contain supply drops introduces you to the games main puzzle mechanics. In order to secure the items you require you must scale window sills, drainpipes and floral vegetation to reach the top of each building. With no fail state to speak of this is relatively straight forward trial and error, but many side paths are also built into each of the buildings leading you to elusive collectables.
Once obtained, we are treated to a segment of story from Miku's perspective which gives insight into the cause of your brother's injury and the circumstances that brought you to this devastated city. Sadly, most of the story is inferred from the crude simplistic drawings of these primal people and a very "Simlish" style language to explain the core of the exposition. It is obvious, that the aim is not to tell you the story directly but to infer as much as possible from your interactions and the drawings as possible.
This story also runs parallel to the fable of the city itself, which is also reflected in this same pictorial narrative, as you collect books that are dotted throughout the environment. This story, and the main characters overarching tale are both incredibly dark and brooding, which is counter to the bright and radiant world in which you find yourself.
Although the story presented is enjoyable in its own right, I honestly had to fight to reach the end, not due to difficulty, but mainly due to overcoming the monotony that set in due to a lack of challenge in any of the puzzle platforms ascension sections that are key to the game.
At the end of the day, this is a great idea that just falls slightly short of its aspirations. Although aspersions have been cast at the tired graphics, I personally felt this added to the character of the game, and the only drawback I encountered was the lack of progression or difficulty involved throughout.
If you are tired of action games requiring lots of combat, this is a nice little title to while away a few hours if you can overlook the DIY narrative and straightforward puzzling involved.
Midlife Gamer Rating: 6.5/10 Format: Xbox One/PlayStation 4 Release Date: Out Now
Disclosure: Midlife Gamer were provided a copy of Submerged by the publisher for review purposes. The title was reviewed over the course of five days. For more information on what our scores mean, plus details of our reviews policy, click here.
Tags: drowned city, puzzler, submerged


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Miss Hoo Fatt represents the Chinese Benevolent Association on the JCDC Board of Commissioners and is a member of the CBA Board of Management. She is the Editor of CBA News, the newsletter which serves the Chinese Jamaican community and is a member of the Jamaica China Friendship Association. She is a cum laude graduate of Fordham University, New York and holds the MBA in Financial Services from The University of Wales and Manchester Business School. Her postgraduate career includes an LL.M (Master of Laws) specialising in International Economic Law, read at The University of Warwick, United Kingdom.
Since 2008, Miss Hoo Fatt has written published columns on the World Trade Organisation and on sustainable development in small island developing states.
Her professional accomplishments have included Public Relations and Communications, as well as in financial marketing and business development. Since 2005, Miss Hoo Fatt has volunteered at the Jamaica Society for the Blind, speaks the French language and is learning Mandarin.


text:
Philip Blackburn
innova Director
651.251.2823 | firstname.lastname@example.com
Philip Blackburn was born in Cambridge, England, and studied music there and at the University of Iowa with Kenneth Gaburo. He has worked at the American Composers Forum since 1991 as director of the innova Recordings label and has produced over 650 albums, including the multimedia Urtext series, Enclosures: Harry Partch. He is also a public artist specializing in sound — a composer/environmental sound-artist. Blackburn's works have been heard in ships' harbors, state fairs, forests, a TB sanatorium, and coming out of storm sewers, as well as in galleries, parking lots, and on concert stages. He has incorporated brainwave sensors and dowsing rods in performance as well as balloon flutes, conch shells, car horns, and wind-powered harps. His kinetic sculpture, The Scope at Beacon Bluff, sits on the site of the original 3M plant and he has built an art-house in Belize.
Chris Campbell
Director of Operations-innova recordings
651.251.2820 | email@example.com
Chris Campbell is a composer, producer, and the Director of Operations at innova recordings where he runs the business side of the label. An alum of Sarah Lawrence College, Campbell studied composition with George Tsontakis. From sit-down concerts to all-night festivals, his music has been performed and heard from New Zealand to Montserrat. From the UK to the US. Praised as "heady, possessing elements of post-Minimalism, avant-garde rock, jazz and global fusion styles that mingle and merge with dreamlike mutability"…(The New York Times) and "a surreal (or super-real?) vortex…(Gramophone), Campbell's music is a meditation on sacred space, ritual and sonic texture. In addition to his own music, Campbell has either produced or worked directly on the promotion and distribution of over 300 projects and albums, some of them appearing in publications such as Rolling Stone, Pitchfork, Newsweek, Time Out, Downbeat, and USA Today.
Yan Pang
Program Events Curator
318.889.0513 | firstname.lastname@example.com
Yan Pang is a composer, choreographer, and scholar. She received her Ph.D. in Music with a minor in Theater Arts & Dance at the University of Minnesota. Her work focuses on inter-cultural music composition and performance. As part of this interest, she has been commissioned to compose and invited to perform in music festivals throughout the world. She considers both her music composition and dance choreography as a means to build multicultural understanding and tolerance. A selection of her varied publications includes the album Glory Times (as songwriter and music director) by the China Scientific & Cultural Audio Video Publishing Company, the score "Solis Ortus" (winner of the SunRiver International Composition Competition) by China People's Cultural Publishing Company, the paper "Scene of Sichuan Opera" (co-author with Mingzhu Song), and the books Cool Math for Hot Music, All About Music, and Basic Music Technology (co-authored Guerino Mazzola et. al.) by Springer.
Paul Hanson
VP of Finance and Administration
651.251.2813 | email@example.com
Paul received his bachelor of science in Business Administration from the Carlson School of Management at the University of Minnesota. He immediately started his nonprofit career with a position in the development department at Walker Art Center and then moved over to accounting. Paul was the Project/Grants Accountant at Minnesota Public Radio and Business Manager of MNN Radio Networks before arriving at ACF in spring of 2003.
Tim Igel
innova Publicist
651.251.2825 | email@example.com
Tim Igel is the Publicist for innova Recordings. He is also a composer of acoustic and electro-acoustic music. His music is influenced by American Folk Music, Early Music, and Experimental Music. He has studied with composition with Ronald Foster, Chiayu Hsu, and Libby Larsen as well as at Interlochen Arts Camp. A graduate of University of Wisconsin – Eau Claire with a degree in composition, Tim plays violin, piano, mandolin, and viola da gamba. He has studied violin with Nobuyoshi Yasuda and Timothy Klabunde. His works have been read and performed by the UW- Eau Claire Symphony Orchestra, Blue Streak Ensemble, World Youth Wind Symphony, and by some great friends. A firm believer in and advocate for music's ability to build community, he seeks out projects that do just that. As publicist for innova Recordings, Tim understands and values the time and effort that composers put into recording and releasing their work. He believes that this effort merits equal effort on his part to get a project recognized. He works to ensure that each album gets out to as many ears as possible through digital and physical distribution tools as well as personal communication with radio stations, reviewers, and content creators. Tim feels that the unique voices of innova artists deserve to heard and works to make that a reality.
