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Article abstract: Burnett's immensely popular stories and dramatizations brought pleasure and hope to many people and bridged divides between British and American audiences, the rich and the poor, and children and adults.
Early Life
Frances Eliza Hodgson was born into the family of a relatively prosperous hardware merchant who ran a store in Manchester, England, one of the foremost cities of the Industrial Revolution. Frances had two older brothers and two younger sisters. She had few memories of her father, Edwin, who died in 1853, leaving her mother, Eliza, to run the business. Financial constraints forced them to move to an inexpensive house in Islington Square, Salford, a little island of "respectable" houses in a sea of poor housing inhabited by cotton mill operatives. Frances was not encouraged to play with their children or speak the local Lancashire dialect. With a quick ear, however, she was able to precisely reproduce it.
Frances was an imaginative child, describing herself as having "a positively wolfish appetite for books," and from three years old began "a lifelong chase after the story." She also described how she discovered the delights of her father's library, especially a shelf of Blackwood's Magazine periodicals, which the Brontë sisters had also found influential in developing a taste for Romantic stories and poetry. Frances soon found an eager audience for her own first efforts at story telling at the small private school she attended.
Frances described her mother as a gentle person who instilled into her the moral priority of kindness and the need to be "always the little lady." Eliza continued to run the family business until the depression caused by the American Civil War and the slow drying up of the supply of raw cotton. Eliza's brother had previously emigrated to Eastern Tennessee, and he wrote to Eliza about the opportunities available in the United States; in 1865, the nearly destitute Hodgsons decided to join him in the small township of New Market, Tennessee. Unfortunately, postwar depression had affected business in the United States as well, and there was little work. Despite this, Frances described these as her "Dryad days," especially when they moved to the outskirts Knoxville, Tennessee. For a city girl, the abundance of forests and mountains was overwhelming. However, the desperate need for income finally induced her to write a short story for one of the popular women's magazines of the day. After a request for a second story, she had them both accepted by Gody's Lady's Book for the sum of thirty-five dollars, with an invitation to write more. She was eighteen years old.
Life's Work
Frances had stated in the cover letter sent with her first story that "my object is remuneration." After Eliza's death in 1870, this became even more vital. Frances began writing five or six stories per month at ten or twelve dollars each. These early stories were stylized romances of the period. In 1871 she tried a realistic story written in the Lancashire dialect called "Surly Tim," which was accepted by Scribner's Magazine, a literary magazine. This began a long association with the Charles Scribner's Sons publishing house.
At this time Frances was being courted by Swan Burnett, the son of a doctor in New Market. He too was training to be a doctor. Frances was reluctant to marry, preferring to return to England for fifteen months in 1872, the second of her thirty-three transatlantic crossings. On her return, however, they did marry and lived in Knoxville, where their first son, Lionel, was born in 1874. Burnett wanted to further his medical studies in ophthalmology and also...
(This entire section contains 2128 words.)
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wanted Frances to get away from the South. A stay in Paris, France, was arranged with advances from Frances' publishers. While there, the couple's second son, Vivian, was born at the same time that Frances was writing her first novel,That Lass o' Lowrie's, a story of a Lancashire mining girl, in the style of Elizabeth Gaskell's Mary Barton (1848). Serialization began in 1876 and complete publication came in 1877, to much acclaim.
After some financial hardship upon their return to the United States, they managed to settle in Washington, D.C., still supported by Frances' writings. Frances became a society hostess and boasted President James Garfield among her acquaintances. Sales of That Lass o' Lowrie's soared, as did a collection of short stories, Surly Tim and Other Stories (1877). Haworth's, also set in Lancashire, followed in 1879. Some twelve novels and five collections of stories were published at this time, climaxing with her novel of Washington life, Through One Administration (1883). Signs of an unhappy marriage showed through, however: The book was one of her few novels without a happy ending.
In 1885, Frances wrote the novel that was to make her name, Little Lord Fauntleroy (1886), published with illustrations by Reginald Birch. The story was based on her own son Vivian, who never quite threw off the image constructed by the book throughout his life. It was one of the three best-sellers of the year, and over one million copies sold in Britain alone. The novel was also dramatized, a process that involved a court case over the copyright laws of the day. Much of the later criticism that the book was sickly sentimental was misplaced: Compared to other popular late Victorian fiction, Little Lord Fauntleroy was filled with political and psychological insights, and the "lost heir" motif was used for moral purposes in a focused storyline. Sentimentalities arose out of Frances' self-projection as "Dearest," the ideal mother, and in the strange mix of childish and adult language given to the seven-year-old hero.
Now in her thirties, Frances was famous. She was described as being plump and short with a square, projecting forehead and possessing large, soulful eyes and luxurious hair. Some accounts depicted her as being animated in talk and affable in manners. She also enjoyed excellent health during this period. As the need to write lessened, the urge to travel grew. Leaving her boys behind, she stayed longer and longer in Europe. While in Rome, Italy, during the winter of 1889-1890, she heard that her son Lionel was ill. Frances returned to Washington, D.C., and found that the diagnosis was tuberculosis. She refused to tell him, and went everywhere looking for cures and nursing him devotedly. Lionel died in Paris in December, 1890.
Little Lord Fauntleroy had been her first book to have a child hero; thereafter followed a series of books about children, including The Pretty Sister of José (1889). In 1896 she returned to adult heroines, most notably in In Connection with the De Willoughby Claim (1899) and The Making of a Marchioness (1901). By now Frances was reunited with her sister Edith, was based in London, and was involved in the theater and philanthropic work. She moved in high society and adopted an increasingly expensive lifestyle. She met the novelist Henry James frequently. She had also met Stephen Townesend, a doctor ten years younger than herself and a would-be actor who became her personal assistant. In 1898 she officially divorced Swan and then, to everyone's surprise, married Townesend in 1900. He had a volatile temper and was often possessive and bullying. The marriage only lasted two years. Parts of this tempestuous marriage are reflected in her novel The Shuttle (1907).
Another autobiographical detail reflected in The Shuttle was Maytham Hall, an old country mansion in southern England that Frances leased from 1898 to 1907. During this time she took up her previous children's story Sara Crewe (1888) and dramatized it as Little Princess (1903). The extra material generated was then rewritten into an enlarged novel of the same name, which was published in 1905. Although not immediately as popular as Little Lord Fauntleroy, Little Princess has since become much more so. The heroine showed the same qualities of gentillesse as had the hero of Little Lord Fauntleroy, but she also demonstrated courage in adversity, a development of Frances' favorite Cinderella theme. A surge of other children's books followed, the most popular being Racketty Packetty House (1906).
My Robin (1912) recorded Frances' last visit to Maytham Hall and also provided a clue to the setting of her greatest novel, The Secret Garden (1910). The Secret Garden's real genesis was probably an incident recorded in a memoir of finding an abandoned garden in a Manchester house and, by sheer force of imagination, seeing it as intensely alive. The development of her rose garden at Maytham Hall and her observation of a robin combined with this memory. The Cinderella motif was reversed, for neither the heroine nor the hero of The Secret Garden possessed any moral qualities. Both were neglected, unloved, and unlovely children. The novel avoided much of Frances' earlier sentimentality, and the psychological realism was completely convincing. Its structure and movement demonstrated her storytelling abilities at their best.
