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Sociology – Topic 7 Class Identity
Notes on Class identity, originally for A2 OCR unit on Social Inequality
- Created by: Emma Rudd
- Created on: 25-03-08 16:30
First 503 words of the document:
Sociology Pete
Emma Rudd BMA
Sociology Topic 7 Class Identity
What is Social Class?
Social Class is known as the position in the social and economic structure. Most sociologists
find it convenient to use occupation as a measure of a person's social class. Over the years
sociologists have used a variety of occupational classifications to identify social classes. The
latest version is the Office of National Statistics (ONS) Social Scheme.
Office of National Statistics (ONS) Social Scheme
Class 1 Higher managerial and professional (e.g. company directors,
lawyers, doctors.)
Class 2 Lower managerial / professionals (e.g. junior managers,
social workers, nurses, police sergeants.)
Class 3 Intermediate (e.g. clerical workers, secretaries, computer
Class 4 Small employers and selfemployed (e.g. taxi drivers,
window cleaners, shopkeepers)
Class 5 Supervisors, craft and related (e.g. painters, plumbers, train
Class 6 Semiroutine (e.g. shop assistants, hairdressers, cooks)
Class 7 Routine (waiters, cleaners, labourers)
Class 8 Never worked / long time unemployed.
Class Culture and Identity
Different social classes have their own identities, own set of values, and their own lifestyles
and habits.
It was sociologist Pierre Bourdieu (1984) that argued that social classes have their own
cultural values, tastes and preferences. He said that they even develop their own way of
walking, talking and eating. This is known as Class Culture.
It is also said that people have their own Class Identities. It is from a very early age that
people are socialised into the lifestyles and values of the class of their parents. People learn
to identify with members of their own social class and become aware of the differences that
separate social classes. People become `class conscious'.
The Upper Class Their Socialisation and Values
The upper class is defined by their enormous wealth rather than their occupation. They share
a strong sense of identity this is because the upper class is `closed'. Its members are the
children of upper class parents, the closed group creates a web of links and contacts, and
these connections make it difficult for nonmembers to penetrate the upper class. Their
strong sense of identity can be seen through many things, i.e. education, the family, and
social activities.
The Family
The exclusive lifestyle and experiences of the upper class mean that its young members tend
to socialise with other members of the same class. This results in a tendency for the upper
class to intermarry. As time goes on more and more kinship connections develop between
upper class families.
The children of upper class families are usually educated in top public schools and many go
on to the most prestigious universities. Throughout their education valuable social contacts
are made with each other and with other young people likely to end up in positions of power
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Emma Rudd BMA
ad influence. Public schools also socialise their pupils into high levels of selfconfidence and
an acute sense of social superiority.
Social and Leisure Activities
During their socialisation young members of the upper class are introduced to the exclusive
social events such as hunting shooting, Wimbledon, Royal Ascot etc. these social events
provide a distinctive upper class life style, they also provide a circuit where further
connections can be made.…read more
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They believe in They also believe that
meritocracy and that success in life is a result of
positions should be effort and application not
achieved through ability just luck.
and effort.
Socialisation into Middle Class Identity
The Family
King and Raynor (1981) suggest that childcenteredness is a distinctive feature of the middle
class family. Especially in the terms of passing on educational opportunities and attitudes
required for educational success.…read more
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The traditional working class felt In the past working class identity was
marriage was for life and disapproved of based around work, but now they are
divorce. more likely to define themselves by their
The members of the extended family hobbies and recreational activities.
often lived close by and there was a lot
of visiting especially among the women.
The traditional working class formed a
closeknit community, where they had
large circles of friends and
acquaintances.…read more
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Emma Rudd BMA
identity. These lifestyles are less and less Over 90% could place themselves in a
likely to be based on social class. class if prompted.
Nowadays lifestyles and identities are Marshall et al argued that class is the
much more diverse and flexible. They most common and powerful source of
are based on individual choice rather social identity.
than class background.…read more
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|For the mince
|1 Medium, chop
|Minced beef
|500 Gram
|Salt and pepper
|To Taste
|Italian seasoning
|1 Teaspoon
|1 Tablespoon
|For white sauce
|1 1⁄2 Tablespoon
|Cheese slices
|2 Tablespoon
|1 1⁄2 Cup (24 tbs)
|1 Teaspoon
|For assemble on lasagna
|Crushed tomatoes
|1 Can (10 oz)
|1 Cup (16 tbs), slice
|Lasagna sheets
|8 Medium
|Mozarrella cheese
|1 Cup (16 tbs)
1. Chop the onion and slice the mushrooms, set aside.
2. Heat margarine in a saucepan. Add onions and sauté them until transparent.
3. Add minced beef, salt and pepper and mixed herbs. Cover it and let it cook. Keep stirring.
4. In the meantime make the white sauce, in pan heat butter and add flour, sauté until the flour is cooked.
5. Take it off the flame and add milk, keep stirring.
6. Add cheese, mustard and cook until sauce thickens.
7. Put some beef in a baking dish at the bottom. Lay lasagna sheets and then add some more beef, tomato sauce, followed by the white sauce over it.
8. Continue the same steps for the next layer; top it with mushrooms and mozzarella cheese.
9. Bake it in the oven for 35-40 minutes.
10. Serve the lasagna hot.
Recipe Summary
Rate It
Nutrition Rank
Nutrition Facts
Serving size
Calories 870 Calories from Fat 314
% Daily Value*
Total Fat 35 g54.2%
Saturated Fat 18 g89.8%
Trans Fat 0.6 g
Cholesterol 112.8 mg37.6%
Sodium 780.3 mg32.5%
Total Carbohydrates 93 g31.1%
Dietary Fiber 1.9 g7.5%
Sugars 9.7 g
Protein 47 g93.5%
Vitamin A 21% Vitamin C 12.1%
Calcium 39.4% Iron 16%
*Based on a 2000 Calorie diet

subset: commoncrawl


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Pr 10:28 See also Pr 11:7,23; Pr 24:19-20; Lk 20:20; Lk 23:8; Ac 16:19
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Skip to comments.As Qualified Men Dwindle, Military Looks For A Few Good Women
Posted on 03/28/2013 5:02:43 AM PDT by Tailgunner Joe
When the Pentagon said earlier this year that it would open ground combat jobs to women, it was cast in terms of giving women equal opportunities in the workplace the military workplace.
But the move has practical considerations, too. The military needs qualified people to fill its ranks, and it's increasingly harder to find them among men.
"It's fairly common knowledge that our population of military-age young men, who qualify for the military, is declining," Joint Chiefs Chairman Gen. Martin Dempsey said in an interview with NPR just after the Pentagon announced that women no longer be excluded from ground combat jobs.
Too many potential male recruits have criminal records, drop out of high school or have drug problems. In addition, the rising obesity rate is also a factor.
Expanding The Candidate Pool
Dempsey and the joint chiefs looked out to the end of the decade and decided they had to recruit more women.
"As a very practical matter, we decided if in 2020 we're going to need these young ladies, and we're going to need to attract as much diversity and as much talent as we can possibly attract, if that's going to be the case, what are we waiting for?" he said
It's a serious concern. Less than 25 percent of young people both male and female can actually meet the standards for military enlistment today. Those standards disqualify more men than women. Young men account for three-fourths of all arrests, and in all 50 states, males have a higher high school dropout rate than females.
