text:
Interviewer: > Beryl Graham Interviewee: > Matthew Gansallo
Sarah Cook: How did the Tate web commissions come about? What was (or whose was) the initiative? Matthew Gansallo: It was a good initiative. They had just finished the new website for the Tate - the redesign, the rehaul - and Sandy Nairne, being director of National Programs, said he wanted me to commission artists to make works for it. SC: And what position did you have at the Tate? MG: I started at the Tate as a senior management research fellow - a position which covered exhibitions, publishing, management, etc. That had its up and downs, and just as I was about to go on to do more writing, Sandy asked me to take the Tate forward into the wild plains of new media. SC: Why did Sandy pinpoint you to curate the projects, what qualifications did you have in the field? MG: I had experience of new media to the point of research and reading, and on the architectural side of things, so it was within my remit. I studied fine art in the mid 80s and studied architecture, and worked extensively in those fields. I had a remit of collaborative processes of artists and architects, and I had written on this ... and through that there was a lot of talk of the new media explosion. I started at the Tate in 1998, when Tate Modern was about to be fitted out. In my position I could cover all grounds - development as well as curatorial; I could go around and do all sorts of things. Sandy thought I had enough experience and transferable skills in putting two disciplines together to come out with something interesting, something coherent. SC: Can you clarify which two disciplines you mean? MG: New media art and the museums - the visual arts. Are they bumpy bedfellows? Do they rub against each other? Can new media fit in the museum or can the museum fit in new media? Those are the questions I asked. That was my approach. SC: Can you describe your working process, where your research led you - where you began? MG: Just before this time last year [December 1999] I was in the United States researching dot.coms, the business side of it, how people are buying things online, to see the workings of it. I was mostly in New York, talking to the people at Sothebys. And at the same time I had to give some papers on architecture and museums in North Carolina and Detroit. As for the angle I took, it's as follows. The new media perspective, or form of work, that has been going on critically for the last four years, we could view as anti-museum. And museums the size of the Tate and others, only want to engage with it as far as it is an adjunct, but not within the core of the history of art, or only as far as it is a new tool that so-called real 'artists' want to deal with. I knew I was dealing with two different canons - one of the museum, and one of new media. In the case of new media there is a communication rhetoric and theory that isn't confined in a space; the phenomenon of the Internet is in its audience, the millions of people. Where does the art begin and where does it end? And how does it need the museum? And what are the differences between the three strands: webdesign, web art, and art on the web? SC: What did you look at in order to separate out those three strands and determine the relationship between the web and the museum? MG: When I had decided that those questions were my starting point, the core of my research was to go to the ZKM. SC: Oh no! MG: Yes, so I went to see that, what a mess. SC: Did you go by yourself or take other Tate curators with you? MG: I got a couple of other curators initially who were working with me on this to come. And because it's the Tate, Sandy had said, not in so many words, 'don't mess this up for us Matthew. We don't want a mess, we want something we can contain; we shouldn't be overly ambitious just because we want to be seen at the forefront or just because we're about to open the second largest museum of modern art in the world.' So there was a lot of pressure on me. So I was never going to have grand ideas about Level 4 Tate Modern [the temporary exhibition space] and was to think instead about what we can contain on the web. There wasn't any space, but we thought we'd keep away from asking an artist to do some work in a space. SC: What about Julian Stallabrass's exhibition for the Art Now space in Tate Britain; that was already on the books, did you talk to him about it? MG: Julian was interested - we exchanged e-mails, and because he was doing that in the Art Now space we could concentrate online only. SC: So then what? MG: I began to get interested in the two canons, and asked myself: what is the mediator? What is the middle ground where there is an explosion or a meeting? Taking it into the remit of the Internet itself, the museum only exists as a site within its website. SC: Let's go back a minute. If you were interested in web art and working only online, why did you go to ZKM - where the net_condition show was about putting net art into the galleries and is widely considered to have been not only a bit of a failure, but also a show that was very late in the game in recognising Internet-based art practice? MG: Good question (laughter). What made me very sure about wanting to put it online was after seeing net_condition. We spoke to Peter Weibel, and I looked at it and I was more determined to have it more strictly online and not in a gallery space. It was good to go, and we read Alexei Shulgin's work created in response about museums, which was great. And at the time - with Tate Modern about to open - I had to think carefully about the space and ask myself, is it wise [to put this work in it]? After coming back I met with Sandy and said I was very much convinced it should be online. I had the conviction to commission new work, and to work with the forum of the web. I totally disliked, or rather, I don't think it works - putting money into a room filled with computers, like an office, in a gallery - it doesn't make sense. If you're going to do something in a gallery the architecture has to be part of that. Or, like Julian is going to do, have something inside that connects with the outside. It has to be installed in a particular way to create discourse. SC: So how did you choose the artists? MG: I gathered a few advisors: [independent curators] Matthew Fuller and Lisa Haskel, etc. And while I was aware that this was at a time when one should look around and explore a bit more, I also thought that too many cooks might just spoil the broth, so I concentrated on what I want to do - identifying the middle ground. I spoke a lot with Lisa and Matthew about their ideas. And with Tom Bets - a brilliant young man on the Tate staff - he's web editor, now working with webcasting curator, Honor Harger. Lisa drew up a list of artists we could approach, who started by using new media and whose works had been informed by the Internet when they began to practice. SC: Who was on the list? MG: irational, Jodi, Graham from Mongrel. I asked if they were available and if I could go speak to them. SC: And how did you choose Simon Patterson? MG: While I was doing this I thought it was incredibly important to see how these canons could complement each other, and then it became important to find someone who we can call a traditional artist who makes work that we can readily identify as fine art - paintings, sculptures, representation. [I had a list I had] taken on from the Abracadabra show - Emma Kay, Simon Patterson, Angus Fairhurst. I was considering these artists because their works are not virgins to the Internet - it may reference it in practice - but they've never actually been commissioned to do work on the net. SC: There is a theory floating around that pairing Simon Patterson and Mongrel was a way of making net art easier to understand for the public. Would it not have been more risky and 'at the forefront' to just commission Internet-based artists? Was asking Simon Patterson - an already relatively well-known artist, and one in the Tate's collection - a way to hold the hand of your existent traditional audience and bring them online? MG: It wasn't an intention to make net art easier to understand, it was to engage the audience, into looking at how this work could be a tool for artists to use, and to look at this definition of digital artists, what does it really mean? Is this a tool artists can engage with, and say 'I'm happy putting my works within the museum, and other times I'm happy to do work on the web which can inform my work'? It wasn't to pick someone well-known, but an artist who had been working for a few years, who had some profile, who had work that lent itself to a canon, work that has an innuendo of use of technological systems, an enforced rhetoric. Simon is speaking of our informed code of information (for example, his work, The Great Bear (1992) based on the London tube map). Other artists that we spoke to said they weren't interested, because they were against the computer, etc. And I was pleased when Simon said 'okay, I've never done it before and if I can channel my creativity, then great.' It was important for me to create that dichotomy, and I think it works both ways, in the sense that Harwood@Mongrel has taken his work and what he's done before and put it inside an institution. Whereas Simon has brought his way of thinking to the Internet and the Tate web, and the idea was to get the audience to look at the Internet. My intentions were in trying to create some sort of balance, not create some sort of safety net, with having an artist who is famous and one who is not so. That wasn't it. Because Mongrel is incredibly well known (mostly on the net, in Amsterdam, in Australia, the Pompidou has collected their work), they are at the forefront of pushing the boundaries - the differences between web design and web art. The Tate never, at any point, called me and said 'you have to play it safe, you have to find an artist we've shown before.' This pairing was my initiative. SC: I suppose the other part of my question is how new media art is perceived within the Tate. MG: I am interested; I am looking at new media not as something cut off, but as a progression forward, not an adjunct. What I thought as I was doing my research is that I had found a lot of institutions who didn't take media art seriously - this new technofrenzy, video game playing stuff. They say 'this is nothing that we can include within in the canons of art,' and this attitude is something I totally disagree with. This is something that artists can use to 1) reach audience, 2) make interesting new work, and 3) we'll see museums change their buildings as a result. SC: So where else did you look to as models of the type of curating, or net practice you wanted to be a part of? MG: We looked at Iniva, the Walker Art Center's Gallery9, Olia Lialina's Art Teleportacia gallery, Natalie Bookchin's site, and talked to Josephine Berry [editor of London-based Mute magazine]. I looked at all that and thought it was