In 1905 Frances became a U.S. citizen and, after 1908, never leased an English property again. Instead, she bought land in Plandome, Long Island, New York, and built an ornate Italianate house and gardens. She continued to write popular works such as The Dawn of a Tomorrow (1906; dramatization, 1909), which contained elements of fashionable Christian Science thinking. Her final children's book was The Lost Prince (1915), based on a meeting with exiled Serbian aristocracy during her last visit to Europe early in 1914. By then, the cinema had begun to attract Frances, and she gained the interest of Mary Pickford, who starred in four films based on Frances' books, including Little Lord Fauntleroy. No less than three other motion picture versions of this book were made. After World War I, public taste turned against Frances' Victorian style, and her last books received poor reviews. In 1921 she became ill in Bermuda and then recovered. In constant ill health, she commuted between summers at Plandome and winters in New York hotels. She died in Plandome in 1924 and was buried in Roslyn, Long Island.
The New York Times obituary suggesting that Frances' greatest successes were her work to bring about the 1911 Copyright Act and her book Little Lord Fauntleroy merely recorded the reaction against her at the time of her death. Biographer Ann Thwaite cites the claim that Little Lord Fauntleroy changed "relationships between America and Britain" as well as the dress styles and even the emotional health of countless young boys of the day. To this must be added Frances' own claim that she "tried to write more happiness into the world," especially with regard to the books that have now become classics of children's literature. Her understanding of childhood and her ability to recreate it have certainly helped develop modern children's literature. The Secret Garden still stands as a pinnacle of Romance literature that holds realism and fantasy in perfect tension.
As a career writer, Frances Hodgson Burnett was at the forefront of defining "the new woman" as she balanced traditional views of motherhood with those of emancipation and the liberty to develop her own career. The role of wife was the one role she could not fit into the equation, though she was an excellent breadwinner, combining this with a "fairy godmother" role of philanthropist. Thwaite suggests that what she cared for most was "the invincibility of the human spirit . . . the acceptance of all experience, courage born of adversity." This was precisely what Frances portrayed in her best fiction.
Bixler, Phyllis. Frances Hodgson Burnett. Boston: Twayne, 1984. The first chapter surveys Burnett's life and writings. Successive chapters deal with the three main periods of her writing career. The final chapter seeks to define her achievement. Includes a selective bibliography and index.
Burnett, Frances Hodgson. The One I Knew the Best of All. London: Frederick Warne, 1974. Burnett's only attempt at autobiography. Written for children, the book follows her life as far as her first publication.
Burnett, Vivian. The Romantick Lady: The Life Story of an Imagination. New York: Charles Scribner's Sons, 1927. An invaluable memoir by Burnett's son Vivian and the only source for some of her correspondence.
Dusinberre, Juliet. Alice to the Lighthouse. New York: St. Martin's Press, 1987. An invaluable study of the link between children's and adult literature from Lewis Carroll to Virginia Woolf. Includes an excellent chapter on The Secret Garden and a bibliography.
Laski, Marghanita. Mrs Ewing, Mrs Molesworth and Mrs Hodgson Burnett. London: Arthur Baker, 1950. One of the earliest critical studies of Burnett's writings; Laski sets her in the context of late Victorian children's fiction, especially by women authors.
Thwaite, Ann. Waiting for the Party: The Life of Frances Hodgson Burnett. London: Secker and Warburg, 1974. This is the definitive biography even though its thesis that Burnett never quite succeeded in achieving her ideals or her need to be loved can be questioned. Includes a complete list of all her writings and dramatic pieces.


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7. Use Tweet Chat
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A tweet chat is a conversation conducted via Twitter in which Twitter users use hashtags to track and monitor the conversation by topics. I've heard Twitter users complain that these chats are simply added noise on their Twitter feed. Many others claim the chats are a great educational experiencemaybe one of the best social opportunities that any social media platform has to offer.

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X-Men: Days of Future Past
Film & TV
Director Bryan Singer once again returns to the world of the uncanny mutants in this seventh instalment in the X-Men series, bringing with him a very strong cast of familiar faces.
And while many consider his first outing (X-Men 2) to be the best in the series, Days of Future Past is close to being its equal – if not better.
Borrowing heavily from the original comic saga of the same name and reminiscent of the Terminator movie premise, this film is set in a dystopian future where mutants are almost extinct and humans are enslaved thanks to rogue mechanic guardians called Sentinels. Originally conceived to thwart the mutant threat decades ago, the Sentinels are now unstoppable in their determination to eradicate every mutant and human sympathiser from the Earth.
An ageing and weary Professor Xavier (Patrick Stewart) and Magneto (Ian McKellan) lead the last remaining mutants, who realise their only chance of survival is to send the consciousness of Logan/Wolverine (Hugh Jackman) back to his younger self in 1973 in order to stop a pivotal event that set this apocalypse on course.
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The ensuing scenes between Logan and a younger, '70s-era Xavier (James McAvoy) and Magneto (Michael Fassbender) pursuing the determined Raven/Mystique (Jennifer Lawrence) showcase Singer's talents. The film delivers some truly spectacular, tension-filled action sequences flipping between the future and the past, while also delving deeper into the main characters themselves. Look out for the show-stealing scene in the Pentagon involving the lightning-fast mutant, Quicksilver.
Singer manages to give each character their own time to shine on-screen, with Jackman, McAvoy, Fassbender and Lawrence the stand-outs in a list of A-grade actors that also includes Peter Dinklage, Halle Berry and Ellen Page.
The pacing of the film is perfect and there are many surprises, with some satisfying nods to previous films and comic canon to boot.
X-Men: Days of Future Past is a fantastic and enjoyable blockbuster. Remember to stay till after the credits, too, as a huge reveal for the next X-Men plays out. This reviewer can't wait!
More InDaily film reviews:
The Babadook
The Zero Theorem
Bad Neighbours
Fading Gigolo
52 Tuesdays
The Other Woman
The Amazing Spider-Man 2
The Grand Budapest Hotel
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Dodgers: Pros and Cons of re-signing Justin Turner next offseason
Con: (Let him walk!): Turner might prove too expensive
While the Dodgers are well-positioned against the luxury tax threshold in 2021, with close to $100 million in projected wiggle room, the price to re-sign Justin Turner could prove too expensive over the long-run to justify.
Obviously, economic conditions will dictate how the 2021 market looks due to the fallout of the novel coronavirus, so luxury tax figures could change, and players, like Turner, could be had at a discount; but re-signing Turner to a long-term deal could impact the Dodgers' financial flexibility down the road when players like Clayton Kershaw and Corey Seager are seeking new deals, and arbitration-eligible stars like Cody Bellinger become more expensive.
If the Dodgers find a way to re-sign Mookie Betts to a long-term deal, that obviously won't be a cheap contract. A big part of the team's success under president Andrew Friedman has been building a competitive roster without overloading the payroll with oversized contracts.
If Turner is seeking a four, or five-year deal to take him into his forties, that could be too long of a window for the team to tie up their payroll funds.


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Will This Midterm Election Be A Myth Buster? genre: Polispeak
Each election, there seems to be a belief that the youth vote is going to be a deciding factor...and yet in most recent election cycles that potentiality has failed to materialize. A new survey conducted by Harvard's Institute of Politics is once again suggesting that the 18-24 voting block is poised to turn out in record numbers. What I find the most intriguing about this data is just what impact it could have on what many already believe is going to be a wave election.