"Recruiters anecdotally will have fewer issues with a female applicant than they will with a male," says Kathleen Welker, who is with the U.S. Army Recruiting Command at Fort Knox, Ky.
Opening more combat jobs to women will help the Army meet its goals, she says.
"It expands the pool of candidates who are eligible to enlist across the board," she says.
Setting Standards
But will women want to sign up for those new jobs in the infantry, armor and artillery units?
Bernard Rostker, a former undersecretary of defense for personnel, says he's doubtful many young women will choose those careers.
"We're not prepared to force women into combat positions. It's a very nontraditional role," he says. "The numbers would likely be quite small.
And then there's the question of whether women who apply can meet the tough physical standards for ground combat. Dempsey and other military leaders will soon review the training program. He said some existing standards which include everything from pull-ups to carrying heavy loads need to be revised.
"There are existing standards, many of which haven't been dusted off in a very long time, many of which have been narrowly focused just on physical standards but without the companion piece of psychological and intellectual standards," Dempsey said.
Statements like that are leading some military officers to complain privately that combat training will be watered down to allow more women to pass.
Meanwhile, some women already are trying to meet the existing physical standards. Last fall, two female Marines were the first to try and complete the grueling, 12-week-long Infantry Officer Course. They failed, along with about 20 percent of the men.
Later this month, two more female Marines will see if they can make it.
The "Qualifications" don't matter when you impose BS Rules of Engagement, and corrupt the mission, by asking our troops to change the local culture.
It's fairly common knowledge that our population of military-age young men, who qualify for the military, is declining,"
There are plenty who qualify, just not too many willing to sign up to spend year after year being sent back into a combat zone.Not too willing to be prosecuted for doing their duty as they see it. Not too many willing to go back to foreign shitholes 3 or 4 times .Not too many willing to serve alongside openly homosexual soldiers.Not too many willing to have their legs and arms blown off while they cannot see the enemy that is killing and wounding them.Not too many willing to train the people that turn on them and kill them. Not too many who are willing to fight a political limited war where there is no win.
"Too many potential male recruits have criminal records, drop out of high school or have drug problems. In addition, the rising obesity rate is also a factor."
They're also sick of a country that hates them and the constitution. Why would they want to lose limbs overseas to have Obama take credit for any victory, for them to be blamed by future children for terrorist attacks, as per their education videos?
The base for the Armed forces has been long been conservative males, and now that homosexuals serve openly in the ranks, that base no longer finds the PC military as attractive. So now the PC military must scour the bottom of the barrel to make up for the losses.
"Too many potential male recruits have criminal records, drop out of high school or have drug problems. In addition, the rising obesity rate is also a factor."
They're also sick of a country that hates them and the constitution. Why would they want to lose limbs overseas to have Obama take credit for any victory, for them to be blamed by future children for terrorist attacks, as per their education videos?
They're setting the Sheeple up for reinstatement of the "Draft".
I don't recommend today's military to anyone. The ramifications of the repeal of DADT and the muzzling of Christian chaplains on the subject portend bad things for the future.
My concerns lie with the rules of engagement, they put our soldiers at greater risk.
I'm more disappointed in our military leadership than I am the CinC, but not by much.
Well, they wanted this... once they sign up, put 'em there, anyway.
You want some good men???
Raise the immigration quotas for Serbians, Copts, Sikhs and other anti-Muslim males. They know how to fight and make good soldiers.
Women are NOT fighters and killers - with a few glaring exceptions.
. . . maybe it's because they'll have to live in barracks with homosexuals
. . . or maybe they'll have to learn to look out for the women in their foxholes before they can look out for themselves
. . . or maybe because their so-called Commander in Chief is an illegal alien, horribly anti-American fraud?
. . . or maybe because they'll be court-marshaled if they don't fire on and kill their fellow civilian citizens?
My God . . . have we all gone to hell?
"My God . . . have we all gone to hell?"
Unfortunately, you and I know the answer.
This is so ignorant.
Name another country that is putting women in front line combat positions. And Isreal doesn't count. We are not surrounded by insane muslims determined to eliminate us.
We are ruled by one though.
Exactly my response!!! WELL said Sir!!
What to do? Put all the women into ready reaction forces and have a rotation schedule so that they're all on PMS at the time. Put gays in their own units and let them paint their gear whatever color they want so they'll be happy. Hold the "straights" in reserve so that the girls and poofters can have a chance to prove themselves under combat conditions. You folks wanted recognition? You've got it. Now, LEAD from the front!
i am a very proud US Infantry vet (11c1p) who served under Reagan and there is no way in h#ll i would let my son join the ranks of today. military leadership is all political appointees and words cannot fully vent the disdain i have for the so called CIC. i will not sacrifice my son in the name of the madness that is 21st century America.
USN Vet here and I agree with you.
I would do nothing to encourage ANY of my grandchildren to join today's Military.
Once they turn 18, that may be their choice but they certainly would not get my backing, though I would support them personally....(where have we heard that before)? <: <:
Yup, the phrase "rear echelon" takes on a whole new meaning.
No longer is it, "In the rear with the gear". It is now, "In the rear with the queers".
"Name another country that is putting women in front line combat positions. And Isreal doesnt count. We are not surrounded by insane muslims determined to eliminate us."
I have it on good authority from someone close to me who spent some time there that Israel does have female snipers, but they no longer put women in combat positions because the female body breaks down over the stress of the physical exertion required.
As I said earlier on another thread:
I spent 3-1/2 years as an Armor officer in a tank unit back in the late 70s, then spent another 17 years in the Army Reserve. Being an Armor crewman is a physically demanding job. Just riding around in a tank is not the entire job. As an example, to load ammunition into an M-60 tank, you had to have one crewman on the ground lifting each round as a dead weight from the ground over his head to hand it to another crewman who was squatting on the side of the tank. That crewman then had to stand and lift the round over his head and hand it to a third crewman in the turret, who had to stoop down and put it in the rack. Not a job for weaklings.
Then there was changing a track - a job for four strong men.
Are there women who could do this? Probably. But there arent many.
This doesnt even begin to address the pysical demands of being in the field (not to mention combat) for weeks at a time. Men begin to break down, even when physically conditioned.
Again, are there women who can stand up to this? Probably, but not enough to make a difference.
The only way this will work is if they lower the standards - and that is what they are going to do. Some poor tank crew is going to be saddled with a woman, who will stand guard while they do the heavy lifting. Then when they get shipped into combat, she will either physically break down, get pregnant, mentally break down, or some other variant. It happens to men (except the pregnant part, of course), but will happen to women quicker.
This isnt to say that women dont belong in the military. I served with many women who were terrific soldiers - but not in Infantry, not Armor and definitely not Special Forces.
Our military is getting weaker by the day.
Thanks to all of you who felt they had to not vote or vote third party - you are part of the problem.
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text: Shimmer Women Athletes presents a special match with a little international flavor as well as another Shimmer debut as the Irish sensation Rebecca Knox took on Allison Danger in her first match before Shimmer fans. They seemed to love her right off the bat with her dancing her Irish jig around the ringside area. One fan even brought an Irish flag to show his support.


