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The Chin tattooed women live in the Chin, Rakhine and Arakan states in northwestern Myanmar. The origin of facial tattoos in the region is unknown. Some believe that the practice began during the reigns of Kings long ago. The royalty used to come to the villages to capture young women. The men from the tribe may have tattooed their women to make them ugly, thereby saving them from a life of slavery. Interestingly, I heard a similar origin for body modification among the Mursi tribe in Ethiopia. As legend has it, the tribeswomen began wearing giant lip plates to make them uglier to would-be kidnappers. Now, the bigger the lip plate the higher the bride price.
For years, access to the tribal Mindat area was restricted by the burmese government. It was opened just two years ago. Only about 700 tourists visit per year. Most of them only visit the bucolic Mount Victoria by bus, never meeting the tattooed women who remain isolated, hours away by foot. Those who do wish to meet them better pack good walking shoes and be prepared to sleep in smoke-filled local houses complete with rats.
There are a few different face tattoo patterns. The spiderweb tattoo is popular in the Mrauk U region. It takes a three hour long tail boat ride to reach this remote area. This tattoo is usually accompanied by a circle in the center of the forehead which represents the sun or lines under the nose symbolizing tiger whiskers.
Another design, known as the bee pattern, is common in the Mindat area. It is composed of dots, lines and occasionally circles. It is worn by the Muun tribe who inhabit the hills of the Arakan state.
The Magan tribeswomen wear huge earrings made of beads and calabashes. They can also play the flute with their noses.
I ventured to Kanpelet village in search of the women from the U Pu tribe who have the incredibly rare whole face tattoo. This is one of the most impressive styles: the entire face is inked up. Rumors had it that only three women in this area had the tattoo. After hours of off roading, I arrive in the village only to learn that one died recently and another was very ill. I was lucky enough to meet Pa Late. At 85, she is nearly deaf but still works hard with her family in a small house on the top of a little hill.
Pa Late said that a completely black face had become a symbol of beauty in the past. The few women who refused to do it looked ugly to the men. The tattoo took three days but the pain lasted over a month.
There are two ways to make the tattoo needle. The first consists of tying three pieces of bamboo together and the second uses thorns. The ink is a mixture of cow bile, soot, plants, and pig fat. It usually took one day to complete the standard tattoo and a few more for the totally black one. The tattoo artist was a specialist or in some cases a parent. Infection was a common problem as the girls had blood all over their face.
Everything, including the eyelids, was tattooed. Many women say that the neck was the most sensitive area.
Ma Aung Seim shared her memories of the tattoo sessions : “I was 10 years old. The day before the tattoo ceremony, I only ate sugarcane and drank tea. It was forbidden to eat meat or peanuts. During the tattoo session, I cried a lot, but I could not move at all. After the session, my face bled for 3 days. It was very painful. My mother put fresh beans leaves on my face to alleviate the pain. I had no choice if i wanted to get married. Men wanted women with tattoos at this time. My mother told me that without a tattoo on my face, i would look like... a man! The web drawn on my face attracted the men like a spiderweb catches insects!”
Not all the tattooed women live in remote areas deep in the mountains. Some have integrated into modern society. Miss Heu, 67, lives in Kanpelet. Her grandmother forced her to get tattooed. She lives in a modern house and even has TV (when electricity is not out). Chin people have maintained their modesty and shyness: when a movie showspeople kissing or making love, most of them still fast forward the scene.
As a leader in the local community, Miss Heu had the chance to meet Aung San Suu Kyi when she came in the area for a meeting. She is very aware of the tattooed women and the ethnicities that are forgotten by the central government. She says she and Aung San Suu Kyi are friends now. Heu’s daughter has graduated and works in Singapore.
The Chin culture is threatened by the government as their teachers are usually not Chin. For a long time, they fought for independence, but since the country began to democratize, things have calmed down.
“I am old. Soon I will die” says to me a Chin woman from Pan Baung village, while she does the gesture of drying tears from her eyes. In her village, only 6 tattooed woman remain alive. Those women are the last of their kind…
© Eric Lafforgue
The Chin tattooed women live in the Chin, Rakhine and Arakan states in northwestern Myanmar. The origin of facial tattoos in the region is unknown. Some believe that the practice began during the reigns of Kings long ago. The royalty used to come to the villages to capture young women. The men from the tribe may have tattooed their women to make them ugly, thereby saving them from a life of slavery. Interestingly, I heard a similar origin for body modification among the Mursi tribe in Ethiopia. As legend has it, the tribeswomen began wearing giant lip plates to make them uglier to would-be kidnappers. Now, the bigger the lip plate the higher the bride price.
For years, access to the tribal Mindat area was restricted by the burmese government. It was opened just two years ago. Only about 700 tourists visit per year. Most of them only visit the bucolic Mount Victoria by bus, never meeting the tattooed women who remain isolated, hours away by foot. Those who do wish to meet them better pack good walking shoes and be prepared to sleep in smoke-filled local houses complete with rats.
There are a few different face tattoo patterns. The spiderweb tattoo is popular in the Mrauk U region. It takes a three hour long tail boat ride to reach this remote area. This tattoo is usually accompanied by a circle in the center of the forehead which represents the sun or lines under the nose symbolizing tiger whiskers.
Another design, known as the bee pattern, is common in the Mindat area. It is composed of dots, lines and occasionally circles. It is worn by the Muun tribe who inhabit the hills of the Arakan state.
The Magan tribeswomen wear huge earrings made of beads and calabashes. They can also play the flute with their noses.
I ventured to Kanpelet village in search of the women from the U Pu tribe who have the incredibly rare whole face tattoo. This is one of the most impressive styles: the entire face is inked up. Rumors had it that only three women in this area had the tattoo. After hours of off roading, I arrive in the village only to learn that one died recently and another was very ill. I was lucky enough to meet Pa Late. At 85, she is nearly deaf but still works hard with her family in a small house on the top of a little hill.
Pa Late said that a completely black face had become a symbol of beauty in the past. The few women who refused to do it looked ugly to the men. The tattoo took three days but the pain lasted over a month.
There are two ways to make the tattoo needle. The first consists of tying three pieces of bamboo together and the second uses thorns. The ink is a mixture of cow bile, soot, plants, and pig fat. It usually took one day to complete the standard tattoo and a few more for the totally black one. The tattoo artist was a specialist or in some cases a parent. Infection was a common problem as the girls had blood all over their face.
Everything, including the eyelids, was tattooed. Many women say that the neck was the most sensitive area.
Ma Aung Seim shared her memories of the tattoo sessions : “I was 10 years old. The day before the tattoo ceremony, I only ate sugarcane and drank tea. It was forbidden to eat meat or peanuts. During the tattoo session, I cried a lot, but I could not move at all. After the session, my face bled for 3 days. It was very painful. My mother put fresh beans leaves on my face to alleviate the pain. I had no choice if i wanted to get married. Men wanted women with tattoos at this time. My mother told me that without a tattoo on my face, i would look like... a man! The web drawn on my face attracted the men like a spiderweb catches insects!”
Not all the tattooed women live in remote areas deep in the mountains. Some have integrated into modern society. Miss Heu, 67, lives in Kanpelet. Her grandmother forced her to get tattooed. She lives in a modern house and even has TV (when electricity is not out). Chin people have maintained their modesty and shyness: when a movie showspeople kissing or making love, most of them still fast forward the scene.
As a leader in the local community, Miss Heu had the chance to meet Aung San Suu Kyi when she came in the area for a meeting. She is very aware of the tattooed women and the ethnicities that are forgotten by the central government. She says she and Aung San Suu Kyi are friends now. Heu’s daughter has graduated and works in Singapore.
The Chin culture is threatened by the government as their teachers are usually not Chin. For a long time, they fought for independence, but since the country began to democratize, things have calmed down.
“I am old. Soon I will die” says to me a Chin woman from Pan Baung village, while she does the gesture of drying tears from her eyes. In her village, only 6 tattooed woman remain alive. Those women are the last of their kind…
© Eric Lafforgue
The Chin tattooed women live in the Chin, Rakhine and Arakan states in northwestern Myanmar. The origin of facial tattoos in the region is unknown. Some believe that the practice began during the reigns of Kings long ago. The royalty used to come to the villages to capture young women. The men from the tribe may have tattooed their women to make them ugly, thereby saving them from a life of slavery. Interestingly, I heard a similar origin for body modification among the Mursi tribe in Ethiopia. As legend has it, the tribeswomen began wearing giant lip plates to make them uglier to would-be kidnappers. Now, the bigger the lip plate the higher the bride price.
For years, access to the tribal Mindat area was restricted by the burmese government. It was opened just two years ago. Only about 700 tourists visit per year. Most of them only visit the bucolic Mount Victoria by bus, never meeting the tattooed women who remain isolated, hours away by foot. Those who do wish to meet them better pack good walking shoes and be prepared to sleep in smoke-filled local houses complete with rats.
There are a few different face tattoo patterns. The spiderweb tattoo is popular in the Mrauk U region. It takes a three hour long tail boat ride to reach this remote area. This tattoo is usually accompanied by a circle in the center of the forehead which represents the sun or lines under the nose symbolizing tiger whiskers.
Another design, known as the bee pattern, is common in the Mindat area. It is composed of dots, lines and occasionally circles. It is worn by the Muun tribe who inhabit the hills of the Arakan state.
The Magan tribeswomen wear huge earrings made of beads and calabashes. They can also play the flute with their noses.
I ventured to Kanpelet village in search of the women from the U Pu tribe who have the incredibly rare whole face tattoo. This is one of the most impressive styles: the entire face is inked up. Rumors had it that only three women in this area had the tattoo. After hours of off roading, I arrive in the village only to learn that one died recently and another was very ill. I was lucky enough to meet Pa Late. At 85, she is nearly deaf but still works hard with her family in a small house on the top of a little hill.
Pa Late said that a completely black face had become a symbol of beauty in the past. The few women who refused to do it looked ugly to the men. The tattoo took three days but the pain lasted over a month.
There are two ways to make the tattoo needle. The first consists of tying three pieces of bamboo together and the second uses thorns. The ink is a mixture of cow bile, soot, plants, and pig fat. It usually took one day to complete the standard tattoo and a few more for the totally black one. The tattoo artist was a specialist or in some cases a parent. Infection was a common problem as the girls had blood all over their face.
Everything, including the eyelids, was tattooed. Many women say that the neck was the most sensitive area.
Ma Aung Seim shared her memories of the tattoo sessions : “I was 10 years old. The day before the tattoo ceremony, I only ate sugarcane and drank tea. It was forbidden to eat meat or peanuts. During the tattoo session, I cried a lot, but I could not move at all. After the session, my face bled for 3 days. It was very painful. My mother put fresh beans leaves on my face to alleviate the pain. I had no choice if i wanted to get married. Men wanted women with tattoos at this time. My mother told me that without a tattoo on my face, i would look like... a man! The web drawn on my face attracted the men like a spiderweb catches insects!”
Not all the tattooed women live in remote areas deep in the mountains. Some have integrated into modern society. Miss Heu, 67, lives in Kanpelet. Her grandmother forced her to get tattooed. She lives in a modern house and even has TV (when electricity is not out). Chin people have maintained their modesty and shyness: when a movie showspeople kissing or making love, most of them still fast forward the scene.
As a leader in the local community, Miss Heu had the chance to meet Aung San Suu Kyi when she came in the area for a meeting. She is very aware of the tattooed women and the ethnicities that are forgotten by the central government. She says she and Aung San Suu Kyi are friends now. Heu’s daughter has graduated and works in Singapore.
The Chin culture is threatened by the government as their teachers are usually not Chin. For a long time, they fought for independence, but since the country began to democratize, things have calmed down.
“I am old. Soon I will die” says to me a Chin woman from Pan Baung village, while she does the gesture of drying tears from her eyes. In her village, only 6 tattooed woman remain alive. Those women are the last of their kind…
© Eric Lafforgue
This photo was used by BrooklynBased on Nobody’s Business But the Turks, a piece about a free show TMBG did on the Williamsburg Waterfront in July 2011. Sadly, their site doesn't seem to keep the photos that were used at the time, but I promise it had been there...
• • • • •
Via the Regent Theatre's web site:
A Special Family Show with . . .
They Might Be Giants
Benefit Concerts for Boston By Foot
Sunday, May 23 at 12pm and 3pm
Both shows sold out - thank you!
They Might Be Giants will be performing two special shows especially for families. These are full band, full length performances. Both shows are to benefit Boston By Foot, the non-profit group giving guided walking tours of Boston for over 33 years. All concert goers can also use their ticket stub to get a free tour from Boston by Foot, including Boston by Little Feet tours for kids, during the upcoming season. All profits will go to BBF. www.bostonbyfoot.org/
They Might Be Giants Biography
HERE COMES SCIENCE!
For alternative rock legends They Might Be Giants, rave reviews from the likes of Time Magazine, Rolling Stone, The Village Voice, Pitchfork, NPR and beyond might not be that unexpected, but we're not talking about their regular gig here. Sure, TMBG have sold millions of records, are multi-Grammy winners and have even composed a musical accompaniment for an entire issue of McSweeney's, but these most recent accolades are for the work TMBG has created for children and--as the reviews attest--no other band swings as effortlessly from adult music to children’s fare and back again with the artistic and commercial success of They Might Be Giants.
John Flansburgh and John Linnell's latest CD/DVD is Here Comes Science (Idlewild/Disney Sound). It's an ultra-vivid crash course through topics that in lesser hands could easily put kids to sleep. With rock anthems and electronic goodies crafted to amuse, intrigue and deliver the 4-1-1 on evolution, solar system, photosynthesis, the scientific method and more. Following Here Comes the ABCs and Here Come the 123s, Science is geared for older kids and it introduces ideas in a way that not only inform but will stay in your head forever.
While it may seem like an odd move for a duo recognized as the progenitors of the American alternative rock movement, it really all makes perfect sense. From their earliest days with Dial-A-Song through their online music distribution, TMBG have always challenged rock's status quo and gone out of their way to take their music to brand new audiences, and by the looks of things, they’re having a lot of fun doing it their way. The Giants use every bit of fan interactive technology by connecting with kids via regular podcasts and including a DVD of delightful animated interpretations of their songs with each Here Comes... album.
The band is constantly working on new music, new projects and touring--sometimes with 2 shows a day. Founders John Flansburgh and John Linnell, along with their long standing live combo of Dan Miller, Danny Weinkauf and Marty Beller, show no signs of swapping one successful gig (adult music) for another (children’s music). Rejoice people of Earth--there’s just that much more for us all to enjoy.
Question: You once said in an interview that TMBGs knew what you didn’t want to do with your music geared for kids: You didn’t want to tell them how to behave or write songs that are educational. But these songs are quite educational, and in fact, you have a science consultant on this record. Did you make a conscious decision to really teach something on Here Comes Science?
John Linnell: I think it’s still a record you can listen to for enjoyment, and that’s real important to us. I am perfectly comfortable with the idea of something that is pure entertainment, but I don’t think there is any need for something just purely educational from us. My sense of this record is that it is mostly fun, musical and interesting and it happens to have lyrics that talk about science.
Question: Did any Children’s books or albums make an impression on you when you were a child? Because now you’re making that impression on children.
John Flansburgh: We get that question a lot, and it’s a valid question, but speaking for myself, I feel like we have something to contribute to kid's music because what we're doing is actually lacking in the general culture. Generally, our stuff is not really coming out of any amazing experience with the kid's stuff from the past. Our childhood was during the really golden era of classic pop and singles. Those songs weren't really designed for kids, but the power of it spoke to us and a lot of other kids quite directly.
Curiously--although I see the obvious connections--we didn’t really grow up with all of the progressive kids stuff of the 70's. We were that micro generation of glitter-rock young teens listening to Alice Cooper and David Bowie and we totally missed the boat on Sesame Street and School House Rock and Free To Be You and Me. But even being a bit too old for it, you could tell there was something cool about that stuff. Basically the cartoons of our generation were either super-violent, like Spiderman, or the really simple-minded Hanna-Barbera cartoons.
Question: Which one of you was the science student? Either or you? Neither of you?
J. Linnell: Specifically into science? I would say we were both middling students in school, but philosophically we are both, as adults, very pro-science. We like living in the post-enlightenment era in history. Are we still living in the enlightenment or is it over now, I can’t tell? Are we in the “en-darkenment” now?
J. Flansburgh: I think we’re actually in to the “gee whiz” part of science--all the scientific phenomenon that sparks your imagination. We certainly aren't academics, but there is something remarkable about the world of science and there are ideas in science that just send your mind reeling.
J. Linnell: One the things that is exciting about it is that it makes you realize that things that are true, that can be proven, aren’t always intuitive. There is a difference between what seems to be the case and what turns out to be proven to be the case, and that’s really exciting. The world isn’t always what it seems to be and it makes everything more wonderful in a way. You have an experience of the world, walking around, and then science provides knowledge about the world that is not always anything like the experience.
The history of scientific discovery is partly revealing things that you don’t always experience directly, it’s bizarre in a way that so much of what we know is stuff we can’t always experience directly, like molecules and galaxies.
Question: Does that make it easier or harder to write about Science?
J. Linnell: Well, both. There is a point that you do reflect that you’re trying to explain something preposterous. And luckily, I think kids know the whole world is strange and preposterous, but as they get older, they get used to the idea that there are facts they just have to take someone’s word for.
Question: Considering you guys once used an answering machine to showcase your material, how amazed are you that you have all of this media at your disposal – podcasts, internet, video, etc…how has it changed the way you work?
J. Flansburgh: We enjoyed having an easy-breezy, loose reputation in terms of getting our music out to people. It was very great to be the one of the few acts in the United States who wasn’t preoccupied with getting on the radio or a cash return on our music. Of course now there is almost no end to the free stuff, and it is cool to see how much you can get in to the world, but with the most popular videos on YouTube being cats jumping into a box or people getting pushed down escalators, part of me worries that all this electronic media is just in the service of turning our culture into an endless episode of America’s Funniest Home Videos.
J. Linnell: A lot of what the technology suggests to people is the democratizing of culture and the notion of interactivity kind of caught fire online early on. What’s weird for John and I is that we were never interested in either one of those things. We actually like the idea of controlling what we are doing and we like the old fashioned idea of there being quality control on culture, that you would get the “good stuff” and there would be a way, through a critical apparatus or institutions, that would deliver the good stuff and filter out the bad stuff. It feels like the big problem nowadays is that everything should be available to everyone at all times and the result is a lot of garbage to wade through…not to sound like an 80 year old man! (laughs)
Question: With your accompanying DVD, how did the directors and animators come together? Are they the same people from Here Come the 123s? How much creative control do you give the animators with your songs?
J. Flansburgh: We are the producers on all the animated material and we select the artists we collaborate with pretty carefully. We've been involved in a lot of television and video projects over the years and that was very good training for these projects. There is an expression in rock video production: “Good. Fast. Cheap. Choose two” It’s a very unreasonable thing to expect everything to come together on a tight budget. Our strategy is to give the animators a relatively long lead time so they can do something that will be a good portfolio piece for them and something cool for us. And although we’re on a tight budget, we can offer a large amount of artistic freedom, and that gives us the opportunity to work with the most creative people out there.
Question: For this tour, you’re doing both “kid” and “adult” shows, sometimes 2 in one day. How is it different when you perform in front of kids versus when you perform in front of adults?
J. Flansburgh: Whatever pretensions you might have about your performance get totally re-calibrated when you’re playing for kids–playing a kid show is probably a bit closer to being a school teacher than being a rock star. There are also a lot of parents in the audience and we address them as well which kind of breaks forth the wall of "kiddie-ness."
Just to address the questions we always get: “how is it different writing a song for kids or writing for adults?” or “performing for kids and performing for adults?” Well, there is a real overlap, but there are meaningful differences too. A good song works in a way that is kind of irreducible whether or not it’s for kids or adults. If a song has a strong melody or an interesting concept, it will animate any audience, but in performance, kids have a really short attention span, so keeping things moving is important. Routinely the confetti machine gets the biggest response of the day. That will keep your ego in check.
Although in the past, “Clap your Hands” and "Alphabet of Nations" worked for adults, by and large the kid stuff stayed in the kid show just because it's, well, for kids! (laughs). But with "Here Comes Science" a lot of the songs work good in the adult show. and that’s unusual. “Meet the Elements,” “My Brother the Ape,” “A Shooting Star is not a Star,” and “Why Does the Sun Shine” slid into the adult show without any second thoughts, and “I Am a Paleontologist” is totally rocking live.
Question: What’s next for They Might Be Giants?
J. Flansburgh: We’re working on a rock album right now, but we have so much touring interrupting our effort it's hard to know when it will get done, so the real answer is we're going to be spending a lot of time on a tour bus trying to figure out how to get the WiFi working!
Our children’s book collaboration with Pascal Campion, Kids Go, just came out at the end of last year on Simon & Schuster. It's actually a very beautiful project and a fulfillment of a dream of mine. When we were approached, I wanted to do an actual picture book, which very few people get to do, and it was exciting to realize that dream. A good picture book is something that really stays with you.
The Boeing 747 is a large, long-range wide-body airliner designed and manufactured by Boeing Commercial Airplanes in the United States between 1968 and 2022. After introducing the 707 in October 1958, Pan Am wanted a jet 2+1⁄2 times its size, to reduce its seat cost by 30% to democratize air travel. In 1965, Joe Sutter left the 737 development program to design the 747, the first twin-aisle airliner. In April 1966, Pan Am ordered 25 Boeing 747-100 aircraft and in late 1966, Pratt & Whitney agreed to develop the JT9D engine, a high-bypass turbofan. On September 30, 1968, the first 747 was rolled out of the custom-built Everett Plant, the world's largest building by volume. The first flight took place on February 9, 1969, and the 747 was certified in December of that year. It entered service with Pan Am on January 22, 1970. The 747 was the first airplane dubbed "Jumbo Jet", the first wide-body airliner.
The 747 is a four-engined jet aircraft, initially powered by Pratt & Whitney JT9D turbofan engines, then General Electric CF6 and Rolls-Royce RB211 engines for the original variants. With a ten-abreast economy seating, it typically accommodates 366 passengers in three travel classes. It has a pronounced 37.5° wing sweep, allowing a Mach 0.85 (490 kn; 900 km/h) cruise speed, and its heavy weight is supported by four main landing gear legs, each with a four-wheel bogie. The partial double-deck aircraft was designed with a raised cockpit so it could be converted to a freighter airplane by installing a front cargo door, as it was initially thought that it would eventually be superseded by supersonic transports. Freighter variants of the 747 remain popular with cargo airlines.
Boeing introduced the -200 in 1971, with more powerful engines for a heavier maximum takeoff weight (MTOW) of 833,000 pounds (378 t) from the initial 735,000 pounds (333 t), increasing the maximum range from 4,620 to 6,560 nautical miles (8,560 to 12,150 km). It was shortened for the longer-range 747SP in 1976, and the 747-300 followed in 1983 with a stretched upper deck for up to 400 seats in three classes. The heavier 747-400 with improved RB211 and CF6 engines or the new PW4000 engine (the JT9D successor), and a two-crew glass cockpit, was introduced in 1989 and is the most common variant. After several studies, the stretched 747-8 was launched on November 14, 2005, with new General Electric GEnx engines, and was first delivered in October 2011. The 747 is the basis for several government and military variants, such as the VC-25 (Air Force One), E-4 Emergency Airborne Command Post, Shuttle Carrier Aircraft, and some experimental testbeds such as the YAL-1 and SOFIA airborne observatory.
Manufacture of the 747 ended in December 2022 after a 54-year production run, with 1,574 aircraft built. Initial competition came from the smaller trijet widebodies: the Lockheed L-1011 (introduced in 1972), McDonnell Douglas DC-10 (1971) and later MD-11 (1990). Airbus competed with later variants with the heaviest versions of the A340 until surpassing the 747 in size with the A380, delivered between 2007 and 2021. As of 2020, 61 Boeing 747s have been lost in accidents and incidents, in which a total of 3,722 people have died.
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10 of 11
Utilities Exchange in the Blockchain Ecosystem
The Global Industry Classification Standard used by Morgan Stanley defines the information sector and industry that includes utility companies such as electric, gas and water utilities. It also includes independent power producers & energy traders and companies that engage in generation and distribution of electricity using renewable sources. Using CrowdPoint’s next generation Blockchain, all members of the ecosystem benefit from the transparency, speed and immutable transactions associated with electric, gas, multi and water utilities. Additionally it includes independent power and renewable energy producers.
Our mission is to horizontally and vertically unite electric, gas, water and multi utilities, to include independent power and renewable energy producers on our NexGen Blockchain in order to DEMOCRATIZE the Information Technology Experience for your HUMAN IDENTITY.
Utilities = US
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Blockchain Ecosystem = BE
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Masan is an administrative region of Changwon, a city in the South Gyeongsang Province. It was formerly an independent city from 1949 until in 30 June 2010 it was absorbed to Changwon along with Jinhae. Masan was redistricted as two districts within Changwon, Masanhappo-gu and Masanhoewon-gu. In 31 December 2012, the population of the districts combined was 406,893.
Throughout Korean history, Masan served as a significant port city of Happo, which went through rapid modernization in the 19th century. It was also a stage for significant democratization movements in the 1960s and 1970s, most notable event being the Bu-Ma Democratic Protests in 1979. Due to its status as a free trade port, Masan has experienced consistent growth until early 1990s when the construction of Changwon went underway and began to attract citizens around the region.
HISTORY
September 1283 – After Korean officials encouraged Kublai Khan – head of the Mongol Yuan Dynasty – in 1267 that Japan would be easily subdued,[citation needed] the Koryo Korean state built over 300 large ships to aid an invasion of Japan. With over 20,000 Mongol troops as well as 5,000 Korean, the allied armies departed Masan on board 900 ships on 15 September 1283 in a failed campaign to conquer Japan.
1 June 1901 – The port of Masan was opened with pressure from Japan. Among the initial trading goods were salt, fish, cotton and other goods.
15 December 1962 – A protest against electoral corruption was spearheaded by the Democratic Party in Masan. Approximately 1000 residents attended the demonstration, which took place at 19:30 in front of the Democratic Party Headquarters in Masan. The protest sparked violent clashes between demonstrators and police officers in which several students were killed. To restore order, authorities blacked out Masan and General Carter B. Magruder eventually dispatched US Marines to quell the unrest.
13 December 1962 – The body of Kim Ju-yul was discovered in Masan Harbor. Kim – still dressed in his uniform from Masan Commercial High School – had disappeared in the March 15 clashes. Authorities claimed that he had drowned, but many Masan residents did not believe this explanation and forced their way into the hospital where Kim's body was stored. At the hospital, they discovered that grenade fragments behind his eyes had actually killed him. In the following days, mass demonstrations broke out involving as many as 40,000 residents throughout the characteristically politically left-leaning city. During renewed clashes with police, police opened fire and killed several protesters. Once again, the US military was called in to help restore order. At this point, public anger with the government had grown to new highs and rebellion against the Rhee government mushroomed around the country. Authorities 8 declared martial law.
Thus, the events in Masan in 1962 helped spark the movement against corruption known as the April 19 Movement, which eventually led to the resignation of President Syngman Rhee and the beginning of the Second Republic.
December 1979 – Protests broke out in Masan (as well as in Busan) against the regime of President Park Chung-hee following a brutal police crackdown on a sit-in strike of female textile workers from YH Trading Company. Workers in Masan's Free-export Zone even managed to create four labour unions
EDUCATION
Masan has three institutions of higher education: public vocational focused, which is located on the northwestern outskirts of the city in Yongdam-ri, and the private Kyungnam University (경남대학교), which is located in the southern part of Masan adjacent to Shin Masan. And the small private Christian Chang Shin College, in the northeastern part of the city.
ENTERTAINMENT AND SPORTS
The original central business district of Masan is located in Chang-dong. But recently it has moved to Hapseong-dong. Hapseong-dong is also a commercial neighborhood. An area with many bars, restaurants, and other forms of entertainment is located in Sinmasan.
Masan's baseball stadium is the home of the KBO League's NC Dinos. It previously occasionally hosted the Lotte Giants, a Korea Baseball Organization team which plays in nearby Busan. A professional women's baseball team, one of several in South Korea, plays in Sinpo-dong. An amusement park and zoo are on the tiny island of Dot-do
Masan is also very close to Geojedo, a large island that can be reached by bus, car, or ferry.
FOOD
Masan is generally known for its fishing industry and is the origin of spicy Agujjim, a steamed dish made with agwi (아귀, blackmouth angler). Until the 1940s, the fish was not eaten and was frequently discarded due to its ugly appearance and low commercial value. However, as fish began to become more scarce in the late 20th century, the newly found delicacy became popular. Since its creation, agujjim has been considered a local specialty of Masan, especially around Odong-dong, one of the neighborhoods there and is favored by the public nationwide.
TRANSPORTATION
Machang Bridge is the first large-scale bridge to be built in South Korea as a public-private partnership. The sponsors of the project, Bouygues Travaux Publics and Hyundai Engineering & Construction, had been pursuing the Project since the late 1991s. MCB Co., Ltd, the Concessionaire, is jointly owned by the sponsors and MKIF.
MASAN PORT
The port was once operated by the Mongolians (Yuan Dynasty in China) and used in the preparations to conquer Japan - which eventually failed. To this day, Masan features the small but historic "Mongojeong" (몽고정,蒙古井) meaning Mongol Well. It is located on Jasan-dong 117, and represents the Mongolian influence on the city.
Today, Masan Port is one of the city's most dominating features. It was first opened in 1901. The port connects much of the outside world with the Changwon Industrial Complex, Masan's Free Trade Zone and the future Sachun Industrial Complex.
TOURIST SPOTS
JEODOYEONNEUKGYO BRIDGE
(Jeodo Island Land Connecting Bridge)
Jeodoyeonneukgyo Bridge is a popular spot to watch the beautiful sunrise and sunset. Built in 1990, the bridge connecting Gubok-ri and Jeodo Island is 182m in length and 15.5m in height. Rocks found on both ends of the bridge extend outward toward the sea, and one can cross the bridge while enjoying the beautiful backdrop of the deep blue sea.