A new national poll by Harvard University's Institute of Politics (IOP), located at the John F. Kennedy School of Government, finds nearly a third (32%) of 18 to 24 year olds "definitely" plan on voting in the upcoming midterm elections, a proportion that will likely amount to the highest turnout percentage for this age group in any midterm election in the last twenty years. The poll also finds that young people continue to disapprove of the job George W. Bush is doing as President, with the President averaging a grade of "C-"on seven key issues facing America, with the lowest mark coming on his handling of the War in Iraq (D+). Finally, 18-24 year olds seem to favor a swapping of majority parties in Congress, as a majority of likely voters (52%) said they favor a Congress controlled by Democrats following the November elections.
The IOP has been conducting regular polling of America's college students for six years highlighting key trends and issues related to politics and public service. For the first time, this fall's IOP poll has been expanded to look at the political views of all 18-24 year olds, whether or not they are attending a four-year college or university, providing an even more comprehensive look at a demographic critical to the outcome of the 2006 and 2008 elections.
"Voter turnout by young people approached record numbers in 2004 and our polling shows 18-24 year olds are engaged and ready to show up again in 2006," said Harvard's Institute of Politics Director Jeanne Shaheen. "Younger voters could make the difference in campaigns across the country – political parties and candidates can't afford to ignore them."
A near-majority of young people favor total troop withdrawal from Iraq within the next year. When asked which of four different plans dealing with the war in Iraq they preferred, ranging from complete withdrawal to sending more troops to the country, nearly half (46%) of 18-24 year olds said they preferred either withdrawing all troops immediately (16%) or within the next year (30%). A full third (33%) of young people also said they preferred troop withdrawal, but not until control can be given to the Iraqis.
I've previously speculated that this election is going to result in a decisive winner and a clear loser and I see this survey further supporting that hypothesis. Here's my reasoning. Polling indicates that the country is in an anti-incumbent mood, that they feel the party in power has failed in their duties, that the war in Iraq has been poorly managed and may be potentially unwinnable, and that the Republican Party has abused power and succumbed to corruption.
Standing in opposition to this data is a number of anecdotal beliefs (based upon well documented historical successes) regarding the political prowess of the GOP and specifically Karl Rove. Amongst these beliefs are the superior GOP get out the vote machine, the ability to use national security and the fear of terrorism to procure votes, values wedge issues like gay marriage and abortion that motivate evangelical voters, and a better discipline in framing issues and holding fast to established positions.
So the question remains what will actually happen in this midterm election. Consistent with my belief that this election will be decisive, one of the above arguments is going to prevail and that means one party is going to win big and one is going to lose big. Polls and statistics (including this new survey suggesting 18-24 year olds will vote in record numbers) would support the belief that the Democrats are poised to win big. History suggests that the GOP will replicate their past success and win big (by overcoming the odds and not losing) despite the negative polling and statistical data.
I simply can't imagine a scenario that would be viewed as a wash given the huge divide between these two very different arguments; therefore I presume one is going to be proven very wrong. Given the fears being expressed by numerous Democrats and the confidence being exuded by Karl Rove and the President...all seemingly in spite of tangible evidence, something has to give next Tuesday. With that said, this election seems to have mythical attributes. If I'm right, November 7th is destined to flesh out fact from fiction...and like most mythical battles, one player will be vanquished and one will be vindicated.


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(Lander, WY) – Lander resident Bruce Gallinger joined KOVE's Coffee Time this week to discuss Saturday's 9/11 memorial happening in Lander.
To hear the full interview, click the player below or listen on the County 10 Podcast.
Don't forget to check out Coffee Time every weekday morning at 9:30 a.m. on KOVE 1330 AM / 107.7 FM!


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Antoine GODIN
Antoine Godin is responsible for the development and monitoring of AFD's program on macroeconomic modeling tools for the ecological transition, including the GEMMES model ("General Monetary and Multisectoral Macrodynamics for the Ecological Shift"). Developed by AFD, this tool is one of the few whose scenarios include economic and financial risks related to climate change and the increasing scarcity of resources that result.
Antoine Godin joined AFD in 2017 and worked on the development of an application of the GEMMES model for the economies of Colombia and Morocco. He has been head of the GEMMES Unit since July 2019. He is also continuing research on low-carbon and resilient economic development, with a focus on the changes in the job market that are part of this transition.
Before joining AFD, Antoine Godin contributed to the development of different methodological approaches to macroeconomic modeling, which have been built on the concept of links between economic dynamics and financial dynamics.
He was previously a consultant for the Bank of England and Professor of Financial Economics at Kingston University in London. Antoine Godin is now an Associate Economist at the Center of Economics of the University of Paris-Nord (CEPN). He graduated as an Engineer in Applied Mathematics at the Catholic University of Leuven (Belgium), and holds a PhD in Economics from the University of Pavia (Italy). Using multi-agent stock-flow consistent models, he has studied innovation dynamics, financial instability and guaranteed employment policies.
Research program
AFD publications
Publications as an author
Research documentpublished in December 2023Research documentpublished in July 2023Research documentpublished in June 2023Research documentpublished in December 2022Research documentpublished in December 2022Research documentpublished in July 2022 -
Publications as a coordinator
Research documentpublished in December 2023Research documentpublished in July 2023Research documentpublished in June 2023Research documentpublished in June 2023Research documentpublished in March 2023Research documentpublished in March 2023
Other academic work
"Identification des vulnérabilités à la transition induites par la demande : application d'une approche systémique à l'Afrique du Sud", with Paul Hadji-Lazaro, Revue économique, vol. 73 (2), pp. 267-301 (2022)
"Beyond normative system boundaries in life cycle assessment: The environmental effect of income redistribution", with Denise Almeida, Bo Weidema, Cleaner Environmental Systems, vol. 4 (2022)
"A 'Silent Spring' for the Financial System? Exploring Biodiversity-Related Financial Risks in France", with Romain Svartzman, Etienne Espagne, Julien Gauthey, Paul Hadji-Lazaro, Mathilde Salin, Thomas Allen, Joshua Berger, Julien Calas, Antone Vallier, Banque de France Working Paper (2021)
"Capital stranding cascades: The impact of decarbonisation on productive asset utilisation", with Louison Cahen-Fourot, Emanuele Campiglio, Eric Kemp-Benedict, Stefan Trsek, Energy Economics, vol. 103 (2021)
"Looking for the inverted pyramid: An application using input-output networks", with Louison Cahen-Fourot, Emanuele Campiglio, Elena Dawkins, Eric Kemp-Benedict, Ecological Economics, vol. 169 (2020)
"Economic impacts of a glacial period: a thought experiment to assess the disconnect between econometrics and climate sciences", with Marie-Noëlle Woillez et Gaël Giraud, Earth System Dynamics, vol. 11 (4), pp.1073-1087 (2020)