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Firefox seems to allow third parties to replace IFRAME data of unrelated webpages by enabling non-same-domain sites to perform:
foo = open("","target_name");
Where "target_name" is established by being opener of the targeted window, or setting window name before the user navigated away from the attack site, or knowing name assigned by the attacked site (if any).
Now, although newly written IFRAME data will inherit its location and permission from the writing page (and thus won't be able to directly interact with page elements or read window.top.document.cookie), it will be able to pull a couple of nasty tricks, say:
1) Call window.focus() and use onkeydown handler to intercept user's keystrokes on that site.
2) Display offensive, misleading or dangerous contents on trusted sites (spoofed login prompts, etc).
3) Track user behavior, including precise timing of arrival and departure, based on presence of named IFRAMEs.
Visible IFRAMEs are often used to render nested contents (forum or blog posts, photos, advertisements, etc) on various pages; and hidden IFRAMEs are commonly employed for user tracking or pre-XMLHttpRequest browser-server communications. As such, a good number of sites is affected one way or another.
In general, it sounds like a good idea to restrict document.write and other types of interaction with all types of frames based on creator's domain.
test case added
*** This bug has been marked as a duplicate of bug 343168 ***
(In reply to comment #2)
> *** This bug has been marked as a duplicate of bug 343168 ***
That bug is marked fixed1.8.1 - why does this testcase still "work" on branch 1.8 builds?
Jonas - good catch, but as Gavin pointed out, bug 343168 does not resolve this testcase. My initial description was vague, but this is a related, yet distinctive problem.
The problem you fixed there is that document.write() could be used to overwrite frames that originate from Internet-based SRC= pointing to non-same-domain site. This is fixed and throws a security exception.
Unfortunately, the check implemented means that about:blank frames can be overwritten freely; and unfortunately, *all* frames, even with Internet SRC= specified, will be vulnerable to a race condition while the document loads (see a modified version of bug 343168 testcase here):
You might want to rename this bug to include 'about:blank' in its title and reopen it. The only sane fix I see is to enforce frame policy based on frame parent's origin, too (will significantly limit exposure).
Blake, can we special-case about:blank if the containing frame element is from another domain?
The race condition is bug 381300, "Frame spoofing is possible within a short time frame while the window is loading". That bug also mentions the about:blank issue; I think the two issues are connected.
Yup, bug 381300 is far closer (you might want to check both testcases on trunk to confirm whether the about:blank fix implemented there would be sufficient).
Certainly the risk of 381300 is understated; spoofing is not the only attack possible (see cnn.com example).
Jonas, yeah, we could probably do that. We might need to deal with compat issues, though.
This bug only exists on the 1.8 branch, right? I believe that Boris implemented basically what Michal describes in the last paragraph of comment 4 in bug 332182.
> Unfortunately, the check implemented means that about:blank frames can be
> overwritten freely
Right. Because we have to check that caller can access |this| as well, and anyone can access about:blank on branch. Perhaps for about:blank documents on branch, we should skip the "caller can access |this|" part, or replace it with "caller is this document itself". That _should_ be ok regression-wise.
And yes, there should be no problem with about:blank on trunk.
This is a duplicate of Bug 381300
*** This bug has been marked as a duplicate of bug 381300 ***
publicly disclosed by Michal Zalewski to full-disclosure.
According to http://archives.neohapsis.com/archives/fulldisclosure/2007-06/0026.html
bug 381300 is "a less severe variant" -- in what way is it a different bug?
The underlying bug is very much the same. The reported attack scenario differs from this entry in two aspects: the initial report considered only a more benign opportunity (page element spoofing vs snooping on user input), and did not account for the possibility that persistent about:blank frames that do not require a race condition to occur (which is important when considering a proper fix; but that point is moot if you plan to backport a more comprehensive fix from trunk).
Otherwise, same old. That's all I wanted to say there.
Marking blocking so we remember to verify that a fix for bug 381300 really does fix this testcase as well.
fix for bug 381300 landed on the 1.8 branch
Not needed for Thunderbird 220.127.116.11, up to vendors if they want it for future Firefox 1.5 versions.


text: First opportunity to dine at this restaurant. First impression was very limited parking in the grounds, but I was met at the entrance of the parking by a very enthusiastic parking attendant who had some skills in arranging parking. The restaurant offers a rustic setting with indoor and outdoor dining. Service was very good, waiter was experienced and friendly. The... More


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"You scared the living out of me, man" He said as he took a seat on the couch. His clothes were wet as his hair was, his face looked shaken and his hands were still trembling. He thought and never cared if it was the cold rain that made it or was it the whole 'moving doorknob' thing he had witnessed. "You freaked me out, too," Sean said. "Boy, I thought it was your father or something," he looked outside through the lancet window, peering down on the wet road and the faint rain that had stricken the clear window glass. "But I never really did thought I'd see you before seven, about the plan," He put in. He was acting all like a detective. He remembered how detectives showed off their shiny badges to people, but in his state he can't even show his face to anyone, especially the police, which are looking for him all evening. "We wouldn't need to go to school now that we are all here, now do we? Why else are you here anyway?" Jack asked, he snapped out of his hysteria and came back to the real world and began to ask real questions. "You won't believe what I just did," he stared at the door carefully, suspiciously listening to the pouring rain outside. He then turned back to Jack. "What, you mean you killed old Gharry?" Jack subjected. "Don't be crazy, you know I wouldn't do that, but that police guy sure was stupid, perhaps stupid enough for me to escape," he grinned at Jack. "Oh boy, don't tell me what you just told me, you mean you forcibly escaped from that police? What, you beat him up or something? Where's the body?" Jack hauls over the coals and started scolding Sean as if he was the mother. "You know, you're acting weird lately, must have been that Johnson's been telling you, but anyway, all I did was took the keys from his belt when he was busy driving and talking over phone at the same time," Sean explained, seemed proud of what he did.
"That guy has a date tonight with a chick named Lisa, hah, boy I never knew police got it in them, I listened to the conversation all the way,"
"Got what? Uh, never mind, just get to the serious part," he said. "Come on! How'd you escape?"
"It was simple; he had filled his bladder with coffee for some time and had to take a pee, really badly," he started to pace the living room back and forth, waving his hands in motion as he continued his story, which eventually became an oration. "We parked near the museum, when he left me in the back seat, with no cuffs on, or something, just locked doors," he continued. "I used the keys to get out, simple." He ended it with a bow and sat in one of the chairs surrounding the small table center of the living room. Jack thought he was taking this all like a joke, but he remembered how Sean was at the train station, how he looked so damned, with it, he never doubt. He must have accepted it. That it happened. He thought. And maybe I should accept it as well, that things happen.
"Johnson," Jack remembered.
"Mr. Johnson was called up by the head office earlier at Milles. You think it's about your whole escape mission?" he started to dry himself with some towels. He hadn't notice the wet clothes 'til know. The living room carpet was soaked as well, absorbing all the drippings. He was in such strain. "I'll be glad if it weren't." Sean said. "Where's Bob anyway?"
"He's helping with a case at the police station," he began wiping his hair, "your case to be exact."
"I thought he retired from the service two years ago."
"I thought too," Jack said. "But he's back, and he's serious about it."
