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Social Media Manager giving away FREE ebook for Small Business owners to be their own Social Media Manager.
Station Manager Ken screams out for the home he never had.
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Amy Cox, general manager of La Quinta Inn & Suites, located at 2500 I-70 Drive S.W. in Columbia, Mo., discusses the responses she has received about the rerouting of traffic at I-70 Drive Southwest and Stadium Boulevard on Monday, Nov. 28, 2011. Cox says many of her employees and about half of the guests at the hotel have complained about the rerouting and see it as an inconvenience.
KOMU Photos / Adam Smith
Deary, Idaho, to Palouse, Washington
WASHINGTON, IDAHO & MONTANA RY. CO.
DEARY, Ida.
TO
PALOUSE, Wash.
Good only One Day from
date of sale.
ONE
FIRST
CLASS
PASSAGE
NO STOP-OVER
ALLOWED
A.W. Laird
General Manager
7247
Source Type: Ticket
Publisher, Printer, Photographer: Unknown
Postmark: Not Applicable
Collection: Steven R. Shook
Copyright 2016. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
Patrol Manager works by recording data from location buttons located along a specified route. Whenever it touches one of the location buttons, the unique code from that buttons is recorded in Patrol Manager’s memory together with the date and time. Operating on the same principle, buttons can be programmed to record individual events e.g. window open, lock broken etc. Event Wallets, containing up to 10 data cells per wallet allow electronic recording of patrol findings.
or
Patrol Manager is a revolutionary new concept to help companies maintain control of their security personnel and processes. Just imagine receiving a daily printed report itemising in detail the movements over the past 24 hours of every member of your security staff and the events they encounter.
The Journey so far.
New Model Army played their first gig in Bradford on October 23rd 1980. Its founding members were Justin Sullivan, Stuart Morrow and Phil Tompkins. The threesome had already been together for a couple of years in a number of Bradford bands with other musicians and singers but in the Autumn of 1980, they decided to form a stripped-down three-piece, their music drawing on a wide collection of influences and fuelled by their passions for Punk Rock and Northern Soul. Within a few months drummer Phil Tomkins had left to be replaced by Rob Waddington. The band slowly built up a local following and created a unique style based on Justin's song-writing and Stuart's virtuosity on lead-bass.
In Summer 1982, whispers about this band reached London and they were invited to perform at a couple of showcases. But in a scene hungry for "the next big thing" (the coming "New Romantics"), NMA's fearsome music and northern style did not win over the Major Record Companies and they returned to Bradford empty-handed. Rob Waddington left to be replaced by Robert Heaton, who had been working as a drum tech and occasional drummer for the band ‘Hawkwind‘. Undeterred by the indifference of the Music Business, NMA began to perform more and more around the country and frequently featured as opening act on a series of all-day concerts at the London Lyceum which heralded many of the "Post-Punk" bands. Although this meant traveling for several hours to play a twenty-five minute set for no money, the band embraced the opportunity and their reputation as a live act grew. A first small-label independent single "Bittersweet" was released in the summer of 1983, followed by "Great Expectations" on Abstract Records that autumn, both played frequently on late night radio by John Peel. Suddenly the band had a "Following", people who would travel to every concert around the country to see them.
Early in 1984, the producer of "The Tube", the most important live music show on TV, had seen NMA in concert and invited them to fill the ‘unknown' slot on the programme. Having originally asked the band to perform their provocative anti-anthem, "Vengeance", the TV Company suddenly got cold feet about the song's lyrics minutes before broadcast and asked the band to change songs. It made no difference. Somehow twenty to thirty followers had managed to get into the TV studio and when NMA began with "Christian Militia" the crowd went wild and an electric atmosphere was transmitted around the country. Suddenly NMA were underground news. Their first mini-album, "Vengeance" knocked "The Smiths" from the top of the Independent Charts and the major record companies, who had rejected them less than two years earlier, were now begging to sign the band.
The autumn of 1984 was a time of political turmoil in Britain. After five years of Mrs Thatcher's right-wing government, which had already fuelled so much of NMA's early fury, a final showdown with the National Union of Mineworkers (the strike that had begun in March and had split the country), entered a critical phase and much of Northern England began to resemble a Police State. NMA's last Independent EP "The Price" also featured "1984" a song written directly about the strike and, with their declared left-wing views, NMA's concerts became increasingly intense.
At the end of the year, NMA signed a contract of "complete artist control" with EMI (which included EMI giving a donation to a miners fund). The move surprised many people but the band were already looking beyond the confines of Britain and considered the deal to be the right one. In the Spring of 1985 the album "No Rest For The Wicked" and the single "No Rest" both reached the national top 40, but this success and now relative financial security had done little to soften NMA's confrontational attitude. They appeared on Top Of The Pops wearing T-shirts with a motif reading "Only Stupid Bastards Use Heroin" (a reaction against the fashionable drug of the time).
Then, halfway through the "No Rest" tour, the day after their hometown gig, Stuart Morrow decided to leave the band for personal reasons. Frantic negotiations were made (by a strange unhappy co-incidence, on the very same day as the Bradford City fire disaster killed 56 people at a football match), but to no avail. As a result, Justin and Robert decided to follow up the success of "No Rest" with an acoustic song from the album "Better Than Them" which had not involved Stuart and accompanied it with three specially recorded acoustic tracks, a move of principle which dumbfounded EMI. By the summer, Stuart had been replaced by 17 year-old Jason 'Moose' Harris, whose first gig was at a benefit for the families of the fire tragedy, and the "No Rest" tour continued.
Thatcher's victory over the miners, and by extension over all organised opposition, marked a new political reality. This, coupled with the shock of Stuarts's departure and increasing media hostility, resulted in the band taking an ever more defiant posture, exemplified by a typically fiery performance at the Glastonbury Festival. Then, despite being signed to Capitol Records in North America, all attempts to tour there were prevented when the band were refused visas. Many people, on both sides of the Atlantic, believed that this was for political reasons although this was never possible to prove. Instead, that autumn NMA set out on their first long tour of the European mainland, which unlike many UK acts, they found much to their liking, and later a trip to Japan. The year ended with yet another UK tour in support of a newly recorded EP: "Brave New World", a savage portrait of the Thatcher's Britain and "RIP", an equally furious study of the band's history thus far.
If 1985 had been a traumatic year, then 1986 saw one of the band's many resurrections, with the legendary Glyn Johns agreeing to produce their third album. Though relations between band and producer were often difficult, Justin recalls the sessions as "the biggest musical learning curve of my life". "The Ghost Of Cain" was well received by the critics and audience and many people began to see a band that were capable of developing and changing and adjusting to new realities while still staying true to their own principles; this was a band that were now pursuing their own musical agenda, completely unmoved by the whims of the music industry or the expectations of fans. Outside Britain, their name was slowly becoming known and in December of 1986, they finally made a first short tour of America.
1987 was a year of full bloom. In January, Justin and Robert recorded an album with the poet Joolz Denby. Joolz had been the band's first manager and has remained as a driving force and responsible for all of the band's artwork from the beginning to the present day. She had previously made spoken word albums and a series of EPs with Jah Wobble but it was inevitable that she would collaborate with NMA. The album "Hex" was recorded at the very special Sawmills Studio, a unique place in Cornwall, only reachable at high tide by boat. Although the studio is now well known, at that time it was infrequently used and accommodation was in primitive cabins deep in the woods. From this new setting, and freed from the pressures of "being New Model Army", Justin and Robert were able to explore all kinds of ideas and musical avenues that their experience with Glyn Johns had opened up. Later, they both considered "Hex" to have been one of the creative highlights of their musical partnership, with its strong, romantic soundscapes acting as the perfect accompaniment to Joolz' poetry.
Much of the writing of "Hex" had been done using samplers and the use of this new tool continued to take the band in unexpected directions. That summer they recorded the "Whitecoats" EP with its ecological lyric and mystical atmosphere. An interest in mysticism and spirituality had been becoming more and more apparent in Justin's lyrics (though this was no surprise to those who knew of his family's Quaker roots). The same summer, Red Sky Coven was born out of a group of friends who shared these interests and ideas. It included Justin, Joolz, singer-songwriter and storyteller Rev Hammer and musician Brett Selby. Together, the foursome decided to create a performance based on this friendship, a unique show which continues to tour on an occasional basis.
1987 also saw plenty more NMA concerts, including Reading Festival, a gig with David Bowie in front of the Reichstag in Berlin and a show-stopping performance at the Bizarre Festival at Lorelei in Germany. From time to time, the band added their friend Ricky Warwick as a second guitarist and also enlisted Mark Feltham, the legendary harmonica player who had graced "The Ghost Of Cain" and "Hex" to join them. At the very end of the year and the beginning of 1988, they returned to the Sawmills for two more inspired writing sessions, which laid the foundations for "Thunder and Consolation".
The following months, though, were far more difficult, while NMA chose a producer, another music legend - Tom Dowd - and set about recording the album. It was a long drawn-out process and relationships between band members became increasingly strained, only really maintained by the knowledge that they were making something truly special. "Thunder and Consolation" was finally released early in 1989, striking a perfect balance between the band's fascinations with rock, folk and soul music and Justin's lyrical interest in spirituality, politics and family relationships. The album brought critical praise and new levels of commercial success and the band toured Europe and North America, joined by Ed Alleyne Johnson playing electric violin and keyboards and Chris Mclaughlin on guitar. However, despite the success, relationships at the heart of the band had not really mended and even after Jason Harris left that summer, stresses remained.
