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The 2020 election is threatened by pandemic-related disruptions as well as long-standing weaknesses that could undermine its legitimacy. How will international election monitors judge the process?
The experiences of dozens of countries offer lessons for U.S. officials as they prepare for the presidential election during the coronavirus pandemic.
Heavily armed, right-wing groups are poised to rebel against the election if President Trump loses, an extraordinary danger to U.S. democracy.
North Korea
North Korea has embarked on an accelerated buildup of weapons of mass destruction and the modernization of its already large conventional force.
This workshop, held with generous support from the Sejong Institute, brings together prominent U.S. and South Korean specialists to discuss what can be done to break the diplomatic stalemate with North Korea.
Recent killings by U.S. officers have sparked widespread calls for police reform and an end to systemic racism. Here's how U.S. policing compares with other countries' approaches.
Geopolitics of Energy
Daniel Yergin, a leading authority on energy, international politics, and economics, sits down with James M. Lindsay to discuss the changing face of global power dynamics. Yergin's most recent book, The New Map: Energy, Climate, and the Clash of Nations, recently hit bookstore shelves.
Amy Jaffe discusses energy innovation and U.S.-China relations, including an assessment of the energy strategies of the two countries, how these strategies influence the bilateral relationship, and their impact on foreign policy, climate change, and economic rivalry.
A discussion of the foreign policy challenges awaiting the winner of the 2020 election and the critical issues for Americans to consider as they cast their vote.
Steven A. Cook discusses Turkish politics. How did Turkey go from promising EU candidate to a model of authoritarian populism? What is next as Turks look forward to general elections in 2023? The CFR Master Class Series is a biweekly 45-minute session in which a CFR fellow will take a step back from the news and discuss the fundamentals essential to understanding a given country, region of the world, or issue pertaining to U.S. foreign policy or international relations.
Panelists discuss how cyber became the weapon of choice for nonstate actors and states alike. Directed by John Maggio and based on the book of the same name by David Sanger, The Perfect Weapon explores the rise of cyber conflict as a primary way in which nations now compete with and sabotage one another.
The World Economic Update highlights the quarter's most important and emerging trends. Discussions cover changes in the global marketplace with special emphasis on current economic events and their implications for U.S. policy. This series is presented by the Maurice R. Greenberg Center for Geoeconomic Studies and is dedicated to the life and work of the distinguished economist Martin Feldstein.
Expert Spotlight
Jamille Bigio
Senior Fellow for Women and Foreign Policy
Paul B. Stares
General John W. Vessey Senior Fellow for Conflict Prevention and Director of the Center for Preventive Action
John Campbell
Ralph Bunche Senior Fellow for Africa Policy Studies
Featured Publications
CFR Senior Fellow Yanzhong Huang discusses how China's environmental crisis is undermining public health and becoming an Achilles heel in its reemergence as a global power.
The definitive account of how regime change in the Middle East has proven so tempting to American policymakers for decades—and why it always seems to go wrong.
Charles A. Kupchan mines the nation's past to uncover the ideological and political roots of ongoing changes in U.S. foreign policy, including the sources of Donald J. Trump's "America First" doctrine.


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Gift Card
Contact the store to ensure this item is available.
Only stores with available stock will display.
Item Details
- Gift Cards can only be redeemed in Zimmermann boutiques and the Zimmermann online store
- If the Gift Card is not redeemed in full, the balance is valid for 3 years from the date of issue
- If the entire value of the Gift Card is not redeemed within 3 years the balance will be forfeited
- Gift Cards are not returnable, redeemable for cash or transferable between currencies
- The Gift Card will be posted to the recipient with to/from details blank

subset: commoncrawl


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NEC Indoor Totem
Indoor Totem
Indoor totem designed for commercial premises, public spaces and locations on which the flow of visitors places high demands on media equipment. Compatible with NEC 55" XS series large format displays. Single and back-to-back version available. Portrait orientation only.
Price on infomail _at_ nec-displays _dot_ com
This enclosure is as secure as it is attractive for indoor digital signage and allows to meet visitors from two directions at the same time. The totem can be installed with one single display or with two displays back-to-back.
- Unbreakable Hammerglass that can resist most forms of chemical and acid attack
- Ploycarbonate glass with 99,96 % UV protection
- Special surface treatment prevents the glass from clouding or fading
- Two drill-proof high-security locks prevent from external damage
- Kick-rail and structured coating ensure that any stains and marks are hardly visible
- Can be bolted to the floor to securely be held in place
- Simple installation, even when used for double-mounted displays
- Approved by NEC
|Order Code
|Indoor Totem Single 55
|Indoor Totem Single 55 black
|Indoor Totem Double 55 white
|Indoor Totem Double 55 black


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Tool Shed Brewery Tour & Tasting
Tool Shed Brewing Co.
Event Details
Come join us for a backstage tour and see where our delicious beer is born!
Your 90 minute brewery tour includes a sampling of all of our beers as well as a guided tour around the brewery. We will show you the entire process from grain to glass!
Once the tour is complete you can enjoy fresh beer in our taproom, and we will give you a 10% off in our retail store.
If you don't have a credit card, just show up on Saturday at noon and we can process your payment at the brewery!
Special Notes
-Minors must be accompanied by parent or guardian.
-Closed-toe shoes are mandatory.
Save This Event
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When & Where
Tool Shed Brewing Company
801 30 St NE
Unit 9
Tool Shed Brewing Co.
We are a little brewery in the heart of Calgary, Alberta. We love beer and sharing stories with people!


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If Christianity is the only true "religion" then all other religions are false faiths. Understanding that, ultimately, Satan and his demons energize, inspire, and are behind all false religions (Satan seeking worship for himself and not to the only true and living God). Is Judaism a false faith exercising false worship of a false god, and, bottom line, a worship of "demons"? I don't mean any ill or to be blunt; I'm just curious and think this would be the logical and reasonable deduction. Some people think that Judaism is truly worshipping the true Jehovah but they just don't know any better as to recognize Jesus as the promised Messiah.
You began your inquiry with a clear statement of the ultimate issue. "If Christianity is the only true 'religion' then all other religions are false…" This, in turn, leads you to ask a question that many would rather avoid: "is Judaism a false faith exercising false worship of a false god, and, bottom line, a worship of 'demons'?" With reliance on the help of the true God—Father, Son and Holy Spirit—I will try to so answer.
There is only one true God, "for"—as the Apostle Paul put it—"although there may be so-called gods in heaven or on earth—as indeed there are many 'gods' and many 'lords—yet for us there is one God, the Father, from whom are all things and for whom we exist, and one Lord, Jesus Christ, through whom are all things and through whom we exist." The critical question therefore is to correctly identify this one true God in sharp contrast with all of the false gods. And it is the foundation belief of biblical Christianity that the one and only true God has revealed himself to us as a trinity—one God who exists in three persons; the Father, the Son and the Holy Spirit.
It's important to realize that while God spoke of himself with plurality terminology (think of Genesis 1:26 where he says "let us make man in our image, after our likeness") the full disclosure of his triune nature only came with the New Testament revelation. I think that is one reason why Jesus said blasphemy against himself was forgiveable. It was no easy thing to adjust to this fuller revelation. Yet the record shows, beyond question, that Jesus himself is Jehovah. He created food to feed 5,000. He commanded the wind and the waves to obey him, and they did obey him. He called dead Lazarus back to life. He was crucified, dead and buried, but then rose from the dead on the third day as he promised, and visibly ascended into heaven. And he also claimed that he alone is "the way, the truth, and the life" and that "no one can come to the Father except by him" (John 14:6). The Bible says "he came to his own and his own received him not" (John 1:11). By "his own" John meant the Jews who were living while he was on earth. But Paul wrote—several years after that—that there was still a veil over the hearts of most Jews and that seems to continue to this day. It is only when "the veil is removed" (2 Cor. 3:16) that they are able to recognize the truth about Jesus. And the truth is that (as Paul said) "there is no other name under heaven given among men by which we [and they] must be saved" (Acts 4:12).
There is, therefore, only one possible answer to your question: so long as Judaism rejects the claims of Jesus Christ (the real Jewish Messiah) it is indeed a false religion. This does not mean that there is no truth in it whatsoever. But it does mean that there is no saving message in it without recognition of Jesus as the Messiah. Yet even while we must say this, it is important to do so with a deep sense of humble awareness of what the apostle Paul says in Romans 11:
"But if some of the branches were broken off, and you, although a wild olive shoot, were grafted in among the others and now share in the nourishing root of the olive tree, do not be arrogant toward the branches. If you are, remember it is not you who support the root, but the root that supports you. Then you will say, 'Branches were broken off so that I might be grafted in.' That is true. They were broken off because of their unbelief, but you stand fast through faith. So do not become proud, but stand in awe. For if God did not spare the natural branches, neither will he spare you. Note then the kindness and the severity of God: severity toward those who have fallen, but God's kindness to you, provided you continue in his kindness. Otherwise you too will be cut off. And even they, if they do not continue in their unbelief, will be grafted in, for God has the power to graft them in again.For if you were cut from what is by nature a wild olive tree, and grafted, contrary to nature, into a cultivated olive tree, how much morewill these, the natural branches, be grafted back into their own olive tree."
During the second World War these words of the Apostle Paul were taken seriously by many Dutch people during the Nazi occupation of their country. Even though the Jews living among them did not believe in Jesus, those Dutch Christians knew that their own hope of eternal life depended on the saving work of a Jew named Jesus. They understood that it was to the Jews alone among all the peoples on earth that God had chosen to bring forth the Messiah who takes away the sin not only of all Jews who believe, but also of all Gentile believers as well. And so—Yes—those who refuse to worship Jesus as God are, in effect (even though they are not aware of it) serving demons.
Thank you for asking this momentous question.
"Questions and Answers" is a weekly feature of the OPC website. The answers come from individual ministers in the Orthodox Presbyterian Church expressing their own convictions and do not necessarily represent an "official" position of the Church, especially in areas where the Standards of the Church (the Scriptures and the Westminster Confession of Faith and Catechisms) are silent.
The questions come from individuals like yourself. If you have questions about biblical and theological matters, you are invited to send them by e-mail by using the "Pose a Question" link on the OPC home page or by clicking here.
At least one new question is posted each week, so there should always be something new here for you to read. (For those people who would like to look at previous questions and answers, they will continue to be available as well.)
The purpose of the OPC website's "Questions and Answers" is to respond to biblical and theological questions. Matters of church discipline, disputes, or debates go beyond the scope of our work. We recommend that you present your concerns in these areas to the appropriate judicatory. In most cases this will be to a local pastor, elder, or session. We do not want the website to replace personal involvement in, or commitment to, the local, visible church.
While we will respond to every serious questioner, we are not bound to give a substantive answer to every question, should we deem the question to be beyond the scope of our purpose or our own ability to answer.
You will receive an answer by e-mail. Please be patient as many of our respondents are busy pastors. The response to your question may take up to two (2) weeks. Some of the questions submitted will be chosen to be posted here, along with the corresponding answers.
Note that the "Questions and Answers" posted on the site have been editedall personal references are removed, Scripture references or from some source may be added, and sometimes portions are expandedto make the questions and answers more useful to a larger audience.
|© 2020 The Orthodox Presbyterian Church
Chaplains and Military Personnel