After they had finished planning what they had needed for the plan, with Sean dramatically adding some detective side to it and Jack constantly being able to plan the whole thing, they decided to put it to rest and sleep with it. Jack arranged some sleeping sacks for Sean to sleep with while he plunged himself to sleep on his single bed. He glanced at the window for a minute and resumed his attempt to sleep with it.
The wind blew from a soft to a grueling and relentless bluster that had disturbed the twigs and leaves, making an eerie yet hushed sound of swishing. The rain had become increasingly strong as it had been all night. It had been an hour since the light coming from the room went out, silent as it is the still room was highlighted by footsteps, hard yet orderly steps. He glanced at the person on bed, being as quite as he could be, carefully not to arouse his deep and tranquil slumber. He carefully shut the door close and walked through the hallway, thoroughly guiding his way with hands through the abysmal and dark night, with mere lighting and only the light outside producing a blunt amount of light, he didn't know where to find the stair down. I have to do this, he whispered in silent.
On the long and busy streets of metropolitan, located his small and stuffed headquarters, situated left from the sixth floor of the red brick building, from here you could see a bird's eye view of the whole coastline, stretching all the way to the other side, the yachts and beautiful royal-like ships docking on port, the blinding city night lights that flashed on his eyes, he seemed bored of it.
"Where are you off to, Sir" Fred, his assistant asked.
"Out of town," he said. He wore a black long coat that had reached all the way to his knees, a black hat that was drawn down that had covered a portion of his face, and his hands were cuffed on to a suitcase, a sturdy black suitcase "and when will you be back?" Fred replied, "I'll be back whenever," he was outside the door now, looking from side to side making sure no one had seen him got out the room, "an old friend called me, says he has something for me to work on," he told Fred about it and had understood that he would stay behind to continue his office duty, there were only three of them working in headquarters, perhaps they wouldn't be if he had transferred to an exclusive building the senator had given him. But he wanted to do it his own way, his own place. "I'll contact you if I need anything," he closed the door shut. It's been long since I've gone to Desert Hills, he thought.
© Copyright 2017 marsh. All rights reserved.
Status: Finished
Genre: Mystery and Crime
Book / Science Fiction
Book / Mystery and Crime
Poem / Song Lyrics
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The Obama administration announced this week that companies with pending license requests to export certain controlled dual-use goods or technology, defense articles or defense services to Russia will face an indefinite hold on receiving approval from the U.S. government. The policy is expected to have a significant impact on Russia and may affect the U.S. trade balance with Russia.
On March 27, 2014, the U.S. Department of State's Directorate of Defense Trade Controls (DDTC) released an industry notice indicating that it "placed a hold on the issuance of licenses that would authorize the export of defense articles and defense services to Russia. State will continue this practice until further notice." On March 25, 2014, the U.S. Department of Commerce's Bureau of Industry and Security (BIS) announced on its website that "[s]ince March 1, 2014, BIS has placed a hold on the issuance of licenses that would authorize the export or reexport of items to Russia. BIS will continue this practice until further notice."
BIS has indicated that the hold policy applies to new license applications only; existing licenses remain valid and use of license exceptions is not impacted at this time. See more here. DDTC has not yet publically confirmed whether the hold would apply to active licenses that it has already approved or whether it would prevent an exporter using exceptions or exclusions that may otherwise have applied to exports to Russia. However, we have learned through our sources that the DDTC hold policy would not impact existing licenses — to confirm, companies should contact the Office of Defense Trade Controls Licensing for confirmation. Moreover, we have been advised that DDTC and BIS will be issuing guidance in the coming days.
Together, DDTC and BIS have jurisdiction over items as seemingly basic as paraffin wax, on one end of the spectrum, and military helicopters and missiles at the other end. The hold policy implemented by BIS and DDTC could significantly impact companies with pending applications to export dual-use items, defense articles or defense services to Russia, as well as companies that may have made business decisions or entered into contracts based on an expectation of supply from the United States.
For the U.S. Department of Commerce BIS notice, please click here. To see the U.S. Department of State DDTC notice, please click here. For more information on the sanctions put in place in connection with the situation in Ukraine, see here.
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JoAnn Duren
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I retired several years ago and started to search in Ancestry for information about my ancestors. I later discovered FAG and have had success in finding relatives' names or being able to add new ones. My search started because all four of my grandparents are buried in Woodland Heights Cemetery in Rector, Arkansas. I would dearly love to have pictures of their markers.
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Scott B. Shepherd III
Could you take a photo of the monument of Scott B. Shepherd, Jr, Oakview Cemetery, Section I, Lot 236, Grave 2. I have never been there but, am told it is a slab marker. Thank you very much.
Scott B. Shepherd III
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Scott B. Shepherd III
on Sep 20, 2016 10:56 AM
Ellen Berno in Hurley, Wisconsin
Hello JoAnn. I can go look for a photo of the tombstone for Ellen when we get a spring thaw. If it is possible could you please call or write to the St. Msry's rectory In Hurley and get the location of the grave (block only would be helpful). They only give the information to families and they cut me off (I can't be related to ALL:) The cemetery isn't real large, but it would be easier and quicker if I had a location to start with. Thanks, Lynn
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on Mar 05, 2016 6:44 PM
stanley denning
your welcome have a good day
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stanley denning
on Apr 18, 2015 2:46 PM
Shannon L. Cox- Hopkins
Name Correction:
Hello Joann, Im pretty sure I have heard my grandmother talk about you (Goodness I miss her). I was looking up my Fathers Grave today and noticed the name is wrong, His Given name is Ben William Cox, Not Benjamin.If there is any information I can help with, please just let me know. Thank you :)
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Shannon L. Cox- Hopkins
on Oct 12, 2014 11:25 AM
lynn Baisa
Hi Joanne,I am looking for my Hodges ancestry and I believe Cecil A may be my Grandfather Robert Lee's brother. He has the same birthday. His mother would be Emma M. Hodges. I would appreciate any information.Thank you,Lynn
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lynn Baisa
on Jan 21, 2014 8:36 AM
Allison White
RE: Ben Cox
Your welcome!
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Allison White
on Nov 02, 2013 7:26 AM
Chris M
RE: John Spreitzer Photo
The Bench is right by John's grave so I was guessing the family wanted a place to sit and remember him . It's is a very nice bench that made it easy to find his grave.
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Chris M
on Oct 24, 2013 9:37 PM
steve byron
RE: Mildred Schroeder
You're very welcome.. Glad to help. steve
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steve byron
on Sep 30, 2013 1:36 PM
Jennifer Curtis
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You're very welcome! I realize I did not get every picture that you requested. However, I plan on visiting the cemetery again within the next couple of weeks. Hopefully I will be able to get the remainder of the pictures for you. I enjoy helping people connect with their ancestry. :-)
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Jennifer Curtis
on Jul 04, 2013 7:14 AM
Jennifer Curtis
RE: Julia Glasgow
I will be glad to take some pics at Woodland Heights. If you will submit the requests on Findagrave, I will print out the list and get them sometime this week. :-)
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Jennifer Curtis
on Jun 29, 2013 8:18 AM
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Virginia Hepp was born in South Dakota and grew up California. She and her husband Richard moved to Mesquite in 2005.
