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The Friendly Website And Graphic Design Company
- Here at Stress Free Media Ltd we believe that making our customers the focus of our attention is what makes us the ideal choice. Whether you run a small or large business you don't get treated any differently. Trusting us with your website and online presence is going to take trust, communication and great customer service. We have worked hard to achieve our reputation, our levels of thought, care and attention to detail are second to none. With over 30 years of experience and a customer database that grows by the day we are one of the leading website design companies in Essex. Phone Number: 01268 923477 Contact Email: email@example.com Business Address: Stress Free Media Ltd | Office 2, 374 Long Road | Canvey Island | Essex | SS8 0JU | England Source: https://stressfreemedia.co.uk/
(Use contact form below)


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According to the study's forecasts, the invoicing and commercialized volume of pork meat will decrease in 2010 and 2011, after 2009 when consumption increased, but sales value decreased. The study also highlights, among other aspects, the census decrease of breeders over three consecutive years, and the decrease of the number of swine farms which went from 97.058 farms on January 1st of 2009 to 94.725 by the 1st of March of 2010, and the fact that swine production is still higher than internal consumption (in 2009 52% more swine was produced than consumed and it is forecast that in 2011 this will be 50%, as opposed to the 30% of 2006).
During the presentation of the study, the strategic weight of the sector internationally as well as nationally, was stressed, highlighting its participation in Final Livestock Production (33%) and in Final Agricultural Production (12,5 %), with invoicing close to 4.500 million euros.

subset: commoncrawl


text: Digital cultureFuture of Mediageek Hands up if you hate Microsoft Jen February 6, 2008 0 Comments Flickr users are making their opinions known about the potential takeover by Microsoft. Check out the visual protests by users here. Thanks for the tip Charlie. Share the feed friend:ShareGooglePinterestTwitterEmailPrintFacebookLinkedInRedditTumblrLike this:Like Loading... Related CategoriesDigital culture, Future of Media, geek, Geek stuff, new product, social mediaTagsBill Gates, Buyout, Flickr, Microsoft, Microsoft takeover of Flickr, Partnerships, Protest, Spoofs


text: Payment Express - Critical Security Changes - Reminder for TLS1.2 16. April 2018 email@example.com (2) In relation to the below you may have received from Payment Express recently - This was a mass email sent to all Payment Express customers, E-retailer users have no need to worry as E-retailer uses the DPS Hosted Payment Solution so no further action is required. Critical Security Changes - Reminder for TLS1.2 Payment Express would like to remind merchants that the requirement for TLS1.2 starts soon - 17th April 2018. These may affect merchant applications so it is critical that your IT/development staff are aware of this in advance. Please see our Security Roadmap webpage for further information: https://www.paymentexpress.com/security-roadmap We have written guides to help our customers understand and prepare for these changes, which are linked on the Security Roadmap page in the 'Guides' section. The protocol will remain available until the 30th June as an absolute drop-dead date. After this date this protocol will not be supported moving forward, this is driven by industry mandates. We cannot guarantee the stability of the TLSv1.0/1.1 protocol between April 17 and June 30. We will be disabling the protocol periodically to raise awareness for merchants that still need to make changes to their systems.


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Most people know just how beautiful diamond jewellery is. It can create a sense of total sophistication. It can make people feel like royalty, too. If you're thinking about purchasing brand new jewellery for any reason, diamonds may be the right choice for you. That's simply because the lovely precious stones offer a wealth of potential advantages. People should always take the jewellery purchase process seriously. If you want to invest in diamonds, you should make a point to learn about what they can offer you.
Investing in diamond jewellery can be wise. If you're all about intelligent investments, this kind of jewellery may be up your alley. People can sometimes make significant amounts of money selling it. Take a look at that diamond pendant that's just sitting in your bedroom drawer seemingly gathering dust. It just may be worth a lot more than you think.
This kind of jewellery is appropriate for all varieties of events and occasions. That's because it's timeless and enduring. If you're not the kind of person who likes to pay attention to passing trends and fads, this jewellery may be ideal for your personality. It can be excellent for basic daily wear. If you want to look chic and polished while you're running around the neighbourhood taking care of quick errands, it can work like a charm. If you want to look amazing at a formal dinner for your place of work, it can be just as effective. Diamonds can make a powerful statement. You can wear diamond jewellery with your most laid-back and basic outfits. You can wear it with the most beautiful and elaborate evening gown on the planet as well. The sky is essentially the limit with diamonds.
This jewellery can also be great for people who have interest in spiritual matters. If you're someone who has a penchant for subjects such as feng shui and astrology, diamonds may be particularly meaningful to you. Feng shui enthusiasts believe deeply that diamonds are packed with power and defense. That may be partially due to the fact that the stones are the toughest substance on the entire planet. Feng shui lovers also think that diamonds give additional power and defense to the individuals who put them on. If you want to be a person who epitomises power, defense and all of the great things that come with them, diamonds may be precisely what you need.
If you want to buy jewellery that's simultaneously durable and beautiful, diamonds can be a strong and sensible choice. If you want to buy jewellery that can always stand the test of time, they may be just as brilliant a choice for you. Contact us at Diamond Rocks London as soon as possible to learn about our plentiful gorgeous diamond offerings. We specialise in diamond earrings, diamond engagement rings and more. Diamond Rocks London is a London, United Kingdom-based business that carries an extensive selection of high-quality jewellery options. Our knowledgeable and dedicated team members know diamonds up and down.


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- For Sale on Behalf of the Executors
- Vacant Leasehold Two Double Bedroom Mid-Terrace House with Large Garage
Guide Price & Reserves
Generally speaking Guide Prices are provided as an indication of each seller's minimum expectation. They are not necessarily figures which a property will sell for and may change at any time prior to the auction. Virtually every property will be offered subject to a Reserve (a figure below which the Auctioneer cannot sell the property during the auction) which we expect will be set within the Guide Range or no more than 10% above a single figure Guide.


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Sign up to receive a $5.00 coupon
Sign up today for Instant Savings!
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Our translucent marble rosaries are a great way to encourage Catholics to pray the rosary daily. Each is durably crafted of marbleized glass beads, a floral Madonna centerpiece and ornate budded crucifix. Rosaries make great gifts for birthday's, holidays and Sacramental celebrations.
Pieces/Pkg: 6


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Kerala VHSE Exam Results 2018, Check VHSE Result 2018
VHSE Exam Results 2018 for the Kerala VHSE Plus Two Exam 2018 has declared on May 10th, 2018. The official result for the VHSE 2nd year exam will be available on official web sites of Kerala education department. The VHSE results are published on www.keralaresults.nic.in
Kerala VHSE result 2018
Students can view their VHSE result on official website of the VHSE board. The vhse students can check their results by using their register number and date of birth. Kerala VHSE School wise results 2018 and VHSE individual results are available online.
Kerala VHSE Plus Two (+2) Results
VHSE Plus Two results 2018 are Published Now. VHSE +2 Results 2018 are now available on www.keralaresults.nic.in
Kerala VHSE Exam Results 2018, VHSE +2 Result 2018
All students can check their result on these official websites by using the registration number / Roll number and date of birth.
Kerala VHSE Results 2018 school wise or district wise results can also be available through the following links.
Related Posts
Kerala DHSE / VHSE Exam Results 2018
Kerala DHSE Plus Two (+2) Result 2018
Other Similar Titles
Kerala VHSE Results 2018, VHSE +2 Exam Results 2018 Kerala, Kerala VHSE Examination Result 2018, VHSE 12th Result 2018, Plus Two Exam Result 2018, Kerala VHSE Class XII results 2018,SMS VHSE Results 2018, Kerala VHSE Exam result 2018, VHSE Result 2018 District Wise, Check VHSE +2 result 2018, 12th Results 2018 School Wise, Kerala VHSE Plus Two Results 2018.


