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Stories of Extraordinary Central American Midwives
Editor's note: This article first appeared in Midwifery Today, Issue 91, Autumn 2009.
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From the 1970s to the 1990s, a series of long, violent and bloody civil wars in Nicaragua and El Salvador—against US-backed military forces—forced local people to take control of their lives in new ways. Conditions of extreme need and poverty were created by the constant threat of attack. Even in the so-called periods of ceasefire that brought "refuge" to the decade and a half of fighting, there were rifles in the streets, missiles firing, and bombs falling at any given time. So it was that the largely self-taught and traditional midwives of the region were needed to teach their skills, look after the sick, and of course, assist new life into this world. Many great women and men lost their lives serving their communities during these devastating wars and many of them were midwives.
In Central America, midwives don't just attend births. They look after sick children; they clean and suture machete wounds; they teach family planning methods and give out condoms; they lend a hand to women enduring domestic violence; they support adolescent girls who find themselves pregnant; and they find food for hungry families. Around their kitchen tables, stories are told, advice is sought and given out, and hearts are mended. In short, it is often a selfless, wide-ranging, and anonymous mission to fill in a gap that is necessitated by living conditions and overlooked by the public health care services of their governments.
There is a truly authentic, mammalian sense of love among midwives in the region, and beyond that, an ardent sense of human rights that is often difficult to come across. I think more than anything it is these two virtues that characterize midwives working throughout Central America. In this short commentary, my hope is to share with you the lives and work of two midwives in the region who exemplify these virtues. Around these parts, they are well-known, loved and respected, and their stories deserve to be told.
Mama Licha, Nicaragua
Alicia del Carmen Huete Díaz, or Mama Licha, as she is affectionately known in Estelí, a town in the northern highlands of Nicaragua, is 74 years old. But you would never know it. She looks and acts much younger, despite a difficult life. She was the first person from an enormous family to learn to read and write, and when she was young and with children herself she became a teacher, working in schools in rural Nicaragua. As a young mother and teacher, Doña Alicia became sick with pneumonia and was hospitalized. During her hospital stay she was getting up and helping other patients, and this is how she discovered her desire to care for others. They hired her on the spot as an apprentice nurse, and she worked in the hospital for 15 years.
Doña Alicia collaborated to help bring about the 1979 revolution in Nicaragua by holding meetings in her house; two of her sons, aged 14 and 18 at the time, went on to serve as fighters in the Sandinista Revolution. While her sons would be gone for weeks on end, Doña Alicia worked in the hospital, sometimes for days without returning home to see her girls, who stayed with their grandmother. Doña Alicia's collaboration with the political uprising had to be entirely secretive; she was interrogated and threatened with death repeatedly in the hospital, and one time la Guardia came to her home and proceeded to hold her and her children hostage while they ransacked the house looking for evidence of a Sandinista affiliation. She witnessed innocent friends and hospital colleagues being burned alive and is thankful to this day that she and her children escaped with their lives.
After the overthrow of Somoza in 1979, Alicia worked in the emergency department of the hospital; in this way she could support the revolutionary army. Alicia became the president of the Union of Health Workers. But even amongst hospital employees there were divisions. Not everyone supported the revolution. Dividing Nicaraguans was a principal strategy of the enemy, the Contra army assembled and supported by the US. Many Americans to this day may be astonished to know that former president Ronald Reagan trained and armed a powerful military machine with the intention of destroying the revolutionary government. But the revolutionary government made great strides in improving literacy and higher education, providing health care for all, alleviating poverty and hunger, and redistributing the land which had been held in the hands of the dictatorship and its rich associates. "It was an arduous battle at the cost of many heroes," says Doña Alicia.
It was in 1989, when she was asked to work in the government-funded birth centre in Estelí, where she really discovered her true calling and passion. In her words: "I learned a lot at the birth centre, especially with the midwives. We say they have an encyclopedia in their heads. Most of them are illiterate, older—in their 60s or 70s, but they know a lot because they have seen a lot, not because they ever studied. I learned from them to have more love for other women, because when pregnant, women need attention, loving care, comprehension, and to be listened to. I also learned to value myself; I learned how to truly respect, care and earn the trust of others, to give them real love and support."
"This was a year of a lot of work. We began holding workshops for all the midwives in the northern region who had never received any training. There were around 1000 midwives," says Doña Alicia. "We would meet for one week and cover the topics of reproductive systems of men and women, pregnancy, clean birth, the puerperium, family planning methods and sexually transmitted diseases (STDs). The methodology was participative—there were sociodramas—and at the end each midwife received a birthkit and certificate and became registered. It was an exciting time; we held parties at the end of each training.
"The revolutionary government prioritized and invested in training midwives. Later we were sent all around the country holding workshops, at which 2000 midwives in all received training and follow-up and became registered."
Doña Alicia worked in the birth centre in Estelí for 11 years. As well as holding monthly follow-up workshops for midwives from the surrounding countryside towns, Mama Licha gave prenatal courses and consultations, provided well-woman care and attended births. When she "retired" reluctantly at the age of 64, she said she couldn't live without her panzonas, or pregnant ladies, and even less so without her viejitas, the midwives who contributed so much to her educational and spiritual growth.
By then a lot of women depended on the loving attention of Doña Alicia, and they simply went to her house. She continued to give prenatal care and preparation classes, hand out contraceptives and attend births in her house. She was filling a need in the community for a special place for women to find comfort and for a person who listens and treats them with respect, kindness and love. Alicia's daughter Karen recounts, "Alicia was reborn when she was able to continue her work from her house, because her work as a partera is what gives her the most satisfaction." With inadequate space in her humble house, little by little Doña Alicia received enough financial assistance to build a birth centre in her back yard.
The birth centre has two spaces: a birthing room and a teaching room with a television and DVD player, books, brochures and magazines, for childbirth education courses as well as for teaching students and health personnel.
Alicia's work also includes travelling to tobacco factories in the region to give talks about reproductive health, pregnancy and STDs. In the clinic she does PAP smears, pregnancy tests and colposcopies, free of charge. A nongovernmental organization (NGO), Juntos Adelante, donated a colposcope and was the primary support behind the building of the centre. Birth control and antibiotics are also distributed free of charge.
"The worst problem that the women face here is HPV [human papillomavirus]. They are young and poor, victims of machismo, and the men take no responsibility and, what's more, blame the women for contracting the virus. At the clinic we try to raise awareness and convince both women and men of the importance of being informed and of prevention and detection of this disease."
The clinic runs on a very tight budget and Alicia does everything. "We need to be able to pay an additional health worker to carry out all of Alicia's activities in the clinic and around the country, and we need more space too," says Alicia's daughter Karen.
Each month, Doña Alicia travels with a health brigade of 60 to 90 volunteer health workers to remote areas of Nicaragua where there is no health care. Many specialists go and in each community they visit, they see each and every person, young and old. Doña Alicia does all of the PAPs, which are processed immediately, and when abnormal cells are identified colposcopy is done on the spot and medicines are handed out free of charge. This type of service is typical in Nicaragua and has its roots in the revolution. Another example of Alicia's revolutionary spirit: "Out in one community last year I broke my ankle, but it doesn't matter. Everything done with love, and for those in need, is worthwhile."
Doña Alicia continues to work with traditional midwives throughout the region in monthly training sessions at her centre. As well as expanding midwifery knowledge, the midwives have become community organizers and have varied responsibilities, including selecting three people from their villages to analyze the health issues particular to their community and recording that information, which includes births and maternal and perinatal mortalities, and then sending that to the Ministry of Health. Each village has a fund for emergencies that the midwives manage. On a map they mark where all pregnant women are, and they refer high-risk pregnancies to a birth or health centre. They also teach about family planning methods and refer women to centres where they are available.
Doña Alicia provides materials that the midwives need to restock their birthkits. "What the midwives need at the moment are eyeglasses for poor vision, raincoats, flashlights, rubber boots, scissors, plastics sheets to cover beds, cord ties or clamps and antiseptic solutions," Alicia reports.
If you'd like to learn more about Alicia's clinic or make a donation, go to www.mamasclinic.org.
Doña Josefa Mira, El Salvador
Josefa Mira was also born into an extremely poor family, and with many sisters and brothers her parents told her that education wasn't a possibility, much less a priority. From the age of eight, Josefa taught herself to read and write, and she is now one of the most respected midwives in El Salvador. In addition, she provides medical care to people of all ages and works daily as an advocate for women's rights.
Josefa gave birth to the first of her 14 children with only her grandmother in attendance when she was just 15 years old. "Nobody went to the hospital back then, you just took care of yourself and each other." After the second child she gave birth to the other 12 alone.
She was pregnant with her fourth child when her younger sister went into labor. When her sister came to her for help, Josefa was hesitant. She says, "I didn't have any experience, other than my own births, but I just helped her while she labored and the birth went fine and there was no trouble delivering the placenta."
"I've been a midwife since 1960; it was simply out of necessity. In those times, women didn't go to clinics; we all had our babies in our homes. Women put their faith and trust in me and I was the midwife of all of the women of our community. But no one called me a midwife; not even I called myself a midwife. The women sought me out as an intimate friend to accompany them during their deliveries, and I stayed with each one until the baby was safely born, the house was tidied up, and the bed clothes were washed. And then they'd say to me, 'You can go, chepa (a term of endearment), thanks for everything.'"
Josefa helped deliver babies during 12 long years of war in El Salvador. The people of El Salvador lived under a state of siege and no one dared travel to a hospital; they were filled with war victims and the risks of traveling from the countryside to the city were too great. Josefa attended births in fields or makeshift dwellings, everywhere they happened to occur.
Just like Alicia, Josefa has known the anguish of being a mother with young children during years of war. Josefa gave birth to her youngest daughter when she was 45. She was living in a town called Santa Clara at the time with her five youngest children, and she left a week before she was due to give birth. She and the children walked down along the river bed and back below the road from Santa Clara because they knew it was more dangerous to travel along the street. It was on this day, as they hiked through the woods below the road, that the military marched above them into Santa Clara and massacred all 150 children of the village. Her own children are only alive because they left with her for the birth of their sister Sara.
All of Josefa's boys were soldiers for the FMLN, the revolutionary army. During the war Josefa had her older children living with their father and her younger ones with her. She had to travel back and forth through the most violent area in the country between the two families. The bus would often be attacked or bombed by helicopters, and Josefa escaped death many times. She can laugh now as she recalls her older children fighting in the war, with just a hand grenade to protect themselves. Because they were fighting against fighter jets, a grenade couldn't do anything! But there was a long time when she was unable to look back at the war and tell stories and laugh.
After the war ended so many people were traumatized that no one would talk about it, and some people couldn't talk at all. Josefa was among them. She gives full credit for her post-war recovery to Las Dignas, a feminist NGO that has been working in El Salvador for 20 years. They offered psychological support and trained mediators to help get conversation started and remind the women that it is okay to smile, laugh and cry. Josefa says that there was no program like this for men. "They hold everything inside. That is why they are so violent and don't know what to do with themselves; they are still reliving the war."
In 1994, after the war ended, women of the community and Las Dignas sought financing to form the birth centre in Talpetates. They immediately contacted Doña Josefa to come and work in the centre and to formalize her training as a midwife. At this time Josefa started to refer to herself and be referred to as a "midwife." The centre serves the 14 communities that are part of Las Talpetates, Berlín Municipality, and Usulután, serving mostly women, but also children and men. It was inaugurated in April of 1997.
In the early years, Josefa and her team attended about 200 births per year, but thanks to the centre's family planning and teen counseling program, that number is down to about 50.
At the Casa Materna in Los Talpetates, two younger nurse-midwives work alongside Josefa. They too learned out of necessity during the war and have since taken courses to learn specific skills like suturing and inserting IVs. Edie Arely Martínez is 35 years old and has two children herself. She became a nurse during the war when she was 12 and is very skilled at suturing. Celina Estella Martínez is also 35 years old, has four children and is called on to insert IVs and give injections.
The Casa Materna is the general health clinic of the community. They commonly treat respiratory problems and a variety of infections, including STDs. They do prenatal care, including providing prenatal vitamins, and give out contraceptive devices including Depo-Provera shots, birth control pills and condoms. They treat a variety of cuts and wounds, since the sugar cane harvest season brings in a lot of machete wounds. They have antibiotics available for infections and offer vitamin B12 injections to women suffering from extreme fatigue, often parasite-related. Intravenous hydration therapy is offered for heat stroke and dehydration and they can set and splint broken bones. They have a truck to transport more difficult cases to the hospital, two hours away. They also give talks about STDs and HIV and offer psychological and legal aid and support for abused women and children.
The community of Talapetates is extremely poor. Machete wounds are common because men, women and children work 15-hour days in the sugar cane fields to make three dollars per day. At the clinic, they treat children who have collapsed from not eating for days or from parasitic, bacterial or viral infections from drinking contaminated water.
The Casa Materna is equipped only with the most basic of materials and they need many things: local anesthesia, suture material, IV sets, Pitocin and other meds to handle obstetric emergencies, and medications for general medicine. They also are soliciting a wheelchair. Finally, daily operating costs are not covered by the only financial aid they have, which comes from a church group in Kansas and only includes a small salary for the nurse-midwives. They have to charge for some services, e.g., a birth costs $12, but they do not charge anything for most of their services and what they do charge does not cover their costs.
Josefa is now 72 years old. She is the mother of 14 children, 10 living and four dead, and has 45 grandchildren, 26 great-grandchildren and one great-great-grandchild. She lives with three of her children and six grandchildren, between the ages of three and nineteen. Josefa has attended births for over 50 years and even at the age of 72 she has no plans for stopping. The most amazing thing about Doña Josefa is her incredible personality, optimism, joyfulness and spontaneity. This is something that can't fully be conveyed in an article; you really have to meet Josefa and experience firsthand her remarkable kindness and warmth. It's what we midwives recognize as the "midwife's heart."
If you'd like to support the work of Doña Josefa, contact Mamasol Asociation, or Hope Jackson and the Educate El Salvador project through their Web site at www.educateelsalvador.org.