By autumn Justin and Robert were back in the Sawmills working towards another album and, in the new year, they were joined by a new (and still current) bass player, Nelson, previously of a number of East Anglian cult bands, and a new second guitarist, Adrian Portas from Sheffield. The new musicians brought a stronger atmosphere to the touring band while, in the studio, Justin and Robert continued to explore different musical ideas. Partly self-produced, "Impurity" was finally finished and mixed by Pat Collier in the summer of 1990. Still featuring Ed Alleyne Johnson' violin, the album was more eclectic than "Thunder" but continued to win new fans and the world-wide tour that followed its release lasted the best part of a year, culminating in a rolling Festival in Germany involving David Bowie, Midnight Oil, The Pixies and NMA.
In mid-1991, "Raw Melody Men", a live album from the tour, was put together and released. It was to be NMA's last album for EMI. Unusually, given the history of the music business, the relationship between band and record company had always remained cordial but had now simply grown stale. There were minor dissatisfactions on both sides and, after lengthy negotiations, it was agreed to simply terminate the contract. NMA's own Management Company also imploded at this time and new management was drawn up. The band was not short of new record company offers and eventually chose Epic, for reasons to do with support in the US.
Although Mrs Thatcher had been ousted by her own Party in 1990 (a memorable night coinciding with NMA's first visit to Rome), the Conservative monolith that had ruled the country for so long remained in power and, against all expectations, won a further election in 1992. Outside Britain though, much was changed: there was recession and instability and a so-called "New World Order" in the wake of the collapse of Soviet Communism and the 1st Gulf War. Already the band was embarked upon a very dark album, driven equally by personal traumas, including Justin's near-death electrocution on stage in Switzerland and the changes in the world around them. Produced by Niko Bolas and mixed by Bob Clearmountain, "The Love Of Hopeless Causes" was not what anyone was expecting. Just as folk-rock, pioneered and inspired in part by NMA, became a fashionable and commercial sound, the band made a deliberate move away from it and straight and into guitar-driven rock music.
Replacing Adrian with Dave Blomberg on guitar, they embarked on the album tour and the European section featured their most successful concerts yet. However NMA's relationship with their new record company quickly deteriorated. Worse still, they found themselves caught in corporate dispute between London and New York, which was in no way related to them. By June, the band found themselves on an exhaustive US tour, in which they had invested much of their own money, with no support of any kind from Epic or any other source. The tour featured many outstanding concerts but it was a bittersweet experience. By the end of the summer, it had been agreed that there should be a year off for everyone to rest and consider the future, while the contract with Epic was quickly terminated.
Justin used 1993-4 to produce other artists (a second collaboration with Joolz entitled "Weird Sister", Rev Hammer's "Bishop Of Buffalo" album and also the unusual Berlin combo, The Inchtabokatables), tour with Red Sky Coven and create another way of performing NMA songs - in a duo with new guitarist Dave Blomberg. Together they went back to Justin's first love - small club touring - and eventually released an album of the live show entitled "Big Guitars in Little Europe", an album, which has proved enduringly popular. Robert's main wish was to spend more time at home with his family, which he was now able to do and Nelson formed a new band "Nelson's Column" which toured England. Ed Alleyne Johnson followed up his first solo album "The Purple Electric Violin Concerto" which had been so successful with a second entitled "Ultraviolet".
After the year was up, Justin and Robert tentatively began work on a new project and in December 1994, the band (with Dean White on keyboards replacing Ed Alleyne Johnson) reassembled to play a short series of concerts. However, the next two years were lost while Justin and Robert, plagued by ill health and personal-life distractions tried unsuccessfully to pin down hundreds of new musical ideas into an album. It became increasingly obvious to both of them (and everyone else in and around the band) that they were now on very different musical paths. In 1997, Tommy Tee who had been the band's Tour Manager in the 1980s returned to take control of the band's drifting affairs. He enlisted producer Simon Dawson to help finish the project and by the autumn "Strange Brotherhood" was completed. Unsurprisingly, it's an album full to the brim with different and contrasting musical ideas while the lyrics range from the politics of the British Road Protest movement (in which Sullivan had been actively involved during 1996) to the deeply personal and sometimes unusually obscure. During the mixing, it was agreed that Justin and Robert would go their separate ways after the tour.
Then, suddenly Robert was diagnosed as having a brain tumour, and though the operation to remove it was successful, any prospect of touring was impossible. So he suggested that his place be taken by Michael Dean, a young drummer who had been working as his technician since 1993. Having watched Robert for some years, Michael was immediately comfortable with the role of drummer and with all other aspects of the band. The "Strange Brotherhood" tour began in the spring of 1998 and, happy to be back on the road at last, for the first couple of months, the band embarked on an ambitious programme of doing two sets each night, a 50 minute acoustic set followed by a full 90 minute rock. The tour continued on and off through to the end of the year.
By now Justin and Tommy Tee had restructured New Model Army's set-up to take account of the changes that the Internet was bringing to the whole music industry. This included making sure that the band owned every aspect of their work, and included their own record label (Attack Attack) to be distributed by different companies in different territories. 1999 began with a review of live shows recorded the previous year and their amalgamation into a live double album entitled "New Model Army and Nobody Else". After this Justin (assisted by Michael) began to write new songs for the next album. This was done quickly and easily for the first time since "Thunder", with Justin claiming to be "reborn as a song-writer." To keep up the momentum, it was decided to self-produce and to record the album in the band's own studio. Again this was done quickly with mostly Justin, Michael and Dean at the controls. (Living 250 and 300 miles from Bradford meant that Nelson and Dave were more occasional contributors for purely geographical reasons). The whole process was very much a reaction to the slow progress of "Strange Brotherhood", with the album given the simple name "Eight" to go with its whole stripped-down approach. It was released in the Spring of 2000 and was followed by more touring.
On October 23rd 2000, the band celebrated their 20th anniversary by playing another two set marathon at Rock City in Nottingham and then three months later, further special concerts in London and Koln which featured four completely different sets spread over two nights - a 57 song marathon in each city attended by over 7000 people.
One of the legacies of the lost years of the mid 1990s was a lot of unfinished material and next, Justin, Michael and Dean worked to finish and assemble this into accessible form, a double album "Lost Songs" released in 2002. Another ‘unfinished' project was Justin's long promised solo album and it was at this moment that he decided to pursue it. Meant to take just a few weeks to record and tour, "Navigating By The Stars" became another marathon. Hooking up with film and TV music producer, Ty Unwin, the first week of working coincided with ‘9/11'. Rather than making a political or angry response to unfolding events, the album's purpose was to ‘make something beautiful in an increasingly ugly World'. The album came out in 2003 to surprised and favourable reaction. At first touring alone with Dean (including a long awaited return to America), Justin was then joined by Michael playing percussion and the threesome bought a large mobile home and set off across Europe. The live album "Tales of the Road", released in 2004 captures their unique sound and stripped-down rearrangements of some of NMA's lesser known songs.
In 2004, an exhibition of all Joolz' artwork for the band plus collected memorabilia was assembled for a touring exhibition. Entitled ‘One Family, One Tribe' it has been on display in art galleries in Otley, York, Bradford and Hamm in Germany and there are plans for more future showings. Meanwhile, the band work began work on a new NMA album, at first focused around Michael's increasing creativity as a drummer. "Carnival" was recorded with producer Chris Tsangerides and mixed by Nat Chan. It's lyrical subjects and musical roots were as usual very eclectic but included many people's favourite NMA track, "Fireworks Night", Justin's emotional response to the sudden and unexpected death of Robert that Autumn. "Carnival" was released in September 2005, but when it came to the tour, Dave Blomberg was unable to participate for family reasons and his place was taken by Marshall Gill, a blues guitarist from Ashton Under Lyne, completing the band's current line-up in what Sullivan calls “the best version of NMA since 1985”.
The Carnival Tour marked another dynamic new beginning for the band, with Nelson sometimes playing as a second drummer, Dean sometimes as third guitarist and Michael and Marshall's energy much in evidence. Such was the sense of momentum and togetherness that for the first time in years, NMA moved quickly on to making another album with major contributions from all members. "High" was written and recorded in five months at the beginning of 2007, produced by old friend (and another production star, Chris Kimsey) and was ‘angrier' than any releases for a while and lyrically very much in tune with current realities.
The "High" tour rolled through 4 continents with the new line up now firmly in tune with itself and Marshall bringing a tougher edge to the band's sound - even managing to re-arrange the classic violin led anthem "Vagabonds" into a guitar led version. This and 16 other songs were released on a new live album, "Fuck Texas, Sing For Us", in November 2008 (the title taken from a chant at the band's New Orleans show that serves as the intro to the album).
The year ended with tours in Scandinavia, Eastern Europe and the customary December run of London, Paris, Amsterdam, and Koln with the band playing a fiery set of recent material. Remarkably, the band’s main 17 song set featured only two pre-2000 songs, as well as brand new material, a sure sign of the band’s forward momentum - and with their ticket sales up everywhere. Then, at Christmas, manager Tommy Tee died suddenly and unexpectedly. This was a major shock to everyone in and around the band, not only because as he ran all aspects of the band's affairs but also as a major part of the NMA family and history since 1982.