JASAN SOLBAT PARK
This park is located in the heart of Masan, with a waterwheel along a 95m-long small stream, a pine trail created with red clay, an outdoor fitness area with gym equipment, a playground for children in the forest, an outdoor performance stage, and a gateball court.
GAGOPA KkOBURANG-GIL
This is a mural village where people can take a walk along a winding alley, and enjoy a view of a mountain village and the Masan Port. 32 artists painted the murals without pay as part of the efforts to invigorate the communities in Chusan-dong and Seongho-dong.
WIKIPEDIA
GUM (Russian: ГУМ, pronounced [gum], an abbreviation of Russian: Главный универсальный магазин, romanized: Glavnyy universalnyy magazin, lit. 'Main Universal Store') is the main department store in many cities of the former Soviet Union, known as State Department Store (Russian: Государственный универсальный магазин, romanized: Gosudarstvennyy universalnyy magazin) during the Soviet era (until 1991). Similarly named stores operated in some Soviet republics and in post-Soviet states.
The most famous GUM is the large store facing Red Square in the Kitai-gorod area – itself traditionally a mall of Moscow. Originally, and today again, the building functions as a shopping mall. During most of the Soviet period it was essentially a department store as there was one vendor: the Soviet State. Before the 1920s the location was known as the Upper Trading Rows (Russian: Верхние торговые ряды, romanized: Verkhniye Torgovyye Ryady).
As of 2021, GUM carries over 100 different brands,[1] and has cafes and restaurants inside the mall.
Moscow GUM
Design and structure
With the façade extending for 242 m (794 ft) along the eastern side of Red Square, the Upper Trading Rows were built between 1890 and 1893 by Alexander Pomerantsev (responsible for architecture) and Vladimir Shukhov (responsible for engineering). The trapezoidal building features a combination of elements of Russian medieval architecture and a steel framework and glass roof, a similar style to the great 19th-century railway stations of London. William Craft Brumfield described the GUM building as "a tribute both to Shukhov's design and to the technical proficiency of Russian architecture toward the end of the 19th century".
The glass-roofed design made the building unique at the time of construction. The roof, the diameter of which is 14 m (46 ft), looks light, but it is a firm construction made of more than 50,000 metal pods (about 743 t (819 short tons)), capable of supporting snowfall accumulation. Illumination is provided by huge arched skylights of iron and glass, each weighing some 740 t (820 short tons) and containing in excess of 20,000 panes of glass. The facade is divided into several horizontal tiers, lined with red Finnish granite, Tarusa marble, and limestone. Each arcade is on three levels, linked by walkways of reinforced concrete.
History
Catherine II of Russia commissioned Giacomo Quarenghi, a Neoclassical architect from Italy, to design a huge trade area along the east side of Red Square. However, that building was lost to the 1812 Fire of Moscow and replaced by trading rows designed by Joseph Bove. In turn, the current structure opened in 1894, replacing Bove's.
By the time of the Russian Revolution of 1917, the building contained some 1,200 stores. After the Revolution, GUM was nationalized. During the NEP period (1921–28), however, GUM as a State Department Store operated as a model retail enterprise for consumers throughout Russia regardless of class, gender, and ethnicity. GUM's stores were used to further Bolshevik goals of rebuilding private enterprise along socialist lines and "democratizing consumption for workers and peasants nationwide". In the end, GUM's efforts to build communism through consumerism were unsuccessful and arguably "only succeeded in alienating consumers from state stores and instituting a culture of complaint and entitlement".
GUM continued to be used as a department store until Joseph Stalin converted it into office space in 1928 for the committee in charge of his first Five Year Plan.[4] After the suicide of Stalin's wife Nadezhda in 1932, the GUM was used briefly to display her body.
After reopening as a department store in 1953, GUM became one of the few stores in the Soviet Union that did not have shortages of consumer goods, and the queues of shoppers were long, often extending entirely across Red Square.
Several times during the 1960s and 1970s, the Second Secretary of the Communist Party Mikhail Suslov, who hated having a department store facing Lenin's Mausoleum, tried to convert GUM into an exhibition hall and museum showcasing the achievements of the Soviet Union and Communism, without the knowledge of General Secretary Leonid Brezhnev. Each time, however, Brezhnev was tipped off and put a stop to such plans.
At the end of the Soviet era, GUM was partially, then fully, privatized, and it had a number of owners before it ended up being owned by the supermarket company Perekrestok. In May 2005, a 50.25% interest was sold to Bosco di Ciliegi, a Russian luxury goods distributor and boutique operator. As a private shopping mall, it was renamed in such a fashion that it could maintain its old acronym. The first word Gosudarstvennyi ("state") has been replaced with Glavnyi ("main"), so that GUM is now an abbreviation for "Main Universal Store".
Red Square (Russian: Красная площадь, romanized: Krasnaya ploshchad', IPA: [ˈkrasnəjə ˈploɕːɪtʲ]) is one of the oldest and largest squares in Moscow, the capital of Russia. It is located in Moscow's historic centre, in the eastern walls of the Kremlin. It is the city's most prominent landmark, with famous buildings such as Saint Basil's Cathedral, Lenin's Mausoleum and the GUM department store. It has been a UNESCO World Heritage Site since 1990. Red Square has been the scene of executions, demonstrations, riots, parades, and speeches. Almost 800,000 square feet (73,000 square metres), it lies directly east of the Kremlin and north of the Moskva River. A moat that separated the square from the Kremlin was paved over in 1812.
Moscow is the capital and largest city of Russia. The city stands on the Moskva River in Central Russia, with a population estimated at 13.0 million residents within the city limits, over 18.8 million residents in the urban area, and over 21.5 million residents in the metropolitan area. The city covers an area of 2,511 square kilometers (970 sq mi), while the urban area covers 5,891 square kilometers (2,275 sq mi), and the metropolitan area covers over 26,000 square kilometers (10,000 sq mi). Moscow is among the world's largest cities, being the most populous city entirely in Europe, the largest urban and metropolitan area in Europe, and the largest city by land area on the European continent.
First documented in 1147, Moscow grew to become a prosperous and powerful city that served as the capital of the Grand Duchy of Moscow. When the Tsardom of Russia was proclaimed, Moscow remained the political and economic center for most of its history. Under the reign of Peter the Great, the Russian capital was moved to the newly founded city of Saint Petersburg in 1712, diminishing Moscow's influence. Following the Russian Revolution and the establishment of the Russian SFSR, the capital was moved back to Moscow in 1918, where it later became the political center of the Soviet Union. In the aftermath of the dissolution of the Soviet Union, Moscow remained the capital city of the newly established Russian Federation.
The northernmost and coldest megacity in the world, Moscow is governed as a federal city, where it serves as the political, economic, cultural, and scientific center of Russia and Eastern Europe. As an alpha world city, Moscow has one of the world's largest urban economies. The city is one of the fastest-growing tourist destinations in the world, and is one of Europe's most visited cities. Moscow is home to the sixth-highest number of billionaires of any city in the world. The Moscow International Business Center is one of the largest financial centers in Europe and the world, and features the majority of Europe's tallest skyscrapers. Moscow was the host city of the 1980 Summer Olympics, and one of the host cities of the 2018 FIFA World Cup.
As the historic core of Russia, Moscow serves as the home of numerous Russian artists, scientists, and sports figures due to the presence of its various museums, academic and political institutions, and theaters. The city is home to several UNESCO World Heritage Sites and is well known for its display of Russian architecture, particularly its historic Red Square, and buildings such as the Saint Basil's Cathedral and the Moscow Kremlin, of which the latter serves as the seat of power of the Government of Russia. Moscow is home to many Russian companies in numerous industries and is served by a comprehensive transit network, which includes four international airports, ten railway terminals, a tram system, a monorail system, and most notably the Moscow Metro, the busiest metro system in Europe, and one of the largest rapid transit systems in the world. The city has over 40 percent of its territory covered by greenery, making it one of the greenest cities in the world.
Russia (Russian: Россия, romanized: Rossiya), or the Russian Federation,[b] is a country spanning Eastern Europe and North Asia. It is the largest country in the world by area, extending across eleven time zones. It shares land boundaries with fourteen countries.[c] It is the world's ninth-most populous country and Europe's most populous country. The country's capital as well as its largest city is Moscow. Saint Petersburg is Russia's second-largest city and cultural capital. Other major urban areas in the country include Novosibirsk, Yekaterinburg, Nizhny Novgorod, Chelyabinsk, Krasnoyarsk, Kazan, Krasnodar and Rostov-on-Don.
The East Slavs emerged as a recognised group in Europe between the 3rd and 8th centuries CE. The first East Slavic state, Kievan Rus', arose in the 9th century, and in 988, it adopted Orthodox Christianity from the Byzantine Empire. Rus' ultimately disintegrated, with the Grand Duchy of Moscow growing to become the Tsardom of Russia. By the early 18th century, Russia had vastly expanded through conquest, annexation, and the efforts of Russian explorers, developing into the Russian Empire, which remains the third-largest empire in history. However, with the Russian Revolution in 1917, Russia's monarchic rule was abolished and eventually replaced by the Russian SFSR—the world's first constitutionally socialist state. Following the Russian Civil War, the Russian SFSR established the Soviet Union with three other Soviet republics, within which it was the largest and principal constituent. At the expense of millions of lives, the Soviet Union underwent rapid industrialisation in the 1930s and later played a decisive role for the Allies in World War II by leading large-scale efforts on the Eastern Front. With the onset of the Cold War, it competed with the United States for global ideological influence. The Soviet era of the 20th century saw some of the most significant Russian technological achievements, including the first human-made satellite and the first human expedition into outer space.
In 1991, the Russian SFSR emerged from the dissolution of the Soviet Union as the independent Russian Federation. A new constitution was adopted, which established a federal semi-presidential system. Since the turn of the century, Russia's political system has been dominated by Vladimir Putin, under whom the country has experienced democratic backsliding and a shift towards authoritarianism. Russia has been militarily involved in a number of conflicts in former Soviet states and other countries, including its war with Georgia in 2008 and annexation of Crimea in 2014 from neighbouring Ukraine, followed by the further annexation of four other regions in 2022 during an ongoing invasion.
Internationally, Russia ranks among the lowest in measurements of democracy, human rights and freedom of the press; the country also has high levels of perceived corruption. The Russian economy ranks 11th by nominal GDP, relying heavily on its abundant natural resources, and 68th by GDP per capita. Its mineral and energy sources are the world's largest, and its figures for oil production and natural gas production rank highly globally. Russia possesses the largest stockpile of nuclear weapons and has the third-highest military expenditure. The country is a permanent member of the United Nations Security Council; a member state of the G20, SCO, BRICS, APEC, OSCE, and WTO; and the leading member state of post-Soviet organisations such as CIS, CSTO, and EAEU/EEU. Russia is home to 30 UNESCO World Heritage Sites.
IF YOU CANNOT SMILE IN THE MIDDLE OF A RIOT, YOU ARE JUST NOT ENJOYING YOUR WORK.
The riot police and police auxiliary finally showed up to clear out the protesters who were destroying property.
Saturday 1 December 2012 was inauguration day for the newly elected President of United Mexican States (MEXICO). While a friend and I were walking near where the inauguration was taking place, a small riot broke out around us; my friend being smarter than me immediately returned to the hotel while I stayed to take picture. A lot of young people showed up with bandanas covering much of their faces. The protesters were upset by the election of Pena Nieto, and believed election fraud had taken place. Several of the “rioters” identified themselves as belonging to Yo Soy 132.
Yo Soy 132 is an ongoing Mexican protest movement centered around the democratization of the country and its media. It began as opposition to the Institutional Revolutionary Party (PRI) candidate Enrique Peña Nieto and the Mexican media's allegedly biased coverage of the 2012 general election. The name Yo Soy 132, Spanish for "I Am 132", originated in an expression of solidarity with the protest's initiators.
Cluny Museum - Temporary Exhibition: Glass, an inventive Middle Ages
From September 20, 2017 to January 8, 2018.
The glass is, in the Middle Ages, the object of a real fascination. The exhibition traces ten centuries of an unknown creative abundance.
If they draw their inspiration from Antiquity or Islamic productions, master glassmakers also develop virtuosic techniques, such as Venetians, famous for enamelled goblets or craftsmen in the north of France, who develop the first glasses to rod.
From architecture, where the stained glass testifies to the virtuosity of craftsmen, to the most prestigious tables, glass is a luxury product. Over the centuries, it gradually democratizes in the form of civilian glazing or tavern cups.
But glass is also the precision work of service: urinals enable physicians to diagnose, stills used by apothecaries, mirrors that help reading - just like the glasses, which make their appearance in the late 13 th century .
The exhibition "The Glass, an inventive Middle Ages" features some 230 works with illuminations, paintings and engravings, which help us understand the uses of glass throughout the medieval period.
www.musee-moyenage.fr/activites/expositions/expositions-e...
FACES OF BOTH SIDES OF THE PROTEST.
Saturday 1 December 2012 was inauguration day for the newly elected President of United Mexican States (MEXICO). While a friend and I were walking near where the inauguration was taking place, a small riot broke out around us; my friend being smarter than me immediately returned to the hotel while I stayed to take picture. A lot of young people showed up with bandanas covering much of their faces. The protesters were upset by the election of Pena Nieto, and believed election fraud had taken place. Several of the “rioters” identified themselves as belonging to Yo Soy 132.
Yo Soy 132 is an ongoing Mexican protest movement centered around the democratization of the country and its media. It began as opposition to the Institutional Revolutionary Party (PRI) candidate Enrique Peña Nieto and the Mexican media's allegedly biased coverage of the 2012 general election. The name Yo Soy 132, Spanish for "I Am 132", originated in an expression of solidarity with the protest's initiators.
The Chin tattooed women live in the Chin, Rakhine and Arakan states in northwestern Myanmar. The origin of facial tattoos in the region is unknown. Some believe that the practice began during the reigns of Kings long ago. The royalty used to come to the villages to capture young women. The men from the tribe may have tattooed their women to make them ugly, thereby saving them from a life of slavery. Interestingly, I heard a similar origin for body modification among the Mursi tribe in Ethiopia. As legend has it, the tribeswomen began wearing giant lip plates to make them uglier to would-be kidnappers. Now, the bigger the lip plate the higher the bride price.
For years, access to the tribal Mindat area was restricted by the burmese government. It was opened just two years ago. Only about 700 tourists visit per year. Most of them only visit the bucolic Mount Victoria by bus, never meeting the tattooed women who remain isolated, hours away by foot. Those who do wish to meet them better pack good walking shoes and be prepared to sleep in smoke-filled local houses complete with rats.
There are a few different face tattoo patterns. The spiderweb tattoo is popular in the Mrauk U region. It takes a three hour long tail boat ride to reach this remote area. This tattoo is usually accompanied by a circle in the center of the forehead which represents the sun or lines under the nose symbolizing tiger whiskers.
Another design, known as the bee pattern, is common in the Mindat area. It is composed of dots, lines and occasionally circles. It is worn by the Muun tribe who inhabit the hills of the Arakan state.
The Magan tribeswomen wear huge earrings made of beads and calabashes. They can also play the flute with their noses.
I ventured to Kanpelet village in search of the women from the U Pu tribe who have the incredibly rare whole face tattoo. This is one of the most impressive styles: the entire face is inked up. Rumors had it that only three women in this area had the tattoo. After hours of off roading, I arrive in the village only to learn that one died recently and another was very ill. I was lucky enough to meet Pa Late. At 85, she is nearly deaf but still works hard with her family in a small house on the top of a little hill.
Pa Late said that a completely black face had become a symbol of beauty in the past. The few women who refused to do it looked ugly to the men. The tattoo took three days but the pain lasted over a month.
There are two ways to make the tattoo needle. The first consists of tying three pieces of bamboo together and the second uses thorns. The ink is a mixture of cow bile, soot, plants, and pig fat. It usually took one day to complete the standard tattoo and a few more for the totally black one. The tattoo artist was a specialist or in some cases a parent. Infection was a common problem as the girls had blood all over their face.
Everything, including the eyelids, was tattooed. Many women say that the neck was the most sensitive area.
Ma Aung Seim shared her memories of the tattoo sessions : “I was 10 years old. The day before the tattoo ceremony, I only ate sugarcane and drank tea. It was forbidden to eat meat or peanuts. During the tattoo session, I cried a lot, but I could not move at all. After the session, my face bled for 3 days. It was very painful. My mother put fresh beans leaves on my face to alleviate the pain. I had no choice if i wanted to get married. Men wanted women with tattoos at this time. My mother told me that without a tattoo on my face, i would look like... a man! The web drawn on my face attracted the men like a spiderweb catches insects!”
Not all the tattooed women live in remote areas deep in the mountains. Some have integrated into modern society. Miss Heu, 67, lives in Kanpelet. Her grandmother forced her to get tattooed. She lives in a modern house and even has TV (when electricity is not out). Chin people have maintained their modesty and shyness: when a movie showspeople kissing or making love, most of them still fast forward the scene.
As a leader in the local community, Miss Heu had the chance to meet Aung San Suu Kyi when she came in the area for a meeting. She is very aware of the tattooed women and the ethnicities that are forgotten by the central government. She says she and Aung San Suu Kyi are friends now. Heu’s daughter has graduated and works in Singapore.
The Chin culture is threatened by the government as their teachers are usually not Chin. For a long time, they fought for independence, but since the country began to democratize, things have calmed down.
“I am old. Soon I will die” says to me a Chin woman from Pan Baung village, while she does the gesture of drying tears from her eyes. In her village, only 6 tattooed woman remain alive. Those women are the last of their kind…
© Eric Lafforgue
Editor's Note: This is an archive image from 2007.
Kwangju, South Korea is featured in this image photographed by an Expedition 14 crewmember on the International Space Station. The Metropolitan City of Kwangju (or Gwangju) is the fifth largest urban area in South Korea with a population of 1.4 million people. It is a major economic and cultural center for the southern portion of the country, located in a geographic basin with high mountains to the east (the mountain of Mudeungsan to the east has a peak elevation of 1,140 meters) and more open plains to the west. The city is perhaps best known to the West as the location of the Gwangju Massacre in May 1980, during which civilian demonstrators were killed by government forces. This event has led to identification of the city within South Korea as "the shrine of Korean democracy." The most notable feature in this view is an interesting blue cast to the urbanized regions. Digital photographs capture the same red, green, and blue wavelengths of reflected light that human eyes are sensitive to (known as a "true-color" image), and urban areas typically appear in tones of grey. The distinctive blue-grey color of the Kwangju metropolitan area is the result of numerous blue building rooftops, present on both small residential buildings and large industrial buildings such as those located at center and right.
Image/caption credit: NASA
View original image/caption:
spaceflight.nasa.gov/gallery/images/station/crew-14/html/...
More about space station science:
www.nasa.gov/mission_pages/station/science/index.html
There's a Flickr group about Space Station Science. Please feel welcome to join! www.flickr.com/groups/stationscience/
Hello World! or: How I Learned to Stop Listening and Love the Noise (2008) stitches more than 5000 video diaries gathered from MySpace, YouTube, and Facebook into a massive, panoramic crowd of individual talking heads. It is simultaneously a critical look at the growing cacophony of participatory media and an optimistic meditation on its democratizing potential.
Each video diary consists of a single speaker candidly addressing an imagined, potentially massive audience from a private space such as a bedroom, kitchen, or dorm room. The individual monologues are mundane–records of daily activities, opinions, feelings, and frustrations–but together they reveal a fascinating patchwork of life lived online.
Artist Christopher Baker, originally trained as a scientist, examines the complex relationship between society and its technologies by recontextualizing captured communications and visualizing large sets of data. He is currently an Assistant Professor in the Art and Technology Studies department at the School of the Art Institute of Chicago.
Taken 06/04/20 during the Coronaviris/Covid-19 lock down when British Airways stored surplus planes at Bournemouth Airport.
I took this whilst out on one of my daily exercise outing during the lock down, a cycle out to Hurn and to take this I had to poke my camera through the chain link fencing, hence the odd framing!
Planes aren't really my thing, but having identified this as a Boeing 747 over to Wikipedia "... the Boeing 747 is a large wide-body airliner and cargo aircraft manufactured by Boeing Commercial Airplanes in the United States. After introducing the 707 in October 1958, Pan Am wanted a jet 2½ times its size, to reduce its seat cost by 30% to democratize air travel. ... [in] 1968, the first 747 was rolled out of the custom-built Everett Plant, ... the first flight took place on February 9, 1969 and the 747 was certified in December of that year. It entered service with Pan Am on January 22, 1970, the 747 was the first plane dubbed a "Jumbo Jet". ... the heavier 747-400 with improved engines and a two-crew glass cockpit, was introduced in 1989 and is the most common variant."
FACES OF BOTH SIDES OF THE PROTEST.
Saturday 1 December 2012 was inauguration day for the newly elected President of United Mexican States (MEXICO). While a friend and I were walking near where the inauguration was taking place, a small riot broke out around us; my friend being smarter than me immediately returned to the hotel while I stayed to take picture. A lot of young people showed up with bandanas covering much of their faces. The protesters were upset by the election of Pena Nieto, and believed election fraud had taken place. Several of the “rioters” identified themselves as belonging to Yo Soy 132.
Yo Soy 132 is an ongoing Mexican protest movement centered around the democratization of the country and its media. It began as opposition to the Institutional Revolutionary Party (PRI) candidate Enrique Peña Nieto and the Mexican media's allegedly biased coverage of the 2012 general election. The name Yo Soy 132, Spanish for "I Am 132", originated in an expression of solidarity with the protest's initiators.
Human Interest: Portraits from the Whitney’s Collection offers new perspectives on one of art’s oldest genres. Drawn entirely from the Museum’s holdings, the more than two hundred works in the exhibition show changing approaches to portraiture from the early 1900s until today. Bringing iconic works together with lesser-known examples and recent acquisitions in a range of mediums, the exhibition unfolds in eleven thematic sections on the sixth and seventh floors. Some of these groupings concentrate on focused periods of time, while others span the twentieth and twenty-first centuries to forge links between the past and the present. This sense of connection is one of portraiture’s most important aims, whether memorializing famous individuals long gone or calling to mind loved ones near at hand.
Portraits are one of the richest veins of the Whitney’s collection, a result of the Museum’s longstanding commitment to the figurative tradition, which was championed by its founder, Gertrude Vanderbilt Whitney. Yet the works included in this exhibition propose diverse and often unconventional ways of representing an individual. Many artists reconsider the pursuit of external likeness—portraiture’s usual objective—within formal or conceptual explorations or reject it altogether. Some revel in the genre’s glamorous allure, while others critique its elitist associations and instead call attention to the banal or even the grotesque.
Once a rarefied luxury good, portraits are now ubiquitous. Readily reproducible and ever-more accessible, photography has played a particularly vital role in the democratization of portraiture. Most recently, the proliferation of smartphones and the rise of social media have unleashed an unprecedented stream of portraits in the form of snapshots and selfies. Many contemporary artists confront this situation, stressing the fluidity of identity in a world where technology and the mass media are omnipresent. Through their varied takes on the portrait, the artists represented in Human Interest raise provocative questions about who we are and how we perceive and commemorate others.
Human Interest: Portraits from the Whitney’s Collection is curated by Dana Miller, Richard DeMartini Family Curator and Director of the Permanent Collection and Scott Rothkopf, Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator with Mia Curran, Curatorial Assistant; Jennie Goldstein, Assistant Curator; and Sasha Nicholas, consulting curator.
I. Drawing/sketch- Title - Fire from the Source. - "One of the most difficult tasks men can perform, however much others may despise it, is the invention of good games and it cannot be done by men out of touch with their instinctive selves." - Jung.
Dimensions- 18" x 24.5" acid free paper & ebony pencil.
I will try to upload a much better image soon, ebony pencil reflects light & this is a large- & very detailed drawing. I had to photograph it a bit dark so that the ebony would not make a sheen to completely wipe out detail.. When it's framed it will be much easier to photograph.
This is a large study/drawing, Assange/Wikileakers of the organization Wikileaks ( wikileaks.org ) uses 'matches from sources' to disclose US gov secrecy ( behind large black curtains ) & to also finally bring some much needed attention & closure to some of these revelations ( set ablaze ).
More Wikileaks Series studies, &* drawings/etc leading to other/more work soon. Ongoing.
"War has become a luxury that only small nations can afford." -
Hannah Arendt
War Diary - wardiary.wikileaks.org/ Timeline: wartimeline.haineault.com/
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"Capable, generous men do not create victims, they nurture them." - Julian Assange, editor & founder of Wikileaks
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"WikiLeaks Founder Julian Assange on the 'War Logs- ; ''I Enjoy Crushing Bastards" www.spiegel.de/international/world/0,1518,708518,00.html
- ( !! Yessssssssssssss.. Enough of bastards... )
( en.wikipedia.org/wiki/Media_ecology )
"This is but one isolated example, but it is a symptom of the main reason these leaks are important: in order to form an opinion on the war, we need to be able to trust the official information coming from the field. The leaks suggest that we cannot always do so. This in turn erodes populations' trust in what their military establishments tell them. "
www.huffingtonpost.com/azeem-ibrahim/dont-let-anyone-fool...
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"The leak of tens of thousands of Afghanistan war-related documents tells us more than the sum total of many official communiqués about the war. On balance, more disclosure is a good thing, but the leaking of raw military intelligence is a special case that requires a careful, rather than a cavalier, approach.
There is not enough information about the war, and much official information is misleading. In Canada, the federal government's quarterly reports contain a few updates based on its goals in Kandahar, but little else that informs. The government has already shown itself to be an unreliable source on issues relating to Afghan detainees.
The situation is now too dangerous for the most trustworthy chroniclers – journalists, UN personnel – to go outside NATO-protected areas.
So reliable, independent information is lacking. The circumstances in this war make such information even more necessary."
www.theglobeandmail.com/news/opinions/editorials/we-neede...
"The first phase was chilling, in part because the banter of the soldiers was so far beyond the boundaries of civilian discourse. “Just fuckin’, once you get on ’em, just open ’em up,” one of them said. The crew members of the Apache came upon about a dozen men ambling down a street, a block or so from American troops, and reported that five or six of the men were armed with AK-47s; as the Apache maneuvered into position to fire at them, the crew saw one of the Reuters journalists, who were mixed in among the other men, and mistook a long-lensed camera for an RPG. The Apaches fired on the men for twenty-five seconds, killing nearly all of them instantly."
Read more www.newyorker.com/reporting/2010/06/07/100607fa_fact_khat...
"JA: We have to be careful there. Remember, this is a civil war. Everyone says Taliban, but in fact, the Taliban are Afghans. This is a civil war that is going on. And Taliban are a part of the will of the Afghan people. They are also part, probably, of the Pakistani secret intelligence service, and maybe, of course, part of the will of Saudi Arabia, who is giving some money to this. But in terms of the bodies on the ground, people are actually doing their work. The Taliban is part of the will of the Afghan people. And the United States and the allied forces need to recognize and understand that it’s part of the Afghan people and if you are shooting Taliban, you are shooting the Afghan people.
That does not mean they do not have blood on their hands.
This material does not paint the behaviors of any military groups in a nice light – there is blood on all sides."
rt.com/Politics/2010-08-01/taliban-wikileaks-afghan-assan...
Samantha Power - Development and Democracy - "Samantha Power discusses the political challenges facing democracy promotion and the practical needs of effective democratization." www.youtube.com/watch?v=wUUOO5cCNVg
"Instead, many eyes will now pore over this data from many different directions, looking for patterns and attempting to eliminate the noise, disinformation and fog of war.
Many will look to it to criticise and condemn the US presence in Afghanistan, but if those on the other side – those who support such military incursions – have any sense, they too will use it to understand better the war in which they find themselves and adapt their counsel to fit more accurately the facts on the ground.
That’s the benefit, usually, of an open society. We get to triangulate on the truth by gathering facts in the public space, then providing them to all sides to chew over. We use this against our own illusions and those of more closed societies who can only view the world through one narrow perspective.": www.irishtimes.com/newspaper/finance/2010/0730/1224275801...
"Women always disproportionately suffer the effects of war, and to think that women's rights can be won with bullets and bloodshed is a position dangerous in its naïveté." www.huffingtonpost.com/2010/07/30/is-the-war-in-afghanist...
“To a personal injury plaintiffs lawyer, those are all potential clients in a tort suit against a contractor,” she said.
”So, for the ambulance chasers of the battlefield, the WikiLeaks database is a goldmine.” blog.washingtonpost.com/spy-talk/2010/07/lawyer_wikileaks...
"We journalists should be delighted that WikiLeaks exists because our central task has always been one of disclosure, of revealing public interest material that others believe wish to be kept secret.The website deserves our praise and needs to be defended against the reactionary forces that seek to avoid exposure."
edition.cnn.com/2010/OPINION/07/29/wikileaks.roy.greensla...
"With the release of the WikiLeaks documents, Arab media may finally feel vindicated, as Western media finally start to give greater prominence to civilian casualties." newamericamedia.org/2010/07/wikileaks-documents-validate-...
"How to read the Afghanistan war logs: video tutorial
David Leigh, the Guardian's investigations editor, explains the online tools we have created to help you understand the secret US military files on the war in Afghanistan": www.guardian.co.uk/world/datablog/video/2010/jul/25/afgha...
"Jonathan Foreman, writing for the right of center National Review's Corner blog, hopes the documents will force America to deal with the possible deceptions being made by ally Pakistan. "It is possible that the publication of documents that provide actual evidence — rather than rumors — of the role of ISI personnel in Taliban planning, logistics, and strategy will give the West greater leverage in dealing with Islamabad and might force Pakistan’s political elite to confront the reality of the ISI’s secret activities. If so, that would be a silver lining to what is otherwise a military disaster abetted by the U.S. and British media."
www.nbclosangeles.com/news/politics/NATL-The-Importance-o...
"Wikileaks confirmed: A plan to kill American geologist with poison beer
The Wikileaks documents contain a claim that Pakistan and Afghanistan insurgents were working to poison alcoholic drinks in Afghanistan. While that's unproven, one US adviser in Afghanistan tells the Monitor he was almost poisoned that way in 2007." : www.csmonitor.com/World/Asia-South-Central/2010/0728/Wiki...