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Who Is My Hollyweird Daddy?
- By Bossip Staff
1 of 2
This adorable baby was born less than two months ago to a swirly Hollyweird couple who also happen to be newlyweds. While this handsome little guy's mom has mostly worked behind the scenes for her pop singer bestie, Papa is an established actor who had a plum role in one of our favorite teen cult flicks and was a staple on a syndicated TV sitcom. Do you know who his Hollyweird dad is?
Hit the flip for the answer!
This beautiful baby boy is none other than precious little Rocco Faison, Cacee Cobb and Donald Faison's new infant! How cute is he?
More Stories From Bossip
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Gotta love a chunky heel purple sandal! The Rebecca Minkoff Goddess Platform Sandal has leather suede uppers with a buckled ankle strap. The shoes feature a covered platform and stacked 4 1/2 inch heel. Love it!
Jan 23, 2012
Rebecca Minkoff Goddess Platform Sandal
Jan 19, 2012
Jessica Simpson Wish Purple Potion Heels
The Jessica Simpson Wish Purple Potion Shoe is the perfect heel for a pop of color with your favorite little black dress or party outfit. It features a multi-color upper and patent leather accents on a half inch double stacked platform, and a patent 5 1/2 inch heel. I love the vibrant blue on this one!
Shop the Jessica Simpson Collection at Heels.com


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Here are the numbers for last month's poll.
May's Poll Question Results: Which Note Taker/Accessible PDA Do You Want To Own?
PAC Mate Omni 6 (21%)
mPower 3 (10%)
Icon 1 (3%)
Braile Sense Plus 3 (10%)
A new Smartphone with Access Software 14 (50%)
Other 1 (3%)
I'll be up front and honest... The PAC Mate number surprises me. Don't get me wrong here but the PAC Mate upgrade is very compelling. You get Windows Mobile 6, the ability to use Wireless G and the Power Point Viewer. And if you have a PM then by all means go out and upgrade the unit. I just don't know if the Mate is the thing I would want when faced with today's options in the PDA/Note Taker arena. Still to each his or her own and I can't argue with numbers or the previous success of the PM.
Speaking of numbers... how about that Mobile Phone number. That is good news for Mobile Speak, Talks and others. I'm sure a few of those who selected that option also dreamed of the N 82 and a little somthin' somethin' right? Perchance to dream I guess.
Honorable mention has to go to GW Micro for the buzz they have gathering on the new updated Braille Sense Plus. Now if they would only pin a few arms back in korea and get them to get us a QWERTY version of that thing! Sigh.. what did I just say about dreaming?
While we are dreaming let us consider what else we would do if money happened to be no object. June begins the big convention season. So why not a poll question on...
June's Poll Of The Month: If money fell out of the sky I would go to which Convention?
Sight Village
Closing The Gap
ACB National Convention
NFB National Convention
I've been to three out of that list. Sadly one of them wasn't Sight Village. Yikes! I would be so broke if I did go. One day of that trip would have to be to *the* Tenth Planet for a ton of Sci Fi gear I can't get in the States. Daleks, Cybermen and Torchwood everywhere. Oh the customs fees! Oops, sorry dreaming again.
I am more than likely heading back to Dallas this year to meet up with a lot of my friends in the biz. So I guess I will have to add a "plus one" to the NFB number when this poll ends.


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But That Doesn't Mean You Can't Find Hotel Deals in Bangkok
I've always said and I'll say it again. Bangkok has hotel deals all year round. Plus the recent incident in central Bangkok has scared away a lot of tourists, many hotels are trying to win back visitors by slashing their hotel rates. So today, you can find better than usual rates.
And it's always good to stay at a hotel near the red light districts. Though on this post I'm going to focus on which 4 to 5 star hotels in Bangkok close to hookers and are guest friendly.
First up is one that I've always recommended and never had anyone complain about it afterwards, it's the 4 star Phachara Suites Sukhumvit and they have a 55% off discount. Last I checked you can get a deluxe room at the Phachara for around 2200THB. That's a bargain!
Another 4 star hotel I can confidently recommend is the Continent Bangkok Hotel which is very close to Soi Cowboy. The Continent has a deluxe room offer for 3600THB.
Finally another 4 star hotel I've been recommending for the longest time is the Majestic Grande Sukhumvit which was renovated in 2013. You can snag a Grande Superior room for around 2500THB.
All 3 hotels have really good reviews and the rates are as good as they get for now. So it's best to reserve your room as soon as you can.


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Global Non-Invasive Monitoring Device Market will grow steady at the CAGR of 7% during the forecasted period of 2017-2023.
The non-invasive monitoring device is used for the monitoring of various disease conditions such as cardiovascular diseases, neurological disorders, obesity and others. These devices receive an application in various fields such as cardiology, neurology, oncology, and others.
There is an alarming increase in the prevalence of cardiac arrest and diabetes across the globe, which is one of the major drivers for the market growth. Additionally, the market is also driven by growing emphasis on disease management and presence of key players in the market. These players are engaged in the manufacturing non-invasive monitoring devices such as cardiac monitors, blood pressure monitors, and brain monitors.
Get a Sample Copy of This Report @ https://www.marketresearchfuture.com/sample_request/1506 .
Key Players:
Some of the key players in the Global Market are KONINKLIJKE PHILIPS N.V. (Netherlands), Medtronic (Ireland), Omron Corporation (Japan), General Electric Company (U.S.), Abbott (U.S.), Integrity Applications (Israel), Vaso Corporation (U.S.), CNSystems Medizintechnik AG (Austria), A&D Medical Inc (Japan), NIMedical (U.S.), CAS Medical Systems, Inc. (U.S.), OrSense Ltd (Israel), Tensys Medical Inc. (U.S.), Advanced Brain Monitoring, Inc. (U.S.), NIMedical (Israel), AERO HEALTHCARE (U.S.), Cheetah Medical (U.S.), Nonin Medical Inc. (U.S.), LiDCO (U.K), BIOPAC Systems Inc. (U.S.) and others.
Regional Analysis:
America is the largest market for non-invasive monitoring device whose growth is attributed to rising importance of cardiac and brain monitoring for patients with cardiovascular diseases and neurological disorders. Additionally, availability of a large number of table top and wearable devices in the market fuel the market growth. Increasing demand for devices with cutting-edge technology is creating growth opportunities in the market.
Europe holds the second position in the market with Germany, the U.K, and France being the largest contributors to the market. The market growth is determined by increasing number of people using wearable monitoring devices.
In the Asia Pacific, the market exhibits tremendous growth, which is attributed to the growth of the healthcare IT industry and growing emphasis on cardiac health monitors. Also, rising awareness about neurological diseases and use of brain monitoring devices and demand for high quality and affordable health monitoring devices fuel the market growth.
Get Attractive Discount of This Report @ https://www.marketresearchfuture.com/check-discount/1506 .
Japan, India, and China are expected to exhibit high growth potentials in the market. Also, increasing geriatric population with a number of chronic diseases and changing the lifestyle of people further improve the market growth. In the Middle East & Africa, market exhibits a positive growth determined by the rising demand for diagnostic services and increasing emphasis on primary health care.
Brief TOC
1 Report Prologue
2 Introduction
2.1 Scope of Study
2.2 Research Objective
2.3 Assumptions & Limitations
2.3.1 Assumptions
2.3.2 Limitations
3 Research Methodology
3.1 Research Process
3.2 Primary Research
3.3 Secondary Research
4 Market Dynamics
4.1 Introduction
4.2 Drivers
4.3 Restraints
4.4 Opportunities
4.5 Challenges
5 Market Factor Analysis
…TOC Continued
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Carrick's newly-promoted 2nd and 4th XIs' opening league fixtures suggest they will be more than comfortable at the higher level, with both recording very convincing victories on Saturday.
The 2nd XI travelled the play last season's Junior 2 runner-up at Ballygomartin Road, and a youthful Carrick side had a resounding 95-run victory over their more experienced opponents.
A superb unbeaten innings of 75 by 16-year-old Samuel Osborne led the way for Carrick as they scored an impressive 224 for 5 in their 40 overs. Osborne received excellent support from Jack Burton who hit 33, Adam Fittis and Craig Hamilton who both scored 31, and John Kane with 28.
Woodvale were never in the hunt and were all-out for 129, with only former Carrick veteran Joie Campbell with 29 making a meaningful contribution.
Alastair Burton took three wickets for Carrick, with son Jack taking two to secure 4 points for their side
Carrick's 4th XI were victors by a margin of 62 runs over Laurelvlale 3rds at Beltoy. After struggling to 30 for 5, 15-year-old Sam Lilburn scored an unbeaten 37 on his debut, and skipper Glen Graham hit 23 to give Carrick a more respectable 126 for 7 at the end of their 25 overs.
Faced with some accurate Carrick bowling, Laurelvale struggled to 64 for 8 at the end of their 25 overs, with skipper Stewart scoring 30. Stewart McCormack, who took 3 for 13, and James McMahon-Beattie with 2 for 7 were Carrick's most successful bowlers.
Meanwhile, a brilliant 106 by Jack Burton made it a clean sweep for Carrick sides at the weekend as the 3rd XI romped home to a 115-run victory over CSNI IV at Stormont on Sunday.
Burton's hundred, together with 58 from Bradley Luney, and an unbeaten 37 from Max Burton saw Carrick post 228 for 3 in their 30 overs.
The home side were bowled out for 113.