Kris Kautzman
Manager of Community Partnerships
651.243.0049 | email@example.com
Kris Kautzman has been a vocal and instrumental chamber musician in the Twin Cities since 1994, and never ceases to be amazed by the immense depth and breadth of support for the arts in this community. She joins ACF with experience in community engagement and program development, gained during four years as the Operations Manager for CFA Society Minnesota. Kris also has a background in arts administration, developed while working for organizations including the Guthrie Theater and the Baroque Room, and from her 16 years onstage and behind the scenes with The Rose Ensemble. Recent performing adventures include The New Ruckus Composer Night, First Readings Project, Border CrosSing, Bach Society of Minnesota, a local premiere of the flute sonata by jazz-based composer Joe Makholm, and a memorable opportunity to croon 1920s popular songs (from a swing!) with beloved pianist Butch Thompson. She holds a BA in Musicology from Saint Olaf College.
Laura Krider
Director of Education and Community Partnerships
612.314.9228 | firstname.lastname@example.com
Laura Krider is an arts worker, nonprofit unicorn, and singer living in the Twin Cities. Before joining the American Composers Forum, Laura served as Graduate Student Services Assistant and Public Engagement Coordinator at the University of Minnesota – School of Music. She holds a Bachelor of Music in Vocal Music Education and a Master of Professional Studies degree in Arts and Cultural Leadership, both from the University of Minnesota. Laura has also done consulting/board work the St. Paul Chamber Orchestra, VocalEssence, and the MN State Arts Board. As a freelance singer, Laura is the Singer Representative to the Board and a founding member of The Singers: MN Choral Artists, and has also participated in projects with the Minnesota Beethoven Festival Dale Warland Chorale, Border CrosSing, First Readings Project, The MPR Carolers, and the a cappella group Deviated Septet. In short, she lives for making sound and supporting the people who craft it.
William J. Lackey
VP of Programs
651.317.9441 | firstname.lastname@example.com
Composer William J. Lackey found his love of sound and motion on club dance floors at an early age. His continued exploration of sound and the movement of sound can be heard in the form of concert works, installations, theatrical pieces, and on the dance floor. William serves as Vice President of Programs at the American Composers Forum. He comes to the Forum with an extensive background in arts management, concert/event production, community service, and teaching. William was selected as a McKnight Visiting Fellow in 2011, collaborating with several communities in Hector, Minnesota, to develop a multimedia work that explored the history of farming in that part of the state. His experience in Hector gave him a new perspective on how composers can find interesting ways to engage community.
Bonnie Marshall
VP of Development
651.251.2822 | firstname.lastname@example.com
Bonnie has served as the VP of Development at the American Composers Forum since 2010 and has over 20 years of experience in communications and development in the nonprofit sector. Throughout her career, Bonnie has led varied projects that have secured safe places for troubled youth; advocated for people with disabilities; and raised project funding for programming to support and nurture artists. Most recently, Bonnie served as the Director of Individual Giving at Arc Greater Twin Cities. In that role, she was responsible for leading individual giving efforts, growing the annual campaign, and developing events from a large annual gala to small donor gatherings. Prior to working at Arc, Bonnie served as the Director of Communications & Marketing at Minnesota Project Innovation (MPI), an economic development agency linking investors to entrepreneurs. As a creative writer and music appreciator, Bonnie has a strong interest in the creative process.
Haley Olson
Manager of Membership and Board Liaison
651.251.2810 | email@example.com
Dell Paulsen
Development and Operations Associate
651.251.2810 | email@example.com
President & CEO
651.251.2811 | email@example.com
Vanessa Rose's work in the performing arts has spanned from The Metropolitan Opera to The Knights orchestra, the Lark Play Development Center (for playwrights), and the International Contemporary Ensemble. She has led organizations through significant transitions: establishing new executive positions, building effective governance structures, clarifying mission-driven priorities, and strengthening communication strategies.
As a consultant, Vanessa has helped to expand EarShot, the national orchestra program for emerging composers, through the American Composers Orchestra and partners American Composers Forum, League of American Orchestras, and New Music USA. In addition, she has helped groups such as the Talea Ensemble and Arco Collaborative through organizational transitions. Her participation in grant panels includes The Aaron Copland Fund for Music, Opera America's Female Composer Discovery Grants, and the Brooklyn Arts Council. In 2006, Vanessa Rose completed the League of American Orchestras Orchestra Management Fellowship Program, which included residencies with the Dallas Symphony, Elgin Symphony, Aspen Music Festival and School, and San Francisco Symphony.
A violinist, she attended Indiana University, Eastman School of Music, Mannes College of Music, and the Royal Conservatory in The Hague, The Netherlands.
Dameun Strange
Director of Communications
651.228.2830 | email@example.com
No stranger to ACF, Dameun Strange is a sound artist, multi-instrumentalist, and winner of the 2015 MECA and the 2019 ACF| create. His conceptual chamber works, choral pieces and operas are focused on stories of the African diaspora, often exploring Afro-surrealist and Afrofuturist themes. He now joins the ACF team as Director of Communications.
Aside from his creative pursuits, Dameun has been an arts advocate and a creative consultant to leaders and organizations in the for profit, nonprofit, and public sectors. As a Ron McKinley Philanthropy Fellow, He was a program associate for the Bush Foundation's Community Innovation Team. He has served on the board of the Metropolitan Regional Arts Council, Compas, Headwaters Foundation for Justice, and Zeitgeist.
Dameun lives in Saint Paul, MN with his wife, Corina and son, Ezra. Like any good nerd, he enjoys a good sci-fi story and has a soft spot for anything related to astrophysics.


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Spirit of Mt. Katahdin (Ktaadn) By John R. Salter [Frank Gray]
1968: Left to Right -- John R Salter, Jr [Hunter Gray], John Salter III, John R Salter [Frank Gray]
Dear Hunter, [July 8 2004]
Thanks so very much for sharing the details of your father's adoption that you experienced.