"This is duplicitous only if you close your eyes to the Pakistani reality, which the Americans never did. There was ample evidence, as the WikiLeaks show, of covert ISI ties to the Taliban. The Americans knew they couldn't break those ties. They settled for what support Pakistan could give them while constantly pressing them harder and harder until genuine fears in Washington emerged that Pakistan could destabilize altogether. Since a stable Pakistan is more important to the United States than a victory in Afghanistan—which it wasn't going to get anyway—the United States released pressure and increased aid. If Pakistan collapsed, then India would be the sole regional power, not something the United States wants."
www.billoreilly.com/site/rd?satype=13&said=12&url...
A War Without End: www.spiegel.de/international/world/0,1518,708314,00.html
"Julian Assange on the Afghanistan war logs: 'They show the true nature of this war'
Julian Assange, the founder of Wikileaks, explains why he decided to publish thousands of secret US military files on the war in Afghanistan Afghanistan war logs expose truth of occupation": www.guardian.co.uk/world/video/2010/jul/25/julian-assange...
The history of US leaks: www.bbc.co.uk/news/world-us-canada-10769495
Freedom of Information Act: en.wikipedia.org/wiki/Freedom_of_Information_Act_(United_...
"A long-delayed Afghanistan war funding bill, stripped of billions for teachers and black farmers, is back before the House and walking now into the storm over the Internet leak of battlefield reports stirring old doubts about U.S. policy and relations with Pakistan.": www.politico.com/news/stories/0710/40254.html & www.politico.com/news/stories/0710/40251.html
This ongoing series is dedicated to everyone who has needlessly had their lives destroyed, been injured or die in this almost past decade of war. For the sources, journalists & average citizens who risk their lives to inform us.
Reuters reporters Namir Eldeen, Saeed Chmagh & the good samaritan ( father ) who died trying to save them & of course his two surviving small children who will forever be impacted by the brutality of war for decades to come.
Please help Private Bradley Manning- www.bradleymanning.org/
"One surprising consequence of the war in Iraq is the surrender of postmodernism to a victorious modernism. This has been largely overlooked in North America.
In reaction to the U.S. intervention in Iraq, Jacques Derrida, a famous postmodernist, signed on as co-author of an article drafted by the German philosopher Jürgen Habermas, previously an opponent of his, in an unmistakable endorsement of modernist Enlightenment principles. Derrida, the apostle of deconstructionism, is now advocating some decidedly constructive and Eurocentric activism.
The article appeared simultaneously in two newspapers on May 31, in German in Frankfurter Allgemeine Zeitung as "After the War: The Rebirth of Europe," and in French in Libération, less triumphantly, as "A Plea for a Common Foreign Policy: The demonstrations of Feb. 15 against the war in Iraq designed a new European public space."
Other famous intellectuals joined in with supportive newspaper articles of their own: Umberto Eco (of The Name of the Rose) and Gianni Vattimo in Italy and an American philosopher, Richard Rorty. This provoked much discussion in Europe, but only a few comments so far in North America, the Boston Globe and the Village Voice being rare exceptions.
This week in Montreal, there was an anti-globalization riot in which windows were broken in protest against a World Trade Organization (WTO) meeting. But the Habermas-Derrida declaration praises the WTO and even the International Monetary Fund as part of Weltinnenpolitik: maddeningly hard to translate, but something like "global domestic policy" or "external internal policy."
Yet it is not much of a stretch to claim the young anti-globalists as disciples of postmodernism and Derrida, who has hitherto been a foe of "logocentrism" (putting reason at the centre), "phallologocentrism" (reason is an erect male organ and, as such, damnably central) and Eurocentrism (the old, old West is the homeland of all of the above).
Derrida added a note to the article, observing most people would recognize Habermas's style and thinking in the piece, and that he hadn't had time to write a separate piece. But notwithstanding his "past confrontations" with Habermas (Derrida had objected to being called a "Judaistic mystic," for one thing), he agreed with the article he had signed, which calls for new European responsibilities "beyond all Eurocentrism" and the strengthening of international law and international institutions."
More: www.16beavergroup.org/mtarchive/archives/000361.php
"In early 2003, both Habermas and Derrida were very active in opposing the coming Iraq War, and called for in a manifesto that later became the book Old Europe, New Europe, Core Europe for a tighter union of the states of the European Union in order to provide a power capable of opposing American foreign policy. Derrida wrote a foreword expressing his unqualified subscription to Habermas's declaration of February 2003, "February 15, or, What Binds Europeans Together: Plea for a Common Foreign Policy, Beginning in Core Europe,” in Old Europe, New Europe, Core Europe which was a reaction to the Bush administration demands upon European nations for support for the coming Iraq War[25]. Habermas has offered further context for this declaration in an interview."
More: en.wikipedia.org/wiki/J%c3%bcrgen_Habermas#Habermas_and_D...
Habermas: ”The asymmetry between the concentrated destructive power of the electronically controlled clusters of elegant and versatile missiles in the air and the archaic ferocity of the swarms of bearded warriors outfitted with Kalashnikovs on the ground remains a morally obscene sight
I consider Bush' s decision to call for a "war against terrorism" a serious mistake, both normatively and pragmatically. Normatively, he is elevating these criminals to the status of war enemies; and pragmatically, one cannot lead a war against a "network" if the term "war" is to retain any definite meaning.”
Derrida: “To say it all too quickly and in passing, to amplify and clarify just a bit what I said earlier about an absolute threat whose origin is anonymous and not related to any state, such "terrorist" attacks already no longer need planes, bombs, or kamikazes: it is enough to infiltrate a strategically important computer system and introduce a virus or some other disruptive element to paralyze the economic, military, and political resources of an entire country or continent. And this can be attempted from just about anywhere on earth, at very little expense and with minimal means. The relationship between earth, terra territory, and terror has changed, and it is necessary to know that this is because of knowledge, that is, because of technoscience.
It is technoscience that blurs the distinction between war and terrorism. In this regard, when compared to the possibilities for destruction and chaotic disorder that are in reserve, for the future, in the computerized networks of the world, "September 11" is still part of the archaic theater of violence aimed at striking the imagination. One will be able to do even worse tomorrow, invisibly, in silence, more quickly and without any bloodshed, by attacking the computer and informational networks on which the entire life (social, economic, military, and so on) of a "great nation," of the greatest power on earth, depends.”
www.16beavergroup.org/mtarchive/archives/000361.php
I am incredibly- delighted at all the vital discussions about the war & US gov that are FINALLY taking place- & on a mass scale- as a result of this leak .. Simply miraculous..
FREEDOM & PEACE ( transparency, diplomacy & the evolution of such ) FOR ALL WAR NATIONS.
( WARNING - link ( after excerpt ) is NOT for sensitive viewers- ) "Wikileaks have released over 150 surpressed images. This is the tip of the iceberg, keep looking, keep publishing.In the last week Wikileaks has released over 150 censored photos and videos of the Tibet uprising and has called on bloggers around the world to help drive the footage through the Chinese internet censorship regime — the so called “Great Firewall of China”The transparency group’s move comes as a response to the the Chinese Public Security Bureau’s carte-blanche censorship of youtube, the BBC, CNN, the Guardian and other sites carrying video footage of the Tibetan people’s recent heroic stand against the inhumane Chinese occupation of Tibet."
fortuzero.wordpress.com/2008/03/31/tibet-western-media-sa...
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The Blue Mask - Lou Reed - www.goear.com/listen/9960779/the-blue-mask-lou-reed ( & O Superman ) www.goear.com/listen/02cf55d/o-superman-(for-massenet)-la...
Lou Reed The Blue Mask
Lyrics:
They tied his arms behind
his back to teach him how to
swim They put
blood in his coffee and milk
in his gin They stood over the
soldier in
the midst of the squalor
There was war in his body and
it caused his
brain to holler
Make the sacrifice
mutilate my face
If you need someone to kill
I'm a man without a will
Wash the razor in the rain
Let me luxuriate in pain
Please don't set me free
Death means a lot to me
The pain was lean and it made
him scream he knew he was alive
They put a
pin through the nipples on his chest
He thought he was a saint
I've made love to my mother,
killed my father and my brother
What am I
to do
When a sin goes too far, it's
like a runaway car It cannot
be controlled
Spit upon his face and scream
There's no Oedipus today
This is no play you're thinking you
are in What will you say
Take the blue mask down from my face and
look me in the eye I get a
thrill from punishment
I've always been that way
I loathe and despise repentance
You are permanently stained
Your weakness buys indifference
and indiscretion in the streets
Dirty's what you are and clean is what
you're not You deserve to be
soundly beat
Make the sacrifice
Take it all the way
There's no won't high enough
To stop this desperate day
Don't take death away
Cut the finger at the joint
Cut the stallion at his mount
And stuff it in his mouth
---
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* The little world of childhood with its familiar surroundings is a model of the greater world. The more intensively the family has stamped its character upon the child, the more it will tend to feel and see its earlier miniature world again in the bigger world of adult life. Naturally this is not a conscious, intellectual process.
The Theory of Psychoanalysis (1913)
* This whole creation is essentially subjective, and the dream is the theater where the dreamer is at once scene, actor, prompter, stage manager, author, audience, and critic.
General Aspects of Dream Psychology (1928)
* The dream is the small hidden door in the deepest and most intimate sanctum of the soul, which opens to that primeval cosmic night that was soul long before there was conscious ego and will be soul far beyond what a conscious ego could ever reach.
The Meaning of Psychology for Modern Man (1934)
* Emotion is the chief source of all becoming-conscious. There can be no transforming of darkness into light and of apathy into movement without emotion.
Psychological Aspects of the Modern Archetype (1938)
* No one can flatter himself that he is immune to the spirit of his own epoch, or even that he possesses a full understanding of it. Irrespective of our conscious convictions, each one of us, without exception, being a particle of the general mass, is somewhere attached to, colored by, or even undermined by the spirit which goes through the mass. Freedom stretches only as far as the limits of our consciousness.
Paracelsus the Physician (1942)
* The unconscious is not just evil by nature, it is also the source of the highest good: not only dark but also light, not only bestial, semihuman, and demonic but superhuman, spiritual, and, in the classical sense of the word, "divine."
The Practice of Psychotherapy, p. 364 (1953)
* Our blight is ideologies — they are the long-expected Antichrist!
The Tibetan Book of the Great Liberation (1954)
* Even if the whole world were to fall to pieces, the unity of the psyche would never be shattered. And the wider and more numerous the fissures on the surface, the more the unity is strengthened in the depths.
Civilization in Transition (1964)
* One of the most difficult tasks men can perform, however much others may despise it, is the invention of good games and it cannot be done by men out of touch with their instinctive selves.
Jung and the Story of Our Time, Laurens van der Post (1977)
* That higher and "complete" man is begotten by the "unknown" father and born from Wisdom, and it is he who, in the figure of the puer aeternus—"vultu mutabilis albus et ater"—represents our totality, which transcends consciousness. It was this boy into whom Faust had to change, abandoning his inflated onesidedness which saw the devil only outside. Christ's "Except ye become as little children" is a prefiguration of this, for in them the opposites lie close together; but what is meant is the boy who is born from the maturity of the adult man, and not the unconscious child we would like to remain.
Answer to Job, R. Hull, trans. (1984), pp. 157-158
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But life is long. And it is the long run that balances the short flare of interest and passion. -
I am too pure for you or anyone. -
Is there no way out of the mind? -
all by, Sylvia Plath
Brian Eno - Golden Hours www.youtube.com/watch?v=lh9VdRQO2i4
"It looks like you can write a minimalist piece without much bleeding. And you can. But not a good one.
It seems important to find ways of reminding ourselves that most "familiarity" is meditated and delusive.
Nuclear weapons and TV have simply intensified the consequences of our tendencies, upped the stakes.
One of the things that makes Wittgenstein a real artist to me is that he realized that no conclusion could be more horrible than solipsism.
Pleasure becomes a value, a teleological end in itself. It's probably more Western than U.S. per se. "
"And I'm not saying that television is vulgar and dumb because the people who compose the Audience are vulgar and dumb. Television is the way it is simply because people tend to be extremely similar.. in their vulgar and prurient and dumb interests and wildly different in their refined and aesthetic and noble interests." - All by David Foster Wallace
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"the aim of those who had created these techniques was not to liberate people but to control them" From: The Century of Self, by Adam Curtis part 4: video.google.com/videoplay?docid=1122532358497501036#
IMAGINE THE HAPPINESS & GREAT WORK AHEAD OF US WE COULD HAVE AT THE END OF THE WARS!!!!!!!!!
www.goear.com/listen/48d6016/hora-de-la-mehedinti-romania...
NO MORE WAR & FREEDOM FOR ALL WAR NATIONS!!!!!!!!!
Peace.
Hybrid Knowledge Spaces is the title of the Ars Electronica Garden Dresden hosted by Industrial Design Engineering TU Dresden (DE), Communication Networks TU Dresden (DE), Schaufler Lab TU Dresden (DE), Deutsches Hygiene Museum Dresden (DE).
The TU Dresden garden offers new perspectives on the technological and social implications of our digital age. How can we shift our designs to a more humanity-centered approach in a post-pandemic world? With respect to the need for sustainable societies, we may intertwine digital and analogue spaces to experience others and share knowledge in an open, immersive and ecological way. Technologically, this development will be accelerated by the next-generation communication tech: 6G. With decreased latency and extremely fast data processing, the interface solutions connecting humans to machines will increase in importance and be accessible to more and more people around the globe. The democratization of knowledge and skills goes hand in hand with a diversification of interface systems according to the different knowledge systems used. Whereas databases need a visual representation, skills such as playing the piano require haptic feedback to support learning. Additionally, interfaces need to be diversified, not just with respect to group status but even more so on an individual level. This raises questions for designers about the personal and, perhaps, the cultural implications of their work.
The program contains a Demo Show and Panel Talk called "From Digital Pianists to Democratizing Skills".
Photo: Tina Bobbe
Thank you for your views and comments; they are very much appreciated.
[This is one of 7 images—the main artwork plus 6 focused on details.] “Shipyard Society” (1916) is one of 5 paintings on this theme, depicting the shipbuilding industry in Maine. This impressive work is in the Virginia Museum of Fine Arts in Richmond, Virginia. The oil on panel painting is vigorous, energetic, and alive with numerous vignettes of spectators and workers at the shipyard, a depiction of the warmth and vitality of the commonplace. Bellows shows a masterful contrast between the ordinary (people) and the extraordinary (the magnitude of the ship being built). There is time for gossip and flirting, of food and dogs and umbrellas. To me there is something essentially American about the painting.
George Wesley Bellows (1882-1925) born in Columbus, Ohio, is an important American realist painter. He studied with and was influenced by Robert Henri at the New York School of Art, who promoted a democratization of subject matter in art—anything “real” was worthy of being painted. He displayed his interest in the working man with many contributions to the socialist magazine The Masses, but he believed artistic freedom was more significant that ideology, a belief that sometimes put him at odds with the editors. He became interested in lithography and worked with Bolton Brown on over 100 prints. Bellows also illustrated books, several by H. H. Wells. His artwork was evolving at the time of his death with more focus on light and domestic matters. His work is on display in numerous art galleries. In 1999 Bill Gates paid over 27 million dollars for a 1910 Bellows painting, “Polo Crowd”. Belolows is best known, probably, for his works showing boxing scenes.
Much of his work is online. A search of George Bellows on Flickr had over 730 returns.
203 paintings, with slideshow capabilities, is at www.georgewesleybellows.org/
221 paintings are found at www.the-athenaeum.org/art/list.php?m=a&s=du&aid=97
69 prints at can be viewed at www.flickr.com/photos/boston_public_library/sets/72157604...
Sources:
(1) Wikipedia en.wikipedia.org/wiki/George_Bellows
(2) biography plus thorough listing of awards and exhibitions www.sullivangoss.com/george_Bellows/
(3) biography plus 26 art works and quotes from Bellows on his craft
www.artinthepicture.com/artists/George_Bellows/Biography/
(4) assessment of an exhibition at the National Gallery of Art socialistworker.org/2012/08/15/painter-of-working-class-life
(5) slender volume issued in 1931 by Whitney Museum of Modern Art with b&w images and can be downloaded in .pdf format archive.org/details/georgebellows00egge
(6) museums online with works shown www.artcyclopedia.com/artists/bellows_george_wesley.html
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. If you use this image on your web site, you need to provide a link to this photo.
Julie Becker
CEO, Luxembourg Stock Exchange
Yaniv Tepper
Managing Partner and Co-Founder, Angeleno Group
First, it's "Streetcar Sunday" so here you go (sigh). Have to get this out of the way...
Second, very recently I made a trip down to Tacoma to support a friend and attend a City Club of Tacoma luncheon regarding Sound Transit 3 (ST3) and transit democratization. TVW kindly recorded the luncheon and at 55:40 of the link some Joe asked a question: goo.gl/VxFQCR . So enjoy this transit photo...
PHOTO CREDIT: Joe A. Kunzler Photo, AvgeekJoe Productions, growlernoise-AT-gmail-DOT-com
Masan is an administrative region of Changwon, a city in the South Gyeongsang Province. It was formerly an independent city from 1949 until in 30 June 2010 it was absorbed to Changwon along with Jinhae. Masan was redistricted as two districts within Changwon, Masanhappo-gu and Masanhoewon-gu. In 31 December 2012, the population of the districts combined was 406,893.
Throughout Korean history, Masan served as a significant port city of Happo, which went through rapid modernization in the 19th century. It was also a stage for significant democratization movements in the 1960s and 1970s, most notable event being the Bu-Ma Democratic Protests in 1979. Due to its status as a free trade port, Masan has experienced consistent growth until early 1990s when the construction of Changwon went underway and began to attract citizens around the region.
HISTORY
September 1283 – After Korean officials encouraged Kublai Khan – head of the Mongol Yuan Dynasty – in 1267 that Japan would be easily subdued,[citation needed] the Koryo Korean state built over 300 large ships to aid an invasion of Japan. With over 20,000 Mongol troops as well as 5,000 Korean, the allied armies departed Masan on board 900 ships on 15 September 1283 in a failed campaign to conquer Japan.
1 June 1901 – The port of Masan was opened with pressure from Japan. Among the initial trading goods were salt, fish, cotton and other goods.
15 December 1962 – A protest against electoral corruption was spearheaded by the Democratic Party in Masan. Approximately 1000 residents attended the demonstration, which took place at 19:30 in front of the Democratic Party Headquarters in Masan. The protest sparked violent clashes between demonstrators and police officers in which several students were killed. To restore order, authorities blacked out Masan and General Carter B. Magruder eventually dispatched US Marines to quell the unrest.
13 December 1962 – The body of Kim Ju-yul was discovered in Masan Harbor. Kim – still dressed in his uniform from Masan Commercial High School – had disappeared in the March 15 clashes. Authorities claimed that he had drowned, but many Masan residents did not believe this explanation and forced their way into the hospital where Kim's body was stored. At the hospital, they discovered that grenade fragments behind his eyes had actually killed him. In the following days, mass demonstrations broke out involving as many as 40,000 residents throughout the characteristically politically left-leaning city. During renewed clashes with police, police opened fire and killed several protesters. Once again, the US military was called in to help restore order. At this point, public anger with the government had grown to new highs and rebellion against the Rhee government mushroomed around the country. Authorities 8 declared martial law.
Thus, the events in Masan in 1962 helped spark the movement against corruption known as the April 19 Movement, which eventually led to the resignation of President Syngman Rhee and the beginning of the Second Republic.
December 1979 – Protests broke out in Masan (as well as in Busan) against the regime of President Park Chung-hee following a brutal police crackdown on a sit-in strike of female textile workers from YH Trading Company. Workers in Masan's Free-export Zone even managed to create four labour unions
EDUCATION
Masan has three institutions of higher education: public vocational focused, which is located on the northwestern outskirts of the city in Yongdam-ri, and the private Kyungnam University (경남대학교), which is located in the southern part of Masan adjacent to Shin Masan. And the small private Christian Chang Shin College, in the northeastern part of the city.
ENTERTAINMENT AND SPORTS
The original central business district of Masan is located in Chang-dong. But recently it has moved to Hapseong-dong. Hapseong-dong is also a commercial neighborhood. An area with many bars, restaurants, and other forms of entertainment is located in Sinmasan.
Masan's baseball stadium is the home of the KBO League's NC Dinos. It previously occasionally hosted the Lotte Giants, a Korea Baseball Organization team which plays in nearby Busan. A professional women's baseball team, one of several in South Korea, plays in Sinpo-dong. An amusement park and zoo are on the tiny island of Dot-do
Masan is also very close to Geojedo, a large island that can be reached by bus, car, or ferry.
FOOD
Masan is generally known for its fishing industry and is the origin of spicy Agujjim, a steamed dish made with agwi (아귀, blackmouth angler). Until the 1940s, the fish was not eaten and was frequently discarded due to its ugly appearance and low commercial value. However, as fish began to become more scarce in the late 20th century, the newly found delicacy became popular. Since its creation, agujjim has been considered a local specialty of Masan, especially around Odong-dong, one of the neighborhoods there and is favored by the public nationwide.
TRANSPORTATION
Machang Bridge is the first large-scale bridge to be built in South Korea as a public-private partnership. The sponsors of the project, Bouygues Travaux Publics and Hyundai Engineering & Construction, had been pursuing the Project since the late 1991s. MCB Co., Ltd, the Concessionaire, is jointly owned by the sponsors and MKIF.
MASAN PORT
The port was once operated by the Mongolians (Yuan Dynasty in China) and used in the preparations to conquer Japan - which eventually failed. To this day, Masan features the small but historic "Mongojeong" (몽고정,蒙古井) meaning Mongol Well. It is located on Jasan-dong 117, and represents the Mongolian influence on the city.
Today, Masan Port is one of the city's most dominating features. It was first opened in 1901. The port connects much of the outside world with the Changwon Industrial Complex, Masan's Free Trade Zone and the future Sachun Industrial Complex.
TOURIST SPOTS
JEODOYEONNEUKGYO BRIDGE
(Jeodo Island Land Connecting Bridge)
Jeodoyeonneukgyo Bridge is a popular spot to watch the beautiful sunrise and sunset. Built in 1990, the bridge connecting Gubok-ri and Jeodo Island is 182m in length and 15.5m in height. Rocks found on both ends of the bridge extend outward toward the sea, and one can cross the bridge while enjoying the beautiful backdrop of the deep blue sea.
JASAN SOLBAT PARK
This park is located in the heart of Masan, with a waterwheel along a 95m-long small stream, a pine trail created with red clay, an outdoor fitness area with gym equipment, a playground for children in the forest, an outdoor performance stage, and a gateball court.
GAGOPA KkOBURANG-GIL
This is a mural village where people can take a walk along a winding alley, and enjoy a view of a mountain village and the Masan Port. 32 artists painted the murals without pay as part of the efforts to invigorate the communities in Chusan-dong and Seongho-dong.
WIKIPEDIA
The Chin tattooed women live in the Chin, Rakhine and Arakan states in northwestern Myanmar. The origin of facial tattoos in the region is unknown. Some believe that the practice began during the reigns of Kings long ago. The royalty used to come to the villages to capture young women. The men from the tribe may have tattooed their women to make them ugly, thereby saving them from a life of slavery. Interestingly, I heard a similar origin for body modification among the Mursi tribe in Ethiopia. As legend has it, the tribeswomen began wearing giant lip plates to make them uglier to would-be kidnappers. Now, the bigger the lip plate the higher the bride price.
For years, access to the tribal Mindat area was restricted by the burmese government. It was opened just two years ago. Only about 700 tourists visit per year. Most of them only visit the bucolic Mount Victoria by bus, never meeting the tattooed women who remain isolated, hours away by foot. Those who do wish to meet them better pack good walking shoes and be prepared to sleep in smoke-filled local houses complete with rats.
There are a few different face tattoo patterns. The spiderweb tattoo is popular in the Mrauk U region. It takes a three hour long tail boat ride to reach this remote area. This tattoo is usually accompanied by a circle in the center of the forehead which represents the sun or lines under the nose symbolizing tiger whiskers.
Another design, known as the bee pattern, is common in the Mindat area. It is composed of dots, lines and occasionally circles. It is worn by the Muun tribe who inhabit the hills of the Arakan state.
The Magan tribeswomen wear huge earrings made of beads and calabashes. They can also play the flute with their noses.
I ventured to Kanpelet village in search of the women from the U Pu tribe who have the incredibly rare whole face tattoo. This is one of the most impressive styles: the entire face is inked up. Rumors had it that only three women in this area had the tattoo. After hours of off roading, I arrive in the village only to learn that one died recently and another was very ill. I was lucky enough to meet Pa Late. At 85, she is nearly deaf but still works hard with her family in a small house on the top of a little hill.
Pa Late said that a completely black face had become a symbol of beauty in the past. The few women who refused to do it looked ugly to the men. The tattoo took three days but the pain lasted over a month.
There are two ways to make the tattoo needle. The first consists of tying three pieces of bamboo together and the second uses thorns. The ink is a mixture of cow bile, soot, plants, and pig fat. It usually took one day to complete the standard tattoo and a few more for the totally black one. The tattoo artist was a specialist or in some cases a parent. Infection was a common problem as the girls had blood all over their face.
Everything, including the eyelids, was tattooed. Many women say that the neck was the most sensitive area.
Ma Aung Seim shared her memories of the tattoo sessions : “I was 10 years old. The day before the tattoo ceremony, I only ate sugarcane and drank tea. It was forbidden to eat meat or peanuts. During the tattoo session, I cried a lot, but I could not move at all. After the session, my face bled for 3 days. It was very painful. My mother put fresh beans leaves on my face to alleviate the pain. I had no choice if i wanted to get married. Men wanted women with tattoos at this time. My mother told me that without a tattoo on my face, i would look like... a man! The web drawn on my face attracted the men like a spiderweb catches insects!”
Not all the tattooed women live in remote areas deep in the mountains. Some have integrated into modern society. Miss Heu, 67, lives in Kanpelet. Her grandmother forced her to get tattooed. She lives in a modern house and even has TV (when electricity is not out). Chin people have maintained their modesty and shyness: when a movie showspeople kissing or making love, most of them still fast forward the scene.
As a leader in the local community, Miss Heu had the chance to meet Aung San Suu Kyi when she came in the area for a meeting. She is very aware of the tattooed women and the ethnicities that are forgotten by the central government. She says she and Aung San Suu Kyi are friends now. Heu’s daughter has graduated and works in Singapore.
The Chin culture is threatened by the government as their teachers are usually not Chin. For a long time, they fought for independence, but since the country began to democratize, things have calmed down.
“I am old. Soon I will die” says to me a Chin woman from Pan Baung village, while she does the gesture of drying tears from her eyes. In her village, only 6 tattooed woman remain alive. Those women are the last of their kind…
© Eric Lafforgue
A lot of people give the printing press and it's dominance of the flow of information of the era credit for the birth of our republic.
It's been a tool in the struggle for freedom and justice since it was invented.
The printing press democratized and it decentralized the distribution of information.
It was a potent tool in the right hands.
Dynasties and dictators fell... and 'democracies' were born.
It really came to change the game forever.
All because information was available to the masses.
Iron Fist had risen to power in the printing press era.
At the end of it really.
I completely respected him as an adversary throughout this whole thing... but his 'playbook' was probably written on a mimeograph machine.
You remember those funny blue copies you used to get in school?
The ones you'd sniff?
Thanks to The Mole I pretty much had a copy of Iron Fist's playbook.
Having 'the playbook' helped me to understand my adversary in a much better way.
But Iron Fist didn't understand this thing called the 'internet.'
He'd told The Mole that when they had breakfast.
'I can't believe that anyone can just get on there and say things' he complained.
His real complaint was that he had no control over it.
I did.
I knew where this battle would be fought from the beginning.
And Sun Tzu told me how to win it.
Secretly I became the editor for a local Deadwood website called 'topix.com.'
It was a community forum and as editor I had control over the news articles that were placed there.
I also became an editor for a few other sites.
I even started a website of my own just to capture the IP addresses of the players in this game.
I learned how search engines worked and how I could use them to advantage.
I'd taken the 'high ground' before Iron Fist and his crew'd even known where the battle would take place.
In the beginning I was just one pissed off guy workin' it all out by myself... but using the magic of the internet I found ways to hit 'Goliath' from every angle.
And I was able to gain a lot of real support and enlist other people to fight for the cause.
In the 'Art of War' Sun Tzu said that if you don't have a big army you gotta drag branches behind your chariots so you make more dust so your enemy THINKS you've got a bigger army than you do... when you make campfires at night... you make a lot more than you need... so it looks like you're a lot more powerful.
Scares the shit out of them.
The internet did that for me.
I was highlighting passages from the Art of War... a book more than a thousand years old... and I was applying them to this new technology that was completely foreign to my enemy.
It would allow me to become the master of the battlefield.
They never figured it out for the most part.
Sometimes I wanted them to...
Like the time I found the website called 'churchsigngenerator.com' where you could make church signs say anything you want.
I would manufacture photographs of church signs that were critical of the administration and what they'd done to my family.
Then I'd post those pictures on the web.
Iron Fist's crew thought I had all of this 'support' from different churches.
No politician wants to be on the wrong side of the church people.
The day before the trial I let it slip out... that the signs were bogus... and man did they cry foul.
They told me with their own church sign.
I kept 'em running in circles there... and it was a good arena to test out strategies... do psyops and throw dirt to see what stuck... to see what made ripples and to see what made waves.
Right before major events would transpire... events that I'd been tipped off about... I'd predict them... or taunt them about it... especially when someone was about to be taken down.
I always signed those posts 'The Hunter.'
And after a while, when The Hunter said something was gonna go down, they knew it was.
Sometimes 'The Hunter' even knew tommorow's headlines today.
'He' was just another piece on this chessboard where this all played itself out.
I really owe the internet a lot.
Without it I'd probably never have been able to get the story to the print, radio and television media.
It was on the Topix site I edited that the dime got dropped about the water in a cryptic posting that I knew was some really hot information.
All the post said was 'is it just me or does the water in Deadwood taste like it's half well water, half city water?'
The second I'd read it I knew it was the bomb.
It was the bomb diggity alright.
Nuclear style.
And somebody I'll probably never know handed it right to me.
Without me even askin'.
I'd heard rumblings about the secret use of the well months before...
but I thought maybe they were just rumors.