interesting and it formed part of my thinking. I approached the artists and said 'its up to you to come up with the idea; the virtual space is open for you to do something with. You create work that you think is appropriate for what we are doing.' SC: Let's talk about Harwood@Mongrel's piece, because it got a lot of press. What's the story? MG: With Bankside (Tate Modern) being a converted power station, Mongrel were also aware that the Millbank building (Tate Britain) was a former prison. They went around the Tate Britain with a digital camera and wanted to look at parts of the building and the collection and, through the net, reveal what was there before. As his ideas developed he came up with the idea of hacking. We got a lot of responses back: 'who did it?' and 'how scary!', and 'is this a site for knowledge?' and 'what is it?' and 'anyone can put this typically Tate shock tactics crap [up]!' And we got responses that were 'gosh this is interesting,' and 'I'm glad they've done this,' and 'it's good the Tate is large enough to say what you want.' SC: And the responses to Simon's work which didn't get as much press? MG: Simon's work got great responses from highly stressed business men saying they loved relaxing to the colour, the sound, and the coded histories, etc. SC: And, most interesting to me, what was the response from the Tate itself? As I think I've said, we want the Crumb site to be useful for other first time new media curators - and your experience in a big institution like the Tate is very interesting. MG: The departments to watch out for are the typical core departments. This was an issue; they had to rewrite their approach ... SC: Which departments? MG: The departments of marketing, of information, press and publicity, and department of development. SC: Can we talk about each? MG: Yes. 1) Marketing: They were rightly concerned about their audiences coming into the Tate web and being taken by Mongrel and that they were either going to lose what they call 'the hitters' - potential audiences who are the bones and content of the Tate web. They were worried about losing audiences because of the in-your-face nature of the work. We had extensive meetings with them (which I will detail in the book I am writing about this experience). I was constantly liaising between marketing and the artist. The marketing department manages the Tate's website, because of their interest in the audiences. They were good, constructive conversations and meetings. People [the press] wanted to play it up that we were doing things that were getting departments angry, but it's not the case. It was because it was the first time. The best thing we could do was sit down and talk it through with them, and not create a storm in a teacup, and through that learn something. SC: Which was? What did the marketing department learn? MG: That artists making work for the website have the same rights, as Anish Kapoor or Mona Hatoum or any other artist who would be invited to make work in a space. Next, 2) Press and Publicity: We did a lot of work with them in the end. There was a press release and a good write up from them - of my intention and the why and how I curated it - and that went out. But, as is usually the case, the press first had to know (and agree) that we were working in the same vein as inviting an artist to make a work for a space, or having an exhibition of William Blake works, or that it was like the Art Now space. They had to begin to view it like that. Initially they weren't sure how to view the press and publicity of this type of work. They asked 'as the Tate, this is the way we write press releases for certain types of exhibitions, we've not done it before so do we do it in the same vein?' I insisted that they view Mongrel and Patterson as artists invited by Tate on the merit of their work, not as lab rats. Getting the details clear was important - it should be said on the flyers that it is virtual, but they have created works of art for the Tate web, using the technology of the Internet - so that had to be written within the program. People didn't know how to do it, how to develop a new language. SC: I'm anxious to hear how the curatorial department reacted. Were they threatened because they hadn't been the ones to curate or commission the works? Did they embrace it and defend what you had done? MG: 3) The curatorial departments - with all fairness to them - were incredibly busy with Tate Modern. Two collections curators worked closely with me and did initial research with me on this - finding out how these works could find themselves within the galleries and in the museum's space. A lot of the curators thought about this being in a physical space, it took a while to convince some curators that it was strictly online so it was not encroaching on their space. And we told them 'we want to look at how this affects what you do, and what you write, and within art history, the cultural assumptions, and patterns of people viewing art,' etc. SC: Can you speak to the press coverage which stated that the curators asked Mongrel to tone down the piece, claiming they didn't realize it was going to be so controversial? Was there a chance the work was going to be called off? MG: I was the only one who was crucial in terms of it going ahead. They knew about it, knew the artist's intentions, and they said 'if it doesn't go well you're in deep soup and if it goes well you'll get some wine.' There was a strong knowledge about what was going on and who was doing what, and they had a good understanding of it. Some of the curators knew Mongrel's early work. They said 'good luck.' Although they were supportive initially, at the end of the day it was 'let's see how well you do it Matthew,' and I can say that I was the only curator working fulltime on it. I emailed the younger curators working on it a lot, and the two collections curators looked around with me initially. But with it being the first time, I had a lot of curators asking 'what does this have to do with visual art, what does this have to do with what we're doing?' I was clear that it's not just something as an adjunct, its something we have to begin to take seriously ... They're getting there. Some curators didn't want anything to do with it, but most knew the score. I was the conduit of five or six departments and had to tell them what we were doing ... Sandy and I had to step around. The highest point was when we showed it to the director, Nick Serota, before the works went live; he already had an inkling of it (because we had been emailing him) and he went through it and said 'good, excellent.' SC: So, what next? MG: It was a learning period for all of us, including myself. We will begin to see some form of confusion and suspicion between new media and museums, but with good communication it will dispel into the background, and with big exhibitions it will be within the same form, the same sentence when we speak about art on the net. In architectural terms - as for what the new media visual arts might mean to the museum - the architecture is destined to change (I witnessed that in Japan, more recently in September). It's going to be incredibly expensive. I have ideas on how to design parts of the museum, as to how they can be the conduit between the virtual and real. SC: Let's make that our next conversation.
architecture media art fine art design time space audience video money press museums publishing race
Matthew Gansallo Sarah Cook Natalie Bookchin Julian Stallabrass Peter Weibel


text:
Report a Bug
From Linux-VServer
There is a large number of Linux-VServer users. There is a much small number of people who actually develop Linux-VServer and fix bugs.
What does this mean for you, an aspiring bug reporter? In order to catch the eye of one of these few volunteers, you'll need to take to heart a few tips on how to report a bug so that they can and will help you.
By following these guidelines, you can help ensure that your bugs stay at the top of the developers' heap, and get fixed.
How to report bugs
The people who are going to help you with a bug report are volunteers. Not only are you not paying them to help you, but nobody else is either. So, be nice to them.
Beyond that golden rule, what follows are some additional tips on ways to make your bug report better so that someone will be able to help you.
Basics: what you did, what you wanted to happen, and what actually happened.
Those are the three basic elements of a bug report. You need to tell us exactly what you did (for example, "I right-clicked on "make happy meal"), what you expected to have happened (to continue the example, "I expected the kernel to serve me a happy meal with a hamburger and onion rings"), and what actually happened ("It gave me a happy meal with french fries.").
Yes, the example is silly. But if your bug report simply said "The make_happy_meal function doesn't work," you will very likely get a reply saying "It works fine for me", because we can't guess what you were expecting to happen. By giving all the information you might get a reply like "That's because you can't have onion rings in a happy meal, you can only have french fries or curly fries." By telling us what you asked for, what you expected to get, and what you actually got, we don't have to guess what you mean.
Useful information
The following list gives an overview of information useful in bug reports. Note that you don't have to submit all information listed below, but you should do as long as it helps to discover the root of all evil.
- One line summary of the problem
- Full description of the problem
- Kernel version (from /proc/version)
- Output of test scripts (see below)
- Output of the Oops.. message (if applicable) with symbolic information resolved (see Documentation/oops-tracing.txt in the kernel source)
- A small shell script or example program which triggers the problem (if possible)
- Processor information (from /proc/cpuinfo)
- Module information (from /proc/modules)
- Other information that might be relevant to the problem
- Other notes, patches, fixes, workarounds
Test scripts
To ensure that your (VServer) setup works we have created two small test scripts. The testme.sh script ensures basic functionality whereas the testfs.sh script is for inode attribute testing for various filesystems.
# get the script wget http://vserver.13thfloor.at/Stuff/SCRIPT/testme.sh # make it executable chmod +x testme.sh # become root su # run the test script ./testme.sh
Be careful! The testfs.sh script might easily reformat your hard disk :)
# get the script wget http://vserver.13thfloor.at/Stuff/SCRIPT/testfs.sh # make it executable chmod +x testfs.sh # make a loopback file (created as a sparse file to save time) touch 1gb.tesfile dd if=/dev/zero of=1gb.testfile bs=1 count=0 seek=1G # become root su # setup the loopback losetup /dev/loop0 1gb.testfile # run the test script for new-style config ./testfs.sh -t -x -y -z -D /dev/loop0 -M /mnt
Attach the output of these two scripts to your bug report.