It took a while before the band could refocus but by Spring 2009, they were back in the studio working on their eleventh studio album, “Today Is A Good Day”. Mostly written in the wake of the 2008 Wall Street Collapse (an event celebrated in the white-hot opening title track), it was recorded in the band’s own studio in Bradford with Chris Kimsey once more at the controls. Chris wrote “the NMA 'family business' is back in full swing. The boys sound brave & united.” The album was hailed as one of their very best and the album tour began with a month in North America and went on for a further six months ending with a triumphant return to Glastonbury and other Festivals in the summer.
In the Autumn of 2010, the band celebrated their 30th Anniversary with the release of boxsets, books, DVDs and a full set of retrospective material and set out on the curious and challenging schedule. Promising to play a minimum of four songs from each of their 13 albums (including the two B-sides compilations) over two nights, they performed this marathon in different cities on four continents every weekend from September until Christmas. The final weekend in London was recorded and released in full as a five hour DVD.
After such a hectic year, 2011 was always going to be relatively quiet with the band concentrating on writing material for their next project. Consciously looking for something new after two convincing great rock band recorded live in a studio albums. this is a work in progress interrupted only by a handful of full band shows and rather more of the semi-acoustic Justin and Dean duo concerts. But then, as the year ended, disaster once again struck with a fire, started in the next door furniture outlet, raging through the band's Bradford base destroying pretty their whole studio set-up. No one was injured and the band have remarkably been able to salvage some of their touring gear from inside flight-cases. However, while remaining characteristically upbeat about the future, the band acknowledge that the loss of so much gear and a place to work will delay their plans for 2012. Meanwhile, in the background, BBC/Channel Four diector, Matt Reid, has been putting together a documentary film about the group for release sometime this year.
This is a remarkable band - as hungry and focused as ever, with a continually regenerating audience and insatiable creative ambition.
OPENING CALENDAR
May 9, 2013
PUBLIC SESSION
PERFORMANCES
Invocation
Pastor Jean Feder St Juiste
Haitian Bethany Baptist Church
Presentation of the Colors
Admiral William F. Halsey, Jr. Leadership Academy JROTC
Pledge of Allegiance
Breanna Seabrook, 8th grade student
George Washington School No. 1
Star Spangled Banner by Francis Scott Key
Nicole Pepe, Music Teacher
Benjamin Franklin School 13
Haitian National Anthem
Ivana Romulus/Dwyer Academy and Hervenick Barthelus, students
Nicholas Murray Butler School No. 23
Pledge of Ethics
Sariah Foreman, 4th grade student
Quayinah Abreu, 8th grade student
George Washington School No. 1
Core Beliefs – Video
PERFORMANCES
“Mi Tierra” by Gloria Estefan
Performed by Ms. Drouet’s Bilingual Class
George Washington School No. 1
“I Believe I Can Fly”, by R. Kelly
Performed by Kwao Taylor, Physical Education Teacher
George Washington School No. 1
“Home” by Drew Pearson and Greg Holden
Benjamin Franklin School 13 Chorus
Drumline comprised of 5th through 8th grade students
George Washington School No. 1
Quayianah Abreu Emmanuel Hinton
Arleth Aguilar Shaquanah Jones
Kiara Almendarez Joshua Lebron
Taylor Brown Star Lochart-Russ
Abdul Dempsey Gabriel Nash
Jay Elliott Sung Ni Wang
Joshua Escobar David Padulla
Caleb Exum Jefferson Perez
Jae'quan Exum Naem Rogers
Bryan Gamez Briana Sanker
Jamar Gilford Zaniyah Scott
Sherlin Hernandez Brieonka Walton
Aminah Washington
Original Poem by
Quayinah Abreu, 8th grade student
George Washington School No. 1
“The Entertainer” by Scott Joplin
Performed on Piano by Jaquan Mials, 8th grade student
George Washington School No. 1
Haitian Folk Dance
Shirley Adissa Group
Nicholas Murray Butler School No. 23
Haitian Poem
Shirley Adissa Group
Nicholas Murray Butler School No. 23
Narrator: Fritzmane Davilma
Haitian Dance
Alexandra Mickens and Micheline Phareau Group
Admiral William F. Halsey, Jr. Leadership Academy
PRESENTATIONS:
Special Olympic Athletes 2013
Justin Almanzar John Marshall School No. 20
Diogo Cunha Toussaint L’Ouverture-Marquis de Lafayette School No. 6
Elianny Duran Madison Monroe School No. 16
Madelin Martinez Joseph Battin School No. 4
Jonathan Pereira Toussaint L’Ouverture-Marquis de Lafayette School No. 6
Billy Sanchez Juan Pablo Duarte-Jose Julian Marti School No. 28
David Soulouque Nicholas S. LaCorte-Peterstown School No. 3
Christopher Vallejo Toussaint L’Ouverture-Marquis de Lafayette School No. 6
Vanessa Vallejo Toussaint L’Ouverture-Marquis de Lafayette School No. 6
Edwin Velasquez Elmora School No.12
Alexis Ventura Madison-Monroe School No. 16
Dianna Vicente Nicholas S. LaCorte-Peterstown School No. 3
Shantel Wilkins Admiral William F. Halsey, Jr. Leadership Academy
Rhazeem Williams John Marshall School No. 20
Coaches
Wendy Lopez-Silva
Anthony Mendes
Giovanni Silva
Volunteers
Sylvia Muniz
Melissa Grau
Anita Negron
STUDENT EXCELLENCE
Perfect Attendance – George Washington School No. 1:
Jaslet Anai Argueta Rodriguez
Danny F Argueta
Alan Jeffrey Cajamarca
Jeriahma Lomax-McIndoe
Eduardo Martinez Hernandez
Teddy Anthony Rivero
Leeasia Shanaya Parrott
Giovanni Alexander Vasquez Martinez
Kayla Consuegra
Magdalene Ramos
Emely Torres
Franklin Javier Villalta Argueta
Leonardo Antune Antxane
Maryoris Y Castillo
Perfect Attendance – George Washington School No. 1
Stephanie Martins Mendonca
Leonardo Martinez
Jimmy Ramirez
Sierra Naomi Ramirez
Rosa D Vasquez Martinez
Genesis M Cartagena
Giovani Consuegra
Breanna E Jones
Eric D Miranda
Elijah Ramirez
Shakira Raurau
Wilber Bonilla
Rosa Lee Jones
Eva Suarez
Students Ambassadors for their Grade and Class at Benjamin Franklin School No. 13
They are called upon to assist during special events to motivate their classmates:
Geoffroy Amouzou
Ashley Aracena
Stephen Ash
Michael Atencia
John Michael Azevedo
Martinho Codo
Carlos Contreras
Cherly Contreras
Yngrid De Los Santos
Jiovanni Dos Santos
David Fonseca
Victor Guzman
Carolina Herrera
Diana Lovato
David Marston
Irene Migosi
Pamela Nieves-Smith
Sami Orozco Juarez
Michael Ortiz
Alaceyia Smith
STARS OF EXCELLENCE:
Team members nominated for county teacher of the year from
George Washington School No. 1
Tiffany Cassese
Leydis Leyva
Allison Mednick
Debra Pugh
Team members recognized for their continuous and tireless efforts that highlights their commitment to excellence and the students of George Washington School No. 1
Traci Barnes, Teacher
Karen Boone, Assistant
Oneida Braithwaite, Teacher
Sabrina Burnett-Williams, Teacher
Maria Cabrera, Guidance Counselor
Karema Cunningham, Teacher
Wayne Scott Danodio, Math Coach
Natalie Fernandez, Head Secretary
Laurein Gareis, Language Arts Coach
Tanya Gilliam, Teacher
Stephanie Gonzalez, Secretary
Cartayh Hawkins-Reid, Master Teacher
Lirida Hegge, Secretary
Kenyetta Jackson, Social Worker
Andrew Kaplan, Teacher
Jasmine Lee, Teacher
Amy Liebowitz, Teacher
Patricia Kennedy, Teacher
John Mahon, Teacher
Rosangel Martinez, Assistant
Vincenzo Mascolo, Teacher
Benedetta Mosby, Teacher
Mary O’Hea, Teacher
Letty Perry, Teacher
Patricia Pesoli, Teacher
Marilyn Portela, Assistant
Deborah Pugh, Teacher
Kate Rush, Teacher
Kathy Santor, Teacher
Ann Shpakow, Guidance Counselor
Mark Shober, Teacher
Kwao Taylor, Teacher
Tracy Thompson, Teacher
Julie Unger, Teacher
Ximena Vanegas, Teacher
Kathy Ventura, Teacher
Lindsay Walker, Teacher
George Washington School No. 1
Recognition of Beata Backiel, Cook Manager and the kitchen staff members for always treating students to home cooked meals and serving dishes with high nutritional value in keeping with standards set by the Alliance for a Healthier Generation.
Recognition of Ken Sugzda, Head Custodian and the custodial staff for always keeping a safe and sanitary environment, and for diligent efforts in promoting and maintaining the School No. 1 Recycling Initiative.
Recognition of Larry Meadows, Head Security Guard and the security staff for always keeping a safe and orderly environment.