After a trip to Mesquite to look for a place to retire in the distant...
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©2017 ERA Franchise Systems LLC. A Realogy Company. All rights reserved. ERA, the ERA logo and ERA Seller Security Plan are registered service marks licensed to ERA Franchise Systems LLC. ERA Franchise Systems LLC fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Each office is independently owned and operated. Listing information is deemed reliable, but is not guaranteed accurate.


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- M.A., History, George Mason University (in progress)
- B.A., Deaf Studies, Gallaudet University
Meredith Peruzzi joined the Gallaudet University Museum team in June of 2013 as a chief exhibition writer and researcher. On November 25, 2013, Peruzzi became the Curator of the Gallaudet at 150 and Beyond Exhibition.
Since January of 2014, she has been the Manager of the Gallaudet University Museum, following the retirement of founder and Director Emerita Dr. Jane Norman.
Meredith received a B.A. in Deaf Studies with a minor in History from Gallaudet University. Her University Honors project was a coffee-table style book entitled Gallaudet at 150: Chapter One, which focused on the first years of campus history, from 1857 to 1880.
A native of the Washington DC area, her first connection with the museum world was in 1991, as a volunteer for the now-defunct Baltimore City Life Museums. After her graduation from Gallaudet, she spent one year in Tokyo teaching American Sign Language for the Japanese ASL Signers Society.
Professional Memberships
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- National Association of the Deaf
- National Council on Public History
Deaf History, Gallaudet History and Deaf Studies.


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American Indian congregations in Texas - www.aibfoftexas.org
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Presents literature and resources in Spanish for reaching Spanish-speaking people with the Gospel of Jesus Christ.
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Lao Southern Baptist Fellowship was formed to effectively serve God and to provide resources for Laotian congregations and Christian leaders.
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Contains resources and supplements for missionaries, churches, missions support staff, and laymen to help share "God's Simple Plan of Salvation."
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Scripture Resources.com offers different versions and translations of the bible in a easy online.
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UBS offers resources on translated bibles and distribution of the bible world-wide.
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Download our iPhone app here http://www.mmafighting.com/iphone-download For more check out http://www.mmafighting.com watch video >>
Bellator President Scott Coker sat down with the media to talk Fedor Emelianenko and the future ahead of Bellator 172. Check out the full video. watch video >>
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Carmike Stadium 9
2400 10th Street SW,
2400 10th Street SW,Minot, ND 58701
No one has favorited this theater yet
The Cine South 8-12 is located at the south end of the Dakota Square Mall. It is operated by Carmike Cinemas, seating 750. It has a triangular marquee over the entrance with the theatre name in heavy neon. A small lobby with the concession area on the right as you enter and the small auditoriums are in a U shape around the lobby. More of a modern style theatre than its sister theatre at the north end of the mall.
In late-2007 it was remodeled, upgraded and renamed Carmike Stadium 9.
Contributed by Chuck Van Bibber
Recent comments (view all 1 comments)
Melissa Koppinger on May 24, 2008 at 8:23 am
It is now known as the Carmike Stadium 9 Theaters. All nine theaters are stadium sized with plush seating. Newly remodeled from what it used to be.
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Commentaries - June 2012
[EDITOR'S NOTE. The following are a reminder of the pivotal role played by Alison Knowles in what can be described in retrospect as the Fluxus revolution of the 1960s. With their deceptively simple surface Knowles's performance works exemplified the thrust of many artists, poets & performers to build on what Allan Kaprow & John Cage spoke of as an erasure of the boundaries between art & life. In this Knowles herself was a seminal figure, something to which I called attention – or thought I did – in the commentaries to "A Book of Events" in Technicians of the Sacred (1968). So much of her work, I wrote elsewhere, "speaks for itself and through the simple/not-so-simple things through which she dreams and meditates. But she knows this far better than most of us, of course, and says it too: 'It is important to remember that we are free to make art and poetry out of anything: a loaf of bread, some beans, a hasty jotting on the train.'" Fifty years after the "events" themselves, it's curious to consider whether & how they still play out or to try to emulate them at whatever level.
Further works by Alison Knowles can be found at her web site www.aknowles.com & elsewhere on the web. (J.R.)]
Event Scores, involve simple actions, ideas, and objects from everyday life recontexualized as performance. Event Scores are texts that can be seen as proposal pieces or instructions for actions. The idea of the score suggests musicality. Like a musical score, Event Scores can be realized by artists other than the original creator and are open to variation and interpretation.
Following scores are taken from BY ALISON KNOWLES from A GREAT BEAR PAMPHLET (1965).
#1 Shuffle (1961)
The performer or performers shuffle into the performance area and away from it, above, behind, around, or through the audience. They perform as a group or solo: but quietly.
Premiered August 1963 at National Association of Chemists and Performers in New York at the Advertiser's club.
#2 Proposition (1962)
Make a salad.
Premiered October 21st, 1962 at Institute for Contemporary Arts in London.
#2a Variation #1 on Proposition (1964)
Make a soup.
Premiered Nov 9th, 64 at Cafe au Go Go in NY.
#3 Nivea Cream Piece (1962) - for Oscar Williams
First performer comes on stage with a jar of Nivea cream. The performer massages hands in front of the microphone. Other performers enter one at the time. They make a mass of massaging hands and leave one at a time following the first performer.
click here to listen to a recording from Fluxsweet concert at Harvestworks organized by Taketo Shimada
Premiered Nov 25, 62 at Alle Season Theater, Copenhagen at Fluxus Festival.
#3a Variation #1 on Nivea Cream Piece
Large quantities of Nivea Cream must be available, at least one large jar per person. The performers enter and each lathers up his arms and face, then his colleagues, in a fragrant pig pile.
#4 Child Art Piece (1962)
The performer in a single child, two or three years old. One or both parents may be present to assist him with a pail of water or a banana etc. When a child leaves the stage the performance is over.
Premiered at the Fluxus Festival, Staatliche Kunstakademie, Dusseldorf on Feb 3rd, 63.
#4a Variation #1 on Child Art Piece (1964)
Exit in a new suit.
Premiered June 27th, 64 at Fluxus Concert, Carnegie Recital Hall, NY. This variation was written for the NYC performance when the Society for the Preservation of Cruelty to Children forbade the performance of Child Art Piece in its original form.
#5 Street Piece (1962)
Make something in the street and give it away.
Premiered in Aug, 63. #9 and #11 are really variations on this piece.
#6 Shoes of your choice (1963)
A member of the audience is invited to come forward to a microphone if one is availlable and describe a pair of shoes, the one he is wearing or another pair. He is encouraged to tell where he got them, the size, color, why he likes them, etc.
Premiered Apr 6th, 63 at the Old Gymnasium of Douglass College, New Brunswick, NJ.
#7 Piece for Any Number of Vocalists (1962)
Each thinks beforehand of a song, and, on a signal from the conductor, sings it through.
Premiered May 11th, 1963 at Hardware Poet's Theater, NY, during the Yamdays.
#8 Performance piece #8 (1965)
Divide a variety of objects into two groups. Each group is labeled "everything." These groups may include several people. There is a third division of the stage empty of objects labeled "nothing." Each of the objects is "something." One performer combines and activates the objects as follows for any duration of time:
1. something with everything
2. something with nothing
3. something with something
4. everything with everything
5. everything with nothing
6. nothing with nothing
The Alison Knowles T Dictionary is a graphic performance of this piece, which uses words as one group of objects and image as the other.
