text:
Thus, the Speaker of the establishment Svetlana Pavlovskaya has made a comment during the broadcast of "Radio Crimea. The Realities" with regard to the statements of the coordinator of the Crimea blockade Lenur Islyamov on the formation of such battalion within the National Guard of Ukraine.
This is nothing more than an insinuation of one individual, who deems himself responsible to make such statements. I can tell you one thing: the National Guard of Ukraine operates within the limits of current legislation.
The Speaker of the National Guard pointed out that there is a place for this initiative but it has to be carried out within the laws of Ukraine.
There are very specific goals, we are talking about armed men here. There is a certain legislative framework, which is defined both by the current legislation of Ukraine and by the international law. We want to become a part of Europe. We are working on improving our current legislation, including the judicial one, and we have to clearly realize that there are certain limits, within which we are operating.
However, the guest of the broadcast Lenur Uslyamov stated that "speakers do not get a vote":
Speakers do not get a vote in this country; they were instructed to say this, so they do.
Let us remind: in December 2015, the coordinator of the Crimea blockade Lenur Islyamov claimed that a Crimean Tatar battalion named after Noman Chelebidzhahin were to be formed. This idea was seconded by Refat Chubarov, the Head of Majlis of the Crimean Tatar People, who noted that the crimeans, who did not wish to serve in Russian army, could join it.


text:
Mukbang Cooks, Chews, and Heals
Welcome to Next Gen sound studies! In the month of November, you will be treated to the future. . . today! In this series, we will share excellent work from undergraduates, along with the pedagogy that inspired them. You'll read voice biographies, check out blog assignments, listen to podcasts, and read detailed histories that will inspire and invigorate. Bet. –JS
Today's post comes from Binghamton University junior David Lee, former student in SO! Editor-in-Chief J. Stoever's English 380W "How We Listen," an introductory, upper-division sound studies course at Binghamton University, with a typical enrollment of 45 students. This assignment asked students to
write one researched, multimedia blog post on our class WordPress in the style of Sounding Out! on a sound studies topic of interest to you (approximately 1500 words). Your post should involve an issue involving power and social identity, use our in-class readings as a springboard and quotes and analyzes at least 2 in the post, relate our course topic at hand to a contemporary event, conversation, or issue and includes evidence of research of that topic (3-5 quotations/links to credible online sources), include audio, visual, and/or audio-visual elements as a key part of your analysis (this can include recordings, still photos, you tube clips, videos, etc.) and follow SO!'s submission guidelines on form, style, tone, and content: (https://soundstudiesblog.com/to-blog-2/).
For the full assignment sheet, click How We Listen_Final Blog Assignment For the grading rubric, click Blog Assignment Grading Rubric (1). For the full Fall 2018 syllabus, click english-380w_how-we-listen_fall-2018
Mukbang is the newest wave in trends for ASMR; it is an online audiovisual broadcast in which the host enjoys his/her food while interacting with the audience. Adopted from Korea, Mukbang's literal translation is a portmanteau—it is a combination of two Korean words: "mukja" (let's eat) and "bangsong" (broadcast). The first time I watched these eating broadcasts was in 2018, before major surgery. Prior to the surgery, I could not eat for twenty-four hours. It came to the point where I was so hungry that I would chew up the meat and spit it out and I would make a mental list of foods that I wanted to eat after the surgery. In an effort to satisfy my hunger, I watched a lot of videos on the Tasty network and stumbled upon Mukbangs. I had heard of the term prior to that day but had never watched the videos myself. The experience could be expressed as an oxymoron: sweet torture. I remember salivating uncontrollably but at the same time watching someone eat began to ease my own stomach.
In recent years Mukbang has blown up on streaming sites like Youtube, and has been met with a subsequent huge audience growth. Mukbang was most notably referenced in the company's Youtube Rewind 2018 video:
Interestingly, Mukbangs have only been considered ASMR once they were adopted by American content creators. According to journalist Matthew Sedacca, viewers explain that they experience what they call a "braingasm", described as a tingling sensation down one's spine from the sounds of cooking and eating. The sizzling sounds of the broth or the slurping sounds of noodles are what is said to relax the listeners. In Touch the Sound, Evelyn Glennie communicates that to hear is to also touch. Likewise, the viewers experience a sensation of touch from the audio and visual elements that the video stimulates. The sounds of food that many associate with tingling, pleasant sensation can also provide viewers with a sense of comfort and reassurance.
In today's busy society, it is hard to have a formal meal with our family and friends, so oftentimes we are found eating alone. Watching Mukbangs can mitigate the feeling of loneliness through the presence of what Steve Connor calls the vocalic body, so while we are eating alone, the presence of another is real and felt. According to Connor, "[t]he principle of the vocalic body is simple. Voices are produced by bodies: but can also themselves produce bodies. The vocalic body is the idea—which can take the form of dream, fantasy, ideal, theological doctrine, or hallucination—of a surrogate or secondary body, a projection of a new way of having or being a body, formed and sustained out of the autonomous operations of the voice" (35). The voice in these videos takes the form of a body sitting next to us, eating and talking to us.
Simply put, viewers are watching another individual enjoy his/her meal, but Mukbangs have a greater social implication. The rise in popularity of Mukbangs coincide with the rapid technological advancements occurring in society and the shift in entertainment focus on streamable content. Eating is a routine and everyday experience, so Mukbangs portray a vital aspect of life where viewers can passively watch while experiencing the sensory feeling that sound evokes. When the host visually and audibly enjoys his/her meal the viewers can feel the presence of a body ,which accounts for the chills down one's spine characteristic of ASMR videos. As this phenomenon demonstrates, sound can lessen feelings of loneliness by bringing the audience a sense of human comfort.
Mukbangs are also helpful to those who have restrictions in their diet. For someone who may be deadly allergic to shellfish, he/she can imagine that experience by watching another person enjoy the dish. While it is not the same as twisting off the claws of a lobster and eating the meat, watching and listening to another person do just that allows the viewer to be a part of that experience. Moreover, a deadly food allergy may keep someone from sharing a communal meal with friends; the sounds of a Mukbang video could recreate that experience. Lastly, and no less important, Mukbangs act in opposition to the unrealistic beauty standards of society; while society's expectations push us to always keep our figure, a Mukbanger's response is to eat senselessly. Therefore, Mukbangs embody our fantasies; we live vicariously through the broadcaster.
Mukbangs have introduced a new format for cooking shows. Rather than emphasizing cheesy background music and eccentric hosts on cable tv, Mukbangs strip all these effects away, so that viewers can truly appreciate the essence of cooking in the kitchen: it's not just about what the dish tastes like in the end, but also the auditory experience. On cooking shows, a lot of the focus ends up on what the plate looks like, or what steps go in what order—it is a visual experience, in general. When it comes to Mukbangs, people watching the videos get to enjoy the relaxing sounds of cooking, and the focus is not on copying the recipe: Sedacca states, "with ASMR it becomes more about the sound than the taste." The alternate format promotes cooking to a larger audience instead of gearing towards stay-at-home moms. Mukbang cooking videos tend to be more of a minimalist everyday perspective rather than displaying cooking as a luxurious commodity. Mukbangs show us that it is no longer about becoming the cook, but appreciating the cooking being done, and the sound adds to the intimacy of the event. With Mukbangs it is as if your mom were cooking in the kitchen.
In doing so, Mukbangs can also advocate for cultural awareness, as viewers are exposed to different foods that the host enjoys. By seeing a host they trust enjoy foreign food, it encourages the viewer to possibly try that food or visit that country in the future. A popular example of this would be when kpop idol Hwasa from group Mamamoo went on a South Korean tv show called I Live Alone and ate gopchang (cattle intestines) at a nearby restaurant. After the video went viral, the Korean BBQ restaurant industry exploded within a day, so much so, that the dish was reportedly sold out in all of Seoul, Korea.
As for me, nowadays I watch Mukbangs when I miss home. Now that I am away at college, many of my meals consist of dining hall food. Where I go to school, Korean restaurants are scarce and do not taste the same as home. There is something about a well-cooked Korean meal that Korean restaurants at school cannot replicate. So, when I am away at college, I often watch Korean Mukbangs to tap into the comfort of home, through sound and images.
Mukbang watchers have an array of audience members; people watch it to lose weight, for ASMR, or simply when they are eating alone. Mukbangs challenge social norms; although it may be rude to slurp spaghetti noodles in public, Mukbang is evidence that some people enjoy those exact sounds. Likewise, as more people begin to live individualistic lives, the eating broadcasts make up for this difference in human interaction. For those trying to lose weight, Mukbangs offer the option of seeing someone "eat their feelings" without you yourself having to overindulge or feel guilt.