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Cignal Finder Lenti Reporter Arrays
For sensitive assessment of cell signaling activities in virtually any mammalian cell type
Cignal Finder Lenti Reporter Arrays are ready-to-transduce lentiviral particles for assessing cell signaling activities in virtually any mammalian cell type. Cignal Finder Lenti Reporter Arrays allow comprehensive analysis of 10 signaling pathways. By screening pathway activities simultaneously, relevant pathways can be quickly identified for further analysis. Cignal Finder Lenti Reporter Arrays pinpoint the pathways perturbed by a specific gene or drug.
Buy Products
Cignal Finder Lenti Reporter Arrays are intended for molecular biology applications. These products are not intended for the diagnosis, prevention, or treatment of a disease.
Product Details
Each array includes 10 Cignal Lenti Reporter Assays and 2 controls in transduction ready tube format. Cignal Finder Lenti Reporter Arrays utilize a unique combination of transcription factor reporter technology coupled with lentiviral delivery.
Cignal Lenti Reporter Assays consist of multiple repeats of a specific transcription factor's binding site and basic promoter elements to drive the expression of a reporter gene (firefly luciferase).
Lentiviruses are one of the most effective vehicles to introduce reporter constructs in almost any mammalian cells — including nondividing cells. A transduced lentiviral reporter construct is integrated into cellular genomic DNA and provides stable, long-term expression of a reporter gene.
These reporters are powerful tools in functional genomics and drug discovery for assessing pathway activity. When the pathway is activated or inhibited by a drug candidate, gene knockdown (using siRNA), overexpression event (expression vectors), or peptide, luciferase reporter activity is modulated and can be measured quantitatively and rapidly.
Cignal Lenti Reporter Assays contained in the Cignal Finder Lenti Reporter Arrays are ready-to-transduce, replication incompetent, HIV-based, VSV-G pseudotyped lentiviral particles (see figure "Cignal Lenti Reporter Assay" and table "Features of Cignal Lenti Reporter Assays"). The Cignal lentiviral particles are safe to use. It is recommended that they be treated as Risk Group Level 2 (RGL-2) organisms. Follow all published RGL-2 guidelines for handling and waste decontamination. Details on the requirements for creating a BSL-2 work environment are available in the U.S. Department of Health and Human Services publication Biosafety in Microbiological and Biomedical Laboratories, 4th edition.
The biosafety features engineered into these vectors includes the following:
Cignal Finder Lenti Reporter Arrays are immediately ready for transduction, without the need to further generate or propagate lentivirus. These vectors are highly suited for transient transduction studies in difficult to transfect cells or for pathway sensor cell line generation (see flowchart "Cignal Lenti Reporter procedure").
The procedure is comprised of 3 simple steps:
Transient pathway regulation studies in difficult-to-transfect cell lines
Target cells are transduced with the Cignal Lenti Reporter Assay. The cells are typically cultured for 24–48 hours to ensure lentivirus integration. The cultures are then treated with the biological agents of interest (siRNA, shRNA, chemical compound, viral expression vector, protein, or peptide). Reporter assays (firefly luciferase) are carried out 18–36 hours after treatment, depending upon the treatment conditions.
Pathway sensor cell line generation
Target cells are transduced with the Cignal Lenti Reporter Assay. Following transduction, the cells are cultured with puromycin selection to generate a homogenous population of transduced cells. If necessary, single-cell cloning may be carried out in order to isolate a clonal pathway sensor cell line. These pathway sensor cell lines serve as a valuable cell-based assay platform, for subsequent screening and mechanism of action studies.
Cignal Finder Lenti Reporter Arrays are powerful tools in functional genomics and drug discovery for assessing cell signaling activities in virtually any mammalian cell type. They are highly suited for assessing the biological impact of siRNAs, proteins, and small molecule compounds.
Product Resources
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To Phoenix Tube
We are a leading manufacturer of stainless steel tubing, rounds, squares, rectangles, and processed flat bar for ornamental and structural applications. Offering the highest quality in products and customer service. Welcome to our site here you can browse and learn about all of our offerings. Thanks for considering Phoenix Tube.


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The Common Core State Standards for reading has a major focus on students gathering evidence, knowledge, and insight from what they read. Using a non-fiction article from the Wall Street Journal, students will practice gathering evidence, insight, and knowledge by answering text dependent questions. I've attached an informational sheet as a Guide for Creating Text-Dependent Questions RI.9-10.1. This informational sheet explains what makes a question text-dependent and criterion for creating them.
I first share a metaphor about memory:
I then explain that a reporter/writer for the Wall Street Journal, Sumathi Reddi wrote an article about memory loss called," Why We Keep Losing Our Keys"
I teach and review how to determine an Author's Point of View and use of rhetoric by using a power point presentation.
In slide #2 I explain how understanding the author's point of view can help the reader better comprehend what they are reading. In slides #3-4 I review the three reasons an author may have for writing after which I check for understanding by using the Cold Call technique. Next to check for understanding, in slide #5 I ask students to read a paragraph and tell me what was the author's purpose or reason for writing it.
Slides #6-7 are a quick review of the use of rhetorical appeals. I ask students what each appeal means then after they give their answer I fade in the correct answer. I then tell students that as they read the article "Why We keep Loosing Our Keys?" I will ask what the author's purpose was for writing the article and what rhetorical appeals did she use to achieve her purpose as required in standard RI.9-10.6.
For each type of writing, there are a number of skills that our students must learn in order to write well. I chose this informational article because I knew it would be of interest to my students. The skills of identifying the author's purpose as well as learning how to independently read and respond to writing prompts, will help my students apply this skill to the reading of different types of prompts like word problems and short answer exam questions.
I now pass out the article,Why We Keep Losing Our Keys by Sumathi Reddy and instruct students to read and annotate the article for author's purpose and use of rhetoric. Students can work with a partner or individually.
Next I pass out the TDQ assessement. Students respond to the questions while continually returning to the text citing evidence to support their answers as required in standard RI.9-10.1. I scaffold the instruction by adding the page number to the articles paragraphs that answers can be found.
I think an important element in teaching necessary for student growth is cultivating a learning environment in which students feel respected and safe to take risks; my students need to feel that their learning has a purpose and that the curriculum is relevant to their lives; and they need feedback on their progress. In this lesson I want them to know what they're trying to accomplish, where they are in relation to the goal, and what they need to do in order to get there. As students answer the questions, I circulate using guided practice to check for understanding by asking asking clarifying questions. I want them to identify the authors claims and counter claims as a resource for their answers W.9-10.3
Group Share - Evidence Please!
I first ask a few students to give me evidence of what the author's purpose was in writing the article as well as what rhetorical appeals did she use. I facilitate a short discussion after their responses. Next I select one student to share an evidence based answer SL.9-10.1 . As he or she reads the question, response, and evidence to support the answer, I ask if anyone else had a different answer and if so to explain with supportive evidence!
I want students to understanding how the author used the power persuasion to inform and teach the reader about memory loss through the use primary uses of ethos and logos. The students concluded that the author's purpose was to inform and because she was an authority on this topic appealed mainly to ethos. One student commented on the different appeals used in ads and that a great deal of advertising uses ethos through celebrity endorsements.