The following team members of Benjamin Franklin School No. 13 have displayed a commitment to excellence. Each member spearheads a committee, program, club or organization. They give up their time afterschool and on weekends to assist the students and school.
Alison Brennan
Sarah Brown
Dara Buchta
Nancy-Carrero Munoz
Chrissy Correia
Maryann Davies
Lara Filippello
Martha Goni
Barbara Hanley
Joseph Kwiatek
Giacomina Magliano
Vivian Martinez
Doris Matute
Lacey McConkey
Vanessa Nieves
Nicole Pepe
Michele Pridgen
Christina Rios
Kerilyn Saltarelli
Romeo Simoes
Carla Twyne
COMMUNITY EXCELLENCE:
These parents of Benjamin Franklin School No. 13 are recognized for volunteering their time, and support of events during school and afterschool.
Zoobi Afshan
Jacqueline Amaya Atencia
Elaine Cabbell
Rosania Freitas
Ileana Medina
Alyssa Montesino
Sofia Moreira Horta
Margaret Melendez
Jessica Lopez
Liliana Pacheco
Samidia Pagan
Douglas Teartt
THE EXCELLENCE PARADE AWARDS
Keys to Excellence Award - Awarded to the school that best exemplifies the district’s mission, vision, core beliefs and commitments, and Pledge of Ethics.
Winner: School 7 AND School 31
Honorable Mention:
School 12
EHS
Leap Award - Awarded to the school that best exemplifies the spirit of their school.
Winner: School 26 AND Hamilton
Honorable Mention:
School 51
School 28
Imaginer Award - Awarded to the school that demonstrates the most creativity in their design.
Winner: School 18 AND School 29
Honorable Mention School 14
School 30
Jefferson
Stephen William Bragg (born 20 December 1957) is an English singer-songwriter and left-wing activist. His music blends elements of folk music, punk rock and protest songs, with lyrics that mostly span political or romantic themes. His music is heavily centred on bringing about change and involving the younger generation in activist causes.
Early life[edit]
Bragg was born in 1957 in Barking, Essex (which is now in Greater London)[2] to Dennis Frederick Austin Bragg, an assistant sales manager to a Barking cap maker and milliner, and his wife Marie Victoria D'Urso, who was of Italian descent.[3] Bragg's father died of lung cancer in 1976,[4] and his mother died in 2011.[5]
Bragg was educated at Northbury Junior School and Park Modern Secondary School (now part of Barking Abbey Secondary School[6]) in Barking. He failed his eleven-plus exam, effectively precluding him from going to university.[7] However he developed an interest in poetry at the age of twelve, when his English teacher chose him to read a poem he had written for a homework assignment on a local radio station.[8] He put his energies into learning and practising the guitar with his next-door neighbour, Philip Wigg (Wiggy); some of their influences were the Faces, Small Faces and the Rolling Stones. He was also exposed to folk and folk-rock music during his teenage years, citing Simon & Garfunkel and Bob Dylan as early influences on his songwriting.[8]
During the rise of punk rock and new wave in the late 1970s, Elvis Costello also served as an inspiration for Bragg.[9] He was also particularly influenced by the Clash, whom he'd seen play live in London in May 1977 on their White Riot Tour, and again at a Rock Against Racism carnival in April 1978, which he admits was the first time he really stepped into the world of music as it is used for political activism.[10] The experience of the gig and preceding march helped shape Bragg's left-wing politics, having previously "turned a blind eye" to casual racism.[10]
Career[edit]
Early career[edit]
In 1977 Bragg formed the punk rock/pub rock band Riff Raff with Wiggy. The band decamped to rural Oundle in Northamptonshire in 1978 to record a series of singles (the first on independent Chiswick Records) which did not receive wide exposure. After a period of gigging in Northamptonshire and London, they returned to Barking and split in 1980.[11] Taking a series of odd jobs including working at Guy Norris' record shop in Barking high street, Bragg became disillusioned with his stalled music career and in May 1981 joined the British Army as a recruit destined for the Queen's Royal Irish Hussars of the Royal Armoured Corps. After completing three months' basic training, he bought himself out for £175 and returned home.[12]
Bragg peroxided his hair to mark a new phase in his life and began performing frequent concerts and busking around London, playing solo with an electric guitar under the name Spy vs Spy (after the strip in Mad magazine).[13]
His demo tape initially got no response from the record industry, but by pretending to be a television repair man, he got into the office of Charisma Records' A&R man Peter Jenner.[14] Jenner liked the tape, but the company was near bankruptcy and had no budget to sign new artists. Bragg got an offer to record more demos for music publisher Chappell & Co., so Jenner agreed to release them as a record. Life's a Riot with Spy vs Spy (credited to Billy Bragg) was released in July 1983 by Charisma's new imprint, Utility. Hearing DJ John Peel mention on-air that he was hungry, Bragg rushed to the BBC with a mushroom biryani, so Peel played a song from Life's a Riot with Spy vs Spy albeit at the wrong speed (since the 12" LP was, unconventionally, cut to play at 45rpm). Peel insisted he would have played the song even without the biryani and later played it at the correct speed.[14]
Within months Charisma had been taken over by Virgin Records and Jenner, who had been made redundant, became Bragg's manager. Stiff Records' press officer Andy Macdonald – who was setting up his own record label, Go! Discs – received a copy of Life's a Riot with Spy vs Spy. He made Virgin an offer and the album was re-released on Go! Discs in November 1983, at the fixed low price of £2.99.[15] Around this time, Andy Kershaw, an early supporter at Radio Aire in Leeds, was employed by Jenner as Bragg's tour manager. (He later became a BBC DJ and TV presenter, and he and Bragg appeared in an episode of the BBC TV programme Great Journeys in 1989, in which they travelled the Silver Road from Potosí, Bolivia, to the Pacific coast at Arica, Chile.)[16]
Though never released as a Bragg single, album track and live favourite "A New England", with an additional verse, became a Top 10 hit in the UK for Kirsty MacColl in January 1985. Since MacColl's early death, Bragg always sings the extra verse live in her honour.[17]
In 1984, he released Brewing Up with Billy Bragg, a mixture of political songs (e.g. "It Says Here") and songs of unrequited love (e.g. "The Saturday Boy"). This was followed in 1985 by Between the Wars, an EP of political songs that included a cover version of Leon Rosselson's "The World Turned Upside Down". The EP made the Top 20 of the UK Singles Chart and earned Bragg an appearance on Top of the Pops, singing the title track. Bragg later collaborated with Rosselson on the song "Ballad of a Spycatcher".[18]
In the same year, he embarked on his first tour of North America, with Wiggy as tour manager, supporting Echo & the Bunnymen.[19] The tour began in Washington D.C. and ended in Los Angeles. On the same trip, in New York, Bragg unveiled his "Portastack",[20] a self-contained, mobile PA system weighing 35 lbs (designed for £500 by engineer Kenny Jones), the wearing of which became an archetypal image of the singer at that time. With it, he was able to busk outside the New Music Seminar, a record industry conference.[21]
Late 1980s and early 1990s[edit]
In 1986 Bragg released Talking with the Taxman About Poetry, which became his first Top 10 album. Its title is taken from a poem by Vladimir Mayakovsky and a translated version of the poem was printed on the record's inner sleeve. Back to Basics is a 1987 collection of his first three releases: Life's a Riot with Spy vs Spy, Brewing Up with Billy Bragg, and Between the Wars. He enjoyed his only Number 1 hit single in May 1988, a cover of the Beatles' "She's Leaving Home", a shared A-side with Wet Wet Wet's "With a Little Help from My Friends". Both were taken from a multi-artist re-recording of Sgt. Pepper's Lonely Hearts Club Band titled Sgt. Pepper Knew My Father coordinated by the NME in aid of the charity Childline. Wet Wet Wet's cover dominated radio airplay and its video was shown over three consecutive weeks on Top of the Pops; in week four, Bragg went on the programme to play his cover, with regular accompanist Cara Tivey on piano.[22]
Bragg released his fourth album, Workers Playtime, in September 1988. With this album, Bragg added a full backing band and accompaniment, including Tivey on piano, Danny Thompson on double bass and veteran Micky Waller on drums. Wiggy earned a co-production credit with Joe Boyd.[23]
In August 1989 Bragg took lead vocal on the ‘Levi Stubbs’ Tears’ sampling Norman Cook's UK top 40 hit "Won’t Talk About It", which was a double-A-side with "Blame It On the Bassline". The track was a bigger hit a year later with Lindy Layton replacing Bragg as lead vocal.[citation needed]
In May 1990 Bragg released the political mini-LP The Internationale on his and Jenner's own short-lived label Utility, which operated independently of Go! Discs, to which Bragg was still contracted. The songs were, in part, a return to his solo guitar style, but some featured more complicated arrangements and included a brass band. The album paid tribute to one of Bragg's influences with the song, "I Dreamed I Saw Phil Ochs Last Night", which is an adapted version of Earl Robinson's song, "I Dreamed I Saw Joe Hill Last Night", itself an adaptation of a poem by Alfred Hayes.[24] Though the album only reached Number 34 in the UK Charts, Bragg described it as "a reassertion of my rights as an individual ... and a childish two fingers [to Go! Discs boss Andy Macdonald, who'd recently signed a distribution deal with entertainment industry giant PolyGram]."[25]
His sixth studio album Don't Try This at Home was recorded in the shadow of the build-up to the Gulf War and subsequent ground war, inspiring the track "Rumours of War". Although there is social comment ("The Few", "North Sea Bubble"), it was intended as a more commercial pop album, released in September 1991. (Bragg called it "a very long-range attempt to convert the ball between the posts."[26]). The first single was the upbeat "Sexuality", which, despite an accessible video and a dance remix on the B-side, only reached Number 27 on the UK Singles Chart. Following overtures by rival label Chrysalis, Bragg and Jenner had been persuaded by Go! Discs' Andy and Juliet Macdonald to sign a four-album deal for a million pound advance; in return he would promote the album with singles and videos.[27] A more commercial sound and aggressive marketing had no appreciable effect on album sales, and after a grueling, 13-month world tour with a full band (the Red Stars, led by Wiggy), and a period of forced convalescence after appendicitis, Bragg left Go! Discs in summer 1992, paying back the remainder of his advance in return for all rights to his back catalogue.[28]