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Fields of Fire—Four Views of the Fatal Day
Between the skirmishes at Lexington and Concord and the Battle of Bunker Hill, the militias of New England soldiered into Cambridge, across the Charles River from redcoat-held Boston, and waited for something in the way of fighting to do. As the days turned to weeks, some got tired and went on back home.
Among them were two Connecticut provincials, Amos Doolittle of New Haven, who had just turned twenty-one; and Ralph Earle of Bolton, who had become a husband in September or October and a father in January 1775, and had just turned eighteen. Doolittle, and apparently Earle as well, though Earle turned out to be a loyalist, served in the Governor's Second Company of Guards, forty men at the place commanded by Captain Benedict Arnold. They reached Cambridge on April 29, and in May obtained leave to visit the locales of the April 19 engagements with a view to recording the scenes of that day. Doolittle, a silversmith ready to try his hand at picture engraving, directed Earle, a portraitist, to sketch and paint the countryside, filling in the troops and fighting from details Doolittle collected from witnesses. Sometimes Doolittle posed on the battlefields with a musket—if "battlefields" is not too grand a word.
Back at his shop on College Square near Yale, Doolittle translated Earle's work into metal. December 13 he was ready to sell prints, plain or colored, in sets of four, "neatly engraved on copper from the original paintings taken on the spot." The Dictionary of American Biography says, "In this he seems to have been his own instructor." Indeed, there is a folk-art quality to the work.
Doolittle mistook some details of equipment, uniforms, formations, and dispositions and sometimes depicted too many events at once—he said he condensed time to show as many as possible at each location. But, as they appear on the following pages from a set in the collection of the Connecticut Historical Society at Hartford, they are credible. Moreover, because Earle's paintings are lost, they are the only contemporary portrayals of what happened the day that was fired the shot heard round the world.
— J. Hunter Barbour
In Doolittle and Earle's view of Lexington Green from its northwest side, provincials scramble for safety as advancing light-infantry regulars shoot. At the top, the main redcoat grenadier column files on toward Concord. None of the Americans are blocking the redcoats' path. Courtesy of Connecticut Historical Society.
The regulars march along a road below a ridge in the center of Concord on which, at right, stand Major John Pitcairn and Lieutenant Colonel Francis Smith monitoring the movements of the American militia gathered on an opposite rise. The town—its meetinghouse at right—is undefended. Courtesy of Connecticut Historical Society.
Fleeing regulars, atright, and advancing provincials, at left, exchange fire across the Concord River's north bridge. Redcoat Captain Walter Laurie thought the first shot came from one of his men deployed to the left of the span. Lieutenant William Sutherland said one of the "Country people" pulled a trigger before any lobsterback. Courtesy of Connecticut Historical Society.
A reinforcement column of 1,000 regulars, at left, commanded by General Hugh, Earl Percy, rescued Smith's redcoats as they returned from Concord. Repeatedly ambushed on the march by militiamen like those in the foreground, at Lexington Smith's panicked soldiers gained the protection of Percy's two cannons, one shown here firing toward Lexington Green from the copse of trees at center right. The redcoats torched three houses from which they thought snipers had fired. Courtesy of Connecticut Historical Society.

subset: commoncrawl


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Create a Website Account - Manage notification subscriptions, save form progress and more.
The City of Carbondale is a Council-Manager form of government. The legislative body is comprised of the Mayor and six Council members who are elected at-large. The legislative body establishes the policies for the City. Once policies are set by the Mayor and Council, it is the job of the City Manager and his staff to implement these policies as the executive body. The City Manager is selected by the Mayor and Council and is responsible for hiring all of the City department directors.
Show All Answers
The Mayor and Council are elected by voters at-large. Elections occur every four years and the Mayor and Council members serve four-year terms. There are no term limits for these elected officials.
The Mayor has several duties as the top elected official for the City of Carbondale. Some of these duties are official and other duties are ceremonial.
The City Council meets on the 2nd and 4th Tuesdays of every month in the Council Chambers, Civic Center, Room 108, 200 S. Illinois Avenue.