It is a valuable addition to those who are interested in William Mackintire Salter. Oh that we had his voice telling us the story.
I shall be sharing this bit of history with the archivist of the American Ethical Union and a few others that have been interested in you and your ancestors' lives.
Life is busy here and I never get everything I wanted to do done in the day. I'm sure you have the same problem. We are all grateful for your writings.
Most Cordially,
Dorothy Lockhart
Ethical Humanist Society of Chicago
Hunter: The more we learn about you and the remarkable
connection of
various individuals in your family to important circumstances, events,
and movements in this country's history, the more urgent it seems to me
that you assemble it all into an autobiography. In my own case, I
started with my grandparents, but they did not represent the kind of
diversity, in every sense of the word, that yours and their forebears
do. Your book would SELL, and in my view a hell of a lot better than
mine has, among other reasons because you write very well.
William (Bill) Mandel 7/9/2004
Hi to all,
So glad to hear from you, hope all is well with you!!
Love & Prayers
Alta M. Bruce
Indian Health Service
Injury Control Specialist
Belcourt, ND 58316 [8/4/2004]
This is hard to write about. Initially
[7/9/04], I posted this only on
Bear Without Borders. As of the end of this July, however, I
have expanded it somewhat and am sending it out much more widely.
This is not an argument against sensible and committed cross racial
This page, now on our Lair of Hunterbear website at
http://www.hunterbear.org/James%20and%20Salter%20and%20Dad.htm, deals with
my Native father's adoption by a well-known liberal activist family, William
Mackintire Salter and Mary Gibbens Salter. Their brother-in-law, Professor
William James of Harvard, initially opposed the adoption -- not because Dad
was an Indian but because of the limitations of the Salters.
"I can't help from expressing the feelings which have been besetting me
throughout the day, and growing hourly stronger, about the Salters' project
of adopting a child. The plan seems to me fraught with terrible risks for
the remoter future and with a present inconvenience which I should think
would be fairly disastrous. If they were younger, securer in health, and if
they dwelt in the country or in a rural town it would be different. And it
would be different if, being as they are, they were richer. It would be
different also morally if they were now leading merely selfish lives and not
devoting themselves to arduous public ideals." William James, to his
mother-in-law, Eliza Putnam Webb Gibbens, June 20, 1900.
Among his several liberal affiliations, William M Salter was active in the
almost all-white Indian Rights Association -- which, during this era, was
mistakenly pushing the cultural assimilation of Native people. The IRA
was encouraging its members to adopt Indian children.
Dad was essentially a full blood. His mother, Mamie E Gray
[Wabanaki and Mohawk] and his father, Thomas Taylor [a Wabanaki mix -- including Mi'kmaq
and closely related Abnaki tribes], were Northern Maine Indians from the Moosehead Lake and the adjacent Allagash regions.
(A portion of Thomas Taylor's family
was involved with the Penobscots near Old Town, Maine.)
When the adoption did occur, William James and his family got
vigorously behind it. William M Salter, however, soured badly on it
-- although Mary Gibbens Salter remained a kind and loving person.
The shadow of this adoption hung -- and in a very real sense still hangs --
over our family. I -- a consistent supporter of my father always -- have had
a very tough time coming to terms with it. Yet I can see how, in the
strange way in which the cards often fall out, Dad benefited from
the travail.
In 1978, the Indian Child Welfare Act was enacted -- providing considerable
protection for Native children and working actively to keep them within
their extended family, or the tribe itself, or in the Indian community.
Amy Kittelstrom, has been doing a PhD
dissertation on William James [with substantial mention of W. M. Salter and some
mention of Dad]. She interviewed me almost two years ago. Her
work is now finished, will be published as a book, and here are a few very
salient excerpts. Our assumption has always been that Louise
Annance died quite young at Greenville, Me. [She is my great grandmother and
grandmother Mamie's mother.] But, as per these recently opened James letters, she worked for the James family at Cambridge-- as several other Annances did.
The Massachusetts state
agency to which Dad wrote for more of his background details in 1950,
providing bureaucratic confirmation of the essence of which we already
knew, referred to his mother, "Mamie E.
Gray" [born in Maine], and to Mamie's
parents, "Louise A. Gray" and "John E. Gray." John E. Gray is not to be confused with our other direct ancestor, John Gray [Ignace Hatchiorauquasha], Mohawk fur hunter in the Far West.
[John E. Gray was a violent and abusive person. Louise's relationship with him was short lived and centered almost completely in the Moosehead Lake region.]
Like most Natives in the United States at that time, my father's parents were very economically poor people. The Massachusetts agency noted that his mother, Mamie, "left home at ten years of age and had worked for two years in a private family. She came to Boston at age 12 and lived with an aunt; then began working out in private families and in restaurants." My father always remembered Mary Salter telling him several times, in kindly fashion, that he came "from very, very simple people"
His parents gave him a very strong physique and an extremely fine mind.
We don't know when Mamie's mother, Louise, died but it was still very
probably at a relatively young age. Ms. Kittelstrom
found this material on Louise -- a bit of which we have not known before today.
FROM THE DISSERTATION – Democracy Upon Its Trial: Pluralism and Categories of Difference
"Not until the Shaw oration did James use language that advocated mixture.
Until that point he expressed distinct squeamishness about social mixing
across categories of difference. In 1880 he wanted to design his home's hall
to avoid "the disagreeableness of servants going through to the door when
there are guests," thinking aristocratically-for he wrote up his new plan
while in England-of a way to separate the household by "a lower kitchen." In
1881 James was pleased enough that his wife was retaining two Wabanaki
servants, although "with every allowance made for natives on sentimental
grounds, how poor a pick of them there seems to be." Yet he could not see
how his wife could keep Louise Annance, the Wabanaki female, as well as "one
white [female] servant." He seemed to fear the possible dissatisfaction of
his white servant, were her race not in the majority, over the Wabanaki's
desire for employment. . ."