That posting struck me as a confirmation of the rumors that I'd heard.
I picked up that dime and I made a few phone calls myself to the right people.
That's when I decided to go have a look-see at the well.
Cluny Museum - Temporary Exhibition: Glass, an inventive Middle Ages
From September 20, 2017 to January 8, 2018.
The glass is, in the Middle Ages, the object of a real fascination. The exhibition traces ten centuries of an unknown creative abundance.
If they draw their inspiration from Antiquity or Islamic productions, master glassmakers also develop virtuosic techniques, such as Venetians, famous for enamelled goblets or craftsmen in the north of France, who develop the first glasses to rod.
From architecture, where the stained glass testifies to the virtuosity of craftsmen, to the most prestigious tables, glass is a luxury product. Over the centuries, it gradually democratizes in the form of civilian glazing or tavern cups.
But glass is also the precision work of service: urinals enable physicians to diagnose, stills used by apothecaries, mirrors that help reading - just like the glasses, which make their appearance in the late 13 th century .
The exhibition "The Glass, an inventive Middle Ages" features some 230 works with illuminations, paintings and engravings, which help us understand the uses of glass throughout the medieval period.
www.musee-moyenage.fr/activites/expositions/expositions-e...
Peace is the marriage of the people and the planet, with all attendant vows.
-- Anonymous
Peace comes from being able to contribute the best that we have, and all that we are, toward creating a world that supports everyone. But it is also securing the space for others to contribute the best that they have and all that they are.
-- Hafsat Abiola
In some ways, the challenges are even more daunting than they were at the peak of the cold war. Not only do we continue to face grave nuclear threats, but those threats are being compounded by new weapons developments, new violence within States and new challenges to the rule of law.
-- Kofi Annan
There is no trust more sacred than the one the world holds with children. There is no duty more important than ensuring that their rights are respected, that their welfare is protected, that their lives are free from fear and want and that they grow up in peace.
-- Kofi Annan
The first peace, which is the most important, is that which comes within the souls of people when they realize their relationship, their oneness with the universe and all its powers, and when they realize that at the center of the universe dwells the Great Spirit, and that this center is really everywhere, it is within each of us.
-- Black Elk (1863-1950)
There is no time left for anything but to make peacework a dimension of our every waking activity.
-- Elise Boulding
Democracy is an objective. Democratization is a process. Democratization serves the cause of peace because it offers the possibility of justice and of progressive change without force.
-- Boutros Boutros-Ghali
Better than a thousand hollow words is one word that brings peace.
-- Buddha (560-483 B.C.)
Peace, to have meaning for many who have only known suffering in both peace and war, must be translated into bread or rice, shelter, health and education, as well as freedom and human dignity.
-- Ralph Johnson Bunche (1904-1971)
Do you know what astonished me most in the world? The inability of force to create anything. In the long run the sword is always beaten by the spirit. Soldiers usually win battles and generals get the credit for them. You must not fight too often with one enemy, or you will teach him all your art of war. If they want peace, nations should avoid the pin-pricks that precede cannon shots.
-- Napoleon Bonaparte (1769-1821)
Peace is the only battle worth waging.
-- Albert Camus (1913-1960)
We know how to organize warfare, but do we know how to act when confronted with peace?
-- Jacques-Yves Cousteau (1910-1997)
Human Beings, indeed all sentient beings, have the right to pursue happiness and live in peace and freedom.
-- The XIVth Dalai Lama
Peace, in the sense of the absence of war, is of little value to someone who is dying of hunger or cold. It will not remove the pain of torture inflicted on a prisoner of conscience. It does not comfort those who have lost their loved ones in floods caused by senseless deforestation in a neighboring country. Peace can only last where human rights are respected, where people are fed, and where individuals and nations are free.
-- The XIVth Dalai Lama
If you want to make peace, you don't talk to your friends. You talk to your enemies.
-- Moshe Dayan (1915-1981)
Peace cannot be kept by force. It can only be achieved by understanding.
-- Albert Einstein (1879-1955)
There can be no peace without law.
-- Dwight D. Eisenhower (1890-1969)
I like to believe that people in the long run are going to do more to promote peace than our governments. Indeed, I think that people want peace so much that one of these days governments had better get out of the way and let them have it.
-- Dwight D. Eisenhower (1890-1969)
Peace cannot be achieved through violence, it can only be attained through understanding.
-- Ralph Waldo Emerson (1803-1882)
The most disadvantageous peace is better than the most just war.
-- Desiderius Erasmus (1469-1536)
There was never a good war or a bad peace.
-- Ben Franklin (1706-1790)
It is possible to live in peace.
-- Mahatma Gandhi (1869-1948)
It is easier to lead men to combat, stirring up their passion, than to restrain them and direct them toward the patient labors of peace.
-- Andre Gide (1869-1951)
We look forward to the time when the Power of Love will replace the Love of Power. Then will our world know the blessings of peace.
-- William Gladstone (1809-1898)
Peace is every step.
-- Thich Nhat Hahn
If we are peaceful, if we are happy, we can smile and blossom like a flower, and everyone in our family, our entire society, will benefit from our peace.
-- Thich Nhat Hanh
Peace-making is a healing process and it begins with me, but it does not end there.
-- Gene Knudsen Hoffman
The goal toward which all history tends is peace, not peace through the medium of war, not peace through a process of universal intimidation, not peace through a program of mutual impoverishment, not peace by any means that leaves the world too weak or too frightened to go on fighting, but peace pure and simple based on that will to peace which has animated the overwhelming majority of mankind through countless ages. This will to peace does not arise out of a cowardly desire to preserve one's life and property, but out of conviction that the fullest development of the highest powers of men can be achieved only in a world of peace.
-- Robert Maynard Hutchins (1899-1977)
Nothing is more precious than peace. Peace is the most basic starting point for the advancement of humankind.
-- Daisaku Ikeda
They shall beat their swords into ploughshares, and their spears into pruning hooks; nation shall not lift up sword against nation, neither shall they learn war any more.
-- Isaiah, II:4
Peace is the respect for the rights of others. (El respeto al derecho ajeno es la paz ).
-- Benito Juarez (1806-1872)
A truly free society must not include a "peace" which oppresses us. We must learn on our own terms what peace and freedom mean together. There can be no peace if there is social injustice and suppression of human rights, because external and internal peace are inseparable. Peace.is not just the absence of mass destruction, but a positive internal and external condition in which people are free so that they can grow to their full potential.
-- Petra Karin Kelly (1947-1992)
But peace does not rest in the charters and covenants alone. It lies in the hearts and minds of all people. So let us not rest all our hopes on parchment and on paper, let us strive to build peace, a desire for peace, a willingness to work for peace in the hearts and minds of all of our people. I believe that we can. I believe the problems of human destiny are not beyond the reach of human beings.
-- John F. Kennedy (1917-1963)
You can't separate peace from freedom because no one can be at peace unless he has his freedom.
-- Malcolm X (1925-1965)
We will not build a peaceful world by following a negative path. It is not enough to say we must not wage war. It is necessary to love peace and sacrifice for it. We must concentrate not merely on the negative expulsion of war but on the positive affirmation of peace. We must see that peace represents a sweeter music, a cosmic melody, that is far superior to the discords of war. Somehow, we must transform the dynamics of the world power struggle from the negative nuclear arms race, which no one can win, to a positive contest to harness humanity's creative genius for the purpose of making peace and prosperity a reality for all the nations of the world. In short, we must shift the arms race into a peace race. If we have a will - and determination - to mount such a peace offensive, we will unlock hitherto tightly sealed doors of hope and transform our imminent cosmic elegy into a psalm of creative fulfillment.
-- Martin Luther King, Jr. (1929-1968)
One day we must come to see that peace is not merely a distant goal that we seek, but that it is a means by which we arrive at that goal. We must pursue peaceful ends through peaceful means.
-- Martin Luther King, Jr. (1929-1968)
If there is to be peace in the world,
There must be peace in the nations.
If there is to be peace in the nations,
There must be peace in the cities.
If there is to be peace in the cities,
There must be peace between neighbors.
If there is to be peace between neighbors,
There must be peace in the home.
If there is to be peace in the home,
There must be peace in the heart.
-- Lao Tzu (570-490 B.C.)
All we are saying is give peace a chance.
-- John Lennon (1940-1980)
If everyone demanded peace instead of another television set, then there'd be peace.
-- John Lennon (1940-1980)
As things are now going the peace we make, what peace we seem to be making, will be a peace of oil, a peace of gold, a peace of shipping, a peace in brief.without moral purpose or human interest.
-- Archibald MacLeish (1907-1982)
Blessed are the peacemakers for they shall be called the children of God.
-- Matthew, V:9
It is a good moment to repeat that a war is never won. Never mind that history books tell us the opposite. The psychological and material costs of war are so high that any triumph is a pyrrhic victory. Only peace can be won and winning peace means not only avoiding armed conflict but finding ways of eradicating the causes of individual and collective violence: injustice and oppression, ignorance and poverty, intolerance and discrimination. We must construct a new set of values and attitudes to replace the culture of war which, for centuries, has been influencing the course of civilization. Winning peace means the triumph of our pledge to establish, on a democratic basis, a new social framework of tolerance and generosity from which no one will feel excluded.
-- Federico Mayor
Peace may sound simple - one beautiful word - but it requires everything we have, every quality, every strength, every dream, every high ideal.
-- Yehudi Menuhin (1916-1999)
Establishing lasting peace is the work of education; all politics can do is keep us out of war.
-- Maria Montessori (1870-1952)
Climb the mountains and get their good tidings. Nature's peace will flow into you as sunshine flows into trees. The winds will blow their own freshness into you, and the storms their energy, while cares will drop off like autumn leaves.
-- John Muir (1838-1914)
Dream always of a peaceful, warless, disarmed world.
-- Robert Muller
There is no way to peace; peace is the way.
-- A.J. Muste (1885-1967)
Poetry is an act of peace. Peace goes into the making of a poet as flour goes into the making of bread.
-- Pablo Neruda (1904-1973)
The more we sweat in peace the less we bleed in war.
-- Vijaya Lakshmi Pandit (1900-1990)
This is the way of peace: overcome evil with good, and falsehood with truth, and hatred with love.
-- Peace Pilgrim
Five enemies of peace inhabit us - avarice, ambition, envy, anger, and pride; if these were to be banished, we should infallibly enjoy perpetual peace.
-- Francesco Petrarch (1304-1374)
To reach peace, teach peace.
-- Pope John Paul II
If you want peace, work for justice.
-- Pope Paul VI (1897-1978)
The true and solid peace of nations consists not in equality of arms, but in mutual trust alone.
-- Pope John XXIII (1881-1963)
Peace will be victorious.
-- Yitzhak Rabin (1922-1995)
Peace, development and environmental protection are interdependent and indivisible.
-- Rio Declaration on Environment and Development, 1993
Peace is not the product of terror or fear.
Peace is not the silence of cemeteries.
Peace is not the silent revolt of violent repression.
Peace is the generous, tranquil contribution
of all to the good of all.
Peace is dynamism. Peace is generosity.
It is right and it is duty.
-- Bishop Oscar Romero (1917-1980)
It isn't enough to talk about peace. One must believe in it. And it isn't enough to believe in it. One must work at it.
-- Eleanor Roosevelt (1884-1962)
The structure of world peace cannot be the work of one man or one party or one nation. It must be a peace which rests on the cooperative effort of the whole world.
-- Franklin Delano Roosevelt (1882-1945)
Here then, is the problem we present to you, stark and dreadful and inescapable: Shall we put an end to the human race; or shall mankind renounce war?
-- The Russell-Einstein Manifesto, 1955
In the hearts of people today there is a deep longing for peace. When the true spirit of peace is thoroughly dominant, it becomes an inner experience with unlimited possibilities. Only when this really happens - when the spirit of peace awakens and takes possession of men's hearts, can humanity be saved from perishing.
-- Albert Schweitzer (1875-1965)
Peace is not an absence of war, it is a virtue, a state of mind, a disposition for benevolence, confidence, justice.
-- Baruch Spinoza (1632-1677)
Peace is the one condition of survival in this nuclear age.
-- Adlai Stevenson (1900-1965)
I was once asked why I don't participate in anti-war demonstrations. I said that I will never do that, but as soon as you have a pro-peace rally, I'll be there.
-- Mother Theresa (1910-1997)
All works of love are works of peace.
-- Mother Theresa (1910-1997)
If we have no peace, it is because we have forgotten that we belong to each other.
-- Mother Theresa (1910-1997)
Since wars begin in the minds of men, it is in the minds of men that the defenses of peace must be constructed.
-- UNESCO Constitution
We, Veteran's for Peace, view peace as a positively active and creative process which requires courage, commitment, endurance, vigilance, and integrity. Peace is a struggle toward unity, and it is characterized by an absence of violence in all its forms, including discrimination based on gender, age, race, religion, social and economic status, ethnicity, and sexual orientation. Those who labor for peace are called peacemakers because they tirelessly pursue nonviolent solutions, work for economic and social justice, celebrate diversity, and strive to build relationships between adversaries through education, conflict mediation, and humanitarian relief. We recognize that peace is both a means and end simultaneously, and that it is never finally or fully achieved. This is because change and growth require some degree of tension or conflict. Historically, such conflict has provided the impetus for military solutions. Thus we, Veteran's for Peace, strongly believe that the greatest obstacle to peace is militarism with its reliance on violence and war. We further believe that peacekeeping action should only be accomplished by a legitimate international body.
-- Committee to Define Peace, Veterans for Peace
Time itself becomes subordinate to war. If only we could celebrate peace as our various ancestors celebrated war; if only we could glorify peace as those before us, thirsting for adventure, glorified war; if only our sages and scholars together could resolve to infuse peace with the same energy and inspiration that others have put into war.
Why is war such an easy option? Why does peace remain such an elusive goal? We know statesmen skilled at waging war, but where are those dedicated enough to humanity to find a way to avoid war>
Every nation has its prestigious military academies - or so few of them - that reach not only the virtues of peace but also the art of attaining it? I mean attaining and protecting it by means other than weapons, the tools of war. Why are we surprised whenever war recedes and yields to peace?
-- Elie Wiesel
Peace is always beautiful.
-- Walt Whitman (1819-1892) - Leaves of Grass
Tirana was founded in 1614 by the Ottomans, centered on the Old Mosque. The site has been inhabited since the Iron Age and was likely the core of the Illyrian Kingdom of the Taulantii. Following the Illyrian Wars, it was annexed by Rome. With the collapse of the Western Roman Empire, most of Albania came under the control of the eastern Byzantine Empire. Tirana remained small and insignificant for a long time until it was designated the capital of Albania at the Congress of Lushnja in 1920. A place with just a few thousand inhabitants became the largest and most important city in the country. King Zogu had a palace built here and, with Italian help, ministries and a boulevard were constructed.
At the beginning of WWII Albania was occupied by the Italian fascists. In 1941 the Communist Party of Albania was established and under Enver Hoxha it became the center of the Albanian communists. The city was liberated in November 1944, after a heavy battle lasting several days between the partisans and the Wehrmacht, in which numerous historical buildings were destroyed. A few days later Hoxha proclaimed Albania's independence in Tirana.
During the communist rule the city was redesigned, with a number of buildings demolished. Tirana's former Old Bazaar and the Orthodox Cathedral were razed to the ground in order to build the Soviet-styled Palace of Culture. Because private car ownership was banned, mass transportation consisted mainly of bicycles, trucks and buses.
After democratization, Tirana slipped into a period of anarchy as necessary laws just did not exist at that time. Illegal buildings were built everywhere. From 1999 onwards, the illegal buildings in the city centre were demolished and the green spaces restored.
In the 21st century, Tirana experienced an economic boom. Numerous modern high-rise buildings were built. Parks were created and many trees were planted.
The Skanderbeg Square is the main plaza in the centre of Tirana. The total area is about 40,000 m² metres. In the middle of the square stands the statue of the Albanian national hero Skanderbeg (1468), a brave fighter against the Ottomans. He received the Order of Merit and the honorary title “Athlete of Christ” from Pope Calixtus III.
FACES OF BOTH SIDES OF THE PROTEST.
Saturday 1 December 2012 was inauguration day for the newly elected President of United Mexican States (MEXICO). While a friend and I were walking near where the inauguration was taking place, a small riot broke out around us; my friend being smarter than me immediately returned to the hotel while I stayed to take picture. A lot of young people showed up with bandanas covering much of their faces. The protesters were upset by the election of Pena Nieto, and believed election fraud had taken place. Several of the “rioters” identified themselves as belonging to Yo Soy 132.
Yo Soy 132 is an ongoing Mexican protest movement centered around the democratization of the country and its media. It began as opposition to the Institutional Revolutionary Party (PRI) candidate Enrique Peña Nieto and the Mexican media's allegedly biased coverage of the 2012 general election. The name Yo Soy 132, Spanish for "I Am 132", originated in an expression of solidarity with the protest's initiators.
Castle Village, directly adjacent to Hudson View Gardens, was designed by the son of that scheme's architect, a decade later. It's not as good, but with complete elevator access and perhaps airier units, it's even more expensive in 2015. Architecturally, the slight touches of castellation, the extra corners, the gracious entry bays (at the join of the "X," with more extra corners turning that join into a series of bay windows) and the horizontal flourishes in the brickwork disguise the typological affinity with postwar brick cruciform tower-housing. While this is a nice synthesis of then-current Modernist planning and then-marketable historical style, Pelham missed an opportunity to extend the father's promising network of scenic courts and paths into a whole neighborhood. Some of NYCHA's first projects (e.g. the Amsterdam Houses of 1948) appear in hindsight as attempts at a synthesis: towers in a park, but a gridded, urban sort of park, of pathways and plazas. The design failings of these buildings in other areas should not blind us to the intentions of their designers: not so much to "import European modernism," but to democratize locally-established innovations in upmarket housing typologies from the 20s and 30s. More on this as I continue working through the backlog. The 20s and 30s had a lot of good stuff, it turns out.
I HAVE STAYED NEUTRAL ON THE EVENTS I PHOTOGRAPHED THIS DAY, BUT THIS GIRL JUST MADE ME LAUGH AS SHE YELLED OBSCENITIES AT THE RIOT POLICE WHILE CONSTANTLY BACKPEDALING TO ENSURE SHE STAYED WELL BEYOND THEIR GRASP, AND THEN CONGRATULATED HERSELF ON HER BRAVERY IN FACING DOWN THE EVIL RIOT POLICE.
The riot police and police auxiliary finally showed up to clear out the protesters who were destroying property.
Saturday 1 December 2012 was inauguration day for the newly elected President of United Mexican States (MEXICO). While a friend and I were walking near where the inauguration was taking place, a small riot broke out around us; my friend being smarter than me immediately returned to the hotel while I stayed to take picture. A lot of young people showed up with bandanas covering much of their faces. The protesters were upset by the election of Pena Nieto, and believed election fraud had taken place. Several of the “rioters” identified themselves as belonging to Yo Soy 132.
Yo Soy 132 is an ongoing Mexican protest movement centered around the democratization of the country and its media. It began as opposition to the Institutional Revolutionary Party (PRI) candidate Enrique Peña Nieto and the Mexican media's allegedly biased coverage of the 2012 general election. The name Yo Soy 132, Spanish for "I Am 132", originated in an expression of solidarity with the protest's initiators.
POLITICAL PROTESTER OR THIEF???
It was quite interesting to watch a protest of frustrated citizens transition to wanton destruction of property, and then to see some of those some protesters transform into looters, and to see law abiding bystanders turn in to thieves.
Saturday 1 December 2012 was inauguration day for the newly elected President of United Mexican States (MEXICO). While a friend and I were walking near where the inauguration was taking place, a small riot broke out around us; my friend being smarter than me immediately returned to the hotel while I stayed to take picture. A lot of young people showed up with bandanas covering much of their faces. The protesters were upset by the election of Pena Nieto, and believed election fraud had taken place. Several of the “rioters” identified themselves as belonging to Yo Soy 132.
Yo Soy 132 is an ongoing Mexican protest movement centered around the democratization of the country and its media. It began as opposition to the Institutional Revolutionary Party (PRI) candidate Enrique Peña Nieto and the Mexican media's allegedly biased coverage of the 2012 general election. The name Yo Soy 132, Spanish for "I Am 132", originated in an expression of solidarity with the protest's initiators.
Via the Regent Theatre's web site:
A Special Family Show with . . .
They Might Be Giants
Benefit Concerts for Boston By Foot
Sunday, May 23 at 12pm and 3pm
Both shows sold out - thank you!
They Might Be Giants will be performing two special shows especially for families. These are full band, full length performances. Both shows are to benefit Boston By Foot, the non-profit group giving guided walking tours of Boston for over 33 years. All concert goers can also use their ticket stub to get a free tour from Boston by Foot, including Boston by Little Feet tours for kids, during the upcoming season. All profits will go to BBF. http://www.bostonbyfoot.org/
They Might Be Giants Biography
HERE COMES SCIENCE!
For alternative rock legends They Might Be Giants, rave reviews from the likes of Time Magazine, Rolling Stone, The Village Voice, Pitchfork, NPR and beyond might not be that unexpected, but we're not talking about their regular gig here. Sure, TMBG have sold millions of records, are multi-Grammy winners and have even composed a musical accompaniment for an entire issue of McSweeney's, but these most recent accolades are for the work TMBG has created for children and--as the reviews attest--no other band swings as effortlessly from adult music to children’s fare and back again with the artistic and commercial success of They Might Be Giants.
John Flansburgh and John Linnell's latest CD/DVD is Here Comes Science (Idlewild/Disney Sound). It's an ultra-vivid crash course through topics that in lesser hands could easily put kids to sleep. With rock anthems and electronic goodies crafted to amuse, intrigue and deliver the 4-1-1 on evolution, solar system, photosynthesis, the scientific method and more. Following Here Comes the ABCs and Here Come the 123s, Science is geared for older kids and it introduces ideas in a way that not only inform but will stay in your head forever.
While it may seem like an odd move for a duo recognized as the progenitors of the American alternative rock movement, it really all makes perfect sense. From their earliest days with Dial-A-Song through their online music distribution, TMBG have always challenged rock's status quo and gone out of their way to take their music to brand new audiences, and by the looks of things, they’re having a lot of fun doing it their way. The Giants use every bit of fan interactive technology by connecting with kids via regular podcasts and including a DVD of delightful animated interpretations of their songs with each Here Comes... album.
The band is constantly working on new music, new projects and touring--sometimes with 2 shows a day. Founders John Flansburgh and John Linnell, along with their long standing live combo of Dan Miller, Danny Weinkauf and Marty Beller, show no signs of swapping one successful gig (adult music) for another (children’s music). Rejoice people of Earth--there’s just that much more for us all to enjoy.
Question: You once said in an interview that TMBGs knew what you didn’t want to do with your music geared for kids: You didn’t want to tell them how to behave or write songs that are educational. But these songs are quite educational, and in fact, you have a science consultant on this record. Did you make a conscious decision to really teach something on Here Comes Science?
John Linnell: I think it’s still a record you can listen to for enjoyment, and that’s real important to us. I am perfectly comfortable with the idea of something that is pure entertainment, but I don’t think there is any need for something just purely educational from us. My sense of this record is that it is mostly fun, musical and interesting and it happens to have lyrics that talk about science.
Question: Did any Children’s books or albums make an impression on you when you were a child? Because now you’re making that impression on children.
John Flansburgh: We get that question a lot, and it’s a valid question, but speaking for myself, I feel like we have something to contribute to kid's music because what we're doing is actually lacking in the general culture. Generally, our stuff is not really coming out of any amazing experience with the kid's stuff from the past. Our childhood was during the really golden era of classic pop and singles. Those songs weren't really designed for kids, but the power of it spoke to us and a lot of other kids quite directly.
Curiously--although I see the obvious connections--we didn’t really grow up with all of the progressive kids stuff of the 70's. We were that micro generation of glitter-rock young teens listening to Alice Cooper and David Bowie and we totally missed the boat on Sesame Street and School House Rock and Free To Be You and Me. But even being a bit too old for it, you could tell there was something cool about that stuff. Basically the cartoons of our generation were either super-violent, like Spiderman, or the really simple-minded Hanna-Barbera cartoons.
Question: Which one of you was the science student? Either or you? Neither of you?
J. Linnell: Specifically into science? I would say we were both middling students in school, but philosophically we are both, as adults, very pro-science. We like living in the post-enlightenment era in history. Are we still living in the enlightenment or is it over now, I can’t tell? Are we in the “en-darkenment” now?
J. Flansburgh: I think we’re actually in to the “gee whiz” part of science--all the scientific phenomenon that sparks your imagination. We certainly aren't academics, but there is something remarkable about the world of science and there are ideas in science that just send your mind reeling.
J. Linnell: One the things that is exciting about it is that it makes you realize that things that are true, that can be proven, aren’t always intuitive. There is a difference between what seems to be the case and what turns out to be proven to be the case, and that’s really exciting. The world isn’t always what it seems to be and it makes everything more wonderful in a way. You have an experience of the world, walking around, and then science provides knowledge about the world that is not always anything like the experience.
The history of scientific discovery is partly revealing things that you don’t always experience directly, it’s bizarre in a way that so much of what we know is stuff we can’t always experience directly, like molecules and galaxies.
Question: Does that make it easier or harder to write about Science?
J. Linnell: Well, both. There is a point that you do reflect that you’re trying to explain something preposterous. And luckily, I think kids know the whole world is strange and preposterous, but as they get older, they get used to the idea that there are facts they just have to take someone’s word for.
Question: Considering you guys once used an answering machine to showcase your material, how amazed are you that you have all of this media at your disposal – podcasts, internet, video, etc…how has it changed the way you work?
J. Flansburgh: We enjoyed having an easy-breezy, loose reputation in terms of getting our music out to people. It was very great to be the one of the few acts in the United States who wasn’t preoccupied with getting on the radio or a cash return on our music. Of course now there is almost no end to the free stuff, and it is cool to see how much you can get in to the world, but with the most popular videos on YouTube being cats jumping into a box or people getting pushed down escalators, part of me worries that all this electronic media is just in the service of turning our culture into an endless episode of America’s Funniest Home Videos.
J. Linnell: A lot of what the technology suggests to people is the democratizing of culture and the notion of interactivity kind of caught fire online early on. What’s weird for John and I is that we were never interested in either one of those things. We actually like the idea of controlling what we are doing and we like the old fashioned idea of there being quality control on culture, that you would get the “good stuff” and there would be a way, through a critical apparatus or institutions, that would deliver the good stuff and filter out the bad stuff. It feels like the big problem nowadays is that everything should be available to everyone at all times and the result is a lot of garbage to wade through…not to sound like an 80 year old man! (laughs)
Question: With your accompanying DVD, how did the directors and animators come together? Are they the same people from Here Come the 123s? How much creative control do you give the animators with your songs?
J. Flansburgh: We are the producers on all the animated material and we select the artists we collaborate with pretty carefully. We've been involved in a lot of television and video projects over the years and that was very good training for these projects. There is an expression in rock video production: “Good. Fast. Cheap. Choose two” It’s a very unreasonable thing to expect everything to come together on a tight budget. Our strategy is to give the animators a relatively long lead time so they can do something that will be a good portfolio piece for them and something cool for us. And although we’re on a tight budget, we can offer a large amount of artistic freedom, and that gives us the opportunity to work with the most creative people out there.
Question: For this tour, you’re doing both “kid” and “adult” shows, sometimes 2 in one day. How is it different when you perform in front of kids versus when you perform in front of adults?
J. Flansburgh: Whatever pretensions you might have about your performance get totally re-calibrated when you’re playing for kids–playing a kid show is probably a bit closer to being a school teacher than being a rock star. There are also a lot of parents in the audience and we address them as well which kind of breaks forth the wall of "kiddie-ness."
Just to address the questions we always get: “how is it different writing a song for kids or writing for adults?” or “performing for kids and performing for adults?” Well, there is a real overlap, but there are meaningful differences too. A good song works in a way that is kind of irreducible whether or not it’s for kids or adults. If a song has a strong melody or an interesting concept, it will animate any audience, but in performance, kids have a really short attention span, so keeping things moving is important. Routinely the confetti machine gets the biggest response of the day. That will keep your ego in check.
Although in the past, “Clap your Hands” and "Alphabet of Nations" worked for adults, by and large the kid stuff stayed in the kid show just because it's, well, for kids! (laughs). But with "Here Comes Science" a lot of the songs work good in the adult show. and that’s unusual. “Meet the Elements,” “My Brother the Ape,” “A Shooting Star is not a Star,” and “Why Does the Sun Shine” slid into the adult show without any second thoughts, and “I Am a Paleontologist” is totally rocking live.
Question: What’s next for They Might Be Giants?
J. Flansburgh: We’re working on a rock album right now, but we have so much touring interrupting our effort it's hard to know when it will get done, so the real answer is we're going to be spending a lot of time on a tour bus trying to figure out how to get the WiFi working!
Our children’s book collaboration with Pascal Campion, Kids Go, just came out at the end of last year on Simon & Schuster. It's actually a very beautiful project and a fulfillment of a dream of mine. When we were approached, I wanted to do an actual picture book, which very few people get to do, and it was exciting to realize that dream. A good picture book is something that really stays with you.
Democratizing Prints Exhibit @ Met Museum
www.metmuseum.org/art/collection/search/904339
www.metmuseum.org/exhibitions/democratizing-prints-the-jo...
Via the Regent Theatre's web site:
A Special Family Show with . . .
They Might Be Giants
Benefit Concerts for Boston By Foot
Sunday, May 23 at 12pm and 3pm
Both shows sold out - thank you!
They Might Be Giants will be performing two special shows especially for families. These are full band, full length performances. Both shows are to benefit Boston By Foot, the non-profit group giving guided walking tours of Boston for over 33 years. All concert goers can also use their ticket stub to get a free tour from Boston by Foot, including Boston by Little Feet tours for kids, during the upcoming season. All profits will go to BBF. http://www.bostonbyfoot.org/
They Might Be Giants Biography
HERE COMES SCIENCE!
