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Posted on Sustainabilitank.info on April 21st, 2015
by Pincas Jawetz (PJ@SustainabiliTank.com)

kulturen in bewegung

ÖSTERREICH-PREMIERE
Amadinda Uganda meets Uni Percussion Vienna

Außergewöhnliche Klänge – musikalische Dialoge
19. April 2015 um 19:30 im MuTh Wien

Einführung: Gerhard Kubik (Universität Wien, Musikwissenschaft)
Moderation: Albert Hosp (ORF, Ö1)

„Viele haben bereits über die Amadinda geschrieben, sie dokumentiert und erforscht – für mich persönlich ist es wichtiger, diese Kunstform erlebbar zu machen“, meint Lawrence Okello, musikalischer Leiter von Amadinda Uganda.
Einzigartige Klangerlebnisse und Dialoge verspricht das Zusammentreffen zweier Musikkulturen. Improvisationen aus dem ehemaligen Königreich der Buganda treten in Beziehung zu zeitgenössischen Kompositionen
von Philipp Tröstl, Miguel Kertsman und Julian Garmisch, die im Rahmen des Konzertes uraufgeführt werden.

Erstmals ist hier auch die Akadinda zu hören, ein drei Meter langes Xylophon, das von sechs Personen gleichzeitig gespielt wird.

Das Ensemble AMADINDA UGANDA versteht sich als Übermittler von Kompositionen aus der Zeit des vorkolonialen Königreichs Buganda, die trotz Verbot unter der Herrschaft von Idi Amin im Untergrund überlebt haben und bis heute in Uganda zu hören sind. Hauptinstrument ist die Akadinda, ein Xylophon mit zwölf Klangplatten. Jeweils drei Musiker mit zwei Schlägeln spielen gleichzeitig auf einem Instrument.

Durch die Verzahnung der Schlagmuster entstehen Klänge, die Hörer der nördlichen Hemisphäre in Staunen versetzen. Das Ensemble Amadinda Uganda tritt in dieser Formation erstmals in Europa auf. Klassische Hofmusik der Baganda wird in den Konzerten ebenso zu hören sein, wie zeitgenössische Kompositionen.

===============================

TRIBUTE TO NELSON MANDELA CONCERT

Mo 20. April 2015, 20.00 Uhr Wiener Konzerthaus, Grosser Saal

Pretty Yende Sopran
{started her international career when in 2010 was the first artist in the history of the Belvedere Competition to win First Prize in every category. She went on in 2011 to win the Placido Domingo Operalia Competition.}


KS Johan Botha Tenor
{KS stands for Austrian Kammersaenger – the highest distinction for a singer in this Opera-crazy Nation.}


Wiener KammerOrchester

Stefan Vladar Dirigent

Werke von Verdi, Donizetti, Bellini, Puccini, Lehar, J. Strauß

Dieses Konzert feiert Südafrikas zwanzigjähriges Jubiläum von Frei­heit und Demokratie und somit den Beginn des dritten Jahrzehnts. Es ist Südafrikas erstem demokratisch gewählten Präsidenten und weltweiter Ikone, Nelson Mandela, gewidmet. Der Erlös die­ses Konzertabends wird für die Errichtung des Nelson Mandela Kinderkrankenhaus in Johannesburg verwendet.

Es war Nelson Mandelas letzter Wunsch, ein Kinderkrankenhaus in Johannesburg zu errichten, die zweite medizinische Einrichtung dieser Art in Südafrika und die fünfte auf dem gesamten afrikanischen Kontinent.

Ein Benefizkonzert zugunsten des Nelson Mandela Children’s Hospital Trust veranstaltet von der Südafrikanischen Botschaft, Wien

=================================================================

I would like to stress here further that the two singers, besides being now the greatest musical Ambassadors of the 20 years young South Africa – the acclaimed tenor Bootha and the rising star Yende – are in their hopefully color-blind Nation a terrific pairing of a white star and a black star. Their music is in the best tradition of old Europe. Austria and the city of Vienna played an important role in the professional development of above two artists.

On the other hand, the musical group from Uganda performed in the the pre-colonial tradition of the now non-existing old Kingdom of Buganda where the King himself was a musician and composer. In the days of Idi Amin that tradition had to go underground hunted by that literally crazy black dictator who held back the development of independent Uganda. Now, the art of the Kingdom of Buganda is being studied at the school of ethnic musicology of the University of Vienna and the tour of the Amadinda was the occasion of joint performance of the percussionists from Uganda with fully developed local artists and students of the art of percussion from all over the world – including China – that work now in Vienna.

Significant as well was the naming last week of the square in front of the South African Embassy – Nelson Mandela Square.

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Posted on Sustainabilitank.info on April 12th, 2015
by Pincas Jawetz (PJ@SustainabiliTank.com)

CHORNOBYL SONGS PROJECT
SPECIAL CD RELEASE CONCERT
Saturday, April 25, 7:00PM

from: Center for Traditional Music and Dance (CTMD) –  traditions at ctmd.org via ctmd.ccsend

In partnership with the Ukrainian Museum and Yara Arts Group, we are excited to present a special concert of the Chonobyl Songs Project, performed by Ensemble Hilka.

Back in 2011, CTMD worked with ethnomusicologist/singer Maria Sonevytsky (Bard College) to bring renowned vocalist/ethnomusicologist Yefim Yefremov to New York for a series of workshops and concerts with a group of leading local singers (Hilka) that focused on the polyphonic village singing styles of Ukraine’s Chornobyl region which were extant before the nuclear disaster of 1986. The Chornobyl Songs Project CD is now being released on Smithsonian Folkways.

This concert will take place at the beautiful Ukrainian Museum, 222 East Sixth Street (between 2nd & 3rd Avenues) in Manhattan’s East Village.

A reception in the museum concourse featuring music by the Veveritse Brass Band will follow the concert. Admission is $15/$10 members and seniors/$5 students.

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Posted on Sustainabilitank.info on February 21st, 2015
by Pincas Jawetz (PJ@SustainabiliTank.com)

Neuer Berliner Kunstverein (N.B.K.)
Kunstgalerien und Museen
Address: Chausseestr. 128, 10115 Berlin, Germany
Phone:+49 30 2807020
  Permalink | | Email This Article Email This Article
Posted in Archives, Art Performance reviews, Austria, European Union, Germany, Reporting from Washington DC

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Posted on Sustainabilitank.info on February 8th, 2015
by Pincas Jawetz (PJ@SustainabiliTank.com)


We post this with the understanding that it is about a different way of making sense of the ISIS mind that seems to claim that reacting to their audacity does in effect play in their fields set up to create chaos in the Arab World.

Scott Ritter has had an interesting track record that might point at good use of opportunism dangerous for the uninitiated.
Did he learn his way of thinking from Soviet and Nazi books?

But then, after having written the draft of our comments on the Ritter article, I had the good fortune to watch the Fareed Zacharia CNN/GPS hour of today also – Sunday, February 8, 2015.

Fareed hosted a great panel – Former Prime Minister Of Jordan – Mr. Marvin Muasher – now vice president for studies at Carnegie, where he oversees research in Washington and Beirut on the Middle East; Fawaz Gerges, Professor of International Relations at the London School of Economics and Political Science (LSE); and Rula Jebreal a Palestinian-Italian foreign policy analyst, journalist, novelist, and screenwriter (She was a commentator for MSNBC). But more then anything else – Fareed Zacharia reminded us of David Fromkin whose old article in Foreign Affairs explained two examples of terrorism: – the bombing of the King David Hotel North Wing by the Irgun, and a bombing in Paris by the Algerian FLN. In both cases the idea of the bombers was to pull the British and the De Gaul Government of France into over reacting – and by this create chaos that eventually leads to the terror activators victory – the Britsh leaving Palestine and the French leaving Algeria. In those cases continuing the involvement by outside forces was nomore to their advantage. But is this example of value when the two warring sides are both Arab but Islamic of different sects? But then the facts here are that in the Middle East as well – like in the French case – the victims of the perpetrators are Arab Muslims – even Sunnis – like the perpetrators.

Fromkin, noted author, lawyer, and historian, is best known for his historical account on the Middle East, “A Peace to End All Peace” (1989), in which he recounts the role European powers played between 1914 and 1922 in creating the modern Middle East.

In the CNN/GPS debate it became clear that the miserable act of burning the Jordanian pilot with modern media called in to scare the Muslim world into ISIS submission, was a calculated act – not a mere mistake.

Gerges, the most conventional among the members of the panel said that “This is about the Identity of the State in the Islamic World>” He also said that ISIS is self-destructing but the answer must come from inside the Islamic World when it realizes that ISIS is more a danger to Islam then the US and the West.

Rula said that with 20 milion Muslims in Europe – they have to be integrated – we need an economic reform that makes them part of society.

Muasher pointed out that the recent years in the Middle East were marked by (a) the 2011 Arab Uprising which left positive change only in Tunisia, and (b) the more recent ISIS that followed it as an alternative for change. Bottom line – it is for the Arab states to face this reality.

The second half of alf of Fareed’s program today dealt with Putin, the West, and Ukraine – and I found here similarities as well – but will not deal with this here. Simply – I am going back to the original draft – strengthened in the belief that what Scott Ritter writes could have been understood by David Fromkin and I wish Fareed Zacharia gets hold of Ritter’s posting.

———————————————————————–

A Tipping Point Toward Chaos.

By Scott Ritter, Reader Supported News

07 February 2015

he murder by militants from the Islamic State in Iraq and Syria (ISIS) of a Jordanian pilot Moaz al-Kasasbeh is being viewed by analysts as a tipping point for mobilizing public support in the region against the forces of Islamic extremism. Prior to Lieutenant Kasasbeh’s execution, public opinion in Jordan appeared to be evenly split on the issue of their nation’s participation in the US-led coalition targeting Sunni Arab Islamists in Iraq and Syria.

Now, in the aftermath of the pilot’s death, there seems to be a consensus among these analysts that a majority of Jordanians will rally around King Abdullah as he seeks revenge against ISIS by executing prisoners in Jordanian custody and considers expanding the role of Jordan in the anti-ISIS coalition. This may be the outcome in the short term, as passions flare in response to what most Jordanians view as a vicious act on the part of ISIS. The reaction of the Jordanian government (indeed all of the western world and much of the Middle East) has been predictable — so predictable that one must wonder if this is precisely the outcome desired by ISIS in killing Lieutenant Kasasbeh in such a high profile fashion, and if so, why?

The Islamic State has never hidden its desire to create a Sunni Islamic Caliphate that extends over much of the territory that comprises the modern states of Iraq, Syria and Jordan (and elsewhere, as recent events in the Sinai and Libya have shown). In the minds of many who live in the region, these three nations are artificial entities, created at the whim of western imperialists in the aftermath of the dissolution of the Ottoman Empire for the sole purpose of facilitating western economic and geopolitical ambitions at the expense of legitimate Arab nationalism and Sunni Islam. There is a growing level of resentment, especially among the ranks of young and disenfranchised males, that feeds off this perception, creating a rich pool of pre-radicalized talent from which ISIS is able to recruit.

ISIS was born from the chaos and anarchy that erupted in Iraq after the United States invaded and occupied that country, removing from power a Sunni dictator, Saddam Hussein, and replacing him with a pro-Iranian Shi’a government. ISIS was able to exploit similar chaos that engulfed Syria in 2011 during popular unrest against the government of Bashar al-Assad. Assad’s government is dominated by members of a minority Shi’a sect known as the Allawites, and has close ties with Iran and the Lebanese Shi’a militia-cum-political party, Hezbollah.

In addition to playing off of the notion of historical illegitimacy of the pro-western (and anti-Sunni Islam) governments of Iraq and Syria, the Islamic State has created a de facto Sunni-Shi’a sectarian conflict that, in and of itself, serves as a rallying cry for many of its recruits, undermining the legitimacy of any Sunni Arab country that joins in the anti-ISIS fight. It is in this context that Lieutenant Kasasbeh’s murder must be evaluated. By goading Jordan into assuming a larger role — perhaps even a leadership role — in the fight against the Islamic State, ISIS may be seeking to accelerate the process of creating social divides within Jordan that could lead to the kind of internal chaos and unrest that the Islamic extremists have shown themselves so adept at exploiting.

It will be difficult for King Abdullah to control the anger unleashed by the actions of ISIS in killing Lieutenant Kasasbeh. The Lieutenant’s family is from a large and influential tribe which, while proud of their relative’s military service, has not spoken with one voice on the Hashemite Kingdom’s policies vis-à-vis Iraq and Syria. ISIS has a long history in both Iraq and Syria of turning tribal angst to its advantage, and this may be exactly the strategy ISIS is pursuing by its gruesome actions.

There can be no doubt that what ISIS did was not an accident. Lieutenant Kasasbeh was killed on January 3, 2015 — nearly a month before ISIS began “negotiating” a prisoner exchange involving the pilot and a would-be female suicide bomber. ISIS knew that by releasing the video of Kasasbeh’s murder it would be guaranteeing the execution of its fellow Jihadists at the hands of the Jordanians.

The Islamic State also knew that the resulting public outrage in Jordan, especially amongst the influential al-Kasasbeh tribe, would push Jordan toward accepting a larger role in the fight against ISIS. And it also knows that, in assuming this role, the Jordanian King would be even further aligning himself with the United States and, indirectly, with a competing Shi’a alliance involving Iran, Iraq, Syria and Hezbollah.

Rather than serving as a tipping point for mobilizing public sentiment in the Sunni Arab world against ISIS, it seems that a case can be made that the actions of ISIS seem geared toward achieving the exact opposite reaction — the mobilization of angry, disenfranchised Sunni Arab youth inside Jordan against the actions of their King, creating the kinds of social rifts ISIS thrives upon. Jordan should proceed cautiously before agreeing to any expansion of its role in the anti-ISIS coalition. To do otherwise, and surrender to an emotional call for revenge, may very well pull the Hashemite Kingdom into the same vortex of fundamentalist sectarianism that has torn Iraq and Syria apart. And this is exactly what ISIS wants.

Comments

We are concerned about a recent drift towards vitriol in the RSN Reader comments section. There is a fine line between moderation and censorship. No one likes a harsh or confrontational forum atmosphere. At the same time everyone wants to be able to express themselves freely. We’ll start by encouraging good judgment. If that doesn’t work we’ll have to ramp up the moderation.

General guidelines: Avoid personal attacks on other forum members; Avoid remarks that are ethnically derogatory; Do not advocate violence, or any illegal activity.

Remember that making the world better begins with responsible action.