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No macchiatos this morning. 😦
Peach pie and cinnamon roll from last night's farmer's market. 🙂
Ride out to Bear country: Headwinds, rumble strips, uphill 😦
Bear country rest stop: Nutella and banana on whole wheat bagel 🙂
Bear stuff!
Ride back into Cody: super fast and photo ops!
Lunch at the Hotel Irma with our Zombie friend:
Who decided to accompany us to the Buffalo Bill Center of the West for Game of Thrones references:
…who reminded me of an e-mail I'd gotten that day. Back in July, a friend had texted me this picture:
We fell in love, but given my travel schedule for August, it didn't seem fair to take in a new member of the household. I asked his foster dad to contact me if he was still available at the end of the August. It was now the end of August and this little kitty still didn't have a home…
Over macchiatos, we contemplated Hayabusa the peregrine falcon:
and of course, zombie mayhem before


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Thursday, 24 August 2017
"Exclusive to SyrPer" by Canthama
Some perspectives on the recent gas fields liberated in Syria and their impact on the future economy of Syria:
From peak production in 2010, prior to the war of aggression against the Syrians, the natural gas production reached 8.9 million(M) cubic(cu) meters(mts) per day in Syria, and it has been in a free fall since then to 3.8M cu mts per day in 2016, 43% of the all time record (this is basically official production under the Government of Syria).
Just the mega Tuweinaan gas field, recently liberated in central Homs Province, mostly intact, will be able to produce 3.3M cu mts in 6 months time as per initial plan, which could be intensified so as to reach the milestone of 0.6M cu mts per day production in few weeks, then 1.1M cu mts per day in 2 months and full force in 6 months or 3.3M cu mts per day of natural gas, that would almost, alone, double the country's 2016 production.
Together with Tuweinaan gas field, over two dozens of gas fields were also liberated in the past 2 months, though smaller in size and in production capacity versus Tuweinaan, the Syrian Government believes those liberated gas fields can reach the production level from 2010 in 6 to 12 months. The Palmyra area in central Syria is the site of much of this activity, including the recently liberated Arak gas field, which came on stream at the end of 1995.
Other important gas fields in the Palmyra area include Al-Hayl (liberated) and Al Doubayaat (still under ISIS, but not for long) — both of which are "sweet gas" and two "sour gas" fields — and Najeeb (mostly liberated this past Sunday) and Sukhna (fully liberated), which came on stream in 2000. Most of these fields will likely enjoy expansions in output post-conflict.
The Syrian Government's herculean effort, during the 7-year conflict, to pump as much gas from the fields that were kept safe under the control of the State, generated much higher output in those individual gas fields versus prior to 2010 output, which helped to minimize the loss in production with the majority of gas fields under the terrorists' control. On top of that good performance, the newly liberated gas fields, when in full production, can be expected to produce over 10M cu mts per day sometime by 2018, which would by itself be an all-time record for the country and a much needed resource of power and heating.
It is important to note that it is yet to be seen whether brand new investments to extract natural gas from the shallow waters off the Mediterranean coast of Latakia and Tartous will be forthcoming. There are massive reserves ready for development which will be fairly cheap to extract due to the low depth water and the size of the reserves. These underwater gas fields are similar to those identified on the Lebanese and Palestinian coasts.
Syria was never a major oil player, but it produced more than its internal needs prior to the war of aggression against it. Syria produced some 400,000 barrels per day in 2010 (all time record of 600,000/day in 1996), exporting 30% of this volume to overseas customers.
Different from the natural gas production, the conflict severely affected the Syrian oil production (official), reducing it to a fraction of the 2010 level, 3% of it or 14,000 barrels a day. This number does not take into account the oil smuggled to Turkey/Iraq Kurdistan/Israel by ISIS or Al-Qaeda.
By far the major oil extraction is located in the Deir El-Zor Province, reaching 60%+ of the total 2010 production level, with 'Umar field representing 80,000 barrels/day prior to the conflict, or 20% of national share. The oil found in Deir El-Zor back in the 1980s is the light-grade/low-sulphur oil, usually praised as high quality/value oil.
On the oil refinery side, Syria's two oil refineries are located at Baniyas and Homs. Total refinery capacity from these refineries in 2004 was estimated at 239,865 bbl/d (132,725 bbl/d and 107,140 bbl/d, respectively). They survived intact the war of aggression against the Syrians, and this is going to be very important for the future of Syria. The two refineries are using imported oil at the moment, mostly from Russia and Iran.
Photo arquive: Baniyas Refinery
Photo arquive: Homs Refinery
It is clear that the liberation of all of Deir El-Zor's oil fields will be vital for Syria's recovery in 2018-2019 and will help bring new revenues from exports and most likely billions of Rubles, Dinars and Yuans in new construction projects and re-develpment of infrastructure.
In the next weeks the SAA and allies will be approaching the critical point when they will have to storm Deir El-Zor City and cross the Euphrates. This will be a game changer for the economy of Syria and long-awaited endgame for ISIS.
Read more
River to Sea Uprooted Palestinian
The views expressed in this article are the sole responsibility of the author and do not necessarily reflect those of the Blog!
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Romanticism has been ubiquitously difficult to define. As Tim Blanning points out in The Romantic Revolution, "[the] first French historian of romanticism — F.R. Torreinx — described his subject as 'just that which cannot be defined,' while Baudelaire wrote that 'romanticism is precisely situated neither in choice of subjects nor in exact truth but in a way of feeling.'"[1] Similarly, Goethe's Romanticism has defied categorization: his works are aesthetically diverse, and, somewhat paradoxically, throughout his career Goethe distanced himself from Romanticism, describing it as "sick," contrasting it with "healthy" Classicism.[2] In classifying Goethe's The Sorrows of Young Werther, however, scholars have found more common ground: the novel is almost always considered a work of the pre-romantic Storm and Stress (Sturm und Drang) period, which took place in Germany during the mid to late eighteenth century.[3] It marked a move away from poetry as a rational, learnable craft, towards notions of the irrational "poetic Genius," which favored spontaneity, feeling, sensibility, nature, and individuality as sources of powerful art.[4] In a way then, Werther, as a work of Storm and Stress, as well as Werther, a man of feeling and sensibility, constitute proto-Romantic models, comprising ideal subjects for the study of Romanticism itself.
In October 2012, my stage adaptation of Goethe's The Sorrows of Young Werther premiered at the University of British Columbia in Vancouver, BC. Starring Ryan Beil, a local actor and comedian, and directed by myself, the show "made its mark" in the season, as one critic wrote.[5] It "made its mark" perhaps because it combined Goethe's eighteenth-century text with modern projection technology and a contemporary set and costume design, creating explicit juxtapositions of old and new, of convention and non-traditionalism, of order and chaos. These collisions, which are characteristic of Werther, were central to my production concept: my adaptation's hypothesis was to redefine Romanticism a living, thriving, multi-medial, and multi-faceted conceptual movement – a kind of struggle – as opposed to a contained literary era, neatly framed by moments in time and defined by specific historical circumstances. This approach was most strongly anchored in my adaptation's musical score, which mixed and conflated pop songs and rock music with period and modern classical music.
In The Romantic Revolution, Tim Blanning calls for "a willingness to enter the world of the romantics by the routes they chose themselves," suggesting "it is through sounds and images, dreams and visions, that the gate to understanding can be opened…"[6] This essay will take precisely this approach: through an examination of my adaptation's "sounds" including Underworld's "Born Slippy," Florence and the Machine's "Breath of Life," Moby's "Why Does My Heart Feel So Bad," Justin Bieber's "Boyfriend," and Rihanna's "Where Have You Been," I will lift Romanticism out of its associated time period, demonstrating how processes of adaptation function to establish vast intertexual webs – "dreams and visions" of sorts — that allow Romantic texts to autonomously redefine themselves as contemporary and complex.
Werther as Hipster, a "coincidentia oppositorum"[7]