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Editing Sons and Daughters (episode) 0 You do not have permission to edit this page, for the following reasons: The action you have requested is limited to users in one of the groups: Users, FANDOM Staff, FANDOM Helpers, Wiki Managers, Content Team Members. Please log in to edit this wiki.Joining Memory Alpha is free, and it only takes a minute.We hope that you sign in, and become a member of the community!Click here to log in or create an account more + You can view and copy the source of this page: {{real world}} {{sidebar episode | |image = Alexander Rozhenko, 2374.jpg |writer = [[Bradley Thompson]] & [[David Weddle]] |director = [[Jesús Salvador Treviño]] |date = ''Unknown'' ([[2374]]) | |arc = Dominion invasion |arc prev = Rocks and Shoals (episode) |arc next = Behind the Lines (episode) |arc number = 5 |arc count = 8 }} Alexander Rozhenko joins the crew of the ''Rotarran'', much to the disappointment of Worf. On Terok Nor, Tora Ziyal returns to the station where Dukat intends to use her to get closer to Major Kira. ==Summary== ===Teaser=== {{Captain}} [[Benjamin Sisko]] and his crew have been rescued from the uncharted [[planet]] in a [[dark-matter nebula]] deep inside [[Dominion]] space where they [[Rocks and Shoals (episode)|crashed]] by the {{IKS|Rotarran}} which is due to drop them off at [[Starbase 375]]. [[Worf]] and [[Jadzia Dax]] [[kiss]] passionately before they separate once again. Dax makes Worf fret when she jokingly tells him she does not want to join the [[House of Martok]] which he takes very seriously. On the bridge of the ''Rotarran'', [[Chief]] [[Miles O'Brien|O'Brien]] and [[Doctor]] [[Julian Bashir|Bashir]] are looking forward to getting back to the starbase where the food doesn't move and the officers don't sing loudly long into the night. Before he disembarks, Captain Sisko makes a bet with [[Klingon]] [[General]] [[Martok]] for a barrel of [[bloodwine]] that Sisko will set foot on [[Deep Space 9]] before Martok does. With that, the Starfleet crew disembark. A little later, the ''Rotarran'' picks up five new crew replacements from the {{IKS|Vor'nak}} (Martok had asked General [[Tanas]] for fifteen, but he could only send five). To Worf's surprise, one of these recruits is his own son, [[Alexander Rozhenko]], having newly joined the [[KDF]]. ===Act One=== On Terok Nor, [[Kira Nerys]] and [[Odo]] are still gearing up for their resistance movement, but it is apparently not too much of a secret, since civilians such as [[Quark]] and [[Jake Sisko]] are well aware of it. Later, [[Gul]] [[Dukat]] surprises Kira by bringing [[Tora Ziyal]] back to the station from [[Bajor]]. Kira is happy to see Ziyal, who asks Kira to have dinner with her that night. Kira agrees, but Dukat declares that it will take place in his [[quarters]] at 2200 hours. Kira starts to protest, but Dukat and Ziyal quickly run off. On the ''Rotarran'', [[Martok]] receives his orders. Their next mission will be to protect a [[convoy]] headed to [[Donatu V]]. They will be the only ship protecting the convoy and, since the last three convoys headed the same way were destroyed by the [[Jem'Hadar]], they are probably going to see some action. Martok then asks Worf why, after all they've been through together, he never mentioned he had a son. Worf explains that Alexander's mother was half-Human and disdainful of Klingon ways, and that after her death he raised him on the ''[[USS Enterprise (NCC-1701-D)|Enterprise]]'' for a while before returning the boy to Earth to live with his foster parents, [[Sergey Rozhenko|Sergey]] and [[Helena Rozhenko]]. He also mentions that Alexander had never [[Firstborn (episode)|shown interest]] in becoming a warrior, which was something Worf eventually managed to accept and respect. Now Worf is at a loss to explain why Alexander has joined the Klingon Defense Force, and admits the two have yet to speak. Martok expresses concern for Worf's relationship with his son, but allows his friend to handle it his own way. Later, Worf calls Alexander to his quarters and asks after his parents. Alexander, trying to act every inch the warrior, tells Worf that they weren't happy about him enlisting at first but supported him anyway. Worf wishes them to speak as father and son, but Alexander refuses telling Worf he is here as a warrior and nothing more. Worf accuses Alexander of only enlisting to please him, and when Alexander disputes this Worf harshly tells him that they both know he is not a warrior and warns that he expects twice from him that he does the rest of the crew. ===Act Two=== Back on the station, Kira visits Ziyal in her quarters where Kira says that she can't have dinner with Dukat. The conversation moves to why Ziyal left Bajor. She says that everyone was polite, but as the daughter of Gul Dukat, she didn't have any friends. The station is her only true home, and she misses her father. Kira reminds Ziyal that the [[By Inferno's Light|last time]] she defied Dukat, he left her on the station to die. Ziyal claims that Dukat has explained to her that he overreacted, and implores Kira to come that night. Kira, caught between her hatred for Dukat and her fondness for Ziyal, reluctantly agrees. On the ''Rotarran'', a fight breaks out in the [[mess hall]] when [[Ch'Targh]] deliberately provokes Alexander, teasing him about not being used to normal [[Klingon]] fare, insisting he have a [[root beer]] with [[ice cream]]. Alexander is increasingly annoyed and eventually provokes the fight by throwing his [[bregit lung|''bregit'' lung]] at him but they can't finish it because Worf interferes to prevent his son from getting hurt when Ch'Targh prepares to stab him with a ''[[d'k tahg]]''. Worf seems to have no more confidence in his son's fighting abilities than the last time he saw him and has difficulty controlling his emotions where Alexander is concerned. ===Act Three=== [[File:Dukat and kira art.jpg|thumb|Art appreciation: Dukat and Kira admire Ziyal's work]] On Terok Nor, Ziyal tells Kira and her father that she has found her way. She wants to be an artist and her talent has been recognized by the director of the [[Cardassian Institute of Art]]. Dukat thinks that her drawings resemble a [[Cardassian]] artist named [[Nanpart Malor]], who was the founder of the [[Valonnan School]] on [[Cardassia Prime]], and when Ziyal showed them to the director of the [[Cardassian Institute of Art]] he shared Dukat's assessment. Kira thinks that the drawing bares a striking resemblance to a [[Bajoran]] artist named [[Vedek]] [[Topek]]. Ziyal says she wants to use her art to bring people together, to show that both the [[Bajoran]]s and [[Cardassian]]s see the [[universe]] the same way, but she quickly realizes that that must sound silly to Kira and Dukat. On the ''Rotarran'', Martok is waiting with Worf over some [[warnog]]. He casually mentions the fight in the mess hall, and berates Worf for not hearing it from him. Furthermore, that Worf should have not interfered in the fight, and that Ch'Targh would only have harmed him, not killed. It's apparent that Worf should train him a bit. Just then, an [[alert status one]] is called from the [[bridge]]. There, Alexander reports a Jem'Hadar attack is imminent, however, there's no sign of it on the viewscreen or any hits to the ship. Worf realizes the battle simulation program is still running and states Alexander forgot to erase it from the sensor display. The realization sinks in to everyone there, and a few of the crew start laughing, saying he's keeping them on their toes. Worf wants to interfere, but Martok stops him, saying they've accepted him. Worf, however, knows they consider him the ship's fool. ===Act Four=== [[File:Kira looks at dress.jpg|thumb|"''What the hell am I doing?''"]] On Terok Nor, Dukat is giving a speech in the [[wardroom]] to a mix of Cardassians and Bajorans to announce a "new era of cooperation and understanding" with a gift of several [[industrial replicator]]s to Bajor. It seems well-received, but Kira is disgusted. Delighted to leave when he finishes, Dukat calls her over to say that Ziyal's drawings have been accepted for inclusion in the Cardassian Institute's exhibition on Cardassia. Kira's happy for her, and will attend a celebration. Later, [[Gul]] [[Damar]] arrives at Kira's quarters to bring her a lovely dress as a gift from Dukat. At first, Kira seems thrilled, as she looks at herself in the mirror. Then, she brings herself back to reality, and decides to return the dress. Dukat gives the dress to Ziyal instead. Later, Worf tries to train Alexander in hand-to-hand combat as it would be quite useful if they ever encounter real Jem'Hadar soldiers. Worf is armed with a ''[[kar'takin]]'', a hand held weapon favored by the Jem'Hadar and Alexander is wielding a ''[[bat'leth]]''. But Worf is not able to be objective and the training session ends in a verbal fight between the father and the son. Alexander asks if Worf is going to send him away ''again'' and says that Worf will be happy when Alexander is dead. Martok later finds Alexander in the armory, attempting ''[[bat'leth]]'' drills; however, the blade leaves Alexander's hand and clatters across the floor, right in front of the general. Martok picks up the weapon and gives it a few experimental swings, commenting on its good balance, but remarking that it is only as effective as the warrior who wields it. He then asks Alexander point-blank why he is there. Alexander answers "to serve the Empire", but Martok dismisses that as a slogan, and demands the real answer. Alexander states that he would rather not say, for it is a personal matter, and asks for a chance to prove himself. Martok replies that he had just given him a chance, and that he failed. He informs Alexander that he will be transferred to a military transport ship, the {{IKS|Par'tok}}, per Worf's request; Alexander is incensed, and claims Worf had no right, to which Martok retorts that Worf has every right, both as first officer and as Alexander's father. Outraged, Alexander confronts his father in his quarters; however, they are interrupted by a [[tactical alert]] signaling an attack by Jem'Hadar fighters, and quickly report to the bridge. ===Act Five=== In the following battle, the Jem'Hadar's fire causes a [[plasma leak]]; Alexander immediately volunteers to repair it, and Ch'Targh seconds him, saying it will need two to lock down properly. Worf hesitates for a moment, and then agrees. The ''Rotarran'' is able to fend off the Jem'Hadar attack, and the plasma leak is sealed off. However, Alexander managed to lock himself inside the corridor, much to the amusement of the crew. Worf claps Alexander on the shoulder, and asks him to come with him. On Terok Nor, Ziyal is disappointed that Kira didn't turn up to the party earlier. Kira apologizes, but explains she simply cannot bring herself to have anything to do with Dukat. Ziyal begs not to be forced to choose between them, and Kira understands… Dukat is Ziyal's father, so there is no choice. Kira walks away and Ziyal stands in the [[corridor]], saddened. Worf realizes that Alexander is not a child anymore and that he must let him prove himself if he is to become a Klingon warrior. Worf offers to stand by Alexander's side moving forward and Alexander tells his father that they will see if he means it. Worf offers to try (again) for a new start, willing to learn how to be a good father. Alexander joins the [[House of Martok]], as his father did, but in a ritual ceremony. ==Memorable quotes== "''All right, I'll be here. But I won't guarantee it'll be any fun!''"
 "''I promise my father will behave!''" : - '''Kira Nerys''' and '''Tora Ziyal''' "''There is a bond between us.''"
 "''No. Only in your mind. You're an opportunistic, power-hungry dictator and I want nothing more to do with you.''" : - '''Dukat''' and '''Kira Nerys''' "''We keep falling back… the Dominion keeps pushing forward… I tell you, Worf, war is much more fun when you're winning! Defeat makes my wounds ache.''" : - '''Martok''' "''Or perhaps the son of our illustrious first officer would prefer an Earth beverage. A glass of root beer with a lump of ice cream? Mmm…''" : - '''Ch'Targh''', teasing Alexander "''All I ask, is a chance to prove myself.''"
 "''I just gave you one! And you failed.''" : - '''Alexander''' and '''Martok''' "''Your father has requested that you be transferred off this ship.''"
 "''He has no right!''"
 "''He has EVERY right! Both as your superior officer and as your father.''" : - '''Martok''' and '''Alexander''' "''I will teach you what you need to know to be a warrior, and you will teach me what I need to know to be a father.''" : - '''Worf''' ==Background information== ===The six-episode arc=== * Although this episode represents part three of the arc, it was actually filmed ''before'' part two, {{e|Rocks and Shoals}}. This was because a location shoot was required for the [[Starfleet]]-story of {{e|Rocks and Shoals}}, and it made more scheduling sense to leave the shoot until after "Sons and Daughters" had been completed. Obviously, this made an already complicated situation worse. As [[Ronald D. Moore]] explains, "''The station storyline on "Sons and Daughters" changed while they were doing it, which meant that my station-based storyline had to reflect that change… we couldn't keep it straight in our heads and we kept stepping on each other. Had something already happened, or was it happening the following week? It became very difficult to get the whole thing under control''." (''[[Star Trek: Deep Space Nine Companion]]'') ==="Sons and Daughters"=== * This episode was based on the [[1950]] {{w|John Ford}} film {{wt|Rio Grande (film)|Rio Grande}}. The film is about a fort commander who discovers that one of his new recruits is his son, whom he hasn't seen since he divorced the boy's mother years ago. The son hates the father, but they must learn to work together. (''[[Star Trek: Deep Space Nine Companion]]'') * Many fans felt that Alexander was far older in this episode than he should have been given his age as established in {{s|TNG}}, an inconsistency dubbed "[[Wikipedia:Soap opera rapid aging syndrome|Soap opera rapid aging syndrome]]". [[Ira Steven Behr]] has admitted they took some liberties with his age, but that there were legitimate practical reasons for this. Firstly, there was the issue of time. There are very strict laws about how long actors under eighteen can be kept on-set, laws which dictate that they cannot work past a certain hour and that they can only do so many hours a day without a break. Following these laws, and factoring in the length of time needed for an actor to get into makeup, it was determined that an under eighteen actor would only be on set for a few hours a day, thus prolonging the shoot. As well as this, the producers wanted an older character so that Worf didn't seem too harsh. If the actor was very young, Worf could be seen as abusive, but with an older character, Worf's parenting becomes, at worst, harsh. [[Bradley Thompson]] countered this argument by pointing out that it has never been established how fast Klingon children grow. (''[[Star Trek: Deep Space Nine Companion]]'') * Of the depiction of the character of [[Tora Ziyal|Ziyal]] in this episode, [[Ira Steven Behr]] has said, "''We set out in this arc to make her the pure innocent, to make the audience invest emotion in that innocence''." Similarly, [[David Weddle]] says, "''We had to get her to the point where her death would matter to the audience''." (''[[Star Trek: Deep Space Nine Companion]]'') * This episode represents another important stage in the relationship between [[Kira Nerys]] and [[Dukat]]. Building on the scene between them in {{e|A Time to Stand}}, Dukat's efforts to win her over are briefly successful here, until Kira steps back and realizes what she is doing, ultimately deciding that she wants nothing to do with Dukat. From this point onwards, Kira's animosity towards Dukat would never waver and there would be no further ambiguity as to how she feels towards him. Following this episode, they would have only two more significant encounters, {{e|Wrongs Darker Than Death or Night}} and {{e|Covenant}}. * This relationship, as well as that between Kira and Damar, were the subject of a [[deleted scene]] from this episode, filmed but cut for time. After Kira calls Dukat an interstellar despot, Dukat retorts that he prefers the term "tyrant". Dukat proposes to assign Damar to escort Ziyal to the opening of her exhibit. Kira points out that "''He's a self-righteous sycophant who despises everything Bajoran,''" and notes that Damar sneers whenever he says "Bajoran". Dukat denies this just as Damar walks in, giving a report and sneering whenever Bajorans are mentioned. Kira can't help but laugh. Damar glares at Kira, but continues his report and leaves. Dukat then imitates Damar, causing Dukat and Kira to laugh together. The script for this episode, including the deleted scene, can be reviewed {{st-minutiae|resources/scripts/526.txt|here}}. The scene also appears in the [[Call to Arms (novel)|novelization]] of this episode. [[Casey Biggs]] commented: "''There was a scene originally in one of the scripts in which Kira tells Gul Dukat, 'Damar hates me, he hates Bajorans. Every time he says "Bajoran" he sneers'. So I had to figure out how I was going to do this in order for it to look somewhat real. I decided to give it my best Jack Nicholson impression of a Cardassian. I continued to play that for the next two or three episodes. What I didn't know was that because of time they ended up cutting out that whole scene between Dukat and Kira. Here I was playing out this nice little character piece for the show and no one knew what I was doing.''" ("Damar's Attacks!, ''[[TV Zone]]'' special #34, p. 27) * Ron Moore commented, "''You may argue that we should've cut more from the Worf/Alexander story, but if you look at the show objectively you'll see that there's not a lot of extra material in that story to chop.''" {{AOLchat|Ronald D. Moore|ron065|1997}} * This episode marks Alexander's first appearance since {{s|TNG}}{{'}}s [[TNG Season 7|seventh season]] episode {{e|Firstborn}}. [[Marc Worden]] reprises the role in {{e|You Are Cordially Invited}}. * [[Benjamin Sisko]] later wins his bet with [[Martok]] to be the first one on to [[Deep Space 9]]. However, he tells Martok they will drink the bloodwine together. ({{e|Sacrifice of Angels}}) * [[Katogh]] appears to be the son of [[Ch'Pok]], the Klingon advocate who attempted to extradite [[Worf]] in {{e|Rules of Engagement}}. * Although it is not widely known, the British Board of Film Classification (BBFC) cut this episode by approximately 25 seconds. In the last scene, as [[Martok]] initiates [[Alexander Rozhenko]] into the [[House of Martok]], there is a ritual performed which involves Martok placing the insignia of his house into a chalice. He then slides a knife across his palm and lets the blood drip into the chalice. In the UK version of the episode, he then pours in some bloodwine and sets the mixture alight, but in the uncut version, he hands the knife to Alexander and Worf, whom both also cut their palm and let their own blood drip into the chalice. Although, visually, there is no evidence of the edit, if you listen closely, you can hear a slight jump in the music key at the moment of the cut. The reason given by the BBFC for the censorship was that because the show was aimed primarily at teenagers, they felt that a scene in which two characters mix blood could encourage viewers to do likewise, hence increasing the risk of HIV transfer. [http://www.bbfc.co.uk/releases/star-trek-deep-space-nine-sons-and-daughters-1970] [http://www.melonfarmers.co.uk/hitss.htm] {{imdb|title/tt0708604/alternateversions}} Strangely, an almost identical scene involving Martok and [[Gowron]] occurs in the [[DS9 Season 7|seventh season]] episode {{e|When It Rains...}}, but this scene was passed uncut by the BBFC. 2016 airings of the episode on CBS Action have reinstated the scene. * As for the ceremony itself, it is far different from the [[R'uustai]] seen in {{TNG|The Bonding}}, not the least because the ceremony here involved an adult Alexander cutting his hand, whereas the R'uustai involved a then-12 year old [[Jeremy Aster]] simply lighting candles. ===Video and DVD releases=== *UK VHS release (two-episode tapes, [[CIC Video]]): Volume 6.2, {{d|2|March|1998}} *As part of the [[DS9 Season 6 DVD]] collection :''The Region 2 release of this episode has approximately 25 seconds cut from the final scene.'' == Links and references == === Starring === * [[Avery Brooks]] as {{Captain}} [[Benjamin Sisko|Sisko]] === Also starring === * [[Rene Auberjonois]] as [[Odo]] * [[Michael Dorn]] as [[Lieutenant commander|Lt. Commander]] [[Worf]] * [[Terry Farrell]] as Lt. Commander [[Jadzia Dax|Dax]] * [[Cirroc Lofton]] as [[Jake Sisko]] * [[Colm Meaney]] as [[Chief]] [[Miles O'Brien|O'Brien]] * [[Armin Shimerman]] as [[Quark]] * [[Alexander Siddig]] as [[Doctor]] [[Julian Bashir|Bashir]] * [[Nana Visitor]] as [[Major]] [[Kira Nerys|Kira]] === Guest stars === * [[Marc Worden]] as [[Alexander Rozhenko]] * [[Marc Alaimo]] as [[Dukat]] * [[J.G. Hertzler]] as [[Martok]] * [[Melanie Smith]] as [[Tora Ziyal|Ziyal]] * [[Casey Biggs]] as [[Damar]] * [[Sam Zeller]] as [[Ch'Targh]] * [[Gabrielle Union]] as [[N'Garen]] ===Uncredited co-stars=== * [[Unknown performer|Unknown performers]] as ** [[Doran, daughter of W'mar]] ** [[Katogh]] ** [[Koth]] ** [[Starbase 375 officer]] (voice) === Stunt double === * [[Tom Morga]] as [[stunt double]] for [[Sam Zeller]] === Stand-ins === * [[John Lendale Bennett]] – [[stand-in]] for [[Avery Brooks]] * [[Uriah Carr]] – stand-in for [[Casey Biggs]] * [[Cathy DeBuono]] – stand-in for [[Terry Farrell]] * [[Mark Lentry]] – stand-in for [[Marc Alaimo]] * [[James Minor]] – stand-in for [[Michael Dorn]] * [[Robin Morselli]] – stand-in for [[Melanie Smith]] * [[Randy Pflug]] – stand-in for [[Colm Meaney]] * [[Brenda Jean Wright]] – stand-in for [[Nana Visitor]] ===References=== [[alert status one]]; [[applause]]; [[Bajor]]; [[Bajoran]]s; ''[[bat'leth]]''; [[battle drill]]; [[battle simulation]]; [[battle station]]s; [[bearing]]; [[bekk]]; [[bloodwine]]; [[bregit lung]]; [[Cardassia]]; [[Cardassian]]s; [[Cardassian Institute of Art]]; [[Cardassian director 001|Cardassian Institute of Art director]]; [[Ch'Pok]]; [[conference room]]; [[convoy duty]]; ''[[d'k tahg]]''; [[despot]]; [[Donatu V]]; [[drawing]]; [[Drex]]; [[Dukat's shuttle]]; [[Earth]]; [[Earth beverage]]; [[emergency lockdown]]; [[Emissary of the Prophets]]; {{USSr|Enterprise|NCC-1701-D}}; [[evasive action]]; {{class|Excelsior}} ([[Excelsior unnamed 006|unnamed]]); [[Ferengi]]; [[foster parent]]; {{dis|founder|occupation}}; [[freeze drying]]; ''[[gagh]]''; {{class|Galor}} ([[Galor war 002|unnamed]]); [[grapok sauce|''grapok'' sauce]]; [[grip]]; [[heart]]; [[holosuite]]; [[impulse injector]]; [[industrial replicator]]; [[Internment Camp 371]]; [[Jem'Hadar]]; [[Jem'Hadar fighter]] ([[Jem'Hadar fighters 011|unnamed 1]] [[Jem'Hadar fighters 015|and 2]]); [[K'Ehleyr]]; ''[[kar'takin]]''; [[Klingon]]; [[Klingon Defense Force]]; [[Klingon Empire]]; [[Klingon High Council]]; [[Larna]]; {{revname|Nanpart|Malor}}; [[medical ward]]; ''[[mek'leth]]''; [[Nane]]; [[Norpin falcon]]; [[path]]; [[peach]]; [[plasma leak]]; [[Quark's]]; [[Qu'vatlh]]; ''[[ramufta]]''; [[resistance cell]]; {{revname|William|Ross}}; {{revname|Helena|Rozhenko}}; {{revname|Sergey|Rozhenko}}; [[Sabbatical]]; [[ship's fool]]; [[slogan]]; [[Starbase 375]] ({{type|Starbase 375}}); [[Tanas]]; [[temperature]]; [[Topek]]; [[Tse'Dek]]; [[Valonnan School]]; [[vedek]]; {{class|Vor'cha}}; {{IKSr|Vor'nak}}; [[W'mar]]; [[warnog]]; [[weapons control]]; [[wedding]]; [[Yridian]] ====Unreferenced material==== [[Worf (Colonel)]] === External links === * {{startrek.com|sons-and-daughters|"Sons and Daughters"}} * {{mbeta-quote|Sons and Daughters}} * {{wikipedia-quote|Sons and Daughters (Star Trek: Deep Space Nine)|Sons and Daughters}} {{DS9 nav|season=6|last={{e|Rocks and Shoals}}|next={{e|Behind the Lines}}}} [[de:Söhne und Töchter]] [[es:Sons and Daughters]] [[fr:Sons and Daughters (épisode)]] [[nl:Sons and Daughters]] Templates used on the current version of this page: Template:! 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Modernist Cuisine: Breakfast of Food Champions