"L'employeur en dernier ressort : une idée post-keynésienne pour assurer le plein-emploi permanent", with Quirin Dammerer, et Dany Lang, L'économie post-keynésienne, histoire, théories et politiques (2018)
"Monetary Policy Transmission in a Macroeconomic Agent-Based Model", with J. Schasfoort, D. Bezemer, A. Caiani and S. Kinsella, Advances in Complex Systems, vol. 20, n° 08 (2017)
"Redistribution in the Age of Austerity: Evidence from Europe 2006 - 2013", with M. Schneider and S. Kinsella, Applied Economic Letters, vol. 24, issue 10, pp. 672-676 (2017)
"Changes in the Profile of Inequality across Europe since 2005: Austerity & Redistribution", with M. Schneider and S. Kinsella, European Journal of Economics and Economic Policy: Intervention, vol. 13, issue 3, pp. 354-374 (2016)
"Agent based-stock flow consistent macroeconomics: Towards a benchmark model", with A. Caiani, E. Caverzasi, M. Gallegati, S. Kinsella and J. Stiglitz, Journal of Economic Dynamic and Control, vol. 69, pp. 375-408 (2016)
"Finance, Foreign (Direct) Investment and Dutch Disease. The Case of Colombia", with A. Botta and M. Missaglia, Economia Politica, vol. 33, issue 2, pp. 265-289 (2015)
"Is It Possible to Visualise Any Stock Flow Consistent Model as a Directed Acyclic Graph?", with P. Fennell, D. O'Sullivan and S. Kinsella, Computational Economics, vol. 48, issue 2, pp. 307-316 (2015)
"Financialization and the sub-prime crisis: a Stock-Flow Consistent model", with E. Caverzasi, European Journal of Economics and Economic Policy: Intervention, vol. 12, issue 1, pp. 73-92 (2015)
"Post-Keynesian Stock-Flow Consistent Modeling: A Survey", with E. Caverzasi, Cambridge Journal of Economics, vol. 39, issue 1, pp. 157-187 (2015)
"Job Guarantee: a Structuralist Perspective", Revue de la Régulation, vol. 16 (2014)
"Innovation and Finance: a Stock Flow Consistent Analysis of Great Surges of Development", with A. Caiani and S. Lucarelli, Journal of Evolutionary Economics, vol. 24, issue 2, pp. 421-448 (2014)
"A Stock Flow Consistent Analysis of a Schumpeterian Innovation Economy", with A. Caiani and S. Lucarelli, Metroeconomica, vol. 65, issue 3, pp. 397-429 (2014)
- "Production Functions at the Business End: The Case of the Fiscal Compact", with S. Kinsella, Global & Local Economic Review, vol. 17, n° 1, pp. 153-181 (2013)
Opinion columns
- "Is Europe's new carbon border tax fair for everyone?", with Guilherme Magacho, The Conversation France, January 2023.
- "Low-carbon transition in Latin America: what are the risks and the main constraints?", with Guilherme Magacho, Marion Hémar and Emmanuelle Mansart Monat, Development Matters (OECD Blog), June 2022.


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"I love it and it will look just as good hanging inside during the winter as outside in the summer." - Carolyn Ellis, - Happy Gardens Customer
Hanging Butterfly Wind Chime
Curvaceous shapes flow together and combine with tiny bells, creating the outline for our Flamed Filigree Butterfly Wind Chimes. A marvelous piece that's perfect for a variety of settings, it is made with flamed metal, which offers a touch of color and a pleasing gleam. Ten bells with stylized clappers create an enchanting sound with every passing breeze. Like other Happy Gardens wind chimes, this set has been individually handcrafted, and will bring lasting beauty to any landscape.
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ICYMI: Feast your eyes on Kanye West's two perfs from this weekend's SNL, ahead of what will undoubtedly be a monster 6/18 bow. Oh, and that's what that "June Eighteen" tweet was about, by the way. You're welcome.
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I just purchased a Pet Set from the store but I did not receive any of the content after the "purchase successful" confirmation screen.
I did confirm that the funds were taken from my account, and then fully closed the game for ~30min so that it would sync when I opened it again. There is also nothing in my mail except for the daily tournament award.
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Virginia Joyce Morrison
09/22/1933 — 06/21/2009
From Kennewick, WA, US | Born in Glendale, CA
Virginia Joyce Morrison
Virginia Joyce Morrison 1933-2009
Virginia Joyce Morrison passed away on June 21, 2009, surrounded by her loving family. She was born in Glendale, California on September 22, 1933 to Cecil and Elpie Poe. In 1943, the family relocated to Richland, Washington. Virginia graduated from Columbia High School in 1951 and soon after met the love of her life. David and Virginia married on December 26, 1952. They were blessed with three daughters. After several years as a dedicated homemaker, Virginia became a secretary retiring from Westinghouse Hanford in 1995.
Virginia had a zest for life and a contagious, positive attitude. She enjoyed reading and sports, but most of all spending time with family and friends. Dave and Virginia created precious family memories and took numerous vacations. For over 20 years, the annual Priest Lake camping trip was one of her favorite; lasting all year long through planning, experiencing and reliving good times. She was not one to miss a party or opportunity to enjoy life with others. She took delight in watching her grand and great-grandchildren grow and was extremely proud of her family.
Virginia is survived by her husband of 57 years, David; sister, Dicksy Creek Ken; sister in-law, Audrey Howell Bill; daughters: Diane Bartlett Jack, Julie Nelson Walt, Laura Dorland Kelly. She is also survived by seven grandchildren: Heather Ferritto Jeff, Jay Bartlett Christy, Matthew Bartlett, Zachary Nelson Amanda, Alexandre Nelson, Edison Dorland and Kailee Dorland and six great-grandchildren MaKaylah, Alex and Joss Ferritto; Michelle, Whitley and Tyler Bartlett.
Services will be held on Friday, June 26th at 4:00 p.m. at Einan's Funeral Home.
In lieu of flowers, the family is requesting that donations be made to the Tri-Cities Cancer Center.
Guestbook for
Virginia Joyce Morrison
To the Family of my Dear Friend Virginia.
The first time I met Virginia, she came and applied for my job with Jim Berg in the 300 Area – her smile was contagious, and her resume was A okay. When she left I told Jim, well you don't need to interview anymore, Virginia is the perfect fit, and so it was. My relationship with Virginia continued throughout the years at Hanford. I have so many fond memories. When my first grandchild was born a girl, which will be 20 years August 1st, I came back to work and she had decorated my office to let everyone know about the happy occasion in my life. That's was one of just many times she made me feel loved and happy. Most recently we were able to have lunch and go to a movie on occasion. There was always a hug and I would ask, how are you doing?, and she would again give me that big smile and say, "everything was okay". She loved each of you very much, and will be truly missed by all. I offer you my thoughts and prayers during this difficult time. Love to all, Eileen Dunn
Ah Virginia. One of the kindest and most loving people ever known. Always of good cheer even in the face of adversity, she never failed to miss a party, and livened it up considerably upon her arrival. Virginia was a role model on how to live a rich, happy and fulfilled life. And her legacy is measured in her sucessful children and grandchildren, whom she adored. My life is richer because of her friendship.


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Why would I want to make my pet feel fearful? (Picture: Daniel Warren-Cummings)
As I watch a video of the latest, horrific TikTok trend – a cat being picked up under their front legs and swung about a living room like a ragdoll – I feel frustrated and sad.
But what I don't feel is surprised.
There's an epidemic of cat suffering on social media. An epidemic that's not only going unnoticed but is, in some ways, being rewarded by the social media companies themselves and one that is being indulged by those who profess to love our feline friends.