- The RSN Team

+14 # Activista 2015-02-07 13:19
“exploit similar chaos that engulfed Syria in 2011 during popular unrest against the government of Bashar al-Assad. Assad’s government is dominated by members of a minority Shi’a sect known as the Allawites, and has close ties with Iran and the Lebanese Shi’a militia-cum-pol itical party, Hezbollah.”
ISIS is mimicking/execu ting Israel/US policy to create perpetual civil wars … ISIS Leader Abu Bakr Al Baghdadi Trained by Israeli …
www.globalresearch.ca/isis-leader-abu-bakr-al…mossad-nsa…/5391593
Jul 16, 2014 – ISIS Leader Abu Bakr Al Baghdadi Trained by Israeli Mossad, NSA … Snowden said intelligence services of three countries created a terrorist ..

+8 # motamanx 2015-02-07 14:20
Has anyone determined what ISIS wants? Was the question ever asked: “What do you guys want?” If our leadership had studied the history of the region, they would have been reminded that our dealing with the Middle East has been spotty at best. We have been meddling with them in draconian ways (and worse) for more than 100 years. Perhaps we should apologize, and leave.

+6 # REDPILLED 2015-02-07 16:33
Western “leadership” has never given a damn about the people of the Middle East as human beings. Since the end of WW I, when the greedy, arrogant Western European victors carved up the region to suit only their own resource and geopolitical aims, and imposed the Balfour Declaration’s goal on Palestine, the stage has been set for bloodshed and chaos.

The U.S. was a mostly silent partner until WW II, when FDR entered into his Devil’s Bargain with Saudi Arabia: Saudi oil for everlasting U.S. support and protection.

Western greed and powerlust have been the root causes of most of the violent turmoil since then.

+19 # angryspittle 2015-02-07 14:23
Another gift from W that just keeps on giving.

-8 # brux 2015-02-07 14:35

-39 # brux 2015-02-07 14:35
Scott Ritter … pedophile political analyst from the Left … it should be so proud.

+15 # MHAS 2015-02-07 15:43
Dear Brux,

Classic deflection. How about responding to his analysis rather than mischaracterize his politics…whic h until 2002 were that of a life-long Republican and former Marine. And as to pedophile charges, they just happened to crop up when he was exposing the lies of the W. Bush Admin in the lead up to the Iraq invasion. He has been proved right, btw….

+15 # azei2n 2015-02-07 14:56
No one has raised a wink on the burning alive of thousands of Muslims in each of Burma, India, and Egypt. The whole world had watched these atrocities without involvement. We raised no concern to the burning and killings in Chechnya, as well. We created the chaos in the Middle East and supported the Russian aggression in Chechnya. The funny things that we are still willing to go to war in Ukraine to counter the “Separatists.” You notice that we don’t call them “Terrorists” to legitimize our involvements. It’s crazy world!!!!

+7 # REDPILLED 2015-02-07 16:38
U.S. illegal drone attacks on 7 Muslim nations since Obama took office have decapitated and immolated many more people, including non-combatants (many children), than ISIS. But the corporate Western media rarely shows these victims of U.S. state terrorism, which continues as I write this.

+9 # Kimc 2015-02-07 14:57
A friend of mine says this is all lies, made up by the people who want another war to make money on. Could that be possible?

+7 # dyannne 2015-02-07 16:25
We know that the Bush Administration and advisors (Bush, Cheney, Wolfowitz, Perl, Hayden, Bolton, Baker, Rumsfeld, et. al.) created this situation and now Jeb Bush wants to be president -and that same mind set of friends and associates will come right along with him. What a disaster that will be if he prevails.

+3 # Akeel1701 2015-02-07 18:01
It is certainly possible – isn’t there an old saying that “The first casualty of war is the truth”?

+5 # Dale 2015-02-07 15:31
The Directorate of National Insecurity
Knows that a “War on Terror”
Is a never-ending cycle of creating terrorists,
Medieval and Evil as they are.
Evil begets Evil to better serve
The Devil of Empire.
With the manufactured intelligence of NSA
The boogeymen abroad are missiled and droned,
Only to create a thousand more.

Special Ops secretly assassinate suspects
And the drones guide their deadly missiles
Because The War on Jihadist Ghosts keeps the money flowing,
And creates for every martyr a hundred militants,
The more to feed the Death Machine.
The Super Rogue State draws red lines of blood in the Middle East desert sands,
Arming Islamic insurgents that blowback
To bite the asses of those who pursue the Imperial Vision.
But the Blowback from
Afghanistan, Iraq, Libya, Syria…
Is intended consequence,
How else to cycle Perpetual War?
A Warfare State demonizes Muslims,
Invades and occupies their lands,
Bombs their villages,
Threatens continuing violence,
Imposes sanctions,
The only definable ethical principle being “American First”.
The end being Global Domination
Administered by the War Machine.
A Lawless State pursuing the Global Empire
Envisioned by the Dominant Class of AmeriKa Inc.

As retaliatory tactics the violence of Jijad is counterproductive,
Serving to fire the Imperial Beast
And yielding power to the most retrograde elements of Muslim society.
But no one can deny the right of victims to justice.

+3 # torch and pitchfork 2015-02-07 16:16
“Rather than serving as a tipping point for mobilizing public sentiment in the Sunni Arab world against ISIS, it seems that a case can be made that the actions of ISIS seem geared toward achieving the exact opposite reaction — the mobilization of angry, disenfranchised Sunni Arab youth inside Jordan against the actions of their King, creating the kinds of social rifts ISIS thrives upon. Jordan should proceed cautiously before agreeing to any expansion of its role in the anti-ISIS coalition. To do otherwise, and surrender to an emotional call for revenge, may very well pull the Hashemite Kingdom into the same vortex of fundamentalist sectarianism that has torn Iraq and Syria apart. And this is exactly what ISIS wants.”

The best way to unite the Arab tribes is with a common enemy–those that invade and occupy your land. The Islamic faith has many warring sects but the one thing that unites them all is a trespasser. In America it’s legal to shoot a home invader without consequences, why should we think it would be any different in the Middle East?

0 # Activista 2015-02-07 18:11
“the same vortex of fundamentalist sectarianism that has torn Iraq and Syria apart. And this is exactly what ISIS wants …”
that has torn Iraq, Syria, Libya apart. And this is exactly what US Neocons/Bibi want ..

————————————————————–

Scott Ritter was born into a military family in 1961 in Gainesville, Florida. He graduated from Kaiserslautern American High School in 1979, and later from Franklin and Marshall College in Lancaster, Pennsylvania, with a Bachelor of Arts in the history of the Soviet Union and departmental honors. In 1980 he served in the U.S. Army as a Private. Then in May 1984 he was commissioned as an intelligence officer in the United States Marine Corps. He served in this capacity for about 12 years. He served as the lead analyst for the Marine Corps Rapid Deployment Force concerning the Soviet invasion of Afghanistan and the Iran–Iraq War.

Ritter’s academic work focused on the Basmachi resistance movement in Soviet Central Asia during the 1920s and 1930s, and on the Basmachi commanders Fazail Maksum and Ibrahim Bek. During Desert Storm, the Gulf War, he served as a ballistic missile advisor to General Norman Schwarzkopf. Ritter later worked as a security and military consultant for the Fox News network. Ritter also had “a long relationship [...] of an official nature” with the UK’s foreign intelligence spy agency MI6 according to an interview he gave to Democracy Now! in 2003.

Ritter was a United Nations weapons inspector in Iraq from 1991 to 1998 – Ritter “ran intelligence operations for the United Nations”from 1991 to 1998 as a United Nations weapons inspector in Iraq in the United Nations Special Commission (UNSCOM), which was charged with finding and destroying all weapons of mass destruction and WMD-related manufacturing capabilities in Iraq. He was chief inspector in fourteen of the more than thirty inspection missions in which he participated.

Ritter was amongst a group of UNSCOM weapons inspectors that regularly took Lockheed U-2 imagery to Israel for analysis, as UNSCOM was not getting sufficient analysis assistance from the U.S. and UK. This was authorised by UNSCOM, the U.S. U-2 having been loaned to UNSCOM, but caused Ritter to be subjected to criticism and investigation by U.S. authorities. Iraq protested about the supply of such information to Israel.

When the United States and the UN Security Council failed to take action against Iraq for their ongoing failure to cooperate fully with inspectors (a breach of United Nations Security Council Resolution 1154), Ritter resigned from the United Nations Special Commission on August 26, 1998. In his letter of resignation, Ritter said the Security Council’s reaction to Iraq’s decision earlier that month to suspend co-operation with the inspection team made a mockery of the disarmament work. Ritter later said, in an interview, that he resigned from his role as a United Nations weapons inspector over inconsistencies between United Nations Security Council Resolution 1154 and how it was implemented.

On September 3, 1998, several days after his resignation, Ritter testified before the United States Senate Committee on Armed Services and the United States Senate Committee on Foreign Relations and said that he resigned his position “out of frustration that the United Nations Security Council, and the United States as its most significant supporter, was failing to enforce the post-Gulf War resolutions designed to disarm Iraq.

Later Ritter became a critic of United States foreign policy in the Middle East. Prior to the invasion of Iraq in March 2003, Ritter stated that Iraq possessed no significant weapons of mass destruction (WMD) capabilities. He became a popular anti-war figure and talk show commentator as a result of his stance.

He has written several books on US policy, including “Dangerous Ground,” published by Nation books.

In 1999, Ritter wrote “Endgame: Solving the Iraq Problem — Once and For All” in which he reiterated his claim that Iraq had obstructed the work of inspectors and attempted to hide and preserve essential elements for restarting WMD programs at a later date. However, he also expressed frustration at alleged attempts by the CIA to infiltrate UNSCOM and use the inspectors as a means of gathering intelligence with which to pursue regime change in Iraq – a violation of the terms under which UNSCOM operated, and the very rationale the Iraqi government had given in restricting the inspector’s activities in 1998.

In the book’s conclusion, Ritter criticized the current U.S. policy of containment in the absence of inspections as inadequate to prevent Iraq’s re-acquisition of WMD’s in the long term. He also rejected the notion of removing Saddam Hussein’s regime by force. Instead, he advocated a policy of diplomatic engagement, leading to gradual normalization of international relations with Iraq in return for inspection-verified abandonment of their WMD programs and other objectionable policies.

Ritter again promoted a conciliatory approach toward Iraq in the 2000 documentary In Shifting Sands: The Truth About UNSCOM and the Disarming of Iraq, which he wrote and directed. The film tells the history of the UNSCOM investigations through interviews and video footage of inspection missions. In the film, Ritter argues that Iraq is a “defanged tiger” and that the inspections were successful in eliminating significant Iraqi WMD capabilities.

In 2003 – Just after the coalition invasion of Iraq had been launched, but prior to troops arriving in Baghdad, British Prime Minister Tony Blair told the Parliament of the United Kingdom that the United States and the United Kingdom believed they had “sufficient forces” in Iraq. At that very time Ritter offered an opposing view on Portuguese radio station TSF: “The United States is going to leave Iraq with its tail between its legs, defeated. It is a war we can not win … We do not have the military means to take over Baghdad and for this reason I believe the defeat of the United States in this war is inevitable … Every time we confront Iraqi troops we may win some tactical battles, as we did for ten years in Vietnam, but we will not be able to win this war, which in my opinion is already lost,” Ritter added.

Australian Richard Butler, Scott Ritter’s boss under the United Nations in Iraq, said that Ritter “wasn’t prescient” in his predictions about WMDs, saying, “When he was the ‘Alpha Dog’ inspector, then by God, there were more weapons there, and we had to go find them — a contention for which he had inadequate evidence. When he became a peacenik, then it was all complete B.S., start to finish, and there were no weapons of mass destruction. And that also was a contention for which he had inadequate evidence.”

In February 2005, writing on Al Jazeera’s website, Ritter wrote that the “Iraqi resistance” is a “genuine grassroots national liberation movement,” and “History will eventually depict as legitimate the efforts of the Iraqi resistance to destabilize and defeat the American occupation forces and their imposed Iraqi collaborationist government.” On December 20, 2005, in a debate with Christopher Hitchens at the Tarrytown Music Hall in Tarrytown, NY, Ritter said furthermore that he would “prefer to be an Iraqi under Saddam than an Iraqi under a brutal American occupation.”

In an October 19, 2005 interview with Seymour Hersh, Ritter claimed that regime change, rather than disarmament, has been the primary objective of President George H. W. Bush, and later of President Clinton and the second President Bush, in imposing and maintaining economic sanctions on Iraq after the Gulf War.

Ritter has also been harshly critical of Bill Clinton for politicizing the inspection process during his presidency, and of Hillary Clinton for obfuscating that record.

Ritter was a staunch Republican who voted for G.W. Bush and turned to the left. Personally – he was accused of pedophilia via the internet – first acquitted then convicted on some of the same charges.

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Posted on Sustainabilitank.info on February 6th, 2015
by Pincas Jawetz (PJ@SustainabiliTank.com)

From: Beyt Tikkun Synagogue  shul at tikkun.org via mail.salsalabs.net - this comes from Oakland, California and shows the Jewish way of love for Planet Earth and all Creation. You do not have to be religious to see this – and we are not religious.

SEDER FOR THE EARTH & CLIMATE MARCH
.

*When: Saturday, February 07 2015 @ 11:00 AM – - 12:00PM

Where:

No rain: Frank Ogawa Plaza nr. the Rotuda near the 15th & Broadway entry to the Plaza
In case of Rain: 685 14th Street (the Unitarian Church

Description:

We davven the morning service first at Rabbi Lerner’s home from 9 a.m. to 10 a.m. then go to Frank Ogawa Plaza at Broadway and 15th street in Downtown Oakland to set up for a short (one hour) Tu B’shvat Seder.
If you can get there by 10:30 a.m. to help us set up, that would be sweet.

We will have a few tables and a few chairs in the alley way near the Rotunda on the other side of the plaza from City Hall, assuming it isn’t raining heavily. Please bring a chair to sit on it if you can, and something delicious to nosh, or just come–we’ll have fruit and grape juice for the seder if you tell us you are coming BEFORE Friday 10 a.m. Feb. 6th so we can buy enough!! But if you haven’t done so, come anyway, but get there by 11 a.m. (which requires that you also give yourself at least 15-20 minutes to park if you come by car–there are big parking structures down there around 11 th and 12th streets–but environmentally best to come via the BART).

Rain is predicted but we have no way of knowing whether that is going to be like the heavy rain expected for Friday, or a much lighter rain that won’t be a big deal.