More importantly, Mukbang is a relevant example that listening can be a tactile experience: through vibrations and also from sensations through the body. It challenges the listening audience to be present and appreciate the essence of food, and cooking as a sustaining artform. The aforementioned is especially true for cooking shows where the audience listens for the calming sounds that come with cooking instead of listening to what seems like a sales pitch to best copy the recipe. Mukbang makes cooking and, consequently, eating into healing activities instead of something that is reserved solely for those who have the time. Mukbangs are making a social difference by promoting Korean culture, spreading cultural awareness through food, and helping to lessen the feeling of loneliness. While Mukbangs were previously seen as fetishized or weird they are now challenging our preconceived notions on how, what, and with who we should enjoy food.
Featured image: "Korean Food – Korean Kimchi and BBQ Cooking Meat (Creative Commons)" by Flickr user Sous Chef, CC BY 2.0
David Lee is a Korean American Junior at Binghamton University studying Finance and Marketing. In his free time he likes to read, work out, or watch TV. He is an avid fan of Game of Thrones, Rick and Morty, and Got7.
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Everyone's Going to the Rumba: Trap Latino and the Cuban Internet
In "Asesina," Darell opens the track shouting "Everybody go to the discotek," a call for listeners to respond to the catchy beat and come dance. In this series on rap in Spanish and Sound Studies, we're calling you out to the dance floor…and we have plenty to say about it. Your playlist will not sound the same after we're through.
Throughout January, we will explore what Spanish rap has to say on the dance floor, in our cars, and through our headsets. We'll read about Latinx beats in Australian clubs, and about femme sexuality in Cardi B's music. And because no forum on Spanish rap is complete without a mixtape, we'll close out our forum with a free playlist for our readers. Today we start No Pare, Sigue Sigue: Spanish Rap & sound Studies with Michael Levine's essay on Trap cubano and el paquete semanal.
-Liana M. Silva, forum editor
Trap Latino has grown popular in Cuba over the past few years. Listen to the speakers blaring from a young passerby's cellphone on Calle G, or scan through the latest digital edition of el paquete semanal (the weekly package), and you are bound to hear the genre's trademark 808 bass boom in full effect. The style however, is almost entirely absent from state radio, television, and concert venues. To the Cuban state (and many Cubans), the supposed musical and lyrical values expressed in the music are unacceptable for public consumption. Like reggaetón a decade before, the reputation of Trap Latino (and especially the homegrown version, Trap Cubano) intersects with contemporary debates regarding the future of Cuba's national project. For many of its fans however, the style's ability to challenge the narratives of the Cuban state is precisely what makes Trap Latino so appealing.
In an article published last year by Granma (Cuba's official, state-run media source), Havana-based journalist Guillermo Carmona positions Trap Latino artists like Bad Bunny and Bryant Myers as a negative influence on Cuba's youth, claiming the music sneaks its way into the ears of unsuspecting Cuban youth via the illicit channels of Cuba's underground internet. With lyrics that celebrate the drug trade and treat women as "slot machines," coupled with a preponderance of sound effects instead of "music notes," Carmona considers Trap Latino aggressive, dangerous, and perhaps most perniciously of all, irredeemably foreign.
Towards the end of the article, Carmona focuses on his biggest concern: the performance of Trap Latino in public spaces. Carmona writes of those who play Trap from sound systems that "…they use portable speakers and walk through the streets (dangerously), like a baby driving a car. The combat between the bands that narrate some of these songs gestures towards another battlefield: the public sound space." For Carmona, this public battlefield is sonically marked by Trap Latino's encroachment on Cuba's hallowed musical turf. His complaints highlight the fact that this Afro-Latinx style largely exists in Cuba on one side of what Jennifer Lynn Stoever refers to as the sonic color line, an "interpretive and socially constructed practice conditioned by historically contingent and culturally specific value systems riven with power relations" (14).
In Cuba, historically constructed power relations are responsible for much of the public reception of Afro-Cuban popular music, including rumba, timba, and reggaetón. But Trap Latino's growing presence on the digital devices of Cuban youth is reshaping the boundaries of Cuba's sonic color line. While these traperos are generally unable to perform in public (due to strict laws governing uses of Cuba's public spaces) their music is nonetheless found across Havana's urban soundscape, thanks to the illicit, but widespread, distribution of the "Cuban Internet."Historically marginalized Afro-Cuban artists, like Alex Duvall, are today using creative digital strategies to make their music heard in ways that were impossible just a decade ago.
The Cuban Internet
To get around the lack of an internet infrastructure either too costly, or too difficult to access, Cubans have developed a network for trading digital media referred to as "el paquete semanal," contained on terabyte-sized USB memory sticks sold weekly to Cuban residents. These memory sticks contain plenty of content: movies, music, software applications, a "Craiglist"-styled bulletin board of local products for sale, and even an offline social network, among others. The device is traded surreptitiously, presumably without the knowledge of the state.
(There is some question surrounding the degree at which the state is unaware of the paquete trade. Robin Moore, in Music and Revolution, refers to the Cuban government's propensity to selectively enforce certain illegalities as "lowered frequency". Ex-president Raul Castro has publicly referred to the device as a 'necessary evil," suggesting knowledge, and tacit acceptance, of the device's circulation.)
By providing a means for artists to circulate products outside of state-sanctioned channels of distribution, el paquete semanal greatly broadens the range of content available to the Cuban public. The importance of the paquete to Cuba's youth cannot be overstated. According to Havana-based journalist José Raúl Concepción, over 40% of Cuban households consume the paquete on a weekly basis, and over 80% of citizens under the age of 21 consume the paquete daily. A high percentage of the music contained on these devices is not played on the radio or seen in live concerts. For many Cubans, it is only found in the folders contained on these devices. The paquete trade therefore, serves as an invaluable barometer of music trends, especially those of younger people who represent the largest number of consumers of the device.
A listing of folders on el paquete semanal from October 30, 2018.
Alex Duvall
There is a random-access, mix-tape quality to the paquete that encourages consumers to discover music by loading songs onto their cellphones, shuffling the contents, and pressing play (a practice as common in Cuba as it is in the US). This mode of consumption encourages listeners to discover music to which they otherwise would not be exposed. Reggaetón/Trap Latino artist Alex Duvall takes advantage of this organizing structure to promote his work in a unique manner: Duvall packages his reggaetón music separately from his Trap Latino releases. As a solo act, his reggaetón albums position catchy dembow rhythms alongside lyrics and videos that celebrate love of nation, Cuban women, and Havana's historic landmarks. As a Trap Latino artist in the band "Trece," his brand is positioned quite differently. Music videos like Trece's "Mi Estilo de Vida" for instance, contain many of the markers that journalist Guillermo Carmona criticized in the aforementioned article: a range of women wear the band's name on bandanas covering their faces, otherwise leaving the rest of their bodies exposed. US currency floats in mid-air, and lyrics address the pleasures of material comforts amid legally questionable ways of "making it."
Especially as it becomes more and more common for Latinx artists to mix genres freely together in their music (as the catch-all genre format referred to as música urbana shows), it is significant that Alex Duvall prefers to keep these styles separate in his own work. The strategy reveals a musical divide between foreign and domestic elements. Duvall's reggaetón releases emphasize percussive effects, and the Caribbean-based "dembow riddim" that many Cubans would quickly recognize. The synthesized elements in his Trap Latino work however, belong to an aesthetic foreign to historic representations of Cuban music, representing broader circulations of sound that now extend up to the US. Textures and rhythms originating from Atlanta (along with their attendant political and historical baggage) now share space in the sonic palette of a popular Cuban artist.
Going to the Rumba
These cultural circulations complicate narratives coming from the Cuban state that tend to minimize the cultural impact of music originating from the yankui neighbor to the north. These narratives exert powerful political pressure. Because of this, artists are careful when describing their involvement with Trap music. Duvall's digital strategy allows for a degree of freedom in traveling back and forth across the sonic color line, but permits only so much mobility.
In an interview conducted by MiHabanaTV, Duvall distances himself from Trap Latino's reputation, defending his project by appealing to the genre's international popularity, and the need to bring it home to Cuba. But the 2017 song "Hasta La Mañana" documents one of his most concise explanations for his involvement in Trece, in the following lyrics:
|"El tiempo va atando billetes a cien
Pero todos va para la rumba
Entonces yo quiero sumarme tambien."
|Time is tying hundred dollar bills together
Everyone is going to the rumba
And I also want to join.