#9 Color Music #2 (1963)
Print in the streets.
1st movement: orange
2nd movement: black
3rd movement: blue
Performed on Canal street, NY, in 1963.
#9a Variation on Color Music #2
As performed on Canal street, NY in 1963.
Same as above except that white, aluminum, and cerise were used.
#9b Color Music #2 (1963) revised version
Print in silkscreen on the pavements and streets of a city. This piece is dangerous. Have some ready excuses such as "This ink is water soluable."
#10 Braid (1964)
The performers, usually two, find something to braid, hair, yarn, etc., and do so.
Premiered Apr 11th, 64 at Fluxhall, in NY.
#10a Variation #1 on #10 ("String Piece," 1964)
Tie up the audience.
Premiered May 30th, 64 at Fluxhall in NY.
#11 Printing Piece
This piece is officially deleted from Alison Knowles canon. What happened was that on May 30th, 1964 at Fluxhall in NY Alison Knowles silkscreened images on any and all objects, animate and inanimate, which were brought to her for imprinting. It was felt to be too close to #5.
#12 Simultaneous Bean Reading (1964)
Using the Alison Knowles Bean Rolls and six to eight performers, unroll the rolls over the audience and start reading aloud. Have the audience join in. A single performer goes among the other performers with scissors, cutting out large sections of the rolls. This performer determines the length of the performance.
Premiered Nov 16th, 64 at Cafe au Go Go, NY.
#13 Composition for Paik (1964)
Select a platform, or any large square or rectangular area that is set apart, or raised above the room. Measure this area, using Paik as assistant, finding its center. Then drop a plumb line to this point from the ceiling. Find the center of this distance and mark the string with chalk. Build Paik a platform up to this point so that he may sit there for the duration of the performance.
Premiered Nov 16th, 64 at Cafe au Go Go.
#14 Chair piece for George Brecht (1965)
Locate an empty chair, before the performance, in the center of the center aisle, equipped with reading light and a book. If nobody has taken this seat by intermission, one of the other performers should do so.
#15 Wounded Furniture (1965)
This piece uses an old piece of furniture in bad shape. Destroy it further, if you like. Bandage it up with gauze and adhesive. Spray red paint on the wounded joints. Effective lighting helps. This activity may be performed with one or more performers, and simultaneously with other events.
Premiered July 19th, 65 at Cafe au Go Go, NY.
#16 Giveaway Construction (1963?)
Find something you like in the street and give it away. Or find a variety of things, make something of them. and give it away.
Premire date unknown. Note: this is a variation of #6.
#17 Color Music #1 (1963) for Dick Higgins
List your problems from one to five.
For each problem list the best solution you can think of.
For each problem also list a color.
Whenever the problem arises in your mind, think first of the best solution, and if you cannot act upon it immediately, switch to concentration on the color until an absolute necessity intervenes.
Premiered 1963 at 423 Broadway, NY.
Poetry by Lee Tonouchi & Meg Withers
When I turn left on Kahekili Highway near my house on the windward side of O`ahu, I turn toward my son's baseball practice and many of his games in Kahalu`u. I also turn toward a community of coaches and parents who, for the most part, speak Pidgin English. (The language is actually Hawaiian Creole English or HCE, but people in Hawai`i call it Pidgin.) Many dads come from work in the bright green shirts of construction and road-workers; the moms, who speak less Pidgin, still live in its surround. If I turn right on Kahekili Highway, in the direction of Kāne`ohe Town and highways to Honolulu, toward my daughter's soccer practices, I drive into a world of local people who, for the most part, do not speak Pidgin to each other. Kāne`ohe is the suburbs; Kahalu`u is still country. Baseball has a working class history in Hawai`i, especially among AJA, or Americans of Japanese ancestry; soccer is played in a suburban middle class present untethered to plantation or war histories. While the local bumpersticker that reads "Keep the Country Country" is in standard English, its sentiment is Pidgin. The response, or "Keep Town Town," might be read with a local accent, but it's hardly da kine.
Pidgin poetry is best known for its humor, its nostalgia, and its self-assertion (writing a poem about writing a poem in Pidgin is not uncommon, even now). Diane Kahanu wrote a poem that also became testimony before the Board of Education in 1987. It begins: "Ho. Just 'cause I speak Pidgin no mean I dumb. Pidgin short, fast, match." A lot of work (and play) in Pidgin comes out of a comic tradition, typified by the work of Rap Reiplinger in the 1980s and now in books and plays by former stand-up Lee Cataluna. Her collection of vignettes, Folks You Meet at Longs, is very very funny, as is her play, Da Mayah. You can watch one of Rap's most famous skits, "Room Service," here. Even the Bible, translated into Pidgin as Da Jesus Book (2000), sounds funnier than the translators probably intended. The best book of Pidgin poetry, by most accounts, is Lois-Ann Yamanaka's 1993 volume, Saturday Night at the Pahala Theatre (Bamboo Ridge Press); hundreds of people attended the launch. Yamanaka's book seemed to promise a renaissance (or belated rebirth, even) of Pidgin literature in Hawai`i. Instead, it may have been one of moments in literary history when a new literature both begins and begins to end at the same moment. What was, in the early 1990s, called "local literature," dominated as it was by local Asian writers, was soon called into question by Hawaiian writers and their advocates, including Richard Hamasaki. Mahealani Dudoit founded `oiwi journal, enrollment in Hawaiian language courses jumped. By contrast, the Charlene Sato Center for Pidgin, Creole, and Dialect Studies, founded in 2002, remains ensconsed in a small portable building on the University of Hawai`i-Mānoa campus. This is not to say that communities of Pidgin and Hawaiian speakers are separate; Pidgin is traditionally the language of Hawai`i's working class, which includes local Asians, Haole (whites), and Hawaiians. Like so much that happens on islands, the smaller they are, the more complicated the linguistic/literary world becomes.
Lee Tonouchi has done more in recent memory than anyone to keep Pidgin in the ears of people in Hawai`i. He's written a series of books, including Da Word (Bamboo Ridge Press), Living Pidgin (Tinfish Press), and now Significant Moments in da Life of Oriental Faddah and Son (Bess Press). The word "Oriental" is still used in Hawai`i; on the north American continent it's considered an insult. The word still has currency here, as you'll find out if you read Tonouchi's poem about going to UC Irvine (he didn't) and discovering that his Oriental faddah was "Asian American." Tonouchi is best known as "da Pidgin Guerilla," an avant-garde of one who argues for a Pidgin department at UHM, and long ago refused to speak or write in any language other than Pidgin. Tonouchi also put together Da Kine Dictionary (Bess Press) a rather glossy, yet quite serious, attempt at creating a lexicon for locals and tourists alike. Tonouchi's very serious advocacy for Pidgin is delivered with the timing of a stand-up comic; his work is funny when it's serious, seriously funny when it's merely funny.