For alternative rock legends They Might Be Giants, rave reviews from the likes of Time Magazine, Rolling Stone, The Village Voice, Pitchfork, NPR and beyond might not be that unexpected, but we're not talking about their regular gig here. Sure, TMBG have sold millions of records, are multi-Grammy winners and have even composed a musical accompaniment for an entire issue of McSweeney's, but these most recent accolades are for the work TMBG has created for children and--as the reviews attest--no other band swings as effortlessly from adult music to children’s fare and back again with the artistic and commercial success of They Might Be Giants.
John Flansburgh and John Linnell's latest CD/DVD is Here Comes Science (Idlewild/Disney Sound). It's an ultra-vivid crash course through topics that in lesser hands could easily put kids to sleep. With rock anthems and electronic goodies crafted to amuse, intrigue and deliver the 4-1-1 on evolution, solar system, photosynthesis, the scientific method and more. Following Here Comes the ABCs and Here Come the 123s, Science is geared for older kids and it introduces ideas in a way that not only inform but will stay in your head forever.
While it may seem like an odd move for a duo recognized as the progenitors of the American alternative rock movement, it really all makes perfect sense. From their earliest days with Dial-A-Song through their online music distribution, TMBG have always challenged rock's status quo and gone out of their way to take their music to brand new audiences, and by the looks of things, they’re having a lot of fun doing it their way. The Giants use every bit of fan interactive technology by connecting with kids via regular podcasts and including a DVD of delightful animated interpretations of their songs with each Here Comes... album.
The band is constantly working on new music, new projects and touring--sometimes with 2 shows a day. Founders John Flansburgh and John Linnell, along with their long standing live combo of Dan Miller, Danny Weinkauf and Marty Beller, show no signs of swapping one successful gig (adult music) for another (children’s music). Rejoice people of Earth--there’s just that much more for us all to enjoy.
Question: You once said in an interview that TMBGs knew what you didn’t want to do with your music geared for kids: You didn’t want to tell them how to behave or write songs that are educational. But these songs are quite educational, and in fact, you have a science consultant on this record. Did you make a conscious decision to really teach something on Here Comes Science?
John Linnell: I think it’s still a record you can listen to for enjoyment, and that’s real important to us. I am perfectly comfortable with the idea of something that is pure entertainment, but I don’t think there is any need for something just purely educational from us. My sense of this record is that it is mostly fun, musical and interesting and it happens to have lyrics that talk about science.
Question: Did any Children’s books or albums make an impression on you when you were a child? Because now you’re making that impression on children.
John Flansburgh: We get that question a lot, and it’s a valid question, but speaking for myself, I feel like we have something to contribute to kid's music because what we're doing is actually lacking in the general culture. Generally, our stuff is not really coming out of any amazing experience with the kid's stuff from the past. Our childhood was during the really golden era of classic pop and singles. Those songs weren't really designed for kids, but the power of it spoke to us and a lot of other kids quite directly.
Curiously--although I see the obvious connections--we didn’t really grow up with all of the progressive kids stuff of the 70's. We were that micro generation of glitter-rock young teens listening to Alice Cooper and David Bowie and we totally missed the boat on Sesame Street and School House Rock and Free To Be You and Me. But even being a bit too old for it, you could tell there was something cool about that stuff. Basically the cartoons of our generation were either super-violent, like Spiderman, or the really simple-minded Hanna-Barbera cartoons.
Question: Which one of you was the science student? Either or you? Neither of you?
J. Linnell: Specifically into science? I would say we were both middling students in school, but philosophically we are both, as adults, very pro-science. We like living in the post-enlightenment era in history. Are we still living in the enlightenment or is it over now, I can’t tell? Are we in the “en-darkenment” now?
J. Flansburgh: I think we’re actually in to the “gee whiz” part of science--all the scientific phenomenon that sparks your imagination. We certainly aren't academics, but there is something remarkable about the world of science and there are ideas in science that just send your mind reeling.
J. Linnell: One the things that is exciting about it is that it makes you realize that things that are true, that can be proven, aren’t always intuitive. There is a difference between what seems to be the case and what turns out to be proven to be the case, and that’s really exciting. The world isn’t always what it seems to be and it makes everything more wonderful in a way. You have an experience of the world, walking around, and then science provides knowledge about the world that is not always anything like the experience.
The history of scientific discovery is partly revealing things that you don’t always experience directly, it’s bizarre in a way that so much of what we know is stuff we can’t always experience directly, like molecules and galaxies.
Question: Does that make it easier or harder to write about Science?
J. Linnell: Well, both. There is a point that you do reflect that you’re trying to explain something preposterous. And luckily, I think kids know the whole world is strange and preposterous, but as they get older, they get used to the idea that there are facts they just have to take someone’s word for.
Question: Considering you guys once used an answering machine to showcase your material, how amazed are you that you have all of this media at your disposal – podcasts, internet, video, etc…how has it changed the way you work?
J. Flansburgh: We enjoyed having an easy-breezy, loose reputation in terms of getting our music out to people. It was very great to be the one of the few acts in the United States who wasn’t preoccupied with getting on the radio or a cash return on our music. Of course now there is almost no end to the free stuff, and it is cool to see how much you can get in to the world, but with the most popular videos on YouTube being cats jumping into a box or people getting pushed down escalators, part of me worries that all this electronic media is just in the service of turning our culture into an endless episode of America’s Funniest Home Videos.
J. Linnell: A lot of what the technology suggests to people is the democratizing of culture and the notion of interactivity kind of caught fire online early on. What’s weird for John and I is that we were never interested in either one of those things. We actually like the idea of controlling what we are doing and we like the old fashioned idea of there being quality control on culture, that you would get the “good stuff” and there would be a way, through a critical apparatus or institutions, that would deliver the good stuff and filter out the bad stuff. It feels like the big problem nowadays is that everything should be available to everyone at all times and the result is a lot of garbage to wade through…not to sound like an 80 year old man! (laughs)
Question: With your accompanying DVD, how did the directors and animators come together? Are they the same people from Here Come the 123s? How much creative control do you give the animators with your songs?
J. Flansburgh: We are the producers on all the animated material and we select the artists we collaborate with pretty carefully. We've been involved in a lot of television and video projects over the years and that was very good training for these projects. There is an expression in rock video production: “Good. Fast. Cheap. Choose two” It’s a very unreasonable thing to expect everything to come together on a tight budget. Our strategy is to give the animators a relatively long lead time so they can do something that will be a good portfolio piece for them and something cool for us. And although we’re on a tight budget, we can offer a large amount of artistic freedom, and that gives us the opportunity to work with the most creative people out there.
Question: For this tour, you’re doing both “kid” and “adult” shows, sometimes 2 in one day. How is it different when you perform in front of kids versus when you perform in front of adults?
J. Flansburgh: Whatever pretensions you might have about your performance get totally re-calibrated when you’re playing for kids–playing a kid show is probably a bit closer to being a school teacher than being a rock star. There are also a lot of parents in the audience and we address them as well which kind of breaks forth the wall of "kiddie-ness."
Just to address the questions we always get: “how is it different writing a song for kids or writing for adults?” or “performing for kids and performing for adults?” Well, there is a real overlap, but there are meaningful differences too. A good song works in a way that is kind of irreducible whether or not it’s for kids or adults. If a song has a strong melody or an interesting concept, it will animate any audience, but in performance, kids have a really short attention span, so keeping things moving is important. Routinely the confetti machine gets the biggest response of the day. That will keep your ego in check.
Although in the past, “Clap your Hands” and "Alphabet of Nations" worked for adults, by and large the kid stuff stayed in the kid show just because it's, well, for kids! (laughs). But with "Here Comes Science" a lot of the songs work good in the adult show. and that’s unusual. “Meet the Elements,” “My Brother the Ape,” “A Shooting Star is not a Star,” and “Why Does the Sun Shine” slid into the adult show without any second thoughts, and “I Am a Paleontologist” is totally rocking live.
Question: What’s next for They Might Be Giants?
J. Flansburgh: We’re working on a rock album right now, but we have so much touring interrupting our effort it's hard to know when it will get done, so the real answer is we're going to be spending a lot of time on a tour bus trying to figure out how to get the WiFi working!
Our children’s book collaboration with Pascal Campion, Kids Go, just came out at the end of last year on Simon & Schuster. It's actually a very beautiful project and a fulfillment of a dream of mine. When we were approached, I wanted to do an actual picture book, which very few people get to do, and it was exciting to realize that dream. A good picture book is something that really stays with you.
Via the Regent Theatre's web site:
A Special Family Show with . . .
They Might Be Giants
Benefit Concerts for Boston By Foot
Sunday, May 23 at 12pm and 3pm
Both shows sold out - thank you!
They Might Be Giants will be performing two special shows especially for families. These are full band, full length performances. Both shows are to benefit Boston By Foot, the non-profit group giving guided walking tours of Boston for over 33 years. All concert goers can also use their ticket stub to get a free tour from Boston by Foot, including Boston by Little Feet tours for kids, during the upcoming season. All profits will go to BBF. http://www.bostonbyfoot.org/
They Might Be Giants Biography
HERE COMES SCIENCE!
For alternative rock legends They Might Be Giants, rave reviews from the likes of Time Magazine, Rolling Stone, The Village Voice, Pitchfork, NPR and beyond might not be that unexpected, but we're not talking about their regular gig here. Sure, TMBG have sold millions of records, are multi-Grammy winners and have even composed a musical accompaniment for an entire issue of McSweeney's, but these most recent accolades are for the work TMBG has created for children and--as the reviews attest--no other band swings as effortlessly from adult music to children’s fare and back again with the artistic and commercial success of They Might Be Giants.
John Flansburgh and John Linnell's latest CD/DVD is Here Comes Science (Idlewild/Disney Sound). It's an ultra-vivid crash course through topics that in lesser hands could easily put kids to sleep. With rock anthems and electronic goodies crafted to amuse, intrigue and deliver the 4-1-1 on evolution, solar system, photosynthesis, the scientific method and more. Following Here Comes the ABCs and Here Come the 123s, Science is geared for older kids and it introduces ideas in a way that not only inform but will stay in your head forever.
While it may seem like an odd move for a duo recognized as the progenitors of the American alternative rock movement, it really all makes perfect sense. From their earliest days with Dial-A-Song through their online music distribution, TMBG have always challenged rock's status quo and gone out of their way to take their music to brand new audiences, and by the looks of things, they’re having a lot of fun doing it their way. The Giants use every bit of fan interactive technology by connecting with kids via regular podcasts and including a DVD of delightful animated interpretations of their songs with each Here Comes... album.
The band is constantly working on new music, new projects and touring--sometimes with 2 shows a day. Founders John Flansburgh and John Linnell, along with their long standing live combo of Dan Miller, Danny Weinkauf and Marty Beller, show no signs of swapping one successful gig (adult music) for another (children’s music). Rejoice people of Earth--there’s just that much more for us all to enjoy.
Question: You once said in an interview that TMBGs knew what you didn’t want to do with your music geared for kids: You didn’t want to tell them how to behave or write songs that are educational. But these songs are quite educational, and in fact, you have a science consultant on this record. Did you make a conscious decision to really teach something on Here Comes Science?
John Linnell: I think it’s still a record you can listen to for enjoyment, and that’s real important to us. I am perfectly comfortable with the idea of something that is pure entertainment, but I don’t think there is any need for something just purely educational from us. My sense of this record is that it is mostly fun, musical and interesting and it happens to have lyrics that talk about science.
Question: Did any Children’s books or albums make an impression on you when you were a child? Because now you’re making that impression on children.
John Flansburgh: We get that question a lot, and it’s a valid question, but speaking for myself, I feel like we have something to contribute to kid's music because what we're doing is actually lacking in the general culture. Generally, our stuff is not really coming out of any amazing experience with the kid's stuff from the past. Our childhood was during the really golden era of classic pop and singles. Those songs weren't really designed for kids, but the power of it spoke to us and a lot of other kids quite directly.
Curiously--although I see the obvious connections--we didn’t really grow up with all of the progressive kids stuff of the 70's. We were that micro generation of glitter-rock young teens listening to Alice Cooper and David Bowie and we totally missed the boat on Sesame Street and School House Rock and Free To Be You and Me. But even being a bit too old for it, you could tell there was something cool about that stuff. Basically the cartoons of our generation were either super-violent, like Spiderman, or the really simple-minded Hanna-Barbera cartoons.
Question: Which one of you was the science student? Either or you? Neither of you?
J. Linnell: Specifically into science? I would say we were both middling students in school, but philosophically we are both, as adults, very pro-science. We like living in the post-enlightenment era in history. Are we still living in the enlightenment or is it over now, I can’t tell? Are we in the “en-darkenment” now?
J. Flansburgh: I think we’re actually in to the “gee whiz” part of science--all the scientific phenomenon that sparks your imagination. We certainly aren't academics, but there is something remarkable about the world of science and there are ideas in science that just send your mind reeling.
J. Linnell: One the things that is exciting about it is that it makes you realize that things that are true, that can be proven, aren’t always intuitive. There is a difference between what seems to be the case and what turns out to be proven to be the case, and that’s really exciting. The world isn’t always what it seems to be and it makes everything more wonderful in a way. You have an experience of the world, walking around, and then science provides knowledge about the world that is not always anything like the experience.
The history of scientific discovery is partly revealing things that you don’t always experience directly, it’s bizarre in a way that so much of what we know is stuff we can’t always experience directly, like molecules and galaxies.
Question: Does that make it easier or harder to write about Science?
J. Linnell: Well, both. There is a point that you do reflect that you’re trying to explain something preposterous. And luckily, I think kids know the whole world is strange and preposterous, but as they get older, they get used to the idea that there are facts they just have to take someone’s word for.
Question: Considering you guys once used an answering machine to showcase your material, how amazed are you that you have all of this media at your disposal – podcasts, internet, video, etc…how has it changed the way you work?
J. Flansburgh: We enjoyed having an easy-breezy, loose reputation in terms of getting our music out to people. It was very great to be the one of the few acts in the United States who wasn’t preoccupied with getting on the radio or a cash return on our music. Of course now there is almost no end to the free stuff, and it is cool to see how much you can get in to the world, but with the most popular videos on YouTube being cats jumping into a box or people getting pushed down escalators, part of me worries that all this electronic media is just in the service of turning our culture into an endless episode of America’s Funniest Home Videos.
J. Linnell: A lot of what the technology suggests to people is the democratizing of culture and the notion of interactivity kind of caught fire online early on. What’s weird for John and I is that we were never interested in either one of those things. We actually like the idea of controlling what we are doing and we like the old fashioned idea of there being quality control on culture, that you would get the “good stuff” and there would be a way, through a critical apparatus or institutions, that would deliver the good stuff and filter out the bad stuff. It feels like the big problem nowadays is that everything should be available to everyone at all times and the result is a lot of garbage to wade through…not to sound like an 80 year old man! (laughs)
Question: With your accompanying DVD, how did the directors and animators come together? Are they the same people from Here Come the 123s? How much creative control do you give the animators with your songs?
J. Flansburgh: We are the producers on all the animated material and we select the artists we collaborate with pretty carefully. We've been involved in a lot of television and video projects over the years and that was very good training for these projects. There is an expression in rock video production: “Good. Fast. Cheap. Choose two” It’s a very unreasonable thing to expect everything to come together on a tight budget. Our strategy is to give the animators a relatively long lead time so they can do something that will be a good portfolio piece for them and something cool for us. And although we’re on a tight budget, we can offer a large amount of artistic freedom, and that gives us the opportunity to work with the most creative people out there.
Question: For this tour, you’re doing both “kid” and “adult” shows, sometimes 2 in one day. How is it different when you perform in front of kids versus when you perform in front of adults?
J. Flansburgh: Whatever pretensions you might have about your performance get totally re-calibrated when you’re playing for kids–playing a kid show is probably a bit closer to being a school teacher than being a rock star. There are also a lot of parents in the audience and we address them as well which kind of breaks forth the wall of "kiddie-ness."
Just to address the questions we always get: “how is it different writing a song for kids or writing for adults?” or “performing for kids and performing for adults?” Well, there is a real overlap, but there are meaningful differences too. A good song works in a way that is kind of irreducible whether or not it’s for kids or adults. If a song has a strong melody or an interesting concept, it will animate any audience, but in performance, kids have a really short attention span, so keeping things moving is important. Routinely the confetti machine gets the biggest response of the day. That will keep your ego in check.
Although in the past, “Clap your Hands” and "Alphabet of Nations" worked for adults, by and large the kid stuff stayed in the kid show just because it's, well, for kids! (laughs). But with "Here Comes Science" a lot of the songs work good in the adult show. and that’s unusual. “Meet the Elements,” “My Brother the Ape,” “A Shooting Star is not a Star,” and “Why Does the Sun Shine” slid into the adult show without any second thoughts, and “I Am a Paleontologist” is totally rocking live.
Question: What’s next for They Might Be Giants?
J. Flansburgh: We’re working on a rock album right now, but we have so much touring interrupting our effort it's hard to know when it will get done, so the real answer is we're going to be spending a lot of time on a tour bus trying to figure out how to get the WiFi working!
Our children’s book collaboration with Pascal Campion, Kids Go, just came out at the end of last year on Simon & Schuster. It's actually a very beautiful project and a fulfillment of a dream of mine. When we were approached, I wanted to do an actual picture book, which very few people get to do, and it was exciting to realize that dream. A good picture book is something that really stays with you.
Via the Regent Theatre's web site:
A Special Family Show with . . .
They Might Be Giants
Benefit Concerts for Boston By Foot
Sunday, May 23 at 12pm and 3pm
Both shows sold out - thank you!
They Might Be Giants will be performing two special shows especially for families. These are full band, full length performances. Both shows are to benefit Boston By Foot, the non-profit group giving guided walking tours of Boston for over 33 years. All concert goers can also use their ticket stub to get a free tour from Boston by Foot, including Boston by Little Feet tours for kids, during the upcoming season. All profits will go to BBF. http://www.bostonbyfoot.org/
They Might Be Giants Biography
HERE COMES SCIENCE!
For alternative rock legends They Might Be Giants, rave reviews from the likes of Time Magazine, Rolling Stone, The Village Voice, Pitchfork, NPR and beyond might not be that unexpected, but we're not talking about their regular gig here. Sure, TMBG have sold millions of records, are multi-Grammy winners and have even composed a musical accompaniment for an entire issue of McSweeney's, but these most recent accolades are for the work TMBG has created for children and--as the reviews attest--no other band swings as effortlessly from adult music to children’s fare and back again with the artistic and commercial success of They Might Be Giants.
John Flansburgh and John Linnell's latest CD/DVD is Here Comes Science (Idlewild/Disney Sound). It's an ultra-vivid crash course through topics that in lesser hands could easily put kids to sleep. With rock anthems and electronic goodies crafted to amuse, intrigue and deliver the 4-1-1 on evolution, solar system, photosynthesis, the scientific method and more. Following Here Comes the ABCs and Here Come the 123s, Science is geared for older kids and it introduces ideas in a way that not only inform but will stay in your head forever.
While it may seem like an odd move for a duo recognized as the progenitors of the American alternative rock movement, it really all makes perfect sense. From their earliest days with Dial-A-Song through their online music distribution, TMBG have always challenged rock's status quo and gone out of their way to take their music to brand new audiences, and by the looks of things, they’re having a lot of fun doing it their way. The Giants use every bit of fan interactive technology by connecting with kids via regular podcasts and including a DVD of delightful animated interpretations of their songs with each Here Comes... album.
The band is constantly working on new music, new projects and touring--sometimes with 2 shows a day. Founders John Flansburgh and John Linnell, along with their long standing live combo of Dan Miller, Danny Weinkauf and Marty Beller, show no signs of swapping one successful gig (adult music) for another (children’s music). Rejoice people of Earth--there’s just that much more for us all to enjoy.
Question: You once said in an interview that TMBGs knew what you didn’t want to do with your music geared for kids: You didn’t want to tell them how to behave or write songs that are educational. But these songs are quite educational, and in fact, you have a science consultant on this record. Did you make a conscious decision to really teach something on Here Comes Science?
John Linnell: I think it’s still a record you can listen to for enjoyment, and that’s real important to us. I am perfectly comfortable with the idea of something that is pure entertainment, but I don’t think there is any need for something just purely educational from us. My sense of this record is that it is mostly fun, musical and interesting and it happens to have lyrics that talk about science.
Question: Did any Children’s books or albums make an impression on you when you were a child? Because now you’re making that impression on children.
John Flansburgh: We get that question a lot, and it’s a valid question, but speaking for myself, I feel like we have something to contribute to kid's music because what we're doing is actually lacking in the general culture. Generally, our stuff is not really coming out of any amazing experience with the kid's stuff from the past. Our childhood was during the really golden era of classic pop and singles. Those songs weren't really designed for kids, but the power of it spoke to us and a lot of other kids quite directly.
Curiously--although I see the obvious connections--we didn’t really grow up with all of the progressive kids stuff of the 70's. We were that micro generation of glitter-rock young teens listening to Alice Cooper and David Bowie and we totally missed the boat on Sesame Street and School House Rock and Free To Be You and Me. But even being a bit too old for it, you could tell there was something cool about that stuff. Basically the cartoons of our generation were either super-violent, like Spiderman, or the really simple-minded Hanna-Barbera cartoons.
Question: Which one of you was the science student? Either or you? Neither of you?
J. Linnell: Specifically into science? I would say we were both middling students in school, but philosophically we are both, as adults, very pro-science. We like living in the post-enlightenment era in history. Are we still living in the enlightenment or is it over now, I can’t tell? Are we in the “en-darkenment” now?
J. Flansburgh: I think we’re actually in to the “gee whiz” part of science--all the scientific phenomenon that sparks your imagination. We certainly aren't academics, but there is something remarkable about the world of science and there are ideas in science that just send your mind reeling.
J. Linnell: One the things that is exciting about it is that it makes you realize that things that are true, that can be proven, aren’t always intuitive. There is a difference between what seems to be the case and what turns out to be proven to be the case, and that’s really exciting. The world isn’t always what it seems to be and it makes everything more wonderful in a way. You have an experience of the world, walking around, and then science provides knowledge about the world that is not always anything like the experience.
The history of scientific discovery is partly revealing things that you don’t always experience directly, it’s bizarre in a way that so much of what we know is stuff we can’t always experience directly, like molecules and galaxies.
Question: Does that make it easier or harder to write about Science?
J. Linnell: Well, both. There is a point that you do reflect that you’re trying to explain something preposterous. And luckily, I think kids know the whole world is strange and preposterous, but as they get older, they get used to the idea that there are facts they just have to take someone’s word for.
Question: Considering you guys once used an answering machine to showcase your material, how amazed are you that you have all of this media at your disposal – podcasts, internet, video, etc…how has it changed the way you work?
J. Flansburgh: We enjoyed having an easy-breezy, loose reputation in terms of getting our music out to people. It was very great to be the one of the few acts in the United States who wasn’t preoccupied with getting on the radio or a cash return on our music. Of course now there is almost no end to the free stuff, and it is cool to see how much you can get in to the world, but with the most popular videos on YouTube being cats jumping into a box or people getting pushed down escalators, part of me worries that all this electronic media is just in the service of turning our culture into an endless episode of America’s Funniest Home Videos.
J. Linnell: A lot of what the technology suggests to people is the democratizing of culture and the notion of interactivity kind of caught fire online early on. What’s weird for John and I is that we were never interested in either one of those things. We actually like the idea of controlling what we are doing and we like the old fashioned idea of there being quality control on culture, that you would get the “good stuff” and there would be a way, through a critical apparatus or institutions, that would deliver the good stuff and filter out the bad stuff. It feels like the big problem nowadays is that everything should be available to everyone at all times and the result is a lot of garbage to wade through…not to sound like an 80 year old man! (laughs)
Question: With your accompanying DVD, how did the directors and animators come together? Are they the same people from Here Come the 123s? How much creative control do you give the animators with your songs?
J. Flansburgh: We are the producers on all the animated material and we select the artists we collaborate with pretty carefully. We've been involved in a lot of television and video projects over the years and that was very good training for these projects. There is an expression in rock video production: “Good. Fast. Cheap. Choose two” It’s a very unreasonable thing to expect everything to come together on a tight budget. Our strategy is to give the animators a relatively long lead time so they can do something that will be a good portfolio piece for them and something cool for us. And although we’re on a tight budget, we can offer a large amount of artistic freedom, and that gives us the opportunity to work with the most creative people out there.
Question: For this tour, you’re doing both “kid” and “adult” shows, sometimes 2 in one day. How is it different when you perform in front of kids versus when you perform in front of adults?
J. Flansburgh: Whatever pretensions you might have about your performance get totally re-calibrated when you’re playing for kids–playing a kid show is probably a bit closer to being a school teacher than being a rock star. There are also a lot of parents in the audience and we address them as well which kind of breaks forth the wall of "kiddie-ness."
Just to address the questions we always get: “how is it different writing a song for kids or writing for adults?” or “performing for kids and performing for adults?” Well, there is a real overlap, but there are meaningful differences too. A good song works in a way that is kind of irreducible whether or not it’s for kids or adults. If a song has a strong melody or an interesting concept, it will animate any audience, but in performance, kids have a really short attention span, so keeping things moving is important. Routinely the confetti machine gets the biggest response of the day. That will keep your ego in check.
Although in the past, “Clap your Hands” and "Alphabet of Nations" worked for adults, by and large the kid stuff stayed in the kid show just because it's, well, for kids! (laughs). But with "Here Comes Science" a lot of the songs work good in the adult show. and that’s unusual. “Meet the Elements,” “My Brother the Ape,” “A Shooting Star is not a Star,” and “Why Does the Sun Shine” slid into the adult show without any second thoughts, and “I Am a Paleontologist” is totally rocking live.
Question: What’s next for They Might Be Giants?
J. Flansburgh: We’re working on a rock album right now, but we have so much touring interrupting our effort it's hard to know when it will get done, so the real answer is we're going to be spending a lot of time on a tour bus trying to figure out how to get the WiFi working!
Our children’s book collaboration with Pascal Campion, Kids Go, just came out at the end of last year on Simon & Schuster. It's actually a very beautiful project and a fulfillment of a dream of mine. When we were approached, I wanted to do an actual picture book, which very few people get to do, and it was exciting to realize that dream. A good picture book is something that really stays with you.
FACES OF BOTH SIDES OF THE PROTEST - - WOMAN PHOTOGRAPHER CAPTURING THE ACTION.
Saturday 1 December 2012 was inauguration day for the newly elected President of United Mexican States (MEXICO). While a friend and I were walking near where the inauguration was taking place, a small riot broke out around us; my friend being smarter than me immediately returned to the hotel while I stayed to take picture. A lot of young people showed up with bandanas covering much of their faces. The protesters were upset by the election of Pena Nieto, and believed election fraud had taken place. Several of the “rioters” identified themselves as belonging to Yo Soy 132.
Yo Soy 132 is an ongoing Mexican protest movement centered around the democratization of the country and its media. It began as opposition to the Institutional Revolutionary Party (PRI) candidate Enrique Peña Nieto and the Mexican media's allegedly biased coverage of the 2012 general election. The name Yo Soy 132, Spanish for "I Am 132", originated in an expression of solidarity with the protest's initiators.
The Chin tattooed women live in the Chin, Rakhine and Arakan states in northwestern Myanmar. The origin of facial tattoos in the region is unknown. Some believe that the practice began during the reigns of Kings long ago. The royalty used to come to the villages to capture young women. The men from the tribe may have tattooed their women to make them ugly, thereby saving them from a life of slavery. Interestingly, I heard a similar origin for body modification among the Mursi tribe in Ethiopia. As legend has it, the tribeswomen began wearing giant lip plates to make them uglier to would-be kidnappers. Now, the bigger the lip plate the higher the bride price.
For years, access to the tribal Mindat area was restricted by the burmese government. It was opened just two years ago. Only about 700 tourists visit per year. Most of them only visit the bucolic Mount Victoria by bus, never meeting the tattooed women who remain isolated, hours away by foot. Those who do wish to meet them better pack good walking shoes and be prepared to sleep in smoke-filled local houses complete with rats.
There are a few different face tattoo patterns. The spiderweb tattoo is popular in the Mrauk U region. It takes a three hour long tail boat ride to reach this remote area. This tattoo is usually accompanied by a circle in the center of the forehead which represents the sun or lines under the nose symbolizing tiger whiskers.
Another design, known as the bee pattern, is common in the Mindat area. It is composed of dots, lines and occasionally circles. It is worn by the Muun tribe who inhabit the hills of the Arakan state.
The Magan tribeswomen wear huge earrings made of beads and calabashes. They can also play the flute with their noses.
I ventured to Kanpelet village in search of the women from the U Pu tribe who have the incredibly rare whole face tattoo. This is one of the most impressive styles: the entire face is inked up. Rumors had it that only three women in this area had the tattoo. After hours of off roading, I arrive in the village only to learn that one died recently and another was very ill. I was lucky enough to meet Pa Late. At 85, she is nearly deaf but still works hard with her family in a small house on the top of a little hill.
Pa Late said that a completely black face had become a symbol of beauty in the past. The few women who refused to do it looked ugly to the men. The tattoo took three days but the pain lasted over a month.
There are two ways to make the tattoo needle. The first consists of tying three pieces of bamboo together and the second uses thorns. The ink is a mixture of cow bile, soot, plants, and pig fat. It usually took one day to complete the standard tattoo and a few more for the totally black one. The tattoo artist was a specialist or in some cases a parent. Infection was a common problem as the girls had blood all over their face.
Everything, including the eyelids, was tattooed. Many women say that the neck was the most sensitive area.
Ma Aung Seim shared her memories of the tattoo sessions : “I was 10 years old. The day before the tattoo ceremony, I only ate sugarcane and drank tea. It was forbidden to eat meat or peanuts. During the tattoo session, I cried a lot, but I could not move at all. After the session, my face bled for 3 days. It was very painful. My mother put fresh beans leaves on my face to alleviate the pain. I had no choice if i wanted to get married. Men wanted women with tattoos at this time. My mother told me that without a tattoo on my face, i would look like... a man! The web drawn on my face attracted the men like a spiderweb catches insects!”
Not all the tattooed women live in remote areas deep in the mountains. Some have integrated into modern society. Miss Heu, 67, lives in Kanpelet. Her grandmother forced her to get tattooed. She lives in a modern house and even has TV (when electricity is not out). Chin people have maintained their modesty and shyness: when a movie showspeople kissing or making love, most of them still fast forward the scene.