I'm not watching this poor, terrified cat to make myself angry. Rather I'm watching it as part of my job as an animal behaviourist, working for the charity Cats Protection.
Part of my role includes education, working with everyone from those in the veterinary profession to the general public.
I also give expert opinions on current events concerning cats and, with the explosion of social media, this role has become more challenging as we try to firefight all the bad cat welfare trends and messaging.
Just so we're all clear; this means that part of my job is to advise people why it would be dangerous for these animals to be chased around a room, picked up and swung around for prolonged periods of time.
If you find it baffling that people actually need to be told that, welcome to my world.
From scaring cats with cucumbers, to giving them 'dino-cuts' and getting dizzy to Taylor Swift, my job is to try and advocate for felines in a series of increasingly bizarre contexts.
It leads me to wonder, if I didn't work for Cats Protection and I saw this latest video, would I be compelled to walk into my living room, pick up my cat and swing her around the room? Am I judging these videos through the privilege of knowledge and experience?
Unfortunately, some people don't have empathy for cats (Picture: Daniel Warren-Cummings)
It doesn't take me long to answer, it's pretty easy, in fact – no. I wouldn't do it because why would I want to make my pet feel fearful? Why would I want to potentially injure her?
Social media appears to have a way of allowing people to engage with something that they wouldn't tolerate in person. Do we have such a lack of empathy for the pets in our home that we don't care? Or is it a lack of understanding about cats? Or perhaps both?
Trends are only the top-line problems for cats on social media, the bits that get people's attention. However, there's a daily cesspool of poor feline welfare that exists; laughing at cats fighting, cats being heavily restrained to perform on camera, cats that are dressed up in a way that inhibits their natural behaviour.
Social media is rife with this kind of content that will encourage users to think that this is acceptable.
Cats Protection's annual report this year shows that more young people are getting cats, with those 34 and under making up 35% of UK cat owners. While at the same time, social media sites such as Tik Tok are increasingly being used by younger generations (with 19% of cat owners searching social media for advice).
We're a world of so-called cat lovers but we don't act that way (Daniel Warren-Cummings)
We face unfortunate timing of people taking on ownership for the first time, while being inundated with inappropriate ways to interact with these animals.
If owners want to educate themselves to better understand fearful body language in cats, or what's good for their pets' welfare, there are plenty of reputable sites to do this, via organisations such as Cats Protection or International Cat Care.
Unfortunately, some people don't have empathy for cats or other sentient animals and this doesn't look like it will change anytime soon, therefore sadly we can't expect the creation of these videos to cease.
And, while I wasn't surprised watching the spinning cat video, what did surprise me was the comments underneath it. Where I expected to see outrage and concern for the poor animal, I saw people cooing and even commenting on the cat's fearful body language as if it were cute.
Herein lies the problem; we're a world of so-called cat lovers but we don't act that way. There appears to be a disconnect between being a cat lover and being someone who wants what is best for the animals themselves.
Some cat owners might 'like' videos of a cat walking on a lead, terrified on the underground, fighting, showing fear-based aggression and being swung around a room.
But someone who wants the best for our feline friends will not like those videos, will not subscribe to that channel or engage with those users.
We need more people to want what's best for cats, we need more advocates. The great news is that you can still love cats, you can relish in their beauty and comfort and funny ways – through engaging with social media users who produce content that doesn't harm them in any way.
We can't control what content gets made but we can control whether we engage with it.
Disclaimer: social media users are encouraged to report harmful content to social media platforms for review and the social media platforms themselves to ensure content which shows animal abuse is removed and reported to the relevant authorities.
Do you have a story you'd like to share? Get in touch by emailing [email protected].
Share your views in the comments below.
MORE : This adorable rescue cat with 'rare' two noses is looking for a new home
MORE : Woman in feud with neighbours over cats using her garden as a toilet
MORE : Four cats 'tragically' die after being poisoned in Swindon
While I wasn't surprised watching the spinning cat video, what did surprise me was the comments underneath it.


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Senior Security Engineer at Certus Cybersecurity
Modern web browsers have a fundamental security feature called the Same Origin Policy (SOP) that restricts web pages from accessing resources from a different origin. Despite this protection, there exist several techniques that can bypass the SOP restrictions, enabling attackers to gain access to confidential information or execute unauthorized actions on behalf of the victim. This talk will give a high-level overview of several techniques used for circumventing the SOP security measure. These techniques include cross-site scripting (XSS), misconfigured CORS, misconfigured PostMessage, and other vulnerabilities. Through real-world examples, I will demonstrate how attackers can abuse these techniques to abscond with sensitive information or carry out unauthorized actions on behalf of the user. Furthermore, I will delve into effective strategies for thwarting and lessening the impact of SOP bypass attacks. I will cover topics such as implementing Content Security Policy (CSP), configuring CORS appropriately, and leveraging browser extensions like NoScript. By the end of the talk, participants will have a clearer comprehension of the dangers of SOP bypass and be equipped with actionable measures to reduce these threats.
I am Armaan Pathan, a Senior Security Engineer at Certus Cybersecurity, with 7 years of experience in bug bounty programs across various platforms. I have participated in multiple live hacking events and have been recognized for discovering critical vulnerabilities. I am enthusiastic about hacking and always eager to learn more.


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Sensed AV Delay
- by Penguin
- 2022-12-27 07:32:52
- Checkups & Settings
- 471 views
- 7 comments
Just wondering if anyone might have any idea as to why a 'sensed' AV delay might be programmed longer than a 'paced' AV delay and what effect this might have? I've always had the reverse programmed e.g. the sensed AVD value is always less than the paced AVD - seems odd!
Also re: length of AVD. Is 350 msecs a long or average AVD to prevent v.pacing for 1st degree AVB?
Many thanks
7 Comments
AV Delay
by Gemita - 2022-12-27 08:25:18
Hi Penguin,
350 msec seems rather long so that your heart will be doing all the work. Might be okay if you have normal AV conduction, but with signs of AV Block, something doesn't seem quite right. Have you by chance found the source of your difficult symptoms I wonder Penguin?
Have a glance at a Pacemaker Club link above on definition of AV delay. golden_snitch gives an excellent definition and also check Cardiocases on difference in sensed AV delay and paced AV delay.
My Medtronic pacemaker AV delay sensed in (ms) is at 150 and paced at 180 but this seems to be a common factory box setting for Medtronic pacemakers, so perhaps not much help. Hope other members can throw more light?
Thanks for links
by Penguin - 2022-12-27 12:02:23
Thank you for these links Gemita.
I had read that the PR interval for 'marked' 1st degree AVB is approx 300-350 ms, so 350 ms seems like a pretty aggressive AVD, particularly as the AVD extension element of the AVD can be applied up to 3 times.
A 370 ms sensed AVD on top of this seems strange having read those links. Can anyone shed any light on why a sensed AVD may be programmed longer than a paced AVD?