He uses "rumba" here as shorthand to refer to the subversive actions that people take in order to succeed in difficult situations. Duvall needs to make money. If everyone else gets rich by going to "the rumba," why can't he? The reference is revealing. Rumba marks another Afro-Cuban tradition with a history of marginalized figures engaged in debates over appropriate aural uses of public space. Today, cellphone speakers and boom boxes sound Havana's parks and streets. Historically, Afro-Cuban rumberos made these spaces audible through live performance, but similar issues of race animate both of these moments.
In the essay "Walking," sociologist Lisa Maya Knauer explains that it was not uncommon for police to break up a rumba being performed in the streets or someone's home throughout the twentieth century "on the grounds that it was too disruptive." (153) Knauer states that rumba music is historically associated with "rowdiness, civil disorder, and unbridled sexuality, while simultaneously celebrated as an icon of national identity". (131) The quote also reveals a contrast between the public receptions of rumba and Trap Latino. Duvall's work, and Trap Latino more generally, is similarly fixed amid a complex web of racialized associations. But unlike rumba, refuses to appeal to state-sanctioned ideals of national identity.
Afro-Cuban musicians are often pressured to adopt nationally sanctioned modes of participation in order to acquire official recognition and state funding. The acceptable display of blackness in Cuba's public spaces, especially while performing for the country's growing number of tourists, is a process that anthropologist Marc D. Perry calls the "buenavistization" of Cuba in his work Negro Soy Yo. This phrase refers to the success of popular Son heritage group Buena Vista Social Club, and the revival of Afro-Cuban heritage musical styles that this group and its associated film popularized. Unlike Rumba and Son however, Trap Latino is considered irredeemably foreign (given its roots in both the US city of Atlanta and later, Puerto Rico), therefore presenting difficulties in assimilating the genre to dominant models of Cuban national identity. This tension, I believe, is also responsible for it's success among Cuba's youth.
Trap Cubano's growing appeal stems instead from artists' adoption of a radically counter-cultural positionality often avoided in popular contemporary styles like reggaetón. While it would be unfair to accuse reggaetón as being entirely co-opted (a point musicologist Geoff Baker makes convincingly in "Cuba Rebelión: Underground Music in Havana"), it is certainly true that as reggaetóneros achieve greater success in ever widening circles of international popularity, the amount of scandalized lyrics, eroticized imagery, and the sound of the original dembow riddim itself (with its well documented roots in homophobia and virulent masculinity) has diminished considerably. Trap Latino's sonic subversions fill this gap. While the genre similarly praises the fulfillment of male, material fantasies, it troubles the narrative that increased access to money solves social, racial, and gender imbalances, while sonically acknowledging the role that the US shares in shaping it's musical terrain.
This centering of materialism amid representations of marginalized Afro-Cuban artists is foreign to both historic and touristic representations of Cuba, but relevant to a younger generation increasingly confronted with the pressures of encroaching capitalism. Trap Cubano renders visible (and audible) an emerging culture managing life on the less privileged side of the sonic color line. From the speakers blaring from a young passerby's cellphone on Calle G, to the USB stick plugged in to a blaring sound system, to the rumba where Alex Duvall is headed, Trap Latino broadcasts the concerns of a younger generation challenging what it means to be Cuban in the 21st century, and what that future sounds like.
Involving himself in the music scenes of Brooklyn, N.Y. over the past decade and currently attending The University of North Carolina at Chapel Hill's musicology program, Mike Levine utilizes a dual background in academic research and web-based application technologies to support sustainable local music scenes. His research now takes him to Cuba, where he studies the artists and fans circulating music in this vibrant and fast-changing space via Havana's USB-based, 'people-powered' internet (el paquete semanal) amidst challenging political and economic circumstances.
Featured image: "Hotel Cohiba – Havana, Cuba" by Flickr user Chris Goldberg, CC BY-NC 2.0
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Music Meant to Make You Move: Considering the Aural Kinesthetic– Imani Kai Johnson
SO! Amplifies: Phantom Power
Phantom Power is an aural exploration of the sonic arts and humanities, that launched in March 2018 with Episode 1: Dead Air (John Biguenet and Rodrigo Toscano) Hosted by poet + media artist cris cheek and sound + media scholar Mack Hagood, this podcast explores the sounds and ideas of artists, technologists, producers, composers, ethnographers, historians, cultural scholars, philosophers, and others working in sound. Because Phantom Power is about to kick off its second season on February 1, 2019, we thought we'd dig a little deeper into who they are and who they'd like to reach with their good vibrations.
Funded through a generous grant from the Miami University Humanities Center and The National Endowment for the Humanities, Phantom Power was created with the goal of bringing together three important streams of conversation in the humanities
(1) diverse and interdisciplinary scholarly pursuits, taking place under the umbrella of "sound studies," that analyze and critique the sonic entanglements and practices of human beings;
(2) experimental aesthetic practices that use sound as a medium and inspiration to expand the boundaries of art, music, and poetry;
and (3) the nascent use of podcasting as a mode of scholarship, intra-/interdisciplinary communication, and public outreach.
The public-facing podcast draws on the extensive radio experience of co-host cris cheek, creator of Music of Madagascar, made for BBC Radio 3 in 1994, which won the SONY GOLD AWARD, Specialist Music Program of the Year. In 1998 he made crowding, a three and a half hour live-streamed webcast of largely improvised speech and sound events, commissioned as part of Torkradio from by Junction Multimedia in Cambridge. In 2004, cheek was part of the BBC series Between the Ears, on the subject of speaking in tongues, in conversation with the artist and film-director Steve McQueen, exploring the boundaries of vocal expression with actress Billie Whitelaw, and linguistics professor William Samarin. cheek appears in the first episode talking about the many contradictory experiences of "dead air" in an age of changing media technologies.
Phantom Power also alchemizes the scholarship of co-host Mack Hagood (see Hush: Media and Sonic Self-Control forthcoming in March 2019 from Duke University Press and his 2012 SO! post "Listening to Tinnitus: Roles of Media When Hearing Breaks Down") as well as his audio production background as a musician, producer, and radio DJ—skills he has long incorporated into his scholarship and teaching. At Indiana University, for example, he and his students and won the Indiana Society of Professional Journalists' 2012 Best Radio Use of Sound award for our documentary series "I-69: Sounds and Stories in the Path of a Superhighway." The first episode even featured music by Hagood and by Graeme Gibson, who was touring on drums with Michael Nau and the Mighty Thread at the time. Additional sound is by Cl0v3n.
"We spend a lot of time on the production aspects of this podcast," says Hagood, "because we want it to be a sonic and affective experience, not just an intellectual one. Many of us in sound studies have complained that we always find ourselves writing about sound. Phantom Power is our attempt to treat sound not only as an object of study, but also a means of understanding and feeling sound scholarship. This makes our show very different from most academic podcasts, which are usually lo-fi discussions between scholars about recent books. We love that kind of podcast but we build upon it by using narrative, sound design, and music to tell a compelling story that we hope will appeal to the public and sound specialists alike."
In addition to their exploration of "dead air," Phantom Power's inaugural season included longform interviews with urban scholar Shannon Mattern (Episode 2, "City of Voices"), sound artist Brian House (Episode 3, "Dirty Rat"), Australia-based sound composer, media artist and curator Lawrence English (Episode 4, "On Listening In" ), and with scholar and SO! ed Jennifer Stoever (Episode 5, "Ears Racing"). The final two episodes explored what "the future will sound like" on World Listening Day (July 18th) [Episode 6: Data Streams (Leah Barclay and Teresa Barrozo) and featured Houston's SLAB car culture [Episode 7: Screwed & Chopped (Langston Collin Wilkins)].
"I'm super excited about Season Two," says Hagood. "Our opener stars one of my favorite sound scholars, NYU's Mara Mills. It also uses one of my favorite formats that cris and I have developed, where one of us brings in some crazy sounds for the other to listen and react to, then we gradually develop the backstory to the sounds through our guest's words, eventually landing on the sonic and cultural implications of it all. It's like a fun mystery, where one co-host acts as guide and the other gets to stand in for the listener—reacting, laughing, and questioning."
When Phantom Power returns next month, other new entries will feature cheek's interviews with Charles Hayward of legendary experimental rock band This Heat and poet Caroline Bergvall, whose work has been commissioned by such institutions as MoMA and the Tate Modern. "I interview amazing sound scholars, but I'm a bit star struck by some of the musicians, sound artists, and poets cris interviews!" says Hagood.
You can access Phantom Power and subscribe on a plethora of outlets: itunes, android, stitcher, google podcasts, and/or by email.
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#MMLPQTP Politics: Soccer Chants, Viral Memes, and Argentina's 2018 "Hit of the Summer"
Note: all translations of quotations from linked media are the author's own.