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"Radio Playbill," a weekly news and entertainment magazine show of theatrical interviews, features and music, is broadcast multiple times each week on Sirius Satellite Radio's A&E, Stream 137.
A new 30-minute show debuts each Monday, with rebroadcasts throughout the following two weeks. Here is the schedule (all times are Eastern): New show Monday July 21 at 1 PM, Wednesday July 23 at 6 PM, Friday July 25 at 5 AM, Saturday July 26 at 7 AM, and Sunday July 27 at 4:30 PM. Rebroadcasts continue following the ensuing week's shows: Monday July 28 at 1:30 PM, Wednesday July 30 at 6:30 PM, Friday Aug. 1 at 5:30 AM, Saturday Aug. 2 at 7:30 AM.
All the excitement and glamour of the American theatre scene comes across in "Radio Playbill," the first radio project from the creators of Broadway's distinctive programs, and Playbill On-Line, the home of theatre on the internet. The program reflects Playbill's unique access and knowledge of the world of Broadway, broadcasting from Sirius' midtown Manhattan studios overlooking Times Square.
Previous guests on "Radio Playbill" have included Brian Stokes Mitchell, Chita Rivera, Michael John LaChiusa, Andrew Lloyd Webber, Antonio Banderas, Jerry Herman, Barbara Cook, Michael Crawford, Jason Robert Brown, Rebecca Luker, Liz Callaway, Lea Salonga, Cy Coleman, Stephen Flaherty, Sherie Rene Scott, Jeanine Tesori, Charles Strouse, Cherry Jones, Baz Luhrman, Seth Rudetsky, Maury Yeston, Gerard Alessandrini and many more. The program has offered the first (and sometimes only) chance to hear songs from Hairspray, Avenue X, Nine, Thoroughly Modern Millie, Urban Cowboy, Marty, Pamela's First Musical, Dance of the Vampires and revivals of Flower Drum Song and Man of La Mancha, among many more shows.
You can now listen to some of the best these with RealPlayer in the "Radio Playbill" archives on Playbill On-Line. And don't miss Playbill's theatre news headlines, being broadcast throughout the day, seven days a week on Sirius Satellite Radio's "Broadway's Best," Stream 77. This link now takes you directly to the page that lets you listen to the music channel and the news. Click the "listen now" icon.
Host for both the news and the magazine show is Robert Viagas, founding editor of Playbill On-Line and Theatre.com, author of several books on theatre, including "On the Line: The Creation of A Chorus Line" and "The Amazing Story of The Fantasticks," and editor of Louis Botto's updated book, "At This Theatre."
Sirius brings listeners more than 100 streams of music and entertainment coast-to-coast. Sirius offers 60 music streams with no commercials, along with over 40 world-class sports, news and entertainment streams for a monthly subscription fee of only $12.95, with greater savings for upfront payments of multiple months or a year or more. Click on Sirius.com to listen to Sirius live, or to find a Sirius retailer or car dealer in your area.
Stream Jockeys create and deliver uncompromised music in virtually every genre to listeners 24 hours a day. Satellite radio products bringing Sirius to listeners in the car, truck, home, RV and boat are manufactured by Kenwood, Panasonic, Clarion and Audiovox, and are available at major retailers including Circuit City, Best Buy, Car Toys, Good Guys, Tweeter, Ultimate Electronics, Sears and Crutchfield. Sirius is the leading OEM satellite radio provider, with exclusive partnerships with DaimlerChrysler, Ford and BMW. Automotive brands currently offering Sirius radios in select new car models include BMW, MINI, Chrysler, Dodge, Jeep, Nissan, Infiniti and Mazda. Automotive brands that have announced plans to offer Sirius in select models include Ford, Lincoln, Mercury, Mercedes-Benz, Jaguar, Volvo, Audi, Volkswagen, Land Rover and Aston Martin.


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L.J. Star, Inc
Paddle Flow Indicator ASME B16.5 with NPT Threaded Connections, Flapper Style
ASME Class: Class 150, Pipe Size: 3/4 inch, Housing Material: Stainless Steel 316, Window Material: Tempered Borosilicate Glass, Sealing Gasket: PTFE Gylon 3504, Bolting Material: SAE Gr. 5 Carbon Steel, Shield Option: No Shield
Visual flow indicator with NPT threaded female ports. There is a flapper paddle between the two windows enabling to quickly see if there is any flow going through the pipe. Recommended for monitoring either horizontal or vertical lines with upward flow. The flapper position indicates current flow rate. Flapper style indicators are the appropriate choice for use with clear and semi-opaque solution. Thread form complies with the ASME B1.20.1 standard. Designed with front and back windows for backlighting making it easy to see flow variations inside any pipeline, even when used with dark liquids. This flow indicator is installed in-line of the pipeline between two threaded pipe ends. This model offers pipeline view through windows internally sealed to the metal housing with flat gaskets.
Sealing Gasket:
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Product Drawings and CAD Models Disclaimer
Manufacturing processes and resulting tolerances may result in variations in the specifications provided. Many manufacturers consider their GD&T proprietary and do not provide this to Encole. While we believe the information to be generally correct, it is subject to change without notice and is not guaranteed. Drawings and CAD models are prepared by the Original Manufacturers or CAD expert contibutors or Encole staff.
L.J. Star, Inc


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CTI Paper Launches New, Comprehensive Kromekote Collection of Cast-coated Papers
SUN PRAIRIE, WI—September 9, 2013—CTI Paper USA today launched a new and comprehensive Kromekote Collection of super-premium cast-coated printing papers to commercial printers and graphic designers in the United States and Canada.
Kromekote is long respected for its ability to deliver extraordinary print. The brand launch comes as many marketers today are expanding their investment in strategic, high-impact print.
The FSC-certified Krokemote Collection features the most complete offering of cast-coated papers for use in production-rated color copiers, offset presses and HP Indigo presses. Kromekote is available from local paper distributors and online at www.thepapermill.com.
CTI Paper USA, one of the largest suppliers of premium specialty printing papers in North America, modernized and refreshed the ultra-glossy printing papers line following its acquisition of the brand earlier this year. A new Kromekote swatchbook and print demonstration will be available next week.
"Kromekote is specified by printers and designers who require a highly differentiated, premium look and feel on their most important print projects," explained John Kelly, president of CTI Paper USA. "Kromekote delivers above-average profits to printers because Kromekote jobs consistently deliver their clients outsized value and impact."
Kromekote is ideal for attention-grabbing print promotions, direct mail, brochures, book covers, business cards, presentation folders, invitations, greeting cards, retail packaging, labels and more.
Details on the new Kromekote Collection
For offset and dry-toner production equipment, the new Kromekote Collection features a "universal" coated one-side sheet and a coated two-side sheet in a variety of weights and sizes. Kromekote is also available for HP Indigo presses in two calipers and sizes in C1S (RIT-certified for HP Indigo) and C2S (RIT certification pending).
Kromekote is available in colors and foils—and as a C1S label in two basis weights. In addition to FSC certification, Kromekote products are acid-free, lignin-free, elemental chlorine free and, with the exception of foils, recyclable.
For more than 80 years, Kromekote has been the premium standard in coated printing papers. It is ideal because of its mirror-smooth glossy surface, realistic highly detailed images, vibrant, saturated colors and excellent on-press performance.
Its fast-drying surface ensures crisp dot formation, super-sharp printed images, rich colors, nuanced shading and fine lines, all with conventional inks. Kromekote handles specialty finishing such as embossing, foil stamping, aqueous coatings and varnishes. Folding and scoring is clean and crack-resistant.
Kromekote can be used on all offset presses, HP Indigo presses, and production-rated equipment from Xerox, Kodak, Canon, Epson, Konica-Minolta, Oce and Ricoh, among others.
More information about the Kromekote Collection is available at www.thepapermill.com/kromekote-paper.html.
About CTI Paper USA
CTI Paper USA is one of North America's largest suppliers of specialty premium printing papers. Its diverse, innovative collection of branded papers and matching envelopes is specified by commercial printers, graphic designers and marketers. Products are available from authorized paper merchants in the U.S. and Canada and online at www.thepapermill.com.
The company's digital and offset papers are widely used for business and social communications. Brands include cast-coated Kromekote, metallic and pearlescent Aspire Petallics, translucent Glama Natural, coated metallic Currency, soft matte Tube papers and Glama KRAFT, a new and unique kraft paper that can be offset printed up to six colors.
Privately held CTI Paper USA is headquartered in Sun Prairie, Wisconsin, and has regional sales offices in metro Los Angeles, Chicago and Providence, RI. The company provides quick-response technical support, customer service and sample delivery. It also operates a 72,000-square-foot converting, distribution and product development center in Neenah, Wisconsin. CTI Paper USA is Forest Stewardship Council chain-of-custody certified and the vast majority of its products are FSC-certified.
Source: CTI.