I also have programmed parameters for 2:1 block. This sounds like 2nd degree AV block rather than 1st degree AV block programming. Does anyone know whether this type of programming is used for 1st degree AVB which is defined as 'marked'?
by PacedNRunning - 2022-12-27 21:26:43
Usually the sensed delay is shorter than the paced. Not sure why yours is longer. Could it be they are really trying to minimize pacing? How far apart are they? If your sensed is 350ms. What is your paced? A normal PR is 200ms. If they want to minimize pacing they suggest going no further than 250ms but I've had mine out as far as 350 ms. So it can vary from Person to person. Just depends on the goal. 2:1 block is just when the pacemaker will track the atrium every other beat. But this should be for higher rates. I hope I answered your question or at least helped.
AV delay
by Dixie Chick 65 - 2022-12-28 09:18:39
I have Medtronic Azure dual chamber PM and 2:1 AV block. My paced AV is 280ms and sensed AV is 250 ms. I've had my PM about 2 1/2 yrs. And it's been set the same almost the entire time.
I feel good and this is apparently working well for me, although my ventricle pacing percentage has been increasing, shown in the last 2 transmissions.
Following this thread...
Thank you
by Penguin - 2022-12-28 12:03:29
Hi PacedNRunning & Dixie Chick 65,
Thank you for the info re: the 2:1 block setting. Is this setting for a specific type of AVB do you know? I wondered if you could expand on what you said about it being programmed 'at higher rates'?
I note what you say about the sensed AV delay being set higher as a strategy to limit v.pacing. It seems like a strange way to go about it but plausible. My paced AVD is 350 ms. and approx 20-30 ms higher than this for the sensed AVD.
Re: PR Intervals - as I understand them.
Normal - up to max 200-220 ms (age dependent);
1st degree AVB - up to 300 ms.
'Marked 1st degree AVB' - up to 350 ms (with AV conduction beginning to deteriorate).
'Marked' seems to be where I am, with intermittent dropped beats. This is why the increase in sensed AVD needs to be explained. Happy to discuss further via private message.
Dixie Chick
Like you my VP% is creeping up but very slightly (below 5%.) VP was v.high in the past and unlike some fortunate people on this forum, I really struggled with it. Conversely, I tolerated long AVDs pretty well before, but not so well now.
I'm happy to discuss long AVDs vs an increase in VP with you by PM if you want to send me a private message and if you feel it would help to talk privately.
I'd gather opinions via a range of people if you want to discuss longer AVDs vs higher %VP and obviously talk to your doctors too. Experiences vary quite a lot and research doesn't always reflect what happens in real life.
by PacedNRunning - 2022-12-28 21:25:09
I see you say you tolerated long AVD's at one point. I will say our electrical system can flip on and off or "short" so if you tolerated it before and no longer tolerate perhaps your experiencing more block. This is EXACTLY what happened to me. We tried to reduce V pacing and it worked for a while. Felt great then suddenly started having block more frequently and didn't feel well. Shortening my delays worked! I don't like pacing so high (100%) when I started in the 35% range. So I understand the less V Pacing. But they may need to shorten it some to relive symptoms.
2:1 is a normal function of PM's it's when the atrium can no longer track faster rates and the device will only see every other p wave causing the HR to cut in half. They just have to raise the HR limit so this doesn't happen. I interestingly enough to a PM due to exercise induced 2:1 block. My HR would suddenly drop from 180 to 90 BPM.
My guess is they have your senses delay so long to allow your heart more chance to work. It will follow A Sensed beats. I'm guessing you only A Pace when resting so that timer will be the 350ms. Could be why so your not waiting to long for a pace d beat.
timinf cycles with pacemakers are very difficult to understand. I had to do a lot of reading and asking questions to understand
by Penguin - 2022-12-29 09:06:34
Hi again,
Thank you for taking the time to reply and for thinking about these issues so thoroughly for me. I appreciate it. A change in device has challenged what I thought I knew about pacing and your thoughts are helpful. The two devices are so very different and I'm having too many problems which appear to have no solution with the new one.
I'm unsure as to what's going on with AVB and that's probably the crux of the issue. I've had variable info provided and your explanation re: the 2:1 setting has helped. I'm sorry that I can't really provide you with solid info in return as to what my pacing team may be trying to achieve. I really need to see the EP.
Your comments re: 'tolerance' of AV delays and reducing them are interesting. Reducing AVDs hasn't been suggested before, but I'd certainly like my current ones reduced. They're too aggressive. I'm not sure that I understand how reducing AVDs could reduce v.pacing - seems counterintuitive - but it clearly worked for you. Worth a shot perhaps?
Re: A.pacing - Giving my heart a longer chance to work when resting is a suggestion worth considering as my AP was v.high for years. It's been reduced with the new device by approx 20%, mainly because RR can't be increased as it sets off atrial arrhythmia. RR accounted for a lot of my AP previously.
Not sure if my AP has reduced any more since the sensed delay was increased above the paced AVD but I'll check. It's certainly a Q. to ask.
Overall the new device provides less AP, less RR, increased AVDs and undetectable AT / AF. All of the above contributes to frequent PMT.
The benefits of people like you and a specialist forum like this really come into play when a pandemic causes long waiting lists. I know that peers can't answer everything and obviously you have limited knowledge of my medical history, but it's really helped to get some suggestions which provide a bit of light in what feels like a very dark place atm. Thank you.
Its given me some food for thought.
You know you're wired when...
Your favorite poem is Ode to a Cardiac Node.
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The experience of having a couple of lengths of wire fed into your heart muscle and an electronic 'box' tucked under the skin is not an insignificant event, but you will survive.


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The politics would shift instantly if a whale or two would swoop into the Gulf and cap the leaky BP well, but right now Obama is backing a plan to end the 24 year old moratorium on killing whales.
Enviros are enraged, and rightly so - Rich Lowry explains that Japan has been a rogue state for decades on this topic.
But can we blame Bush? Yes we can! Or at least, the Brit Independent can:
The deal which may do away with [the ban], which has been on the table for three years, was first thought to be merely a diplomatic compromise to end the perpetual confrontation at IWC meetings between the whaling nations and the anti-whaling countries. But recently it has become clear that it had a different purpose, and was cooked up in the US – by leading figures in the Bush administration, among them being Senator Ted Stevens of Alaska, who, until his conviction for taking unreported gifts in 2008, was the longest-serving Republican senator in American history.
One of the most powerful figures in US politics, Senator Stevens sought a deal with Japan after the Japanese caused problems for the US by objecting (as a bargaining counter in IWC negotiations) to the whale-hunting quota for Alaskan Inuit peoples, who have a traditional hunt for about 50 bowhead whales.
Senator Stevens is believed to have put pressure on the then-US Whaling Commissioner and IWC chairman, William Hogarth – whose budget, in the US National Marine Fisheries Service, Mr Stevens controlled as a member of the Senate Appropriations Committee – to open talks with Japan, which Mr Hogarth duly did at the 2007 IWC meeting in Anchorage, Alaska.
Mr Hogarth's proposals, which would have allowed the Japanese and others to restart whaling commercially, were eventually thrown out by the IWC. Yet the deal now back on the table is essentially a modified version of his original plan, which is even more favourable to the whaling states.
It is notable that the US, which used to have to negotiate its Inuit bowhead quota every five years, will get a 10-year quota if the new deal goes ahead.
Blaming Bush and the Eskimos - I knew it. But if a ten year respite is all the payback we get, I am surprised.
And can we find a flip-flip quote from Obama? Yes we can!