In early March, viewers of the Argentine public television cooking show Cocineros Argentinos were treated to a jaunty bit of live interstitial music as the program returned from a commercial break. In keeping with the day's Italian theme, a small band consisting of an accordion, violin, and sousaphone played a lively but simple minor-key melody in a brisk tarantella rhythm. "Those boys can play anything," one of the hosts remarked approvingly. The other observed, "It's the hit of the summer!"
These sixteen seconds of seemingly innocuous instrumental music on a government-sponsored television program sparked a minor firestorm in the Argentine press. One channel wondered whether they were deliberately "picking a fight with [President] Mauricio Macri," while another categorized the musical selection as "polemic." Social media voices in support of the embattled president called for Cocineros Argentinos to be cancelled. Ultimately, the program's directors apologized to the public for having "bothered or disrespected" their viewers with "ingredients that do not belong in the kitchen."
How could a bit of instrumental, pseudo-Italian kitsch cause such an uproar? Understanding the offense – for the musical selection was indeed intended as an obscene insult to the nation's president – requires a bit of a dive into the history and culture of Argentine politics, protest, and sports fandom. The "hit of the summer" of 2018 in Argentina is not a pop song, but a chant that started in a soccer stadium, and has become a viral sonic meme, multiplying across social media and fragmenting into countless musical iterations. By early March, listeners in Argentina heard a clear meaning in this melodic sequence, and no singer was necessary to hear the words it invoked: Mauricio Macri, you son of a whore.
The melody comes originally from a source that expresses quite a different political sentiment. In 1973, after eighteen years of forced exile, ousted populist president Juan Domingo Perón was allowed to return to Argentina, and was shortly thereafter re-elected president. Perón died in office ten months later and was succeeded by his vice president and third wife Isabelita. Isabelita's reign would soon devolve into an infamously brutal military junta, but in 1973 populist national fervor was running high in the country, and the airwaves were full of catchy, simple patriotic marches:
"Es tiempo de alegrarnos" ("It is time for us to be happy"), by Raúl "Shériko" Fernandez Guzmán, is full of optimism for what Perón's return means for the country. The second stanza celebrates: "I see that my people returns once more to laughter / It's that my country has begun to live again / Pain and sadness are left behind / The days of happiness and bliss have returned."
It's a sentiment that would be difficult to find today in a country where political discourse is polarized and acrimonious. Macri was elected in November 2015 on a platform that was largely about undoing the policies of the decade of Peronist administrations that preceded him (his party itself is called "Cambiemos" [Let's Change]). Since coming to power, Macri's party has pursued a neoliberal agenda that has been increasingly unpopular with the working and middle class. Cuts to state subsidies have made the cost of utilities and mass transit skyrocket, and groups from truck drivers to teachers have organized large-scale protests in response to the austerity measures and budget cuts to the public sector. In response to these increasingly fervent protests, Macri has even authorized violent police repression of crowds. In short, as of the beginning of 2018, he's politically embattled and a target of widespread criticism from a wide range of sectors.
Yet the "hit of the summer" is not merely an ironic repurposing of an old bit of patriotic musical fluff in a time of unrest. In fact, as the phenomenon first went viral, most Argentines were unware of the music's original source, which had been a fleeting fad. Instead, the melody had lived on and been transformed through the great repository of popular musical memory that is Argentine soccer culture.
Soccer fandom in Argentina is a full-throated affair. As Kariann Goldschmitt has observed in the case of Brazil, the soundscape of mass gatherings in the soccer stadium, and the affective charge of crowds experiencing the collective pain of loss or the exultation of victory, is a fundamental ingredient of popular identity in Argentina. But it is not the commercial, mediatized end of what Goldschmitt calls the "sports-industrial complex" that is primarily influential here.
Rather, hinchadas, or fan clubs, pride themselves on being able to sing loudly throughout the match, arms extending in unison, typically accompanied by bombos (bass drums), trumpets, and other loud instruments. Fan clubs pride themselves on the variety and creativity of their cantitos – the 'little songs" that repurpose popular melodies with new lyrics that praise their own side, and insult their opponents' lack of fortitude. Any memorable melody is fair game: for example, fans of Creedence Clearwater Revival's "Bad Moon Rising" might have found the cantito that Argentina embraced during the 2014 World Cup vaguely familiar. In the decades since its release, "Es tiempo de alegrarnos" had been used periodically by the clubs of several teams, in variants whose unifying factor was the use of the obscenity "la puta que te parió" (literally, "the whore that birthed you") for emphasis.
It was San Lorenzo's fans who gave the cantito a new life in politics, during a match against Boca Juniors. The connection between Boca and President Macri was obvious for fans of both teams; Macri began his political career as the president of that team. When San Lorenzo fans felt they had been the victim of biased refereeing, the song began: "Mauricio Macri, la puta que te parió…". All four phrases of the melody repeated the same words.
Unusually for a soccer cantito, the chant was soon picked up by the fans of another team, River Plate, who used it in similar circumstances when facing Macri's Boca Juniors, their archrivals. Even more unusual, though, is the life that the chant has since taken on outside of the soccer stadium, where it is directed at the President not due to his association with his former club, but because of growing discontent with his political career. In the last weeks of February the cantito, now popularly known by its initials as "MMLPQTP" was heard in concert halls, basketball stadiums, and even in a crowded subway station (where, despite fare prices that have risen at eight times the rate of inflation, service remains irregular and delays are common). Journalists covering the phenomenon began to refer to it as "el hit del verano," or "the hit of the summer."
Using the English-language "hit" made clear that the allusion was not merely to the season (February is, of course, summer in the southern hemisphere, and a popular vacation time for Argentines) but to the seasonal nature of pop music consumption. The popular music critic's thinkpiece seeking to define the essence of the summer song, celebrate it or lament its banality is almost as much of a trope as the phenomenon of the hit summer song itself. The sonic zeitgeist of summer 2018, these journalists suggested, could best be defined not with a breezy club banger, but with the hoarse and irate voices of a nation embroiled in an economic crisis that would make idle days at the beach unthinkable for many of its citizens.
There were attempts to curtail the spread of MMLPTQTP: the national referee's association debated suspending future soccer matches if the chant broke out, characterizing it as potentially "discriminatory" speech (some cantitos do traffic in racist, anti-Semitic, and homophobic epithets, and referees have suspended games in the past to control them). In the end, no such suspensions occurred, perhaps because soccer fans and other musicians alike had already realized that the MMLPQTP chant had re-signified its melody so strongly that the lyrics were no longer necessary. One political cartoonist pointed out the referees' conundrum perfectly: "They're not singing the lyrics, sir, just humming the music," the referee observes, asking, "should I suspend [the game] anyway?" Faced with the specter of censorship, Argentines embraced the full expressive potential of non-linguistic sonic signifiers, and the democratic possibilities of virally distributed, user-created content. A sonic meme was born.
The term "meme" was coined by Richard Dawkins, who used it to mean a basic unit of information analogous to a gene, only for information or ideas. I use the term here, though, in keeping with the more contemporary popular usage, to refer to user-generated humorous content – generally captioned images — shared online. Meme sharing sites often provide templates to help users easily generate variations on a theme. In this case, the structural template was a melody and two simple chords (which musicians helpfully transcribed and shared, both in standard Western notation and instructional video formats).
Musicians of all backgrounds flocked to Twitter, Facebook and YouTube to riff on MMLPQTP. In a catalog too long to list in its entirety here, a greatest hits compilation might include solo versions for piano and charango, covers in popular genres from blues to cumbia to metal. Argentines with a strong sense of national identity might prefer tango, but Brazilian-style Carnival samba also made an appearance (playfully invoking the possibility of censorship with Spanish "subtitles" that replace the offending phrase with "la la la"). And thus finally, scandalously, the hit song made its way to national television on a cooking show, where despite its transformation into an Italian-style instrumental ditty, the sting of its insulting words was still clearly heard.
The viral success of instrumental versions of MMLPTQP is a prime example what ethnomusicologist Anne Rasmussen has recently called "the politicization of melody." In music's potential to comprise and thus link simultaneous linguistic and non-linguistic codes lies its ability to render those linguistic codes superfluous. These linkages provide the potential to signify political messages through melody alone, opening up possibilities for protest that are more difficult to prevent through legal means (broadcasters' obscenity clauses, for example), or easier to circumvent through technological means (amplified instruments). It would be easy to overstate the durability or pervasiveness of such linkages, however. One need only look back to that same melody's entirely differently politicized origin, which is today largely forgotten or seen as a curiosity, to imagine that the linkage between the melody to "Es tiempo de alegrarnos" and its current manifestation of partisan abuse might one day fade from popular memory like the one-hit wonders of summers past.