In the context of this essay, it is necessary to address a common misconception, which includes my own previously held image of Goethe, and by extension of Werther – that of the sentimental, lamenting, slightly withered, conservative poet – and define the Romanticism that Goethe and Werther actually represented. In their article "Figures of Romantic Anti-Capitalism," Sayre and Löwy define Romanticism as a "coincidentia oppositorum: at the same time (or alternately) revolutionary and counter-revolutionary, cosmopolitan and nationalist, realist and fanciful, restorationist and utopian, democratic and aristocratic, republican and monarchist, red and white, mystical and sensual."[8] These contradictions, they suggest, "inhabit not only the Romantic movement as a whole, but often also the life and work of a single author, and sometimes even a single text".[9] A closer look at Goethe's life clarifies the great extent to which he was continuously at odds with his artistic and political surroundings, torn between worldly and artistic ideologies. Goethe, by all accounts, was just as jagged, complicated, and conflicted as Werther, a kind of "literary figure" himself – that is, a subject torn between idealistic, intense fantasies of himself and the crude realities and expectations of the world. At the young age of sixteen, when the intellectually gifted Goethe left home for the city of Leipzig to begin his university studies, he already found himself vacillating between his artistic aspirations as a poet and his parents' expectations for his law studies. At the time he was suffering emotional extremes that resemble mania and depression, moving briskly between "wild joy" and "melancholic discomfort."[10] In an essay about Goethe's early years, Claudia Kaiser suggests that his double life as a poet and law student jarred the young, sensitive Goethe deeply, causing recurring bouts of depression for the rest of his life, during which he repeatedly destroyed his artwork – poetry, prose, sketches – in fits of self-doubt.[11]
As such, not only Werther, but Goethe, too, resemble contemporary "lost-in-the-world" artist types, the (anti-) heroes of Ben Lerner's recent novels Leaving the Atocha Station and 10:04, for example.[12] In the same vein, Adelle Waldman's Nathaniel P. shares not only Goethe's writerly aspirations, but also his near-compulsive levels of introspection.[13] And his propensity for emotional outbursts is reminiscent of Lena Dunham's Adam of the HBO-series Girls.[14] That is to say Goethe, and by extension his character Werther, appear as what we tend to identify today as the common "hipster." This begs the question: to what extent is "hipsterism" truly a contemporary phenomenon, or potentially a Romantic one? To what extent does a boundary between "then" and "now" exist? Is Romanticism (or "history" as a whole) a linear or potentially a cyclical phenomenon?
The parallels between contemporary hipsters and Romantic figures run deeper than superficial attributes, encompassing ideological and political – weltanschauliche – commonalities, which comprise the foundation for the soundtrack of my adaptation.[15] While the OED defines "hipster" merely as "one who is "hip," [16] Urban Dictionary yields a slightly more satisfying result: it defines "hipsters" as "a subculture of men and women typically in their 20's and 30's that value independent thinking, counter-culture, progressive politics, an appreciation of art and indie-rock, creativity, intelligence, and witty banter."[17] These qualities are mirrored in Robert Sayre and Michael Löwy's definition of the one single "unifying element of the Romantic movement" – the "Romantic Weltanschauung" – as an "opposition to capitalism in the name of pre-capitalist values."[18] The Romantics, then, were often political and ideological non-conformists. This applies to Goethe, but also to second-generation British Romantic writers, such as Keats, Byron, and Shelley, who consistently resisted conformism on political, philosophical-intellectual, and practical levels, which becomes evident particularly in the poets' romantic lives: Shelley and Byron each practiced different forms of free love. During his nomadic marriage to Mary Shelley, Percy had relationships with other women, while Byron seemed to resist traditional forms of relationships altogether, pursuing instead a bisexual, mostly-single lifestyle. Goethe, too, had non-traditional romantic relationships: for years he maintained a passionate exchange of letters with the married Christiane von Stein, which ceased only after she found out about Goethe's relationship with Christiane Vulpius, with whom the poet cohabited, even though two were not married.[19] Werther pays testimony to these non-conformist tendencies. Most importantly, he rejects the rules and customs of middle-class society:
Only nature has inexhaustible riches and only nature creates a great artist. A good deal can be said about the advantages of rules, much the same as can be said in praise of bourgeois society. A man shaped by rules will never produce anything absolutely tasteless or bad—just as a citizen who observes laws and decorum, can never be an unbearable neighbour, or a terrible villain. But yet, say what you will of rules, they destroy the true feeling of nature, as well as its true expression! Do not tell me "that this is too severe a statement; the rules only contain; they cut back the ranker growth, etc.[20]
Moreover, he is a nomad – a traveling artist without a designated home – and he despises city life, preferring nature over urbanity.[21]
As a concerted opposition to normative values, Romanticism also inadvertently comprises a movement. In other words, the Romantics' unified resistance towards the mainstream (unwittingly) turns them into a trend – a kind of fashion or fetish – that paradoxically but inadvertently re-configures them as, and reabsorbs them into, a notion of "mainstream." In that moment, subculture becomes an internally contradictory phenomenon – a coincidentia oppositorum. Werther exemplifies this characteristic. After its publication, the novel was an instant success, and Goethe became a celebrity overnight—not just in Germany but all over Europe. As the first novel that translated human emotion into language and examined the psyche of a commoner—Werther is an everyman, not a member of the aristocracy—the book flew off the shelves, much to the displeasure of German authorities, such as the church, which condemned the novel's alleged glorification of suicide. In the years following publication, Germany experienced a phenomenon called "Werther Fever:" young men imitated Werther's dress (his blue coat and yellow stockings) and supposedly even his suicide—German authorities allegedly observed an increase in the suicide rate among young men at the time. Everything "Werther" became fashionable so fast that it was not long before adaptations and parodies of Werther began to appear, the most famous perhaps being Friedrich Nicholai's The Joys of Werther, in which Albert (knowing what Werther is up to) loads the pistol with chicken blood. After his failed and somewhat messy suicide attempt, Werther turns into a respectable citizen and lives happily ever after.
Werther on Stage: Adaptation, Pop, and Romanticism
This internally paradoxical conundrum of the Romantic non-conformist as a fetish of the mainstream, so characteristic of Werther and his author, is mirrored in contemporary culture – not just in the phenomenon of the hipster, but also in specific instances. Underworld's song Born Slippy, which I placed right at the top of the show, opens the movie Trainspotting, which in turn is an adaptation of Irvine Welsh's novel of the same name, which is revered by its fans for its exploration of Scottish counterculture and radicalism – and was a huge commercial success. It is now considered a cultural phenomenon and a staple text in English classrooms all over the world. Trainspotting depicts the lives (and occasional) deaths of heroin-addicted dropouts in Edinburgh, constituting a deliberate statement against capitalist values:
Choose us. Choose life. Choose mortgage payments; choose washing machines; choose cars; choose sitting on a couch watching mind-numbing and spirit-crushing game shows, stuffing fuckin junk food intae yir mooth. Choose rotting away, pishing and shiteing yersel in a home, a total fuckin embarrassment tae the selfish, fucked-up brats ye've produced. Choose life.[22]
In Trainspotting, life-threatening drug abuse functions as a rebellion against bourgeois life and its associated social, economic, physical, and mental demands and securities; it serves the purposes of living in the moment, of experiencing existential extremes, of avoiding responsibility, and of remaining in a state of persistent hallucination and infantry, in denial and rejection of the present and future. Trainspotting may be read as a paradox manifesto both for and against the abjection inherent in urban life. On the one hand it critiques the struggle of men and women dwindling towards death in concrete jungles, while embracing it on the other, by making it explicit and publicizing it.[i]
This anti-bourgeois context, which so clearly mirrors Werther's own ideological and political disposition, is the setting within which I opened my stage adaptation. But referencing Trainspotting in this way allowed me to do more than simply establish thematic parallels between the two (three, if you count the film autonomously) works. It "spatialized" the texts, drawing attention to the "vertical axes" of Werther and Trainspotting.[24] That is, it established an intertextual relationship between the works that, in the words of Roland Barthes, reconfigured the texts as "multidimensional space[s] in which a variety of writings, none of them original, blend and clash."[25] Moreover, reconfiguring the texts in such a way activated them – it allowed them to perform a series of transgressions: to cross and bridge boundaries of time, space, genre, and medium. It allowed the two (three) works – and by association many other works, too – to meld together and develop a kind of autonomous identity independent of their era and authors.