If the rain in heavy, the 1st Unitarian Church of Oakland, at 685 14th street, has graciously agreed to let us hold the seder in their building in their Wendte Hall (NOT the main sanctuary, where something else is happening).

After the Seder we will march up to where the march is happening (a mere four blocks away), and meet up with our already-drenched allies for the march. Be sure to bring clothing and umbrellas just in case.

Please let us know that you plan to attend and please spread the word to your non-Jewish friends as well–The Seder for the Earth is free and a wonderful way to begin the environmental march that will begin at noon at the same place.

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TIKKUN IS PART OF THE NETWORK OF SPIRITUAL PROGRESSIVES (NSP) – they like to talk of “rEVOLution” for how to EVOLVE into a a decent world. Their kind of true revolution comes about with a little “r” with large “EVOL” so there is no blood-shedding.
 spiritualprogressives.org/newsite…

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Posted on Sustainabilitank.info on November 25th, 2014
by Pincas Jawetz (PJ@SustainabiliTank.com)

The Opinion Pages | Op-Ed Columnist of The New York Times

Committed to Carbon Goals

November 24, 2014


by Joe Nocera

Since the early 1990s, the consensus view in the climate science community has been that if the world is going to escape the most catastrophic consequences of climate change, it needs to keep the average global temperature from rising more than 2 degrees Celsius, compared with pre-industrial levels. A few years ago, the Presidential Climate Action Project issued a report in which it estimated that to meet that goal, global carbon dioxide emissions would need to be reduced by 60 percent by 2050 — and the industrialized world would need to reduce its emissions by 80 percent.

This would seem, at first glance, an impossible task. Until, that is, you meet a man named David Crane. He is the chief executive of NRG Energy, the largest publicly traded independent power producer in the country. When he took over a decade ago, NRG was just emerging from bankruptcy. Today, it is a Fortune 250 company, with 135 power plants capable of generating 53,000 megawatts of power.

NRG, Crane told an audience at the Aspen Ideas Festival this summer, is the country’s fourth-largest polluter. “We emit 60 or 70 million tons of carbon into the atmosphere each year,” he said, mainly because a third of its power is generated by coal-fired plants. “I’m not apologetic about that because, right now, owning those plants and operating those plants are critical to keeping the lights on in the United States.”

But then he quickly added, “We have to move away from that.” And he has, reducing the company’s carbon footprint by 40 percent in the decade that he’s run the company. And, on Thursday, as The Times reported, he committed NRG to reducing its carbon emissions by 50 percent by 2030 and 90 percent by 2050.

These are terribly ambitious goals, but Crane is not some pie-in-the-sky dreamer. Although he sees climate change as an “intergenerational issue” — a way of ensuring the future for our children and grandchildren — he is also a pragmatic man running a publicly traded company. He firmly believes that the technology exists to make his ambitious goals possible, and that the real problem is the refusal of the rest of the power industry to adapt and change.

Crane likes to say that when he first started hearing about carbon emissions, he didn’t view it all that seriously. “To be frank,” he said in that same Aspen presentation, “I thought this is just the next pollutant that we have to deal with.” But once he got religion — and realized, as he put it, that power producers like NRG are “the biggest part of the problem” — he was determined to make his company a leader in reducing carbon.

One of his early moves was to apply for a license to build a new nuclear power plant. (It already co-owns one nuclear plant.) But the nuclear accident at the Fukushima Daiichi plant in Japan in 2011 scotched those plans, and NRG wound up writing off more than $300 million. NRG also invested in a wind company, which it sold three years later “because we got a little disenchanted with the way that the wind technology was moving.”

So how is he planning to get that 90 percent reduction? One answer is solar power, in which NRG has invested some $5 billion. Crane is a big believer in the eventual importance of solar, both for consumers — he foresees a day when millions of Americans rely on solar as their primary power source — and for power companies. Even so, Crane told me that solar generates only 3,000 megawatts of the company’s potential for 53,000.

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Recent Comments:

Andrea
32 minutes ago

Why is there no mention of a transfer from coal powered generation to natural gas? There is an abundance of it, it is cheap and it burns…

Ken
32 minutes ago

Home heating remains as a huge source of carbon pollution. While not a solution for most urbanites, many like me in rural New England have…

Tom Pedersen
32 minutes ago

Mr. Crane suggests that a carbon tax is politically impossible. But that’s looking at the challenge from the wrong end. How about looking at…

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And then there’s coal. When I asked Crane if he would have to eliminate coal to reach his goals, he said no. Coal, he said, will continue to play a big role. A carbon tax would be a great way of reducing emissions. But that is politically impossible.

So, instead, the carbon will need to be captured and then put to some good use. At one of its Texas power plants, NRG is teaming up with JX Nippon of Japan in a $1 billion joint venture to build a carbon-capturing capacity, which it expects will capture 1.6 million tons of carbon each year — some 90 percent of the plant’s emissions. He is also convinced that that carbon will eventually be used to create liquid fuel or get embedded in cement. “We could rebuild America’s roadways with embedded carbon from coal.”

He has another reason for wanting to be out in front on climate change. He says it will make his company more attractive to investors — and consumers. The day is going to come, he believes, when climate change risk will be something investors factor in to their investment decisions. And he believes that the next generation of consumers will demand clean energy. He views the disinvestment campaign now taking place on college campuses as a harbinger of things to come.

“It’s like Wayne Gretzky said,” he told me before hanging up the phone. “We are skating where the puck is going, rather than where it is now.”

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A version of this op-ed appears in print on November 25, 2014, on page A27 of the New York edition with the headline: Committed to Carbon Goals

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Posted on Sustainabilitank.info on October 23rd, 2014
by Pincas Jawetz (PJ@SustainabiliTank.com)

First our posting of October 21st – then the Jewish Week article reporting from St. Louis that was coincidentally written also October 21, 2014 and todate is the best article we found in the printed press.

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We saw last night the Metropolitan Opera’s opening of the Opera titled “The Death of Klinghoffer” and we came out with a firm conclusion that the roaring controversy is all nothing more then a misunderstanding created by an unfortunate choice of the name of the Opera.

PROLOGUE:

Yesterday my wife was having lunch with one of her lady-friends at EJ’s Luncheonette. Her friend, a New Englander, has a daughter who is media-correspondent in the Middle East and the family is very much aware of what goes on in that corner of the world.
She asked my wife what she thinks of the brouhaha that surrounds the MET, and my wife said that we are going to see it “tonight” as I saw it years ago when it was first performed and do not recollect that I had misgivings at that time. That was the era of operas like “Einstein on the Beach” and “Nixon in China.”

Another lady, seemingly a grandmother having pancakes with her grand-daughter, before leaving the restaurant, turned to my wife and said that she is going to the opera – “to demonstrate.” My wife asked her – “did you see the opera?” The lady answered NO!
My wife said then that she is going to see it in order to be able to make up her mind and the lady answered – “Fair Enough!.

I did see the opera at the Brooklyn Academy of Music September 1991 still the days of President Bush the First, and coincidentally, was also at a Chamber Orchestra semi-staged performance at a modern restored building in Geneva, Switzerland, (1998) that was funded in part by a rich local Jewish Real Estate man and his Israeli wife. There were really no accusations of antisemitism that I remember.

The work, composed by John Adams with libretto by poet Alice Goodman – the same team that also wrote “Nixon in China” (1987) -
is presented as the memory of the Captain of the Achille Lauro passenger cruise-ship that was involved in the October 1985 highjacking by four members of the Palestinian Liberation Front (PLF) that ended with the murderous execution of American wheelchair-bound Mr. Leon Klinghoffer.

First let us note that John Adams, besides the mentioned two operas also created “On The Transmigration of Souls” (2002) -
a choral piece that commemorates the 9/11 2001 events – for which Adams was awarded the Pulitzer prize in 2003, and with Peter Sellars as librettist he created the “Dr. Atomic” Opera (2005) on J. Robert Oppenheimer, the Manhattan Project and the development of the atomic bomb – all three operas mentioned were produced also by the MET.

The 1991 production of Klinghoffer was staged with the help of Peter Sellars and the present days MET production was done with staging by Tom Morris. I seem to remember that the 1991 production started with the image of the ship – something non existent in 2014. This production starts with people running around with green Islamic flags and inducting Omar into the group. He is then bound to be one of the four hijackers. Later we see him interacting with one of the two Klinghoffer daughters.

We find it unacceptable to focus on corners of humanity when centering on lamentations by Palestinians for lost homes when seeing them run around with those green flags as if they were doing Allah’s work. And that is really the point – it looks like real daily life as presented on our TVs. That PLF is now – 24 years since the take-over of Achille Lauro – morphed into Al Qaeda, Hamas, ISIL, the Al-Nusra Front …and yes – Boko Haram, the Somali Shabaab, the Libyan and Yemen Islamists as well.

Leon Klinghoffer told the hijackers that they were wrong in what they were doing – in some ways he was actually a hero tied to his wheelchair. He saw the reality. He was on a trip to Egypt with his family – he did not hate Arabs as such – he was on his way to see the pyramids. His antagonists did hate the Jews because thy were from abroad – no recognition on the Arab side that these Jews must be fit somehow into their life as they were actually people that came home to the region for which they have historic ties as well.

Look again at those green flags and think for a moment. If those flags represent real life so just stand up and acknowledge that the show before you is a negative picture not of Klinghoffer but of what the four hijackers stand for – and yes – THEY EXECUTE KLINGHOFFER BECAUSE THEY CANNOT ACCEPT THAT THIS MAN IN HIS WHEELCHAIR HAS THE STRENGTH TO TELL THEM OFF.

The 100 people outside Lincoln Center sitting in wheel-chairs under a sign saying “I am Klinghoffer” did not demonstrate against antisemitism. They actually spoke up in my opinion against the green-flag-waving lunatics.

It is not about the death of Klingoffer – but about the lunacy of his executioners – so for Pete’s sake object to all those Middle-Easterners running around with colored flags – green or black – but stop accusing the whole world of antisemitism.
RENAME THE OPERA AND CHANGE NOTHING FROM WHAT YOU SEE – Do you not realize that whatever is your cause – this opera actually helps you by the mere fact that the artistic creators aimed at pure neutrality and brought to us a documentary?

In the hall there was one demonstrator who shouted as long as he could:”THE MURDER OF KLINGHOFFER WILL NEVER BE FORGIVEN.”
His intervention had clear echos – at first we heard only three people clapping their hands after the run of the flags, but there was strong applause at the end of the performance. THE AUDIENCE ACCEPTED THE TOTALITY OF THE SHOW.

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‘Klinghoffer’ As Gateway To Dialogue

In St. Louis, the controversial opera served as a foundation for new relationships across faith lines.
10/21/14
Maharat Rori Picker Neiss, Special To The Jewish Week

For the past few weeks, my email and social media have been inundated with discussions and links to flyers, articles and events that all support the opposition, protest and even disruption of the New York Metropolitan Opera’s production of John Adams’ “The Death of Klinghoffer.” And I disagree with each one.

Like many, if not most, of the protesters, I have not seen “The Death of Klinghoffer” or read its libretto. I cannot comment on its content nor its staging. I make no judgment to classify it as anti-Semitic or to argue against such a classification. I also cannot make any determination of its commentary on terrorism, those who perpetuate those heinous acts, and those who fall victim to these horrific crimes.

My disagreement is not with the offense that they take to the performance — although I would hope that each person would choose to at least read the text for themselves before coming to a final conclusion — but with the chosen response.

The Jewish community in New York has chosen to launch a passionate protest against the performance and, in doing so, they have let a tremendous opportunity fall by the wayside.

In 2011, the Opera Theatre of Saint Louis staged a production of “The Death of Klinghoffer” — the first staging of the full opera in the United States in 20 years. The Jewish Community Relations Council of St. Louis did not object to the performance, but instead partnered with the Opera Theatre and other faith-based and arts organizations to prepare study guides, coordinate community events, organize roundtable discussion and engage in deeper dialogue around painful and difficult subjects.

Instead of igniting hatred or perpetuating anti-Semitism, as some protesters have predicted, the opera served as a foundation for new relationships across faith lines. In fact, these initiatives sparked a new nonprofit initiative, Arts & Faith St. Louis, based on the belief that the arts have a unique power to inspire thoughtful discussion among diverse audiences, to bring people together and to bridge divides through shared experiences. This initiative has brought together leaders across the faith communities of St. Louis (Jews, Muslims and Christians) with leaders in the art world to respond to pressing needs in our region and to create innovative approaches to difficult discussions.

These conversations are not easy. Often, they are quite painful. To engage in dialogue around such profoundly tender and traumatic topics such as terrorism, anti-Semitism, extremism, hate crimes, identity, abuse and fear, by definition, requires a person to be immensely vulnerable.

The bonds that can form between two people who strip away their protective shells and open their minds and hearts to one another, however, is immeasurable.

I admire the monumental efforts of the organizers in New York to raise awareness for their cause, to coordinate partners and organize demonstrations. I am confident that, as the objectors state, “The Death of Klinghoffer” is both disturbing and uncomfortable. But a protest is easy. To protest the opera is to express a voice — a unilateral opinion shared through words on a placard or the dramatic imagery of 100 wheelchairs staged at Lincoln Center.

Instead, I invite all those who plan to protest the production to choose to engage. To take the difficult, likely painful step, to opt for dialogue over demonstrations, proaction over protests.

The Metropolitan Opera in New York is the largest classical music organization in North America, with the capacity for nearly 4,000 viewers at each opera performance. The opportunity here is monumental. We can choose to seize the moment, or to stand on the sidelines, holding placards, as it passes us by.

Please, choose the difficult path. Choose the disturbing. Choose discomfort. Choose dialogue.

Maharat Rori Picker Neiss is director of programming, education, and community engagement at Bais Abraham Congregation in St. Louis.

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Posted on Sustainabilitank.info on September 30th, 2014
by Pincas Jawetz (PJ@SustainabiliTank.com)

We do not assume for a moment that we know the facts – this like when most patriotic Americans were stuck with the Joe McCarthy hearings. Most important – What were the convictions mentioned here? Not all convictions in the USA are born equal – who knows? Some might be badges of honor!! It would be interesting to find out!


Politics: Armed contractor with criminal record was on elevator with Obama in Atlanta.

By Carol D. Leonnig September 30, 2014 – THE WASHINGTON POST.


There were some heated moments Tuesday when Secret Service Director Julia Pierson testified before the House Oversight and Government Reform Committee about two security breaches at the White House, one in 2011 and one less than two weeks ago. (The Washington Post)

A security contractor with a gun and three prior convictions for assault and battery was allowed on an elevator with President Obama during a Sept. 16 trip to Atlanta, violating Secret Service protocols, according to three people familiar with the incident.