As a leader in the local community, Miss Heu had the chance to meet Aung San Suu Kyi when she came in the area for a meeting. She is very aware of the tattooed women and the ethnicities that are forgotten by the central government. She says she and Aung San Suu Kyi are friends now. Heu’s daughter has graduated and works in Singapore.
The Chin culture is threatened by the government as their teachers are usually not Chin. For a long time, they fought for independence, but since the country began to democratize, things have calmed down.
“I am old. Soon I will die” says to me a Chin woman from Pan Baung village, while she does the gesture of drying tears from her eyes. In her village, only 6 tattooed woman remain alive. Those women are the last of their kind…
© Eric Lafforgue
[There are 27 detailed images in this set] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
This set of 5 photos shows some of the stained-glass windows of the Penn-Wyatt House (1876) in Danville, Virginia. Residential, or secular stained-glass, had become relatively common in the last quarter of the 19th century as a way to beautify one’s space, to make an architectural statement, and possibly to fall in with a decorative fad or style. Charles Eastlake (1836-1906), influential in architectural embellishment, felt the use of stained-glass was an appropriate decoration for a household; it was in “good taste”. The glaziers’ world now included the ecclesiastical and the secular. Decorative arts in an architectural setting demanded fine art from skilled and imaginative craftsmen, often using floral or abstract designs on a geometrical background (photo 4 is a good example of this). Inside the house, the light through the window would create a different aspect of color and mood; furthermore, windows were placed where no view to the outside was intended. The use of decorative windows became so commonplace that mail order hardware companies offered them among their products at prices within reach of many. This democratization of stained-glass accessibility tended to water down the artistry. In the 20th century, two wars and the Depression devastated the business with the final blow delivered by “modern architecture”, which greatly deemphasized any ornamentation. I don’t know anything about these windows, if they were artisan or assembly-line in origin or when they were installed. The house did undergo modifications from 1897-1903. I was unable to view the interior of the Penn-Wyatt House except as seen through windows; but I’ll remember looking through a glass door and seeing, as if I were inside, how a window diffused the light and colors, a sight of wonder and beauty. Images 2 and 3 are excellent examples of window moldings. The Penn-Wyatt House was listed on the National Register of Historic Places September 7, 1979, ID reference #79003317. [The description is a synthesis of numerous sources.]
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. If you use this image on your web site, you need to provide a link to this photo.
Via the Regent Theatre's web site:
A Special Family Show with . . .
They Might Be Giants
Benefit Concerts for Boston By Foot
Sunday, May 23 at 12pm and 3pm
Both shows sold out - thank you!
They Might Be Giants will be performing two special shows especially for families. These are full band, full length performances. Both shows are to benefit Boston By Foot, the non-profit group giving guided walking tours of Boston for over 33 years. All concert goers can also use their ticket stub to get a free tour from Boston by Foot, including Boston by Little Feet tours for kids, during the upcoming season. All profits will go to BBF. http://www.bostonbyfoot.org/
They Might Be Giants Biography
HERE COMES SCIENCE!
For alternative rock legends They Might Be Giants, rave reviews from the likes of Time Magazine, Rolling Stone, The Village Voice, Pitchfork, NPR and beyond might not be that unexpected, but we're not talking about their regular gig here. Sure, TMBG have sold millions of records, are multi-Grammy winners and have even composed a musical accompaniment for an entire issue of McSweeney's, but these most recent accolades are for the work TMBG has created for children and--as the reviews attest--no other band swings as effortlessly from adult music to children’s fare and back again with the artistic and commercial success of They Might Be Giants.
John Flansburgh and John Linnell's latest CD/DVD is Here Comes Science (Idlewild/Disney Sound). It's an ultra-vivid crash course through topics that in lesser hands could easily put kids to sleep. With rock anthems and electronic goodies crafted to amuse, intrigue and deliver the 4-1-1 on evolution, solar system, photosynthesis, the scientific method and more. Following Here Comes the ABCs and Here Come the 123s, Science is geared for older kids and it introduces ideas in a way that not only inform but will stay in your head forever.
While it may seem like an odd move for a duo recognized as the progenitors of the American alternative rock movement, it really all makes perfect sense. From their earliest days with Dial-A-Song through their online music distribution, TMBG have always challenged rock's status quo and gone out of their way to take their music to brand new audiences, and by the looks of things, they’re having a lot of fun doing it their way. The Giants use every bit of fan interactive technology by connecting with kids via regular podcasts and including a DVD of delightful animated interpretations of their songs with each Here Comes... album.
The band is constantly working on new music, new projects and touring--sometimes with 2 shows a day. Founders John Flansburgh and John Linnell, along with their long standing live combo of Dan Miller, Danny Weinkauf and Marty Beller, show no signs of swapping one successful gig (adult music) for another (children’s music). Rejoice people of Earth--there’s just that much more for us all to enjoy.
Question: You once said in an interview that TMBGs knew what you didn’t want to do with your music geared for kids: You didn’t want to tell them how to behave or write songs that are educational. But these songs are quite educational, and in fact, you have a science consultant on this record. Did you make a conscious decision to really teach something on Here Comes Science?
John Linnell: I think it’s still a record you can listen to for enjoyment, and that’s real important to us. I am perfectly comfortable with the idea of something that is pure entertainment, but I don’t think there is any need for something just purely educational from us. My sense of this record is that it is mostly fun, musical and interesting and it happens to have lyrics that talk about science.
Question: Did any Children’s books or albums make an impression on you when you were a child? Because now you’re making that impression on children.
John Flansburgh: We get that question a lot, and it’s a valid question, but speaking for myself, I feel like we have something to contribute to kid's music because what we're doing is actually lacking in the general culture. Generally, our stuff is not really coming out of any amazing experience with the kid's stuff from the past. Our childhood was during the really golden era of classic pop and singles. Those songs weren't really designed for kids, but the power of it spoke to us and a lot of other kids quite directly.
Curiously--although I see the obvious connections--we didn’t really grow up with all of the progressive kids stuff of the 70's. We were that micro generation of glitter-rock young teens listening to Alice Cooper and David Bowie and we totally missed the boat on Sesame Street and School House Rock and Free To Be You and Me. But even being a bit too old for it, you could tell there was something cool about that stuff. Basically the cartoons of our generation were either super-violent, like Spiderman, or the really simple-minded Hanna-Barbera cartoons.
Question: Which one of you was the science student? Either or you? Neither of you?
J. Linnell: Specifically into science? I would say we were both middling students in school, but philosophically we are both, as adults, very pro-science. We like living in the post-enlightenment era in history. Are we still living in the enlightenment or is it over now, I can’t tell? Are we in the “en-darkenment” now?
J. Flansburgh: I think we’re actually in to the “gee whiz” part of science--all the scientific phenomenon that sparks your imagination. We certainly aren't academics, but there is something remarkable about the world of science and there are ideas in science that just send your mind reeling.
J. Linnell: One the things that is exciting about it is that it makes you realize that things that are true, that can be proven, aren’t always intuitive. There is a difference between what seems to be the case and what turns out to be proven to be the case, and that’s really exciting. The world isn’t always what it seems to be and it makes everything more wonderful in a way. You have an experience of the world, walking around, and then science provides knowledge about the world that is not always anything like the experience.
The history of scientific discovery is partly revealing things that you don’t always experience directly, it’s bizarre in a way that so much of what we know is stuff we can’t always experience directly, like molecules and galaxies.
Question: Does that make it easier or harder to write about Science?
J. Linnell: Well, both. There is a point that you do reflect that you’re trying to explain something preposterous. And luckily, I think kids know the whole world is strange and preposterous, but as they get older, they get used to the idea that there are facts they just have to take someone’s word for.
Question: Considering you guys once used an answering machine to showcase your material, how amazed are you that you have all of this media at your disposal – podcasts, internet, video, etc…how has it changed the way you work?
J. Flansburgh: We enjoyed having an easy-breezy, loose reputation in terms of getting our music out to people. It was very great to be the one of the few acts in the United States who wasn’t preoccupied with getting on the radio or a cash return on our music. Of course now there is almost no end to the free stuff, and it is cool to see how much you can get in to the world, but with the most popular videos on YouTube being cats jumping into a box or people getting pushed down escalators, part of me worries that all this electronic media is just in the service of turning our culture into an endless episode of America’s Funniest Home Videos.
J. Linnell: A lot of what the technology suggests to people is the democratizing of culture and the notion of interactivity kind of caught fire online early on. What’s weird for John and I is that we were never interested in either one of those things. We actually like the idea of controlling what we are doing and we like the old fashioned idea of there being quality control on culture, that you would get the “good stuff” and there would be a way, through a critical apparatus or institutions, that would deliver the good stuff and filter out the bad stuff. It feels like the big problem nowadays is that everything should be available to everyone at all times and the result is a lot of garbage to wade through…not to sound like an 80 year old man! (laughs)
Question: With your accompanying DVD, how did the directors and animators come together? Are they the same people from Here Come the 123s? How much creative control do you give the animators with your songs?
J. Flansburgh: We are the producers on all the animated material and we select the artists we collaborate with pretty carefully. We've been involved in a lot of television and video projects over the years and that was very good training for these projects. There is an expression in rock video production: “Good. Fast. Cheap. Choose two” It’s a very unreasonable thing to expect everything to come together on a tight budget. Our strategy is to give the animators a relatively long lead time so they can do something that will be a good portfolio piece for them and something cool for us. And although we’re on a tight budget, we can offer a large amount of artistic freedom, and that gives us the opportunity to work with the most creative people out there.
Question: For this tour, you’re doing both “kid” and “adult” shows, sometimes 2 in one day. How is it different when you perform in front of kids versus when you perform in front of adults?
J. Flansburgh: Whatever pretensions you might have about your performance get totally re-calibrated when you’re playing for kids–playing a kid show is probably a bit closer to being a school teacher than being a rock star. There are also a lot of parents in the audience and we address them as well which kind of breaks forth the wall of "kiddie-ness."
Just to address the questions we always get: “how is it different writing a song for kids or writing for adults?” or “performing for kids and performing for adults?” Well, there is a real overlap, but there are meaningful differences too. A good song works in a way that is kind of irreducible whether or not it’s for kids or adults. If a song has a strong melody or an interesting concept, it will animate any audience, but in performance, kids have a really short attention span, so keeping things moving is important. Routinely the confetti machine gets the biggest response of the day. That will keep your ego in check.
Although in the past, “Clap your Hands” and "Alphabet of Nations" worked for adults, by and large the kid stuff stayed in the kid show just because it's, well, for kids! (laughs). But with "Here Comes Science" a lot of the songs work good in the adult show. and that’s unusual. “Meet the Elements,” “My Brother the Ape,” “A Shooting Star is not a Star,” and “Why Does the Sun Shine” slid into the adult show without any second thoughts, and “I Am a Paleontologist” is totally rocking live.
Question: What’s next for They Might Be Giants?
J. Flansburgh: We’re working on a rock album right now, but we have so much touring interrupting our effort it's hard to know when it will get done, so the real answer is we're going to be spending a lot of time on a tour bus trying to figure out how to get the WiFi working!
Our children’s book collaboration with Pascal Campion, Kids Go, just came out at the end of last year on Simon & Schuster. It's actually a very beautiful project and a fulfillment of a dream of mine. When we were approached, I wanted to do an actual picture book, which very few people get to do, and it was exciting to realize that dream. A good picture book is something that really stays with you.
Via the Regent Theatre's web site:
A Special Family Show with . . .
They Might Be Giants
Benefit Concerts for Boston By Foot
Sunday, May 23 at 12pm and 3pm
Both shows sold out - thank you!
They Might Be Giants will be performing two special shows especially for families. These are full band, full length performances. Both shows are to benefit Boston By Foot, the non-profit group giving guided walking tours of Boston for over 33 years. All concert goers can also use their ticket stub to get a free tour from Boston by Foot, including Boston by Little Feet tours for kids, during the upcoming season. All profits will go to BBF. http://www.bostonbyfoot.org/
They Might Be Giants Biography
HERE COMES SCIENCE!
For alternative rock legends They Might Be Giants, rave reviews from the likes of Time Magazine, Rolling Stone, The Village Voice, Pitchfork, NPR and beyond might not be that unexpected, but we're not talking about their regular gig here. Sure, TMBG have sold millions of records, are multi-Grammy winners and have even composed a musical accompaniment for an entire issue of McSweeney's, but these most recent accolades are for the work TMBG has created for children and--as the reviews attest--no other band swings as effortlessly from adult music to children’s fare and back again with the artistic and commercial success of They Might Be Giants.
John Flansburgh and John Linnell's latest CD/DVD is Here Comes Science (Idlewild/Disney Sound). It's an ultra-vivid crash course through topics that in lesser hands could easily put kids to sleep. With rock anthems and electronic goodies crafted to amuse, intrigue and deliver the 4-1-1 on evolution, solar system, photosynthesis, the scientific method and more. Following Here Comes the ABCs and Here Come the 123s, Science is geared for older kids and it introduces ideas in a way that not only inform but will stay in your head forever.
While it may seem like an odd move for a duo recognized as the progenitors of the American alternative rock movement, it really all makes perfect sense. From their earliest days with Dial-A-Song through their online music distribution, TMBG have always challenged rock's status quo and gone out of their way to take their music to brand new audiences, and by the looks of things, they’re having a lot of fun doing it their way. The Giants use every bit of fan interactive technology by connecting with kids via regular podcasts and including a DVD of delightful animated interpretations of their songs with each Here Comes... album.
The band is constantly working on new music, new projects and touring--sometimes with 2 shows a day. Founders John Flansburgh and John Linnell, along with their long standing live combo of Dan Miller, Danny Weinkauf and Marty Beller, show no signs of swapping one successful gig (adult music) for another (children’s music). Rejoice people of Earth--there’s just that much more for us all to enjoy.
Question: You once said in an interview that TMBGs knew what you didn’t want to do with your music geared for kids: You didn’t want to tell them how to behave or write songs that are educational. But these songs are quite educational, and in fact, you have a science consultant on this record. Did you make a conscious decision to really teach something on Here Comes Science?
John Linnell: I think it’s still a record you can listen to for enjoyment, and that’s real important to us. I am perfectly comfortable with the idea of something that is pure entertainment, but I don’t think there is any need for something just purely educational from us. My sense of this record is that it is mostly fun, musical and interesting and it happens to have lyrics that talk about science.
Question: Did any Children’s books or albums make an impression on you when you were a child? Because now you’re making that impression on children.
John Flansburgh: We get that question a lot, and it’s a valid question, but speaking for myself, I feel like we have something to contribute to kid's music because what we're doing is actually lacking in the general culture. Generally, our stuff is not really coming out of any amazing experience with the kid's stuff from the past. Our childhood was during the really golden era of classic pop and singles. Those songs weren't really designed for kids, but the power of it spoke to us and a lot of other kids quite directly.
Curiously--although I see the obvious connections--we didn’t really grow up with all of the progressive kids stuff of the 70's. We were that micro generation of glitter-rock young teens listening to Alice Cooper and David Bowie and we totally missed the boat on Sesame Street and School House Rock and Free To Be You and Me. But even being a bit too old for it, you could tell there was something cool about that stuff. Basically the cartoons of our generation were either super-violent, like Spiderman, or the really simple-minded Hanna-Barbera cartoons.
Question: Which one of you was the science student? Either or you? Neither of you?
J. Linnell: Specifically into science? I would say we were both middling students in school, but philosophically we are both, as adults, very pro-science. We like living in the post-enlightenment era in history. Are we still living in the enlightenment or is it over now, I can’t tell? Are we in the “en-darkenment” now?
J. Flansburgh: I think we’re actually in to the “gee whiz” part of science--all the scientific phenomenon that sparks your imagination. We certainly aren't academics, but there is something remarkable about the world of science and there are ideas in science that just send your mind reeling.
J. Linnell: One the things that is exciting about it is that it makes you realize that things that are true, that can be proven, aren’t always intuitive. There is a difference between what seems to be the case and what turns out to be proven to be the case, and that’s really exciting. The world isn’t always what it seems to be and it makes everything more wonderful in a way. You have an experience of the world, walking around, and then science provides knowledge about the world that is not always anything like the experience.
The history of scientific discovery is partly revealing things that you don’t always experience directly, it’s bizarre in a way that so much of what we know is stuff we can’t always experience directly, like molecules and galaxies.
Question: Does that make it easier or harder to write about Science?
J. Linnell: Well, both. There is a point that you do reflect that you’re trying to explain something preposterous. And luckily, I think kids know the whole world is strange and preposterous, but as they get older, they get used to the idea that there are facts they just have to take someone’s word for.
Question: Considering you guys once used an answering machine to showcase your material, how amazed are you that you have all of this media at your disposal – podcasts, internet, video, etc…how has it changed the way you work?
J. Flansburgh: We enjoyed having an easy-breezy, loose reputation in terms of getting our music out to people. It was very great to be the one of the few acts in the United States who wasn’t preoccupied with getting on the radio or a cash return on our music. Of course now there is almost no end to the free stuff, and it is cool to see how much you can get in to the world, but with the most popular videos on YouTube being cats jumping into a box or people getting pushed down escalators, part of me worries that all this electronic media is just in the service of turning our culture into an endless episode of America’s Funniest Home Videos.
J. Linnell: A lot of what the technology suggests to people is the democratizing of culture and the notion of interactivity kind of caught fire online early on. What’s weird for John and I is that we were never interested in either one of those things. We actually like the idea of controlling what we are doing and we like the old fashioned idea of there being quality control on culture, that you would get the “good stuff” and there would be a way, through a critical apparatus or institutions, that would deliver the good stuff and filter out the bad stuff. It feels like the big problem nowadays is that everything should be available to everyone at all times and the result is a lot of garbage to wade through…not to sound like an 80 year old man! (laughs)
Question: With your accompanying DVD, how did the directors and animators come together? Are they the same people from Here Come the 123s? How much creative control do you give the animators with your songs?
J. Flansburgh: We are the producers on all the animated material and we select the artists we collaborate with pretty carefully. We've been involved in a lot of television and video projects over the years and that was very good training for these projects. There is an expression in rock video production: “Good. Fast. Cheap. Choose two” It’s a very unreasonable thing to expect everything to come together on a tight budget. Our strategy is to give the animators a relatively long lead time so they can do something that will be a good portfolio piece for them and something cool for us. And although we’re on a tight budget, we can offer a large amount of artistic freedom, and that gives us the opportunity to work with the most creative people out there.
Question: For this tour, you’re doing both “kid” and “adult” shows, sometimes 2 in one day. How is it different when you perform in front of kids versus when you perform in front of adults?
J. Flansburgh: Whatever pretensions you might have about your performance get totally re-calibrated when you’re playing for kids–playing a kid show is probably a bit closer to being a school teacher than being a rock star. There are also a lot of parents in the audience and we address them as well which kind of breaks forth the wall of "kiddie-ness."
Just to address the questions we always get: “how is it different writing a song for kids or writing for adults?” or “performing for kids and performing for adults?” Well, there is a real overlap, but there are meaningful differences too. A good song works in a way that is kind of irreducible whether or not it’s for kids or adults. If a song has a strong melody or an interesting concept, it will animate any audience, but in performance, kids have a really short attention span, so keeping things moving is important. Routinely the confetti machine gets the biggest response of the day. That will keep your ego in check.
Although in the past, “Clap your Hands” and "Alphabet of Nations" worked for adults, by and large the kid stuff stayed in the kid show just because it's, well, for kids! (laughs). But with "Here Comes Science" a lot of the songs work good in the adult show. and that’s unusual. “Meet the Elements,” “My Brother the Ape,” “A Shooting Star is not a Star,” and “Why Does the Sun Shine” slid into the adult show without any second thoughts, and “I Am a Paleontologist” is totally rocking live.
Question: What’s next for They Might Be Giants?
J. Flansburgh: We’re working on a rock album right now, but we have so much touring interrupting our effort it's hard to know when it will get done, so the real answer is we're going to be spending a lot of time on a tour bus trying to figure out how to get the WiFi working!
Our children’s book collaboration with Pascal Campion, Kids Go, just came out at the end of last year on Simon & Schuster. It's actually a very beautiful project and a fulfillment of a dream of mine. When we were approached, I wanted to do an actual picture book, which very few people get to do, and it was exciting to realize that dream. A good picture book is something that really stays with you.
Via the Regent Theatre's web site:
A Special Family Show with . . .
They Might Be Giants
Benefit Concerts for Boston By Foot
Sunday, May 23 at 12pm and 3pm
Both shows sold out - thank you!
They Might Be Giants will be performing two special shows especially for families. These are full band, full length performances. Both shows are to benefit Boston By Foot, the non-profit group giving guided walking tours of Boston for over 33 years. All concert goers can also use their ticket stub to get a free tour from Boston by Foot, including Boston by Little Feet tours for kids, during the upcoming season. All profits will go to BBF. http://www.bostonbyfoot.org/
They Might Be Giants Biography
HERE COMES SCIENCE!
For alternative rock legends They Might Be Giants, rave reviews from the likes of Time Magazine, Rolling Stone, The Village Voice, Pitchfork, NPR and beyond might not be that unexpected, but we're not talking about their regular gig here. Sure, TMBG have sold millions of records, are multi-Grammy winners and have even composed a musical accompaniment for an entire issue of McSweeney's, but these most recent accolades are for the work TMBG has created for children and--as the reviews attest--no other band swings as effortlessly from adult music to children’s fare and back again with the artistic and commercial success of They Might Be Giants.
John Flansburgh and John Linnell's latest CD/DVD is Here Comes Science (Idlewild/Disney Sound). It's an ultra-vivid crash course through topics that in lesser hands could easily put kids to sleep. With rock anthems and electronic goodies crafted to amuse, intrigue and deliver the 4-1-1 on evolution, solar system, photosynthesis, the scientific method and more. Following Here Comes the ABCs and Here Come the 123s, Science is geared for older kids and it introduces ideas in a way that not only inform but will stay in your head forever.
While it may seem like an odd move for a duo recognized as the progenitors of the American alternative rock movement, it really all makes perfect sense. From their earliest days with Dial-A-Song through their online music distribution, TMBG have always challenged rock's status quo and gone out of their way to take their music to brand new audiences, and by the looks of things, they’re having a lot of fun doing it their way. The Giants use every bit of fan interactive technology by connecting with kids via regular podcasts and including a DVD of delightful animated interpretations of their songs with each Here Comes... album.
The band is constantly working on new music, new projects and touring--sometimes with 2 shows a day. Founders John Flansburgh and John Linnell, along with their long standing live combo of Dan Miller, Danny Weinkauf and Marty Beller, show no signs of swapping one successful gig (adult music) for another (children’s music). Rejoice people of Earth--there’s just that much more for us all to enjoy.
Question: You once said in an interview that TMBGs knew what you didn’t want to do with your music geared for kids: You didn’t want to tell them how to behave or write songs that are educational. But these songs are quite educational, and in fact, you have a science consultant on this record. Did you make a conscious decision to really teach something on Here Comes Science?
John Linnell: I think it’s still a record you can listen to for enjoyment, and that’s real important to us. I am perfectly comfortable with the idea of something that is pure entertainment, but I don’t think there is any need for something just purely educational from us. My sense of this record is that it is mostly fun, musical and interesting and it happens to have lyrics that talk about science.
Question: Did any Children’s books or albums make an impression on you when you were a child? Because now you’re making that impression on children.
John Flansburgh: We get that question a lot, and it’s a valid question, but speaking for myself, I feel like we have something to contribute to kid's music because what we're doing is actually lacking in the general culture. Generally, our stuff is not really coming out of any amazing experience with the kid's stuff from the past. Our childhood was during the really golden era of classic pop and singles. Those songs weren't really designed for kids, but the power of it spoke to us and a lot of other kids quite directly.
Curiously--although I see the obvious connections--we didn’t really grow up with all of the progressive kids stuff of the 70's. We were that micro generation of glitter-rock young teens listening to Alice Cooper and David Bowie and we totally missed the boat on Sesame Street and School House Rock and Free To Be You and Me. But even being a bit too old for it, you could tell there was something cool about that stuff. Basically the cartoons of our generation were either super-violent, like Spiderman, or the really simple-minded Hanna-Barbera cartoons.
Question: Which one of you was the science student? Either or you? Neither of you?
J. Linnell: Specifically into science? I would say we were both middling students in school, but philosophically we are both, as adults, very pro-science. We like living in the post-enlightenment era in history. Are we still living in the enlightenment or is it over now, I can’t tell? Are we in the “en-darkenment” now?
J. Flansburgh: I think we’re actually in to the “gee whiz” part of science--all the scientific phenomenon that sparks your imagination. We certainly aren't academics, but there is something remarkable about the world of science and there are ideas in science that just send your mind reeling.
J. Linnell: One the things that is exciting about it is that it makes you realize that things that are true, that can be proven, aren’t always intuitive. There is a difference between what seems to be the case and what turns out to be proven to be the case, and that’s really exciting. The world isn’t always what it seems to be and it makes everything more wonderful in a way. You have an experience of the world, walking around, and then science provides knowledge about the world that is not always anything like the experience.
The history of scientific discovery is partly revealing things that you don’t always experience directly, it’s bizarre in a way that so much of what we know is stuff we can’t always experience directly, like molecules and galaxies.
Question: Does that make it easier or harder to write about Science?
J. Linnell: Well, both. There is a point that you do reflect that you’re trying to explain something preposterous. And luckily, I think kids know the whole world is strange and preposterous, but as they get older, they get used to the idea that there are facts they just have to take someone’s word for.
Question: Considering you guys once used an answering machine to showcase your material, how amazed are you that you have all of this media at your disposal – podcasts, internet, video, etc…how has it changed the way you work?
J. Flansburgh: We enjoyed having an easy-breezy, loose reputation in terms of getting our music out to people. It was very great to be the one of the few acts in the United States who wasn’t preoccupied with getting on the radio or a cash return on our music. Of course now there is almost no end to the free stuff, and it is cool to see how much you can get in to the world, but with the most popular videos on YouTube being cats jumping into a box or people getting pushed down escalators, part of me worries that all this electronic media is just in the service of turning our culture into an endless episode of America’s Funniest Home Videos.
J. Linnell: A lot of what the technology suggests to people is the democratizing of culture and the notion of interactivity kind of caught fire online early on. What’s weird for John and I is that we were never interested in either one of those things. We actually like the idea of controlling what we are doing and we like the old fashioned idea of there being quality control on culture, that you would get the “good stuff” and there would be a way, through a critical apparatus or institutions, that would deliver the good stuff and filter out the bad stuff. It feels like the big problem nowadays is that everything should be available to everyone at all times and the result is a lot of garbage to wade through…not to sound like an 80 year old man! (laughs)
Question: With your accompanying DVD, how did the directors and animators come together? Are they the same people from Here Come the 123s? How much creative control do you give the animators with your songs?
J. Flansburgh: We are the producers on all the animated material and we select the artists we collaborate with pretty carefully. We've been involved in a lot of television and video projects over the years and that was very good training for these projects. There is an expression in rock video production: “Good. Fast. Cheap. Choose two” It’s a very unreasonable thing to expect everything to come together on a tight budget. Our strategy is to give the animators a relatively long lead time so they can do something that will be a good portfolio piece for them and something cool for us. And although we’re on a tight budget, we can offer a large amount of artistic freedom, and that gives us the opportunity to work with the most creative people out there.
Question: For this tour, you’re doing both “kid” and “adult” shows, sometimes 2 in one day. How is it different when you perform in front of kids versus when you perform in front of adults?
J. Flansburgh: Whatever pretensions you might have about your performance get totally re-calibrated when you’re playing for kids–playing a kid show is probably a bit closer to being a school teacher than being a rock star. There are also a lot of parents in the audience and we address them as well which kind of breaks forth the wall of "kiddie-ness."
Just to address the questions we always get: “how is it different writing a song for kids or writing for adults?” or “performing for kids and performing for adults?” Well, there is a real overlap, but there are meaningful differences too. A good song works in a way that is kind of irreducible whether or not it’s for kids or adults. If a song has a strong melody or an interesting concept, it will animate any audience, but in performance, kids have a really short attention span, so keeping things moving is important. Routinely the confetti machine gets the biggest response of the day. That will keep your ego in check.
Although in the past, “Clap your Hands” and "Alphabet of Nations" worked for adults, by and large the kid stuff stayed in the kid show just because it's, well, for kids! (laughs). But with "Here Comes Science" a lot of the songs work good in the adult show. and that’s unusual. “Meet the Elements,” “My Brother the Ape,” “A Shooting Star is not a Star,” and “Why Does the Sun Shine” slid into the adult show without any second thoughts, and “I Am a Paleontologist” is totally rocking live.
Question: What’s next for They Might Be Giants?
J. Flansburgh: We’re working on a rock album right now, but we have so much touring interrupting our effort it's hard to know when it will get done, so the real answer is we're going to be spending a lot of time on a tour bus trying to figure out how to get the WiFi working!
Our children’s book collaboration with Pascal Campion, Kids Go, just came out at the end of last year on Simon & Schuster. It's actually a very beautiful project and a fulfillment of a dream of mine. When we were approached, I wanted to do an actual picture book, which very few people get to do, and it was exciting to realize that dream. A good picture book is something that really stays with you.
Bostonist: Photo of the Day, May 24, 2010: They Might Be Giants :-)
* ** *** ***** ******* *********** ************* ***************** *******************
Via the Regent Theatre's web site:
A Special Family Show with . . .
They Might Be Giants
Benefit Concerts for Boston By Foot
Sunday, May 23 at 12pm and 3pm
Both shows sold out - thank you!
They Might Be Giants will be performing two special shows especially for families. These are full band, full length performances. Both shows are to benefit Boston By Foot, the non-profit group giving guided walking tours of Boston for over 33 years. All concert goers can also use their ticket stub to get a free tour from Boston by Foot, including Boston by Little Feet tours for kids, during the upcoming season. All profits will go to BBF. http://www.bostonbyfoot.org/
They Might Be Giants Biography
HERE COMES SCIENCE!