* * *
"When William Salter and his wife, a decade after the death of their only
child from measles, moved to adopt a ward of the state, the two-year-old
grandson of James's Wabanaki servant Louise Annance, the character of the
adoption is unclear. Were they taking the young Frank Gray to be their son,just as though he were flesh of their flesh? The legal formality of the
adoption and the changing of his name to John Randall Salter would seem to
suggest so. So does the fact that he played with William James's kids-the
children of his adoptive mother's sister, and therefore his cousins-on terms
of equality, eventually receiving a wedding present "from your cousin Alice
and me," that is, from William James, Jr., and his wife. But he often did
not live with the Salters in Chicago, mostly staying back east in Chocorua
near where the rest of his extended family ranged. The Salters did not make
sure he attended school every year, extending such little oversight that he
never attended any high school at all. If they viewed him as their own son,
wouldn't they have taken him along when they spent a year in Europe? Instead
they placed him with a family in Evanston, Illinois. But John Dewey and his
wife also left their sons behind when they traveled in Europe, with
heartbreaking consequences: two of their three sons died while the Deweys
were away.
It could be that the Salters wanted John to remain near his extended family
to cultivate his Indian culture. William Salter was apparently open to
talking about John's background, although he made no effort to help him
retain the language or the Catholic religion to which his ancestors had long
since converted. But Salter mostly seemed quite distant from his adopted
son. Acrimony increased between them until 1913, when John was fifteen, and
Salter dragged him to an Army recruiter to try to sign him up and be rid of
him. The recruiter chastised Salter, saying John was "far too young." The
rift, by that point irreparable, led John to escape as a cabin boy on a ship
out of Boston. Salter cut him out of his will. Mary Gibbens Salter set up a
small trust fund for him at the State Street Bank in Boston, and eventually
the James estate paid for John Randall Salter's education at the Art
Institute of Chicago.
Of his years with the Salters, John Randall Salter would remember Mary
Salter's warmth and lovingness, William Salter's emotional reserve, and
sylvan times in Chocorua with the James family. "There was nothing ever even
slightly remote about William James," John would teach his own son. John
remembered sitting by Lake Chocorua with James discussing the possibility of
frogs having souls. He never forgot visiting James's deathbed in Chocorua
with Salter, a day or so before James passed. He also remembered the
contrast between James's children's camaraderie with him and Salter's
brother Sumner's children, who taunted him, calling him "Sitting Bull," and
once accused him of stealing a watch from them. And of John's years with the
Salters, what would William Salter remember? He never wrote of it, left no
record of the meaning of it for him. He would remain a member of the IRA
until 1916, three years after John ran away, by which point he would have
reached the age of majority and Salter could have felt his responsibility
fully absolved."
Mary Gibbens Salter and John Randall Salter (Frank Gray) and William Mackintire Salter at Silver Lake, N.H., in the White Mountains, August 1911. My father was 13 years old.
Note by Hunter Bear:
In early May, 2003, Eldri and I drove to Chicago where I delivered a major Founder's Day talk to the Ethical Humanist Society of Greater Chicago. This had been founded by William M. Salter.
my speech at Chicago -- a packed house with a number of non-Society
members present, I spoke of the enduring influence on our family of my
ggg/grandfather, John Gray [Ignace Hatchiorauquasha], fiery and committed
leader of the Mohawk fur hunters in the Columbia and Snake River country in
their disputes with the Anglo fur bosses. I spoke, too, of a maternal great
grandfather, Michael Senn -- Swiss immigrant to Kansas Territory in the
early 1850s, Abolitionist, Civil War veteran, founder of the Knights of
Labor in Kansas, major leader of the Populist Party and a Populist state
senator, denouncer of atrocities against the Indian people, cousin of Chris
Hoffman ["Millionaire Socialist of Kansas" who died of a heart attack while
addressing an IWW rally at Kansas City.] Michael Senn became a Socialist
But now, for the first time publicly, I also spoke of the very positive
influence of William Mackintire Salter for our family: his great commitment
to the Haymarket victims and their families, his opposition to American
imperialism, his many endeavours on behalf of Indian and Black people, his
staunch support for civil liberties which never wavered in the several
nefarious periods of spontaneous and concocted fear and hysteria through
which he lived and worked. . .
In the end, however oft-turbulent Dad's adoption, he
got the best of both
worlds -- Native and Anglo social activist -- and my parents passed all of
that along to me."
Kass writes:
"hunter, this is painful indeed. i knew there was strain betw your
father and his adoptive father but didn't know that w.s. had broken
with him entirely. do you have a sense of the reason? or should we
conclude the obvious, that racism was eating at him? anyway. you
have come a long way, a long walk. what a miracle you are." k
I very much appreciate your kind words, Kass. This is the first anniversary
of our realization that something was seriously wrong with me, medically.
We had gone to ISU to pick up Josie who had just finished her last exam
prior to graduation. She had no vehicle then but is now a working LSW
Social Worker and she and Cameron [IBEW] have a fine new Jeep Liberty. The
world seems a bit more distant to me each day!
On William M Salter: It was an almost total break all the way around --
though there were occasional points of contact, at least with Mary Salter.
Although Mother met both William and Mary, it was only briefly and they died
not long before I was born. They may have been a little frightened by her:
Western horse ranching and Idaho and Washington state mining engineering
antecedents on one side of her family and rambunctious Populism on the
other. Obviously, the reservations expressed [however delicately] by William
James vis-a-vis the Salters are points very well taken indeed. In addition
to that, Salter's high idealism which had traveled and survived so many
rough trails apparently could not -- in the instance of a lively child --
avoid the rocks and rapids of the River of No Return.
I definitely don't believe he was a racist -- at least not a conscious one.
With his close colleague, Jane Addams and several dozen others, he signed
the Call to Organization of the NAACP in 1909. As I've noted, he was, for
better or worse, involved in the Indian Rights Association. He was
consistently opposed to American imperialism. His courage in defending the
Haymarket victims and their families and his advocacy on their behalf with
Governor Altgeld was tremendous. But Salter was old -- well beyond his years
as it turned out -- and brittle.
He took voluminous notes -- his books are full of them -- and, if no written
record of his feelings on the adoption were found, there is at least the
possibility that he destroyed them. After both William and Mary Salter
died, my parents, visiting their large home [the Hilltop] in the
Chocorua/Silver Lake NH setting, went into their large barn. There,
partially concealed at least, was a box with two dozen photos of Dad at
various points and some adoption documents. We speculate that Mary Salter
put them there to avoid their destruction by William. All of these have
been in my possession for many years.
All best, Kass. Humans were made to survive and, as I was told when I was
near death from Scarlet Fever at the age of five or six, "Only the good die
Indian Scholarship Committee. Seated: Jimmy Kewanwytewa; John Salter, Chairman; Raymond Naiki; George Kirk and Willie Coin. Standing are: M.T. Lewellen; Ellery Gibson; Dr. Garland Downum, Secretary-treasurer; Dr. William Tinsley; Melvin T. Hutchinson, publicity chairman; and Dr. Lewis J. McDonald.