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Harvey Fierstein
American actor and playwright
Harvey Forbes Fierstein (born June 6, 1954) is an American Tony Award-winning and Emmy Award-winning actor, playwright and screenwriter.
Quotes edit
- To the delight of millions of little children, the Santa in New York's great parade will be half of a same-sex couple. And guess who the other half will be? Me! Harvey Fierstein, nice Jewish boy from Bensonhurst, dressed in holiday finery portraying the one and only Mrs. Claus.
- Quoted in Mark J. Terrill, "'Hairspray' drag queen to play Mrs. Claus at Macy's parade," Associated Press (2003-11-27)
Torch Song Trilogy edit
- Arnold: I think my biggest problem is being young and beautiful. It's my biggest problem because I've never been young and beautiful. Oh, I've been beautiful, and God knows I've been young, but never the twain have met.
- Bertha: You have a high voice for a lesbian!
- Bertha: Did your mother have any children that lived?
- Bertha: Just wait until you see my act: Bertha Venation and her Dance of the Virgin.
- Murray: Which she does completely from memory.
- Bertha: Bitch!
- Arnold: I know you'll find this hard to comprehend, but I want more out of life than meeting a pretty face and sitting down on it.
- Bertha: Personally, I never enjoy sex with someone I know.
- Arnold: Our Lady of High Standards!
- Alan: Why are all the mirrors covered?
- Arnold: So we don't see the pain in our faces.
- Alan: Why is everyone sitting on boxes?
- Arnold: To make sure there's pain in our faces.
- Ma: (sotto voce) You told me he was Jewish!
- Arnold: Out-of-town Jewish.
- Ma: Friend-friend, or euphemism-friend?
- David: He used to be a euphemism, now he's just a friend.
- Ma: What lose did you have? You fooled around with some boy. Where do you compare that with a marriage of forty years? Come on. I'm not one of your pals
- Arnold: I lost someone I loved.
- Ma: So you felt bad. Maybe you cried. Forty years I lived with this man. He got sick, I took him to the hospital. I gave them a man. They gave me a place to visit on holy days. How could you know how I felt? It took two months before I slept in our bed. It took a year before I could say "I" instead of "we." How dare you?!
- Arnold: You're right. How dare I? I couldn't know how it feels to put someone's things in plastic bags and watch garbage men take them away. Or how it feels when you forget and set his place at the table. The food that rots because you forgot how to shop for one. You had it easy! You had your friends and relatives! I had me. My friends said "At least you had a lover." You lost your husband in a clean hospital. I lost mine on the street! They killed him in the street! Twenty years old, laying dead, killed by kids with baseball bats! That's right, Ma, killed by children! Children taught by people like you that queers don't matter! Queers don't love! And those that do deserve what they get!!
- Ed: Whoops.
- Arnold: Whoops? Ed, did you say "whoops"? No, Ed. "Whoops" is when you fall down an elevator shaft. "Whoops" is when you skinny-dip in a school of piranha. "Whoops" is when you accidentally douche with Drano! No, Ed. This was no "whoops!" This was an AAAAAAAAAAAAAUGGGHHH!!
- Ma: Arnold, think about the boy. The way you live is bound to affect him!
- Arnold: Ma, David is gay!
- Ma: He hasn't even been here a year!
- Arnold: He came that way!
- Ma: Nobody comes that way!
- Arnold: What an opening!
- Arnold: You want to be a part of my life, I'm not editing out the parts you don't like.
- Arnold: I have taught myself to sew, cook, fix plumbing, I can even pat myself on the back when necessary, so I don't have to ask anyone for anything. There's nothing I need from anyone except for love and respect. And anyone who can't give me those two things has no place in my life.
- Arnold: Anyway, it's easier to love someone who's dead. They make so few mistakes.
This Is Not Going to Be Pretty, Live at the Bottom Line (1995) edit
- Hello, boys. How are you all? I just love boys. [...] Hello. Are you here alone? Who are you with? ...A woman? At my show? ...We'll make believe. It's theatre.
- I've been travelling a lot. My boyfriend and I, we just went to Santa Fe. You know, the one named after the gay saint. Has anybody ever been to Santa Fe? …did you know it was a desert? I didn't know it was a desert. Hated it! People had been telling me for years, if you're an artist, a non-conformist, come to Santa Fe! I mean, it's the place you can be yourself! The light, the light, you can paint here! You can live here, the space, the sky! – The fucking dust! I was doing an AIDS benefit there – like what else do I do with my life? – and I said, look, I'm a guest here, you're paying for the hotel, I don't mean to insult nobody, but I got a little suggestion for you. If I was yaz, I'd take a hose, hook it up to Colorado, and water this fucking place!
- Do you remember at the presidential convention where they nominated Bush? Did you know what song they played to bring Bush on stage? No. "The Best of Times" from La Cage aux Folles. I said some fag pulled a fast one on them!
- I live in a small fictional town in Connecticut.
- See, I went to an all-gay high school. Art and Design. Now the truth is it wasn't really all gay, but they bused them in, it was the law. [...] So I went to this high school, I had friends like Pablo. Pablo used to breast-feed a porcelain doll during math. You know. My friend Lauren used to roll cigarettes on her boots.
Safe Sex edit
- You'd probably just lost your virginity, I'd probably just lost count.
- We had great sex, but we argued politics. [...] Now we enjoy politics and argue sex.
- Now they know who we are. We're counted in their surveys, we're numbered in their watchfulness, we're powered in their press. We're courted, polled, placated. Now they know that we're teachers and doctors and lawyers and priests and mothers and babies. Now they see us everywhere. Hospitals, theatres, classrooms. Obituaries. Now when they tell lies about us, we answer back. We found our voices. We know who we are. They know who we are. And they know that we care what they think.


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Hospital Clocks – Important Factor in Healthcare Design
As the need for healthcare continues to grow, more and more hospitals are being built, remodeled or added-on to in order to meet demand. Consequently, these circumstances create a buzz in hospital design and all the different products that go into it. And no exception to this buzz is hospital clocks. Hospital clocks are an important aspect of healthcare design and definitely take more consideration then some may think. Below are some examples why you should consider them the next time you find yourself designing new hospital buildings or remodeling older facilities. That way, you can be on your way to making the right decisions for designing your healthcare project in no time!
Choosing an appropriate hospital clock has as much to do with how the clock works and needs to be installed within a building as it has to do with the look of it. Synchronized hospital clocks, for example, can vary in connection. Depending on building infrastructure, materials, and budgeting, the technology of hospital clocks may vary for different facilities.
Deciding on a suitable type of hospital system clock for a patient room involves a few considerations. Patients benefit from a clock in their rooms so that they do not lose their sense of time during recovery. Having a clock reminds them when to expect visits for medications, check-ups, meals and things like rehabilitation or physical therapy. Doctors and nurses equally benefit from hospital clocks in order to keep accurate records and make the appropriate time-sensitive decisions they may need to make. Typically a hospital analog clock may be preferred over a digital clock so that the display does not bother patients while resting at night and/or with the lights out.
Operating rooms pose a whole new set of planning during the design process. Hospital clocks are just as important for these rooms too. Surgery durations, administering anesthesia, and other surgical procedures often need to be timed precisely and recorded properly. Generally, installing digital clocks with timing capabilities is most useful in these areas. A digital hospital clock can make reading the time quick and easy in moments when it matters the most and allows timing to be done correctly when it's of the utmost importance to a patient's safety and wellbeing.
Visitors benefit just as well from good healthcare design. For this reason, waiting areas also require concern for hospital wall clock installation. Patient visitors often spend hours in waiting rooms and other common areas in order to remain close-by when their loved ones need them the most. When their patience is being tested waiting for the outcomes of various operations and processes, visitors need to know that time is, in fact, passing. Installing hospital synchronized clocks gives visitors a reference point when they are mentally strained and need it the most. These open areas often are best with digital clocks as well because they offer an easy and clear answer for "What time is it, now?" to their viewers. Not to mention a digital hospital clock's ability to alternate between date and time, reminding its viewers of the day as well as the time.


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When we talk about playing with our kids, the typical things usually come to mind: imaginative play (dinosaurs, cars, house), creative play (Lego, crafting, colouring), or board games (Candyland, Go Fish, Snakes & Ladders).
But beyond that, we can nurture parent-child relationships through a different sort of play. This play is the fun, light-hearted play that occurs over the course of an ordinary day. It is the type of play that diffuses a tense situation, softens an angry heart, engages cooperation, and says that "life's too short to take things too seriously". Below are three of our family's favourite ways to nurture parent-child relationships through this type of playful atmosphere.
"Even if...I will still love you"
Most kids thrive on routine, structure, and boundaries. They like to know what the rules are and what will happen if they try to step past those boundaries. But they also need to know that they are loved, always and unconditionally.
Sometimes a child will challenge their parent in response to a request. Sometimes it won't even be a challenge, but a sincere request to know what will happen if they choose not to do what you have requested. Now, we can tackle that head on, wax eloquent about responsibilities and consequences and blah blah blah.
But sometimes, we take a different approach.
"What if I don't set the table?"
"Even if you don't set the table, I will still love you."
*giggles* "What if I throw the dishes?"
"Even if you break every dish in the house, I will still love you."
"What if I break every dish in the whole world?"
"Even if you break every dish in the whole world - and every cup, too! - I will still love you."
And so it goes. A power struggle is side-stepped and silliness abounds. A kiss and a hug and the child is sent off to carry through with the original request - because, after all, playful parenting is not permissive parenting!
Exaggerated threats
Exaggerated threats are a favourite in our house. They are a wonderfully silly way to diffuse tension and regain cooperation.
I have fond memories of my dad and his frequent threats to "hang you from the ceiling by your toenails!" if we didn't shape up; I've adopted that particular gem for use on my own boys. Threatening to eat them, toss them outside, or lock them in their room forever are other common mock-threats here, usually met with a squeal and a giggle and an "oooh, will you REALLY?"
The older boy likes to join in with his own threats now, turning it into a contest to see who can come up with the most outlandish threat in the end. Again, the intent is to create an atmosphere of fun and playfulness rather than antagonism and power struggles.
(Disclaimer! Don't use this if it would actually scare your child! We're not trying to terrify them here!)
Fun competition
While things can't be fun and games all the time, silly competitions can be great motivation for children and excellent sanity savers for parents.
Race to get shoes on the fastest. See who can scoop up the biggest pile of Lego to dump back into the bin. Have a "whisper supper", where all conversation must be held in a whisper. See who can be quietest the longest in the car! Even toddlers can be coached into cooperation with some well-placed silliness. The options are endless, and few things tickle a child more than being able to say "you talked, Mommy! I won the whisper game!"
What about you? What tips do you have for maintaining a playful, light-hearted home environment?
This post is part of the Attachment Parenting Month blog carnival, hosted by Attachment Parenting International.
Learn more by visiting API Speaks, the blog of Attachment Parenting International.