Late 1990s and 2000s[edit]
Bragg released the album William Bloke in 1996 after taking time off to help new partner Juliet Wills raise their son Jack. (There is a reference to him in the track "Brickbat": "Now you'll find me with the baby, in the bathroom.")[29] After the ambitious instrumentation of Don't Try This at Home, it was a simpler record, musically, more personal and even spiritual, lyrically (its title a pun on the name of 18th-century English poet William Blake, who is referenced in the song "Upfield").[30]
Around that time, Nora Guthrie (daughter of American folk artist Woody Guthrie) asked Bragg to set some of her father's unrecorded lyrics to music. The result was a collaboration with the band Wilco and Natalie Merchant (with whom Bragg had worked previously). They released the album Mermaid Avenue in 1998,[31] and Mermaid Avenue Vol. II in 2000.[32] The first album was nominated for a Grammy in the Best Contemporary Folk Album category. A third batch, Mermaid Avenue Vol III, and The Complete Sessions followed in 2012 to mark Woody Guthrie's centennial.[33] A rift with Wilco over mixing and sequencing the first album led to Bragg recruiting his own band, The Blokes, to promote the album live. The Blokes included keyboardist Ian McLagan, who had been a member of Bragg's boyhood heroes The Faces. The documentary film Man in the Sand depicts the roles of Nora Guthrie, Bragg, and Wilco in the creation of the Mermaid Avenue albums.[34]
A developing interest in English national identity, driven by the rise of the BNP and his own move from London to rural Dorset in 1999, informed his 2002 album England, Half-English (whose single, "Take Down The Union Jack" put him back on Top of the Pops in the Queen's Golden Jubilee year[35]) and his 2006 book The Progressive Patriot. The book expressed his view that English socialists can reclaim patriotism from the right wing. He draws on Victorian poet Rudyard Kipling for an inclusive sense of Englishness.[36] In 2007 Bragg moved closer to his English folk music roots by joining the WOMAD-inspired collective The Imagined Village, who recorded an album of updated versions of traditional English songs and dances and toured through that autumn.[37]
In December Bragg previewed tracks from his forthcoming album Mr. Love & Justice at a one-off evening of music and conversation to mark his 50th birthday at London's South Bank.[38] The album was released in March 2008, the second Bragg album to be named after a book by Colin MacInnes after England, Half-English.[39][40] The same year, during the NME Awards ceremony, Bragg sang a duet with British solo act Kate Nash. They mixed up two of their greatest hits, Nash playing "Foundations", and Bragg redoing "A New England".[41] Also in 2008, Bragg played a small role in Stuart Bamforth's film A13: Road Movie.[42]
In 2009, Bragg was invited by London's South Bank to write new lyrics for "Ode to Joy", the final movement of Beethoven's Ninth Symphony (original libretto by Friedrich Schiller), since adopted as an international anthem of unity. The London Philharmonic Orchestra performed it at the Royal Festival Hall in front of the Queen and Bragg met her afterwards to earn "brownie points" with his mother, also in attendance.[43]
2010s[edit]
He was involved in the play Pressure Drop at the Wellcome Collection in London in April and May 2010. The production, written by Mick Gorden, and billed as "part play, part gig, part installation", featured new songs by Bragg. He performed during the play with his band, and acted as compere.[44]
Bragg was invited by Michael Eavis to curate the Leftfield stage at Glastonbury Festival in 2010,[45] which he has continued to do in subsequent years.[46] He also took part in the Bush Theatre's 2011 project Sixty-Six Books, where he wrote a piece based upon a book of the King James Bible.[47] Bragg performed a set of the Guthrie songs that he had set to music for Mermaid Avenue during the Hay Literary Festival in June 2012,[48] he also performed the same set on the Friday night of the 2012 Cambridge Folk Festival.[49]
On 18 March 2013, five years after Mr. Love & Justice, Bragg released the studio album Tooth & Nail. Recorded in five days at the home studio of musician/producer Joe Henry in South Pasadena it featured 11 original songs, including one written for the Bush Theatre and a Woody Guthrie cover. Stylistically, it continued to explore genres of Americana and Alternative country, a natural progression since Mermaid Avenue.[50][51] The album was a commercial success, becoming his best charting record since 1991's Don't Try This at Home.[52]
Bragg with Joe Henry at the Union Chapel, Islington.
In February 2014, Bragg started a series of "radio shows" on Spotify, in which he talked listeners through self-curated playlists of "his favourite tracks and artists, and uncovering some little-known musical gems."[53] On 14 April 2014, Bragg put out Live at the Union Chapel, a souvenir album and DVD of a show he played on 5 June 2013 at the Union Chapel in London, featuring songs from Tooth & Nail as well as favourites from his back catalogue.[54]
In February 2016, Bragg was given the Trailblazer Award at the inaugural Americana Music Association UK Awards in London.[55] Following that, in September he was given the Spirit of Americana Free Speech Award at the Americana Music Association US Awards in Nashville.[56]
In August 2016, Bragg released his eleventh album, a collaboration with Joe Henry, Shine a Light: Field Recordings from the Great American Railroad, recorded at various points on a journey between Chicago and Los Angeles by train in March. It reached number 28 in the UK Album Charts[57] and number one in the UK Americana album chart.[58] The pair started a dual Shine a Light tour at the Americana Music Festival in Nashville in September 2016, and taking them across the States and Canada, the United Kingdom and Ireland. In April 2017, they played in Australia.
Faber published Bragg's second nonfiction book (after 2006's The Progressive Patriot), Roots, Radicals and Rockers in June 2016, a history of the British skiffle movement, tracing the form from its 1950s boom back to ragtime, blues, jazz and American folk music. On BBC Music Day 2017, he helped unveil a blue plaque marking the studio (Trident) where the late David Bowie recorded two classic albums and the single Space Oddity, in Soho; he joined album sleeve designer George Underwood and BBC Radio London’s Robert Elms.[59] In November, he released all six tracks from the mini-album Bridges Not Walls as downloads through the Billy Bragg website,[60] followed by the single Full English Brexit through Cooking Vinyl.
In April 2018, Bragg was invited to deliver a Bank of England Flagship Seminar; his presentation was titled Accountability: the Antidote to Authoritarianism. The speech was made available on the Bank of England's website.[61] At the Ivor Novello Awards (the Ivors) in May, he accepted the PRS Outstanding Contribution to British Music award.[62] Also in May, his official biography Still Suitable for Miners was published in a new, 20th anniversary updated edition.[63]
He ended 2018 touring New Zealand and Australia. In Auckland, he road-tested a new live format for 2019 (first tried out in Toronto), One Step Forward, Two Steps Back. The idea was to play three consecutive shows over three nights at each venue: the first night a current, mixed Bragg set; the second from his first three albums; the third from his second three albums. "It’s a way of keeping things interesting," he said.[64] The tour would cover the United States and the UK and Ireland throughout 2019.
In May, Faber and Faber published The Three Dimensions of Freedom, a short polemic by Bragg intended, according to the publisher's blurb, to "protect ourselves from encroaching tyranny." The author urges readers to "look beyond [the] one-dimensional notion of what it means to be free" and "by reconnecting liberty to equality and accountability, restore ... the three dimensions of freedom."[65]
Politics and activism[edit]
For all of Bragg's 30-year-plus recording career he has been involved with grassroots, broadly leftist, political movements, and this is often reflected in his lyrics. He has also recorded and performed cover versions of famous socialist anthems such as "The Internationale" and "The Red Flag". Bragg said in an interview: "I don't mind being labelled a political songwriter. The thing that troubles me is being dismissed as a political songwriter."[66] Bragg has cited the Clash as a strong influence on his politically themed material and activism:
It wasn't so much their lyrics as what they stood for and the actions they took. That became really important to me. Phil Collins might write a song about the homeless, but if he doesn't have the action to go with it he's just exploiting that for a subject. I got that from the Clash, and I try to remain true to that tradition as best I can.[67]
From 1983 to 1997[edit]
Bragg's politics were focused by the Conservative Party's 144-seat majority landslide at the 1983 general election. He told his biographer, "By 1983, the scales had fallen from my eyes."[68] His record label boss Andy Macdonald observed that "his presence onstage took on more of the avenging angel."[69] Bragg was at the forefront of music's influence on the 1984 miners' strike, and played many benefit gigs in towns close to coalfields such as Newport and Sunderland.[70] He also released an EP during this year titled "Between the Wars", which connected struggles of class solidarity to the present issue. This single was his most successful up until this point, reaching number 15 on the charts.[71] The following year, after playing a short Labour Party-sponsored Jobs For Youth tour, he joined other like-minded activists in the public eye to form the musicians' alliance Red Wedge, which promoted Labour's cause – and in turn lobbied the party on youth issues – in the run-up to the 1987 general election,[72] with a national tour in 1986 alongside The Style Council, Jerry Dammers and The Communards.