Where were Martha Stewart, Padma Lakshmi, Daniel Boulud, Ruth Reichl, Andre Soltner, Tim and Nina Zagat, Wylie Dufresne, Michael Lomanoco, Jean-Georges Vongerichten, and Johnny Iuzzini (plus myself and Kenji) at 9 this morning? Eating breakfast at Jean-Georges and listening to Modernist Cuisine's Nathan Myhrvold—in town for a week-long whirlwind PR blitz that's drawing attention from the best culinary and scientific minds in the city.
It must have been strange and almost surreal for a non-professional chef like Nathan to be standing up in his chef whites taking questions from many of the greatest chefs in the world, which is not to say he's not qualified for the task. The man is a certified, multi-field genius. Even Martha Stewart stood up not to ask a question, but just to tell us how great Nathan and his book are.
What was for breakfast? Some modernist cuisine, of course.
Here are the items on the printed menu, with our comments underneath:
Corn Bread with Bacon Jam
Centrifuged juice, sous vide yolk
Ed: This tasted like really good cornbread with bacon jam. Not transcendent, I've-never tasted-anything-like-it-cornbread, but it was mighty tasty.
Kenji: I think one of the best things about the recipes from the book are the level of restraint they show. Modernist restaurants often rely on gimmicky smoke & mirror effects. This is just a piece of corn bread. Really good cornbread, that is.
Mushroom Omelet
Constructed egg stripes, steamed in a combi oven
Kenji: This is pretty much Nathan's signature dish. It's the one he took on Martha Stewart, and one that he seems to take special pleasure in describing. It's a great dish. Not really an omelet per se, but tasty nonetheless. The flavor is overwhelmingly that of mushrooms and tarragon, and of the two times I've had it, the first was better. Today, the egg and mushroom sheets seemed ever so slightly overcooked compared to the first time. That didn't stop April Bloomfield from declaring the dish "incredible." She's easily my favorite chef in the city, so I'd trust her opinion more than mine.
As a side note, it was great that both myself and Ed got to enjoy breakfast with a couple of our personal heroes—April Bloomfield and Calvin Trillin, respectively.
Pastrami and Hash
Cooked sous vide for 72 h, potatoes cavitated in an ultrasonic bath
Ed: Calvin Trillin told me not to send back the pastrami by telling my server that it was undercooked and needed a 73rd hour in the sous vide machine. (I always listen to Trillin, he is one of my writing heroes, so I didn't.) The pastrami was perfect as is: tender, beefy, beautifully marbled, smoked just enough. It takes guts to bring pastrami to a serious New York food crew, but Myrvhold pulled it off with ease.
The potatoes cavitated in an ultrasonic bath were another story entirely. They looked and tasted like tater tots, and I think if I had been given some tater tots from a frozen bag I would not have been able to tell the difference. Maybe cavitation isn't all it's cracked up to be.
Kenji: Agreed. The pastrami was as fantastic as the first time I had it at the Cooking Lab in Seattle. The new part of the dish for me was the ultrasonic potatoes. Described as Nathan as "looking like tater tots," they were potatoes that were parcooked, then placed in an ultrasonic water bath (the same thing you use to clean jewelry), which essentially roughs up the surface, increasing its area, and making the potatoes cracklier and crisper when fried. I wouldn't just say the looked like tater tots, they in fact tasted exactly like tater tots, leaving me wondering why I'd need an ultrasonic bath to make them instead of just picking up a bag of frozen Ore-Ida's. I categorize this under the "interesting, but kinda unecessary" category.
Pots de Cremes
Earl Grey posset, Meyer lemon curd, praline granola, cold-infused coffee, maple crumble
Ed: Really, really good pot de cremes with perfect creamy and smooth texture.
Kenji: This one really demonstrates where a lot of this type of cooking is headed. It's not just about creating surprising textures or "wow" moments. This is basically just a traditional pot de creme, but with a near-perfect texture. That's what cooking in a precisely controlled steam oven gets you—consistently good results for even traditional recipes, and that's what chefs are going to be most excited about. Quality control, and consistency.
On the whole, we were struck by how fundamentally delicious everything was. The man knows what good is, and that counts for a lot. I really wish they'd offered a pastrami on rye in the goodie bag handed to us as we walked out, instead of just an autographed card to stick into your $625 copy of Modernist Cuisine. The most surprising thing for me was that despite the fact that it outwardly appears like it's going to be a coffee table book, the small type along with diagrams, charts, and graphs makes it read a whole lot more like a textbook. (Albeit a beautiful one.)
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In the highly anticipated big-screen adaptation of "The Mortal Instruments: City of Bones," Shadowhunters/part-angels/demon slayers Jace (Jamie Campbell Bower) and Alec (Kevin Zegers) are meant to be symbols of toughness and resolve. If the actors had to battle each other in real life? Not as intense.
"It would be like that scene in 'Bridget Jones' Diary" where they just slap each other a little bit," says Bower, previously seen in both the "Harry Potter" and "Twilight" franchises. "'It's a fight, a real fight!'"
"We'd probably be wearing hockey helmets to not mess each other's faces up," adds Zegers, now a decade-and-a-half removed from his starring role in the "Air Bud" franchise. "I grew up in Canada playing hockey and because I was a young actor I got picked on an awful lot, so I was forced to fight a lot when I was a kid. I don't know about you, Jamie?"
"I grew up in the English countryside," Bower says. "I know how to shear a sheep. That's about it, man. [Laughs]"
Starring Lily Collins as Clary Fray, the film opens Wednesday. At the Peninsula Hotel, Bower, 24, and Zegers, 28, talked about a Chicago demon infestation, their favorite Victoria's Secret angel and the franchise's, uh, complicated sibling relationships.
Click here for our video/q&A with star Lily Collins
How would a demon infestation be different in Chicago vs. the film's setting of New York?
Kevin Zegers: There would be a lot more please and thank yous.
Jamie Campbell Bower: [Laughs] That's amazing.
KZ: And everyone would be wearing a coat most of the time.
JCB: There'd be suave demons, sharp demons …
KZ: And the wind would cause a lot of messy hair.
JCB: That's true. There'd probably be bald demons then.
That's what people care about with demons all over the place: how their hair looks.
KZ: Absolutely, yeah. That's what I'd be worried about.
JCB: That's what I was worried about most of the movie. [Laughs]
KZ: That's why you wear a hat.
JCB: Exactly. That's why I'm wearing a hat today.
You guys have talked about bonding as a cast and feeling protective of each other. When's a time you felt like you had to be protective of each other?
JCB: I think on the set when there's a lot of fight scenes and choreography and stunts going on you naturally have to be aware of your environment anyway. There's a sort of spatial awareness, but then also if somebody gets a ding or if it looks like it's' going a little bit out of shape then one of us would call it off, even if it wasn't us. Like we go, "Let's just stop this right now."
For example?
JCB: For example there's the scene in the Hotel Dumort, and it was late at night when we were shooting it and we needed to get it done. But I think I remember they were like "Let's just go for it." And we all bonded together and we were like, "We're just going to need 15 minutes just to go do this" because otherwise one of us could get hurt." Because I've worked some jobs before--I broke my ankle on a job because it was rushed and a choreography scene was rushed and we didn't have time. So we were all very aware of that. So we do get quite protective of each other, and also in another sense about the protection of each other when we're doing scenes together we're very aware of whose scene it is. If there's a specific scene that's poignant for Kevin's character, none of us are going to jump in there and be like (goofy voice), "Oh, I think I should get a close-up at this point because my reaction is really important." And that doesn't happen all the time. Sometimes you unfortunately work with people that want to get in on every shot. I've worked with people that have appeared—
KZ: Their heads are always in the--
JCB: Yeah. They're like 360 degrees. You go, "How did you get from behind me to behind the character I'm talking to? I don't understand."
That goofy acting style in general usually doesn't work out very well.
[Both laugh]
KZ: There's a lot more than you think, though, who do that. It's rare to find a group of people who are all--I think we just all wanted to make a good film. I think a lot of times you go in thinking like, "This will be a great thing for me." I'm guilty of it myself sometimes. You go in and you say, "This is a great character piece for me. I like the character." And you go in and that's your sole focus. But I think for all of us we were aware that in order for this to work in general the film needs to be good. And so, like he was saying, it's servicing whichever actor the scene is focused on. I remember the scene I shot with Lily, I remember Jamie and Jemima [West] and Robby [Sheehan], they were on my close-up … they were all standing behind the monitor watching. And it's this community feeling of people rooting for each other's success rather than going, "Oh, I could have done that better."
Who would win a battle between Jace and Alec?
JCB: I think it would be an even battle. They've both got very specific styles. Jace is very wily, very fast. It seems unpredictable, but I think he's very conscious of what he's doing, whereas Alec is very, very strong.
KZ: Yeah. Alec is like, "Why take 10 swings when you can take one and kill the guy?" Whereas I think Jace's character, when you see him fight it's such a beautiful [thing] because he's such a long guy anyway. You see him moving around and it's this beautifully choreographed [movement], but he's still sort of wild. But Alec, you see him come in and he'll stab someone and it's over quite quickly. And we based a lot of that on who we are physically. The stunt coordinator was very specific about my size and the things that I do well vs. the things that Jamie does well. It's obviously based on the book also, but a lot of what we did was tailored to what our strengths are anyways. And so physically the way that I am was very suited to the way that I would fight. And I think Jamie did the same thing.
JCB: Yeah.
KZ: It ends up working out. You can also see that it's us. Which we wanted to be able to do. I hate when they cut away and you can see some guy, he's clearly not the guy, with some stupid wig on or some face replacement or something like that. And so it's a little messier when you watch the fighting, but it's much more organic and it's much more violent and it's much more impactful for the audience because they can see that it's us.
JCB: It's much more realistic as well. That was one of the things that I really wanted to focus on with our stunt coordinator was I wanted to do 100 percent of the stunts and there was only one that I couldn't do. And the stunt guy ended up getting hurt on it, but it makes it much more organic if the actor particularly can do what you're watching because it seems more real.
Considering the movie includes so many half-angels, who's your favorite Victoria's Secret angel?
JCB: I went to school with Cara Delevingne. She's a Victoria's Secret angel, so she's personally my favorite because she was like my little sister growing up.
KZ: And I follow her on Instagram, so I would say her as well.
JCB: [Laughs]
Did you know that Jamie knew her?
KZ: I didn't, no.
JCB: Well, I'll set you guys up.
KZ: By the way, just like Lily she has great eyebrows.
JCB: She does, yeah. She does have good brows.
Alec has some feelings for Jace and they're adopted siblings. And I believe—spoiler alert—Clary and Jace are also siblings but have feelings for each other. What is this movie saying about sibling relationships?
KZ: [Laughs]
JCB: Incest is best but can your grandma take the test? [Laughs] That was the tagline we originally went for but we changed it—
KZ: To "You have been chosen."
"By your sister."
JCB: [Laughs] Well, we find out in the book series later on that Jace and Clary aren't brother and sister. So it's OK.
But they think they are?
JCB: They think they are, yeah, and I think that for Jace that's his biggest demon, no matter what he has to fight, is the love that he has for—I haven't said this before and it's quite a delicious line, actually: His biggest demon is the love that he has for this girl and the fact that he can't. It's not unrequited, it's just taboo.
KZ: Alec does clearly have feelings for [Jace], but we switched it from just being this hollow sexual attraction thing. Because for me at least there's a lot of that in the book, and I felt like in order to create a dynamic character, especially if you have a gay character, the notion that they're just walking around and attracted to every guy … I think the dynamic that Jamie and I have helped steer the way that Alec's feelings toward him are. It has nothing to do with me wanting to jump Jamie. It's more this brotherly—certainly there's other feelings involved, but it's not this pulsating sexual dynamic that I have. Like we do personally.
JCB: Yeah, absolutely. That's good. Thanks Kev. [Laughs]
I was going to say …
JCB: [Laughs]
Kz: We were able to tailor based on our own relationships, and I think Lily and Jamie have such a great thing, but we were able to find in a way that wasn't so forced and it's not me sitting behind Jamie checking out his arse every time he walks by me.
JCB: Exactly. The attraction is not aesthetic. It's not skin-deep. It was more spiritual than that. Which is why the characters go through the torment. Because if Alec for instance just wanted to sleep with Jace, when it's addressed it would be hollow like Kevin says. And if it was the same for Jace and Clary it wouldn't really mean as much, and that's why there is confliction between all these characters.
So it won't be awkward for people to see this movie with a sibling?
JCB: No, I don't think so. Not unless you're planning on snogging 'em.
Which would just be awkward.
JCB: Yeah, which would be weird anyway.
KZ: And is completely their own business.
JCB: Yeah, exactly. Whatever you're into …
KZ: As long as you go buy tickets.
Jamie you didn't know how much of Jace you had in you, and it opened up a dark side you didn't know was there. How did your recognize that, and what does this mean for the future?
JCB: I think acting for me is an incredibly cathartic process anyway because I do get to explore sides of me that I don't explore on a daily basis anyway. So with Jace … I made him very dark. I made him brooding and dangerous, and he got under my skin quite a bit. He definitely got into me. It was great that I was aware of that and was able to, once we finished shooting, took myself away and went to Bali. And didn't go find myself again, but I just needed a little bit of R and R.
To make sure you were not a dark person.
JCB: Well, yeah, just to sort of release it and just let it go, but it's great that I know that that's there so coming back for movie two that I'm able to tap into it and able to not let it take over my life in such a big way.
Kevin, do you like talking about the first time people saw you, the kids' sports movies, or do you prefer not to think about them?
KZ: To me, whatever part of your story as it is, there's many things I'm grateful of for having started when I was six, which is that I'm comfortable on set. There's a lot of things that have been a huge benefit to me. I made a lot of mistakes when I was younger and I'm now able to—this is all a bit overwhelming. You go to these malls and there's people screaming, and we went to Comic Con and it's all a bit wild—
JCB: [gesturing to the movie poster] There's a big poster of your face …
KZ: Right, there's that. But I think because I had found some success when I was like 12 and then again when I was 20, I think you sort of learn how—and you know not many people get a couple of cracks at this thing … It's very easy to lose yourself in this, and then you never get another go at it. So for me it's different every time it comes back around, and I think it's helpful for me that this is not totally new for me. And I think also just being on set: There's 150 guys standing around, and if you're not used to being on set … I'm much more comfortable on set than I am in my own personal life. [Laughs] it's just where I grew up, so it makes it easier for me to do my job.
Which is more likely: a dog playing basketball a monkey playing hockey?
KZ: The monkey playing hockey was actually much easier to do, I have to say. Because they're a lot more like us. [To Jamie] Did you know I did a movie with a monkey that played hockey?
JCB: No, now I do.
KZ: Grade-A.
JCB: What's it called?
KZ: "Most Valuable Primate."
JCB: OK. I'm going to watch it.
KZ: You should.
JCB: What team did the monkey play for?
KZ: Mine.
JCB: Your team. Obviously.
KZ: He was my monkey. Chimpanzee. We're not supposed to call them monkeys.
JCB: Oh, really? They get offended?
KZ: The animal people do. 'Cause they're not monkeys.
JCB: The animal people?
KZ: You know, like PETA or whatever.
On Chicago: "It's my favorite city in the world. I'm dead serious. I'd like to move here actually at some point. My wife and I have friends here. I think It's a good place to raise kids. We have friends who live in Highland Park, which is like my favorite place. I play a lot of golf. There's a lot of good golf places there … I don't say that in every city. Most of the cities we go to are [bleep]." (KZ)
Watch Matt on "You & Me This Morning," Friday at 6:55 a.m. on WCIU, the U
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Mostly dogs but I wanted to share a couple pics of the chicks as they are growing!
The little cochin, now named Alice after Resident Evil is SOOOO adorable with all of her leg feathers! The girls are growing up so fast!
And they're off!
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Multi-band Differential Photometry of the Eclipsing Variable Star NSVS 5750160
Robert C. BerringtonBall State University, Dept. of Physics and Astronomy, Muncie, IN 47306
Twenty-Two New Variable Stars in the Northern Sky and Light Elements Improvement for PT Lyr, [WM2007] 1157, and [WM2007] 1160
Riccardo Furgoni
Keyhole Observatory MPC K48, Via Fossamana 86, S. Giorgio di Mantova (MN), Italy
AAMN Gorgo Astronomical Observatory MPC 434, S. Benedetto Po (MN), Italy
23 New Variable Stars
Maurice Clark
Texas Tech University, Physics Department, P.O. Box 41051, Lubbock, TX 79409
Received May 20, 2014, accepted June 30, 2014
BVRI Photometry of SN 2013ej in M74
Michael W. Richmond
School of Physics and Astronomy, Rochester Institute of Technology, 84 Lomb Memorial Drive, Rochester, NY 14623
Received May 19, 2014; revised June 24, 2014; accepted June 25, 2014
Observations of Novae From ROAD
Franz-Josef Hambsch
Oude Bleken 12, B- 2400 Mol, Belgium
Presented at the 103rd Spring Meeting of the AAVSO, Big Bear Lake, CA,
June 13, 2014
Received August 11, 2014; revised September 9, 2014; accepted September 10, 2014
Report on the Photometric Observations of the Variable Stars DH Pegasi, DY Pegasi, and RZ Cephei
Ibrahim Abu-Sharkh
Shuxing Fang
Sahil Mehta
Dang Pham
Harvard Summer School, Harvard University, Cambridge, MA
AL Pictoris and FR Piscium: Two Regular Blazhko RR Lyrae Stars
Pierre de Ponthière15 Rue Pré Mathy, Lesve, Profondeville 5170, Belgium
Franz-Josef (Josch) Hambsch12 Oude Bleken, Mol, 2400, Belgium
Current Light Elements of the δ Scuti Star V393 Carinae
Roy Andrew AxelsenP. O. Box 706, Kenmore, Queensland 4069, Australia
Received May 1, 2014; revised July 1, 2014; accepted July 1, 2014
EQ Eridani, a Multiperiodic delta Scuti Star
Roy Andrew AxelsenP.O. Box 706, Kenmore, Queensland 4069, Australia
Received May 24, 2014; revised August 8, 2014; accepted August 11, 2014
Amplitude Variations in Pulsating Yellow Supergiants
John R. Percy
Rufina Y. H. Kim
Department of Astronomy and Astrophysics, University of Toronto, Toronto, ON M5S 3H4, Canada
Received June 12, 2014; revised July 24, 2014; accepted July 24, 2014