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The wiki is being retired!
Documentation is now handled by the same processes we use for code: Add something to the Documentation/ directory in the coreboot repo, and it will be rendered to https://doc.coreboot.org/. Contributions welcome!
VSA, or Virtual System Architecture is a low-level software library included in the bootloader/BIOS for system using AMD Geode-series CPUs and companion chips.
AMD released VSA sources under the name geode-vsa in 2006 (licensed under the terms of the GNU LGPL). The original sources were hosted by the OLPC project, and can be pulled with git from git://dev.laptop.org/geode-vsa
. Updated sources are hosted by coreboot.org located in the blobs repository. The OpenVSA sources include modified geode-vsa sources, as well as some new components also released under the GNU LGPL.
The VSA code runs under x86 SMM (System Management Mode) which is like "real mode" with some extra opcodes, priviledges, and side-effects.
As originally published, the VSA code compiled and assembled with older, commercially unavailable versions of Microsoft tools. The OpenVSA code has been modified in order to build under a GNU toolchain so that it may be maintained and enhanced by a wider group of users. It still requires MASM or a compatible assembler, such as JWasm. Because of this, it wasn't integrated in the coreboot build process yet.
The current status of the OpenVSA is: experimental. Please do not use OpenVSA in your system unless you have access to a low-level re-flashing tools.
Please refer to the AMD_Geode_Porting_Guide.
Differences Between VSA and OpenVSA
Category | VSA | OpenVSA |
Assembler | MASM 6.11c or greater | GNU gas (part of binutils) |
Make | NMAKE.EXE Version 1.40 or greater | GNU make |
C-compiler | MSVC Version 1.52 | GNU gcc |
Final binary output | exe2bin.exe | GNU objcopy (part of binutils) |
Assembly syntax | Microsoft/Intel | GNU gas/AT&T |
Code Generation | 16-bit, inherent to the toolchain commands used during build | 16-bit assembly, generated by using .code16 in assembly files; 32-bit from C, prefixes generated by using .code16gcc in C files
Memory Model | "tiny": merges CS and DS, inherent to the toolchain commands used during build | "tiny" model accomplished with specific section names and linker script statements |
SMM-only opcode assembly | MASM macros | Perl script smimac.pl pre-processes to constant-sequences
Internal assembly functions: calling convention | custom/random, no apparent fixed pattern | unchanged |
Assembly functions called from C: calling convention | Microsoft pascal
GNU __attribute__((fastcall))
C header file translation to assembly include | h2inc.exe | manual/static translation |
Calling Conventions And Stack
VSA: MASM and Microsoft C
The original VSA sources used 16-bit MS PASCAL
calling convention (__pascal
- stack parameter order: left-to-right
- called function cleans up the stack
- all parameters are pushed onto the stack
- return values to 16 bits returned in
- return values 17 to 32 bits returned in
- scratch registers
^ |<- 16 bits ->| | higher | address | (pop) ------------- | first param | ------------- ... ------------- | last param | 4(BP) ------------- | return IP | 2(BP) ------------- | old BP | <-- BP ------------- (locals) -2(BP) ------------- (saved regs) ------------- | (saved reg) | <-- SP ------------- | lower | address | (push) v
OpenVSA: GNU
With GNU on the Intel 386, the fastcall attribute (__attribute__(fastcall)
) calling convention:
- stack parameter order: right-to-left
- called function cleans up the stack
- if the first one or two arguments are integers/pointers (<=32bit), they are passed via
- all other parameters are pushed onto the stack
- return values to 32 bits are returned in
- scratch registers
^ |<- 32 bits ->| | higher | address | (pop) (uses (no frame) frame) ------------- | last param | ------------- ... ------------- | 3rd param | 8(EBP) 4(ESP) ------------- | return EIP | <-- ESP ------------- | saved EBP | <-- EBP ------------- (locals) -4(EBP) ------------- (saved regs) ------------- (saved reg) <-- ESP | lower | address | (push) v
Notable C-Code Differences
Microsoft C appears to accept a statement like:
ULONG Data; ... (UCHAR)Data = 0;
This is not a portable construction, GCC rejects is, so has been changed to:
*((UCHAR *) &Data) = 0;
Feature Wish List
Hacking Notes
I, the copyright holder of this work, hereby release it into the public domain. This applies worldwide.
In case this is not legally possible: |


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Former Olympic Gold Medalist Nova Peris
by Rod McGuirk
Associated Press Writer
CANBERRA, Australia (AP) — Facing the prospect of becoming the first Aboriginal woman to win a seat in Australia's Parliament, Nova Peris said Sunday that she was targeted during her campaign by the worst onslaught of racial abuse she had ever endured.
After then-Prime Minister Julia Gillard hand-picked Peris in January to head the center-left Labor Party's Senate ticket in the Northern Territory — an almost unbeatable position that virtually assured her place in Australian political history — she was bombarded with hate letters and emails that were so extreme she passed them to police.
"It's not a nice feeling to be judged and looked down upon because of the color of your skin," Peris said Sunday. "I had a string of letters and emails sent to me and they were horrific. And my husband was really, really upset."
"They were pretty nasty. The worst I've ever seen in my life," she said, declining to go into details.
But the threats did not deter her, and the 1996 Olympic gold medalist hockey player contested the Senate seat in elections Saturday. She appeared comfortably ahead in vote counting Sunday, but was not yet ready to claim victory.
"It's like waiting for the result of a photo finish," said Peris, comparing her anxious wait for the count to be finalized to her days as a world-class sprinter.
Aborigines are a minority of only 600,000 in Australia's population of 23 million. The lack of Aboriginal representation in Parliament is a growing embarrassment for the leaders of major political parties.
No Aborigine had sat in Parliament before Neville Bonner arrived in 1971. The conservative Liberal Party senator, who had little formal education, was the only Aborigine in Parliament for the next 12 years before he was voted out.
In 1999, Aden Ridgeway, a senator from the minor Australian Democrats party, became the second Aborigine in Parliament, lasting for a single six-year term.
Liberal Ken Wyatt next won a seat in the House of Representatives in 2010, although a constituent later wrote to complain that he had not advertised his Aboriginality in the campaign. The constituent said he would not have voted for Wyatt if he had known.
Wyatt was re-elected Saturday to a second three-year term in his Western Australia state electorate, with an increased majority.
Adam Giles became the chief minister of Peris' home state last year, and became the first Aboriginal head of a government.
Aborigines are the poorest ethnic group in Australia, suffer poor health and lag behind in education. They die years younger than other Australians on average and are far more likely to be imprisoned.
Prime Minister-elect Tony Abbott has promised to work for a week each year as the nation's leader in an Outback Aboriginal settlement to draw attention to indigenous struggles. He failed last year in a bid to recruit an Aboriginal woman lawmaker from the Northern Territory government to contest a federal seat.
Peris, a 41-year-old who competed in two Olympics — as a hockey player in 1996 and as a sprinter in 2000 — said she experienced racism throughout her sporting career. But the racism was worse in Australia than when she traveled internationally to compete.
She said she was pleased, however, that Australia's major sporting bodies no longer tolerate racism of competitors or spectators.
"Racism is just ignorance," she said. "Australia certainly has come a long way when you look at the reforms that have happened in the highest levels of sports. There's no place for racism."
"We're talking about human beings, and it's all about how we contribute to society and what are we doing today to make Australia a better place for the kids," she said.