Bragg travelled twice to the Soviet Union in 1986, the year Mikhail Gorbachev started to promote the policies of perestroika and glasnost. He played a gig in Leningrad, and the Festival of Song in the Struggle for Peace in Kyiv.[73]
On 12 June 1987, the night after Labour lost that year's general election, Bragg appeared on a notable edition of the Channel 4 discussion programme After Dark, alongside David Selbourne, Teresa Gorman and Hilary Hook among others. The Independent wrote "A show called Is Britain Working? brought together victorious Tory MP Teresa Gorman; ...Helen from the Stonehenge Convoy; old colonialist Colonel Hilary Hook... and Adrian, one of the jobless. It was a perfect example of the chemistry you can get. There were unlikely alliances (Bragg and Hook)".[74] Later Gorman "stormed off the set, claiming she had been misled about the nature of the programme"[75] "She told...Bragg: 'You and your kind are finished. We are the future now.'"[76] Bragg said "I sing in smokey rooms every night and I can keep talking for far longer than you can Teresa".[77] Bragg explained later: "She was so smug. And because she was Essex I took it personally. Then she accused me of being a fine example of Thatcherism."[78]
From 2010 to 2014[edit]
In the 2010 general election, Bragg supported the Liberal Democrats because "they've got the best manifesto".[88]
Bragg was also very active in his hometown of Barking as part of Searchlight magazine's Hope not Hate campaign, where the BNP's leader Nick Griffin was standing for election. At one point during the campaign Bragg squared up to BNP London Assembly Member Richard Barnbrook, calling him a "Fascist racist" and saying "when you're gone from this borough, we will rebuild this community". The BNP came third on election day.[89]
In January 2011, news sources reported that 20 to 30 residents of Bragg's Dorset village, Burton Bradstock, had received anonymous letters viciously attacking him and his politics, and urging residents to oppose him in the village. He claimed that a BNP supporter was behind the letters, which argued that Bragg is a hypocrite for advocating socialism while living a wealthy lifestyle, and referred to him as anti-British and pro-immigration.[90]
In July 2011 Bragg joined the growing protests over the News of the World phone hacking affair with the release of his "Never Buy the Sun" single, which references many of the scandal's key points including the Milly Dowler case, police bribes and associated political fallout. It also draws on the 22-year Liverpool boycott of The Sun for their coverage of the Hillsborough disaster.[91]
In October 2011, Bragg joined the Occupy Movement protests in the City of London.[92]
In 2013, despite his scathing criticism of Margaret Thatcher, he urged people not to celebrate the death of the former Conservative Prime Minister:
The death of Margaret Thatcher is nothing more than a salient reminder of how Britain got into the mess that we are in today. Of why ordinary working people are no longer able to earn enough from one job to support a family; of why there is a shortage of decent affordable housing... of why cynicism and greed became the hallmarks of our society. Raising a glass to the death of an infirm old lady changes none of this. The only real antidote to cynicism is activism. Don't celebrate – organise![93]
In 2014, Bragg joined the March in March anti-government protests[94] in Sydney, Australia.
In June 2014, Bragg joined other musicians (including Radiohead's Ed O'Brien) in backing a call for the EU to intervene in a dispute between YouTube and independent labels. According to a BBC News report, the video-streaming site was offering "non-negotiable contracts" to its planned, Spotify-like music-subscription service to labels such as XL Recordings, 4AD, Cooking Vinyl and Domino "accompanied by the threat that music videos they have posted to their YouTube channels will be blocked from site altogether if they do not agree to the terms."[95]
Bragg supports both Scottish and Welsh independence.[96] In 2014, after David Bowie spoke in favour of Scotland remaining part of the UK, Bragg said, "Bowie's intervention encourages people in England to discuss the issues of the independence referendum, and I think English people should be discussing it, so I welcome his intervention."[97] Bragg was a vocal supporter of Scottish independence during the campaign prior to the referendum on 18 September 2014. Bragg wrote an article for the Guardian publication on 16 September, in which he addressed the objections he had previously received from people who conflated Scottish nationalism with the far-right ethos of the BNP. He described the independence campaign as "civic nationalism" and his opinion piece concluded:
Support for Scottish self-determination might not fit neatly into any leftwing pigeonhole, but it does chime with an older progressive tradition that runs deep in English history – a dogged determination to hold the over-mighty to account. If, during the constitutional settlement that will follow the referendum, we in England can rediscover our Roundhead tradition, we might yet counter our historic weakness for ethnic nationalism with an outpouring of civic engagement that creates a fairer society for all.[98]
2015 to present[edit]
Bragg was one of several celebrities who endorsed the parliamentary candidacy of the Green Party's Caroline Lucas at the 2015 general election.[99] In August 2015, Bragg endorsed Jeremy Corbyn's campaign in the Labour Party leadership election. He said: "His [Corbyn's] success so far shows you how bland our politics have become, in the aim of winning those swing voters in middle England the Labour Party has lost touch with its roots. We live in a time of austerity and what you want from that is not more austerity, you want compassion."[100] On an edition of Question Time in October 2015, he said that Corbyn represents a political "urge for change" and that Ed Miliband had failed to win the 2015 general election because Miliband and the party followed "the old way of doing things".[101] In 2016, Bragg, along with numerous other celebrities, toured the UK to support Corbyn's bid to become Prime Minister.[102][103] He also voiced his support for Remain in the 2016 EU referendum.[104]
In August 2016, The Times reported that at the Edinburgh Book Festival, Bragg had said: "I worry about Jeremy that he's a kind of twentieth century Labour man", and that "we need to be reaching out to people". Described as a "previously loyal supporter", who has "lent his support to Mr Corbyn on numerous occasions since he became Labour leader", The Times quoted Bragg: "I don't have a simple answer. My hope is that the party does not split and that we resolve this stalemate". Corbyn at the time was campaigning in an enforced second leadership election in the summer of 2016.[105]
After The Times article appeared, the singer tweeted that he had "joined the long list of people stitched up by the Murdoch papers"[106] and accused the Times of "twisting my words to attack Corbyn", urging "don’t let Murdoch sow discord".[107] The Guardian reproduced a quote from a recording of the event absent from The Times article: "It's a challenge. Labour has fires to fight on different fronts. This would be happening even without Corbyn if any of the other candidates had won last year, these problems would still be there".[106] In August 2016, Bragg also endorsed Jeremy Corbyn's campaign in the Labour Party leadership election.[108]
During the general election campaign in May 2017, Bragg added his signature to a letter published in The Guardian calling for Labour to withdraw its candidates in two constituencies; Brighton Pavilion and the Isle of Wight and potentially allowing the Green Party to defeat the Tories in both, where Labour were running second. The letter was also signed by Labour MP Clive Lewis, former policy chief Jon Cruddas, former shadow children's minister Tulip Siddiq and journalists Paul Mason and Owen Jones. The initiative was shut down by Jeremy Corbyn.[109]
In June 2019, Bragg publicly criticised fellow singer-songwriter Morrissey for his recent political comments and endorsement of a far-right political party, and accused him of dragging the legacy of Johnny Marr and the Smiths "through the dirt".[110]
In November 2019, Bragg endorsed the Labour Party in the 2019 general election.[111]
xmodulo.com/2013/02/how-to-mount-box-com-cloud-storage-on...
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I was out on one of my walks yesterday and did a double-take when I passed by one house. It was a bramble of vines that caught my eye, but soon I saw that the whole small garden- a few feet deep in front of a wide three decker- was "composed" of many small gardens, each made up of arrangements of natural elements. Shells here, rocks there, vines over by the side. There were wind chimes made of shells, altars made of quarry stones, and feathers dangling from branches. It was like a small folk art fairyland, with not a little "outsider art" thrown in.
I'm usually loathe to place a toe on someone else's property when I have a camera in hand, but somehow just knew that the maker wouldn't mind. When I was just about to leave a couple of the residents arrived home and told me the garden was created by the building manager, who is native american. As the weather warms I'll start wandering by more often. This is one interesting guy and I want to meet him! Maybe I was drawn to it somehow by the bit of native blood running in my own veins. I certainly felt some sort of kinship with the designer.
Worth, I think, looking at the original size for the details. My little camera doesn't have very many mega pixels.
Highest I know of on Explore!... #60 on 8.21.08
The feature that really blew me away was the Phone Manager. Just pair the phone and the OS, you can text directly from the laptop. Again, no add-on software.
--
First look at the latest release of Fedora Linux. My first impressions of this release have been excellent. I should be installing it on Marvin in a couple of weeks. As soon as I have tested it for possible issues that I may face with Marvin's hardware, particularly wireless
How to configure a Linux bridge with Network Manager on Ubuntu
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Money Manager Review provides in-depth analysis on hundreds of the nation’s leading private money managers. For free performance rankings call (415) 386-7111.