The incident occurred as Obama appeared at the Centers for Disease Control and Prevention to discuss the U.S. response to the Ebola crisis.

The contractor did not comply when Secret Service agents asked him to stop using a phone camera to videotape the president in the elevator, according to the people familiar with the incident.

Agents questioned him, and used a database check to learn of his criminal history.

When a supervisor from the private security firm approached and learned of the agents’ concern, the contractor was fired on the spot and agreed to turn over his gun — surprising agents, who had not realized he was armed during his encounter with Obama.

Rep. Jason Chaffetz (R-Utah) said he was appalled when whistleblowers came forward to him with this account. The Washington Post confirmed details of the event with other people familiar with the review.

“You have a convicted felon within arms reach of the president and they never did a background check,” Chaffetz said. “Words aren’t strong enough for the outrage I feel for the safety of the President and his family. “

Elements of the breach were first reported Tuesday afternoon by the Washington Examiner.



Chaffetz added: “His life was in danger. This country would be a different world today if he had pulled out his gun.”

It is the latest in a string of embarrassments for the Secret Service, whose director, Pierson, drew criticism Tuesday from lawmakers in both parties during a combative hearing that focused on her agency’s security lapses. The hearing focused on a man who was able to foil Secret Service officers by jumping the White House fence Sept. 19 and also a 2011 shooting at the residence that the Secret Service failed to identify and properly investigate.

The elevator incident exposed another serious breakdown in the Secret Service’s safety protocols: this one meant to keep the president safe from strangers when he travels to events outside the White House. In close quarters or small events, when the president is on the road, all of the people who could have access to him must be checked in advance for weapons and any criminal history.

In response to a question at the hearing Tuesday, Pierson said she briefs the president “100 percent of the time” when his personal security has been breached. However, she said Tuesday that has only happened one time this year: Soon after Omar Gonzalez jumped over the White House fence Sept. 19 and was able to burst into the mansion.

A Secret Service spokesman said the agency would provide a response soon.

Some elements of the Atlanta incident were first reported Tuesday afternoon on the Washington Examiner’s Web site.

Under a security program called the Arm’s Reach Program, Secret Service advance staff run potential staff, contractors, hotel employees, invited guests and volunteers through several databases, including a national criminal information registry, and records kept by the CIA, NSA and Department of Defense, among others. Anyone who is found to have a criminal history, mental illness, or other indications of risk is barred from entry.

Local police and federal officers are not checked in the same way under the Arm’s Reach Program, with the Secret Service presuming they meet the safety standards because of their employment. But private security contractors would be checked, two former agents who worked on advance planning for presidential trips said.

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REALLY?

Politics | News Analysis
Showing Concern for the President, Even While Criticizing Him

By PETER BAKER SEPT. 30, 2014

WASHINGTON — President Obama must be touched by all the concern Republicans are showing him these days. As Congress examines security breaches at the White House, even opposition lawmakers who have spent the last six years fighting his every initiative have expressed deep worry for his security.

“The American people want to know: Is the president safe?” Representative Darrell Issa of California, the Republican committee chairman who has made it his mission to investigate all sorts of Obama administration missteps, solemnly intoned as he opened a hearing into the lapses on Tuesday.
Continue reading the main story

Yet it would not be all that surprising if Mr. Obama were a little wary of all the professed sympathy. Although the target of the legislative scrutiny is the Secret Service, not the president, the furor over security has left the White House on the defensive. At Tuesday’s Capitol Hill hearing and at the daily White House news briefing, the questions fueled an air of scandal: Who knew what when, and was there a cover-up?

Democrats joined in the grilling, and some were as tough as or tougher than any Republican on the Secret Service director, Julia Pierson. . But privately, some Democratic officeholders and strategists have complained that the episode contributes to a broader impression that the Obama administration’s competence has come under fire on a variety of fronts, including last year’s botched rollout of Mr. Obama’s health care program, the breakdown of services at the Veterans Affairs Department and the handling of a series of international crises.

Coming just weeks before midterm elections, they said, the intense focus on the matter might further undercut confidence in the government Mr. Obama runs even though it was hardly his fault an intruder with a knife made it into the White House.

“This is an opportunity to make it seem like nobody’s in charge in the Obama administration, even though it’s almost certainly not the case that political appointees could have done anything to change the facts in this situation,” said Matt Bennett, a White House aide under President Bill Clinton and now vice president of Third Way, a political group. “I’m not surprised that they’re doing this.”

Like other Democrats, Mr. Bennett said Congress had a duty to exercise oversight over the Secret Service and investigate what went wrong, and he said serious questions had been raised in recent days. At the same time, Democrats said, if it happened to damage the perception of the president in the process, Republicans would not object.

“I do think for a lot of Republican congressmen, this is a twofer,” said Erik Smith, a former House Democratic aide and a campaign adviser to Mr. Obama. “The Secret Service may be in the line of fire, but they’re not the only target.”

Not every Democrat sees it that way. Paul Begala, no stranger to partisan warfare as a longtime adviser to Mr. Clinton, said Republican lawmakers were asking the right questions out of genuine concern. “This is totally on the level,” he said. “They’re acting like real human beings and patriotic Americans.”
Continue reading the main story Continue reading the main story
Continue reading the main story

Other Democrats said Republicans had good reason to preserve that impression. “So far there is bipartisan outrage and concern,” said Margie Omero, a strategist for Democratic candidates for nearly 20 years who has studied midterm voters in swing Senate races this year. “But at this time of year, candidates will try just about anything to find an opening. It could definitely backfire if Republicans look like they’re making political hay out of a threat to the president’s life.”

Republicans rejected the notion that their inquiry had any political implications. “This is not a Republican issue or a Democrat issue,” said Representative Jason Chaffetz of Utah, chairman of a subcommittee looking into the episode. “This is an American issue. I don’t want it to be the political football, but we in the United States of America are self-critical. It’s one of the beauties of our nation is we do hold ourselves accountable.”

And they were aided by the tough statements voiced at Tuesday’s hearing by several of the committee’s Democrats, who told Ms. Pierson that they did not have faith in her leadership and accused her of caring more about protecting her reputation than the president’s life.

While the director of the Secret Service is appointed by the president, the White House under either party typically defers to the agency on how to handle the president’s security. Even when a president is angry at missteps — as reports suggest Mr. Obama was after a 2011 shooting at the White House when one of his daughters was home — he rarely expresses that publicly. For one, it might come across as impolitic. For another, it might offend the very people a president depends on most.

So even though Mr. Obama had nothing to do with the various problems involving his security beyond appointing Ms. Pierson last year, his White House now finds itself in the position of defending the Secret Service to a degree.

At his daily briefing on Tuesday, Josh Earnest, the White House press secretary, was buffeted with sharp questions about when the president found out about the intruder and whether the Secret Service had been candid in describing that incident and others. While acknowledging concerns over the incident, Mr. Earnest gave Ms. Pierson an endorsement at a time when some critics are calling for her resignation.

“What we saw was a willingness that she demonstrated in testifying before Congress under oath on live television today, a commitment to leading an agency with a very difficult mission,” he told reporters. “She is somebody who took responsibility for the incident that occurred about 10 days ago. She also took responsibility for ensuring that the necessary reforms were implemented to ensure it never happens again. That is a sign of leadership.”

And that is a conclusion that Republicans can disagree with, all with Mr. Obama’s interests at heart.

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Posted on Sustainabilitank.info on September 30th, 2014
by Pincas Jawetz (PJ@SustainabiliTank.com)

We knew Hank as a friend and tennis partner of Ernie Schneider who was the editor of the writings of Mr. Herman Kahn of the Hudson Institute (the Herman on the Hudson). We met Hank at the house of Suzy and Ernie Schneider. Suzy who was a daughter to a honored Austrian family was a colleague of my wife at the Austrian Consulate General in New York City and the Schneiders and Laventhols lived in Croton on the Hudson.

Hank liked to talk politics but professionally was rather a relaxed painter who liked classic music and jazz. We praised his work, and for disclosure I must say that we are proud of one of his piano/Chopin prints that hangs in our Vienna living room next to a New Orleans Jazz scene done by our son Gil.

When I first wrote the review I wanted to make reference to Hank’s whole range of work and realized that some of the reviews of his work were under a wrong spelling of his name that used the letter “a” instead of the “o” in Laventhol. I did not think that he should suffer from that seemingly widespread mistake and mentioned this other spelling as well. It turns out that Ms. Laventhol is upset with this alternate spelling – so I am taking it of my posting but have no power over all those other articles one finds on the internet.

Also, and this is more substantial, I was not careful in giving credits to the source of the material I quoted in that first posting. Now let me add here that probably all the photos of the paintings by Hank Laventhol were taken by his wife – Josay Laventhol. Probably much of the data about him was also taken from biography written by his wife, though I am sure I peppered it with material from some of the other reviews as well. Sorry if all of this has hurt feelings of the family.


THE FOLLOWING IS PART OF OUR ORIGINAL REVIEW OF DECEMBER 26, 2011.

HANK  LAVENTHOL  

Birth name     Henry Lee Laventhol

Born               21 December 1927

Philadelphia, Pennsylvania, USA

Died               21 February 2001

Somers, New York

Field              painting, graphics, sculpture,

photography

Movement     neosurrealism

Laventhol’s mysteriously romantic  landscapes and  multiple  images evoke dream states and double meanings.” Pictures on Exhibit. N.Y.C.

shell wars, oil on linen, 20”X26”        Image 1

Hank Laventhol, an American painter,   made his early career in Europe. Born in Philadelphia, Pennsylvania, Laventhol graduated Yale University with a B.A. in Fine Arts and did post graduate studies at Columbia University. At age 32 he left his business life in New York City for Europe to pursue his early vocation and life long interest in art. He studied at the Academy of Fine Art in Florence, Italy and eventually spent ten years in Europe, making his home in Mallorca, Spain. He had four solo shows in London and exhibited in  major cities in Western Europe.  He returned to the United States for good in 1970, settling in Westchester County, New York, with his  Dutch born wife.

Trained as a sculptor he  worked in many other media, including painting, print making, drawing and photography.  He said “ they all mesh for me.” Laventhol painted on wooden panels prepared with gesso using the ancient egg tempera technique until he towed an American couple  in a failing rental car to a garage outside Madrid.  In gratitude, they sent him a roll of Belgian linen which started him painting on canvas using oil and acrylics.

He was a master printer,  specializing in multi plate color etchings and aquatints, a demanding and precise process that provided him with a variety of color and texture, unrivaled by any other etching technique. He owned two Wright presses and pulled his own limited edition  prints. Publishers include Associated American Artists,  New York Graphic Society, Original Print Collectors Group Ltd., Georges Visat, Paris, and Pierre Chave, Vence, France.  Laventhol was a guest lecturer at Pratt Graphic Center, New York City and wrote articles about print making,   specializing in how to achieve perfect register in multiple color aquatint.

In the United States, his work was seen at four solo shows in New York City as well as  one man and group  shows across America.

Laventhol’s work is in corporate and private collections, museums and libraries, including the National Gallery of Art, Washington, D.C., the Yale University Museum, the New York Public Library Print Collection, the Free Library of Philadelphia and the Bibliotèque Nationale,  Paris, France.  Laventhol has been listed in Benezit, the definitive international  Directory of Artists.

Published illustrated portfolios include: “Le Miroir Aux Alouettes” by Georges Visat, Paris, with six color aquatint etchings and a poem by Andre Serini. Later porfolios include “Les Crises” and “Eyedeas.”

Eggs, eyes, roses, and flying torsos were recurring themes. Some critics considered him a surrealist. Laventhol, however, preferred to think of his work as dealing with fantasy realism.

* * *

Hank Laventhol, a gregarious,  kind man with a fine, broad mind  enjoyed life to the fullest. Besides being a disciplined, hard worker he had a wide array of interests and hobbies. His art was his passion, but he rarely started a day without an early game of tennis. He was an eclectic music lover and an opera and chamber music buff.  It was hilarious to hear him sing along with all the voices while listening to an opera as he worked. He was well versed in American folk music and loved playing  his classical  guitar  -  not well,  he admitted. During the 1960s he sought out small locales all over Europe to tape indigenous music – Flamenco in Spain, Fado in Portugal, Stornelli in Italy and jazz in Northern Europe – using a huge reel to reel recorder.  Mexican and South American indigenous music  was another interest added to his music  collection .

He spoke fluent Spanish and Italian and said he knew enough French,  Dutch and German  to defend himself. Whatever the topic, he communicated. His sense of humor got him past being embarrassed. An adventurous traveler with an infallible sense of direction, Laventhol met his Dutch born wife over a chessboard in Mallorca, Spain, and was kind enough to let her win a few times during the ensuing 40 years. An imaginative chef, he made up his own multi cultural recipes. Stuffed trout was served with the head on. Asian wok-cooked food was a treat. Dill, unavailable in Mallorca, was imported from the U.S. to pickle a fresh crop of cucumbers in large clay pots placed around his Mallorca rental house.  When  they started fizzing,  it was time to serve them to his  “expat” friends, together with his amazingly good  baked beans. He used a wood chip smoker to prepare  fish and fowl and made his own gravlax and seviche. He said eating Dutch New Herring in the Netherlands was a life altering experience.

Frugal artistic life never held his ingenious imagination back. Any potential problem or road block was dealt with and solutions found. The Mallorcan car mechanic built an hibachi that was carried from his tiny fishing boat, which he called,  a “one lunger”, to friends’ houses. The same mechanic fabricated a roof rack for a convertible VW beetle  to carry paintings to art shows. Laventhol’s talents  converted what he saw as poetry into striking atmospheric work with a touch of the mystical.

* * *

1991                                                                       1992 – self portrait
hand /eye wind mill

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Posted on Sustainabilitank.info on September 18th, 2014
by Pincas Jawetz (PJ@SustainabiliTank.com)

We learned that the timing of the March – Sunday, September 21, 2014, has more to do with the release last night (September 16th, 2014) at the Ethical Culture Society New York Headquarters at Central Park West and 64th Street, then with the forthcoming September 23rd UN event on Climate Change.

The movie is -”THE FUTURE OF ENERGY: Lateral Power to The People” – which is in effect a logic – non-UN inspired – sequel to  Franny Armstrong’s “THE AGE OF STUPID” that was released in 2009 prior to the Copenhagen COP 15 of the UNFCCC (The UN Convention on Climate Change). That movie belonged still to the time people believed in multilateralism as a way to answer the growing threat to humanity from our super-dependence on fossil-carbon fuels. Today the “People” are sophisticated enough to realize that governments via multilateralism do not stand a chance to an agreement that gives birth to a solution to the on-going changes in the global environment that lead to global warming and climate change. The PEOPLE in their own actions – in their communities – are our only hope. This is now the wave of the future – not the UN.