If you need to figure out which line of code is causing an OOPS/RIP, the following script will parse your dmesg and output the lines and addresses formatted as shown below:
#!/bin/bash # output looks like: ffffffff80502a23:/usr/src/linux-2.6.25-vs/net/ipv4/raw.c:936 # only arg is path to vmlinux (/usr/src/linux/vmlinux) CMD=`dmesg | egrep '<[[:xdigit:]]{16}>' | sed -r -e 's,^[^<]+?<,,g' -e 's,>[^<]+?<, ,g' -e 's,>.*$,,g'` if [ ${1} ]; then for i in ${CMD}; do echo -n $i: && addr2line -e $1 $i;done else echo please give me the path to your vmlinux fi
Where to send bug reports?
Bug reports about the kernel patch should be submitted to the mailing list or directly to one of our developers in IRC.
Bug reports against util-vserver should be filed on github.
See the Communicate page to learn how to use the mailing list and/or IRC.

subset: commoncrawl


text:
Bajgier Family Papers
On March 13, 1903, Joseph Michael Bajgier was born in Odrzykon, Poland, the youngest of three sons in a farming family. Schooled only through the third grade, Joseph served as a young man in the First Air Division of the Polish Army before following his older brother in emigrating to the United States in 1927. Settling in Chicopee, Mass., with its large and active Polish community, Bajgier began work as a slaughterer of pigs for a meat processing company, but within a few years, he had saved enough money to purchase a small grocery store in Longmeadow. In about 1935, he returned to Chicopee, purchasing a grocery and deli, Bell Market, that his family ran for 36 years. Bajgier was deeply involved in the local Polish community as a member of the Polish National Alliance, the Holy Name Society of St. Stanislaus Parish, and an organization of Polish veterans in exile (Stowarzyszenie Polskich Kombatantow). He and his wife Martha (Misiaszek) had two sons, Casimir and Edward
The Bajgier collection documents the lives of a Polish family in Chicopee, Mass., from the time of immigration through the 1970s. The core of the collection surrounds the life of Joseph Bajgier, and includes a number of documents and a diary from the time of his emigration in 1927, a fascinating series of letters from relatives in Turaszowka, Poland before and after the Second World War, and several photographs of the family and their business in Chicopee.


text: Please vote on this idea... {{randomIdea.topic}} {{randomIdea.username}} {{randomIdea.category}} {{randomIdea.comments}} Answered Launched Good suggestion? Skip There are no ideas left to vote on. Why not suggest your own idea? Popular ideas | New ideas | Answered ideas | Launched ideas Popular ideas New ideas Answered ideas Launched ideas Location-based notificationsStarted by nick.henry iPhone app141 comments Ask for date to postpone to when postponing a taskStarted by ulises.pabon iPhone app5 comments Recognize phone numbers in task titles for one-touch diallingStarted by halloleo iPhone app6 comments Automatically link contact names in tasks with iPhone contacts (e.g. 'Call Phil Burns' links 'Phil Burns' to contact info and allows calling)Started by billings.colin iPhone app3 comments Contacts integrationStarted by apbwolf iPhone app19 comments Customize the order of lists and Smart ListsStarted by mkaub iPhone app11 comments Drag and drop to reorder tasksStarted by braden iPhone app4 comments Snooze button for notificationsStarted by dice1976 iPhone app16 commentsAnswered When selecting a due date from the 'Basic' list, show today + 8 days instead of today + 7 days (so you can make the task due on the same day next week)Started by philipbowman iPhone app1 comment Show tasks due in a monthly calendar viewStarted by jsantiago iPhone app1 comment Meta-locations (e.g. 'Supermarket' might include multiple local grocery stores)Started by kendel iPhone app16 comments Ability to duplicate tasksStarted by manning999 iPhone app8 comments Allow app badge to show number of tasks in a list or Smart ListStarted by wpreed iPhone app32 comments Local notifications (i.e. offline notifications)Started by kike00 iPhone app14 comments Create locations for any of a business type (e.g. task can be completed at any hardware store, any grocery store, etc)Started by ryan.stewart iPhone app0 comments Ability to archive and unarchive listsStarted by jacobkball iPhone app6 comments Ability to attach photos to tasksStarted by alecbrown iPhone app3 comments Show nearby tasks on a Google MapStarted by nohant iPhone app0 comments Ability to update an existing location (change the location)Started by annevoss iPhone app3 commentsAnswered Link tasks with contactsStarted by njw iPhone app10 comments 1 2 3 4 5 6 next →


text:
Bletchley will writers
We offer home appointments, or reduced cost video appointments.
Skype, FaceTime, WhatsApp or Messenger etc. can all be used
Skype, FaceTime, WhatsApp or Messenger etc. can all be used
Professional will writingOliver's Wills is a local will writing company that is a member of the IPW - the Institute of Professional Willwriters. We create professional, yet very affordable wills.
All our Wills are created following a face meeting, which allow us to capture all your information, and where we often pick up on issues that have not been considered. Issues such as what will happen to your house if you go into care, or the tax options if you are not married, are two examples. Our main benefits
Call us on 0800 3345 245 to make an appointment or click HERE |
PricingWe offer excellent value for money, and now offer fast-track video appointments at very competitive rates. Click here for pricing information.
We also provide a lasting power of attorney service at very competitive rates - essential for everyone. We also offer face to face professional advice in your home at a time suitable for you. Because of our training and experience we also offer advanced estate planning solutions that can protect your assets for your spouse/partner and/or children for years to come. More advanced wills are higher in cost due to the additional drafting but can save tens of thousands of pounds or more by protecting your assets. All our initial consultations are obligation free. |
What our clients think of our service
We have had many kind comments from clients, but if we are to summarise the main comments, we have been told:
- We are very comprehensive - we look in depth at your situation and provide advice to make sure your Will stands the test of time.
- We explain things very clearly - we don't talk in jargon and try to make complicated issues as easy as possible to understand.
- We are very patient - we want to spend as much quality time with you to find the right solution. Because we are a small company working for ourselves, we can spend time with you to understand what you need and want. Especially with older clients, things can be complicated, so we are in no rush to end the meeting if you need more time.
- We are great value - we are not the cheapest - and we do not aim to beat everyone on price. However we think we beat most other firms on the quality of our service, and we price ourselves to beat most solicitors and the majority of other willwriting firms.
- We offer lots of free advice - for example we are happy to provide your family with free advice is they need help with probate forms for example, or we can find other ways to says inheritance tax.
About your local will writer
The Bletchley area is serviced by Oliver Waite, the owner of Oliver's Wills Ltd. He gained an LLB Hons law degree in 1994, and passed the Legal Practice Course in 1996. He has had experience in solicitors firms as well as working with barristers, and passed the entry exams for the Institute of Professional Willwriters, as well as maintaining his Continuing Professional Development - a key issue for continued membership of the IPW. He also has experience and training in financial services, with further business advice training and trust experience. Essentially, you could not be in better hands!
Please take a look around the rest of the site, to see how we work. Thank you for visiting!


text:
I love geometric sans serifs, their crispness and rationality. Le Havre taps into this style, but for a while, I've wanted to create a font recalling the printed Futura of the 1940s, which seems to have an elusive quality all its own. After seeing an old manual on a World War II ship, I developed a plan for "Le Havre Metal" but chose to shelve the project due to Le Havre's small x-height. That's where Steagal comes in.
When Robbie de Villiers and I began the Chatype project in early 2012 (a project which led one publication to label me the Edward Johnston of Chattanooga!), we started closely studying the vernacular lettering of Chattanooga. During that time, I also visited Switzerland, where I saw how designers were using a new, handmade aesthetic with a geometric base. I was motivated to make a new face combining some of these same influences. The primary inspiration for the new design came from the hand-lettering of sign painters in the United States, circa 1930s through 1950s. My Chatype research turned up a poster from the Tennessee Valley Authority in Chattanooga, Tennessee, which exhibited a number of quirks from the unique hand and style of one of these sign artists.
Completing the first draft of Steagal, however, I found that the face appeared somewhat European in character. I turned then to the work of Morris Fuller Benton for a distinctly American take and discovered a number of features that would help define Steagal as a "1930s American" vernacular typeface--features I later learned also inspired Morris Fuller Benton's Eagle. The overall development of Steagal was surprisingly difficult, knowing when to deliberately distort optical artifacts and when to keep them in place. Part of type design is correcting optical illusions, and I found myself absentmindedly adjusting the optical effects. In the end, though, I was able to draw inspiration from period signs, inscriptions, period posters, and architecture while retaining just enough of the naive sensibility.