The entirety of my soundtrack for the adaptation was based on this methodology, on bursting open as many pockets of association as possible, on spinning and spreading vast vertical, intertextual webs throughout time and space. I included Florence and the Machine, for instance, because of front singer Florence's commitment to translating emotion into music, which mirrors Goethe's act of translating emotion into language. The specific choice of her song "Breath of Life," featured on the soundtrack of the movie Snow White and the Huntsman, drew attention to the sheer size of Werther's emotions — their epic breadth — projecting his "intensity of feeling" onto audiences by evoking an affective response. Moreover, much like Irvine Welsh, Danny Boyle, and Trainspotting, Florence and the Machine enjoy significant artistic credibility in hipster circles – even in those who claim a particularly strong affinity for music – despite the fact that the band has enjoyed massive commercial success. It is perhaps their adaptation of "pop, soul, and Baroque arrangements" into a specific, unique sound that allows them to maintain a broad fan base.[26] For me, their vast reach across styles – and by extension across history – constituted an analogy for the structural and methodological basis of my adaptation – and further supported my choice of song here.
Similarly, Moby's work was a good fit for the show for many reasons, one of which was the release of his album Destroyed in 2010, which explores the loneliness and melancholy of urban life through electronic – synthetic – music.[27] However, I picked Moby's earlier iconic song "Why Does My Heart Feel So Bad" for the show because of its explicit relationship to Werther's state of mind and soul, on the one hand, and for its simultaneously whimsical, lachrymose, and repetitive nature on the other. Its placement signals a dramaturgical shift in my adaptation, heralding the development of Werther's struggle from a lover's frenzy into an inescapable, ever-worsening downward spiral. When Werther returns to Walheim after his brief absence, despite the fact that he knows his love for Charlotte is unrealizable, his fight for her turns into a fight against himself.
Werther and Celebrity Culture
The boundaries of this paper make it just as impossible to touch on every single song and artist featured in the show's soundtrack, as the limits of my adaptation prohibited me from including every song in the show that might have been a thematic fit. While I was doing research for my soundtrack in 2011 and 2012, I spent much time listening to radio stations and was baffled by how much of a pop song Werther is—even though we tend to think of the novel as the epitome of high art. Every song I came across reflected at least one aspect of Werther's journey: Lady Gaga's "Bad Romance," Michael Bolton's "When A Man Loves A Woman," Whitney Houston's "I will Always Love You," and Ke$ha's "Your Love is My Drug" are only a few examples.
The idea of Werther's story as a pop cultural phenomenon stuck with me, particularly because Romanticism was the movement that gave birth to modern celebrity culture in the late eighteenth and early nineteenth centuries: figures like Goethe, Beethoven, and Lord Byron are counted among the world's first modern celebrities. Tom Mole explains that by the Romantic period, "celebrity was no longer something you had, but something you were," and it was in the Romantic period that "celebrity first came to be understood as a distinctly inferior variety of fame."[28] As I explain above, Werther himself occupies a complex place in the world of fame and celebrity, having had followers all over Europe – even including Napoleon. Moreover, as a semi-autobiographical novel, the lines between fact and fiction blur in The Sorrows, a phenomenon that both complicates and intensifies Werther's and Goethe's positions as celebrity icons.
Werther's rise to fame is mirrored in young pop star Justin Bieber's vast success as a YouTube sensation. Each click that Bieber received on YouTube in 2009 mirrors a sold copy of Werther in 1774. Furthermore, the trajectory of Bieber's popularity and his subsequent self-destructive fall from grace echoes Werther's development.[29] Most importantly, however, looking at the glossy, colorful pages of Bieber's biography, what emerges is a virtually all-encompassing fixation with notions of authenticity and realness.[30] From the comments section on the biography's Amazon webpage:
I love how this book shows who Justin trully is. I love how it gives more details about how everything heppened. Fame wasnt given to him, an oppurtunity was and he took advantege of it, he worked hard to be where he is now. He is hated by people who he havent even meet, people who know nothing about him [sic].[31]
To observe reality – to peel away the outer layers of a persona to reach and connect to a kind of human "core" or "nature" – transpires as a contemporary obsession since the Romantic era. It seems particularly pertinent in the context of contemporary celebrity culture – when appearance and reality no longer overlap because persons, particularly artists, are transformed into commodified objects. Similar questions about authenticity have emerged in both scholarly and popular discussions about Werther, the most prominent likely concerning the novel's autobiographical content: to what extent is Werther Goethe and Goethe Werther?[32] Werther himself, too, is obsessed with "authenticity" which, to him, exists in opposition to capitalist, bourgeois values, and by extension, to commodification:
A young fellow is totally infatuated with a girl. He spends every hour of the day in her company, wears out his health, and lavishes his fortune, to give her constant proof that his devotion to her knows no end. Then a man of the world, a man of public rank, comes and says to him: "My good young friend! To love is only natural, but you must love within bounds. Divide up your hours: devote a portion to business, and give the hours of recreation to your mistress. Calculate your income, and once your necessities are seen to, make her a present with what remains, but not too often—only on her birthday, and such occasions." Pursuing this advice, the lover may become a useful member of society, but it is all up with his love, and with his genius if he is an artist. Why is it that the torrent of genius so rarely bursts forth, so rarely floods and thunders and overwhelms your astounded soul? Because on either bank dwell the cool, respectable gentlemen, whose summer-houses and tulip-beds would all be washed away. So they dig trenches, and raise embankments, in order to avert the impending danger.[33]
For Werther, love and feeling are intimately connected to nature; they necessitate each other. That is, in order for love to be experienced authentically it must not be inhibited by worldly interference. Albert, as a man "so punctual and methodical in business" – as someone "so exceedingly accurate" – and especially as a person who believes that "a man under the influence of violent passion loses all power of reflection, and is regarded as intoxicated or insane" is a member of bourgeois society, and thus incapable of authentic love.[34]
Because of these complex notions of authenticity – its relationship to nature on the one hand and to capitalist celebrity culture on the other – I included Justin Bieber's song "Boyfriend" in my adaptation. In contrast to Florence and the Machine, Justin Bieber enjoys no credibility in hipster circles and among music aficionados. In my staging, however, Werther feels a connection to the song and even dances to it, despite his refined taste in art. Werther is enthralled; he relates to Bieber's unequivocal love confessions, because to him they are authentic – regardless of the fact that Bieber is both a product of capitalist celebrity culture and deemed musically unworthy. In this moment, the many complex layers of, and relationships among authenticity, celebrity, love, and nature become indiscernible, falling out of time and context, taking on a life of their own. Both Bieber and Werther posit complex, irresolvable, paradoxical conundrums – they embody a quintessentially Romantic disposition, a "coincidentia oppositorum."[35]
It is for similar reasons that I included Rihanna's "Where Have You Been" as the closing song of the adaptation. Simultaneously revered for her persona and shunned as musical trash by members of the same circles – sometimes even by the same person — Rihanna occupies a rare position in contemporary culture. When asked recently about her preference between Beyoncé and Rihanna, Camille Paglia responded,
Rihanna! I am everywhere about Rihanna. I am an enormous Rihanna fan. [. . .] I adore her. She is so sexy. And she's obviously bisexual. I think she's involved with Melissa Forde. They're always holding hands. I think Pour it up is truly artistic. I played it in my class. It's a true work of art. Lady Gaga doesn't even know what art is compared to Rihanna.[36]
Rihanna embodies the irresolvable, inherently contradictory identity of the modern artistic subject. She outfits herself with ironic contradictions that ultimately comprise her entire public image: ranging from her ambiguous, paradoxical relationship with Chris Brown to the release of her most recent album Anti – that is, her simultaneously most heavily commercialized (consider her overt pre-release partnership with Samsung) and musically most non-mainstream album yet — Rihanna is a "coincidentia oppositorum." As such, she possibly practices the only authentic way of being – a kind of nihilistic negation of self. In Rihanna's case, any possibility of a human core – nature – is implicitly acknowledged as absent. It does not exist; the onion has no center. The thing that remains, paradoxically, is affective freedom – an ability to feel independently of rules, structures, and prescriptions.