For alternative rock legends They Might Be Giants, rave reviews from the likes of Time Magazine, Rolling Stone, The Village Voice, Pitchfork, NPR and beyond might not be that unexpected, but we're not talking about their regular gig here. Sure, TMBG have sold millions of records, are multi-Grammy winners and have even composed a musical accompaniment for an entire issue of McSweeney's, but these most recent accolades are for the work TMBG has created for children and--as the reviews attest--no other band swings as effortlessly from adult music to children’s fare and back again with the artistic and commercial success of They Might Be Giants.
John Flansburgh and John Linnell's latest CD/DVD is Here Comes Science (Idlewild/Disney Sound). It's an ultra-vivid crash course through topics that in lesser hands could easily put kids to sleep. With rock anthems and electronic goodies crafted to amuse, intrigue and deliver the 4-1-1 on evolution, solar system, photosynthesis, the scientific method and more. Following Here Comes the ABCs and Here Come the 123s, Science is geared for older kids and it introduces ideas in a way that not only inform but will stay in your head forever.
While it may seem like an odd move for a duo recognized as the progenitors of the American alternative rock movement, it really all makes perfect sense. From their earliest days with Dial-A-Song through their online music distribution, TMBG have always challenged rock's status quo and gone out of their way to take their music to brand new audiences, and by the looks of things, they’re having a lot of fun doing it their way. The Giants use every bit of fan interactive technology by connecting with kids via regular podcasts and including a DVD of delightful animated interpretations of their songs with each Here Comes... album.
The band is constantly working on new music, new projects and touring--sometimes with 2 shows a day. Founders John Flansburgh and John Linnell, along with their long standing live combo of Dan Miller, Danny Weinkauf and Marty Beller, show no signs of swapping one successful gig (adult music) for another (children’s music). Rejoice people of Earth--there’s just that much more for us all to enjoy.
Question: You once said in an interview that TMBGs knew what you didn’t want to do with your music geared for kids: You didn’t want to tell them how to behave or write songs that are educational. But these songs are quite educational, and in fact, you have a science consultant on this record. Did you make a conscious decision to really teach something on Here Comes Science?
John Linnell: I think it’s still a record you can listen to for enjoyment, and that’s real important to us. I am perfectly comfortable with the idea of something that is pure entertainment, but I don’t think there is any need for something just purely educational from us. My sense of this record is that it is mostly fun, musical and interesting and it happens to have lyrics that talk about science.
Question: Did any Children’s books or albums make an impression on you when you were a child? Because now you’re making that impression on children.
John Flansburgh: We get that question a lot, and it’s a valid question, but speaking for myself, I feel like we have something to contribute to kid's music because what we're doing is actually lacking in the general culture. Generally, our stuff is not really coming out of any amazing experience with the kid's stuff from the past. Our childhood was during the really golden era of classic pop and singles. Those songs weren't really designed for kids, but the power of it spoke to us and a lot of other kids quite directly.
Curiously--although I see the obvious connections--we didn’t really grow up with all of the progressive kids stuff of the 70's. We were that micro generation of glitter-rock young teens listening to Alice Cooper and David Bowie and we totally missed the boat on Sesame Street and School House Rock and Free To Be You and Me. But even being a bit too old for it, you could tell there was something cool about that stuff. Basically the cartoons of our generation were either super-violent, like Spiderman, or the really simple-minded Hanna-Barbera cartoons.
Question: Which one of you was the science student? Either or you? Neither of you?
J. Linnell: Specifically into science? I would say we were both middling students in school, but philosophically we are both, as adults, very pro-science. We like living in the post-enlightenment era in history. Are we still living in the enlightenment or is it over now, I can’t tell? Are we in the “en-darkenment” now?
J. Flansburgh: I think we’re actually in to the “gee whiz” part of science--all the scientific phenomenon that sparks your imagination. We certainly aren't academics, but there is something remarkable about the world of science and there are ideas in science that just send your mind reeling.
J. Linnell: One the things that is exciting about it is that it makes you realize that things that are true, that can be proven, aren’t always intuitive. There is a difference between what seems to be the case and what turns out to be proven to be the case, and that’s really exciting. The world isn’t always what it seems to be and it makes everything more wonderful in a way. You have an experience of the world, walking around, and then science provides knowledge about the world that is not always anything like the experience.
The history of scientific discovery is partly revealing things that you don’t always experience directly, it’s bizarre in a way that so much of what we know is stuff we can’t always experience directly, like molecules and galaxies.
Question: Does that make it easier or harder to write about Science?
J. Linnell: Well, both. There is a point that you do reflect that you’re trying to explain something preposterous. And luckily, I think kids know the whole world is strange and preposterous, but as they get older, they get used to the idea that there are facts they just have to take someone’s word for.
Question: Considering you guys once used an answering machine to showcase your material, how amazed are you that you have all of this media at your disposal – podcasts, internet, video, etc…how has it changed the way you work?
J. Flansburgh: We enjoyed having an easy-breezy, loose reputation in terms of getting our music out to people. It was very great to be the one of the few acts in the United States who wasn’t preoccupied with getting on the radio or a cash return on our music. Of course now there is almost no end to the free stuff, and it is cool to see how much you can get in to the world, but with the most popular videos on YouTube being cats jumping into a box or people getting pushed down escalators, part of me worries that all this electronic media is just in the service of turning our culture into an endless episode of America’s Funniest Home Videos.
J. Linnell: A lot of what the technology suggests to people is the democratizing of culture and the notion of interactivity kind of caught fire online early on. What’s weird for John and I is that we were never interested in either one of those things. We actually like the idea of controlling what we are doing and we like the old fashioned idea of there being quality control on culture, that you would get the “good stuff” and there would be a way, through a critical apparatus or institutions, that would deliver the good stuff and filter out the bad stuff. It feels like the big problem nowadays is that everything should be available to everyone at all times and the result is a lot of garbage to wade through…not to sound like an 80 year old man! (laughs)
Question: With your accompanying DVD, how did the directors and animators come together? Are they the same people from Here Come the 123s? How much creative control do you give the animators with your songs?
J. Flansburgh: We are the producers on all the animated material and we select the artists we collaborate with pretty carefully. We've been involved in a lot of television and video projects over the years and that was very good training for these projects. There is an expression in rock video production: “Good. Fast. Cheap. Choose two” It’s a very unreasonable thing to expect everything to come together on a tight budget. Our strategy is to give the animators a relatively long lead time so they can do something that will be a good portfolio piece for them and something cool for us. And although we’re on a tight budget, we can offer a large amount of artistic freedom, and that gives us the opportunity to work with the most creative people out there.
Question: For this tour, you’re doing both “kid” and “adult” shows, sometimes 2 in one day. How is it different when you perform in front of kids versus when you perform in front of adults?
J. Flansburgh: Whatever pretensions you might have about your performance get totally re-calibrated when you’re playing for kids–playing a kid show is probably a bit closer to being a school teacher than being a rock star. There are also a lot of parents in the audience and we address them as well which kind of breaks forth the wall of "kiddie-ness."
Just to address the questions we always get: “how is it different writing a song for kids or writing for adults?” or “performing for kids and performing for adults?” Well, there is a real overlap, but there are meaningful differences too. A good song works in a way that is kind of irreducible whether or not it’s for kids or adults. If a song has a strong melody or an interesting concept, it will animate any audience, but in performance, kids have a really short attention span, so keeping things moving is important. Routinely the confetti machine gets the biggest response of the day. That will keep your ego in check.
Although in the past, “Clap your Hands” and "Alphabet of Nations" worked for adults, by and large the kid stuff stayed in the kid show just because it's, well, for kids! (laughs). But with "Here Comes Science" a lot of the songs work good in the adult show. and that’s unusual. “Meet the Elements,” “My Brother the Ape,” “A Shooting Star is not a Star,” and “Why Does the Sun Shine” slid into the adult show without any second thoughts, and “I Am a Paleontologist” is totally rocking live.
Question: What’s next for They Might Be Giants?
J. Flansburgh: We’re working on a rock album right now, but we have so much touring interrupting our effort it's hard to know when it will get done, so the real answer is we're going to be spending a lot of time on a tour bus trying to figure out how to get the WiFi working!
Our children’s book collaboration with Pascal Campion, Kids Go, just came out at the end of last year on Simon & Schuster. It's actually a very beautiful project and a fulfillment of a dream of mine. When we were approached, I wanted to do an actual picture book, which very few people get to do, and it was exciting to realize that dream. A good picture book is something that really stays with you.
Via the Regent Theatre's web site:
A Special Family Show with . . .
They Might Be Giants
Benefit Concerts for Boston By Foot
Sunday, May 23 at 12pm and 3pm
Both shows sold out - thank you!
They Might Be Giants will be performing two special shows especially for families. These are full band, full length performances. Both shows are to benefit Boston By Foot, the non-profit group giving guided walking tours of Boston for over 33 years. All concert goers can also use their ticket stub to get a free tour from Boston by Foot, including Boston by Little Feet tours for kids, during the upcoming season. All profits will go to BBF. http://www.bostonbyfoot.org/
They Might Be Giants Biography
HERE COMES SCIENCE!
For alternative rock legends They Might Be Giants, rave reviews from the likes of Time Magazine, Rolling Stone, The Village Voice, Pitchfork, NPR and beyond might not be that unexpected, but we're not talking about their regular gig here. Sure, TMBG have sold millions of records, are multi-Grammy winners and have even composed a musical accompaniment for an entire issue of McSweeney's, but these most recent accolades are for the work TMBG has created for children and--as the reviews attest--no other band swings as effortlessly from adult music to children’s fare and back again with the artistic and commercial success of They Might Be Giants.
John Flansburgh and John Linnell's latest CD/DVD is Here Comes Science (Idlewild/Disney Sound). It's an ultra-vivid crash course through topics that in lesser hands could easily put kids to sleep. With rock anthems and electronic goodies crafted to amuse, intrigue and deliver the 4-1-1 on evolution, solar system, photosynthesis, the scientific method and more. Following Here Comes the ABCs and Here Come the 123s, Science is geared for older kids and it introduces ideas in a way that not only inform but will stay in your head forever.
While it may seem like an odd move for a duo recognized as the progenitors of the American alternative rock movement, it really all makes perfect sense. From their earliest days with Dial-A-Song through their online music distribution, TMBG have always challenged rock's status quo and gone out of their way to take their music to brand new audiences, and by the looks of things, they’re having a lot of fun doing it their way. The Giants use every bit of fan interactive technology by connecting with kids via regular podcasts and including a DVD of delightful animated interpretations of their songs with each Here Comes... album.
The band is constantly working on new music, new projects and touring--sometimes with 2 shows a day. Founders John Flansburgh and John Linnell, along with their long standing live combo of Dan Miller, Danny Weinkauf and Marty Beller, show no signs of swapping one successful gig (adult music) for another (children’s music). Rejoice people of Earth--there’s just that much more for us all to enjoy.
Question: You once said in an interview that TMBGs knew what you didn’t want to do with your music geared for kids: You didn’t want to tell them how to behave or write songs that are educational. But these songs are quite educational, and in fact, you have a science consultant on this record. Did you make a conscious decision to really teach something on Here Comes Science?
John Linnell: I think it’s still a record you can listen to for enjoyment, and that’s real important to us. I am perfectly comfortable with the idea of something that is pure entertainment, but I don’t think there is any need for something just purely educational from us. My sense of this record is that it is mostly fun, musical and interesting and it happens to have lyrics that talk about science.
Question: Did any Children’s books or albums make an impression on you when you were a child? Because now you’re making that impression on children.
John Flansburgh: We get that question a lot, and it’s a valid question, but speaking for myself, I feel like we have something to contribute to kid's music because what we're doing is actually lacking in the general culture. Generally, our stuff is not really coming out of any amazing experience with the kid's stuff from the past. Our childhood was during the really golden era of classic pop and singles. Those songs weren't really designed for kids, but the power of it spoke to us and a lot of other kids quite directly.
Curiously--although I see the obvious connections--we didn’t really grow up with all of the progressive kids stuff of the 70's. We were that micro generation of glitter-rock young teens listening to Alice Cooper and David Bowie and we totally missed the boat on Sesame Street and School House Rock and Free To Be You and Me. But even being a bit too old for it, you could tell there was something cool about that stuff. Basically the cartoons of our generation were either super-violent, like Spiderman, or the really simple-minded Hanna-Barbera cartoons.
Question: Which one of you was the science student? Either or you? Neither of you?
J. Linnell: Specifically into science? I would say we were both middling students in school, but philosophically we are both, as adults, very pro-science. We like living in the post-enlightenment era in history. Are we still living in the enlightenment or is it over now, I can’t tell? Are we in the “en-darkenment” now?
J. Flansburgh: I think we’re actually in to the “gee whiz” part of science--all the scientific phenomenon that sparks your imagination. We certainly aren't academics, but there is something remarkable about the world of science and there are ideas in science that just send your mind reeling.
J. Linnell: One the things that is exciting about it is that it makes you realize that things that are true, that can be proven, aren’t always intuitive. There is a difference between what seems to be the case and what turns out to be proven to be the case, and that’s really exciting. The world isn’t always what it seems to be and it makes everything more wonderful in a way. You have an experience of the world, walking around, and then science provides knowledge about the world that is not always anything like the experience.
The history of scientific discovery is partly revealing things that you don’t always experience directly, it’s bizarre in a way that so much of what we know is stuff we can’t always experience directly, like molecules and galaxies.
Question: Does that make it easier or harder to write about Science?
J. Linnell: Well, both. There is a point that you do reflect that you’re trying to explain something preposterous. And luckily, I think kids know the whole world is strange and preposterous, but as they get older, they get used to the idea that there are facts they just have to take someone’s word for.
Question: Considering you guys once used an answering machine to showcase your material, how amazed are you that you have all of this media at your disposal – podcasts, internet, video, etc…how has it changed the way you work?
J. Flansburgh: We enjoyed having an easy-breezy, loose reputation in terms of getting our music out to people. It was very great to be the one of the few acts in the United States who wasn’t preoccupied with getting on the radio or a cash return on our music. Of course now there is almost no end to the free stuff, and it is cool to see how much you can get in to the world, but with the most popular videos on YouTube being cats jumping into a box or people getting pushed down escalators, part of me worries that all this electronic media is just in the service of turning our culture into an endless episode of America’s Funniest Home Videos.
J. Linnell: A lot of what the technology suggests to people is the democratizing of culture and the notion of interactivity kind of caught fire online early on. What’s weird for John and I is that we were never interested in either one of those things. We actually like the idea of controlling what we are doing and we like the old fashioned idea of there being quality control on culture, that you would get the “good stuff” and there would be a way, through a critical apparatus or institutions, that would deliver the good stuff and filter out the bad stuff. It feels like the big problem nowadays is that everything should be available to everyone at all times and the result is a lot of garbage to wade through…not to sound like an 80 year old man! (laughs)
Question: With your accompanying DVD, how did the directors and animators come together? Are they the same people from Here Come the 123s? How much creative control do you give the animators with your songs?
J. Flansburgh: We are the producers on all the animated material and we select the artists we collaborate with pretty carefully. We've been involved in a lot of television and video projects over the years and that was very good training for these projects. There is an expression in rock video production: “Good. Fast. Cheap. Choose two” It’s a very unreasonable thing to expect everything to come together on a tight budget. Our strategy is to give the animators a relatively long lead time so they can do something that will be a good portfolio piece for them and something cool for us. And although we’re on a tight budget, we can offer a large amount of artistic freedom, and that gives us the opportunity to work with the most creative people out there.
Question: For this tour, you’re doing both “kid” and “adult” shows, sometimes 2 in one day. How is it different when you perform in front of kids versus when you perform in front of adults?
J. Flansburgh: Whatever pretensions you might have about your performance get totally re-calibrated when you’re playing for kids–playing a kid show is probably a bit closer to being a school teacher than being a rock star. There are also a lot of parents in the audience and we address them as well which kind of breaks forth the wall of "kiddie-ness."
Just to address the questions we always get: “how is it different writing a song for kids or writing for adults?” or “performing for kids and performing for adults?” Well, there is a real overlap, but there are meaningful differences too. A good song works in a way that is kind of irreducible whether or not it’s for kids or adults. If a song has a strong melody or an interesting concept, it will animate any audience, but in performance, kids have a really short attention span, so keeping things moving is important. Routinely the confetti machine gets the biggest response of the day. That will keep your ego in check.
Although in the past, “Clap your Hands” and "Alphabet of Nations" worked for adults, by and large the kid stuff stayed in the kid show just because it's, well, for kids! (laughs). But with "Here Comes Science" a lot of the songs work good in the adult show. and that’s unusual. “Meet the Elements,” “My Brother the Ape,” “A Shooting Star is not a Star,” and “Why Does the Sun Shine” slid into the adult show without any second thoughts, and “I Am a Paleontologist” is totally rocking live.
Question: What’s next for They Might Be Giants?
J. Flansburgh: We’re working on a rock album right now, but we have so much touring interrupting our effort it's hard to know when it will get done, so the real answer is we're going to be spending a lot of time on a tour bus trying to figure out how to get the WiFi working!
Our children’s book collaboration with Pascal Campion, Kids Go, just came out at the end of last year on Simon & Schuster. It's actually a very beautiful project and a fulfillment of a dream of mine. When we were approached, I wanted to do an actual picture book, which very few people get to do, and it was exciting to realize that dream. A good picture book is something that really stays with you.
Via the Regent Theatre's web site:
A Special Family Show with . . .
They Might Be Giants
Benefit Concerts for Boston By Foot
Sunday, May 23 at 12pm and 3pm
Both shows sold out - thank you!
They Might Be Giants will be performing two special shows especially for families. These are full band, full length performances. Both shows are to benefit Boston By Foot, the non-profit group giving guided walking tours of Boston for over 33 years. All concert goers can also use their ticket stub to get a free tour from Boston by Foot, including Boston by Little Feet tours for kids, during the upcoming season. All profits will go to BBF. http://www.bostonbyfoot.org/
They Might Be Giants Biography
HERE COMES SCIENCE!
For alternative rock legends They Might Be Giants, rave reviews from the likes of Time Magazine, Rolling Stone, The Village Voice, Pitchfork, NPR and beyond might not be that unexpected, but we're not talking about their regular gig here. Sure, TMBG have sold millions of records, are multi-Grammy winners and have even composed a musical accompaniment for an entire issue of McSweeney's, but these most recent accolades are for the work TMBG has created for children and--as the reviews attest--no other band swings as effortlessly from adult music to children’s fare and back again with the artistic and commercial success of They Might Be Giants.
John Flansburgh and John Linnell's latest CD/DVD is Here Comes Science (Idlewild/Disney Sound). It's an ultra-vivid crash course through topics that in lesser hands could easily put kids to sleep. With rock anthems and electronic goodies crafted to amuse, intrigue and deliver the 4-1-1 on evolution, solar system, photosynthesis, the scientific method and more. Following Here Comes the ABCs and Here Come the 123s, Science is geared for older kids and it introduces ideas in a way that not only inform but will stay in your head forever.
While it may seem like an odd move for a duo recognized as the progenitors of the American alternative rock movement, it really all makes perfect sense. From their earliest days with Dial-A-Song through their online music distribution, TMBG have always challenged rock's status quo and gone out of their way to take their music to brand new audiences, and by the looks of things, they’re having a lot of fun doing it their way. The Giants use every bit of fan interactive technology by connecting with kids via regular podcasts and including a DVD of delightful animated interpretations of their songs with each Here Comes... album.
The band is constantly working on new music, new projects and touring--sometimes with 2 shows a day. Founders John Flansburgh and John Linnell, along with their long standing live combo of Dan Miller, Danny Weinkauf and Marty Beller, show no signs of swapping one successful gig (adult music) for another (children’s music). Rejoice people of Earth--there’s just that much more for us all to enjoy.
Question: You once said in an interview that TMBGs knew what you didn’t want to do with your music geared for kids: You didn’t want to tell them how to behave or write songs that are educational. But these songs are quite educational, and in fact, you have a science consultant on this record. Did you make a conscious decision to really teach something on Here Comes Science?
John Linnell: I think it’s still a record you can listen to for enjoyment, and that’s real important to us. I am perfectly comfortable with the idea of something that is pure entertainment, but I don’t think there is any need for something just purely educational from us. My sense of this record is that it is mostly fun, musical and interesting and it happens to have lyrics that talk about science.
Question: Did any Children’s books or albums make an impression on you when you were a child? Because now you’re making that impression on children.
John Flansburgh: We get that question a lot, and it’s a valid question, but speaking for myself, I feel like we have something to contribute to kid's music because what we're doing is actually lacking in the general culture. Generally, our stuff is not really coming out of any amazing experience with the kid's stuff from the past. Our childhood was during the really golden era of classic pop and singles. Those songs weren't really designed for kids, but the power of it spoke to us and a lot of other kids quite directly.
Curiously--although I see the obvious connections--we didn’t really grow up with all of the progressive kids stuff of the 70's. We were that micro generation of glitter-rock young teens listening to Alice Cooper and David Bowie and we totally missed the boat on Sesame Street and School House Rock and Free To Be You and Me. But even being a bit too old for it, you could tell there was something cool about that stuff. Basically the cartoons of our generation were either super-violent, like Spiderman, or the really simple-minded Hanna-Barbera cartoons.
Question: Which one of you was the science student? Either or you? Neither of you?
J. Linnell: Specifically into science? I would say we were both middling students in school, but philosophically we are both, as adults, very pro-science. We like living in the post-enlightenment era in history. Are we still living in the enlightenment or is it over now, I can’t tell? Are we in the “en-darkenment” now?
J. Flansburgh: I think we’re actually in to the “gee whiz” part of science--all the scientific phenomenon that sparks your imagination. We certainly aren't academics, but there is something remarkable about the world of science and there are ideas in science that just send your mind reeling.
J. Linnell: One the things that is exciting about it is that it makes you realize that things that are true, that can be proven, aren’t always intuitive. There is a difference between what seems to be the case and what turns out to be proven to be the case, and that’s really exciting. The world isn’t always what it seems to be and it makes everything more wonderful in a way. You have an experience of the world, walking around, and then science provides knowledge about the world that is not always anything like the experience.
The history of scientific discovery is partly revealing things that you don’t always experience directly, it’s bizarre in a way that so much of what we know is stuff we can’t always experience directly, like molecules and galaxies.
Question: Does that make it easier or harder to write about Science?
J. Linnell: Well, both. There is a point that you do reflect that you’re trying to explain something preposterous. And luckily, I think kids know the whole world is strange and preposterous, but as they get older, they get used to the idea that there are facts they just have to take someone’s word for.
Question: Considering you guys once used an answering machine to showcase your material, how amazed are you that you have all of this media at your disposal – podcasts, internet, video, etc…how has it changed the way you work?
J. Flansburgh: We enjoyed having an easy-breezy, loose reputation in terms of getting our music out to people. It was very great to be the one of the few acts in the United States who wasn’t preoccupied with getting on the radio or a cash return on our music. Of course now there is almost no end to the free stuff, and it is cool to see how much you can get in to the world, but with the most popular videos on YouTube being cats jumping into a box or people getting pushed down escalators, part of me worries that all this electronic media is just in the service of turning our culture into an endless episode of America’s Funniest Home Videos.
J. Linnell: A lot of what the technology suggests to people is the democratizing of culture and the notion of interactivity kind of caught fire online early on. What’s weird for John and I is that we were never interested in either one of those things. We actually like the idea of controlling what we are doing and we like the old fashioned idea of there being quality control on culture, that you would get the “good stuff” and there would be a way, through a critical apparatus or institutions, that would deliver the good stuff and filter out the bad stuff. It feels like the big problem nowadays is that everything should be available to everyone at all times and the result is a lot of garbage to wade through…not to sound like an 80 year old man! (laughs)
Question: With your accompanying DVD, how did the directors and animators come together? Are they the same people from Here Come the 123s? How much creative control do you give the animators with your songs?
J. Flansburgh: We are the producers on all the animated material and we select the artists we collaborate with pretty carefully. We've been involved in a lot of television and video projects over the years and that was very good training for these projects. There is an expression in rock video production: “Good. Fast. Cheap. Choose two” It’s a very unreasonable thing to expect everything to come together on a tight budget. Our strategy is to give the animators a relatively long lead time so they can do something that will be a good portfolio piece for them and something cool for us. And although we’re on a tight budget, we can offer a large amount of artistic freedom, and that gives us the opportunity to work with the most creative people out there.
Question: For this tour, you’re doing both “kid” and “adult” shows, sometimes 2 in one day. How is it different when you perform in front of kids versus when you perform in front of adults?
J. Flansburgh: Whatever pretensions you might have about your performance get totally re-calibrated when you’re playing for kids–playing a kid show is probably a bit closer to being a school teacher than being a rock star. There are also a lot of parents in the audience and we address them as well which kind of breaks forth the wall of "kiddie-ness."
Just to address the questions we always get: “how is it different writing a song for kids or writing for adults?” or “performing for kids and performing for adults?” Well, there is a real overlap, but there are meaningful differences too. A good song works in a way that is kind of irreducible whether or not it’s for kids or adults. If a song has a strong melody or an interesting concept, it will animate any audience, but in performance, kids have a really short attention span, so keeping things moving is important. Routinely the confetti machine gets the biggest response of the day. That will keep your ego in check.
Although in the past, “Clap your Hands” and "Alphabet of Nations" worked for adults, by and large the kid stuff stayed in the kid show just because it's, well, for kids! (laughs). But with "Here Comes Science" a lot of the songs work good in the adult show. and that’s unusual. “Meet the Elements,” “My Brother the Ape,” “A Shooting Star is not a Star,” and “Why Does the Sun Shine” slid into the adult show without any second thoughts, and “I Am a Paleontologist” is totally rocking live.
Question: What’s next for They Might Be Giants?
J. Flansburgh: We’re working on a rock album right now, but we have so much touring interrupting our effort it's hard to know when it will get done, so the real answer is we're going to be spending a lot of time on a tour bus trying to figure out how to get the WiFi working!
Our children’s book collaboration with Pascal Campion, Kids Go, just came out at the end of last year on Simon & Schuster. It's actually a very beautiful project and a fulfillment of a dream of mine. When we were approached, I wanted to do an actual picture book, which very few people get to do, and it was exciting to realize that dream. A good picture book is something that really stays with you.
Via the Regent Theatre's web site:
A Special Family Show with . . .
They Might Be Giants
Benefit Concerts for Boston By Foot
Sunday, May 23 at 12pm and 3pm
Both shows sold out - thank you!
They Might Be Giants will be performing two special shows especially for families. These are full band, full length performances. Both shows are to benefit Boston By Foot, the non-profit group giving guided walking tours of Boston for over 33 years. All concert goers can also use their ticket stub to get a free tour from Boston by Foot, including Boston by Little Feet tours for kids, during the upcoming season. All profits will go to BBF. http://www.bostonbyfoot.org/
They Might Be Giants Biography
HERE COMES SCIENCE!
For alternative rock legends They Might Be Giants, rave reviews from the likes of Time Magazine, Rolling Stone, The Village Voice, Pitchfork, NPR and beyond might not be that unexpected, but we're not talking about their regular gig here. Sure, TMBG have sold millions of records, are multi-Grammy winners and have even composed a musical accompaniment for an entire issue of McSweeney's, but these most recent accolades are for the work TMBG has created for children and--as the reviews attest--no other band swings as effortlessly from adult music to children’s fare and back again with the artistic and commercial success of They Might Be Giants.
John Flansburgh and John Linnell's latest CD/DVD is Here Comes Science (Idlewild/Disney Sound). It's an ultra-vivid crash course through topics that in lesser hands could easily put kids to sleep. With rock anthems and electronic goodies crafted to amuse, intrigue and deliver the 4-1-1 on evolution, solar system, photosynthesis, the scientific method and more. Following Here Comes the ABCs and Here Come the 123s, Science is geared for older kids and it introduces ideas in a way that not only inform but will stay in your head forever.
While it may seem like an odd move for a duo recognized as the progenitors of the American alternative rock movement, it really all makes perfect sense. From their earliest days with Dial-A-Song through their online music distribution, TMBG have always challenged rock's status quo and gone out of their way to take their music to brand new audiences, and by the looks of things, they’re having a lot of fun doing it their way. The Giants use every bit of fan interactive technology by connecting with kids via regular podcasts and including a DVD of delightful animated interpretations of their songs with each Here Comes... album.
The band is constantly working on new music, new projects and touring--sometimes with 2 shows a day. Founders John Flansburgh and John Linnell, along with their long standing live combo of Dan Miller, Danny Weinkauf and Marty Beller, show no signs of swapping one successful gig (adult music) for another (children’s music). Rejoice people of Earth--there’s just that much more for us all to enjoy.
Question: You once said in an interview that TMBGs knew what you didn’t want to do with your music geared for kids: You didn’t want to tell them how to behave or write songs that are educational. But these songs are quite educational, and in fact, you have a science consultant on this record. Did you make a conscious decision to really teach something on Here Comes Science?
John Linnell: I think it’s still a record you can listen to for enjoyment, and that’s real important to us. I am perfectly comfortable with the idea of something that is pure entertainment, but I don’t think there is any need for something just purely educational from us. My sense of this record is that it is mostly fun, musical and interesting and it happens to have lyrics that talk about science.
Question: Did any Children’s books or albums make an impression on you when you were a child? Because now you’re making that impression on children.
John Flansburgh: We get that question a lot, and it’s a valid question, but speaking for myself, I feel like we have something to contribute to kid's music because what we're doing is actually lacking in the general culture. Generally, our stuff is not really coming out of any amazing experience with the kid's stuff from the past. Our childhood was during the really golden era of classic pop and singles. Those songs weren't really designed for kids, but the power of it spoke to us and a lot of other kids quite directly.
Curiously--although I see the obvious connections--we didn’t really grow up with all of the progressive kids stuff of the 70's. We were that micro generation of glitter-rock young teens listening to Alice Cooper and David Bowie and we totally missed the boat on Sesame Street and School House Rock and Free To Be You and Me. But even being a bit too old for it, you could tell there was something cool about that stuff. Basically the cartoons of our generation were either super-violent, like Spiderman, or the really simple-minded Hanna-Barbera cartoons.
Question: Which one of you was the science student? Either or you? Neither of you?