The UN was good to make it crystal clear that there is a problem that needs a solution – but the UN is impotent when it comes to provide the solution. This belongs now to the PEOPLE – the ethical guardians of their own future and the future of the generations to come.

This was made clear to me as I asked the panel that followed the inaugural viewing of the movie “What they expect of the upcoming event at the UN?” The answer from the Producer/Writer – Mr. Maximilian DeArmon – was very short and clear. What will save us are the People in their LOCALITIES and the fact that the non-fossil-carbon solutions to energy needs are already economical and their introduction will make them cheaper, while the continuing use of fossil-fuels makes those trouble-causing fuels more expensive. The logic is here and the People recognize what that means to politics, the economy, and their daily lives.

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The March – 11:30 am, Sunday, September 21st
Assembly Location: Central Park West, between 65th and 86thstreets.
NOTE – Some streets will be closed.  Enter on 65th, 72nd, 77th, 81st, or 86th street.

March Route:  The march will begin at 11:30 am.  Assembly starts from 9:00 a.m.
March down Central Park West and go east on 59th Street.  Turn onto 6th Ave. and go south to 42nd Street. Turn right onto 42nd Street and go west to 11th Ave.  Turn left on 11th Ave. and go south to 34th Street
End Location: 11th Ave. in the streets between 34th Street and 38thStreet.

350NYC at the People’s Climate March! Meet us on Central Park West between 71st and 72nd by 10am on Sunday Sept 21st.  We’ll be marching in the green “Solutions” section of the march. T
To receive updates.

 www.BeyondTheMarch.org

 www.PeoplesClimate.org

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At the UN highlights were during the years of Secretary-General Kofi Annan and we want to mention two of his innovations:

(a) he chaperoned the introduction to the UN of the Principle of THE RESPONSIBILITY TO PROTECT (R2P) which, as he understood it – was the responsibility of governments to protect their citizens from the wrath of the government itself. Clearly, this was not the obviously understood – the responsibility of a government to protect their citizens from outside attacks.
Let us say that this was the first innovation of the UN Charter since the Declaration of Human Rights championed by Mrs. Eleanor Roosevelt. We like to view R2P also as a call to governments regarding their responsibility to protect the citizens from the effects of Climate Change and to act in order to avoid this subservience to fossil fuels and corporate greed.

(b) he was responsible for the creation of the United Nations Global Compact.

The United Nations Global Compact is a UN initiative to encourage businesses worldwide to adopt sustainable and socially responsible policies, and to report on their implementation. The UN Global Compact is a principle-based framework for businesses, stating ten principles in the areas of human rights, labour, the environment and anti-corruption. Under the Global Compact, companies are brought together with UN agencies, labour groups and civil society. Cities or localities can join the Global Compact through the Cities Programme.

The UN Global Compact is the world’s largest corporate citizenship initiative with two objectives: “Mainstream the ten principles in business activities around the world” and “Catalyse actions in support of broader UN goals, such as the Millennium Development Goals (MDGs).” We like to see here an opening regarding the effects of Climate Change and the need that corporations are bound to help avoid Global Warming and Climate Change.

The UN Global Compact was announced by then UN Secretary-General Kofi Annan in an address to the World Economic Forum on January 31, 1999, and was officially launched at UN Headquarters in New York on July 26, 2000.

Under UN Secretary General Ban Ki-moon Climate Change continued to get a lot of attention, but we did not see yet the needed push to hold governments and corporations responsible for acting along the lines that became available under his predecessor’s leadership. It seems that telling Dr. Assad that he is not allowed to gas his citizens is much easier then telling China not to poison Beijing’s air by building more coal-fired power plants.

 

Nevertheless – we found that above might change now.
Please see: www.unglobalcompact.org/Issues/B…

Since 2008, UN Secretary-General Ban Ki-moon has convened the UN Private Sector Forum during the opening session of the General Assembly in order to bring the voice of the private sector to inter-governmental debates on key topics.

This year, the UN Private Sector Forum will be an integral part of the UN Secretary-General’s Climate Summit. The Climate Summit will serve as a public platform for leaders at the highest level – all Member States, business, finance, civil society and local leaders – to:

  • Catalyze ambitious action on the ground to reduce emissions and strengthen climate resilience
  • Mobilize political will for an ambitious global legal agreement by 2015 that limits the world to a less than 2-degree Celsius rise in global temperature.

Convened by the UN Global Compact in close cooperation with the World Bank Group, and with the support of UN partners, the Private Sector Forum will provide a unique platform for Governments and business to demonstrate their leadership on climate change.

The theme of this year’s luncheon segment of the Forum will be carbon pricing, focusing on actions that the public and private sectors can take to achieve an equitable and fair valuation of carbon through long-term strategies, investments and policies.

Objectives

Comprising two programme segments to showcase and catalyse leadership on climate change, the Private Sector Forum seeks to:

  • Provide a platform for business and investors to demonstrate the contribution that they can make towards reducing global emissions and strengthening resilience; and
  • Inspire new public policy measures, commitments to action, and public-private partnerships to steer global and local climate action

Put a Price on Carbon:

Carbon pricing is a critical tool to address climate change, and momentum is building to put in place carbon pricing schemes. Nearly 40 countries and more than 20 cities, states and provinces use carbon pricing mechanisms such as emissions trading systems and carbon taxes or are preparing to implement them. The private sector has been increasingly outspoken in its support for consistent carbon pricing.

Many companies already operate in countries with carbon pricing and use an internal carbon price in their planning and investments, however more leadership is needed if we are to limit global warming to 2 degrees Celsius.

Two separate initiatives representing a progression of commitments to support carbon pricing will be presented during the Private Sector Forum on 23 September 2014. To learn more, please read this letter from the UN Global Compact and the World Bank Group.

But the working part of the September 23rd meetings are slim. They amount to:

11:40 Welcoming Remarks -Mr. Georg Kell,
Executive Director, United Nations Global Compact
-
11:50 Introduction to the Roundtable Discussion by the Master of Ceremonies Ms. Christiana Figueres,
Executive Secretary, United Nations Framework Convention on Climate Change (UNFCCC).
11:50 – 12:20 Roundtable Discussion
Participants will be seated at tables of ten and will discuss the following question:
What effective measures can private and public sectors take to significantly advance corporate
action on climate change and help limit global temperature rise to less than 2 degrees Celsius?

12:20 – 12:50 Report back and Announcements: Commitments to Action
The Master of Ceremonies calls on leaders from business and civil society to report back on the roundtable
discussions and to announce a commitment to action

Mr. Feike Sijbesma, Chief Executive Officer and Chairman, Royal DSM
Mr. Ajit Gulabchand, Chairman and Managing Director, Hindustan Construction Company, India
Mr. Kerry Adler, President and Chief Executive Officer, SkyPower, Canada
Mr. Jose Lopez, Executive Vice President and Chief Operating Officer, Nestle, Switzerland
Mr. Morten Albaek, Group Senior Vice President and Chief Marketing Officer, Vestas, Denmark
Mr.  Jerry Lynch, Vice President and Chief Sustainability Officer, General Mills, USA
Mr. Peter Bakker, Chief Executive Officer, The World Business Council for Sustainable Development
12:50 – 12:55 Closing Remarks – Mr. Adolfo Heeren, Chief Executive Officer, Cálidda, Peru
12:55 – 13:00
Wrap up by the Master of Ceremonies Participants move to their seats in the Delegates Dining Room

===================================================

The Age of Stupid is a 2009 British film by Franny Armstrong, director of McLibel and Drowned Out, and founder of 10:10, and first-time producer Lizzie Gillett. The Executive Producer is John Battsek, producer of One Day in September.

The film is a drama-documentary-animation hybrid which stars Pete Postlethwaite as a man living alone in the devastated world of 2055, watching archive footage from the mid-to-late 2000s and asking “Why didn’t we stop climate change when we had the chance?”

———————————————————————————————————-
 www.thefutureofenergy.org/

            Impact HUB NYC screening w/ Filmmakers

future of energy card

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Posted on Sustainabilitank.info on August 17th, 2014
by Pincas Jawetz (PJ@SustainabiliTank.com)

A CHOREOGRAPHY THAT EXPLORES THE IDEA OF RECONCILIATION.

Fishman Space in BAM Fisher, 321 Ashland Place, near Lafayette Avenue, Fort Greene, Brooklyn; 718-636-4100, www.bam.org.

The main purpose of DanceMotion USA, a cultural diplomacy program run by the Brooklyn Academy of Music for the State Department, is to send American artistic troupes abroad. Yet the program also benefits New Yorkers directly by having  American companies bring back a foreign one for a free, collaborative stay and performance here of several weeks – sometimes at dance camps out-of-town i.e. in Maine.  Eventually a new program is born and it is shown at the Brooklyn BAM which is now blessed o have also the  Fisher Building (Fishman Space) next door. These visits have proven to say the least – interesting. The New York Times prefers to say illuminating.

At the BAM Fishman Space on Thursday, David Dorfman Dance which is based at the BAM, back from a four-week tour of Turkey, Armenia and Tajikistan, teamed up with the Korhan Basaran Company from Istanbul, augmented by two Armenian dancers – Karen Khatchatryan and Davit Grigoryan. 

The program was not one with pieces from each of the performing triangle’s previous repertory.  Mr. Dorfman and Mr. Basaran went all the way,  joining forces for an hour-long  joint program titled – “Unsettled” with a  chosen theme of  “reconciliation.”   It was remarkable how well the two companies, both packed with powerful dancers did merge.

The work teemed with groups pushing and shoving, but it did not set one troupe against the other. The sharpest contrast — in the opening moments and in two later face-off duets — was between the choreographers: Mr. Basaran, tall, with a tendency to collapse inward, and Mr. Dorfman, squat, always hurling his energy out. Yet the aesthetic kinship between them was also apparent in eruptive rhythms and labile emotions.

The music, composed and played live by Sam Crawford, Liz de Lise, Jesse Manno and Timothy Quigley, beguilingly blended Western and Middle Eastern styles and instrumentation. It borrowed the folk song “Sari Gyalin” (or “Sari Gelin”), which in Turkish, Armenian and English versions laments the failure of love across ethnic divides.


A few scenes — for example, a forced march — could be read as specific allusions to the bloody history between Turks and Armenians, but much of the work’s tension was cannily translated into the power dynamics of the choreographic process. In its strongest segment, Evrim Akyay, a slinky Turkish dancer with a menacing presence, directed the motions of an ingenuous American, Kendra Portier, as if in rehearsal for this show. The more he yelled at her in Turkish and slapped her around, the brighter her smile. Though, the power of that scene was squandered as Ms. Portier turned to audience members and implored them to move closer together, vocalizing her needs in dancerly double entendres (“I need to be moved”).  Similarly, another scene swerved from infantile humor to a sharp evocation of the coercion in making people say they’re sorry, only to end with weeping on the ground. A shrewd point about forced reconciliations got belabored in a manner that was itself coercive.

Still, it is to the credit of all involved that “Unsettled,” after a celebratory group dance, had the honesty to remain unsettled. What resonated was a moment before the end, when Mr. Dorfman, having failed to force his friendship on Mr. Basaran, took a line from the folk song and allowed it to expand into a humble question for everyone: “Oh tell me please, what can I do?”

 

This reporting of mine follows a review in the New York Times and a feeling that many in the audience, including myself, had that though seeing a piece that historically dealt with the Armenian – Turkish relations that included an attempt at genocide, actually today the topic is the Israeli Palestinian conflict and it was obvious that to untrained ears Turkish, Armenian, or Arab music – seem all the same – and thus a presence in the air – reference was being made to the Middle East as if there were some generic to it.

The performances at the BAM went on Thursday – Friday – Saturday evenings, but then there was also a performance Saturday afternoon that I attended because it had also a follow up discussion with TV link to Istanbul and questions via the internet from London, Ankara, Germany and some other places.

On a question about the collaboration we heard an answer that said – in a month we become one but in some things where there were differences we become States.

Before the TV land internet links the conversation was according to the natural language of the speaker with a sometime translation into English – then from Ankara came the notion that something that was said in Armenian needed also Turkish translation. Fair enough.

On the I AM SORRY piece: “Children can easily apologize to each other – forget and forgive.”  As he got older, the comment went on, he felt he needed more – the words alone mean less.

Then he saw The Planet of the Apes – they have the capacity of forgive & forget – but we do not have that capacity anymore.

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Posted on Sustainabilitank.info on June 14th, 2014
by Pincas Jawetz (PJ@SustainabiliTank.com)

This is our first posting on food – we picked it because rhubarb is hardly known – but it can grow easily – even in city backyards – and is somewhat a dangerous plant because its leaves are poisonous. CUT OFF ANY GREEN PARTS – EAT ONLY THE BOILED PINK STALKS – and you make delicious food.

www.nytimes.com/2014/06/18/dining/rhubarb-flaunts-its-savory-side.html?emc=edit_th_20140614&nl=todaysheadlines&nlid=47157637&_r=0

 

Dining & Wine

Rhubarb Flaunts Its Savory Side.

Friday, JUNE 13, 2014

Photo

Credit Andrew Scrivani for The New York Times

Photo

Credit Andrew Scrivani for The New York Times

Are you ready for the rhubarb revolution?

I, for one, am eager to stand up with other rhubarb lovers who are tired of the suppression of the vegetable’s true, pucker-inducing nature. (Yes, it is a vegetable, not a fruit.) Rhubarb does not have to be sugared into submission to be delicious. “Sour power” is our battle cry.

My own rebellion came after years of following the sweetness status quo and baking the stalks into an array of pies, crumbles and cakes. As good as these classics are, they are not the only way to use the stridently tart stalks.

In fact, when rhubarb is used in savory dishes, its fruity tang becomes an asset much like citrus or pomegranate, without any annoying seeds. Rhubarb works especially well when paired with fatty meat. It slashes through the richness like lemon juice or vinegar, but has the added benefit of falling apart and thickening the sauce.

A piquant rhubarb butter sauce, softened with a drizzle of honey to smooth out the edges, is also a great partner for milky cheeses, eggs and certain vegetables. Once, while exploring the adage of “what grows together goes together,” I paired that rhubarb butter sauce with its seasonal sister, asparagus. It was a hit: bracing, earthy and a change from the usual hollandaise.