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Before you attempt to redeem any or our Cosmetic America coupons, please be aware that on occassion some online discounts, coupons and coupon codes are only intended for first-time Cosmetic America customers.
Furthermore, with Cosmetic America percentage off discount coupons or coupon codes, the discounts typically exclude Cosmetic America gift cards, sales tax and/or shipping charges.
With US retailers free shipping deals and coupons are most typically limited to ground shipping within the continental United States. UK and Canadian stores have their own shipping guidelines.
Finally these online promotional Cosmetic America coupons and coupon codes are for use online only. On occassion a vendor may clearly indicate that a store pick up is permitted.


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SXSW Tour: Rain, Food Trucks and Whimsical, Bizarre Promotions [PICS]
Scenes From SXSW
As thousands flocked to Austin for the first day of SXSW, they experienced something nobody expects to find in Texas: rain. The weather was one of the most talked-about topics on Twitter in Austin, as shorts and tees were traded in for umbrellas and galoshes.
But the rain didn't stop anyone's fun at the conference. There were still lines at the food trucks that had sprung up around Austin Convention Center. Note: If you're at SXSW, be sure to find Mashable's own truck for some free empanadas. It's becoming a popular way for brands to promote themselves — who doesn't love free food served from a cool, brightly colored truck?
There were also several other creative promotions: Highlight, the second-highest-trending app on Mashable's mRank SXSW buzz meter, was touted with neon-colored shopping carts. HBO lent out bicycles to help attendees navigate the 15 campuses hosting panels this year, and Chevy hosted power stations to help the insatiable need for recharging at SXSW.
Are you at SXSW? Submit your pictures via Olapic or tweet with the hashtag #mashsxsw, and we might include them in our roundups.