The final sans face of Steagal has softened edges, which simulate brush strokes and retain the feeling of the human hand. The standard version has unique quirks that are not too intrusive. Overshoots have almost been eliminated, and joins have minimal corrections. The rounded forms are mathematically perfect, geometric figures without optical corrections. As a variation to the standard, the "Rough" version stands as the "bad signpainter" version with plenty of character.
Steagal Regular comes in five weights and is packed with OpenType features. Steagal includes three Art Deco Alternate sets, optically compensated rounded forms, a monospaced variant, and numerous other features. In all, there are over 200 alternate characters. To see these features in action, please see the informative .pdf brochure. OpenType capable applications such as Quark or the Adobe Creative suite can take full advantage of the automatically replacing ligatures and alternates. Steagal also includes support for all Western European languages.
Steagal is a great way to subtly draw attention to your work. Its unique quirks grab the eye with a authority that few typefaces possess. Embrace its vernacular, hand-brushed look, and see what this geometric sans serif can do for you.
Introductory offer: 90% off. Full family just $12!


text:
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The Enterprise Investment Scheme allows qualifying companies access to equity investment from new and, in some cases, existing shareholders. The shareholders obtain potentially attractive tax breaks. At Mayor Cuttle & Co, we can provide help if you are interested in financing your business in the Chelmsford area or you are interested in providing capital to businesses.
The purpose of the Enterprise Investment Scheme (EIS) is to help certain types of small higher-risk unquoted trading companies to raise capital. It does so by providing income tax and CGT reliefs for investors in qualifying shares in these companies.
There are really two separate schemes within the EIS:
An individual may be able to take advantage of either or both of these schemes as long as they meet the relevant conditions which are considered below.
Eligibility for income tax relief is restricted to companies with which you are not 'connected'. This is considered in 'how to qualify for income tax relief' below.
Companies must meet certain conditions for any of the reliefs to be available for the investor.
A trade will not qualify if excluded activities amount to a substantial part of the trade. The main excluded activities are:
The time limit for the employment of money invested is to two years from the issue of the shares or, if later, two years from the commencement of the qualifying activity.
Over the years, governments make amendments to what are regarded as qualifying companies for EIS. The thrust of the changes is to ensure well-targeted support for investment into small and growing companies, with a particular focus on innovative companies. For example the conditions for knowledge-intensive companies vary from some of those mentioned above.
Eligibility for income tax relief is restricted to companies with which you are not 'connected' at any time during a period beginning two years before the issue of the shares and ending three years after that date, or three years from the commencement of the trade if later.
You can be connected with a company in two broad ways:
In both cases the position of your 'associates' is also taken into account.
You will be connected with the company at any time when you control directly or indirectly possess, or are entitled to acquire, more than 30% of the ordinary share capital of the company.
You will be connected with the company if you have been an employee or a paid director of the company.
There is an exception to this rule if you become a paid director of the company after you were issued with the shares.
You must never previously have been connected with the company and must not become connected with it in any other way. Also, you must never have been involved in carrying on the whole or any part of the trade or business carried on by the company.
You can defer a chargeable gain which accrues to you on the disposal by you of any asset. In addition, you can defer revived gains arising to you in respect of earlier EIS, Venture Capital Trust (VCT) or CGT reinvestment relief investments.
There are some restrictions on investments against which gains can be deferred. These are designed, broadly, to prevent relief being obtained in circumstances where there is a disposal and acquisition of shares in the same company.
The EIS is subject to a number of rules which are designed to ensure that investors are not able to obtain the full benefit of EIS reliefs if they receive value from the company during a specified period. If relief has already been given, it may be withdrawn.
Examples of the circumstances in which you would be treated as receiving value from the company are where the company:
Receipts of 'insignificant' value will not cause the withdrawal of relief.
It is not possible to cover all the detailed rules of the schemes in a factsheet of this kind. If you are interested in financing your business in the Chelmsford area or you are interested in providing capital to businesses please contact us at Mayor Cuttle & Co.
We can also help to guide you through the implementation of an Enterprise Investment Scheme which is suitable for your circumstances.
Registered by the Institute of Chartered Accountants in England and Wales to carry out company audit work and also trading as William Evans & Partners


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All jinchūriki are able to use certain abilities granted to them by their tailed beasts. As they get older and they gain (or lose, as the case may be) control over their tailed beast's power, they are also able to transform into their tailed beast to varying degrees, granting them capabilities increasingly closer to the tailed beast itself.
Initial Jinchūriki Form[]
- Known users: Naruto Uzumaki, Himawari Uzumaki (manga only), Sora (anime only), Utakata (anime only), Menma Uzumaki (movie only)
By simply tapping into their beast's chakra, a jinchūriki begins their initial transformation. They are surrounded by a layer of red, wispy chakra granting them enhanced strength, speed and healing. The beast's chakra supplements the jinchūriki and they are able to manipulate the chakra to a certain extent: Utakata can form it into waves and blasts while Naruto can generate shockwaves through punches and roars. In this form, the jinchūriki's body undergoes slight physical changes. When Naruto enters this form, his eyes change colour to red and his pupils become slitted, plus his nails and canine teeth grow longer and sharper. Naruto's hair also grows longer and spikier, and the whisker-like marks on his cheeks widen and thicken. In the anime, when Utakata entered this state, his eyes became a much paler shade of yellow than normal and he did not undergo any other physical changes. It is also possible for a jinchūriki to enter this state without chakra visibly emanating from them, instead just gaining the physical alterations.
Version 1[]
- Known users: Naruto Uzumaki, Killer B, Ginkaku, Kinkaku, Kushina Uzumaki (manga only), Blue B (anime only), Sora (anime only), Utakata (anime only), Rin Nohara (game only)
Version 1 – or what Jiraiya calls Naruto's "demon fox cloak" (妖狐の衣, yōko no koromo)[1] – forms a dense shroud of chakra around the jinchūriki. The shroud, a translucent red with bubbles of chakra (reminiscent of boiling liquid) forming all along it, provides a degree of physical protection, but can also harm the user if used to a certain extent. The physical changes experienced in the initial transformation become more pronounced in Version 1 forms.
The shroud that encompasses the jinchūriki vaguely resembles the corresponding tailed beast; paws of chakra form around their hands and, in the case of Killer B, chakra-horns form on his head. Because chakra is malleable, the shroud can extend beyond the reach of the jinchūriki, often used to create chakra-arms that allow them to interact with their environment. The most significant manifestation are the tails that sprout from the jinchūriki's body, up to the maximum number of tails that the corresponding beast possesses. As with the chakra-arms, these tails can aid the jinchūriki by grasping to their surroundings. For each tail produced, the jinchūriki gains an incrementally greater boost to speed, strength, and chakra.
The source of the chakra shroud differs between users. For jinchūriki who have not learned how to control their tailed beast, it is the beast's chakra that surrounds them. The beast's chakra will tend to be harmful: individuals near the jinchūriki will experience a slight physical discomfort; those who come into contact with the shroud will suffer a painful burn wherever they touch it; the jinchūriki themselves suffer an increasing amount of corrosion to their body that can eventually damage body parts beyond the point of use.[2] This shroud is typically acquired through a growing rage and/or the weakening of the seal that keeps the beast within their body, and consequently leaves the jinchūriki less in control of their body with each additional tail. While a jinchūriki has never been observed to completely lose control of themselves in a Version 1 form, they become more animalistic and aggressive. One advantage of this is that the shroud can act on its own, responding to threats the jinchūriki may not be aware of.