My father, John Salter, and associates. Arizona State College, Flagstaff, (later Northern Arizona University), ca. 1956. This is the precise listing and name spelling of the Indian Scholarship Committee members as given by NAU. However, it is Raymond Nakai -- not Naiki.
Elder Recognition Award of Wordcraft Circle of Native Writers and Storytellers: http://www.hunterbear.org/elder_recognition_award_for_2005.htm
I served a full Active Duty hitch [and then Inactive Reserve stint] in the U.S. Army -- receiving an Honorable Release from Active Duty and, following several years in the Inactive Reserves, an Honorable Discharge. I am a member of veterans' organizations. Note the reference to my father in this document.
John R. Salter, Jr. [Hunter Bear], age seven, painting a war drum. I had just been given -- as an extremely significant gift -- a very powerful Iroquois boy's bow at Onondaga.
My father at 77 years of age:
(Photo by Bob Fronske, Flagstaff, Arizona, August 1975.)
It has been in our family for several generations. It came originally from the Onondaga Nation and thence to Mohawk Nation and then back to Onondaga -- and then to us.
In the Spring of 1941, my father and I [seven years old] made a long auto trip into the far Northeast. He was interviewing for an art professor's position at Bennington College, Vermont. (As it turned out, he didn't get the job.) The interview completed, we then traveled into New Hampshire and then into up-state New York where we visited several Native reservations. In a very interesting context, we were given this Belt at Onondaga -- and I was presented with a sturdy Iroquois boy's bow. The bow was stained with sweet grass and I've always recalled that great aroma from one of the fields on the reservation.
When our family moves to a new home, the first thing we do is to post the Confederacy Belt in such a fashion that it faces the East.
HUNTER GRAY [HUNTER BEAR/JOHN R SALTER, JR] Mi'kmaq /St. Francis Abenaki/St. Regis Mohawk
MY PARENTS -- JOHN R SALTER (FRANK GRAY) AND JOSEPHINE HEATH SALTER, AT SAN MIGUEL DE ALLENDE, GTO, MEXICO, ca. 1974. FOLLOWING HIS RETIREMENT FROM NORTHERN ARIZONA UNIVERSITY, DAD TAUGHT FINE ART FOR A FULL YEAR AT THE UNIVERSITY OF GUANAJUATO.
A very contemporary photo of part of our family. Left to right: Eldri, John, Josie, Hunter, Peter. Maria took the photo. (2010)
Among our many Family Links [with genealogy] are:
Personal Narrative: http://www.hunterbear.org/narrative.htm
Family Stuff: http://www.hunterbear.org/family_stuff.htm
The Gray Family in the Western Fur Trade:
My mother's family -- in the West: http://hunterbear.org/mother.htm
Also see my father's Native art: http://hunterbear.org/my_father_was_micmac_and_st.htm
In little more than a week, the New
York Ethical Culture Society will be
celebrating the 100th anniversary of its home building. Quite some time ago, I
was asked to provide a reflection on my adoptive grandfather, William
Mackintire Salter, who, in the Old Time, with Dr. Felix Adler was a major
leader of the Ethical Movement. That reflection, which will be read at that
celebratory event, is attached. The background and nature of our own family's
relationship with the ghost of William Salter is found via this link:
http://hunterbear.org/James%20and%20Salter%20and%20Dad.htm [H]
[By Hunter Gray, formerly John R. Salter, Jr. July 22, 2010]
For the 100th Anniversary of the dedication of the home building of the New
York Ethical Culture Society. William Mackintire Salter spoke at that event on
October 23, 1910.
I have been asked to provide a short reflection on William Mackintire Salter
[1853 -1931], my adoptive grandfather. I am very pleased to do so. Now in
Idaho, I am a life long activist organizer on behalf of social justice, often
under very challenging circumstances -- and, too, a retired university
professor [sociology, urban and regional planning, Native studies.]
Those acquainted with our family are aware that my father, a full blooded
Native American [Mi'kmaq, St. Francis Abenaki and Mohawk] originally named
Frank Gray, and born in 1898, was adopted as a small child and partially raised
by William Mackintire Salter and Mary Gibbens Salter, prominent New England
liberals. They renamed my father John Randall Salter. [In time, I myself
returned to our "original" family name of Gray.]
William Salter, trained in philosophy [still considered a leading authority on
Nietzsche], was a courageous and dedicated social activist on a number of
critical [and controversial] fronts over many decades. Among other things, he
was a key and enduring activist on behalf of the martyred Haymarket anarchists
and their families, a signer of the Call to Organization of the NAACP in 1909,
was active in the Indian Rights Association and a sparkplug for what became the
American Civil Liberties Union.
He was also, of course, a very key person and enduring stalwart on behalf of
the Ethical Culture movement.
But William Salter, old beyond his years, was not suited for fatherhood. And
Dad's adoption was in some respects an almost train wreck. [Mary Salter was
consistently kind and loving.] A major silver lining in my father's experience
in that setting was the nearby presence of William James -- brother-in-law of
the Salters -- who lived near them at Cambridge, Massachusetts and Chocorua,
New Hampshire. William James and his family provided an enormous amount of
personal support for my father and James encouraged what he accurately
perceived as Dad's self-developed incipient fine art abilities. William James
died in 1910. My father and William Salter had visited him a day before his
passing, About three years later, Salter attempted to sign up Dad, age 15, in
the U.S. Army -- but the recruiter rejected that on the basis of Dad's youth.
Soon after that, my father left the Salters. William Salter cut him out of his
will but Mary Salter provided a small trust fund at the State Street bank in
Boston. Some years later, the estate of William James provided the funds that
enabled Dad to secure his B.A, from the Chicago Art Institute. Later, he
secured two graduate degrees from the University of Iowa. My father always
maintained his American Indian and tribal identities and commitment, and as a
very long time artist and professor at what became Northern Arizona University,
worked for decades on behalf of Native students and tribal nations until his
passing in 1978.
And, a few years after their marriage in 1930, my parents wound up with all of
the written works of William Salter and those of William James, and much of the
Salter furniture.
William Salter died in 1931 and Mary Salter a couple of years thereafter. My
mother, an Anglo, was from an old American frontier family -- mostly Scottish
and Swiss. I was born in 1934 and grew up at and around Flagstaff, Arizona.