In this recipe, I combine rhubarb with chicken. I first stew the stalks with onions, garlic and a little white wine, then use the mix as a bed for braising the bird. The fat rendered by the chicken skin enriches the sauce, while the meat absorbs all the tangy flavors. I use a whole cutup chicken here, but feel free to use an equal weight of your favorite parts instead. Thighs and drumsticks work particularly well.

The only disadvantage to a savory rhubarb sauce is that as it cooks down, it loses its pinkness, turning drab beige. You need plenty of green garnishes on hand to perk it up. Herb sprigs work nicely, as do the tops from the spring onions (or scallions) used in the sauce. Red scallions are pretty here if you run across them.

You end up with a nuanced, spectacularly savory dish that just may revolutionize the way your dinner guests think about rhubarb.

Recipe: Skillet Chicken With Rhubarb

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Posted on Sustainabilitank.info on May 22nd, 2014
by Pincas Jawetz (PJ@SustainabiliTank.com)

A Solar-backed Currency for the Refugees of Western Sahara.

By Mel Chin | Creative Time | April 30, 2014

 www.policyinnovations.org/ideas/i…

View of Smara, one of the Sahrawi refugee camps in Tindouf, Algeria. CREDIT: Mel Chin, 2011.

What the world needs now is the first Bank of the Sun.

The HSBC ads at Newark International Airport could not have been more appropriate for my trek to the Sahrawi refugee camps in Tindouf, Algeria. As I ambled through the jet bridge with my carry-on, color-coordinated images of demure North African women met my eyes, accompanied by some facts assembled by the bank—”0.3% of Saharan solar energy could power Europe”—and a self-aggrandizing but, for me, prescient message: “Do you see a world of potential? We do.”

It was the fall of 2011, and I was on a string of flights from North Carolina to Algeria to participate in an ARTifariti convening of international artists presenting human rights–related projects at the Algerian camps and in Western Sahara. During previous gatherings, a New York–based art critic had presented a slide show to international artists and Sahrawi refugees, sharing pieces by activist artists and filmmakers such as Ai Weiwei and Spike Lee. The get-togethers offered a forum to consider artists who might do a project in the camps.

And in the end, the refugees had chosen a Chinese Texan who had spearheaded Operation Paydirt’s Fundred Dollar Bill Project, an artwork that prompted Americans to draw their own versions of $100 bills (in order to raise awareness of and prevent childhood lead poisoning). Essentially they said, “Bring us the guy with the money.” So I packed my bags and left for the western lands of North Africa.

Mel Chin

Operation Paydirt’s Fundred Dollar Bill Project in St. Roch, New Orleans. CREDIT: Amanda Wiles, 2009.

At an unknown hour on a starless night, I arrived in the 27 February Camp—one of Algeria’s five Sahrawi refugee camps (named after the date in 1976 on which the Polisario Front declared the birth of the Sahrawi Democratic Arab Republic)—and was led to the home of our host, Abderrahman. As we entered his compound, the seasoned warrior, dressed in a blue darrâa, emerged from a UN tent, unfurled a carpet over the sand, ignited charcoal and began to prepare the customary tea for us. We attempted to translate from Hassaniya Arabic to Spanish to English over tea, getting a taste of enthusiastic nomad hospitality.

That night I heard firsthand the history of the Sahrawi people, who today are divided between Algerian refugee camps and a sliver of Moroccan-occupied Western Sahara that they call the “liberated territories.” For nearly four decades, warfare and political powers have trapped more than 150,000 Sahrawis in the camps and separated them from their family members in the liberated territories, which are bounded by the Moroccan wall to the west and Algeria’s border to the east.

When Morocco and Mauritania invaded Western Sahara in 1975 (Mauritania withdrew in 1979), they split up the land and seized the Sahrawis’ natural resources—water, rich fishing grounds and the world’s largest phosphate mine. Now, inhabiting either the arid, landlocked region of Western Sahara or the bare-bones camps of Algeria, the Sahrawi people depend entirely on international humanitarian aid for food, water and medicine. And while Western Sahara has none of the lead-poisoning problems of postindustrial America, its liberated territories have more landmines than any other place on the planet.

Mel Chin

In the tent of Abderrahman and his family. CREDIT: Mel Chin, 2011.

In the morning I awoke from this harrowing chronicle in a land of sand and rock that was brutally burnished by the sun—and I can guarantee that there was no bank in sight. I soon learned why the Sahrawi people were so interested in the Fundred Dollar Bill project: they have no currency of their own and deal mostly with Algerian dinars. In response, we created a background template for their currency, printed thousands of blank bills and distributed them through the camps, announcing a design opportunity. After we curated their drawings, the Sahrawis would vote on the designs for what might become their first currency.

The denominations for the currency, called “sollars,” were 5, 10, 20, 50 and 100. Children and teens drew the 5s and 10s; young adults, the 20s; and of course, the elders, the 100s. But the designs for the 50s would have two adult versions, one male and one female. The survivalist family culture that has emerged from the hostile desert climate has enforced a long-standing code of equality between the sexes. In a region where food is scarce and hot summer temperatures and freezing desert nights can kill, whoever survives the elements must be allowed equal rights in the tribe to barter and represent the family, regardless of religious dictates.

Mel Chin

The children’s school at the 27 February Camp. CREDIT: Mel Chin, 2011.

While I was in the camps, I came to understand that the symbolic and therapeutic benefits of designing the first Sahrawi currency with the refugees were not worthy enough goals. The Sahrawi people need a real economy. And to make that happen, the fictional currency I helped the refugees design had to be backed by something real and exchangeable on international markets.

As I mulled over the problem under the blazing sun, I realized that the desert holds the potential to bring Sahrawis economic and political independence—and the leverage necessary to help us all combat climate change.

What the world needs now is the first Bank of the Sun. The first solar energy–backed currency in the world could bring the Sahrawi people an independent economy and offer a major breakthrough in an environmental quagmire. We would create a new model of banking and currency, free from the dominance of gold and oil, for first-world countries to follow.

And this model would be delivered by the Sahrawi people, who have been waiting for freedom and self-determination for 39 years! By achieving worldwide renown for freeing people from hydrocarbon dependency, the Sahrawi could then barter with the global community for another form of independence: their right to self-determination.

Mel Chin Bank of the Sun Western SaharaFreedom is the concept propelling my action with the Sahrawi people. The sun on this poster for the Bank of the Sun is composed of the Arabic word for “freedom,” repeated 38 times—once for every year the Sahrawis have waited for the right to self-determination (as of last year). CREDIT: Mel Chin, 2013.

I admit that it was a pretty far-out and grand idea, but I suppose I did see a world of potential in Saharan solar energy, just like the jetway HSBC ad said. I was thinking like a bank.

After getting back from the Tindouf camps, I found myself in Texas, accepting a national award for my efforts in public art and, most likely, boring everyone with crazy talk about a Bank of the Sun in landmine-laced Western Sahara. My friends were more concerned about my diminishing sense of self-preservation than about anything I said—especially after I told them that my trip to Tifariti had been interrupted by the armed kidnapping of three foreign-aid workers from a neighboring refugee camp. They didn’t even entertain my ideas with any questions about how the bank idea could be pulled off.

As with most such gatherings, there was not much left to do after the award ceremony but drink and dance. So, with friends in tow, we honky-tonked through San Antonio, taking over a bar by the River Walk and proceeding to do what had to be done. While taking a break from the floor, I noticed a man about my age sitting at a table with a beer, tapping his feet to the bluesy beat. I had my posse pull him onto the floor. He began to move in a calculated way, like an engineer. Intrigued, I joined him and the party on the floor.

Over the din, I shouted, “What do you do?”

He shouted back, “I’m an engineer.”

“Really?” I asked. “What kind?”

“A solar engineer.”

I challenged Texas style: “So, ever heard of Western Sahara?”

Matter-of-factly he replied, “Yes, we designed a power station for the refugee camps there.”

For me, a light flicked on, burning away the haze of booze and turning the blaring R&B into a background of sweet birds; the bodies in frantic motion seemed to stand still. I urged him off the dance floor. He told me, in an Australian accent, that he was Dr. Richard Corkish, head of photovoltaic engineering at the University of New South Wales in Australia. Not only that—his colleague had just been in the same refugee camps I had visited, advising on how to power a women’s clinic. It was a profound coincidence, to say the least. We closed the bar, and I left clutching Dr. Corkish’s business card.

For me, a light flicked on, burning away the haze of booze and turning the blaring R&B into a background of sweet birds.

Since our night on the floor, Dr. Corkish has been an adviser to the Bank of the Sun, which is on its way to becoming a reality. He has assigned students the project as part of his curriculum and counseled us on the design of a modular, pragmatic stand-alone solar power plant in Western Sahara, as well as a cost-effective method for transmitting power. Following Corkish’s methodologies, we could generate more than enough energy for Sahrawi needs, creating a surplus to sell to neighboring countries or even to Europe. By working in the Western Sahara to retool our approach to energy, we would prove that the most advanced methods of solar-power storage and delivery are feasible even in a place with no infrastructure. The most appropriate technology for us all could be built from the sand up.

In February 2013 I discussed the project with Ahmad Bukhari, the Polisario representative to the United Nations, and later with Mohamed Yeslem Beisat, the ambassador to the United States for the Western Saharan people. Skeptical at first, they have both become advisers and creative collaborators.

To make the first Bank of the Sun a reality, we have to find a place where electricity can be generated that is both safe from armed conflict and close enough to someone interested in buying energy. Bukhari suggested placing the stand-alone solar power plant not in the camps but in Mijek, a nomadic outpost in the liberated territories. Mijek continues to be the most likely site because the energy could be sold to Zouérat, a town in northern Mauritania where an iron ore mine needs more power than is available. The Mauritanian ambassador recently confirmed that the country would buy any energy offered. I have started to seek funds for a fact-finding trek, during which I will finally step on the sands of Western Sahara.

Mel Chin

The site and plans for the potential Bank of the Sun. CREDIT: Mel Chin, 2013.

During my time in the Sahrawi refugee camps, I relearned a lesson I picked up in the flood-wracked and environmentally poisoned parts of New Orleans: you are not inspired by tragedy or human suffering—you are compelled.

My brilliant translator, a young man named Mohamed Sulaiman Labat, was born in the camps and has never traveled beyond his host country, Algeria, or the shameful wall of sand and explosives erected by Morocco in Western Sahara. Sulaiman is majestic in his capacity for optimism and his aptitude for imagining alternative futures based on ideas we discussed during my stay. On our last night together, he spoke with me about staring each night into the vast sky above the camps. He then asked, “No disrespect, but why is it so easy for an artist to see our need for justice when the rest of the world can’t?”

A question like that makes you think about what could be and about how our humanity is challenged if we don’t take action to amplify his question—and to force an answer.

———————–

This piece from Creative Time Reports is republished without trying to track down permission. Climate Reports is made possible by the Robert Rauschenberg Foundation. This series is produced in conjunction with the 2013 Marfa Dialogues/NY organized by Ballroom Marfa, the Robert Rauschenberg Foundation and the Public Concern Foundation. We hope that the authors will not mind our trying to publicize their very sound dream for a mos reasonable future. The only question is if the world will be enlightened enough to see that the true realists are the dreamers of today.

 

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Posted on Sustainabilitank.info on May 20th, 2014
by Pincas Jawetz (PJ@SustainabiliTank.com)

 AUSTRIA, SINCE  THE MAY 11, 2014, CROWNING IN COPENHAGEN, HAS A QUEEN -
HER EXCELLENCY IS KNOWN AS CONCHITA WURST.

 

Original Lyrics

Eurovision Song Contest 2014 The winner
Flag of Austria Austria (ORF)

Performer: Conchita Wurst
Song title: Rise Like a Phoenix
Song writer(s): Charly Mason, Joey Patulka, Ali Zuckowski, Julian Maas
Song composer(s): Charly Mason, Joey Patulka, Ali Zuckowski, Julian Maas

Rise Like a Phoenix

Waking in the rubble
Walking over glass
Neighbors say we’re trouble
Well that time has passed

Peering from the mirror
No, that isn’t me
Stranger getting nearer
Who can this person be

You wouldnt know me at all today
From the fading light I fly

Rise like a phoenix
Out of the ashes
Seeking rather than vengeance
Retribution
You were warned
Once I’m transformed
Once I’m reborn
You know I will rise like a phoenix
But you’re my flame

Go about your business
Act as if you’re free
No one could have witnessed
What you did to me

From the fading light I fly
Cause you wouldn’t know me today
And you have got to see
To believe

Rise like a phoenix
Out of the ashes
Seeking rather than vengeance
Retribution
You were warned
Once I’m transformed
Once I’m reborn

I rise up to the sky
You threw me down but
I’m gonna fly

And rise like a phoenix
Out of the ashes
Seeking rather than vengeance
Retribution
You were warned
Once I’m transformed
Once I’m reborn
You know I will rise l the Israeli Dana Internationalike a phoenix
But you’re my flame.

—————————–

Eurovision 1998, that was held in  Birmingham, the UK,  was won by someone very similar to To Tom Neuwirth  / Conchita Wurst.

That person was the Israeli performer of  Yemenite and Romanian Jewish parentage, named Dana International, whose real registered name was Sharon Cohen born February 2, 1972 as Yaron Cohen.  She was a clear trans-gender woman that was born a man.

Dana was chosen to represent Israel in the Eurovision Song Contest  with the song “Diva“.   Orthodox Jews and others with conservative views were opposed to her appointment and attempted to void her participation in the contest. However, in May 1998, Dana performed “Diva” at the Eurovision final and won the contest with 172 points.

Conchita Wurst, a transvestite dressed in woman’s closing but sporting a beard to match in color her long black hair wig, won the Copenhagen 2014 Eurovision getting the smashing 290 points result. Indeed – in these last 16 years the world made tremendous progress in recognizing the human diversity as stressed by Tom Neuwirth when he chose to himself the name “WURST” which in German signifies – “it does not matter – all is equal to me.”

I am talking here politics and must notice that despite tremendous progress – nevertheless not every thing has changed. This is signified by the fact that nobody in the media has remembered Dana International. Is this because of her Israeli origin? Also, so far as I know, our website was the only example in the media that linked the Mauthausen Memorial of Sunday May 11, 2014 with the Eurovision Song Contest that gave such acclaim to Wurst – the person – and let us also say – the concept.