A secondary means of entering a Version 1 state is demonstrated by Killer B, who uses his own chakra in the shroud's formation.[3] While Naruto has been able to communicate with Kurama and ask for a donation of chakra for several years, this always carried adverse consequences such as diminishing self-control and harmful after-effects of the chakra.[4][5] After Naruto befriended Kurama, these drawbacks were removed and he can use Version 1 for himself, and is able to transfer it to others, thereby granting them all of the form's benefits.[6] The chakra in this form is also capable of repelling the likes of Amaterasu.[7]
Version 2[]
- Known users: Naruto Uzumaki, Utakata, Yagura Karatachi , Han, Killer B, Ginkaku , Kinkaku, Fū, Kushina Uzumaki (manga only), Nine-Tailed Naruto Clone (anime only), Rōshi, Yugito Nii, Blue B (anime only), Sora (anime only)
Version 2 (バージョン2, Bājon Tsū), as described by Sabu, is the tailed beast's chakra being converted into a humanoid shape, granting the jinchūriki an edge in battle without completely releasing the beast itself.[9] Using the jinchūriki's body as a sort of endoskeleton, a dark red, nearly black layer of chakra envelops them. The physical manifestations of the corresponding beast that are vaguely present in Version 1 states become far clearer in Version 2, in a way fully reproducing the beast in miniature: muscle mass increases and beast-specific attributes such as shells and ears become clearly defined. Because the shroud forms so tightly around them, features of the jinchūriki may be identifiable in Version 2, such as the hat and furnace that Han wears.[10]
Entering Version 2 creates a great deal of energy, producing craters beneath the jinchūriki and destroying any restraints that might have been placed upon them beforehand. Strength, speed, and chakra are once again increased beyond the levels of the previous forms, the shroud remains a reliable defence against attacks, and other features, such as chakra-arms, are still accessible. It is even possible for the jinchūriki to create chakra-bones around themselves: Killer B creates a bull's skull in order to perform a more powerful Lightning Release: Lariat; Naruto, on different occasions, forms a skeletal structure in differing states of completeness all along his body that are attached to him by chakra-ligaments, but the bones serve no obvious purpose.
Most jinchūriki have only been seen to enter a Version 2 state with the same number of tails as their corresponding beast. Kinkaku, and by extension Ginkaku, represent one exception in that not only do they not have a full set of nine tails, but one tail remains far longer than all the others. Naruto is also an exception, for he has only been seen in a Version 2 state with four and six tails (plus five and seven tails in the anime).[11] Unlike how the number of tails in Version 1 can measure the jinchūriki's strength, there is no observable correlation between the number of Naruto's Version 2 tails and his destructive capabilities. Likewise, although all jinchūriki gain unique, heightened abilities that bring them even closer to their corresponding beast.
Naruto has yet to knowingly enter a Version 2 form. As the seal that kept Kurama contained weakened over the years, he became increasingly susceptible to its influence. By fully submitting to the beast and his own rage, Naruto would grant Kurama full control of his body who then formed a Version 2 shroud around him. Naruto's ability to distinguish between friend and foe vanishes and he attacks in whatever way will enable him to defeat his target, oblivious to the consequences of the attack. The form itself carries a number of consequences for Naruto too, as its corrosive qualities burn away his skin and stain the shroud with his own blood. The regenerative abilities granted to him as Kurama's jinchūriki constantly heal the damage, but in the long run shorten his lifespan through the constant destruction and creation of cells.[1] In the anime, a Genjutsu World version of Naruto learned to instantly access this form at will and retain complete control of himself, including to change back to normal whenever desired without suffering any damage.[12] Sora's Version 2 is also triggered by rage and causes the same kind of damage to his body. Kinkaku and Ginkaku appear to trigger Version 2 through rage as well, but they retain control of their minds and do not seem to suffer any damage to their bodies.
Partial Transformation[]
- Known users: Naruto Uzumaki, Gaara, Han, Killer B, Minato Namikaze, Fū, Nine-Tailed Naruto Clone (anime only), Rōshi, Utakata, Yagura Karatachi, Yugito Nii, Blue B (anime only), Sora (anime only)
Rather than fully transform into their respective beast, a jinchūriki can isolate the transformation to parts of their body. Instead of appearing as translucent or dark chakra, these partial transformations fully resemble the beast's own limbs, having fur, scales, etc. The jinchūriki reincarnated and controlled by Tobi each briefly produce a tail of their respective tailed beasts, with the sole exception being Fū, whom produced two for flight. Fū and Rōshi were also able to achieve this in life, in the anime.
Killer B makes a much more deliberate usage of the body parts he chooses to partially transform. He often produces extra tentacles to increase his ability to interact with others and his surroundings as well as to improve his dexterity. He has transformed one of his arms at different times, either to increase the distance that he was able to throw or to block a punch.
Naruto's partial transformations have been the most substantial of those seen. In order to break free of Chibaku Tensei, he entered a state just short of a full tailed beast-transformation (which, at the time, would have required completely breaking the seal); the only features it lacked to fully resemble Kurama were a ninth tail, skin, and fur, his transformation otherwise matching the beast's size and possessing all of the other chakra-body parts. After becoming able to harmonise with Kurama, his partial transformations are less drastic, producing only tails like the other jinchūriki tend to or a head for attack.[14][15]
Gaara represents an anomaly in the pattern of jinchūriki partial transformations. Whereas all other jinchūriki's transformations are composed of chakra, Gaara's is made of sand. He gradually piles sand onto his body, giving him an increasingly closer similarity to Shukaku with changing eyes to match. In many ways it is similar to Version 1 forms: his defences are nigh-impenetrable wherever the sand is applied; he can stretch his sand-limbs beyond their normal reach; the more his body is covered with sand, the more his speed and strength grow. Being sand, he can detach parts of his "body" from himself that will retain their shape for as long as he exerts the chakra to maintain them.
Tailed Beast Mode[]
- Known users: Naruto Uzumaki, Fū, Gaara, Han, Killer B, Menma Namikaze (anime only), Minato Namikaze, Blue B, Obito Uchiha, Rōshi, Utakata, Yagura Karatachi, Yugito Nii, Mecha-Naruto (video game only), Rin Nohara (video game only), Menma Uzumaki (movie only)
In principle, all jinchūriki can fully transform into the tailed beast sealed within them when the seal breaks and they entirely lose control over the beast. However, doing so results in the jinchūriki's death. Tailed Beast Mode (尾獣モード, Bijū Mōdo), also called Tailed Beast Transformation (尾獣化, Bijūka, English TV: Tailed Beast State),[16] is a way to avoid this. By either subjugating their tailed beast or learning to work in unison with it, a jinchūriki can become a full-scale replica of the beast with complete access to its natural strength and abilities. If they choose, the jinchūriki can pass control of this form to the beast itself.
Tailed Beast Mode is devastatingly powerful and poses an untold risk of collateral damage. It is for this reason that Killer B was forbidden to use the form under normal circumstances, as it could easily destroy an entire ninja village if left unchecked. The most dangerous and powerful ability available to this mode is the Tailed Beast Ball.
Yugito is seen willingly transforming into Matatabi. Her size in this state was far smaller than when Tobi forced her transformation during the war, the exact amount of control she has is unknown. That said, in the anime she seemed to be able to transform with very little effects to herself as she was able to provide a paw print for Nekobaa's Paw Encyclopaedia. Also in the anime, Utakata was able to fully transform into Saiken to absorb the Tsuchigumo kinjutsu after asking for the slug's aid.
Naruto has not been able to fully recreate Kurama's form. At first, this was because the fox would not cooperate with him, causing all attempts to turn into it to result in a miniature, comical version of the beast that could not be maintained for very long.[17] Since then he has been able to earn Kurama's cooperation, but the Tailed Beast Mode he enters, though accurate in size, is unique as he does not as closely resemble the beast as the other jinchūriki do their own. For more on Naruto's version of this form (and Minato Namikaze's) see Nine-Tails Chakra Mode. Also unique to Naruto, when accessing Sage Mode while in his Tailed Beast Mode, his chakra avatar of Kurama gains the rings around its eyes.[18] Naruto retains this mode even when he has his Six Paths Sage Mode, with his Kurama avatar becoming many times larger and more powerful than before and retaining the circular marks around its eyes.[19] By combining his Kurama avatar with other two created through shadow clones, Naruto can manifest a form similar to the one Asura Ōtsutsuki wielded.[20]
Gaara's Tailed Beast Mode is also unique; unlike the other jinchūriki or Naruto's, his is composed of sand that can entirely shatter if Gaara is knocked out, and it takes quite a bit of time for Shukaku to gain its full strength in the form whenever Gaara uses the Feigning Sleep Technique. As such, it can't use the Tailed Beast Ball immediately, instead focusing on its other powers such as its sand control or its Wind Release: Drilling Air Bullet.
Provided the jinchūriki is also a sage, they can gather natural energy at an extremely fast rate to the point they only need to remain still for a few seconds to fully replenish their senjutsu without the need of the Sage Art: Amphibian Technique.
During the Third Shinobi World War, both Rōshi and Han demonstrated the ability to activate Tailed Beast Mode as a chakra shroud around themselves without physically transforming their bodies.[21] Two years after the Fourth Shinobi World War, Naruto could manifest Kurama outside of his body to aid independently in battle.[22]
In Road to Ninja: Naruto the Movie, Naruto and Menma showed the ability to manifest Kurama similar to Obito's Tailed Beast Mode. In order to accomplish this, they needed to have their Kurama's full power, which Menma already had since they bonded through their shared hatred. Naruto, however made a short truce with his Kurama so that he could un-restrain him and manifest Kurama as he would be at full power. This is very practical in that they can use Kurama in battle without breaking the seal, especially for Naruto since he hadn't yet bonded with Kurama.