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Billy Corgan talks Tommy Lee, new Smashing Pumpkins albums for 2015
Billy Corgan talks Tommy Lee, new Smashing Pumpkins albums for 2015
Billy Corgan has always been a big-picture kind of guy. For The Smashing Pumpkins' third album, 1995's Mellon Collie And The Infinite Sadness, he wrote so many songs that he needed two separate CDs to contain them all.
In 2000, the Pumpkins released Machina/ The Machines Of God, which was answered that same year by a sequel, Machina II/ The Friends & Enemies Of Modern Music. And for sheer mother-of-concept-album-ness, there's no beating the 44-song Teargarden by Kaleidyscope from 2009, which expanded to include Oceania, the "album within an album," released in 2012.
So it's not entirely out of character for Corgan to be eyeing the release of two separate Smashing Pumpkins albums in 2015 – Monuments To An Elegy will be followed by Day For Night, respectively – but the mercurial musician did turn a few heads recently when he announced that Motley Crue drummer Tommy Lee was beating the skins on all nine tracks of the first set. "Tommy is arguably the best two-and-four fuckin' rock drummer to ever happen," Corgan raves. "That's where even the idea of even asking him to play on the record came from – it needed that kind of swagger, the kind of feeling that only Tommy can bring to it."
Corgan sat down with MusicRadar to talk about the upcoming albums, working with Lee, guitar sounds, and what he thinks it might take to grab today's fickle and distracted music fans.
You've done the long-form approach to albums in the past, but why did you want to go with two albums and two titles for this new batch of songs?
"It's a combination of things. I think in the modern world information is digested so quickly, so the problem with doing a double album is that whatever the general verdict on the new album would be, it would come within the first 48 hours of release. The other 50 percent of the material, CD 2 or whatever it is in this world... I mean, would it even be listened to? The chances of that are very, very small. That's pretty much been proven out for me during the last seven to 10 years.
"What you hear from everybody these days is the same thing: 'I have no time.' [Laughs] The information age was supposed to give us more time, not less. But now we're doing more multi-tasking than ever, and I'm included in that. So we thought, 'Why don't we do shorter albums that are more focused and have more punch to them?' The idea was to spread them out within six to nine months of each other and get the kind of sustain in the world that one album just doesn't generate anymore.
"Even with Oceania, we got a lot of good feedback on it – the sales were there and all of those things – but once we got past the 120-day mark, the public just moved on to other things. You know, it's not personal. It's not a rejection or a repudiation – it's just, 'Oh, there's all of those other stuff to pay attention to.'"
Music has a faster burn than before.
"Yeah, so I think you can look at what pop-rock groups did in 1964: They were releasing two to three albums a year, and the public was digesting that material very quickly based on one or two singles, and then they moved on to the next. I think we're pretty much back to that model."
You have these new songs, these groups of songs, and you have the titles – maybe they're change –
"No, no, I'm gonna stick to them."
OK, so did you say, 'This group of songs goes to Monuments To An Elegy and that group of songs goes to Day For Night'? Or is it more amorphous than that?
"You know, it's really like fumbling in the dark. [Laughs] You know how candid I am about things… I really don't know anymore what makes a good album. For example, you get this beautiful revisionist idea that if you've had success, people will say to you, 'Oh, it'd be cool if you do that again.' But the fact of the matter is, if I put out one of those albums in this current system – or place or whatever you want to call it – I don't think the reaction would be the same."
Today's listening habits
"That doesn't mean that people wouldn't think the records were good; I just don't think you'd get that depth of listening. So, for me and the world that I grew up in, if you're not listening to the material with any kind of depth or introspection, that's not good. I don't fall into the same category as most people these days, which is 'one song equals great.' It's just not my style or the way I was brought up. So what is a good album? Well, I say a good album is one that's actually going to be heard.
"Maybe it's something with a little more focus, something with a little less prog-rock, something with a little bit more sizzle. Maybe time is an issue there as well. So we're experimenting, you know? So far, the first album is very much a kind of grab-you-by-the-lapels thing. Hey, I can still write a good song. [Laughs] That's the general idea. It's not much more intellectual than that.
"It's still about excitement, right? So what is my version of excitement at this point in my life, still under the banner of 'Smashing Pumpkins'? I don't think it's that same old formula; I don't see where people would listen to it. I think Oceania was in the neighborhood of that, and I didn't see the level of listening that I would have liked. To me, that just says, 'Well, I'm wasting my time' – and, by extension, somebody else's.
"I think that alternative bands – somewhat, not everybody – we fall into this thing of no longer competing. We've let pop kind of dominate the conversation. Of course, there are quote-unquote alternative bands, if you can even call them alternative bands, that are having pop success, but they tend to be doing it with pop music. So my idea is to go back to being competitive. If a cool, beautiful, deep prog-rock record isn't gonna get it done, there's other things I'd like to do with my summer than be in a dark room making seven-minute opuses." [Laughs]
Tommy Lee played on half of the recordings, but what about Mike Byrne – will he be on the rest?
"Tommy Lee is the drummer on the Monuments album. Mike, like Elvis, has left the building."
Oh… Do you want to talk about that?
"Mmm… Let's just say that Mike, like Elvis, has left the building."
On recording with Tommy Lee
Then let's talk about your decision to use another drummer. Were other names floated around before you set your sights on Tommy?
"No. No, I talked about it on my blog. We were sitting saying, 'It would be great to get somebody who can play like this,' and Jeff [Schroeder] said, 'Why don't we get the real deal?' It was that simple." [Laughs]
What if Tommy weren't available? He's got the big tour coming up – did you have any other names?
"You know, we hadn't even gone down that road. There's been some beautiful synchronicity with this album; things have just tended to line up. One thing that I need to say… I think the main point to the band – and I put 'band' in quotations because obviously there's been a lot of arguments over the last seven years about what that means – I think the main point to the band in 2014 is, I want to make a certain kind of music. If I want to make that kind of music, then it's best made under the name 'Smashing Pumpkins.' Where Jeff and I are at is, 'What do we need to do to do that?'
"[It's about] making rock 'n' roll in 2014 in a world that tends to be going away from guitars. Turn on any alternative station – you're not hearing a lot of riffs. And we're not a metal band, nor do we try to be, although we love to play that – and we just played with one of the great rock-metal drummers. I reached a point of transparency within myself where I don't feel the need to explain to anybody else why I'm doing what I'm doing. The real key is, 'Do I know what I'm doing and why I'm doing it, and am I having a good time doing it?'
"That seems to generate the kind of music that people want. All of the other stuff, all the other political stuff, doesn't work out that way. So I just shrug my shoulders. If that makes me no different from some of my contemporaries who have a band name but it's really just one or two dudes, then so be it."
What was the process of getting Tommy's drum parts recorded?
"I went out to LA and played him the demos we had – he loved them, got 'em right away. Then I came back to Chicago and demoed more specifically with the idea of him tracking the drums to them. Then I went back to LA and worked out all the drum parts, which of course further refined some of the arrangements, came back to Chicago and redid the demos again, and then I went to LA to cut the final drums.
"The reason why I did that was because I wasn't interested in just 'Hey, isn't it cool that Tommy Lee is on the album?' I wanted to work with Tommy as intimately as I could so we could find common ground, so that when you hear the music it sounds like we're playing together. It'll sound like he's in the band, not just the stunt drummer that I called in to dazzle and amaze. The results have been fantastic; the people who've heard it are like, 'Holy shit, I can't believe how cool this is!'
"It's so immediate – the songs are so immediate, and the way Tommy plays is so immediate. Everybody seems to get it right away. There's an immediacy to the music that is more like me circa 1995 than, say, me anything since then."
On re-creating the past
In an interview, Tommy did say that the recordings reminded him of the first couple of Smashing Pumpkins albums. Is that a fair reference in your view?
"I see where people might read that and think that sonically it reminds them of that stuff. I don't see it that way. I think what he was saying was that it has the energy and the exuberance and the sort of passion of that music. Production-wise, it's very modern. It's definitely guitars, make no mistake, but it doesn't sound like either he or I are stepping back in time. He's not playing like it's 1983, and I'm not playing like it's 1993. It's both of us, myself as the songwriter and him as a great musician, interpreting these songs and being in 2014.
"The reason why I'm being so cautious about that is because I don't want people jumping to some sort of weird conclusions. This is contemporary music... Anybody who thinks, you know, pick your album 'He's doing it all over again,' I'm just not in that business. There's this nascent tendency on my end of the street with people wishing that this magical thing were going to happen, where some album is going to be re-created. There's even this weird recording floating around on the internet that was purported to be a leaked demo. Some fan sent it to me and I listened to it, and it sounded like somebody did their modern version of Siamese Dream in their bedroom. And I'm like, 'C'mon... I've learned a few more chords in the last 20 fucking years!" [Laughs]
Did you give Tommy a lot of direction when cutting the tracks?
"Oh, no. Not at all. I think the only thing relatable to that question is that there were certain idiomatic style things, like if I was talking about Echo & The Bunnymen, well, he doesn't necessarily know that album. So there were points of translation on a more emotional level where I might have explained something than just 'Yeah, play it like the guy in Echo & The Bunnymen.' That's not music that he might've grown up and listened to.
"But you don't have to tell him what to do. He's right up there. The two most intuitive musicians I've ever worked with are Jimmy Chamberlin and Tommy Lee. You sit there in the back as you're watching it happen and you think, 'There's a reason why this guy has sold so many records' – and I'm looking at it. It's a certain feel, a certain swing, a certain approach to music and a real love of music. Both Tommy and Jimmy have that. They just know what to do – there's no hand-holding."
On playing guitar with Jeff Schroeder
You wrote on The Panopticon that the guitars sound "more so on the epic side of things than, say, grossly metallic." Care to elaborate on that?
"It probably has more to do with space than density. There's a lot this modern tone – I don't want to name names – a kind of midrange in the modern sound with smaller guitars that sound big. I've tended to go in the other direction with the scooped-Hetfield sound, a lot of low end, a lot of attack. So in trying to find new ways to skin the cat – a bad analogy… 'bake the apple'?..."
"Skin the cat"? I haven't heard anybody use that one in years.
"Yeah, I need a new analogy dictionary. [Laughs] I was just on the cover of an animal charity magazine too, holding my two cats – not the best analogy to use. I do love my cats, so I've got to be careful... In trying to find a new way to reinvent the wheel for the 19th time – there's a phrase – Jeff and I have talked a lot about gain structures. What was it about Judas Priest in 1975 that attracts us now that maybe we didn't get in the '80s because we were so obsessed with gain?
"The point being that density has been done, high-gain has been done, and so we've regressed to maybe a lesser gain sound, which has really opened up our playing, and so now it's more about how we play off of each other. I would say that the closest analogy would be that beautiful thing you see between KK Downing and Glenn Tipton, where two lead guitarists with specific styles play together and make a bigger sound.
"Jeff and I, now that we've played together for seven years, we've figured out how to do that. So unlike a lot of the albums – including Oceania, where a lot of the rhythm tracks might have just been me doubling myself to get the super-tight thing – this one will be old school: Billy on the left, Jeff on the right."
Do you have a ballpark idea when you want to put the albums out – and how much of a gap will be between them?
"Shooting for a single by October – possibly sooner, but I guess October, November at the latest – and then an album will probably be February. As for the timetable between the two albums, I worked it out contractually that it'd be no more than nine months, so I'm going to try to stick to that. I'm sure [BMG] would be fine if it were longer, but I'd like to keep it short. I'm just really tired from doing this one. We're obviously trying to get it done, and so the idea of finishing and rolling right into the next record seems like a strange kind of a slow-motion suicide. [Laughs] It's like being one of the teams in the play-offs – we've just gotta win this game first and we'll get to the other game later."


text: Built back in the 10th century, the incredible well of Chand Baori, India was a practical solution to the water problem in the area. The arid climate forced the locals to dig deep for a dependable water source, one that would last throughout an entire year. Chand Baori well is 30 meters deep, it has 13 floors and 3,500 steps. Legends say that ghosts build it in one night and that it has so many steps to make it impossible for someone to retrieve a coin once it's been dropped in the well.