Further, let me stress that Austria is in the forefront of these achievements – the same Austria that it’s people were responsible for running the Mauthausen extermination plant in the 1940′s established to wipe out all diversity  has now a Chancellor, the Honorable Werner Faymann, Who sat for four hours on May 11th, and watched the march of memory at Mauthausen and gave recognition to the honored documentary journalist  Arnold Schwarzman who in 1981 helped prepare the Mauthausen documentary GENOCIDE and now was the US Representative at the 2014 Memorial. We wrote this up at:

Arnold Schwarzman
Arnold Schwarzman

 www.sustainabilitank.info/2014/05…

One week later, on Sunday May 18, 2014, the Chancellor and his Minister of Culture, Dr. Josef Ostermayer, and their wives, stood in the official halls of Austrian Government, in front of the Nation’s cameras – or all to see, and with 10,000 people gathered in front of his windows facing the Balhausplatz, and acclaimed Conchita Wurst’s victory saying this was a victory for Austria. We say – this was a recognition that not only Tom Neuwirth and his friends have risen from the Mauthausen ashes – but all of Austria ought to consider itself as risen from its ashes. Yes, we know that there are exceptions also in Austria – but at least the leadership is stating that the change is welcome.

We are not going to post our notes from the Balhausplatz event, which I watched on location as media,  and the Chancellor’s speech. Those were covered by the media in general. Watching the debates towards next Sunday’s elections for the European Parliament we are aware that not all Europe has not overcome the disease of excessive Nationalism and hatred of diversity. We will get back to this after the results of the elections are in and do not want to preempt this.

 

For now, trying to contribute here something the rest of the media does not focus on to their discredit,
I will post  about DANA INTERNATIONAL’s Career:

 

Career

1990–93: Dana International

At 18 years of age, Cohen (still legally male) earned a living as Israel’s first drag queen parodying many famous female singers. During one of her performances, she was discovered by Offer Nissim, a well-known Israeli DJ, who produced her debut single “Saida Sultana” (“My Name is Not Saida”), a satirical version of Whitney Houston‘s song “My Name Is Not Susan“. The song received considerable exposure and helped launch her career as a professional singer.

In 1993, Dana International flew to London for male-to-female sex reassignment surgery and legally changed her name to Sharon Cohen.Returning home with her new name, that same year Cohen released her first album, titled Danna International, in Israel. Soon after, the album was also released in several other countries including Greece, Jordan, and Egypt (In Jordan and Egypt the album sold illegally). Sharon’s stage name Dana International comes from the title track of the album, and was originally spelled with two n:s. Danna International soon became a gold record in Israel.[6]

1994: Umpatampa and Best Female Artist

In 1994, Dana released her second, Trance-influenced album Umpatampa, which built on the success of her debut and provided further hit singles. The album went platinum in Israel and has sold more than 50,000 copies to date. Because of her popularity and the success of this album, she won the award for Best Female Artist of the Year in Israel.

1995: Eurovision song contest

In 1995, Dana attempted to fulfill her childhood dream of performing in the Eurovision Song Contest.[8] She entered the Eurovision qualifying contest in Israel with a song entitled “Layla Tov, Eropa” (“Good Night Europe”) which finished second in the pre-selections, but became another hit single.

In late 1995, Dana released an E.P. called E.P. Tampa with three new songs and four remixes and special versions of her earlier songs.

1996–97: Consolidating popularity

In 1996, Dana released her third album, Maganuna. Although this album was less successful than her previous efforts, it still reached gold record sales in Israel and included the hits “Don Quixote,” “Waving,” and the club smash “Cinque Milla.” In 1997, Dana collaborated with the Israeli artist Eran Zur on his album Ata Havera Sheli, and together they sang the duet “Shir Kdam-Shnati (Sex Acher)” (“Pre-Bed Song (A Different Kind of Sex)”) which became a huge hit.[9]

1998: Diva and mainstream spotlight

Dana was chosen to represent Israel in the Eurovision Song Contest 1998 in Birmingham with the song “Diva“. Orthodox Jews and others with conservative views were opposed to her appointment and attempted to void her participation in the contest. However, in May 1998, Dana performed “Diva” at the Eurovision final and won the contest with 172 points. She became an international superstar, and was interviewed by CNN, BBC, Sky News, and MTV among others mostly focusing on her life as a transsexual person before winning the contest. Dana’s own words “the message of reconciliation” were; “My victory proves God is on my side. I want to send my critics a message of forgiveness and say to them: try to accept me and the kind of life I lead. I am what I am and this does not mean I don’t believe in God, and I am part of the Jewish Nation.”

Dana released “Diva” as a single in Europe[11] and it became a hit, reaching number 11 in the UK charts and the top ten in Sweden, Belgium, Finland, Ireland, and the Netherlands.

1999–2001: Stage falling, Streisand cover and new albums

In 1999, Dana released Woman In Love, a Barbra Streisand cover, but it was not the hit that “Diva” had been. In May 1999, Dana again participated in the Eurovision Song Contest held in Jerusalem. Dana was a part of the interval act and sang the Stevie Wonder song “Free”. She also presented the award to the winners of the contest but accidentally managed to steal their thunder. Whilst she was carrying the heavy trophy, one of the composers of the winning Swedish entry by mistake stepped on the long trail of her dress and she fell over on stage – in front of a television audience estimated be to one billion or more, making it one of the most memorable moments in the 50-year-long history of the contest.

She released her next album Free in Europe in 1999, which enjoyed moderate success. A few months later Dana moved back to Israel and started to work on different projects. Israeli and Japanese editions of Free were released in 2000. That same year, an Israeli documentary film was made about Dana called Lady D.

In 2001, after a break, Dana released her seventh album Yoter Ve Yoter (More and More).[12] The album put her career in Israel back on track and provided two hits called “I Won” and “After All”, which eventually both went gold.

2002–06: Fading from the scene and Sony incident

Dana was about to sign with a major label, Sony/BMG, for an international recording contract but something went wrong in negotiations. These were disagreements that led to Sony cancelling the deal before it was completed. In 2002, she released another album, HaHalom HaEfshari (The Possible Dream), which was a minor chart success. In 2003, she released an exclusive 8-CD box set, containing all singles from The Possible Dream and a new house version of the hit single “Cinque Milla”, titled A.lo.ra.lo.la. A few years later, in 2005, Dana participated in the 50th anniversary of the Eurovision song contest, held in Copenhagen, after “Diva” was selected as one of fourteen songs considered to be the best Eurovision songs. The song did not make it into the final top five but, Dana got the chance to perform both “Diva” and an old Eurovision favourite of hers; Baccara‘s 1978 entry “Parlez-Vous Francais?“. She also recorded the song “Lola” (sung in French), to which she released a video. This video can be found on the CD Hakol Ze Letova, released in 2007 as a bonus CD-rom video.

In 2005, Dana was voted the 47th-greatest Israeli of all time, in a poll by the Israeli news website Ynet, to determine who the general public considered the 200 Greatest Israelis.

2007–11: Return to music and Eurovision comeback

Dana International, alongside Boaz Mauda (2008)

After a few years away from show business, together with the relaunch of her official website, a first single of the upcoming album was released in March 2007: “Hakol Ze Letova” (“It’s All For the Best”). The second single to be released from the album, “Love Boy”, became the most played song on Israeli radio in a decade.[13] It also gained a respectable place on the airplay of the Greek radio station FLY FM 89,7. The following album, also titled Hakol Ze Letova, was released on August 15, 2007. “At Muhana” was the third single and “Seret Hodi” (feat. Idan Yaniv)[14] the fourth to be released from the album, which became a bestseller in many online stores. The next single released from the album was “Yom Huledet”.

On February 26, 2008, Dana gained an additional achievement when the song “Ke’ilu Kan” written and composed by her and performed by Boaz Mauda, was chosen on Kdam Eurovision to represent Israel at Eurovision Song Contest 2008 in Belgrade, Serbia. It came 5th in the semi-final and gained 9th place in the final rank.

Dana International in 2008

Dana also recorded the song “Mifrats Ha Ahava” (“The Love Bay”) for an Israeli version of the TV-show “Paradise Hotel”. She also collaborated with the Ukrainian duo NeAngely (Not Angels), recording “I Need Your Love” and releasing a video. In 2009, Dana starred in a mock reality show called Dana Kama/Nama for cellphone provider Cellcom

Dana campaigned for Kadima chairwoman Tzipi Livni shortly before 2009 legislative elections in Israel. At a women’s political rally in Jerusalem Dana performed a disco song alongside Livni onstage, announcing “I now formally invite you to the diva sisterhood.”

In April 2009, Dana performed in the opening concert of Tel Aviv-Yafo Centennial Year. She performed a cover version of Danny Robas‘ song “Lo nirdemet Tel Aviv” (Tel Aviv Doesn’t Fall Asleep) in front of 250,000 people.

Also in 2009, Dana International joined the 7th season of “Kokhav Nolad” (the Israeli version of Pop Idol) as a judge, also joining the 8th one in 2010.

Dana made a guest appearance, as herself, in an episode of the second series of UK sitcom Beautiful People, which was set around her Eurovision appearance.

On March 8, 2011, Dana International won the Israeli National Final for Eurovision with the song Ding Dong, and represented Israel at Eurovision for a second time.  However, she did not make it into the final; she was the first Eurovision winner not to do so.

2013–present: new singles, TV show and album

In April 2013, after a two-year break, Dana released a new single, “Ma La’asot”. It was released digitally worldwide on April 24, 2013. On May 29, Dana released a video clip for the song Loca, to promote the Gay Pride Tel Aviv 2013. Dana will perform on the main event for the Gay Pride on June 7. Her third single for that year, “Ir Shlema”, was released in July. Late in January 2014, Dana’s new music reality show “Yeshnan Banot” premiered. Dana is the main judge on the show, attempting to find Israel’s next girl group.

THE WORDS OF THE SONG “DIVA.”

 

She is all
you’ll ever dream to find
On her stage
she sings her story
Pain and hurt
will steal her heart alight
Like a queen
in all her glory

And when she cries
Diva is an angel
When she laughs
she’s a devil
She is all beauty and love

Chorus:
Viva Maria
Viva Victoria
Aphrodite
Viva le Diva
Viva Victoria
Cleopatra

Silent tears
drop from these eyes tonight
Tears of prayer
for all those aching hearts

And when she cries
Diva is an angel
When she laughs
she’s a devil
She is all beauty and love

Chorus

Songwriters
POLLOCK, NICK

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Posted on Sustainabilitank.info on May 8th, 2014
by Pincas Jawetz (PJ@SustainabiliTank.com)

from: yara-mailing@brama.com

We have a beautiful show Dark Night Bright Stars

 

in Kyiv May 9-11, in New York May 18, 2014

 

 

In 1858 the Ukrainian poet Taras Shevchenko was set free after 10 years imprisonment.

 

He met the great African American actor Ira Aldridge and drew his portrait.

 

 

 

 

created by Yara Arts Group with Julian Kytasty, Maria Pleshkevich, Mykola Shkaraban,
Jeremy Tardy, Barak & Shona Tucker – conceived & directed by Virlana Tkacz

 

 

Tell your friends in and in Kyiv May 9, 10 & 117 PM at the Kurbas Theatre Center in Kyiv

 

Reservations (050) 385-2758

 

in New York May 18 at 3:30 PM  the Ukrainian Museum in New York

 

Details & photos  www.brama.com/yara

 

Virlana

 

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Posted on Sustainabilitank.info on April 19th, 2014
by Pincas Jawetz (PJ@SustainabiliTank.com)

Sunday
April 27
Symposium

Oil & Water Symposium

The   Museum of Chinese in America in New York City (MOCA) will host a   scholarly
symposium in conjunction with MOCA’s upcoming exhibition Oil   & Water: Reinterpreting
Ink, opening April 24th.  The exhibition will  feature the work of three renowned
Chinese  contemporary artists: Qiu  Deshu, Wei Jia, and Zhang Hongtu, guest  curated
by Michelle Y. Loh.

10:00 AM – 4:00 PM
Museum of Chinese in America
215 Centre Street

Registration required

For more information and to register, click here [r20.rs6.net/tn.jsp?e=00167beTHns6pzj-cS2-Xdec62GSqZdAXks51UXUXm3grc0kRAzdKXUmAdxPSN6LlicUEsRnMIQiL3oaydnIO66kIpQV-zavHy-YApl9TvXVSim2x0ku5dAUfHKSJgok-HhqKQQD4UHr_VWGjnovZniX-mIxdHdybBekLdKLUPRjVU=]

Sponsored by the Museum of Chinese in America

==================================

WE HOPE WE CAN CONVINCE THESE CHINESE TO TAKE A LOOK AT OIL & WATER IN THE FUTURE OF CHINA – AND TALK OF OIL & WATER IN TERMS OF SUSTAINABLILITY!

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Posted on Sustainabilitank.info on March 8th, 2014
by Pincas Jawetz (PJ@SustainabiliTank.com)

 

 

A Tsar’s Bride Dmitri Tcherniakov has set this Rimsky-Korsakov work, with Olga Peretyatko (in white suit) in the title role, in a TV studio, at the Teatro alla Scala in Milan. Credit Brescia/Amisano-Teatro alla Scala

 

MILAN — The Oprichniks were the murderous henchmen of Ivan the Terrible, torturing and killing the czar’s enemies.

It says a lot about the Russian director Dmitri Tcherniakov’s world view that he has chosen to reimagine these thugs as contemporary television executives in his exhilarating production of Rimsky-Korsakov’s “The Tsar’s Bride” at the Teatro alla Scala here. This lurid tale of jealousy, insanity and the search for a royal wife has become, in Mr. Tcherniakov’s alchemical hands, a vivid, unsettling reflection on the media and the fast-disintegrating line between what seems real and what is.

It isn’t the first time that this director has brought a new angle to an older work. His charged, often claustrophobic interpretations of operas like Mozart’s “Don Giovanni” and Verdi’s “Il Trovatore” over the past few years have revealed fresh narratives and unexpected emphases in well-trodden classics. Just last month at the Metropolitan Opera, his new production of Borodin’s “Prince Igor” added some sections, cut others and rearranged what was left to create a dreamy portrait of a ruler and society thrown out of joint by the hunger for war.

Ms. Peretyatko, left, and the mezzo Anna Lapkovskaja in ‘‘The Tsar’s Bride.’’ Credit Brescia/Amisano-Teatro alla Scala

 

But “Prince Igor” is a torso. Borodin never finished it and, as far as an overarching structure, barely even started it, a fact that even the Met’s strong production couldn’t conceal. While Mr. Tcherniakov’s version of “Igor” showed craft and care, it was bracing on Wednesday, at the second performance of “The Tsar’s Bride,” to see what he is capable of when he actually has a full opera to work with.