Unique Transformations[]
Nine-Tails Chakra Mode[]
Main article: Nine-Tails Chakra Mode The Nine-Tails Chakra Mode is a unique form of transformation that is granted to the jinchūriki of the Nine-Tails.[23] This transformation bears similarities in physical appearance to the Ten-Tails jinchūriki, such as having six magatama-like markings around the neck and possessing horns above the head.
Ten-Tails' Jinchūriki[]
Main article: Six Paths Ten-Tails Coffin Seal Immediately after becoming the Ten-Tails' jinchūriki, Obito's body turned white and the entire right side became scaled, with ten protrusions emerging from his back; five near his shoulder and five near his hips. A unique pattern of Rinnegan and nine magatama also appeared on his back, which resembled the pattern on the back of Hagoromo's robe. Like other jinchūriki transformations, this form granted Obito tremendous boosts of speed and strength, as he was capable of taking two Hokage, both noted for their power, completely by surprise, as well as being able to shatter both Hashirama Senju's Sage Art: Gate of the Great God and the combined barrier erected by the four Hokage. After entering this form, Obito formed two Truth-Seeking Balls, which floated behind each of his hands, and he became capable of flight. Initially, Obito could not completely control the Ten-Tails or his newfound abilities, as the new jinchūriki was barely able to recognise his own name and his body periodically became bloated due to it not being used to the beast.[24][25]
After regaining control of his mind, Obito underwent a second transformation. In this form, the protrusions on his upper back now wrapped around his neck, while the five lower protrusions expanded to resemble a robe. He also gained two horns on his forehead, the right being larger than the left, and a pattern of six magatama markings on his chest. Obito manifested eight additional Truth-Seeking Balls, which floated in a circular formation behind his body, and was able to form half of Hagoromo's shakujō. When entering his version of Tailed Beast Mode, he formed the Ten-Tails' body from the spike-like protrusions on his back, which then split apart to reveal its tree form. While separate from his body, the tree acted as an extension of Obito, though it remained even after the Ten-Tails was removed from him.
Madara also underwent a drastic transformation upon becoming the Ten-Tails' jinchūriki, but unlike Obito, he immediately gained control of the beast's power. Madara's skin became grey and his hair turned taupe-coloured (white in the anime). Instead of possessing clothing-like flesh, Madara was instead cloaked with a complete outfit composed of chakra, with a pattern of six magatama below his neck and a pattern similar to Hagoromo's on his back. He also gained a forehead protector-like appendage which emerged from the left side of his forehead, and had an upward curve on its right side and a single horn on its left side.[26] He was able to create ten Truth-Seeking Balls, one of which formed the other half of Hagoromo's shakujō, and gained the ability to fly. After absorbing the Ten-Tails' tree form, which had previously been produced by Obito, Madara gained additional magatama markings around his sleeve cuffs and the rim at the bottom of his chakra clothing.[27] Upon approaching the moon while having both of his Rinnegan, Madara awakened a Rinne Sharingan on his forehead, allowing him to cast the Infinite Tsukuyomi.[28]
- Naruto's miniature nine-tailed fox form resembles his true form from the manga pilot.
- In some of the video games, Naruto in his One-Tailed form is known as "Ultimate Nine-Tailed Naruto" (究極九尾ナルト, Kyūkyoku Kyūbi Naruto).
- Shukaku is the only tailed beast that hasn't shown giving its jinchūriki the characteristic red-chakra-shrouded Version 1 or Version 2 forms. This is presumably due to Shukaku appearing early in the story and Kishimoto having not defined the certain abilities that all the tailed beasts share.
- When Nagato absorbed some of Killer B's Version 2 chakra, it restored him to his appearance before he had used the Summoning: Demonic Statue of the Outer Path technique.[29]
- In Sakura Hiden: Thoughts of Love, Riding Upon a Spring Breeze, Kido Tsumiki and Magire created the Tailed Beast Drug that allows the eater to obtain a temporary chakra cloak like those of the tailed beasts, as the drug was created with Naruto's DNA.
- In Naruto Shippūden the Movie: Bonds, while fighting the Zero-Tails, Naruto was able to use the chakra-arms of his Version 1 form as makeshift wings for semi-flight.
- In the Naruto Collectible Card Game, Gaara's Partial Transformation is called Possessed Mode.
- In the spin-off series Rock Lee's Springtime of Youth Full Power Ninja Chronicles, after Naruto and Rock Lee switch bodies due to one of Ino Yamanaka's techniques, Lee entered a Version 1 state. He forms chakra-eyebrows in this form instead of the traditional chakra-tails.
- ↑ 1.0 1.1 Naruto chapter 291, page 11
- ↑ Naruto chapter 232, page 8
- ↑ Naruto chapter 471, page 9
- ↑ Naruto chapter 293, pages 1-7
- ↑ Naruto chapters 296-297
- ↑ Naruto chapters 616-617
- ↑ Naruto chapter 697
- ↑ Naruto: Shippūden episode 446
- ↑ Naruto chapter 471, page 10
- ↑ Naruto chapter 556, pages 10-11
- ↑ 11.0 11.1 11.2 Naruto: Shippūden episode 295
- ↑ Naruto: Shippūden episode 429
- ↑ Naruto: Shippūden episode 447
- ↑ Naruto chapter 598, pages 1-6
- ↑ Naruto chapter 600, pages 14-15
- ↑ Naruto chapter 519, page 6
- ↑ Naruto chapter 519, pages 7-9
- ↑ Naruto chapter 645, page 7
- ↑ Naruto chapter 695
- ↑ Naruto chapter 696, page 13
- ↑ Naruto Gaiden: Whirlwind in the Vortex", page 1
- ↑ The Last: Naruto the Movie"
- ↑ Naruto chapter 538, page 1
- ↑ Naruto chapter 638, pages 8-14
- ↑ Naruto chapter 639 page 12
- ↑ Naruto chapter 663, pages 14-15
- ↑ Naruto chapter 673, page 12
- ↑ Naruto chapter 676, page 18
- ↑ Naruto chapter 550, pages 16-17


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Joseph Sold into Egypt. 1Jacob settled in the land where his father had sojourned, the land of Canaan.* 2This is the story of the family of Jacob.* When Joseph was seventeen years old, he was tending the flocks with his brothers; he was an assistant to the sons of his father's wives Bilhah and Zilpah, and Joseph brought their father bad reports about them. 3Israel loved Joseph best of all his sons, for he was the child of his old age; and he had made him a long ornamented tunic.* 4When his brothers saw that their father loved him best of all his brothers, they hated him so much that they could not say a kind word to him.
5* Once Joseph had a dream, and when he told his brothers, they hated him even more.a 6He said to them, "Listen to this dream I had. 7There we were, binding sheaves in the field, when suddenly my sheaf rose to an upright position, and your sheaves formed a ring around my sheaf and bowed down to it." 8His brothers said to him, "Are you really going to make yourself king over us? Will you rule over us?" So they hated him all the more because of his dreams and his reports.b
9Then he had another dream, and told it to his brothers. "Look, I had another dream," he said; "this time, the sun and the moon and eleven stars were bowing down to me." 10When he told it to his father and his brothers, his father reproved him and asked, "What is the meaning of this dream of yours? Can it be that I and your mother and your brothers are to come and bow to the ground before you?" 11So his brothers were furious at him but his father kept the matter in mind.
12One day, when his brothers had gone to pasture their father's flocks at Shechem, 13Israel said to Joseph, "Are your brothers not tending our flocks at Shechem? Come and I will send you to them." "I am ready," Joseph answered. 14"Go then," he replied; "see if all is well with your brothers and the flocks, and bring back word." So he sent him off from the valley of Hebron. When Joseph reached Shechem, 15a man came upon him as he was wandering about in the fields. "What are you looking for?" the man asked him. 16"I am looking for my brothers," he answered. "Please tell me where they are tending the flocks." 17The man told him, "They have moved on from here; in fact, I heard them say, 'Let us go on to Dothan.'" So Joseph went after his brothers and found them in Dothan. 18They saw him from a distance, and before he reached them, they plotted to kill him. 19They said to one another: "Here comes that dreamer! 20Come now, let us kill him and throw him into one of the cisterns here; we could say that a wild beast devoured him. We will see then what comes of his dreams."c
21* But when Reuben heard this, he tried to save him from their hands, saying: "We must not take his life." 22Then Reuben said, "Do not shed blood! Throw him into this cistern in the wilderness; but do not lay a hand on him." His purpose was to save him from their hands and restore him to his father.d
23So when Joseph came up to his brothers, they stripped him of his tunic, the long ornamented tunic he had on; 24then they took him and threw him into the cistern. The cistern was empty; there was no water in it.