As a candidate, President Obama said, "As president, I will ensure that the U.S. provides leadership in enforcing international wildlife protection agreements, including strengthening the international moratorium on commercial whaling. Allowing Japan to continue commercial whaling is unacceptable." (March 16, 2008 - Greenpeace candidate questionnaire)
Yeah, well, that was more than two years ago, a foolish consistency is the hobgoblin of little minds, and no one thinks Obama has a little mind.
MORE: Even more background at The Economist, which blames General MacArthur:
Japan's critics say that by using a loophole in the IWC charter to practise "scientific" whaling, the country is violating the spirit of the document. Japanese officials counter that the 1946 convention never anticipated a moratorium on all commercial whaling. Whale meat is still occasionally served to schoolchildren in Japan as a reminder of their culture, though large-scale whaling only really began after the war, on the orders of General Douglas MacArthur, who oversaw America's occupation. The aim was to provide cheap nourishment for a famished nation.
Hmm - this history has it somewhat differently, although post-war scarcity is mentioned.


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At the time, Messi joyfully shared the news of a new addition to his family, writing, "'New member of my family,' Messi wrote at the time.
'Thanks, love, for this beautiful gift.'" He and his wife, Antonela Roccuzzo, regularly posted pictures and videos of the dog on social media. However, they haven't shared updates since 2021, when Messi was playing for PSG and traveled back to Spain to recover from an injury.
The seven-time Ballon d'Or winner expressed concern about the amount of stress the ongoing cross-continent move in July might impose on Hulk, the dog. Messi told Grandados that Hulk 'is on the verge' and may need to be put to sleep.
Messi rests at his Barcelona home with the family pet dog, Hulk, a seven-year-old Bordeaux mastiff.
Messi's pet Bordeaux Mastiff, Hulk, is seven years old. These dogs typically have a lifespan of five to eight years, but in some cases, they can live up to 11 years.
Messi plays with Hulk at the family's home. For now, Hulk is being looked after by the staff at the luxurious home in Castelldefels, a suburb 12 miles away from Camp Nou. Bordeaux mastiffs grow to be 27 inches tall and weigh 110 pounds. They have a lifespan of five to eight years, although some may live up to 11 years.
Currently, Hulk is being cared for by the staff at the luxurious home in Castelldefels, which is located in a suburb 12 miles away from Camp Nou. Meanwhile, Messi has become the face of MLS in the US as he plays for Inter Miami CF.
During the interview, Messi shared that the family wakes up on school days at 7 a.m. for a group breakfast and drops off his three sons, Thiago, Mateo, and Ciro. He and his wife return home for a nap or to catch up on their favorite shows. On other days, he heads over for a morning workout with Inter Miami. Around 3 p.m., they both pick up the children before taking Thiago and Mateo to soccer practice at the club's academy.
Messi also revealed the possibility of expanding the family. "We would like," he said. "We are not in the search, but we would like it if the girl arrived."


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The slight senile and narcissistic president of the United States, Donald Trump now wants to end all testing of sick Americans. In this way, he will reduce the number of Corona-infected so that the rest of the world stops fussing about the ever-increasing trend of corona-infected Americans. It's the only way, says Trump
Will close hospitals
In addition to stopping all Corona testing, Trump will also close several hospitals. "It is a fact that there are many Corona patients in the hospitals of the United States. By closing these hospitals we will be able to reduce the overview of the infected and as a natural consequence of this, the statistics of Corona-infected people will race downwards" said the president from the pulpit last night
Tired of China disease
Moreover, Trump pointed out that there must now be an end to all the fuss about Corona. Trump referred to the virus as China disease and said all the facts show it's China that coughed first. "It's pure logic, China coughed already in December 2019, I don't need more evidence than that,"Trump said. Now the president will concentrate on running intimidation propaganda and division towards the US election on November 3, 2020


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DUSKday 2006
John Mayhew was invited as guest at the
second edition of the Duskday. - transcription by
Roger Salem |
Mario Giammetti: How did you end-up working for Genesis? John Mayhew: Playing in a band had become a lifestyle thing,. it had become a way of life. I played in a band so it was very obvious that I went to play in other band. I had been playing in blues bands, just rock'n'roll bands, pop bands, any sort of band that I could come across. Not with any idea of becoming rich or famous or anything like that, but just to carry on playing in a band. It had become a lifestyle thing. So I told everybody I was in a band. So in London I must have told the right person because they got in contact with this unknown band called Genesis who were looking for a drummer and I was working as a carpenter and I came home from work one day and my girlfriend said: 'a guy called Mike Rutherford has telephoned you and he is calling back at 6 o'clock'. So when he called back at 6 o'clock I ran downstairs and picked up the phone and he tried to persuade me to join Genesis (laughs - ed), because at that time they weren't very famous or very well known. And, I was very interested. As soon as I heard that name Genesis I somehow knew, I somehow felt, don't ask me how, that this was going to be something. It just had the right sound about it and so I went for an audition and got accepted into the band and the rest is history! MG: Is it true that you rehearsed for 11 hours daily for 6 months? JM: Well we never really stopped rehearsing. Whenever we had a day free we rehearsed for 11 hours a day and everything was absolutely perfect. Nothing that you hear is a chance thing. It is not improvisation. It was all worked out perfectly. MG: Do you have any memories of the time spent at the MacPhail cottage? JM: Quite a lot actually. That was where the main event took place. I rehearsed for a short time at Anthony Phillips home and then a friend of the band, Richard MacPhail he had a cottage, a small house and we rehearsed there probably for about 10 months and there was a small library there, I read George Orwell and I read all these books… What else happened… ha ha... long walks. It was in the countryside where in the morning we would take a nice refreshing walk. It was winter as you can probably see from the photographs. And when we went out in the mornings to go for a walk there would be animal footprints on the snow I remember. It was a very happy time although I had some problems, but it was basically a very happy time. We didn't have any arguments, flair ups or any of these sorts of things. It was very civilised really. MG: Who was the driving force of Genesis at the time? JM: I think it might be true to say that there were really four driving forces. I don't think that nobody was hanging around waiting to be told what to do. To this day I don't know how they arrived at the melodies, because Tony Banks used to turn up at rehearsals and start playing and he had all the song worked out. All I had to do was play along to the song. He probably had had some interaction with Peter Gabriel as far as the words were concerned, but I think the music got written first and then words came later, I don't think that the words came first. MG: How did you work the drums on the songs? Was it your intuition or was there someone telling you what to do? JM: It was largely worked out by myself what I was going to play and if they objected to something then I changed it. Sometimes they told me what to do and mostly I played along to the songs the way I felt. MG: In the song Looking For Someone did you contribute some lines? JM: No, I think I best not lay claim to that, because I can't really remember. It's like in normal conversation when you have a word, you know you say: 'Oh hey I have this or whatever', but to say that I actually wrote or helped to write the songs isn't true. MG: No, not the song but just part of the lyrics. JM: Not really no, not to say that I actually had anything to do with the writing of the songs. As I say, it might have been a couple of words or a line or something like this. MG: So did you have any involvement in the writing process of the songs? JM: I can't say that I have any strong recollections of being responsible for anything to do with the words, although I suppose there were times. Musically I know me, I probably at the time, but I can't really remember it, said what I had to say as far as the creation was concerned. But I wasn't responsible for huge chunks of the songs. As I say there were four very talented writers who were trying to protect themselves and had