Sayre and Löwy define the "Romantic Weltanschauung" as an "opposition to capitalism in the name of pre-capitalist values," and indeed, contemporary hipster circles also quest for authenticity – for "real" music – which implies a kind of nostalgia, a retro affinity. Since it seems that truth cannot be found in contemporary artists – in those who abnegate the possibility of "nature" altogether – consumers turn to the past to rediscover the trajectory during which nature seems to have been lost. "Less synth equals ," might be considered the consumer credo here, and it is in light of this motto that I included Lou Reed's song "Perfect Day" in the first dramaturgical climax of the adaptation – when Werther tells us of his meeting with Charlotte. That this motto might be as misleading — and ultimately possibly as fatal – as Werther and Lotte's meeting, might have been the subtext of my choice. And Lou Reed's melancholic, almost ironic tone only served to underline the paradoxes – the coincidentia oppositorum — that formed as a result of the intertextual relationships I set up in the adaptation..
Conclusion: Adaptation as Activation
The goal of this paper was to "enter the world of the romantics by the routes they chose themselves … through sounds and images, dreams and visions." Through an examination of the "sounds" of my stage adaptation of Goethe's The Sorrows of Young Werther, I have attempted to lift Romanticism out of its associated time period, discovering and examining parallels between Romantic and contemporary Weltanschauungen, demonstrating how processes of adaptation function to establish vast intertexual webs – dreams and visions of sorts – that allow Romantic texts to autonomously redefine themselves as contemporary and complex. I have thus hoped to challenge common perceptions of Romanticism as a finite literary movement of the nineteenth century and bring to light its contemporary nature.[37]
It is important to note that that I was able to make the discoveries I describe above only through my artistic activities. As well–represented as my questions about Romanticism might be in scholarship, my methodology developed out of an artistic pursuit – out of a strong, complex aesthetic affinity for Werther. It was through my interest in, and application of, processes of adaptation that was I able to reconfigure Werther from a static text into a "multidimensional space" – a malleable, permeable unit – that was then able to autonomously move through time and space, spinning vast intertextual webs. In order to reconsider Romanticism as a whole; that is, in order to reframe Romanticism as an artistic movement as opposed to a literary era, it might be necessary to reawaken and activate the works in ways that the Romantics chose themselves: through contemporary art and artistic processes. And of course this has been done repeatedly over the years – consider, for example, Patti Smith's and U2's engagement of Blake in their music. Such activations contain great artistic and scholarly potential: as interdisciplinary projects, they might combine literary specialists, contemporary artists, philosophers, theorists, historians, and sociologists in a common pursuit of engaging Romanticism in a search for responses to (contemporary) social and cultural phenomena. However important the reframing of Romanticism as an ongoing artistic movement may be for literary studies – and I think it is very important – the true extent of Romanticism's significance for, and applicability to, contemporary culture can only be unlocked through collaborations between, and adaptations of, different fields, competencies, and disciplines. Such collaborations may indeed be the way to discovering that the Romantic poets were – and are – the unacknowledged legislators of the world.
[1] Tim Blanning, The Romantic Revolution (London: Orion, 2010), 6, my emphasis.
[2] Johann Wolfgang Goethe, Maximen und Reflexionen, Ed. Karl-Maria Guth, (Berlin: Hofenberg, 2014), 106, my translation.
[3] The Sorrows of Young Werther (Die Leiden des Jungen Werther) by Johann Wolfgang Goethe is perhaps Germany's most famous novel. The plot is simple: Werther meets and falls in love with Lotte, who is already engaged to another man, Albert. Despite Lotte's commitment to her fiancé, Werther pursues a relationship with her, and after spiraling into devastating, ever-increasing emotional turmoil he commits suicide.
[4] Wolfgang Beutin, Deutsche Literaturgeschichte: Von den Anfaengen bis zur Gegenwart, (Stuttgart: J.B. Metzler, 2008), 158, my translation.
[5] Jeremy Brian Avery, "Out with the Old in Contemporary Vision of Goethe Stage Adaptation" The Ubyssey, October 12, 2012, accessed December 24, 2015, http://ubyssey.ca/culture/sorrows-of-young-werther-review-888/.
[6] Blanning, Romantic Revolution, 6, my emphasis.
[7] Robert Sayre and Michael Löwy, "Figures of Romantic Anti-Capitalism," New German Critique 32 (1984): 43.
[8] Ibid., 43.
[9] Ibid., "Figures," 43.
[10] Compare Christiana Engelmann, Cornelia Gyrafas, and Claudia Kaiser, Möglichst Goethe, ein Lesebuch, (Muenchen: DTV, 2007), 43-76.
[11] Engelmann, Gyrafas, and Kaiser, Möglichst Goethe, 45-50.
[12] Ben Lerner, Leaving the Atocha Station, (Minneapolis: Coffee House Press, 2011) and Ben Lerner, 10:04, (London: Granta Books, 2014).
[13] Adelle Waldman, The Love Affairs of Nathaniel P., (London: Random House, 2014).
[14] Lena Dunham, GIRLS, Television Series, directed by Lena Dunham (2012, New York: HBO), DVD.
[15] On p. 51 of "Figures of Romantic Anti-Capitalism," Sayre and Löwy define the German term Weltanschauung as "a collective mental structure characteristic of certain social groups." The literal English translation of Weltanschauung is worldview.
[16] "hipster, n.1," The Oxford English Dictionary, last modified 1976, http://www.oed.com.
[17] "hipster," Urban Dictionary, last modified November 22, 2007,
[18] Sayre and Löwy, "Figures," 46.
[19] For examples of other Romantic poets who lived non-conformist lives, such as Lord Byron and the Shelleys, compare Daisy Hay, Young Romantics (London: Bloomsbury, 2010).
[20] Johann Wolfgang Goethe, The Sorrows of Young Werther, trans. R.D. Boylan, ed. Fannina Waubert de Puiseau (manuscript, The University of British Columbia, 2012), 3-4.
[21] Compare Johann Wolfgang Goethe, The Sorrows of Young Werther, trans. R.D. Boylan, ed. Fannina Waubert de Puiseau (manuscript, The University of British Columbia, 2012), 2-3: "I am very well off here. The town itself is disagreeable, but all around you find an inexpressible beauty of nature. [Gestures to the very obviously fake plastic tree/bouquet on his desk.] Every tree, every bush, is full of flowers, and one might wish himself transformed into a butterfly to float about in this ocean of perfume. [. . .] I have a way of settling anywhere, and here too I have found a little spot which I find especially charming. About a half an hour from the town is a place called Walheim. It is delightfully situated on the side of a hill, and from one of the footpaths which lead out of the village, you can have a view of the whole valley. But the chief charm of this spot consists in two linden-trees, spreading their enormous branches over the little green before the church. I have seldom seen a place so retired and peaceable, and there I often drink my coffee and read my Homer."
[22] Irvine Welsh, Trainspotting (London: Mandarin, 1993),187.
[23] Compare Sayre and Löwy, "Figures", 49, for their definition of Romantic "critical unrealism:" "It would perhaps be useful to introduce a new concept – 'critical unrealism' — to designate the creation of an imaginary, ideal, utopian or fantasy universe radically opposed to the grey, prosaic and inhuman reality of industrial capitalist society. Even when it apparently takes the form of a flight from reality, this 'critical unrealism' may contain a powerful negative load of (explicit or implicit) protest against the established order."
[24] Brian Richardson, Narrative Dynamics: Essays on Plot, Closure, and Frames (Columbus: Ohio State UP, 2002), 162, 218. See also Julia Kristeva, Desire in Language: A Semiotic Approach to Literature and Art (New York: Columbia UP, 1980).
[25] Roland Barthes, Image-Music-Text (London: Fontana, 1977).
[26] "iTunes Preview," iTunes, 2015, https://itunes.apple.com/us/artist/florence-+-the-machine/id281070699. "Hailing from South London, Florence Mary Leontine Welch writes songs that occupy the same confessional territory as gossip-loving, genre-bending contemporaries like Amy Winehouse, Kate Nash, Adele, and Lily Allen and the moody, classic art rock of Kate Bush, blending pop, soul, and Baroque arrangements into a sound that earned the young artist considerable buzz in 2007. Managed by the Camden-based DJ duo the Queens of Noize and backed by a rotating lineup of musicians, Florence + the Machine released their debut single, 'Kiss with a Fist,' on the Moshi Moshi label in June 2008. The critically acclaimed debut album Lungs followed in July 2009 and quickly became one of the year's most popular releases in the U.K., where Florence charted four Top 40 singles in less than 12 months. The songs gathered steam in other parts of the world, too, particularly in America, where 'Dog Days Are Over' peaked at number 21, went platinum, and even earned its own performance on the TV show Glee."