Featured Image: Screencapture from "Monumental MMLPQTP"
Michael S. O'Brien is an assistant professor of music at the College of Charleston. He has been conducting ethnographic field research on music and cultural politics in Argentina since 2003. His article examining the use of thebombocon platillo in Carnival music, soccer fandom, and political culture is forthcoming in the journal Ethnomusicology this fall. He has also published research on protest music in the U.S. in the journal Music and Politics and Smithsonian Folkways Magazine.
REWIND!…If you liked this post, you may also dig:
Heard Any Good Games Recently?: Listening to the Sportscape–Kaj Ahlsved
In Search of Politics Itself, or What We Mean When We Say Music (and Music Writing) is "Too Political"–Elizabeth Newton
Twitchy Ears: A Document of Protest Sound at a Distance–Ben Tausig
The Sounds of Selling Out?: Tom Zé, Coca-Cola, and the Soundtrack to FIFA Brazil 2014–Kariann Goldschmidt

subset: commoncrawl


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Unchecked flow of Nepal tea into India takes toll on Darjeeling variant
Tea Board mulls using blockchain to free Indian tea from adulteration
Tea Board open to holding talks with ITC to sort out trademark issue
Tea consumption growth slowed in 2018 on quality concerns, fewer choices
Industry struggles to up tea prices at auctions as output plays spoilsport
More than two years after facing poor prices owing to quality slippage and loss of key export markets, Darjeeling tea is poised for a rebound this year.
In 2017, following the Gorkhaland agitation for separate statehood, the Darjeeling tea industry was totally shut for the entire prime season and the pruning cycles were destabilised. Pruning is essential to maintain quality of this tea variant. It is because of this quality that Darjeeling tea, commonly referred to as the "Champagne of Teas", commands exorbitant prices globally.
"As the pruning cycle was thrown out of gear, so was the quality and the production as well. This led to a loss of quality which has been affecting prices very badly and they is down by almost 20-25 per cent now. This year, however, we expect prices to rebound," Kaushik Basu, secretary general at Darjeeling Tea Association (DTA) said.
Usually a third of the total bushes in an estate are pruned every year. However, in 2017, after the bandh was called off in winter, some of the estates had opted for full pruning, while others did a 50 per cent clipping of the tea bushes. Some others couldn't even crop a third of their bushes. This upset not only the crop cycle, but also the overall quality and created a serious imbalance in trade.
On top of it, there has been acute labour shortage in the region since the agitation.
"Many workers had migrated to other states or have taken up other jobs owing to which there has been a shortage. It has been affecting some estates", Atul Asthana, managing director at the Goodricke Group said.
Owing to the crisis, some of the larger companies converted their gardens into organic ones which are not as labour intensive as the inorganic ones. In effect, 70 per cent of the 87 estates in Darjeeling are now organic.
Basu said that the upset in the normal crop cycle in 2017 had a prolonged effect which is expected to return to normalcy in 2020.
"As quality improves, prices will also be good", he said.
Although official data from the Tea Board of India is yet to be made available, DTA expects that the total production last year would hover around 8 million kg (mkg), which the industry recorded in 2018.
However, prices have been down by 20-25 per cent and export of Darjeeling tea has fallen by 10-12 per cent.
Sector officials further said that fund availability had also been a problem which had worsened the situation with Darjeeling tea. On one hand, all of the tea estates in the region lost a full-year's revenue in 2017, interest costs and other production costs escalated in 2018. Moreover, last year, the prices had also been muted.
As compared to the usual price range of Rs 320-360 a kilo, Darjeeling tea, in 2019 had been sold at Rs 240-290 a kilo.
According to DTA, subsidiaries worth Rs 50-60 crore is still pending from the Tea board for the sector.
"We haven't got any help either from the Centre, or the state government or the Tea Board and have been recovering on our own," Basu emphasised.
Additionally, unchecked import of Himalayan tea from Nepal, a lookalike of Darjeeling tea, has also been playing spoilsport, bringing down prices.
The first lot of Darjeeling tea is expected to hit the market in mid-March.


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Black Pablo Luxe Floral Top
Trans-seasonal florals are a must! Wear the Black Pablo Luxe Floral Top with the matching Black Pablo Floral Jaspre Skirt or tucked into a pair of leather trousers. This timeless wrap style blouse is a style that works for all body shapes as it has an adjustable tie and can easily be worn dressed up or down. Team with our Black Croc Faux Fur Handle Bag to complete the look.
Composition: Polyester
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Preparing for winter doesn't only involve lawn care and sprinkler preparations. If you want your yard to look gorgeous in the spring, you'll also need to prepare your flowerbeds for the coming winter weather. Nutri-Lawn Ottawa landscape services will help you cultivate your flowerbeds in order to protect them throughout the cold season. Though not all of your flowers will survive to see winter, you can help the survivors prepare for winter dormancy with your Ottawa lawn care. As with any good Ottawa lawn care practices, preparing your flowers takes a combination of Nutri-Lawn Ottawa landscape services and adjustments in your daily at-home routine. Here are tips from the pros at Nutri-Lawn Ottawa to help you find the perfect combination.
Clean up your flowers
Before anything else, make sure you clean up your flowers. Trim off the blackened stems and leaves from any perennial flowers that are in your garden. Remove any of the dead foliage from the plants themselves or from the ground. Dead stems that are still on the plants will sap the energy and nutrients from the living plants. If you don't remove the dead areas, your plants are at risk of diseases.
It's also important to remove the stems from perennials as well, as there may be fungi spores or insect eggs on the foliage.
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To keep your plants from being damaged over the winter months, make sure to reapply mulch to your flowerbeds to balance out temperatures. You'll need a bit of a heavier layer if you want to protect your flowers in the cold season with Nutri-Lawn Ottawa landscape services. Organic mulch is best to use so that it can decompose during the Great Defrost in spring.
As mentioned, mulch maintains the temperature of the soil. You don't want the soil to get too hot – if it freezes, let it stay frozen. Heavy fluctuations in the temperature of your soil can damage the plants as well.
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If you want to protect evergreens or new saplings, then a burlap screen will be your best friend. Wrap your screens around the trees to shield your plants from adverse weather or wind chill.
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Citrus fruits and almonds from Spain are expertly balanced with West African nutmeg and several exotic spices from the Orient.
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|Pink 47
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PINK 47 gin is distilled 4 times, the first 3 distillations are to produce the highest possible quality of alcohol that exceeds the requirements of the EU Spirit Regulations for London Gin.
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And, yes, some people even chatted about dating and sex no shame in that
Along with key review factors, this compensation may impact how and where products appear across the site including, for example, the order in which they appear. That it's too private, hidden and secretive? I was raised by evangelical parents, went to Christian school pre-K to 9th grade, went to evangelical churches.
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She met a man who was all about God, until they got back to her house. If they want to shag around in their marriage, they should have got a partner that is happy to let other people in. Many comments on here would indicate that it hasn't. Even if you post real pictures of yourself in your profile, people can look different in person.
Reason 6: Looks Shall Always Triumph Over Personality Online dating tends to favour people who are attractive even if they have very little to offer in the way of personality or character. Everyone is happy to discuss sex, sex positions, porn, how many they had in the last week, but emotional vulnerability — watch them clam up!


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Love Beams is a 2 hour monthly excursion with Setwun through all that is free, freaky and funky. Soul music in all its extensions and expressions from past, present and emerging artists from across the cosmos.
Nomad Radio is an independent, community run internet radio station in the inner-west of Sydney. Aiming to provide a platform for artists to share their content on a global platform. If you'd like to contact us to get involved, submit an idea for a show, or get participate in any other way, you can contact us at [email protected]
Nomad Radio would like acknowledge that we operate on stolen land, sovereignty was never ceded. We acknowledge the traditional custodians of this land, the Gadigal people of the Eora nation, and their Elders past, present, and emerging.


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Jun 12, 2012 · Game credits for Lollipop Chainsaw (PlayStation 3) database containing game description & game shots, cover art, credits, groups, press, forums, reviews and more.
Jun 24, 2012 · Lollipop Chainsaw plays like your standard hack 'n slash, and is really easy to get a hang of. However, like many other hns', it takes a lot of skill to master this game. Juliet is a rather agile person (cheerleader – hello!), and can easily evade most zombie attacks.
Coming from the mind of Suda 51, Lollipop Chainsaw is pretty much confirmed to be an over. and if you're a PowerUp Rewards memeber you'll also get access to the Jimmy Urine skin – modeled after.
Mindless Self Indulgence front man Jimmy Euringer, codename Little Jimmy Urine, has composed all the battle music in Lollipop Chainsaw, as well as voicing the character Zed, one of the bosses in the.