very strong feelings about the way the music should go, so I was very tentative about actually saying too much. When I had something to say, I never thought of myself as a writer, although I later went on to do some writing at that time. But to say that I actually had anything to do with the construction of Genesis music, I would say no. MG: Let's play a little game. I will mention each Genesis member and if you could tell me something about them both as musicians and as personalities… Let's start with Peter Gabriel. JM: Peter… he was very, what is the word here… he stuttered and he found it very difficult to be open and effusive. He was not a loud person, but he was very hard working. He was always writing little notes on pieces of paper, lyrics for songs. I arrived at this railway station in the South of England when I went down to have the audition and they were in a London taxi cab and I got into the cab, and there was Peter Gabriel writing on a scrap of paper some lines for a song for example. He had a very strong character but he wasn't loud. MG: Anthony Phillips. JM: Anthony was the one that I was afraid of the most. He was so hard working. He was so determined that the guitars had all been tuned. He was the one that I thought, well I've got to be as good as he wants me to be or else I'm not good enough. But he was so very sensitive, you could see it in his face, you have these very refined features and he is a very delicate guitar player. He was something to look up to. MG: You met Anthony in May, which were your impressions? JM: For thirty six years I carried around with me this idea that somehow I had let Genesis down and when we met in London, Anthony just said a different story completely that I hadn't let Genesis back, that I wasn't responsible for there creative flow being lost or whatever. Yeah, he really put me at ease. MG: Mike Rutherford. JM: Mike Rutherford, the gentleman! He always wore a black suite which was not very fashionable in those days, in the Sixties. But he was always calm. He could always think problems through. He was never difficult. He always remained the same. And at dinner, when we would sit around the table, we didn't eat very good food incidentally, we survived (laughs - ed), he would peel, you know that Dutch cheese with the wax, the Gouda, he would peel it up into a little ball and flick it across the table. MG: Tony Banks. JM: Well, Tony was born on the same day as me and he had very little to say only when it was absolutely necessary but he was obviously the driving force behind Genesis with those marvellous licks, those riffs he played, he came up with something fresh and new every time. It was exciting. It was colourful yet he always wore a grey pullover. He just sat up there on the keyboards and just turned out this steady stream what obviously were brilliant licks and riffs and his music was of a standard above the average I would say. MG: According to certain voices it was Tony Banks who decided to change drummer… JM: Well I really don't know whose actual decision it was and who was for and who was against. I suspect that there were more for then against, but anyway I was eventually asked by Peter to leave. (audience member): Have you had a chance to see Genesis live after you left? JM: No I haven't. MG: Do you remember other songs that you recorded in that period which were not on Trespass and on the boxed set? JM: Well apart from the tape that was done for the BBC, I don't recall that there were any other demos. The Moody Blues wanted us to join the Moody Blues label. We did some recordings with them but I don't think there was anything precious. We were just doing things which we intended to record anyway. If there was any other material I really can't recall at this stage. (audience member): Are you aware of the Jackson Tapes auction on Internet? JM: No, I'm a recent Internet user for one thing and I haven't heard anything. MG: Did you know that some of the material from the Jackson Tapes were later used by Genesis and fragments can be found on the song The Musical Box and moments on the Lamb Lies Down On Broadway? JM: No, I was not aware. MG: Did you ever sense a difference between the Genesis members and yourself from the fact that you come from a different class? JM: Obviously there were problems which both sides attempted to overcome. They were still carrying traces of their training and their up-bringing from school and I was trying to better myself by not giving in to apathy as far as my class was concerned. I didn't think there was a glass ceiling. I just wanted to go up and out. You just have to overcome these things. You find yourself in a set of circumstances and both sides try to work out a way of meeting each other in the middle as it were. We both knew what the score was. They tried. It was for me to try to come up to their level but of course it was of course for them not to be too high and mighty, and they weren't, they were really nice with me. They didn't abuse me, they didn't do anything. They really tried really hard to overcome the obvious differences. MG: Did the Trespass royalties over all these years reach you in the end? JM: Yes, six weeks ago! Anybody want to borrow a Euro? (audience member): You can bring all of us to the restaurant! JM: First I would buy the restaurant. MG: You disappeared for more than 30 years. What did you do during this period? JM: Well, I immigrated to Australia as many of you know. I got married twice. I never had any children. But I always had a love of making things with my hands, manually. I am a carpenter by trade but I am also an artist and eventually I went to a college in Australia and learnt to be a scenic artist for film and theatre and a designer and so on just working in film and theatre but there is not a lot of work in Australia for many of us and it is an over-populated profession and so I eventually ended up designing a range of 17th and 18th Century French painted furniture. But a lot of this French art has its roots in the Italian design too, which I have discovered. So that is basically what I have been doing, searching for myself, finding out for myself what makes me happy and what is going to make me happy as an old man. I am now 59. MG: No more drums? JM: No more drums. Maybe for the fans, yes! MG: You told us in May of this trip on the train when you had so much baggage to carry! JM: There was too much baggage carried around with me. It was like a piece of furniture wherever I had been I had to carry this great big thing with me. Even if I had a car you couldn't leave the drums in a car because they would get stolen. (audience member): Do you remember the brand of drums you had? JM: Yes, I had a Ludwig and my favourite cymbals were Zildjan, not Paiste, they are too soft. Zildjan have that nice little ring to them. It was just the basic kit, one tom. MG: What are you doing now? JM: I am living in Britain for the moment, in Glasgow, Scotland. Don't ask me how I got there, it's a long story and it has nothing to do with Genesis. I'll go back to Australia now that I have the money. I'll go back and a friend of mine has a huge property. About 5 hectares of land with a house on it up in the mountains in the back of Sydney and I'll go back there and I'll go and live in the house. I will build a workshop and I'll start making my furniture again. It's my plan. If somebody came up to me with a sensible and workable plan for me to record again I would. but I don't know if it would have any commercial value. Look what happened to Dale Newman. He is an excellent musician and so on, and he now finds it difficult to sell his stuff because perhaps Genesis have kind of moved on a bit or rather the public have moved on, not Genesis, but I think there is every possibility if Genesis reforms that they will have some success. But as for me recording (laughs - ed) I don't know, there is nothing on the cards, nothing! (audience member): What kind of music do you listen to? JM: I am not seriously listening. I just listen to the radio and I mainly leave it to other people to change the channels. I love to go searching but I have many people in my house everyday (laughs - ed). They come in and they sit around and they drink, they smoke and I just let them put on what music they want on. But as I was coming here I was playing more Genesis music more often but believe it or not I am just discovering Genesis. I had just kind of put it behind me. (audience member): Do you remember anything of the Genesis live shows? JM: I remember feeling confident about how all of the rehearsal had paid off. You know, we were absolutely certain about what we were doing because there was no room to go left or right. We played everything just as how we rehearsed it and I liked that. I don't like to much freedom to improvise. There are lots of people that do like, that but I liked the way Genesis worked. It was just a pleasure to play. (audience member): Do you remember anyone filming one of these shows? JM: Yes, yes! At Chalk Farm I remember being filmed and at the Round-House in London we were on the same bill as David Bowie and Black Sabbath. (transcribed by Roger Salem) |
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