[27] "Destroyed," Soundcloud, May 16, 2011, https://soundcloud.com/moby/sets/destroyed.
"i don't sleep very well when i travel. and as a result, i tend to be awake in cities when everyone else is asleep. and that's where this album comes from. it was primarily written late at night in cities when i felt like i was the only person awake (or alive). being the only person awake (or alive) in an empty city is strange and disconcerting, but it's also comforting. the streets are empty and quiet. the streetlights are all on but are only illuminating emptiness. i don't know if any of this will make sense to anyone listening to the album, but for me 'destroyed' is an album that makes the most sense late at night in an empty city when everyone else has gone to sleep. and, as always, i presumptuously ask that you listen to the album in its entirety at least once, as it was put together as a, hopefully, cohesive body of work, and i believe that it makes the most sense when listened to from start to finish. a soundtrack for empty cities at 2 a.m, at least that's how i hear it. and, as always, thank you for listening. and hopefully see you soon [sic]."
[28] Tom Mole, Byron's Romantic Celebrity: Industrial Culture and the Hermeneutic of Intimacy (New York: Palgrave Macmillan, 2007), xii.
[29] Compare for example Justin Bieber's deposition video on YouTube: "Justin Bieber Deposition (Full Video)," YouTube, March 10, 2014, https://www.youtube.com/watch?v=emsLrZg160s.
[30] Justin Bieber, Justin Bieber: Just Getting Started (New York: Harper Collins, 2012).
[31] "Justin Bieber: Just Getting Started," Amazon, http://www.amazon.com/Justin-Bieber-Just-Getting-Started/dp/0062202081/ref=asap_bc?ie=UTF8.
[32] See for example Engelmann, Gyrafas, and Kaiser, Möglichst Goethe, 82-86.
[33] Goethe, The Sorrows of Young Werther, trans. R.D. Boylan, ed. Fannina Waubert de Puiseau, 4.
[34] Goethe, The Sorrows of Young Werther, trans. R.D. Boylan, ed. Fannina Waubert de Puiseau, 12ff.
[35] Sayre and Löwy, "Figures," 43.
[36] Emma Teitel, "Camille Paglia on Rob Ford, Rihanna, and Rape Culture," Macleans, November 16, 2013, accessed December 27, 2015. http://www.macleans.ca/authors/emma-teitel/camille-paglia-on-rob-ford-rihanna-and-rape-culture/.
[37] Blanning, Romantic Revolution, 6.
"Justin Bieber: Just Getting Started." Amazon.com. Accessed December 25, 2015.
Barthes, Roland. Image-Music-Text. London: Fontana, 1977.
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Bieber, Justin. Justin Bieber: Just Getting Started. New York: Harper Collins, 2012.
Blanning, Tim. The Romantic Revolution. London: Orion, 2010.
Dunham, Lena. GIRLS. Television Series. Directed by Lena Dunham. 2012. New York: HBO,
Engelmann, Christiana, Cornelia Gyrafas, and Claudia Kaiser. Möglichst Goethe, ein Lesebuch.
Muenchen: DTV, 2007.
Goethe, Johann Wolfgang. Maximen und Reflexionen. Ed. Karl-Maria Guth. Berlin: Hofenberg,
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—-. The Sorrows of Young Werther, trans. R.D. Boylan, ed. Fannina Waubert de Puiseau
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Hay, Daisy. Young Romantics. London: Bloomsbury, 2010.
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Columbia UP, 1980.
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I'm writing this article on my phone from my hostel bed late at night, because this is how I deal with stuff – I write. I'm currently in Split, Croatia. Wishing that the infernal creaking of the bed springs next to me would stop.
In the bed adjacent to me there's a pair of irrefutably drunk tourists having sex. Paying no mind to any passing soul that comes by. A part of me feels angry, disgruntled that they don't have the decency to go to a romantic toilet stall, just like any other proper fellow might have done (Truth be told, I have never understood bathroom pulls either, smelly and disgusting is not on my sexual bucket list). But if I am quite frank, what I think most people would not admit to, but I will, is that I cannot help but feel jealousy just as well.
Not that I am much in want of a drunken fling. I've had one and not eager to repeat the experience. What I am in want of is company. That feeling of bonding that you share with another person is the most intoxicating substance of them all – I sincerely do not understand why anyone gets hooked on anything but that feeling. Not that it's been long since that I felt it either, I will not divulge the details of my last encounter for this is not a gossip column, and you are not here to hear about the soap opera that may at times be my life. Suffice it to say, it was someone with whom I had long for had feelings, and all but dismissed as ever being a likely prospect. With her, there were moments when we were naked with each other, which felt intimate like little else. I feel quite happy it ended happening on the last weekend of university, just as we'd both go on our separate ways.
In either case, I think this feeling of rage that occurred when seeing the couple on the hostel bed is not something that is uncommon to men. 10,000 years ago we might've gladly bashed someone's head in as a result of those feelings. Now, in more civilised times, we are left with writing prose, although the murderous feelings may still surface on occasion. We may have high speed internet connections but we're still animals.
I remember this one time at university, I had recently taken up intense weightlifting. As a result, my testosterone levels must've shot sky high – add to it a touch of sexual frustration and you have the potential for a bad time. In either case, what happened is that a girl with whom I wanted to end up with, ended up making out with an acquaintance of mine in a club. For some bizarre reason, I felt some entitlement for this girl and I wanted to bash this man's brains in as retaliation. I had to leave before I did something stupid.
This rage often leers its head in ugly ways. Yet it only comes about after a brief hiatus of one's sex life. Take Elliott Rodger, who murdered six people and injured fourteen as a result of it. When I first heard of this man, I actually found his actions funny. Imagine someone being so desperate for sex that they'd resort to murder! To add to this, he was even so awkward around women that he couldn't go on a proper killing spree, as he was too nervous to enter the sorority house he wanted to shoot up. Instead, he opted for taking potshots of random passerby.
Short while later, I read some of his manifesto and I felt deep empathy for him. I would've never gone down that dark path but when the chances of my next encounter used to be as far off as the chance of winning the lottery, I traversed the same mental pathways as him. All men who aren't born into abundance have those dark nights of the soul, whether they admit to them or not. The difference is that we don't usually act on those feelings. Besides that, I consciously understand that a lull in that area of my life is temporary and will soon rectify itself. Yet I believe there is a primal part in men that eschews logic, common sense, or morality in favour of barbarism.
It's natural, testosterone after all, gives one both a libido, a penchant for violence and all men's brains are swimming in it. Human beings don't seem to be designed for happiness. Humans are Sisyphean animals. Whenever we think that we have reached the peak of happiness, something occurs which makes the boulder roll downhill. It's an ebb and a flow, and your emotional state defaults to being vapid and superficial. When we grow up, rarely do we actually change as people, in terms of character. More often than not, the main difference between a teenager and an adult is spending power and experience. This life experience is key though, it's what allows us to realise that our temporary feelings might be vapid and thus are worth ignoring.
Accepting that at times we'll have to suffer through rage, frustration, and disappointment is healthy. Fortunately, if you do not identify with the feeling, whilst holding it and making it part of yourself, and instead say something along the lines of "I might be angry right now, but that does not mean I am an angry person" the emotion loses power. It can also do the opposite and magnify our positive emotions, lest we forget the story of the eastern monarch:
There was once a king, a king as miserable as he was mighty. One day he asked of all the wise men in the kingdom to confer to him some wisdom that would make him happy in the bad times, and make him appreciate the good. Wise men and sorcerers tried and failed to achieve this, until this one man came from the far reaches of the realm. He had a magical ring in his possession with the inscription "and this too shall pass" and gifted it to the sovereign. The king wore it and he came to understand the true meaning of the words . When in the highest throes of passion one might forget that such sensations are fleeting, and thus we might not appreciate them fully and take them for granted; or when in deep misery we might feel as if this shall be eternity. Yet the solution to finding satisfaction in all circumstances is to take to mind that the only thing constant in life is change.
So it is, my dear reader, that all of life's miseries shall come to pass. If they haven't passed, then this isn't the end. But if this happens to be the end, then you have little to worry about – for it is the end. Fortunately for me, the neighbouring lovemaking has also come to an end, and they are now sleeping in each other's embrace. As for my anger, writing this article and understanding my frustrations has actually relaxed me and I feel quite happy.
Have a wonderful day