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Dot Hoop Studs in Brushed Brass
Smart, contemporary earrings with a sleek wood-mounted brushed brass stud and brass hoop.
Collection No. 6 uses architectural forms and geometric shapes in brushed brass and painted wood to be both sophisticated and playful - perfect for daytime and evening wear.
Comes in a W&M gift box.
Handmade in our North London studio.
Made from brass and wood with sterling silver earring posts.
Each earring is approx. 4.4cm x 3.3cm with a weight of 1g.
Here are some easy care instructions to help look after your Wolf & Moon jewellery and keep it in great condition:
- Store your jewellery in a pouch or box.
- Clean gently with a soft cloth.
- It is best not to sleep, shower or exercise whilst wearing your jewellery.
- Avoid dropping your jewellery onto hard surfaces.
- Sprays and creams including soap, perfume, moisturiser and suncream can cause damage to some acrylic pieces and metal components so it is best to remove your jewellery before using any of these products.
Click here for more information on how to look after your Wolf & Moon jewellery.
All our jewellery is handmade in the UK, supporting fair wages and safe working conditions.
Spend £50 and get free UK standard shipping!
UK Standard Delivery | 2-4 business days | Royal Mail - £2.95
UK Next Day Delivery | Order before 2pm | Royal Mail Special Delivery - £4.95
International Delivery - from £6.95
Click here for more information about UK & international deliveries or returns.
- Reviews
- Questions
These are my go-to earrings that I could not live without! I completely wore my last pair out after wearing them almost everyday for years. I have short hair and love how these earrings are all I need to make my look more feminine. Can't recommend highly enough!
I love them! Very beautiful. Great quality. I'll buy from you again, thanks.
I love these they are so pretty and light. I can wear them with anything. Plus I love that I purchased them the day the money went to Black lives matter. Well done Wolf and Moon.