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Urine is also a composer for the video game Lollipop Chainsaw, where he also voices the character Zed. Urine and Serj Tankian were announced to be collaborating on an album titled Fuktronic but as of 2018, it has yet to be released. In 2018, Urine announced the release of a self-titled record for October 2018 under his surname, Euringer.
Download all songs at once: Song Name Download Size 3. Review length has to be at least 100 lollipop chainsaw ost. I'm lollipop chainsaw ost stupid cooze, the other version uploaded was missing the last part of the track, so here's the full track. Lollipop Chainsaw soundtrack can be found here: Soundtrack lollilop not belong to me. Lollipop.
Lollipop Chainsaw, an action game from No More Heroes creator Suda51 and his company Grasshopper Manufacture, is about a cheerleader who fights zombies with the head of her boyfriend (who wisecracks the time in Suda51 fashion) at her hip and a chainsaw in her hand. The game is a light pop confection combining action and humor, and the for the.
Lollipop Chainsaw features music from Jimmy Urine of Mindless Self Indulgence fame, with input on characterisation and story handled by filmmaker James Gunn. Tara Strong provides the voice talent for.
A teaser of Mindless Self Indulgence frontman Jimmy Urine's music for the upcoming video game "Lollipop Chainsaw" has hit the net. You can check out "Zed's Theme" in the video below. Meanwhile, Urine will also voice the boss character featured in the video, Zed. The game itself is tentatively expected to arrive on the Xbox 360 and Playstation 3 on April 01st.
The press release announcing pre-order costumes for Lollipop Chainsaw jokes that "Juliet won't be in her. Additionally, GameStop PowerUp Rewards members will get a costume of Jimmy Urine, lead.
North American gamers who pre-order Lollipop Chainsaw will get exclusive bonuses. GameStop PowerUp Rewards members will also get a skin based on Jimmy Urine from the band Mindless Self Indulgence.
Jun 20, 2012 · Speaking of Jimmy Urine, Urine also collaborated with Akira Yamaoka to write some of the music for Lollipop Chainsaw. Urine's influence on the boss music is loud and clear, and Yamaoka compliments it with the surrounding background tracks. The synergy between the two definitely helps propel the game, and sets the mood for the stages.
Lollipop Chainsaw's star-studded voice cast has been announced. The Walking Dead's Michael Rooker and Mindless Self Indulgence singer Jimmy Urine will voice the colourful villains Vikke and Zed. In.
Urine is also a composer for the video game Lollipop Chainsaw, where he also voices the character Zed. Urine and Serj Tankian were announced to be collaborating on an album titled Fuktronic but as of 2017, it has yet to be released. Remixes. Urine has done remixes for Grimes, Deep Forest, KoRn, Serj Tankian, Insane in the Brain, and Serart.
Lollipop Chainsaw has been given a new trailer by Warner Bros Interactive. The Walking Dead's Michael Rooker and Mindless Self Indulgence singer Jimmy Urine also make an appearance as colourful.
For Lollipop Chainsaw on the PlayStation 3, a GameFAQs message board topic titled "whats that song thats at prologue load screen".
Jun 12, 2012 · Satisfy Your Sweet Tooth with New Lollipop Chainsaw Launch Trailer. in this mix of grindhouse style and humor is the collaborative music by acclaimed video game composer Akira Yamaoka and Jimmy.
Jun 21, 2012 · Lollipop Chainsaw is a game that knows from the beginning exactly what it is. The story receives little to no setup, leaving you scratching your head right off the bat as to what's going on, but.
Both Little Jimmy Urine of Mindless Self Indulgence and Akira Yamaoka's influences are felt without clashing. But there's a very rough thread that's also tightly woven into Lollipop Chainsaw, evident.
Jansville Wi News Chainsaws Stolden Landscaping With Rocks And Boulders To practice how InSight will place its instruments, JPL engineers built a Martian rock garden modeled on images from the. About 70 feet (21 meters) from the lander lies a field of small boulders. San Jacinto Materials and Krisch Construction Co. offers Stone and Rock: Limestone, Sandstone, Landscaping Hardscape and
All good and well, but the true standout feature in Lollypop Chainsaw is the music, composed punk-rock tunes. Jimmy Urine, vocalist of. such as the timeless classic Lollipop by The Chordettes. A.
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I've always wanted a bedazzled chainsaw. What would you do if the goth. mode, was set to "Mickey" by Tony Basil. The songs are a mix of licensed music and original tunes by Jimmy Urine of the band.
The last time we saw anything from Grasshopper Studios' Lollipop Chainsaw, it was a video detailing. Grasshopper has brought aboard Jimmy Euringer (a.k.a. Little Jimmy Urine) to compose the game's.
Jun 20, 2012 · Review: Lollipop Chainsaw. Speaking of Jimmy Urine, Urine also collaborated with Akira Yamaoka to write some of the music for Lollipop Chainsaw. Urine's influence on the boss music is loud and clear, and Yamaoka compliments it with the surrounding background tracks. The synergy between the two definitely helps propel the game,
The mind of Suda51 has brought us some absolutely mental games and Lollipop Chainsaw looks no different. The last piece of the puzzle is Jimmy Urine from the band Mindless Self Indulgence who plays.
Lollipop Chainsaw. set of lungs on rocker Jimmy Urine from the band Mindless Self Indulgence. On top of contributing to the game's soundtrack, Jimmy lends his voice talent to the deranged Zed.
Composer Akira Yamaoka has recruited a number of artists for the soundtrack to Lollipop Chainsaw, Grasshopper Manufacture's upcoming endeavor. Jimmy Urine, lead singer of the band Mindless Self.
May 17, 2012 · Devil May Cry 5 – Character Spotlight (Brought to you by Capcom) Devil May Cry 5's trio of playable anti-heroes offer three very diverse methods of bringing down the underworld's nastiest.
Bonus for GameStop PowerUp Rewards members – Get insane with Jimmy Urine from Mindless Self Indulgence. For more information on the game, check out the official Lollipop Chainsaw website.
The OFFICIAL YouTube source for all things Mindless Self Indulgence — be sure to subscribe for news on the upcoming MSI music videos, and exclusives!. Lollipop Chainsaw- Behind The Scenes Interview w/Little Jimmy Urine and Akira Yamaoka – Duration:. Jimmy Urine Available On Betamax (The Secret Cinematic Sounds of Jimmy Urine) – Duration:.
The entire premise of Lollipop Chainsaw is absolutely nonsensical. soundtrack (composed by Akira Yamaoka and Mindless Self Indulgence front man Jimmy Urine) blasts alongside protagonist Juliet's.
Grasshopper Manufacture is at it again, and this year Suda51's latest twisted experience comes in the form of a chainsaw-wielding cheerleader. If Lollipop Chainsaw has. you'll also get Jimmy Urine.