So Tonouchi's new book of poems, many years in the making, seems to take him and his readers in a new direction. The collection forms a ficto-memoir of his life. The point of origin for his life as an artist and linguistic guerilla was the moment when, as a small child, he lost his mother in a car crash. He was seated next to her. This book tells that story, but also tells us why Tonouchi, more than most writers in Hawai`i, is so fascinated by Pidgin. He was mostly raised by his Okinawan grandparents. By virtue of their generation they would have spoken strong, "authentic," Pidgin. That his grandmother coached the author on his Japanese lessons in college and (unknown to him) taught him Okinawan Pidgin instead, is one of the many funny/serious moments in this book. So family, language, and grieving are the central points in this work, and the way in which Tonouchi interweaves these elements strikes me as something new in Hawai`i's literature. I've not seen any attention to Pidgin poetry and the elegy, but this book is an elegy to family (his father died before the book was published) and — one fears — proleptically to the language that family, like so many others, speaks. Juliana Spahr's blurb puts it well: the book "also reminds that funny is the straight line made vulnerable."
Tonouchi's usual pitch, tone, is spoken: he hears and records Pidgin-speaking voices as well as anyone. A couple of very short poems tell this story. First, "'Wot Village You From?'"
Grandma axes my friends
wit Okinawan last names.
I dunno why,
cuz she always gets
when dey tell
Pālolo is a neighborhood in Honolulu, das why laugh. Then, in a response poem on the next page, comes another village poem, "Wot Village I From":
Grandma makes me memorize
in case somebody axes
one day, she sez.
Nobody eva does.
Tonouchi's grandmother clearly made him the family historian, the guardian of place names, of an entire language. That this poem portrays him as one who knows, but is never asked, may explain why Tonouchi has been so adamant over the years to get his work out. Fail to ask, and he will tell you anyway. Oddahwise, pau da culture. Or, in old Pidgin, it "make die dead lidat." (Make is pronounced "makay" and means "dead.)
Less successful as poetry, perhaps, but part of what is striking about this collection, is the piece, "Da Photo Album My Mom Made," which is in a very written, literary version of Pidgin. It's not spoken by a voice, but by a poet's writing. In some ways the poem seems a throw-back to work by Eric Chock in the late 1970s and early 1980s, but in Tonouchi's work it's something new:
She left me,
as one dying away
one cloth-covered photo album,
with my name stitched
on da cover
in cursive letters.
There's much to remark on here, like the sad turn on a "going away present." And there's the way in which the poet's mother so carefully wrote his name in cursive, the way she learned to in school, a school that doubtless discouraged the use of Pidgin. The rest of the poem might sound maudlin to anyone who doesn't know Tonouchi. To one accustomed to his brash wit, it comes as a surprise, however, this naked expression of sentiment, loss, regret. This writtenness.
Meg Withers, who now lives, teaches and writes in northern California, tended bar in Waikiki in the 1980s at the height (depth) of the AIDS epidemic. Her customers were gay men who dressed in drag; they had already suffered the traumas of self-recognition in a world that did not recognize them. Their suffering was psychological, but as her book, A Communion of Saints, records, it was also physical: the last poem in the book lists more than two dozen "saints and angels" who died. The book is full of voices; I had a University of New Orleans low-res MFA class one summer take on its many voices, and literally call them out from the Mexican rooftop where our class was held. Many of these are Pidgin voices. Withers is that rare person, a second-language Pidgin speaker and writer. So her Pidgin sometimes sounds odd, even to this other second-language Pidgin listener, but she's recording important, vanished, voices. In a prose poem about "our rella mae," we read: "i like keep my figure sistah no eat notting for make me fat...i name for cinderella...wait da kine prince charming like dat billy blonde guy tennessee...i like him give me one crystal slippah on my foot" (29). Withers has nestled rella mae's voice between a quotation from W.S. Merwin ("...one must always pretend something among the dying...") and another from the Bible ("...i gave my back to the smiters, and my cheeks to them... i hid not my face from shame and spitting...Isaiah 50:6") (29). The narrative thus moves from hiding to going naked, from acting to playing it straight (if not exactly "being straight"). Her book moves from written quotation to spoken quotation and then back again; these voices enter the same room, could almost be said to overhear each other, as we did in our roof-top classroom in Mexico.
Withers's book is organized in three parts, appropriate for a volume whose every poem is followed by a Biblical quotation. The first introduces us to our cast of characters, the second begins to take them away from us, and the third promises a kind of resurrection — not literally, surely, but elegiacally. Where Milton and Shelley found their lost friends in the very constellations, "ourgirl" (Withers) and her friends find their in the "na po mokole," as they look out from a seawall:
no mo da kine take money from da tourist jus' because i can...see in heaven how na po mokole bless us but wit' love...ancestors watching over us...tell us how to live wit' grace/wit' gratitude fo' gift of life...when old ones give us mana we no mo need worry now...jus' live da lives in kindness/love fo' ourselfes/others...ourgirl/keoki walk from wall into the newest world of all... (54)
Na po mokole is the night rainbow, a ghosted and ghostly presence. Less tangible than the stars, it's still a recurring feature of the night sky in Hawai`i, and reminds the poet and her friends of their own shades. The quotation from Revelation that follows this poem ushers in a "mighty angel" with "a rainbow . . . upon his head."
I began this commentary by noting the way in which a left turn at the main road is for me a turn toward Pidgin and a right turn a turn away from it. But there's a catch, and not just in the exceptions I can think of off-hand (like the people I see in both places). Because when I sit at my son's baseball practice or at his games and listen intently to the dads speaking Pidgin to one another (sometimes talking about fishing for opihi and killing pigs that end up in their yards), I hear their sons talk back to them in standard English. However strong a local accent the son might have, he's almost never speaking Pidgin. Nor do the kids speak Pidgin to one another aside from an occasional "you like bat?" This is also true for my daughter's soccer teammates. Those whose dads or moms speak Pidgin do not have daughters who speak it back to them. The generation gap is profoundest where it involves a shift in languages. The evidence is circumstantial, but it leads me to fear for the future of Pidgin as a language spoken in Hawai`i. There are no courses in speaking Pidgin, as there are in speaking and writing Hawaiian or other standard languages. The national media (to say nothing of video games) spits out a steady diet of anything but. It's still an outcast, outlier. And, ironic for a language whose origins were economic — given plantation workers from all over Asia and elsewhere, how do people talk to each other about their work? — the current economies of money and culture do not need Pidgin. If the local economy is mostly based on tourism and the military, both of them national and international in scope, who needs to speak this peculiarly local language? And if the Hawaiian renaissance of the past few decades asserts the necessity to revive and use Hawaiian language? Pidgin finds itself in the no man's land of Yiddish, caught somewhere between Brooklyn English and Israeli Hebrew. I fear the poems I've been looking at are not simply laments for family and friends; they might be proleptic elegies to the language in which they were spoken and written.
I want to thank Tiare Picard and Donovan Kūhio Colleps for having a look at a draft of this piece, especially at the Pidgin content. Colleps, who lives in `Ewa, which was a plantation area, writes this important exception to my argument: "Here in ʻEwa, the youngsters speak nothing but Pidgin . . . I mention the docufilm because there is a group of Waiʻanae teenagers ( pre-2010, I think) confirming their love for Pidgin." My status as an English professor doubtless marks my experiences of Pidgin; I can say, however, that I never hear Pidgin being spoken on my campus. I ask students to read aloud from Pidgin texts, and most of them clearly cannot ("cannot" being a Pidgin word) speak the language well. Tiare Picard was the Pidgin editor for Meg Withers's book when it was in manuscript at Tinfish.