And, as I developed, my view of William Salter was, to understate it,
ambivalent. [Our view of William James, of course, was very positive.]
But even as a smaller kid, I'd been interested in James' writings and Salter's
social justice advocacy. When, at the beginning of 1955, and just turning 21,
I got out of the Army after a full hitch, my intellectual horizons were
broadening fast. When home on visits, I spent a good deal of time reading in
the many James and Salter books -- which, as I've indicated, had wound up with
my parents. In time, my father suggested I take them all personally [along
with all of his adoption and related legal papers] and I did so -- and, having
survived many moves, all of those came right here with us to Idaho.
And, in time, though not really crystallizing in full until May 2003 when I
gave the annual Founder's Day address at the Chicago Ethical Humanist [Ethical
Culture] Society -- which had been directly founded by William Salter -- I
myself quietly buried the hatchet and made my peace with the ghost of the man
whose memory had been, for us, mixed -- and sometimes a "burning scar".
As I've written elsewhere:
"For my interracial parents and myself and my two younger brothers, in a
small and isolated town in Northern Arizona, the many Salter books in our
family library -- and those by William James, his father [Henry], and his
brother [Henry] which were initially given to the Salters -- were, I have
come to realize, far far more important and enduring than I had once
grasped. Salter's great courage and commitment played a key role -- along
with our other activist forebears -- in stimulating my parent's social
justice endeavors in Flagstaff [a town with considerable racial segregation
including "No Indians or Dogs Allowed" signs on many restaurant doors]."
The history of Humanity is replete with those who, despite the vicissitudes,
courageously choose to serve their communities rather than to serve themselves.
His limitations as an adoptive parent notwithstanding, I give high marks to
William Mackintire Salter. He did not wall himself into, and remain, in a
cloistered "safe" atmosphere. He went out into the world and challenged it to
become infinitely better. As we all move along as people -- into the perennial
murkiness and dangers of an always uncertain future where the challenges are
now coming faster and faster from the very four directions, William Mackintire
Salter, his thinking and his good works, stand as a fine and inspiring example.
Hunter Gray [formerly John Randall Salter, Jr]
2000 Sandy Lane
Pocatello, Idaho 83204
HUNTER GRAY [HUNTER BEAR/JOHN R SALTER, JR] Mi'kmaq /St. Francis Abenaki/St. Regis Mohawk
precursor of ICWA, which developed a few years earlier, was a compact
between the Wabanaki nations of Maine and the State of Massachusetts which
for decades and decades had been seizing Native kids. This
agreement initiated a number of protective measures for Native children
endangered by state seizure and summary adoption by non-Indians. ICWA, as
Federal law, is much stronger. [H]
Note by Hunter Bear:
Jyri Kokkonen, a Finn of course, has also lived in Australia and visits there on occasion. He knows the general situational setting of which he writes. His good note and comments follow this of mine.
[I say at the outset that this is not an argument against all -- all -- cross-racial and cross-cultural adoptions. Some can work out -- depending on a variety of factors including bona fide situational needs and genuinely positive motivational currents in the basic, primary sense -- heavily mixed with empathetic understanding. Even so, much commitment and work are required.]
The seizure of Aboriginal -- indigenous -- children in Australia by government and their adoption-out to Euro-Australians in an effort to promote assimilation [a goal that invariably failed but produced plenty of serious difficulties for the kids and their natural families] certainly has its parallels in other national situations. In the United States, this was attempted by the almost all-White Indian Rights Association in the latter 19th century and the beginning years of the 20th. The reasons were altruistic but dead wrong nevertheless and, behind all of it, was the hand of the government and the corporate forces that sought to eliminate Native people and secure Indian lands and resources. This was also accompanied by the nefarious Allotment Acts [Dawes 1887 and Curtis 1898], which, with a sheen of ostensible altruism provided by the misguided Indian Rights Association, promoted [and arbitrarily pushed] the breakup of tribal lands into small individual/family portions and the creation of individual Native land ownership, This was a super cunning effort to strike at the embracive and protective Native communalism, break the tribal national structures, and eliminate Indian cultures. Again, the coveted goals were Indian lands and resources via "assimilation"
Although the Indian Rights Association early on reversed its "adoption policy" and ended its support for the allotment process, a great deal of pain and suffering occurred on multi-faceted fronts. The land allotment campaign -- which affected, partially or massively, many tribes [not all, there was much resistance and other inhibiting factors] -- resulted in the loss of two thirds of the then existent Native land base via a myriad of Machiavellian legal devices within a matter of a relatively few years. The allotment process was halted as one of the first steps taken when John Collier was appointed Indian Commissioner by FDR at the very onset of the Roosevelt Administration and designed and implemented the Indian Reorganization Act of 1934. Some of the lost land, not much, was eventually restored.]
In all of this, Native tribes and cultures survived -- and while most Native individuals did also, not all did by any means. In the post WW2 Cold War epoch, attacks were made on the Roosevelt reforms -- and this included initiating new "assimilation" campaigns. Again, whatever the "altruistic" window-dressing, the real goals once again focused on Native lands and resources. The "termination" policies sought essentially to functionally break the protective treaty rights of Indian nations -- and did in some cases. "Urban relocation" forced -- through a carrot-and-stick approach -- many tens of thousands of Native people from reservations into the large cities, deliberately situating them as far from their Native homes as possible. Public Law 280 removed, in a number of reservation instances, Federal coverage and replaced this with the even far more problematic state jurisdiction.
Natives resisted vigorously, with slowly growing success. Termination was ended and, in slow due course, there was -- and it's still continuing at glacial pace -- some substantial redress in the context of "restoration"
All of this also included new efforts to promote the adoption of Indian children by non-Indians. The Bureau of Indian Affairs in these dismal 1950s worked closely with a number of state welfare departments to summarily seize Native children and "place" them in Anglo adoptive and foster home situations. And, as had been the situation a half century and more before, these efforts usually hurt kids and their natural families badly. The National Indian Child Welfare Act [1978], though often under attack right to the present, has pretty successfully implemented its mandate of -- should a transfer from natural parents be genuinely necessary -- placing the child in its extended family as first choice, or in a family setting within its tribe, or at least with another Native family of another tribe.