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This Rose playhouse features a spacious play area, perfect for kids to play in the garden. Suitable for domestic use only.
The 5ft x 5ft Honeypot Rose Playhouse is a great way to give your kids their own space in the garden and have fun with friends. The Rose is made from fully planed and rounded timber. The substantial and solid OSB sheet flooring is a long-lasting and offers strength as well as long term performance. The exterior of this playhouse is made from 12mm tongue and groove cladding which locks together to form a hard wearing and resilient panel against adverse weather. The windows are fixed and safety glazed with styrene which is 100% shatterproof. The Rose Playhouse offers a space for your children to run wild and get active in the garden, the perfect space to store their endless toys and great for imaginative play.
Please note: Suitable for ages 36 months+.
|Imperial Size
|5 x 5
|People Req'd To Build
|1 x 1 (28x28mm)
|Anti-Rot Guarantee
|10 Years
|Cladding Material
|12mm Shiplap Tongue and Groove
|Roof Material
|9mm Solid Sheet Board
|Floor Material
|9mm Solid Sheet Board
|Roof Type
|Door Style
|Playhouse Type
|5' 2"
|5' 2"
|Eaves Height
|3' 9"
|Ridge Height
|4' 2"
|Door Width
|1' 11"
|Door Height
|3' 2"
Rose Playhouse (SI-002-001-0049)
Importand Information
Our dip treated buildings, once installed, will need treating as soon as possible and on an annual basis in order to receive the 10 year anti rot guarantee*. The building also includes a 1 year manufacturers guarantee* as standard.
Dip Treated Buildings
Our buildings are supplied flat packed as DIY kits with full instructions.
It is the customer's responsibility to follow the instructions outlined in Aftercare.
All of our buildings are delivered unpainted. The buildings are dressed for display, we don't supply any accessories or shelves featured within the product images.
Our factory applied Dip Treatment may differ in shade between components as it is simply a basecoat.
Exact product dimensions are supplied on the listing as we do round off the main size of the building in order to make it easier for customers to find, so please be sure to check the item's specific measurements carefully.
All measurements refer to the exterior of the building which includes the roof overhang unless stated otherwise.
Our styrene windows are protected using a clear film which will need to be removed after you've installed the building.
Delivery times highlighted with an asterisk (*) refer to working days.
10 Year Anti-Rot Guarantee
Our Dip Treated Garden Buildings come with a 10 year anti rot guarantee. Anti-rot protection guards against fungal decay. The guarantee does not cover movement, twisting, warping or splitting of timber products over time.
During manufacture we apply a water based treatment which protects against fungal and insect attack. This treatment lasts approximately 3 months and will require a preservative top coat application as soon after construction as possible.
In order to keep your building in tip top shape and maintain the 10 year anti rot guarantee, it will need re-treating at least annually. Only high quality timber preservatives should be used and applied in accordance with the manufacturer's instructions. This must be done at least annually to preserve the 10 year anti rot guarantee. For more information please refer to the Waltons T&C's.
1 Year Manufacturer's Guarantee
Subject to the conditions set out in the T&C's (Section 8) the Seller warrants that the Goods will correspond with their specification at the time of delivery and will be free from defects in material and workmanship for a period of 12 months.
We want you to enjoy the use of your new garden building for many years. To give you the best chance of doing so, your product needs protecting at the start and maintained during its life. If you're planning a DIY project, please read our Self-Installation & How to Build a Shed advice pages before you start.
All long-lasting garden buildings will have been built on a solid and level base, either concrete, slabs, a wooden frame or ground level bearers. A flat, level base is essential, for more information go to our How to Build a Shed Base guide.
If your garden building is not level and square when built, it will twist and warp with the natural movement of the wood. The first signs of this are when the doors or windows stop opening and closing properly. You may get issues with the roof and potential gaps in the panels which will allow water in, there may be flex in the floor and probably creaking. Check your base is level in both directions and adjust prior to the build. It will be really difficult to adjust afterwards.
Our styrene windows are protected using a clear film which will need to be removed after you've installed the building.
All Waltons shed windows are designed to fit well, but over time and with the movement of wood, small gaps can appear. Help to prevent this by sealing your windows with a silicone sealant. You can do this either when you build your shed, or add it to an existing one. We've created this video Protect Your Shed - Silicone Window Sealant for guidance.
Should you require any further advice, you can contact our Customer Service Team on 0800 029 1000 and select Option 3.
Delivery Information
Delivery on this building is 7-10 working days to most UK Mainland addresses.
You can book the day of your choice for delivery when placing your order, alternatively you may place your order without selecting a delivery date and one of our team will contact you directly to arrange a suitable delivery date.
Due to the nature of our products we are unable to deliver to the Republic of Ireland, some areas of Scotland and any offshore islands. If you are unsure then please use the postcode to see if we are able to deliver to your area.
Important - Unless otherwise stated delivery is kerb side only, though at the drivers discretion they may be able to help you lift the building to a more suitable location outside your property. If you need to transport the building through your house then you will need to make your own arrangements prior to delivery to do this as our drivers are not insured to enter your house.
The Customer or Friend/Neighbour will need to be present to sign for the delivery. We cannot leave the item without a signature.
Our driver will call you when they are approximately 30 minutes away from your location.
We offer a 14 day money back guarantee on all of our garden buildings. The guarantee commences from the date which you receive your item and we offer a free collection service as part of this agreement.
The building must be returned in its original, untreated, resalable condition. Until the item is collected by our courier, it's the responsibility of the customer to ensure that the building remains in this condition.
As the buildings are sold as DIY kits, we cannot dismantle on your behalf and we cannot be held liable for any third party costs. Once the building has been received by our factory, a full refund will be issued within 1-3 working days.
One of our agents will contact you to arrange a suitable delivery date. Please note that delivery to certain areas of the UK will incur a delivery surcharge, payment for which will need to be provided before the goods are shipped.
Important - Delivery is kerb side only, though at the drivers discretion they may be able to help you lift the building to a more suitable location outside your property. If you need to transport the building through your house then you will need to make your own arrangements prior to delivery to do this as our drivers are not insured to enter your house.
© 2020 Van Meuwen. All rights reserved. A division of BVG Group Ltd.