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Washington Watch | March/April 2008
By Bruce Moyer
The Federal Bar Association has actively urged Congress to provide a significant salary increase to federal judges since 2001. The raise would help to preserve judicial independence and erase the deep erosion in the judges' salaries, which has widened over the past two decades because of the failure of Congress to ensure that judicial pay keeps pace with inflation.
Over the past year, FBA has stepped up its judicial pay reform efforts and has collaborated with other legal, environmental, and consumer groups in support of bipartisan House and Senate bills to restore judicial pay to its rightful level. These advocacy efforts, involving numerous FBA chapters and members, have brought the campaign for judicial pay reform closer to success than ever.
In late January, the Senate Judiciary Committee approved legislation (an amended version of the Federal Judicial Salary Restoration Act, S. 1638) that would increase judicial salaries by 29 percent—the same margin approved by the Judiciary Committee of the House of Representatives in a similar measure (H.R. 3753) late last year. If enacted, the salary boost would mark the first significant raise for federal judges since 1991.
The Senate and House measures—
No date for floor action in the House or Senate on the judicial pay bills has been set. But the leaders of both chambers have pledged to pass their judiciary pay bills in 2008. In his recent annual report on the state of the federal judiciary, Chief Justice John G. Roberts Jr. urged Congress to make approval of a judicial salary increase "a first order of business" in 2008 and called a pay hike for judges "vital" and long overdue.
Indeed, the independence and quality of our nation's judiciary depends critically on the ability to recruit and retain high-caliber judges, who have strong intellect, personal independence, and high professional standards. The framers of the Constitution sought to protect these qualities by providing lifetime appointments for federal judges and forbidding a reduction in their compensation.
Regrettably, since 1969, the salaries of federal judges have fallen well behind those of the American labor force in terms of keeping up with inflation. Over the past 19 years, when adjusted for inflation, the national average for all wages rose by 18.5 percent, whereas judicial pay declined by nearly 25 percent. It is not coincidental that federal judges have been leaving the bench at an unprecedented and alarming rate. In the past six years, 38 judges have left the federal bench, including 17 in the last two years. Many of these judges have acknowledged publicly that their departures stemmed from financial needs that have been compounded by the erosion of their salaries.
FBA chapters have brought these trends and statistics to the attention of members of Congress, and, from that outreach, the FBA has helped to build support and understanding on Capitol Hill for restoring judicial pay to a respectable level. As FBA Executive Director Jack Lockridge recently said in a message to chapter leaders, "A big thank you goes out to the leaders and members of the many FBA chapters that have assisted with grassroots support on the pay issue over the past several months, writing letters and calling their lawmakers in bringing us to this point. Our work is far from over though. We need to continue the push until Congress has passed and the President has signed a final measure."
Bruce Moyer is government relations counsel for the FBA.
© 2008 Bruce Moyer. All rights reserved.


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