As a full-time University of Iowa professor [Graduate Program in Urban and Regional Planning] in the early and mid '70s -- and also its designated counselor and advisor for Native students -- I encountered a case [pre Indian Child Welfare Act] where two unrelated Minnesota Chippewa children [both girls] had been adopted and placed in the same white family when extremely small, via the BIA and the Minnesota Department of Public Welfare. The adoptive parents were sensitive and committed. Neither of the girls, as they became young women, felt any particular antipathy toward them -- in fact, their relationship was good. They did want to locate their natural parents and this effort was supported by the adoptive parents. Minnesota refused to provide any background info. The older of the two kids was able, through her own efforts, to make contact with her home reservation and her original family. The other tried but with no success. Minnesota remained recalcitrant.
I came into the situation when the younger of the two became pregnant via a local white boy -- with productive results. He and his parents wanted the baby -- and the still quite young Native woman wanted to keep the infant. In this, she was backed up by her adoptive parents. The young man and his parents went to court, enlisting the backing of the county welfare department. I located a first rate attorney, Patricia Kamath, who, although non-Indian had represented the Meskwaki tribe [of Iowa] quite well. We all wound up in a very long, closed court hearing presided over by a tough-looking, non-smiling older judge, a man. I testified as the designated expert witness for the young woman [and infant] for about two hours, dueling with the country attorney. [He had once been a Catholic seminarian and, for a time, we even argued theological doctrine.]
The tough-looking old judge almost immediately ruled for us and the young woman kept her baby.
A year or so later, the young man and his parents tried again. We went through the whole thing, I testified for an even longer period than before, and the old judge again backed us forthwith.
A corollary victory was our securing the young woman's family background data from Minnesota. I'd picked up suggestive info via Chippewa contacts in Minnesota. The state finally agreed to provide all of it, in full, through me -- with the understanding that I would handle it with "sensitivity.
That was, all things considered, a happy ending. A great many of these situations -- the majority -- certainly have not been happy.
But, again, through Everything -- physical genocide and attempted cultural genocide -- Native tribes, Native cultures, and Native people have fought back and persevered. And the Aborigine brothers and sisters are obviously hanging tough as well.
Always and Forever,
For something of our own family situation with the Indian Rights Association and its adoptive program, see
And from Jyri -- this short note:
You may have heard about the official address of apology by Australian Prime Minister Kevin Rudd (Labor Party) to indigenous people, re. the "lost generation" issue of aboriginal children taken from their families and raised in forced adoption with white families or in children's homes over a long period from the 1910s to the 1970s . I think it's something of a milestone in that country's history. It won't right the wrongs and it won't improve the lot of indigenous people in any direct sense, but it is an important statement nonetheless. I know rhetoric doesn't cost much, but this might point the way to better policies. The former PM of the Liberal Party (i.e. conservative) flatly refused to do so, and ultimately earning a lot of scorn even from his own supporters. He also lost his seat in Parliament in the last election. . .
Best wishes,
Joyce Ladner:
Thanks for sharing this information. I wrote a book
titled Mixed Families: Adopting Across Racial Boundaries back in 1977 but
haven't kept up with what's happening in the field in recent years. A few of
the children in my study were Of Native American parentage.
Norla Antinoro:
Steve Proctor:
Helen Lamb [Lumbee]:
". . .I read all your e-mails , you express yourself so well, let me know how you and your wife are doing." helen
Brian Rice [Mohawk]:
Hi Hunter,
Don't forget the big scoop in Canada. Soon after Residential Boarding
Schools began to close in the 1960's, Canadian Social Services began the
process of removing children from their parents and having them adopted
out to all parts of the world including the U.S. There is a famous case
in your neck of the woods where one of these children was physically and
sexually abused to the point that he killed his adoptive male parent and
still languishes in prison. Spence was his last name. Some of these
children were designated as having mental illness. I believe Buffy Saint
Marie is a case of someone picked up and adopted out during the big
scoop. There is a repatriation organization for these now adults here in
HUNTER GRAY [HUNTER BEAR/JOHN R SALTER JR] Mi'kmaq
/St. Francis
Abenaki/St. Regis Mohawk
Protected by Na´shdo´i´ba´i´
and Ohkwari'
Check out our Hunterbear website Directory
[The site is dedicated to our one-half Bobcat, Cloudy Gray:
See Outlaw Trail: The Native as Organizer:
[Included in Visions & Voices: Native American Activism [2009]
In our Gray Hole, the ghosts often dance in the junipers and sage, on the
game trails, in the tributary canyons with the thick red maples, and on the
high windy ridges -- and they dance from within the very essence of our own
inner being. They do this especially when the bright night moon shines down
on the clean white snow that covers the valley and its surroundings. Then
is as bright as day -- but in an always soft and mysterious and remembering


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With all of the Holiday events coming up in the next couple of months, a curly girl not only has to pick out her outfit but plan her hairstyle too. Whether you're attending a Holiday work party or heading to the in-laws these beautiful curly hairstyles are just what you need to accessorize for the holidays!
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Let us know in the comments below which hairstyle(s) you are going to try this Holiday season!


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Donation #4 – "Broken Tree" by David Jardine
Created by Embrace Design Crew Lead team member and very talented artist, David Jardine, this beautiful piece is acrylic and ink on canvas, 8" x 10".
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IoT brings more power to "mobile" as the center of "everything"!
I've just enjoyed listening to a16z's podcast (episode embedded at the bottom) about how the smartphone is becoming the Sun! or "the center of Tech" as Benedict Evans described it; any device, system or service now has greater chances to grow and spread being part of the mobile ecosystem and supply chain.
Drones, wearables, connected TVs, automated homes and all such products are connected to the internet of things (IoT). Various services as well have gained momentum just because they are part of the mobile and smart device world. Many other industries like automotive (cars), Food & Beverage, fashion, transportation (taxi/uber) and others are learning this trend and finding their way to get into our phones, otherwise, they will get much less attention.
The smart phone is the first universal device humanity has ever produced and it's taking control of the other "things" you own, even your fridge, weighing scale, watch, shoes or treadmill.
I hope startup founders and entrepreneurs out there realize that going mobile is no longer a luxury! I work at startappz and we advise many governments and corporates on their digital strategies and help them execute them. I'm glad to see bold initiatives from our partners who think -and some actually believes in- "mobile-first" and put it always at the center of action.
Whether you are a laundry service provider in Riyadh (like thelaundaryapp.com) or a Police department in Dubai, going mobile inevitable. Don't know how? Ask the experts @ startappz! 😉
Enjoy the podcast!
Image source // wavefront
Originally published at spring2sky.com on August 10, 2015.