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Purdy Construction and Renovation, Inc. established in 1987, in Waco, Texas; is a full service General Contractor doing renovation, remodel, additions, custom homes and light commercial projects in the central Texas area. The owner and president, Gerald Purdy, has over 30 years experience in commercial and residential construction.
Our goal is to provide quality construction services at an affordable price. We also strive to finish our projects on time, and with the least inconvenience possible. Our organization is a member of the Waco Chamber of Commerce, the Better Business Bureau and the National Federation of Independent Business.
Whether your project is big or small, it receives the same hands on attention to every detail, from beginning to end. We provide design-build services when necessary and also have served as Construction Managers on various projects.
We take great pride in making your dreams a reality, and enjoy the fact that our previous customers become some of our greatest salesmen.


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I have found an identity.
Is that really such a big deal? The thing is, I didn't realise I was missing one. There are so many things I could call myself: a human, male, a father, a husband, a writer, a thinker, a gardener, a campaigner…so many things that I feel pretty comfortable with, yet until a couple of weeks ago I didn't realise there was something missing; something that yawned inside me, empty and lacking substance.
As consumers we feel so fulfilled; everything is within arms reach, or just a short drive down the road in the shopping mall, or on the internet by next day delivery. Everything we could possibly need. Consumers are the lifeblood of the industrial economy: it is the confidence of the mass of consumers that characterises the health of the economy, for without an optimistic buying public there is recession, slump, depression and, finally, collapse. A perfect symbiotic relationship: the consumer has everything she wants, and the economy rises on the continued satisfaction of the consumer.
It's not quite that simple, though, because without one critical hook, the consumer will quickly start to question the nature of the relationship – maybe it's not so fulfilling after all, given that all that hard-earned money has to keep being pumped into the rumbling belly of the infinite beast. Unless there is something more, then the consumer might understand the absurdity of this endlessly cyclical, destructive, mind-hollowing culture: we all feel that emptiness and sense of pointlessness from time to time, don't we? It doesn't last long, though, because to question the consumer culture is to question ourselves: more than anything, the consumer identifies with the culture; the consumer is part of that culture.
Consumer is more than just a word – it is an identity.
The Consumer Identity
When I hear humans being referred to as Consumers, I get angry. Not only is it because of the obviously abhorrent nature of consumerism that I get angry, but because the word "Consumer" is such a blatantly imposed label – it stinks of domination, of the entrapment of human beings into a single archetype; state-sponsored and corporate approved. The template for the modern human.
What kind of bloody identity is "Consumer"?
We are raised, as civilians within the industrial world, to believe there is a single mode of fulfilment that will hold us in good stead from birth to death. We must never question it; we must never challenge it; we must only identify with it. Carolyn Baker describes this crisis of identity in her book Sacred Demise, in the following way:
Civilization's toxicity has fostered the illusion that one is, for example, a professional person with money in the bank, a secure mortgage, a good credit rating, a healthy body and mind, raising healthy children who will grow up to become successful like oneself, and that when one retires one will be well taken care of. If that has become our identity, and if we don't look deeper, we won't discover who we really are.1
If we identify ourselves as "Consumers" then that leaves little space for anything else because, as Baker makes clear, the illusion that the civilized world creates is a lifelong one, and if we are to remain in its grip we must reject anything else that might conflict with that illusion.
There is no room for connection with the real world, the world in which we are part of the cycles of nature and the webs of life – connection to the telephone network or the internet is the consumer way; there is no room for the breathtaking joy that comes from watching the sun rise across a beach, accompanied only by the cries of the gulls and the wash of the sea – you have to buy the experience from a travel agency; there is no room for the exquisite tastes and smells of your own grown or gathered food made into healthy meals for everyone to share – you can share a large bag of nachos with dip, while watching a movie on your plasma screen.
I gave up being a consumer long ago: before, I had no idea that's what I was; none of us have any idea how much of us is composed of this forcibly imposed identity…until we decide to stop being what the system makes us.
But the void is large, and the consumer identity keeps threatening to fill it with each advertisement, news broadcast, political entreaty and subconscious signal: we have to resist; we have to find something else to take its place.
Who Am I?
Not only must we find something so we are able to resist the often delicious attraction of the consumer culture, but we need something else because without identity we are less human. The evidence for this is compelling: identity from the dawn of humanity is written across the ground, the walls and the artefacts of everyone who has ever been part of a tribe or close community. The tongues of countless people have spoken, and still try to speak in myriad different languages, dialects and accents. The way we have dressed; the way we have expressed ourselves; the way we have made our lives different in so many subtle and deliberate ways shouts of the need for an identity, a commonality in our local culture that ensures the survival and enhances the success of each group that shares that identity.
I willingly retain the labels "human", "male", "father", "husband", "writer", "thinker", "gardener", "campaigner": they say what I do and, in part, what is important to me. They also help me to start constructing a new identity for myself, for in the absence of a tribe, or even a close community that I can become part of – being a non-consumer in the middle of a consumer world – finding true identity will always be a struggle. The pieces are coming together, though. I have discovered my Englishness, possibly the nearest I can currently get to a physical, tribal identity. I have the writer Paul Kingsnorth to thank for that:
Many of the people I met during my travels exhibited a solid, quiet Englishness that had nothing to do with pained intellectual definitions and everything to do with belonging to the historical landscape they were part of. This, it seems to me, is crucial. Landscape and belonging are tied inextricably together. Englishness, as an identity comes not from institutions or vague ideas about 'values' but from place.2
I was born in England and I have lived here all my life. I love this country as a place, and I am content to root myself in the soil from which its life emerges. I have, very recently, also realised that a large part of what I write and speak about is rooted in Anarchy; the simple and natural concept that there is no place for arbitrary authority nor a self-selected hierarchy – the kind that the political and corporate milieu utilise to ensure we remain good Consumers. In that sense, Anarchist is the antithesis of Consumer, and I know which identity I am more comfortable with.
There are many other pieces for me to find; some of them may shuffle around and some may come and go over time, but at least I am now able to choose my identity for myself. That is a wonderful thing, one that we owe it to ourselves to fight for.
[Note: Since writing this article I have moved to Scotland, and my identity has changed – but I still have one, that's the main thing.]
1. Carolyn Baker, "Sacred Demise: Walking The Spiritual Path of Industrial Civilization's Collapse", iUniverse, 2009.
2. Paul Kingsnorth, "Real England: The Battle Against The Bland", Portobello Books, 2008.
Originally published at http://earth-blog.bravejournal.com/entry/38498


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On Bended Knee
1. In prayer and deep sincerity, I come again on bended knee.
This sweet communion makes me whole. Brings solace to my troubled soul.
I daily learn humility in fervent prayer, on bended knee
2. In former times, a faithful youth appealed to God for light and truth,
Where darkness and despair had been came plain and precious truth again.
Thus Joseph's prayer amidst the trees was answered while on bended knee.
3. And Jesus in Gethsemane proved His eternal love for me.
Atoning drops of blood were shed to save my soul from sin and death.
"Thy will be done," obediently the Savior prayed on bended knee.
4. He gently heals my aching heart. My loneliness and fear depart.
The peace the Holy Spirit gives is testimony that He lives.
I feel my father's love for me when I'm in prayer on bended knee.
Text: Kevin Olson
Music: Kevin Olson
Artist: Olsen
Album: Music Published in the Church Magazines: New Era
Composition Date: 2012-04-04
More Info: New Era
prayer, peace, solace, Joseph Smith, first vision, Gethsemane, healing