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Pushback Against Privatization Across the Country. The decades-long effort to privatize public services and assets is hitting some bumps, with state and local governments reconsidering whether for-profit companies should be allowed to indiscriminately profit off of taxpayer dollars with limited accountability. In New Jersey, legislation to ensure that public services won't be privatized unless it will result in actual savings for taxpayers has passed both chambers of the legislature. In Texas, a bipartisan coalition is fighting against a private prison in Montgomery County, and Kentucky is rejecting private prisons altogether. And in Fresno, California, voters rejected a proposal backed by the city's popular mayor to privatize trash collection services. Common Dreams
A Theory: De-privatize military industries to help achieve peace. Nationalize all the military industries, and under government control achieve astronomical savings for the taxpayers while reducing the continuing TENDENCY to "find another war, start another war, wish for another war, pretend there is a war and give us more trillions in profits" syndrome that is basic to privately owned war industries. Ask Harry Truman. Ask Dwight Eisenhower. And other sound thinkers about the Military Industrial Complex. Daily Koz
WI: Sale of state property raises controversies in other states. Gov. Scott Walker will have new power to sell state heating plants, highways and other properties, but privatization deals in other states have ranged widely in popularity and success….The provision in the state budget is wide enough to allow for the sale of the state Capitol, as Democrats have noted, but Walker said such sales, or ones for campus dormitories, are not under consideration. Milwaukee Journal Sentinel
PA: Liquor Privatization Debate Continues. The main Pennsylvania state budget bill became law with Gov. Tom Corbett's signature on Sunday night, as he acknowledged that the wider agenda he had sought with it of overhauling public employee pension systems, privatizing wine and liquor sales and increasing transportation funding has stalled until the fall. NBC 10 Philadelphia
PA: Backdoor attempt to outsource Pennsylvania Lottery's management fizzles. An effort to include language in a budget-related bill granting authority to the secretary of the Department of Revenue to privatize certain aspects of the lottery has proved to be a losing ticket. House Republican spokesman Steve Miskin said on Saturday night the idea was being explored by a lobbyist for a firm seeking to get a private management deal. Patriot-News
OH: Ohio to Privatize Prison Foodservice. The Ohio Department of Rehabilitation and Corrections will privatize its food service for the state's 50,000-plus prisoners beginning in the fall. The state agency on Friday selected Aramark Corp., a Philadelphia-based company to serve meals three-times-a-day at its adult facilities. The two-year deal is worth $110 million, with the option for two, two year extensions, according to the Ohio Department of Administrative Services. Cleveland Plain Dealer
IL: Tollway says new system will improve customer service, violation processing. The Illinois State Toll Highway Authority board approved a $44 million contract with a Chicago-based company to build a new customer service and toll violation processing system that could offer those features, officials said…. Scheduled to be in place by 2015, the system will improve how transactions from the Tollway's 1.4 million daily drivers are processed and help eliminate violation errors, said Shana Whitehead, the Tollway's chief of business systems. The six-year contract is with the Chicago-based management consulting and technology services firm Accenture. Chicago Tribune
WA: Districts split over charter schools. Washington voters have decided they want to add charter schools to the education mix in the state, and the three largest districts are taking different approaches to the question: What should charter schools mean to our community? Seattle has decided to basically ignore the question for now; Tacoma is still learning and exploring; and Spokane has jumped in with both feet. The Seattle Times
MI: Democrats want investigation into quality of care for veterans after privatization. House Democrats say quality of care for veterans at a state-run home in Grand Rapids has suffered since nursing aides were privatized this spring. Michigan Radio
FL: Governor signs public-private partnership measure. Gov. Rick Scott has signed a measure into law despite a veto request from a Florida League of Cities official, who argued that it favored private developers' interests over those of taxpayers.,,,The measure's sponsor, state Rep. Greg Steube, R-Bradenton, defended it Friday, saying that it simply creates guidelines for cities and counties and other governmental entities to use in drawing up financial arrangements for partnerships between public and private bodies….The league contended it would eliminate the necessary flexibility to negotiate and contract with private entities, adding, "The public-private framework required under the bill is specificallydesigned to benefit private entities at the expense of Florida's taxpayers."Bradenton Herald
FL: Editorial: Dangers of privatizing work-release. Finally, residents in a Largo neighborhood can sleep a little easier. Florida's decision Friday to close a work-release center run by Goodwill Industries-Suncoast took longer than it should have taken. But it came less than 24 hours after Pinellas Sheriff Bob Gualtieri provided evidence that little had changed there despite nine months of high-profile scrutiny and legislative action. The entire episode should give state Republican leaders pause about the continued push to put more corrections operations in private hands and how those facilities operate. Public safety, including rehabilitation for soon-to-be-released prisoners, is more important than saving a few dollars. Tampabay.com
CA: Editorial: Will UC march down path of privatization? It should be remembered that taxpayer dollars helped build institutions such as the Anderson school. Continued public support helps ensure the school remains focused on service to California, as opposed to service to alumni and corporations that contribute to the school. It would be a vote of confidence in the state for the UC to hold back on further moves towards privatization. It also should reassess some of the revenue-generating moves it made during tight times, such aggressive recruitment of foreign students willing to pay out-of-state tuition. Sacramento Bee


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SIDN acts as intermediary in the transfer of DNSSEC-enabled domains
Autumn 2012
At present, the security of a DNSSEC-enabled .nl domain has to be disabled before it can be transferred from one registrar to another. That will soon cease to be an option: the security of a transferred domain will always have to remain effective while a transfer is in progress. Technically speaking, continuous security is perfectly viable, but it will require administrative coordination between the releasing registrar and the receiving registrar. The plan is for the .nl domain's operator, SIDN, to act as a portal for communication between registrars.
Technically speaking, the transfer of DNSSEC-enabled domains is perfectly viable, but it will require administrative coordination between the releasing registrar and the receiving registrar. At the moment, there are two methods in circulation <> for transferring a domain from one DNS operator to another: the IETF method and the ICANN method. However, the IETF method, devised by SIDN, is expected to prove to be the only workable solution for automated transfers.
Standard method
Antoin Verschuren, Technical Advisor at SIDN and inventor of the IETF method, has come up with a list of reasons why the solution will become the standard:
Very little is required of the releasing DNS operator, and the actions that are required can be automated.
The receiving registrar is in control.
With the ICANN method, the zone information has to be copied in its entirety, e.g. via AXFR. The necessary data could be transferred via other channels, e.g. the registrant. However, regardless of the channel used, the ICANN method involves more information being transferred between the registrars than the IETF method does.
The ICANN method doesn't allow the signatures to expire while the transfer is in progress. However, in practice, it is difficult to set things up in a way that ensures the signatures won't expire during transfer. All you can do is wait and see whether things go wrong.
With the ICANN method, the releasing operator has to set a very short TTL for the NS set prior to the transfer in order to minimise caching. That results in more look-ups and therefore more DNS traffic. Furthermore, short TTLs make the DNS vulnerable to trivial errors.
No matter how short the TTL is, the domain name will briefly be 'bogus' while the NS set is being changed over. Its bogus status will last for at least a few seconds. That may not be disastrous, but it does mean that the ICANN method doesn't formally meet the requirement that security should be effective throughout the transfer.
Guiding principles
When developing our solution for the problem of secure transfers, we focused mainly on what would be workable for registrars and the entire chain of registry, registrar, reseller, registrant and DNS operator,
My experience as a registrar for various registries meant that I had a good idea of what would and wouldn't work.
says Verschuren.
Key assumptions:
There is no direct and secure communication channel that all operators can access; SIDN should therefore act as an intermediary.
Private keys must not be exchanged.
The amount of information exchanged should be minimised.
Everything should be automatable in order to secure the cooperation of releasing operators.
Crucially, a registrant's freedom to choose a registrar must be preserved so that market forces remain effective. The receiving registrar or receiving operator must remain in control of the process, therefore. It mustn't be possible to hold a domain name hostage, which would have been a risk if the releasing operator's active cooperation had been required.
SIDN wishes to facilitate a process, rather than impose one. Registrars can then decide whether they want to use that process.
Relay system for ZSKs
The DRS (Domain Registration System) could be modified to support a new ZSK being made available to the old registrar,
The old registrar could then add the ZSK to the zone, or forward it to the DNS operator, if that's a different organisation.
says Sebastiaan Assink, Operations Manager at internet hosting provider Oxilion.
We'll facilitate secure transfers by adapting the existing secure administrative channel to enable keys to be exchanged between DNS operators and registrars,
We won't do anything with the ZSKs ourselves, we'll just make sure that they reach the releasing registrars via our secure registration environment.
SIDN has now started work on the development of just such a relay system for ZSKs. says Verschuren.
In a secure transfer, the receiving registrar has to give the new ZSK to the releasing DNS operator. To make that possible, we plan to add a new command to the EPP (Extensible Provisioning Protocol). The procedure will involve a series of further steps -- transfer, add DNSKEY, NS change, and delete old DNSKEY -- with a pause between each step and the next. The registrar will be able to define the length of each pause or look it up using the DNS. SIDN won't be imposing any timers of its own.
The releasing registrar will get the forwarded ZSK and associated domain name from SIDN via the EPP queue, and will know that the transfer has been authorised with a transfer token. If the releasing registrar isn't also the releasing operator, the registrar will pass the key on to the operator. The only thing that the releasing operator has to do is add the ZSK to the zone and re-sign it.
The releasing operator decides the validity period of its DNSKEY records,
The transfer procedure will involve the old operator adding the new ZSK to the zone and signing it with their own KSK. However, you don't want to change the name servers for a domain until you're sure that the old DNSKEY set has expired and everyone can use the new ZSK for validation. If the old operator were to set a very long TTL (say, a week), you would have to wait a week between adding the new DS record and changing the name servers.
One issue that will need attention is the possibility of the releasing DNS operator setting an excessive TTL for the DNSKEY. explains Assink.
At a certain stage in the transfer process, the waiting time will indeed depend on the TTL of a record in the releasing operator's zone,
That TTL has to expire before the next step in the process is taken. There's a possibility of an uncooperative operator setting a high TTL value in order to delay the transfer. That would clearly frustrate the process. You can think of it as a sort of kidnapping, which is something want to prevent, of course.
confirms Verschuren.