The Project [R]evolution Digital and Social Media Conference offers a unique opportunity for business, government and media managers to glean insights, ask questions and mix with some of the leading players in the field.
One of the keynote speakers:
Alec Ross
Senior Advisor for Innovation to Secretary of State Hillary Clinton.
Alec Ross serves as Senior Advisor for Innovation in the Office of Secretary of State Hillary Clinton. In this role, Alec is tasked with maximizing the potential of technology in service of America’s diplomatic and development goals.
Before that appointment, Alec worked on the Obama-Biden Presidential Transition Team and served as Convener for Obama for America's Technology, Media & Telecommunications Policy Committee.
In 2000, Alec Ross and three colleagues co-founded One Economy, a global non-profit that uses innovative approaches to deliver the power of technology and information about education, jobs, health care and other vital issues to low-income people. During his eight years at One Economy, it grew from a team of four people working in a basement to the world's largest digital divide organization, with programs on four continents.
Power to every citizen
To me “digital revolution” can be defined as the massive shift in power that has taken place from hierarchies to citizens and networks of citizens as a result of powerful digital technologies.
What this means in practical terms is that everyday citizens have power today that they did not have as recently as five years ago. Anybody with a smart phone now has the kind of global reach that was once reserved for governments and large media companies. This shifting power has disrupted commerce, communication and governance.
I see this “digital revolution” as being overwhelmingly positive. Some of the disruption it has caused (and will cause in the future) is negative, but this has been far outweighed by the ability of people to connect and engage with the world and with the marketplace in ways that were previously unimaginable. I think about my own experience as a school teacher in an impoverished community. When I was a teacher, the only educational resource my students had beyond my own knowledge were a set of tattered, 30-year old textbooks. Today, that same classroom is equipped with an internet connection that can deliver world-class educational resources directly to the students that most need them. While there is no replacement for a good teacher, our students should not have to suffer with out-of-date and substandard educational resources. With the digital revolution, that no longer needs to be the case.
Another Keynote speaker:
Emily Banks
Associate managing editor for Mashable
Emily Banks is responsible for organizing and overseeing Mashable‘s growing editorial operations, including assigning, editing and publishing stories, as well as sharing them to Mashable's social accounts. She is also responsible for coordinating with partners on video and syndicated content. She joined Mashable‘s New York team in October 2010. Mashable is well known as the largest independent news source dedicated to covering digital culture, social media and technology.
Some of Emily’s recent engagements include "Social Media 101" for New York Women in Communications, "The New Face of Social Good: How to Make Your Own Social Media Magic!" and "Challenging Conventional Wisdom of Social Media".
Abstract: Social media and the newsroom: the Revolution of the Newsroom
Without question, social media has changed the pace of news; how and where it breaks and who breaks it. How does this change our trust in media organisations, journalists as individuals and news-makers? As we remove the layer of authority provided by news organisations, by placing the news directly in the hands of journalists on social media, how do -- or should -- our readers approach the news? This talk will discuss tools for verifying news through social media, cases of misinformation caused by the rapid nature of breaking news on social and the ethical questions involved in reporting in this new age.
02 – Charles Clifford and Belle Case Gibbons Residence. 1915 S Oxford Ave. 1903. Frank M Tyler.
This house, designed by Frank M Tyler, is unusual for the neighborhood because it is completely sheathed in shingles, including the front porch columns. It is a Transitional Victorian/Craftsman in the Shingle Style, with Colonial and Tudor touches. It was built for Charles Clifford Gibbons and Belle Case Gibbons, who came to Los Angeles in 1884. Mr. Gibbons worked his way to from stock boy to general manager of Hale’s Dry Goods Store. His employer, Jas M Hale was a relation of San Francisco’s Hale’s Bros. Department Store, the national chain. C C Gibbons died in 1910 after an illness and in 1912 the house was sold to Matt and Mary Conway. Matt Conway made his business in real estate and land speculation. Coincidentally, the third owner, Jon Fukuto, was also a proprietor of a chain of Los Angeles grocery stores call Jonson’s Supermarkets (the name being a play on words, combining “Jon” and “Sons”). In 1945, after being released from the Gila Internment Camp in Arizona, Mr. Fukuto moved his family to Los Angeles where he established the business.
West Adams Heights
“Nowadays we scarcely notice the high stone gates which mark the entrances on Hobart, Harvard, and Oxford streets, south of Washington Boulevard. For one thing, the traffic is too heavy, too swift; and then, again, the gates have been obscured by intrusions of shops and stores. At the base of the stone pillars appears the inscription “West Adams Heights.” There was a time when these entranceways were formidable and haughty, for they marked the ways to one of the first elite residential areas in Los Angeles. . . In the unplanned early-day chaos of Los Angeles, West Adams Heights was obviously something very special, an island in an ocean of bungalows—approachable, but withdrawn and reclusive—one of the few surviving examples of planned urban elegance of the turn of the century.”
- Carey McWilliams, “The Evolution of Sugar Hill,” Script, March, 1949: 30.
Today West Adams Heights is still obviously something special. The past sixty years, however, have not been kind. In 1963 the Santa Monica Freeway cut through the heart of West Adams Heights, dividing the neighborhood, obscuring its continuity. In the 1970’s the city paved over the red brick streets and removed the ornate street lighting. After the neighborhood’s zoning was changed to a higher density, overzealous developers claimed several mansions for apartment buildings. Despite these challenges, however, “The Heights,” as the area was once known, has managed to regain some of its former elegance.
The West Adams Heights tract was laid out in 1902, in what was then a wheat field on the western edge of town. Although the freeway now creates an artificial barrier, the original neighborhood boundaries were Adams Boulevard, La Salle Ave, Washington Boulevard, and Western Avenue. Costly improvements were integrated into the development, such as 75-food wide boulevards (which were some of the first contoured streets not to follow the city grid), lots elevated from the sidewalk, ornate street lighting, and large granite monuments with red-brass electroliers at the entrance to every street. These upgrades increased the lot values, which helped ensure the tract would be an enclave for the elite.
One early real estate ad characterized the neighborhood stating: “West Adams Heights needs no introduction to the public: it is already recognized as being far superior to any other tract. Its high and slightly location, its beautiful view of the city and mountains make t a property unequaled by any other in the city.”
The early residents’ were required to sign a detailed restrictive covenant. This hand-written document required property owners to build a “first-class residence,” of at least two stories, costing no less than two-thousand dollars (at a time when a respectable home could be built for a quarter of that amount, including the land), and built no less than thirty-five feet from the property’s primary boundary. Common in early twentieth century, another clause excluded residents from selling or leasing their properties to non-Caucasians.
By the mid 1930’s, however, most of the restrictions had expired. Between 1938 and 1945 many prominent African-Americans began to make “The Heights” their home. According to Carey McWilliams, West Adams Heights became known “Far and wide as the famous Sugar Hill section of Los Angeles,” and enjoyed a clear preeminence over Washington’s smart Le Droit Park, St. Louis’s Enright Street, West Philadelphia, Chicago’s Westchester, and Harlem’s fabulous Sugar Hill.
West Adams Heights, now also known as Sugar Hill, played a major role in the Civil Rights movement in Los Angeles. In 1938 Norman Houston, president of the Golden State Mutual Life Insurance Company, and an African-American, purchased a home at 2211 South Hobart Boulevard. Legal Action from eight homeowners quickly ensued. During that period, other prominent African-Americans began to make Sugar Hill their home – including actress Hattie McDaniels, dentists John and Vada Summerville, actress Louise Beavers, band leader Johnny Otis, and performers Pearl Baily and Ethel Waters, and many more. On December 6, 1945, the “Sugar Hill Cases” were heard before Judge Thurmond Clark, in LA Superior Court. He made history by become the first judge in America to use the 14th Amendment to disallow the enforcement of covenant race restrictions. The Los Angeles Sentinel quoted Judge Clark: “This court is of the opinion that it is time that [African-Americans] are accorded, without reservations and evasions, the full rights guaranteed them under the 14th Amendment.” Gradually, over the last century people of nearly ever background have made historic West Adams their home.
The northern end of West Adams Heights is now protected as part of the Harvard Heights Historic Preservation Overlay Zone (HPOZ). The Historic West Adams area of Los Angeles (which includes West Adams Heights) boasts the highest concentration of turn-of-the-century homes west of the Mississippi, as well as the highest concentration of National Historic Landmarks, National Register of Historic Places, National Historic Districts, State Historic Landmarks, Los Angeles Cultural-Historic Monuments, and Historic Preservation Overlay Zones in the city. The entirety of West Adams Heights should be nominated as a National Register Historic District, for the quality of homes, the prominence of the architects, notoriety of the people who lived in the neighborhood, and the role it played in civil rights.
Perhaps a quote adapted from a fireplace mantle in the Frederick Rindge mansion best symbolizes the optimism which exists in West Adams: “California Shall be Ours as Long as the Stars Remain.”
I've found this little Gipsy at the local flea market, hiding in the shade, relaxing on an unoccupied booth. His parents, who were nearby, gave me their permission to take a picture of their son.