25Then they sat down to eat. Looking up, they saw a caravan of Ishmaelites coming from Gilead, their camels laden with gum, balm, and resin to be taken down to Egypt.e 26Judah said to his brothers: "What is to be gained by killing our brother and concealing his blood?f 27Come, let us sell him to these Ishmaelites, instead of doing away with him ourselves. After all, he is our brother, our own flesh." His brothers agreed.
28Midianite traders passed by, and they pulled Joseph up out of the cistern. They sold Joseph for twenty pieces of silver* to the Ishmaelites, who took him to Egypt.g 29When Reuben went back to the cistern and saw that Joseph was not in it, he tore his garments,* 30and returning to his brothers, he exclaimed: "The boy is gone! And I—where can I turn?" 31They took Joseph's tunic, and after slaughtering a goat, dipped the tunic in its blood. 32Then they sent someone to bring the long ornamented tunic to their father, with the message: "We found this. See whether it is your son's tunic or not." 33He recognized it and exclaimed: "My son's tunic! A wild beast has devoured him! Joseph has been torn to pieces!"h 34Then Jacob tore his garments, put sackcloth on his loins, and mourned his son many days. 35Though his sons and daughters tried to console him, he refused all consolation, saying, "No, I will go down mourning to my son in Sheol."* Thus did his father weep for him.i
36The Midianites, meanwhile, sold Joseph in Egypt to Potiphar, an official of Pharaoh and his chief steward.j
* [37:1] The statement points ahead to 47:27, "Thus Israel settled in the land of Egypt, in the region of Goshen." These two statements frame the Joseph narrative; the later material (47:28–49:33) is about Jacob; chap. 50 brings to a conclusion themes remaining from the earlier story. One aim of the Joseph story is to explain how Israel came to Egypt after sojourning so long in Canaan.
* [37:2] The Joseph story is great literature not only in its themes but in its art. The stories show an interest in the psychology of the characters; everyone acts "in character" yet there is never a doubt that a divine purpose is bringing events to their conclusion. According to a literary analysis, vv. 1–4 set the scene; vv. 5–36 introduce the dramatic tension in the form of a conflict within the family; chaps. 38–41 describe the journeys away from their family of the eponymous ancestors of the two great tribes of later times, Judah (chap. 38) and Joseph (chaps. 39–41) and their preliminary conclusions; chaps. 42–44 detail the famine and journeys for food (chaps. 42, 43) that bring the brothers and (indirectly) the father into fresh contact with a mature Joseph who now has the power of life and death over them; 45:1–47:27 is the resolution (reconciliation of Joseph to his brothers) and the salvation of the family.
* [37:3] Jacob's favoring Joseph over his other sons is a cause of the brothers' attempt on his life. Throughout the story, Jacob is unaware of the impact of his favoritism on his other sons (cf. vv. 33–35; 42:36). Long ornamented tunic: the meaning of the Hebrew phrase is unclear. In 2 Sm 13:18–19, it is the distinctive dress of unmarried royal daughters. The "coat of many colors" in the Septuagint became the traditional translation. Ancient depictions of Semites in formal dress show them with long, ornamented robes and that is the most likely meaning here. Possibly, the young Joseph is given a coat that symbolizes honor beyond his years. Later, Pharaoh will clothe Joseph in a robe that symbolizes honor (41:42).
* [37:5–10] Joseph's dreams of ruling his brothers appear at first glance to be merely adolescent grandiosity, and they bring him only trouble. His later successes make it clear, however, that they were from God. Another confirmation of their divine source is the doubling of dreams (cf. 41:32).
* [37:21–36] The chapter thus far is from the Yahwist source, as are also vv. 25–28a. But vv. 21–24 and 28b–36 are from another source (sometimes designated the Elohist source). In the latter, Reuben tries to rescue Joseph, who is taken in Reuben's absence by certain Midianites; in the Yahwist source, it is Judah who saves Joseph's life by having him sold to certain Ishmaelites. Although the two variant forms in which the story was handed down in early oral tradition differ in these minor points, they agree on the essential fact that Joseph was brought as a slave into Egypt because of the jealousy of his brothers.
* [37:28] They sold Joseph…silver: editors tried to solve the confusion, created by different sources, by supposing that it was the Midianite traders who pulled Joseph out of the pit and sold him to Ishmaelites. In all probability, one source had the brothers selling Joseph to Ishmaelites, whereas the other had them cast him into the pit whence he was taken by Midianite traders.
* [37:29] Tore his garments: the traditional sign of mourning in the ancient Near East.
* [37:35] Sheol: see note on Ps 6:6.
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OK. Let's go from the futuristic to a show biz monument from the past. The Hollywood Palladium is up for sale, according to according to the Hollywood Reporter. It's well known as a concert venue, hosting musicians ranging from James Brown to the Rolling Stones to Jay-Z. But we want to bring you back to the Palladium's beginnings as a stylish art deco ballroom back in 1940.
Here is how the Los Angeles Times remembered opening night. Quote: "Dorothy Lamour was there to snip the ribbon, spangled with orchids, as Jack Benny, Judy Garland and Lana Turner looked on, hundreds of couples danced the jitterbug on a dance floor made of maple wood."
Those couples were dancing to the music of Tommy Dorsey's big band, accompanied by a yet-little-known singer named Frank Sinatra. Well, now you can own the landmark ballroom for a mere $60 million - big price tag. But it comes with a Hollywood pedigree that few other buildings can rival. And we'll leave you now with what the music might have sounded like that night in 1940.
GROUP: (Singing) And beside a garden wall, when the stars were bright, you were in my arms...
GREENE: You're dancing to NPR News. Transcript provided by NPR, Copyright NPR.


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In a letter to President Barack Obama date June 17, 329 out of 435 members of the U.S. House of Representatives referred to Israel's May 31 attack on a humanitarian aid flotilla in international waters, which resulted in the deaths of nine passengers and crew and injuries to scores of others, as an act of "self-defense" which they "strongly support." Similarly, a June 21 Senate letter — signed by 87 out of 100 senators — went on record "fully" supporting what it called "Israel's right to self-defense," claiming that the widely supported effort to relieve critical shortages of food and medicine in the besieged Gaza Strip was simply part of a "clever tactical and diplomatic ploy" by "Israel's opponents" to "challenge its international standing."
The House letter urged President Obama "to remain steadfast in defense of Israel" in the face of the near-universal international condemnation of this blatant violation of international maritime law and other legal statutes, which the signatories referred to as "a rush to unfairly judge and defend Israel." The Senate letter condemned the near-unanimous vote of the UN Human Rights Council for what it called "singling out" Israel, even though no other country in recent memory has attacked a humanitarian aid flotilla in international waters. Both letters called upon the United States to veto any resolution in the UN Security Council criticizing the Israeli attack.
What is perhaps most disturbing is that many of the key arguments in the letters were misleading and, in some cases, factually inaccurate.
The Israeli government had acknowledged prior to the writing of the letter that the extensive blockade of humanitarian goods was not necessary for their security, but as a means of pressuring the civilian population to end their support for Hamas, which won a majority of legislative seats in the most recent Palestinian election. In addition, the Israeli government announced a significant relaxation of the embargo two days after the letter was written. Despite this, the House letter claimed that the purpose of the blockade was "to stop terrorists from smuggling weapons to kill innocent civilians," thereby placing this large bipartisan majority of the House even further to the right than Israeli Prime Minister Benyamin Netanyahu's rightist coalition.
There was no mention in the letter than no such weapons were found on board any of the six ships hijacked by the Israelis nor on the previous eight ships the Free Gaza Campaign had sailed or attempted to sail to the Gaza Strip. In addition, even though the ships had been thoroughly inspected by customs officials prior to their disembarkation, the House letter claimed that had the Israelis not hijacked the ships, they would have "sailed unchecked into Gaza."