You can hear some Pidgin and learn a bit about the language here. Kent Sakoda is one of the talking heads; he's a major advocate for Pidgin in the state. Lee Tonouchi also appears, and there are photographs of him with his grandparents. In the comment stream you can see some of the emotions involved in talking about Pidgin, and in who gets to talk. Here are some schoolkids from Waianae talking Pidgin. And more here. And again.
Most contemporary Pidgin literature in Hawai`i has been published by Bamboo Ridge Press.
There have been several "literacy narratives" about growing up speaking Pidgin, including a chapter in Morris Young's book, Minor Re/Visions: Asian American Literacy Narratives as a Rhetoric of Citizenship (Carbondale: Southern Illinois University Press, 2004). Another essay/chapbook, Sista Tongue, published by Tinfish Press, is by Lisa Linn Kanae. Lee Tonouchi's Living Pidgin: Contemplations on Pidgin Culture participates in that subgenre, as well.
There are plenty of YouTube videos of Pidgin being spoken. Especially recommended is anything by Rap Reiplinger. Here's a comedic cooking show. And Kent Bowman from the 1960s.
Lois-Ann Yamanaka reads her poem, "Boss of the Food," on the United States of Poetry.
To learn about Pidgin grammer, click here. Kent Sakoda is a wonderful student and teacher of the language and currently runs the Charlene Sato Center at UHM.
Other Tinfish titles with Pidgin in them include books by Bradajo Hadley, Gizelle Gajelonia, and Tinfish 18.5: The Book, which includes work by Jill Yamasawa, Ryan Oishi, Tiare Picard, Kai Gaspar, and Sage Takehiro. A broadside by Kimo Armitage and Michael Puleloa is free off the website.
I blogged elsewhere about the current state of Local Literature in Hawai`i. You can find the blog post here. Needless to say, not everyone agreed with me. Another blog post came out in 2009, after Tinfish Press republished books by Kanae and Tonouchi. A commentary this length inevitably leaves out acres and acres of historical and cultural information. So have a look at the resources, and keep looking!
Also: Renate Stendahl on the witch hunt
Two essays have been added to the Gertrude Stein war years dossier:
Christopher Sawyer-Laucanno, "'Courage to Be Courageous': The Last Works and Days of Gertrude Stein," from The Continual Pilgrimage: American Writers in Paris, 1944–1960 (1992). Thanks for the author for letting us include this chapter of his book.
And, just out yesterday:
Renate Stendahl, "Why the Witch-Hunt Against Gertrude Stein?," Tikkun, June 4, 2012.
We at Jacket2 are pleased to announce that Jerome Rothenberg joins us a commentator. His previous postings to "Poems and Poetics" (heretofore a blogspot site) are all linked to his J2 commentary page, and he is now publishing new commentaries here:
Improvising an academic paper?
I'm thinking about an idea that I heard Grammar Girl (Mignon Fogarty) talk about—"so-called attempts to legislate language change"—how and when uses of words vanish, how and why there are "made-up" words, etc. I also participated in a workshop with Peter Elbow on speaking onto the page. So, today, my question is this: how does one really change a language or become confident enough in his or her own language fluency to take real risks in the face of traditional usage? Elbow said something early in the plenary that really stuck with me since—"culturally, we tend to think of writing as harder than speaking." In other words, the resistance to writing may people experience is actually a cultural construct that has the potential to be undone or overthrown.
I'm immediately reminded of Steve Benson's work, particularly the improvisation/talk he gave at the Segue Reading Series on May 12, 2007, as part of a panel on Language Poetry and the Body that Tim Peterson and I hosted (see Issue 4 of EOAGH). Benson's performance included the following notes on his process (while the process was occurring):
don't know what I have to say, so I recorded some notes on a tape cassette,
which I'm playing in my pocket, and there are little wires that run up to my ears,
so that I can hear through the wires what I recorded on the cassette
and help me know what I might talk about or what words I might use…
I love how Benson invites the audience into his composing process, as well as how Benson consistently challenges the way speaking and writing are taught to us. When students are asked to give a talk or a presentation--they are nervous, they read off a paper, they fear the language they need to use, and they often don't let their bodies know what they know.
So, what do Benson's process of composition, Elbow's ideas of "speaking to write," and Fogarty's phrase "legislate language change" all have in common? I think that each gestures towards what Elbow calls "finding the words […] with conviction." When we teach prose writing, how often do our students really read out loud? How often do we meet the student who speaks brilliantly in class, but that rhetoric never makes it onto the page? Elbow writes, "all too often people write ineffectually because they don't fully own or inhabit their words. This is a common problem since so often they write only because someone (like me) is making them write" (Vernacular Eloquence 237). Why not work improvisation, risk-taking, talking the paper, transcription of an orally composed work…into a freshman's regular composition experience? Might this be a new way to "legislate language change"?


text:
Stanley Beller, the company secretary, said that a consortium had agreed to buy into Barnet, but only if the League temporarily returns pounds 91,000 withheld from the club since April. The cash was deducted by the League to pay fines and costs imposed on Barnet after investigations last year into the club's books.
'The consortium prepared to step in have made a conditional offer - and it will require help from the League,' Beller said. 'The League will be asked if they will release money back to the club in the short term with the promise that it will be repaid from future transfer revenue.'
Barnet have 16 professionals, but six are out of contract including the pounds 400,000-rated Gary Bull, who looks set to join his former manager, Barry Fry, at Southend.
Murdo MacLeod, the former Scotland midfielder, has been appointed player-manager of Dumbarton.
- More about:
- Barnet
- North West London
- Outer London Boroughs
- Punishment


text:
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text:
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From tsuyoshi hyuga: This App have Multifunctional editor and Objective-C viewer. And This application can cooperate with the DropBox.Please edit the source code anywhere by this application. Your development machine is renewed through DropBox And file transfer by USB and iTunes. -FEATURES-Edit:1,"auto-complete"ObjC button on EX Keyboard, conversion candidates appeared, done to determine the button.Of course, "NS" not only words starting with our response to various words.ex. "ns" change "NSString""uia" change "UIApplication"2, Search string - Please input the key word. And, please ..sentence.. touch. And, please push 'Enter'. 3, Replace string. - Please input 'Before' and 'After'. And, please decide the range. And, please push 'Enter'. 4, extra keyboard(include "TAB" key and cursor key and Custom Words) for editor.5, Undo and redo.6, This app Change a font size.7, This app Read a text file from iPhone or DropBox. The read file can be updated. With one button. supported: .txt .m .mm .h .php .html .c .cpp and contentType text files8, This app White a text file to iPhone or DropBox. Of course, the folder division can be done. 9, file transfer by USB and iTunes. View:This view can inspect the text under the edit by the color. This corresponds to the C and Objective-C(UIKit.framework and Foundation.framework). Settings:configuration.- Custom Word- Text color- Background color- Font TypeWeb:This View is simply browser. Please search and copy the source.
What's new in this version:
suppot: iOS6 and iPhone 5and bug fix.
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