Spiritos Properties Project Manager Jeff Spiritos accepts the award for "Setting the Stage For Innovation, Engineering and Architecture" at the U.S. Tall Wood Building Prize Competition in New York City, NY on Thursday, Sep. 17, 2015. The U.S. Tall Wood Building Prize Competition is a historic effort to bring tall, sustainable and design-efficient wood buildings to the U.S. The Tall Wood Building Prize Competition seizes upon innovation to promote rural economic development and mitigate climate change and wildfire impacts, while also supporting sustainable forestry. ( L to R standing Agriculture Secretary Tom Vilsack, Softwood Lumber Board (SLB) Chair Mark Brinkmeyer, New York State Department of Agriculture and Markets Commissioner Richard A. Ball, and New York City Buildings Commissioner Rick Chandler). USDA Photo by Lance Cheung.
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Spiritos Properties Project Manager Jeff Spiritos accepts the award for "Setting the Stage For Innovation, Engineering and Architecture" at the U.S. Tall Wood Building Prize Competition in New York City, NY on Thursday, Sep. 17, 2015. The U.S. Tall Wood Building Prize Competition is a historic effort to bring tall, sustainable and design-efficient wood buildings to the U.S. The Tall Wood Building Prize Competition seizes upon innovation to promote rural economic development and mitigate climate change and wildfire impacts, while also supporting sustainable forestry. ( L to R Agriculture Secretary Tom Vilsack, Softwood Lumber Board (SLB) Chair Mark Brinkmeyer, New York State Department of Agriculture and Markets Commissioner Richard A. Ball, and New York City Buildings Commissioner Rick Chandler). USDA Photo by Lance Cheung.
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Schirmer Farms (Batesville) Operations Manager Brandon Schirmer, sprays defoliant on one of the fields at his father's multi-crop 1,014-acre farm, in Batesville, TX, on August 12, 2020. Mr. Schirmer has already contacted the Texas Department of Agriculture to let them know that he will be spraying a defoliant to promote the cotton plant's leaves to drop off and bolls to open in preparation for harvest approximately 14-days later. The plant remains alive and will continue to produce cotton unless the field needs to be replanted for another crop to improve soil health or for economic opportunity. The sprayer vehicle has location and system data that is accessed by a smart-device app. The app allows him to show authorities detailed records of what, where, and how much was sprayed. He uses this historical spray data to improve future harvests. The liquid concentrates are carefully measured and safely poured into the sprayer's mixing system. Once in the cotton fields, the sprayer with its 90-foot-wide spray arms will deliver defoliant to the plants just below the nozzles.
Schirmer Farms operates in consultation with an agronomist for science-based recommendations for all soil, crop, and harvest management.
Brandon Schirmer is the sixth generation of the Schirmer farming family.
USDA Photo by Lance Cheung.
Presentation by Mr. Tiit Riisalo, Campaign Manager of IRL, on the national election campaign 2011 in Estonia
Project Title: Distribution of Solar Lanterns for Village Village Abdul Hakeem Shah, THATTA.
Date Completed: Feb/ 02/2021
Donor: Lodhie Foundation
Implementing Partner: Mr. Ammer Shah In Loving Memory Of Janat BiBi Shah.
Project Manager/Coordinator: Abdul Samad
Project Locations
The Lodhie Foundation initiative brings a “First Ray of Light” to the rural and poor communities and backward areas of Pakistan. Since 2003, this philanthropic initiative has continued to achieve his goal to bring the poorest people of Pakistan opportunities for socio-economic development. The program has been building momentum and successful results since its beginning. The key element is the distribution and maintenance of solar LED lighting systems through the guidance and management of Pervaiz Lodhie Founder Trustee of Lodhie Foundation located in Karachi, Pakistan
Ever since introducing a noble cause of distribution of SOLAR LANTERN ( ROSHNI ) to the needy and poor villagers and families of rural areas in Pakistan under the Donation of Mr. Ammer Shah In loving Memory of Janat BiBi Shah (Mother of Ammer Shah), a team Lodhie Foundation was assigned to visit the Village of Thatta Region to observe and witness the distribution of Solar Lantern ROSHNI to the most needy Village of Village Abdul Hakeem Shah, located near Keenjhar Lake, District Thatta #Sindhof district badin Sindh Region .
As a gesture of goodwill Mr. Ammer Shah Donor of Lodhie Foundation offered a gift of 30 solar powered LED lights to the Village Abdul Hakeem Shah, located near Keenjhar Lake, District Thatta ,Sindh.
Benefits
·Freedom from Darkness — The sunlight fades as early as 6 p.m, leaving the villagers in complete darkness. With solar lantern lighting, they have about an additional five hours of light to add to each day.
·Freedom from Illiteracy — More hours of light means more hours for children to study and get a better education, which is crucial to improving their social-economic future.
·Freedom from Poverty — With solar LED lanterns, the villagers no longer have to pay for expensive kerosene lanterns. Also, with more hours of light, the men and women have additional hours to work, which means more income for each household.
·Freedom from Hunger — More income means more money to better feed each member of the family; a daily concern for villagers.
·Freedom from Disease — Kerosene lanterns give off toxic and dangerous fumes; solar LED lanterns do not. LED lanterns also provide extra visibility, which helps against nighttime hazards.
視覺統籌 Creative Agency：JL DESIGN
創意總監 Creative Director：蔡卓翰 Johan Tsai
專案總監 Head of Project Management：蔡佳穎 ChiaYing Tsai
美術指導 Art Director：洪湘茹 Hsiang Ju Hung
資深製作人 Senior Producer：陳盈如 Yinnu Chen
策略 Strategist：王日暄 Sandy Wang
企劃 Planner：李佳怡 Amber Lee
標誌設計 Logo Design：李宜軒 Yi-Hsuan Li、方智弘 Fang Zhi-Hong
主視覺設計 Key Visual Design：方智弘 Fang Zhi-Hong、李宜軒 Yi-Hsuan Li（StudioPros.work）
應用設計 Application Design：方智弘 Fang Zhi-Hong、徐力煜 Tirion Yu、黃郁惠 Yu-Hui Huang
動態設計 Motion Design：林俊德 Junde Lin
動態元素設計 Icon Animation：Zach Lieberman、鄭淵升（深淵 Ayuan Deep）、廖博豪 Bo-Hao Liao
音樂與聲音設計 Music and Sound Design：海波浪音樂 HyperLung Studio
專案經理 Project Manager：黃婷鈺 Tyne Huang、唐瑋 Tang Wei
專案執行 Project Coordinator：蕭珞旂 Sabrina Hsiao
Standing: Geoffrey Phillips(Coach), Stephen Evans, Thomas Hickie(Club President & Team Manager), Robert Heath, Peter Gannon, Robert Henderson, Joseph Gjested, Stuart Breen, John Stevens, Scott Parsons, Andrew Lamont, Michael coroneos, Desmond Boland, Carey Haris, Brett Parsons,Phil Parbury(Referee), david Lipmann, Gerard Rigby & malcolm McCue
In Front: Anthony Kitamura, Stuart Foote, Rodney Dyson, Craig Baird, Simmo's Dog, Craig Lihou, Karen McGaughey(Manager), Jeff kemp, Mark Higgins, Raymond O'Neill, Janelle Reynolds(Manager), Peter mooney,, Ian Pascoe, Manu Sutherland, Kevin Rheinberger, Brian Heavener(Captain), Achim Schneider, Anthony Coates & Patrick Finegan.
Absent: Harvey Barrett, David Blake, Richard Carmody, Frank Carpenter, Peter Devonish, Desmond Finegan, Thomas Garvan, Russell Harris, David Hawkins, Bevan Kenny, John Lucas, Philip Lyons, Stephen Macey, Patrick & Tim McCarthy, Malcolm Nuttall, Andrew Rigby, Andrew Robinson, Andrew Scott, David Shareef, Serafi Tovio, Wayne Van Spanje, Stephen Williamson & Michael Yates.
Played 18, Won 15, Drew 1, Lost 2
Points For 266, Against 72
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Alan Lindenmoyer, program manager, NASA's Commercial Crew and Cargo Program, left, and, Frank Culbertson, executive vice president, Orbital Sciences Corporation,are seen during a press conference held after the successful launch of the Orbital Sciences Antares rocket, with the Cygnus cargo spacecraft aboard, Wednesday, Sept. 18, 2013, NASA Wallops Flight Facility, Virginia. Cygnus is on its way to rendezvous with the space station. The spacecraft will deliver about 1,300 pounds (589 kilograms) of cargo, including food and clothing, to the Expedition 37 crew. Photo Credit: (NASA/Bill Ingalls)
On Nov. 16-17, 2017, management and employees at NASA’s Goddard Space Flight Center in Greenbelt, Maryland to remember their friend and colleague Craig Tooley, who died in September after a battle with pancreatic cancer. Tooley family members and close friends came to Goddard to see some of the facilities where Tooley had worked during his career and see the mission control rooms that are now managing the operation of his spacecraft on a daily basis. In addition to seeing Goddard facilities, Tooley family and friends went to the control room that manages the Magnetospheric Multiscale (MMS) mission and witnessed that control room being named after Craig Tooley. Family and friends then went to the Goddard recreation center for lunch and a celebration of life event. Finally, given all of NASA Goddard’s Earth science research and science efforts, it was only fitting that the last remembrance activity was a tree planting and placement of a plaque between buildings 5 and 7 on the Greenbelt campus.
Read more: www.nasa.gov/feature/goddard/2017/goddard-remembers-and-h...
Credit: NASA/Goddard/Katy Comber
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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