Similarly, according to the Senate letter, Israel's naval blockade was necessary "to keep dangerous goods from entering Gaza by sea" and falsely claimed that the intent of the Israeli blockade was "to protect Israel, while allowing humanitarian aid into Gaza." Particularly striking is the fact that, despite that the International Committee on the Red Cross and a broad consensus of international legal experts recognize that the Israeli blockade of humanitarian goods is illegal, the Senate letter insisted that the blockade "is legal under international law."
The House letter insisted, despite the fact that several of those killed on the Mavi Marmara were shot at point blank range in the back or the back of the head and a video showing a 19-year old U.S. citizen shot execution style on the ground, that "Israeli forces used necessary force as an act of self-defense and of last resort." Similarly, the Senate letter refers to the murders of passengers and crew resisting the illegal boarding of their vessel in international waters as a situation where the Israeli raiders were "forced to respond to that attack" when they "arrived" on the ship.
The House letter also claimed that the other ships were "commandeered peacefully and without incident," even though on the other ships, despite completely nonviolent resistance, passengers were tasered and brutally beaten and were attacked with tear gas and rubber bullets. Similarly, the Senate letter insisted that, in spite of these potentially fatal beatings and other assaults, "Israeli forces were able to safely divert five of the six ships challenging the blockade."
Even though the Israeli government has never entered Gaza to disperse aid to the people of that territory since the start of the siege years earlier and reputable relief organizations have documented that the Israelis had routinely refused to allow humanitarian aid to enter the Gaza Strip, these House members claimed that Israel had offered to "disperse the aid . . . directly to the people of Gaza." And, despite the fact that the five aid ships that Israel had allowed to dock in Gaza in previous months had distributed their humanitarian cargo directly to those in need, the senators claimed that it would have otherwise gone "into the hands of corrupt Gaza officials."
Learning what actually transpired in the tragic incident was apparently of little interest to the 87 senators who signed the letter defending the attack. Despite the apparent whitewash forthcoming in the internal Israeli investigation, the senate letter supported Israel's alleged intention to carry out "a thorough investigation of the incident," insisting that Israel "has the right to determine how its investigation is conducted." This comes in spite of a recent public opinion poll shows a clear majority of Americans — including 65 percent of Democrats — favor an international inquiry over allowing Israel alone to investigate the circumstances of the attack .
Ironically, a number of progressive organizations, web sites and list serves have called on the peace and human rights community to support the re- election of some of the very senators who signed this letter, including Barbara Boxer, Ron Wyden, and Russell Feingold. MoveOn, Council for a Livable World, and other progressive groups with PAC money have been are calling on their members, many of whom are peace and human rights activists, to donate their money to these right-wing Democrats who defend attacking peace and human rights activists and lie about the circumstances to justify it. They have no problems with supporting the re-election of those who lie and mislead their constituents in order to defend illegal actions by allied right-wing governments, even when they kill and injure participants in a humanitarian flotilla on the high seas.
There may be an underlying current of racism at work here. It is unlikely MoveOn, Council for a Livable World and other groups would defend such actions if, for example, if the activists were helping those under siege in Sarajevo in the 1990s or West Berlin in the 1940s, who happened to be white Europeans.
It is important to remember that the majority of Democrats joined in with Republicans in supporting the Salvadoran junta in the early 1980s and the Suharto regime in the 1990s until voters made clear they would withdraw their support from them if they did not change their policy. AIPAC and other right-wing "pro-Israel" groups are only as powerful as the absence of counter-pressure from the peace and human rights community. Letters like these will continue to be supported by most Democrats only as long they know they can get away with it.


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Towbar for 07-14 Ford Mondeo IV Saloon (incl ST) (Type BMA)
or any additional wiring or parts that may be required)
Fitting from €100
We offer supply only or supply and fitting services for the Towbar for 07-14 Ford Mondeo IV Saloon (incl ST) (Type BMA), in Dublin or Waterford.– Available Electrical Accessories –
Electrical Plug With 7 Pins
Electrical Plug With 13 Pins
– Towbar Neck Types –
C2 – 2 Bolt Fixed Flange Ball Towbar
C4 – 4 Bolt Fixed Flange Ball Towbar
SWAN – Fixed Swan Neck Towbar
BMC – Horizontally Removable Towbar
BMA – Diagonally Removable Towbar
BMU – Vertically Removable Towbar
– Manufacturers –
Price Match Guarantee*
We provide towbar fitting services only at our premises in Finglas, Dublin 11, or Waterford. No mobile towbar fitting available at this time.
Electrical plugs, wirings or any other towbar parts can be purchased separately. Contact us with your requirement.
We deliver towbars and tow bar accessories anywhere in Ireland and Northern Ireland. For other locations please contact us.
7 Pin – 12N Socket
This is a plain black socket containing 7 Pins and is the more commonly used system today, although on newer caravans, trailers & bike carriers etc. a more sophisticated 13 Pin system is being introduced.
The functions of this standard 7 Pin socket are to operate all road lights, including fog but excluding reverse.
Some caravans now have built in Stabilization systems such as Al-Ko's 'ATC' which help to prevent 'snaking' when towing. This system along with the reverse light would only function from a Double Electrics (12'N' & 12'S') or 13-pin systems
7 Pin – 12S Socket
(Also referred to as twin electrics when fitted in conjunction with the 12N socket)
This is a grey or white socket has a different pin configuration to the 7 Pin 12N black socket. The 12S socket provides power to operate the interior functions of the caravan such as the interior lights, run the fridge and charge the battery whilst you are towing.
The dual 12N and 12S system has been replaced with the 13 Pin system on caravans since approximately 2008. Please see details below on 13 Pin.
Even though your caravan maybe fitted with dual plugs, not everybody will avail of its functionality and it may not be necessary to have your tow vehicle fitted with the 12S socket.
13 Pin – Socket
This relatively new system has been standard throughout Europe for several years and most new vehicles purchased with factory fitted towbars will come with this 13 Pin system.
This system is replacing the 2 separate sockets (12N & 12S), for which the 13 pin socket is essentially the two 7 pin sockets merged into one, providing the standard functions of the 12N system being, sidelights, brakes, indicators and fog, but can also include the additional functions of the 12S being, reverse lights, permanent live and switched 12v supply.
The 13 Pin Socket may also be fitted without the 12S function if reverse lights, permanent live and switched 12v supply are not required, mainly used for caravan use.
Adaptors are available to convert from 13 Pin to 7 Pin single or dual function, or from 7 Pin to 13 Pin.
Fixed Flange Ball Towbar
The fixed flange type towbar would be the most versatile of styles which will allow you to bolt various accessories and attachments between the ball and towbar, such as bumper protector plates, caravan stabiliser attachment plates and cycle carrier base plates. It will also allow the fitment of specialist balls such as an AL-KO ball for use with friction type coupling head stabilisers and for fitting a jaw and pin or a universal coupling for commercial ring type coupling heads.
Tow and carry cycles at the same time (subject to nose load limits)
Bumper shields can be fitted
AL-KO tow bars can be fitted
The towing height can be adjusted on commercial and 4×4 four-hole plate towbars
A choice of towing couplings and accessories can be fitted
Fixed Swan Neck Towbar
This style is more commonly seen as an O.E. or continental style of towbar but would be the least flexible in design as no additional bolt-on accessories can be used. It would have a less obstructive appearance than the flange ball style.
Cycle carriers are available for use with this type of bar but you cannot tow at the same time.
Compatible with AL-KO stabilisers
Less likely to trigger reversing sensors
Cannot be fitted with a bumper shield
Detachable Swan Neck Towbar
Detachable swan neck towbars are becoming increasingly popular due to the ease in which they can now be used. In most cases when removed it would be difficult to tell whether a towbar has been fitted at all. A detachable towbar is a legal requirement if the standard type towbar obscures the number plate when fitted. The other occasion you may require a detachable option would be if the standard neck type was picking up the reversing sensors on the car, if fitted.
Cycle carriers are available for this type of bar but you cannot tow at the same time.
Towball is removed when not in use preserving 'shins'
Unrestricted access to the boot
AL-KO and other friction type stabilisers can be fitted
Won't trigger reversing sensors when neck section is removed.
Fixed Flange Commercial Towbar
Traditionally used for all serious forms of towing and is vehicle dependant – as specified in towbar overview. A 50mm towball or Pin & Ball unit is bolted to a two or four hole plate (vehicle dependant).
Multiple options for bolt on accessories, such as height adjusters, steps, bumper protectors, etc. along with a choice of towing couplings.
The towing height can be adjusted on commercial and 4×4 four-hole plate towbars.


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