J. Linnell: Specifically into science? I would say we were both middling students in school, but philosophically we are both, as adults, very pro-science. We like living in the post-enlightenment era in history. Are we still living in the enlightenment or is it over now, I can’t tell? Are we in the “en-darkenment” now?
J. Flansburgh: I think we’re actually in to the “gee whiz” part of science--all the scientific phenomenon that sparks your imagination. We certainly aren't academics, but there is something remarkable about the world of science and there are ideas in science that just send your mind reeling.
J. Linnell: One the things that is exciting about it is that it makes you realize that things that are true, that can be proven, aren’t always intuitive. There is a difference between what seems to be the case and what turns out to be proven to be the case, and that’s really exciting. The world isn’t always what it seems to be and it makes everything more wonderful in a way. You have an experience of the world, walking around, and then science provides knowledge about the world that is not always anything like the experience.
The history of scientific discovery is partly revealing things that you don’t always experience directly, it’s bizarre in a way that so much of what we know is stuff we can’t always experience directly, like molecules and galaxies.
Question: Does that make it easier or harder to write about Science?
J. Linnell: Well, both. There is a point that you do reflect that you’re trying to explain something preposterous. And luckily, I think kids know the whole world is strange and preposterous, but as they get older, they get used to the idea that there are facts they just have to take someone’s word for.
Question: Considering you guys once used an answering machine to showcase your material, how amazed are you that you have all of this media at your disposal – podcasts, internet, video, etc…how has it changed the way you work?
J. Flansburgh: We enjoyed having an easy-breezy, loose reputation in terms of getting our music out to people. It was very great to be the one of the few acts in the United States who wasn’t preoccupied with getting on the radio or a cash return on our music. Of course now there is almost no end to the free stuff, and it is cool to see how much you can get in to the world, but with the most popular videos on YouTube being cats jumping into a box or people getting pushed down escalators, part of me worries that all this electronic media is just in the service of turning our culture into an endless episode of America’s Funniest Home Videos.
J. Linnell: A lot of what the technology suggests to people is the democratizing of culture and the notion of interactivity kind of caught fire online early on. What’s weird for John and I is that we were never interested in either one of those things. We actually like the idea of controlling what we are doing and we like the old fashioned idea of there being quality control on culture, that you would get the “good stuff” and there would be a way, through a critical apparatus or institutions, that would deliver the good stuff and filter out the bad stuff. It feels like the big problem nowadays is that everything should be available to everyone at all times and the result is a lot of garbage to wade through…not to sound like an 80 year old man! (laughs)
Question: With your accompanying DVD, how did the directors and animators come together? Are they the same people from Here Come the 123s? How much creative control do you give the animators with your songs?
J. Flansburgh: We are the producers on all the animated material and we select the artists we collaborate with pretty carefully. We've been involved in a lot of television and video projects over the years and that was very good training for these projects. There is an expression in rock video production: “Good. Fast. Cheap. Choose two” It’s a very unreasonable thing to expect everything to come together on a tight budget. Our strategy is to give the animators a relatively long lead time so they can do something that will be a good portfolio piece for them and something cool for us. And although we’re on a tight budget, we can offer a large amount of artistic freedom, and that gives us the opportunity to work with the most creative people out there.
Question: For this tour, you’re doing both “kid” and “adult” shows, sometimes 2 in one day. How is it different when you perform in front of kids versus when you perform in front of adults?
J. Flansburgh: Whatever pretensions you might have about your performance get totally re-calibrated when you’re playing for kids–playing a kid show is probably a bit closer to being a school teacher than being a rock star. There are also a lot of parents in the audience and we address them as well which kind of breaks forth the wall of "kiddie-ness."
Just to address the questions we always get: “how is it different writing a song for kids or writing for adults?” or “performing for kids and performing for adults?” Well, there is a real overlap, but there are meaningful differences too. A good song works in a way that is kind of irreducible whether or not it’s for kids or adults. If a song has a strong melody or an interesting concept, it will animate any audience, but in performance, kids have a really short attention span, so keeping things moving is important. Routinely the confetti machine gets the biggest response of the day. That will keep your ego in check.
Although in the past, “Clap your Hands” and "Alphabet of Nations" worked for adults, by and large the kid stuff stayed in the kid show just because it's, well, for kids! (laughs). But with "Here Comes Science" a lot of the songs work good in the adult show. and that’s unusual. “Meet the Elements,” “My Brother the Ape,” “A Shooting Star is not a Star,” and “Why Does the Sun Shine” slid into the adult show without any second thoughts, and “I Am a Paleontologist” is totally rocking live.
Question: What’s next for They Might Be Giants?
J. Flansburgh: We’re working on a rock album right now, but we have so much touring interrupting our effort it's hard to know when it will get done, so the real answer is we're going to be spending a lot of time on a tour bus trying to figure out how to get the WiFi working!
Our children’s book collaboration with Pascal Campion, Kids Go, just came out at the end of last year on Simon & Schuster. It's actually a very beautiful project and a fulfillment of a dream of mine. When we were approached, I wanted to do an actual picture book, which very few people get to do, and it was exciting to realize that dream. A good picture book is something that really stays with you.
NO EDIT
photographer: BRITA LIGHT
grant photos
Are We Witnessing the Start of a Global Revolution?
North Africa and the Global Political Awakening, Part 1
by Andrew Gavin Marshall
For the first time in human history almost all of humanity is politically activated, politically conscious and politically interactive... The resulting global political activism is generating a surge in the quest for personal dignity, cultural respect and economic opportunity in a world painfully scarred by memories of centuries-long alien colonial or imperial domination... The worldwide yearning for human dignity is the central challenge inherent in the phenomenon of global political awakening... That awakening is socially massive and politically radicalizing... The nearly universal access to radio, television and increasingly the Internet is creating a community of shared perceptions and envy that can be galvanized and channeled by demagogic political or religious passions. These energies transcend sovereign borders and pose a challenge both to existing states as well as to the existing global hierarchy, on top of which America still perches...
The youth of the Third World are particularly restless and resentful. The demographic revolution they embody is thus a political time-bomb, as well... Their potential revolutionary spearhead is likely to emerge from among the scores of millions of students concentrated in the often intellectually dubious "tertiary level" educational institutions of developing countries. Depending on the definition of the tertiary educational level, there are currently worldwide between 80 and 130 million "college" students. Typically originating from the socially insecure lower middle class and inflamed by a sense of social outrage, these millions of students are revolutionaries-in-waiting, already semi-mobilized in large congregations, connected by the Internet and pre-positioned for a replay on a larger scale of what transpired years earlier in Mexico City or in Tiananmen Square. Their physical energy and emotional frustration is just waiting to be triggered by a cause, or a faith, or a hatred...
[The] major world powers, new and old, also face a novel reality: while the lethality of their military might is greater than ever, their capacity to impose control over the politically awakened masses of the world is at a historic low. To put it bluntly: in earlier times, it was easier to control one million people than to physically kill one million people; today, it is infinitely easier to kill one million people than to control one million people.[1]
- Zbigniew Brzezinski
Former U.S. National Security Advisor
Co-Founder of the Trilateral Commission
Member, Board of Trustees, Center for Strategic and International Studies
An uprising in Tunisia led to the overthrow of the country’s 23-year long dictatorship of President Ben Ali. A new ‘transitional’ government was formed, but the protests continued demanding a totally new government without the relics of the previous tyranny. Protests in Algeria have continued for weeks, as rage mounts against rising food prices, corruption and state oppression. Protests in Jordan forced the King to call on the military to surround cities with tanks and set up checkpoints. Tens of thousands of protesters marched on Cairo demanding an end to the 30-year dictatorship of Hosni Mubarak. Thousands of activists, opposition leaders and students rallied in the capitol of Yemen against the corrupt dictatorship of President Saleh, in power since 1978. Saleh has been, with U.S. military assistance, attempting to crush a rebel movement in the north and a massive secessionist movement growing in the south, called the “Southern Movement.” Protests in Bolivia against rising food prices forced the populist government of Evo Morales to backtrack on plans to cut subsidies. Chile erupted in protests as demonstrators railed against rising fuel prices. Anti-government demonstrations broke out in Albania, resulting in the deaths of several protesters.
It seems as if the world is entering the beginnings of a new revolutionary era: the era of the ‘Global Political Awakening.’ While this ‘awakening’ is materializing in different regions, different nations and under different circumstances, it is being largely influenced by global conditions. The global domination by the major Western powers, principally the United States, over the past 65 years, and more broadly, centuries, is reaching a turning point. The people of the world are restless, resentful, and enraged. Change, it seems, is in the air. As the above quotes from Brzezinski indicate, this development on the world scene is the most radical and potentially dangerous threat to global power structures and empire. It is not a threat simply to the nations in which the protests arise or seek change, but perhaps to a greater degree, it is a threat to the imperial Western powers, international institutions, multinational corporations and banks that prop up, arm, support and profit from these oppressive regimes around the world. Thus, America and the West are faced with a monumental strategic challenge: what can be done to stem the Global Political Awakening? Zbigniew Brzezinski is one of the chief architects of American foreign policy, and arguably one of the intellectual pioneers of the system of globalization. Thus, his warnings about the 'Global Political Awakening' are directly in reference to its nature as a threat to the prevailing global hierarchy. As such, we must view the 'Awakening' as the greatest hope for humanity. Certainly, there will be mainy failures, problems, and regressions; but the 'Awakening' has begun, it is underway, and it cannot be so easily co-opted or controlled as many might assume.
The reflex action of the imperial powers is to further arm and support the oppressive regimes, as well as the potential to organize a destabilization through covert operations or open warfare (as is being done in Yemen). The alterantive is to undertake a strategy of "democratization" in which Western NGOs, aid agencies and civil society organizations establish strong contacts and relationships with the domestic civil society in these regions and nations. The objective of this strategy is to organize, fund and help direct the domestic civil society to produce a democratic system made in the image of the West, and thus maintain continuity in the international hierarchy. Essentially, the project of "democratization" implies creating the outward visible constructs of a democratic state (multi-party elections, active civil society, "independent" media, etc) and yet maintain continuity in subservience to the World Bank, IMF, multinational corporations and Western powers.
It appears that both of these strategies are being simultaneously imposed in the Arab world: enforcing and supporting state oppression and building ties with civil society organizations. The problem for the West, however, is that they have not had the ability to yet establish strong and dependent ties with civil society groups in much of the region, as ironically, the oppressive regimes they propped up were and are unsurprisingly resistant to such measures. In this sense, we must not cast aside these protests and uprisings as being instigated by the West, but rather that they emerged organically, and the West is subsequently attempting to co-opt and control the emerging movements.
Part 1 of this essay focuses on the emergence of these protest movements and uprisings, placing it in the context of the Global Political Awakening. Part 2 will examine the West's strategy of "democratic imperialism" as a method of co-opting the 'Awakening' and installing "friendly" governments.
The Tunisian Spark
A July 2009 diplomatic cable from America’s Embassy in Tunisia reported that, “many Tunisians are frustrated by the lack of political freedom and angered by First Family corruption, high unemployment and regional inequities. Extremism poses a continuing threat,” and that, “the risks to the regime’s long-term stability are increasing.”[2]
On Friday, 14 January 2011, the U.S.-supported 23-year long dictatorship of Tunisian president Ben Ali ended. For several weeks prior to this, the Tunisian people had risen in protest against rising food prices, stoked on by an immense and growing dissatisfaction with the political repression, and prodded by the WikiLeaks cables confirming the popular Tunisian perception of gross corruption on the part of the ruling family. The spark, it seems, was when a 26-year old unemployed youth set himself on fire in protest on December 17.
With the wave of protests sparked by the death of the 26-year old who set himself on fire on December 17, the government of Tunisia responded by cracking down on the protesters. Estimates vary, but roughly 100 people were killed in the clashes. Half of Tunisia’s 10 million people are under the age of 25, meaning that they have never known a life in Tunisia outside of living under this one dictator. Since Independence from the French empire in 1956, Tunisia has had only two leaders: Habib Bourguiba and Ben Ali.[3] The Tunisian people were rising up against a great many things: an oppressive dictatorship which has employed extensive information and internet censorship, rising food prices and inflation, a corrupt ruling family, lack of jobs for the educated youth, and a general sense and experience of exploitation, subjugation and disrespect for human dignity.
Following the ouster of Ben Ali, Prime Minister Mohamed Ghannouchi assumed presidential power and declared a “transitional government.” Yet, this just spurred more protests demanding his resignation and the resignation of the entire government. Significantly, the trade union movement had a large mobilizing role in the protests, with a lawyers union being particularly active during the initial protests Social media and the Internet did play a large part in mobilizing people within Tunisia for the uprising, but it was ultimately the result of direct protests and action which led to the resignation of Ben Ali. Thus, referring to Tunisia as a “Twitter Revolution” is disingenuous.
Twitter, WikiLeaks, Facebook, Youtube, forums and blogs did have a part to play. They reflect the ability “to collectively transform the Arab information environment and shatter the ability of authoritarian regimes to control the flow of information, images, ideas and opinions.”[5] [Editors Note: The US based foundation Freedom House was involved in promoting and training some Middle East North Africa Facebook and Twitter bloggers (See also Freedom House), M. C.].
We must also keep in mind that social media has not only become an important source of mobilization of activism and information at the grassroots level, but it has also become an effective means for governments and various power structures to seek to manipulate the flow of information. This was evident in the 2009 protests in Iran, where social media became an important avenue through which the Western nations were able to advance their strategy of supporting the so-called 'Green Revolution' in destabilizing the Iranian government. Thus, social media has presented a new form of power, neither black nor white, in which it can be used to either advance the process of the 'Awakening' or control its direction.
Whereas America was publicly denouncing Iran for blocking (or attempting to block) social media in the summer of 2009, during the first several weeks of Tunisian protests (which were largely being ignored by Western media), America and the West were silent about censorship.[6] Steven Cook, writing for the elite U.S. think tank, the Council on Foreign Relations, commented on the lack of attention being paid to the Tunisian protests in the early weeks of resistance prior to the resignation of Ben Ali. He explained that while many assume that the Arab “strongmen” regimes will simply maintain power as they always have, this could be mistaken. He stated that, “it may not be the last days of Ben Ali or Mubarak or any other Middle Eastern strongman, but there is clearly something going on in the region.” However, it was the end of Ben Ali, and indeed, “there is clearly something going on in the region.”[7]
France’s President Sarkozy has even had to admit that, “he had underestimated the anger of the Tunisian people and the protest movement that ousted President Zine al-Abidine Ben Ali.” During the first few weeks of protests in Tunisia, several French government officials were publicly supporting the dictatorship, with the French Foreign Minister saying that France would lend its police “knowhow” to help Ben Ali in maintaining order.[8]
Days before the ouster of Ben Ali, Hillary Clinton gave an interview in which she explained how America was worried “about the unrest and the instability,” and that, “we are not taking sides, but we are saying we hope that there can be a peaceful resolution. And I hope that the Tunisian Government can bring that about.” Clinton further lamented, “One of my biggest concerns in this entire region are the many young people without economic opportunities in their home countries.”[9] Her concern, of course, does not spur from any humanitarian considerations, but rather from inherent imperial considerations: it is simply harder to control a region of the world erupting in activism, uprisings and revolution.
The Spark Lights a Flame
Tunisia has raised the bar for the people across the Arab world to demand justice, democracy, accountability, economic stability, and freedom. Just as Tunisia’s protests were in full-swing, Algeria was experiencing mass protests, rising up largely as a result of the increasing international food prices, but also in reaction to many of the concerns of the Tunisian protesters, such as democratic accountability, corruption and freedom. A former Algerian diplomat told Al-Jazeera in early January that, “It is a revolt, and probably a revolution, of an oppressed people who have, for 50 years, been waiting for housing, employment, and a proper and decent life in a very rich country.”[10]
In mid-January, similar protests erupted in Jordan, as thousands took to the streets to protest against rising food prices and unemployment, chanting anti-government slogans. Jordan’s King Abdullah II had “set up a special task force in his palace that included military and intelligence officials to try to prevent the unrest from escalating further,” which had tanks surrounding major cities, with barriers and checkpoints established.[11]
In Yemen, the poorest nation in the Arab world, engulfed in a U.S. sponsored war against its own people, ruled by a dictator who has been in power since 1978, thousands of people protested against the government, demanding the dictator Ali Abdullah Saleh to step down. In the capitol city of Sanaa, thousands of students, activists and opposition groups chanted slogans such as, “Get out get out, Ali. Join your friend Ben Ali.”[12] Yemen has been experiencing much turmoil in recent years, with a rebel movement in the North fighting against the government, formed in 2004; as well as a massive secessionist movement in the south, called the “Southern Movement,” fighting for liberation since 2007. As the Financial Times explained:
Many Yemen observers consider the anger and secessionist sentiment now erupting in the south to be a greater threat to the country’s stability than its better publicised struggle with al-Qaeda, and the deteriorating economy is making the tension worse.
Unemployment, particularly among the young, is soaring. Even the government statistics office in Aden puts it at nearly 40 per cent among men aged 20 to 24
On January 21, tens of thousands of protesters took to the streets in Albania, mobilized by the socialist opposition, ending with violent clashes between the police and protesters, leading to the deaths of three demonstrators. The protests have been sporadic in Albania since the widely contested 2009 elections, but took on new levels inspired by Tunisia.[14]
Israeli Vice Prime Minister Silvan Shalom stressed concern over the revolutionary sentiments within the Arab world, saying that, “I fear that we now stand before a new and very critical phase in the Arab world.” He fears Tunisia would “set a precedent that could be repeated in other countries, possibly affecting directly the stability of our system.”[15] Israel’s leadership fears democracy in the Arab world, as they have a security alliance with the major Arab nations, who, along with Israel itself, are American proxy states in the region. Israel maintains civil – if not quiet – relationships with the Arab monarchs and dictators. While the Arab states publicly criticize Israel, behind closed doors they are forced to quietly accept Israel’s militarism and war-mongering, lest they stand up against the superpower, America. Yet, public opinion in the Arab world is extremely anti-Israel, anti-American and pro-Iran.
In July of 2010, the results of a major international poll were released regarding public opinion in the Arab world, polling from Egypt, Saudi Arabia, Morocco, Jordan, Lebanon and the United Arab Emirates. Among some of the notable findings: while Obama was well received upon entering the Presidency, with 51% expressing optimism about U.S. policy in the region in the Spring of 2009, by Summer 2010, 16% were expressing optimism. In 2009, 29% of those polled said a nuclear-armed Iran would be positive for the region; in 2010, that spiked to 57%, reflecting a very different stance from that of their governments.[16]
While America, Israel and the leaders of the Arab nations claim that Iran is the greatest threat to peace and stability in the Middle East, the Arab people do not agree. In an open question asking which two countries pose the greatest threat to the region, 88% responded with Israel, 77% with America, and 10% with Iran.[17]
At the Arab economic summit shortly following the ousting of Ben Ali in Tunisia, who was for the first time absent from the meetings, the Tunisian uprising hung heavy in the air. Arab League leader Amr Moussa said in his opening remarks at the summit, “The Tunisian revolution is not far from us,” and that, “the Arab citizen entered an unprecedented state of anger and frustration,” noting that "the Arab soul is broken by poverty, unemployment and general recession.” The significance of this ‘threat’ to the Arab leaders cannot be understated. Out of roughly 352 million Arabs, 190 million are under the age of 24, with nearly three-quarters of them unemployed. Often, “the education these young people receive doesn't do them any good because there are no jobs in the fields they trained for.”[18]
There was even an article in the Israeli intellectual newspaper, Ha’aretz, which posited that, “Israel may be on the eve of revolution.” Explaining, the author wrote that:
Israeli civil society organizations have amassed considerable power over the years; not only the so-called leftist organizations, but ones dealing with issues like poverty, workers' rights and violence against women and children. All of them were created in order to fill the gaps left by the state, which for its part was all too happy to continue walking away from problems that someone else was there to take on. The neglect is so great that Israel's third sector - NGOs, charities and volunteer organizations - is among the biggest in the world. As such, it has quite a bit of power.[19]
Now the Israeli Knesset and cabinet want that power back; yet, posits the author, they “have chosen to ignore the reasons these groups became powerful,” namely:
The source of their power is the vacuum, the criminal policies of Israel's governments over the last 40 years. The source of their power is a government that is evading its duties to care for all of its citizens and to end the occupation, and a Knesset that supports the government instead of putting it in its place.[20]
The Israeli Knesset opened investigations into the funding of Israeli human rights organizations in a political maneuver against them. However, as one article in Ha’aretz by an Israeli professor explained, these groups actually – inadvertently – play a role in “entrenching the occupation.” As the author explained:
Even if the leftist groups' intention is to ensure upholding Palestinian rights, though, the unintentional result of their activity is preserving the occupation. Moderating and restraining the army's activity gives it a more human and legal facade. Reducing the pressure of international organizations, alongside moderating the Palestinian population's resistance potential, enable the army to continue to maintain this control model over a prolonged period of time.[21]
Thus, if the Israeli Knesset succeeds in getting rid of these powerful NGOs, they sow the seeds for the pressure valve in the occupied territories to be removed. The potential for massive internal protests within Israel from the left, as well as the possibility of another Intifada – uprising – in the occupied territories themselves would seem dramatically increased. Israel and the West have expressed how much distaste they hold for democracy in the region. When Gaza held a democratic election in 2006 and elected Hamas, which was viewed as the ‘wrong’ choice by Israel and America, Israel imposed a ruthless blockade of Gaza. Richard Falk, the former United Nations High Commissioner for Human Rights Inquiry Commission for the Palestinian territories, wrote an article for Al Jazeera in which he explained that the blockade:
unlawfully restricted to subsistence levels, or below, the flow of food, medicine, and fuel. This blockade continues to this day, leaving the entire Gazan population locked within the world's largest open-air prison, and victimized by one of the cruelest forms of belligerent occupation in the history of warfare.[22]
The situation in the occupied territories is made increasingly tense with the recent leaking of the “Palestinian Papers,” which consist of two decades of secret Israeli-Palestinian accords, revealing the weak negotiating position of the Palestinian Authority. The documents consist largely of major concessions the Palestinian Authority was willing to make “on the issues of the right of return of Palestinian refugees, territorial concessions, and the recognition of Israel.” Among the leaks, Palestinian negotiators secretly agreed to concede nearly all of East Jerusalem to Israel. Further, Palestinian President Mahmoud Abbas (favoured by Israel and America over Hamas), was personally informed by a senior Israeli official the night before Operation Cast Lead, the December 2008 and January 2009 Israeli assault on Gaza, resulting in the deaths of over 1,000 Palestinians: “Israeli and Palestinian officials reportedly discussed targeted assassinations of Hamas and Islamic Jihad activists in Gaza.”[23]
Hamas has subsequently called on Palestinian refugees to protest over the concessions regarding the ‘right of return’ for refugees, of which the negotiators conceded to allowing only 100,000 of 5 million to return to Israel.[24] A former U.S. Ambassador to Israel and Egypt lamented that, “The concern will be that this might cause further problems in moving forward.”[25] However, while being blamed for possibly preventing the “peace process” from moving forward, what the papers reveal is that the “peace process” itself is a joke. The Palestinian Authority’s power is derivative of the power Israel allows it to have, and was propped up as a method of dealing with an internal Palestinian elite, thus doing what all colonial powers have done. The papers, then, reveal how the so-called Palestinian ‘Authority’ does not truly speak or work for the interests of the Palestinian people. And while this certainly will divide the PA from Hamas, they were already deeply divided as it was. Certainly, this will pose problems for the “peace process,” but that’s assuming it is a ‘peaceful’ process in the first part.
Is Egypt on the Edge of Revolution?
Unrest is even spreading to Egypt, personal playground of U.S.-supported and armed dictator, Hosni Mubarak, in power since 1981. Egypt is the main U.S. ally in North Africa, and has for centuries been one of the most important imperial jewels first for the Ottomans, then the British, and later for the Americans. With a population of 80 million, 60% of which are under the age of 30, who make up 90% of Egypt’s unemployed, the conditions are ripe for a repeat in Egypt of what happened in Tunisia.[26]
On January 25, 2011, Egypt experienced its “day of wrath,” in which tens of thousands of protesters took to the streets to protest against rising food prices, corruption, and the oppression of living under a 30-year dictatorship. The demonstrations were organized through the use of social media such as Twitter and Facebook. When the protests emerged, the government closed access to these social media sites, just as the Tunisian government did in the early days of the protests that led to the collapse of the dictatorship. As one commentator wrote in the Guardian:
Egypt is not Tunisia. It’s much bigger. Eighty million people, compared with 10 million. Geographically, politically, strategically, it's in a different league – the Arab world's natural leader and its most populous nation. But many of the grievances on the street are the same. Tunis and Cairo differ only in size. If Egypt explodes, the explosion will be much bigger, too.[27]
In Egypt, “an ad hoc coalition of students, unemployed youths, industrial workers, intellectuals, football fans and women, connected by social media such as Twitter and Facebook, instigated a series of fast-moving, rapidly shifting demos across half a dozen or more Egyptian cities.” The police responded with violence, and three protesters were killed. With tens of thousands of protesters taking to the streets, Egypt saw the largest protests in decades, if not under the entire 30-year reign of President Mubarak. Is Egypt on the verge of revolution? It seems too soon to tell. Egypt, it must be remembered, is the second major recipient of U.S. military assistance in the world (following Israel), and thus, its police state and military apparatus are far more advanced and secure than Tunisia’s. Clearly, however, something is stirring. As Hilary Clinton said on the night of the protests, “Our assessment is that the Egyptian government is stable and is looking for ways to respond to the legitimate needs and interests of the Egyptian people.”[28] In other words: “We continue to support tyranny and dictatorship over democracy and liberation.” So what else is new?
According to some estimates, as many as 50,000 protesters turned out in Cairo, Alexandria, Suez and other Egyptian cities.[29] The protests were met with the usual brutality: beating protesters, firing tear gas and using water cannons to attempt to disperse the protesters. As images and videos started emerging out of Egypt, “television footage showed demonstrators chasing police down side streets. One protester climbed into a fire engine and drove it away.”[30] Late on the night of the protests, rumours and unconfirmed reports were spreading that the first lady of Egypt, Suzanne Mubarak, may have fled Egypt to London, following on the heels of rumours that Mubarak’s son, and presumed successor, had also fled to London.[31]
Are We Headed for a Global Revolution?
During the first phase of the global economic crisis in December of 2008, the IMF warned governments of the prospect of “violent unrest on the streets.” The head of the IMF warned that, “violent protests could break out in countries worldwide if the financial system was not restructured to benefit everyone rather than a small elite.”[32]
In January of 2009, Obama’s then-Director of National Intelligence Dennis Blair, told the Senate Intelligence Committee that the greatest threat to the National Security of the U.S. was not terrorism, but the global economic crisis:
I’d like to begin with the global economic crisis, because it already looms as the most serious one in decades, if not in centuries ... Economic crises increase the risk of regime-threatening instability if they are prolonged for a one- or two-year period... And instability can loosen the fragile hold that many developing countries have on law and order, which can spill out in dangerous ways into the international community.[33]
In 2007, a British Defence Ministry report was released assessing global trends in the world over the next 30 years. In assessing “Global Inequality”, the report stated that over the next 30 years:
[T]he gap between rich and poor will probably increase and absolute poverty will remain a global challenge... Disparities in wealth and advantage will therefore become more obvious, with their associated grievances and resentments, even among the growing numbers of people who are likely to be materially more prosperous than their parents and grandparents. Absolute poverty and comparative disadvantage will fuel perceptions of injustice among those whose expectations are not met, increasing tension and instability, both within and between societies and resulting in expressions of violence such as disorder, criminality, terrorism and insurgency. They may also lead to the resurgence of not only anti-capitalist ideologies, possibly linked to religious, anarchist or nihilist movements, but also to populism and the revival of Marxism.[34]
Further, the report warned of the dangers to the established powers of a revolution emerging from the disgruntled middle classes:
The middle classes could become a revolutionary class, taking the role envisaged for the proletariat by Marx. The globalization of labour markets and reducing levels of national welfare provision and employment could reduce peoples’ attachment to particular states. The growing gap between themselves and a small number of highly visible super-rich individuals might fuel disillusion with meritocracy, while the growing urban under-classes are likely to pose an increasing threat to social order and stability, as the burden of acquired debt and the failure of pension provision begins to bite. Faced by these twin challenges, the world’s middle-classes might unite, using access to knowledge, resources and skills to shape transnational processes in their own class interest.[35]
We have now reached the point where the global economic crisis has continued beyond the two-year mark. The social repercussions are starting to be felt – globally – as a result of the crisis and the coordinated responses to it. Since the global economic crisis hit the ‘Third World’ the hardest, the social and political ramifications will be felt there first. In the context of the current record-breaking hikes in the cost of food, food riots will spread around the world as they did in 2007 and 2008, just prior to the outbreak of the economic crisis. This time, however, things are much worse economically, much more desperate socially, and much more oppressive politically.
This rising discontent will spread from the developing world to the comfort of our own homes in the West. Once the harsh realization sets in that the economy is not in ‘recovery,’ but rather in a Depression, and once our governments in the West continue on their path of closing down the democratic façade and continue dismantling rights and freedoms, increasing surveillance and ‘control,’ while pushing increasingly militaristic and war-mongering foreign policies around the world (mostly in an effort to quell or crush the global awakening being experienced around the world), we in the West will come to realize that ‘We are all Tunisians.’
In 1967, Martin Luther King, Jr., said in his famous speech “Beyond Vietnam”:
I am convinced that if we are to get on the right side of the world revolution, we as a nation must undergo a radical revolution of values. We must rapidly begin the shift from a "thing-oriented" society to a "person-oriented" society. When machines and computers, profit motives and property rights are considered more important than people, the giant triplets of racism, materialism, and militarism are incapable of being conquered.[36]
This was Part 1 of "North Africa and the Global Political Awakening," focusing on the emergence of the protest movements primarily in North Africa and the Arab world, but placing it in the context of a wider 'Global Awakening.'
Part 2 will focus on the West's reaction to the 'Awakening' in this region; namely, the two-pronged strategy of supporting oppressive regimes while promoting "democratization" in a grand new project of "democratic imperialism."