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Sheguang Hu unveiled his Spring/Summer 2016 collection during Mercedes-Benz China Fashion Week.
Sheguang Hu unveiled his Spring/Summer 2016 collection during Mercedes-Benz China Fashion Week.
Hugo Renel at Rock Men photographed by Vahab Bandari and styled by Typhaine Porta, in exclusive for Fucking Young! Online.
Sagaboi makes its Milan debut with a collection inspired by Calypso music and culture.
"Toys for adults" is the name of the latest work presented by Giuliano Calza, founder and creative director of GCDS, during Milan Fashion Week.
The collection showcases the synergy of both brands, combining the roar of the engine with the attitude of the street.
FEAR OF GOD unveiled its new campaign, featuring Oscar Isaac lensed by Luis Alberto Rodriguez.
Akasaka's collection is a creative and romantic interpretation of his inspiration, much like a multi-religious chapel, a Broken Obelisk floating on the water, and a dark tower to aim for.
MM6's new collection is all about abstracting the wardrobe, creating pieces that are simple yet unexpected, plain yet peculiar, direct yet distorted.
Robyn Lynch draws inspiration from her family memories for her collections. This time, she pays tribute to her sister Adrianna, who is a professional Irish dancer.
Pull&Bear has just released its Spring/Summer preview, a collection that showcases the versatility and innovation of denim, as well as the latest trends in clothing for men and women.
Carne Bollente's First Kiss collection is a tribute to the magic and joy of first times, and a reminder that love is always in the air.
The collection showcases the savoir-faire of Louis Vuitton from the unique perspective of Tyler, The Creator.
The project is a testament to the collaboration and dialogue between art and fashion, and between different generations and cultures. It is a celebration of youth, in all its beauty, diversity, and complexity.
Balenciaga's tribute to Angelo Badalamenti is a unique and meaningful way to honor the composer's life and work, and to share his musical vision with a new audience.
The collection is a vibrant journey into an era of revolutionary changes in fashion, drawing inspiration from the Japanese culture and the 70's London punk street fashion.
The project is titled "Journey Of Dreams" and describes the beautiful journey into the world of dreams, related to the power of designing a life that one loves, seen from a free and clear perspective.
The campaign showcases the brand's passion for craft and creativity, as well as its diverse and distinctive range of clothes.
The partnership reflects Victor's passion for excellence and his constant desire to improve his skills, as well as his affinity for the Maison's values and vision.
The Levi's Spring/Summer 2024 Made in Japan collection showcases the beauty and quality of Japanese denim, which has a long and rich history.
The term 'EUROTRASH' was often used as a derogatory label, but EYTYS reclaims it as a badge of honor and a symbol of chic confidence and flair.
Natasha Zinko presented her Fall/Winter 2024 collection during London Fashion Week.
Mr P. has unveiled its latest collection for Spring 2024, featuring a range of stylish and durable pieces made from more responsible materials and processes.
Burberry presented its Winter 2024 collection, designed by current creative director Daniel Lee, during London Fashion Week.
The festival will take place at Fira Montjuïc and Fira Gran Via, with more than 200 shows, DJ sets, projects and activities, featuring artists, technologists, scientists and specialists in multiple disciplines of the creative industries from more than 30 countries.
Theo photographed by Matthieu Delbreuve and styled by Guillem Chanzá with pieces from Louis Vuitton, for the "GAMES" issue of Fucking Young! magazine.
The Emberton II speaker, which features the Marshall signature sound, has been given a makeover by Patta, reflecting their distinctive vision and style.
The campaign highlights the cultural bridge between Japan and France that Nigo has established through this collection.
Priya Ahluwalia, founder and creative director of Ahluwalia, presented her Fall/Winter 2024 collection during London Fashion Week.
The collection invites us to reconnect with the natural world and discover its hidden treasures.
Oriol Clavell is a designer who is not afraid to challenge the norms and express his queer identity through his creations.
Finn-Kelcey was a pioneer of performance and feminist art in the 1970s, and her work explores themes such as identity, power and spirituality.
Life is a game and true love is a trophy.
Issue #23 Games will see designer discussions with Dsquared2' Dean and Dan Caten, Louis Gabriel Nouchi, Jordan Luca, and Romain Kremer create our game frame each with a different adventure.
A brief men's fashion and culture


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Last year I published The Best Social Studies Websites — 2007, and now it's time for a new list.
In order to make the list, these sites have to be accessible and engaging to English Language Learners and native-speakers alike. They must also be able to be used by a teacher who only knows how to email and copy and paste a web address.
Some of these sites were around prior to 2008. However, since I didn't post about them until this year, I'm including them in this year's rankings. In fact, unlike some of my other "The Best…" lists, I haven't posted previously about many of these sites, including most of the top-ranked ones.
I have not included any Web 2.0 applications or online learning games here. Many of those sites are also useful in Social Studies, and you'll have to go to those previous lists to find them. You might also be interested in The Best Websites For Teaching & Learning About World History and The Best Websites For Teaching & Learning About U.S. History.
Here are my picks for The Best Social Studies Websites – 2008:
Number nineteen is Shmoop. It's sort of a Cliff's Notes — but a whole lot better. I especially like its History section. It's probably only accessible to advanced English Language Learners, but teachers could certainly easily modify parts to create more usable materials. It also offers links to additional good resources.
Number eighteen is a Social Studies textbook companion site from Harcourt Publishers. I'd primarily recommend the resources under "Adventure Activities" and "Skills." They're simple, but engaging, learning exercises.
Number seventeen is a textbook companion site from MacMillan/McGraw Hill. It has two specific parts I want to highlight. One is a section called In Motion that you can get to via its U.S. History site. After you click on most of the chapter links you see, you'll also find an "In Motion" category that leads you to accessible animations with audio narration.
Number sixteen is Safe Drinking Water, a site developed by the Academy of Sciences to highlight worldwide water issues. It has several good videos that are closed-captions, along with an atlas showing which countries have less or more access to water resources. It's definitely accessible to Intermediate English Language Learners.
Number fifteen is The Zip Code Census Dashboard, a very simple and informative site that shows you demographic data for any zip code you enter.
Number fourteen is Geobeats. It has a huge collection of short travel videos from around the world.
Number thirteen is Hidden Children and the Holocaust, an online exhibition from the United States Holocaust Memorial Museum. It includes closed-captioned video about the saga of Jewish children who were hidden from the Nazi's.
Number twelve is What The World Eats, an online slideshow from Time magazine that shows families from fifteen different countries, along with what they eat during one week and its cost. This site can be used with English Language Learners to initiate a discussion on economic inequities; use in compare/contrast activities; and take advantage of it to develop new vocabulary.
Number eleven is a nice online feature from National Geographic called Places Of A Lifetime. It highlights major cities from all over the work sharing information, images, and videos. It also has short and simple quizzes users can take. The language is accessible to Intermediate English Language Learners, and the images can certainly be viewed by anyone.
Number ten is Mapdango, a "mash-up" — a combination of a variety of web applications. It's a neat geographical and map search engine that, after you enter the location you're interested in, will show you the area's weather, areas of interest from Wikipedia, Flickr photos, and other items. One particularly useful feature is that it shows all of the above connected to its geographical location on a map, too.
Number nine is Kids Past World History For Kids, a great website for English Language Learners. It's not deep, but provides a very accessible overview to many eras of world history. It also has fun history games.
Number eight is Visual Geography is a nice site with images, information, and quizzes about 85 countries around the world. The text is accessible to Intermediate English Language Learners, and the images are obviously good for students of all levels. I like the quizzes it has about each country, and I also really like a neat feature called "Compare." You can pick any two countries and easily compare their demographic data with a click of the mouse.
Number seven is a companion site to a textbook by Pearson titled World History: Connections To Today. If you go to each chapter, you'll find what they call a History and Geography Interactive. Most of these short slideshows provide text support for the narration, as well as good graphics.
Number six is another companion site to a textbook by Pearson called America: History of Our Nation. If you use the drop-down menu, each chapter has excellent multimedia related to that era. I particularly like the link to "exploring each chapter's essential question." When you click on it, you're taken to a short slideshow that provides audio support for the text.
Number five is one I've posted in the past about iCue, the new site recently launched by NBC. They've launched an extraordinary new section to the site focused on U.S. History.
Number four is a series of "History Snapshots" from Pearson. These short slideshows, which include accessible text, support the study of United States History.
Number three is "The Digital Vaults", an entry into the vast resources of the National Archives, and allows you to use those resources to create your own movies, posters, and what it calls "Pathway Challenges" to… challenge others to find connections between a series of images, documents, and other resources you put together.
Number two is an extraordinary collection of short online videos offered by the textbook publisher Glencoe. I personally think their two U.S. History series are the best, but they also have quite a few accessible ones on Government (actually, two groups of them), World History, and Geography.
And now, for the one site that stands "heads and shoulders" above the rest, and is the number one Best Social Studies Website for the year…. McDougal Littell's Class Zone. This may have very well be around prior to this year, but I just discovered it, and it's quite a find. It has animated maps, online activities, animations — all with text support for audio. Just click on a subject and a state, and you'll be amazed at what they offer online.
As always, feedback is welcome.
If you found this post useful, you might want to look at previous "The Best…" lists and also consider subscribing to this blog for free.


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Free field theories are definitely local in.
In the interaction picture, we can decompose the fields into creation operator modes and annihilation operator modes. The product of operators can be regulated to finiteness by Wick ordering. In Wick ordering, all creation operators are moved to the left of all annihilation operators.
To introduce interactions, we can add a Wick ordered interaction term $:V[\Phi(x)]:$ to the interaction Hamiltonian, but this term is nonlocal in space. To Wick order, we have to Fourier transform to momentum space, subtract some zero point terms, and then Fourier transform back to position space. The end result when expressed in terms of the original spatial fields is a nonlocal convolution with a spatially extended kernel.
Let me clarify a bit. For potentials which are quadratic in the fields, the zero point subtraction is just a c-number, and this is trivially local. But for quartic couplings, for example, the zero point subtraction we get from Wick ordering is still quadratic in the fields with nonlocal point splitting.
Does that mean interacting quantum field theory is nonlocal?