SIDN already applies a set of technical requirements, which include acceptable values for crucial TTLs. The intention is to add acceptable TTLs for DNSKEY records. We've previously been fairly relaxed about monitoring compliance with the technical requirements, so you do occasionally come across DNS operators who use anomalous TTLs. However, any operator that continues to do that will encounter problems sooner or later. Their market reputation will be damaged and they'll lose customers. We therefore think it's important that the receiving registrar is in control of the transfer process. So the receiving registrar will always have the option of suggesting to the registrant that they fall back on the insecure transfer procedure, or use another method, and pinning the blame on the releasing operator.
Internet Draft
For the transfer, I simulated only the secure administrative channel. Any existing registrar can do the same thing. However, few important domains are currently being transferred, so all transfers are insecure, or result in validation errors.
Verschuren has already transferred the domain sidnlabs.nl to demonstrate that secure transfers are possible and what's involved.
With .nl domains, it's currently normal for DNSSEC security to be suspended prior to transfer,
For the moment, that's acceptable; it's better than a period of bogus status (DNSSEC error status). That won't be the case for long, however. An insecure transfer won't be an option; all transferred domains will have to remain secure. However, with some TLD operators (including the operator of Sweden's .se domain), transfers using the IETF method aren't even possible. In those cases, the advice is actually to suspend security.
Assink adds.
It currently has 'individual submission' status. In other words, formal approval hasn't yet been requested from the IETF DNSOP Working Group, so it isn't yet clear whether the document will be supported by the group. That's going to happen soon, though. The intention is to request 'Informational' status, implying that the document won't become a protocol standard. It'll simply be a description of how you should go about a secure transfer. A new internet protocol isn't required for that. Everything is already in place, it's just a question of the sequence in which things should be done.
With regard to the IETF method itself, Verschuren points out that the current Internet Draft has now expired and is awaiting republication.
Active role
Following the Lunch & Learn meeting <> where the transfer issue was discussed at length, there were no new developments within the registrar community or the Technical Committee,
After an internal evaluation, we've revised our processes here at Oxilion, so that we're compatible with the IETF method for both the .nl domain and other TLDs. The transfer of secure domains will also be on the Technical Committee agenda.
Assink points out.
Internationally, a lot of eyes are on SIDN where DNSSEC is concerned. SIDN has to take advantage of that, by seeking interaction with the registrars and DNS operators in the field, and by sharing the feedback obtained with other registries. It would also be really good if they could organise and facilitate training and workshops for registrars and operators.
Assink also expects the Dutch operator to play an active role.
Assink's wishes in that regard look like being fulfilled: at the annual Contact Day on Thursday 29 November in Utrecht, Verschuren will be making a presentation on the transfer of DNSSEC-enabled domains.


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For adults who suffer from spinal cord injury, the quality of life can be significantly reduced, often leading to increased dependence upon others. While many spinal cord injuries are the result of a work accident or an automobile accident, there are some that are attributed to falls at home or other traumatic events.
If you suffer from a spinal cord injury that has resulted in complete paralysis, your dependence upon others for care will be quite significant. Even with the best support and care, the treatment and management of spinal cord injuries is an evolving healthcare process that will forever result in changes to your life. Because issues such as muscle atrophy are of significant concern to healthcare professionals, many of your treatments for spinal cord injury will revolve around your lower extremity muscle integrity, even when there is no present cure for your paralysis.
Loss of muscle integrity, as a result of a spinal cord injury, can lead to many other health complications. Because your skeletal system requires support, the loss of muscles can impose damage to your bones and even compromise your health tissue. One of the areas of primary concern will be the gluteal muscles. As muscle atrophy of the gluteal region sets in, your pelvic and buttocks region may be at risk for developing pressure sores from extended periods of sitting.
In addition to the complications with muscle atrophy, the blood flow to the lower extremities is also often impaired by total paralysis and spinal cord injury. With decreases in the loading conditions of your lower extremity vessels, it is not uncommon for your capillary networks to become compromised, leading to further circulatory complications. Without proper blood flow to the muscles, further cardiovascular complications ensue.
If you are suffering from a spinal cord injury that has resulted in partial or total paralysis, it is important to understand the degree to which you need to maintain lower extremity muscle integrity. If you feel rather unmotivated in pursuing lower extremity muscle integrity exercises, you are not alone. With pressure sores at extremely high rates, many patients, with paralysis, are unmotivated to maintain lower extremity integrity. As a result, healthcare professionals are looking for alternative methods for patients.
The use of a device known as a NMES, neuromuscular electrical stimulator, provides for a significant opportunity to engage in muscle integrity exercises without much effort. With surgically implanted electrodes, you can control the stimulation of muscle innervations and promote the health of your lower extremity muscle groups. While the cost for this type of surgery is quite expensive, it may promote your long term health and reduce the risks for pressure sore treatments.
As with any spinal cord complication, it is important to comply with all treatment recommendations. While some spinal cord injuries result in permanent paralysis, there are some that lead to temporary or partial paralysis. Without regard to the type of paralysis, however, the issues involving abnormal tissue health, and the development of pressure sores, are a concern. Ask your physician about the placement of the NMES unit to maximize your lower extremity muscle integrity.


text:
Follow-up Care
After surgery, your safe care is required!
Grand Plastic Surgery has managed keeps your beauty through 'self-care program'.
Swelling care with applying an ice pack
Applying an ice pack
- Applying an ice pack makes a pain easier and subsides swelling easier by contraction of the blood vessels.
A timely manner
- Between the 2nd and the 3rd day after surgery, the effect of applying an ice pack is the best.
- After that, applying a hot pack is better. Applying an ice pack is less effective after 2 or 3 weeks.
- There are several kinds of an ice pack (provision from a hospital, purchase from a pharmacy, or homemade).
- Grand plastic surgery provides our patients a pack which is all available by an ice pack and a hot pack.
- When a frozen ice pack is melted a little, use the ice pack after rubbing its frozen part gently.
- Wrap an ice pack in a handkerchief.
- If you put a frozen pack on your surgical region directly, you could suffer from frostbite.
- Apply an ice pack on the forehead, between the eyes, around the cheeks with a wrapped ice pack.
- Do ont apply an ice pack over 3 minutes continuously.
- Repeat to take a break for 10 minutes and apply an ice pack for 3-7 minutes again, being careful to being dry your surgical region.
- If you have a poor sense due to an apoplexy or nerve damage, you must keep the exact time strictly.
Swelling care with applying an hot pack
Applying a hot pack
- Applying a hot pack plays a role in reducing the bruise because it is effective to increase the amount of the blood circulation which moves wastes in the body quickly.
A timely manner
- From the 3rd day after surhery, apply an ice pack and a hoe pack alternately.
- From the 5th day after surgery, apply a hot pack only.
- Dip a pack in the hot water for 10 minutes or so, or heat up a pack in the microwave, and use.
- Have a care when using the microwave, there can be a burst of a pack by long time heating.
- Wrap a heated pack in a handkerchief.
- Check its temperature with your hands.
- Apply a hot pack on the forehead, areoud the cheeks with a wrapped hot pack.
- If you put a hot pack on your surgical region directly, you could suffer burns.
- Do not apply an ice pack over 3 minutes comtinuously.
- Repeay to take a break for 10 minutes and apply an ice pack for 3-7 minutes again.
- Applying a lotion on your skin can have the higher retes of burns.


text:
Chatterjee, Arnab ; Chakrabarti, Bikas K. ; Stinchcombe, Robin B. (2005) Master equation for a kinetic model of a trading market and its analytic solution Physical Review E, 72 (2). 026126_1-026126_4. ISSN 1063-651X
- Publisher Version
Official URL: http://pre.aps.org/abstract/PRE/v72/i2/e026126
Related URL: http://dx.doi.org/10.1103/PhysRevE.72.026126
We analyze an ideal-gas-like model of a trading market with quenched random saving factors for its agents and show that the steady state income (m) distribution P(m) in the model has a power law tail with Pareto index ν exactly equal to unity, confirming the earlier numerical studies on this model. The analysis starts with the development of a master equation for the time development of P(m). Precise solutions are then obtained in some special cases.
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|Copyright of this article belongs to American Physical Society.
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|Deposited On:
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text:
Posted Feb 1, 2006
By DatabaseJournal.com Staff
TOKYO, CUPERTINO, Calif. and UPPSALA, Sweden February 1, 2006 MySQL AB, developer of the world's most popular open source database, today announced the establishment and introduction of MySQL K.K., a wholly-owned Japanese subsidiary based in Tokyo.
In 2005, there were over one million downloads of the MySQL database server by Japanese users. The new company will focus on leveraging this interest in its cost-effective enterprise database (RDBMS) by offering corporate customers and software vendors commercial licensing, production support and professional service options.
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