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Five days as a stay at home mom
Throwing sand. Fighting over a chair... and this is actually the second generation of fighting over this chair. There is video evidence of my brother and my cousin battling over the 'chair with letters' about 20 years ago. Learning how to play a board game. Cheeks stained with cherry juice. Playing in the water.
We had so much fun at the lake on sunday, we went back today to celebrate Canada Day. Tomorrow it's back to work for Tyler - but I have two days off! I am starting a new job on monday, but for five whole days I get to be a stay-at-home mom. I love it. My alarm is turned off, I've baked muffins for tomorrow's morning snack, and I'm looking forward to doing some deep cleaning during nap time. On Friday, we may make a costco run during the day!! And I'm already much more energized to think about dinner ideas. Making dinner is the absolute worst when we are both working full-time. It's so stressful, I can never think of anything to make, and by the time I get home from work it's pretty much time to eat.
While I am grateful to have had a job these past 7 months, my work-life balance was pretty off. I never quite felt like I had gotten into the swing of things, either at the office or at home. I am hoping this new job allows me a little more flexibility to be home with the kids. My work week is a bit shorter - 35 hours vs. 40, and my commute is only about a ten minute drive.
Anyways, I'm not thinking about work today. Instead, I'm planning to build block towers with Soren, sing Poppy to sleep at nap time, and eat lunches at the park. And I don't have to pack lunches till September!! The kids are 'off' from preschool/daycare, and instead will be spending their days with some wonderful babysitters. I washed out their plastic containers with glee, pushing them to the very back of the cupboard. See ya in september - tupperware!
Labels: summer, work, working mom
2 comments:
I had the same chair growing up. Brings back memories
- 2 July 2015 at 21:52
- Erika said...
That's great! Must have been a special in the late 80's / early 90's:)
- 2 July 2015 at 22:13
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by dindun
by faniez
by iamgang00
by daveyll
by ketutsuparta
Water Castle Taman Sari is a water castle that is located only about 1 kilometer in the west side of the Sultan Palace, Kraton Yogyakarta. It was built in the era of Sultan Hamengku Buwana I that was finally finished by Sultan Hamengku Buwana II. He built this place by creating a new style that was a combination and a mixture of Javanese and Portuguese architecture.
Some people say that Taman Sari has been built after the Treaty of Giyanti (1755). During the time, Sultan Hamengku Buwana has been dealing with battles and conflicts. Therefore, Taman Sari was intended to be a place where Sultans can find a peaceful heart and mind as a refreshing place. It was also created as a fortress to anticipate the emergency situation, as a place for worship that is also equipped with a little mosque at the Sumur Gumuling.
Taman Sari consists of:
1. The Sacred Room
There is the sacred place in the complex showing a separated building, which once functioned as a hermitage place for the Sultan and his family.
2. The Bathing Pool
This part was formerly a pleasure place for the royal family. Consists of two bathing pool that are separated with a 2-storey building. From this building the Sultan watched all the women swimming in the outer pool. Then he might ask some of them to accompany him into the inner pool. The water sprouts from a forming animal statue into the pool. The pool is also adorned with some big flowerpots.
3. Kenanga or Cemeti Island
This part compounds of some buildings such as Kenanga or Cemeti Island (forming Island), Sumur Gemuling and underground tunnels.
Taman Sari was once a beautiful and sophisticated water-park that long time years ago was also called as 'Segaran' which is in the Javanese word means artificial sea.
Long time ago, every time Sultan visited the park, he went there by rowing a private canoe through the suspension bridge called 'Kreteg Gantung' which lay in front of the palace gate, southward or northward Kemandungan. The remainder of the building that was once connected by the suspension bridge can still be seen. Besides water transportation, there was also an underground passage or alley from the Kraton of Yogyakarta leading to one of the park buildings which is called Pasarean Ledok Sari.
Formerly, the water castle was not only a beautiful park but also the means of avoiding danger. Whenever the enemies attacked the palace, Sultan and his family would flee away through the underground passage. When all were in a safe place, the Watergate would be opened and the water would overflow the passages and the enemy would be sunk.
One part of the place was called Pulau Kenanga because in the front of the front yard of the building grew Kenanga trees (Canangium Odoratum). The flowers spread out the sweet fragrance through all parts of the park. The lofty buildings such as the pond were built especially for the Sultan and his family as a bath-place. The underground passage leading to the west area, and the bulwark which encircled the area of the palace, as well as the one which leads south ward to a small village called Krapyak, have been restored.
Source: travelindo.com
photo: mgmpsejarahma.files.wordpress.com
photo: southeastasia.org
by dindun
by faniez
by iamgang00
by daveyll
by ketutsuparta
Last edited by villager; 25-11-2011 at 14:51.


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If you think the hen deserves a weekend of relaxation in the day with some partying on the night then this package could be the right one. You will be staying in a very nice centrally located 4 star hotel and will have use of the leisure facilities so you can all relax and get ready for the night at some of Leeds top party venues. All the bars and clubs will be close to each other so you can easily get to each venue and you will be on the guestlist.
Your weekend will include the following.
Enjoy use of the leisure facilities at your hotel from when you arrive on the Saturday to check out on the Sunday. Relax in the indoor pool and use the other leisure facilities such as sauna/steam room, jacuzzi/spa and gym. Takes place at the health and leisure club of your hotel in Leeds.
No beauty treatment are available with this package.
A Stag and Hen Company nightclub and bar pass will give you VIP admission to several music bars in the city centre, a 70's disco and a large commercial nightclub playing mainstream popular music, 80's, 90's and more up to date tracks - Popular with stag or hen groups.
This package includes 1 night staying in a 4* hotel.
Your hotel will be located in Leeds city centre. The hotel will be a larger hotel, offering superior quality accommodation and services. All rooms will be twin rooms, clean and comfortable, with en-suite facilities and colour TV. The hotel will have spacious public areas and should have a restaurant and bar area.
Breakfast is included.
Full details of your hotel and room allocation will be given upon confirmation of final group size.
Only £75
Per person. Based on a group size of 10+
Important information.
Minimum group size for this package is 10
No fees for paying by Debit card.
An under occupancy/single room supplement may apply if there is an odd number in your group.
All prices are subject to availability and may fluctuate depending on the date of your event. If the price differs from that shown we will contact you before proceeding with your booking.
Please contact one of our advisers to check prices at peak times like public holidays and major events.
Click here for more details about booking this package or to ask a question.