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The Rights of Man
by Thomas Paine
Being an Answer to Mr. Burke's Attack on the French Revolution - part 10 of 16
The election that followed was not a contested election, but an animated one. The candidates were not men, but principles. Societies were formed in Paris, and committees of correspondence and communication established throughout the nation, for the purpose of enlightening the people, and explaining to them the principles of civil government; and so orderly was the election conducted, that it did not give rise even to the rumour of tumult.
The States-General were to meet at Versailles in April 1789, but did not assemble till May. They situated themselves in three separate chambers, or rather the Clergy and Aristocracy withdrew each into a separate chamber. The majority of the Aristocracy claimed what they called the privilege of voting as a separate body, and of giving their consent or their negative in that manner; and many of the bishops and the high-beneficed clergy claimed the same privilege on the part of their Order.
The Tiers Etat (as they were then called) disowned any knowledge of artificial orders and artificial privileges; and they were not only resolute on this point, but somewhat disdainful. They began to consider the Aristocracy as a kind of fungus growing out of the corruption of society, that could not be admitted even as a branch of it; and from the disposition the Aristocracy had shown by upholding Lettres de Cachet, and in sundry other instances, it was manifest that no constitution could be formed by admitting men in any other character than as National Men.
After various altercations on this head, the Tiers Etat or Commons (as they were then called) declared themselves (on a motion made for that purpose by the Abbe Sieyes) "THE REPRESENTATIVE OF THE NATION; and that the two Orders could be considered but as deputies of corporations, and could only have a deliberate voice when they assembled in a national character with the national representatives." This proceeding extinguished the style of Etats Generaux, or States-General, and erected it into the style it now bears, that of L'Assemblee Nationale, or National Assembly.
This motion was not made in a precipitate manner. It was the result of cool deliberation, and concerned between the national representatives and the patriotic members of the two chambers, who saw into the folly, mischief, and injustice of artificial privileged distinctions. It was become evident, that no constitution, worthy of being called by that name, could be established on anything less than a national ground. The Aristocracy had hitherto opposed the despotism of the Court, and affected the language of patriotism; but it opposed it as its rival (as the English Barons opposed King John) and it now opposed the nation from the same motives.
On carrying this motion, the national representatives, as had been concerted, sent an invitation to the two chambers, to unite with them in a national character, and proceed to business. A majority of the clergy, chiefly of the parish priests, withdrew from the clerical chamber, and joined the nation; and forty-five from the other chamber joined in like manner. There is a sort of secret history belonging to this last circumstance, which is necessary to its explanation; it was not judged prudent that all the patriotic members of the chamber styling itself the Nobles, should quit it at once; and in consequence of this arrangement, they drew off by degrees, always leaving some, as well to reason the case, as to watch the suspected. In a little time the numbers increased from forty-five to eighty, and soon after to a greater number; which, with the majority of the clergy, and the whole of the national representatives, put the malcontents in a very diminutive condition.
The King, who, very different from the general class called by that name, is a man of a good heart, showed himself disposed to recommend a union of the three chambers, on the ground the National Assembly had taken; but the malcontents exerted themselves to prevent it, and began now to have another project in view. Their numbers consisted of a majority of the aristocratical chamber, and the minority of the clerical chamber, chiefly of bishops and high-beneficed clergy; and these men were determined to put everything to issue, as well by strength as by stratagem. They had no objection to a constitution; but it must be such a one as themselves should dictate, and suited to their own views and particular situations. On the other hand, the Nation disowned knowing anything of them but as citizens, and was determined to shut out all such up-start pretensions. The more aristocracy appeared, the more it was despised; there was a visible imbecility and want of intellects in the majority, a sort of je ne sais quoi, that while it affected to be more than citizen, was less than man. It lost ground from contempt more than from hatred; and was rather jeered at as an ass, than dreaded as a lion. This is the general character of aristocracy, or what are called Nobles or Nobility, or rather No-ability, in all countries.
The plan of the malcontents consisted now of two things; either to deliberate and vote by chambers (or orders), more especially on all questions respecting a Constitution (by which the aristocratical chamber would have had a negative on any article of the Constitution); or, in case they could not accomplish this object, to overthrow the National Assembly entirely.
To effect one or other of these objects they began to cultivate a friendship with the despotism they had hitherto attempted to rival, and the Count D'Artois became their chief. The king (who has since declared himself deceived into their measures) held, according to the old form, a Bed of Justice, in which he accorded to the deliberation and vote par tete (by head) upon several subjects; but reserved the deliberation and vote upon all questions respecting a constitution to the three chambers separately. This declaration of the king was made against the advice of M. Neckar, who now began to perceive that he was growing out of fashion at Court, and that another minister was in contemplation.
As the form of sitting in separate chambers was yet apparently kept up, though essentially destroyed, the national representatives immediately after this declaration of the King resorted to their own chambers to consult on a protest against it; and the minority of the chamber (calling itself the Nobles), who had joined the national cause, retired to a private house to consult in like manner. The malcontents had by this time concerted their measures with the court, which the Count D'Artois undertook to conduct; and as they saw from the discontent which the declaration excited, and the opposition making against it, that they could not obtain a control over the intended constitution by a separate vote, they prepared themselves for their final object- that of conspiring against the National Assembly, and overthrowing it.
The next morning the door of the chamber of the National Assembly was shut against them, and guarded by troops; and the members were refused admittance. On this they withdrew to a tennis-ground in the neighbourhood of Versailles, as the most convenient place they could find, and, after renewing their session, took an oath never to separate from each other, under any circumstance whatever, death excepted, until they had established a constitution. As the experiment of shutting up the house had no other effect than that of producing a closer connection in the members, it was opened again the next day, and the public business recommenced in the usual place.
We are now to have in view the forming of the new ministry, which was to accomplish the overthrow of the National Assembly. But as force would be necessary, orders were issued to assemble thirty thousand troops, the command of which was given to Broglio, one of the intended new ministry, who was recalled from the country for this purpose. But as some management was necessary to keep this plan concealed till the moment it should be ready for execution, it is to this policy that a declaration made by Count D'Artois must be attributed, and which is here proper to be introduced.
It could not but occur while the malcontents continued to resort to their chambers separate from the National Assembly, more jealousy would be excited than if they were mixed with it, and that the plot might be suspected. But as they had taken their ground, and now wanted a pretence for quitting it, it was necessary that one should be devised. This was effectually accomplished by a declaration made by the Count D'Artois: "That if they took not a Part in the National Assembly, the life of the king would be endangered": on which they quitted their chambers, and mixed with the Assembly, in one body.
At the time this declaration was made, it was generally treated as a piece of absurdity in Count D'Artois calculated merely to relieve the outstanding members of the two chambers from the diminutive situation they were put in; and if nothing more had followed, this conclusion would have been good. But as things best explain themselves by their events, this apparent union was only a cover to the machinations which were secretly going on; and the declaration accommodated itself to answer that purpose. In a little time the National Assembly found itself surrounded by troops, and thousands more were daily arriving. On this a very strong declaration was made by the National Assembly to the King, remonstrating on the impropriety of the measure, and demanding the reason. The King, who was not in the secret of this business, as himself afterwards declared, gave substantially for answer, that he had no other object in view than to preserve the public tranquility, which appeared to be much disturbed.
But in a few days from this time the plot unravelled itself M. Neckar and the ministry were displaced, and a new one formed of the enemies of the Revolution; and Broglio, with between twenty-five and thirty thousand foreign troops, was arrived to support them. The mask was now thrown off, and matters were come to a crisis. The event was that in a space of three days the new ministry and their abettors found it prudent to fly the nation; the Bastille was taken, and Broglio and his foreign troops dispersed, as is already related in the former part of this work.
There are some curious circumstances in the history of this short-lived ministry, and this short-lived attempt at a counter-revolution. The Palace of Versailles, where the Court was sitting, was not more than four hundred yards distant from the hall where the National Assembly was sitting. The two places were at this moment like the separate headquarters of two combatant armies; yet the Court was as perfectly ignorant of the information which had arrived from Paris to the National Assembly, as if it had resided at an hundred miles distance. The then Marquis de la Fayette, who (as has been already mentioned) was chosen to preside in the National Assembly on this particular occasion, named by order of the Assembly three successive deputations to the king, on the day and up to the evening on which the Bastille was taken, to inform and confer with him on the state of affairs; but the ministry, who knew not so much as that it was attacked, precluded all communication, and were solacing themselves how dextrously they had succeeded; but in a few hours the accounts arrived so thick and fast that they had to start from their desks and run. Some set off in one disguise, and some in another, and none in their own character. Their anxiety now was to outride the news, lest they should be stopt, which, though it flew fast, flew not so fast as themselves.
It is worth remarking that the National Assembly neither pursued those fugitive conspirators, nor took any notice of them, nor sought to retaliate in any shape whatever. Occupied with establishing a constitution founded on the Rights of Man and the Authority of the People, the only authority on which Government has a right to exist in any country, the National Assembly felt none of those mean passions which mark the character of impertinent governments, founding themselves on their own authority, or on the absurdity of hereditary succession. It is the faculty of the human mind to become what it contemplates, and to act in unison with its object.
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