Like many Russian masterpieces, this Rimsky-Korsakov piece, which premiered in 1899, is still a relative rarity in the West, and it hasn’t always gotten the respect it deserves. It can seem, at first glance, a rather superficially sumptuous melodrama. But this performance made a strong case for its glimmers of forward-thinking angularity as well as its late-Verdian propulsion: it is an assemblage of set pieces — arias, ensembles, choruses — that presses forward with vigor.

The plot takes its cue from an encyclopedia footnote about which little is known: Ivan the Terrible’s brief third marriage to a commoner who was selected from 12 finalists for his hand and who died mysteriously a few days after their wedding. In the opera, this young woman, Marfa, is the pawn in a tangled love story that leaves her insane, succumbing to poison, and several other people dead.

The odd thing about Rimsky-Korsakov’s telling is that while there’s certainly a bride in it, there’s no czar. The one time in the original libretto that the fearsome Ivan seems to enter the picture, we’re not even sure it’s him: Marfa and her friend think they recognize his dreadful eyes in an anonymous man on horseback.

First at the Berlin Staatsoper in October and now in Milan, and both times with Daniel Barenboim conducting, Mr. Tcherniakov has taken this empty space at the opera’s core and run with it. The curtain rises on a TV studio where what seems to be a storybook pageant about old Russia is being filmed.

Before the overture is over, video projections bring us into an online chat among the Oprichnik-executives, who propose the need to invent a fake czar. A computer-generated leader is swiftly created for the public to revere and fear, and a “Bachelor”-style competition is started to help choose his bride.

At its heart this is yet another iteration of the theater-within-the-theater conceit that has tripped up even gifted directors. (See Stefan Herheim’s London production of Verdi’s “Les Vêpres Siciliennes” last fall.) But Mr. Tcherniakov makes it work with the fresh energy of his concept and the vital performances he draws from his cast.

All the world’s a screen in this “Tsar’s Bride,” a society distinguished most by the ceaseless generation and consumption of “content.” So Lyubasha, driven to desperation by jealousy, performs part of her first-act monologue in front of the cameras in an empty studio.

At the end, the innocent Marfa’s mad scene is filmed — ready to join happier, earlier clips flickering on the studio monitors. Becoming a media spectacle may be the most fitting way for her to go, in a live-by-the-sword, die-by-the-sword way: Throughout the previous acts, the Oprichniks’ product — a manufactured reality, half-news, half-entertainment — has been gobbled up from the television at Marfa’s family’s home. (We glimpse a few seconds of battle footage, too, lest anyone forget what all the fuss about a royal wedding is distracting from.)

Mr. Tcherniakov’s tweaks yield some of the production’s most effective moments. In the original libretto, the vindictive Lyubasha secretly spies on Marfa, her romantic rival. But here the encounter was face to face, making Lyubasha’s furious vows both more terrifying and more pitiable.

This director designed his own set, as is his usual practice, and it is a rotating wonder that makes possible, for instance, an elegant transition into the first-act trio. The world of the opera is rendered as a hermetic, arid interior. Nature is just another image, whether in the form of video of sun-dappled leaves or in the flowered wallpaper of Marfa’s living room.

The intense performances, not least that of the theater’s vibrant chorus, popped against this stark setting. The dusky-voiced mezzo Marina Prudenskaya’s Lyubasha was a small miracle of barely contained despair. The tenor Pavel Cernoch was a bright-voiced wimp as Marfa’s childhood sweetheart, Lykov, and the bass Anatoli Kotscherga a bearish presence as her father, Sobakin.

His baritone husky and lithe, Johannes Martin Kränzle was a bitter cynic at the heart of a cruel game as Gryaznoy, the Oprichnik mastermind of the czar’s bride scheme. The mezzo Anna Lapkovskaja was warm-hearted and warm-toned as Marfa’s friend, Dunyasha. The veteran soprano Anna Tomowa-Sintow was touchingly deluded as her mother, Saburova.

Her voice and manner agile and girlish in the early acts, the soprano Olga Peretyatko was transformed into a bitter Norma Desmond lookalike for a riveting mad scene, her eyes glittering under the studio spotlights. (She gets another descent into insanity next month as Elvira in Bellini’s “I Puritani” for her Metropolitan Opera debut.)

Mr. Barenboim brought out the music’s broad sweep and agitated details in moments like the febrile trembling as Gryaznoy toasts the bride-to-be in Act 3. He led the brass blasts at the start of the fourth act, each of which recedes into quiet unease, with a tautness and weight that revealed their debt to the opening of Wagner’s “Götterdämmerung.”

I wondered how the plusher Metropolitan Opera Orchestra would sound in this score, which has never been performed at the Met. I hope to have the chance to find out before too long, perhaps in Mr. Tcherniakov’s daringly theatrical production, a natural fit if ever there was one for media-driven New York.

The Tsar’s Bride. Directed by Dmitri Tcherniakov. Teatro alla Scala, Milan.Through March 14. teatroallascala.org.

 

 

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Posted on Sustainabilitank.info on February 28th, 2014
by Pincas Jawetz (PJ@SustainabiliTank.com)

“Their Mothers, their Fathers” – or maybe even ours -  a movie that tries to promote thinking about the triteness of the reality of an evolution of crime as a worm that eats into what looks like civilized normalcy.

These days in New York we host the Carnegie Hall Festival “Vienna City of Dreams” which is a celebration of culture of the last 100 years which is in effect the time-span since the break out of WWI on June 28, 1914, and as a matter of fact includes also WWII.

To above Festival The Calgary, Alberta, CHUMIR FOUNDATION for Ethics in Leadership contributed a three events Symposium – “Vienna’s History and Legacy of the Past 150 Years” – and this morning coincidentally I received the Uri Avnery mailing about the German Film “THEIR MOTHERS, THEIR FATHERS” that is being shown in Israel. We find it all connects – and we start looking into this by bringing here the Uri Avnery article.

Also, these days the Peace Islands Institute, which is connected to a Turkish Cultural Center, had its own events in New York of which one – linked – without mentioning it – to the previous mentioned events – it was a panel on Intergovernmental Relations among Balkan Nations & The EU with the participation of the Ambassadors to the UN from Bulgaria, Albania, Kosovo, and Macedonia, chaired by the President of the Federation of Balkan American Associations, that followed a similar earlier event that included Serbia, Bosnia & Herzegovina, Montenegro, and Croatia but never looked at Slovenia or Austria. Then the same Peace Islands Institute followed on its studies of the three Abrahamic religions with a first inroad into Muslim – Buddhist understanding after quite successful previous activities into ethics of Muslim -Jewish mutual acceptance. These days such are events happening in  New York.

 

Uri Avnery

March 1, 2014

 

                                    Their Mothers, Their Fathers

 

IT IS the summer of 1941. Five youngsters – three young men and two young women – meet in a bar and spend a happy evening, flirting with each other, getting drunk, dancing forbidden foreign dances. They have grown up together in the same neighborhood of Berlin.

It is a happy time. The war started by Adolf Hitler a year and a half before has progressed incredibly well. In this short time Germany has conquered Poland, Denmark, Norway, Holland, Belgium and France. The Wehrmacht is invincible. The Führer is a genius, “the greatest military strategist of all times”.

So starts the film that is running now in our cinemas – a unique historical document. It goes on for five breathless hours, and continues to occupy the thoughts and emotions of its viewers for days and weeks.

 

Basically it is a film made by Germans for Germans. The German title says it all: “Our Mothers, Our Fathers”. The purpose is to answer the questions troubling many of the young Germans of today: Who were our parents and grandparents? What did they do during the terrible war? What did they feel? What was their part in the horrible crimes committed by the Nazis?

 

These questions are not asked in the film explicitly. But every German viewer is compelled to ask them. There are no clear answers. The film does not probe the depths. Rather, it shows a broad panorama of the German people in wartime, the various sections of society, the different types, from the war criminals, through the passive onlookers, to the victims.

 

The Holocaust is not the center of events, but it is there all the time, not as a separate event but woven into the fabric of reality.

 

THE FILM starts in 1941, and therefore cannot answer the question which, to my mind, is the most important one: How could a civilized nation, perhaps the most cultured in the world, elect a government whose program was blatantly criminal?

True, Hitler was never elected by an absolute majority in free elections. But he came very close to it. And he easily found political partners who were ready to help him form a government.

 

 Some said at the time that it was a uniquely German phenomenon, the expression of the particular German mentality, formed during centuries of history. That theory has been discredited by now. But if so, can it happen in any other country? Can it happen in our own country? Can it happen today? What are the circumstances that make it possible?

The film does not answer these question. It leaves the answers to the viewer.

The young heroes of the film do not ask. They were ten years old when the Nazis came to power, and for them the “Thousand-Year Reich” (as the Nazis called it) was the only reality they knew. It was the natural state of things. That’s where the plot starts.

 

 

 TWO OF the youngsters were soldiers. One had already seen war and was wearing a medal for valor. His brother had just been called up. The third young man was a Jew. Like the two girls, they are full of youthful exuberance. Everything was looking fine.

The war? Well, it can’t last much longer, can it? The Führer himself has promised that by Christmas the Final Victory will be won. The five young people promise each other to meet again at Christmas. No one has the slightest premonition of the terrible experiences in store for each of them. 

 

 While viewing the scene, I could not help thinking about my former class. A few weeks after the Nazis’ assumption of power, I became a pupil in the first class of high school in Hanover. My schoolmates were the same age as the heroes of the film. They would have been called up in 1941, and because it was an elitist school, all of them would probably have become officers.

Half way through the first year in high schooI, my family took me to Palestine. I never met any of my schoolmates again, except one (Rudolf Augstein, the founder of the magazine Der Spiegel, whom I met years after the war and who became my friend again.) What happened to all the others? How many survived the war? How many were maimed? How many had become war criminals?

In the summer of 1941 they were probably as happy as the youngsters in the film, hoping to be home by Christmas.

 

 THE TWO brothers were sent to the Russian front, an unimaginable hell. The film succeeds in showing the realities of war, easily recognizable by anyone who has been a soldier in combat. Only that this combat was a hundredfold worse, and the film shows it brilliantly.

The older brother, a lieutenant, tries to shield the younger one. The bloodbath that goes on for four more years, day after day, hour after hour, changes their character. They become brutalized. Death is all around them, they see horrible war crimes, they are commanded to shoot prisoners, they see Jewish children butchered. In the beginning they still dare to protest feebly, then they keep their doubts to themselves, then they take part in the crimes as a matter of course. 

One of the young women volunteers for a frontline military hospital, witnesses the awful agonies of the wounded, denounces a Jewish fellow nurse and immediately feels remorse, and in the end is raped by Soviet soldiers near Berlin, as were almost all German women in the areas conquered by the revenge-thirsty Soviet army. 

 

 Israeli viewers might be more interested in the fate of the Jewish boy, who took part in the happy feast at the beginning. His father is a proud German, who cannot imagine Germans doing the bad things threatened by Hitler. He does not dream of leaving his beloved fatherland. But he warns his son about having sexual relations with his Aryan girlfriend. “It’s against the law!”

When the son tries to flee abroad, “aided” by a treacherous Gestapo officer, he is caught, sent to the death camps, succeeds in escaping on the way, joins the Polish partisans (who hate the Jews more than the Nazis) and in the end survives.

 

 Perhaps the most tragic figure is the second girl, a frivolous, carefree singer who sleeps with a senior SS officer to further her career, is sent with her troupe to entertain the troops at the front, sees what is really happening, speaks out about the war, is sent to prison and executed in the last hours of the war.

 

 BUT THE fate of the heroes is only the skeleton of the film. More important are the little moments, the daily life, the portrayal of the various characters of German society.

 

 For example, when a friend visits the apartment where the Jewish family had been living, the blond Aryan woman who was allotted the place complains about the state of the apartment from which the Jews had been fetched and sent to their death: “They didn’t even clean up before they left! That’s how the Jews are, dirty people!”

Everyone lives in constant fear of being denounced. It is a pervading terror, which nobody can escape. Even at the front, with death staring therm in the face, a hint of doubt about the Final Victory uttered by a soldier is immediately silenced by his comrades. “Are you crazy?”     

Even worse is the deadening atmosphere of universal agreement. From the highest officer to the lowliest maid, everybody is repeating endlessly the propaganda slogans of the regime. Not out of fear, but because they believe every word of the all-pervading propaganda machine. They hear nothing else.

It is immensely important to understand this. In the totalitarian state, fascist or communist or whatever, only the very few free spirits can withstand the endlessly repeated slogans of the government. Everything else sounds unreal, abnormal, crazy. When the Soviet army was already fighting its way through Poland and nearing Berlin, people were unwavering in their belief in the Final Victory. After all, the Führer says so, and the Führer is never wrong. The very idea is preposterous. 

It is this element of the situation that is difficult for many people to grasp. A citizen under a criminal totalitarian regime becomes a child. Propaganda becomes for him reality, the only reality he knows. It is more effective than even the terror.

 
THIS IS the answer to the question we cannot abstain from asking again and again: How was the Holocaust possible? It was planned by a few, but it was implemented by hundreds of thousands of Germans, from the engine driver of the train to the officials who shuffled the papers. How could they do it?

They could, because it was the natural thing to do. After all, the Jews were out to destroy Germany. The communist hordes were threatening the life of every true Aryan. Germany needed more living space. The Führer has said so.

 

 That’s why the film is so important, not only for the Germans, but for every people, including our own.

 

People who carelessly play with ultra-nationalist, fascist, racist, or other anti-democratic ideas don’t realize that they are playing with fire. They cannot even imagine what it means to live in a country that tramples on human rights, that despises democracy, that oppresses another people,  that demonizes minorities. The film shows what it is like: hell.

 

THE FILM does not hide that the Jews were the main victims of the Nazi Reich, and nothing comes near their sufferings. But the second victim was the German people, victims of themselves.

Many people insist that after this trauma, Jews cannot behave like a normal people, and that therefore Israel cannot be judged by the standards of normal states. They are traumatized.

This is true for the German people, too. The very need to produce this unusual film proves that the Nazi specter is still haunting the Germans, that they are still traumatized by their past.

When Angela Merkel came this week to see Binyamin Netanyahu, the whole world laughed at the photo of our Prime Minister’s finger inadvertently painting a moustache on the Kanzlerin’s face.

But the relationship between our two traumatized peoples is far from a joke.

——————————————————————–

THE 90 year young URI AVNERY NEVER ENDED HIGH-SCHOOL BUT HE IS NON-DISPUTABLE ISRAEL’S GREATEST JOURNALIST AND MOST FAMOUS EX-MEMBER OF THE KNESSET (PARLIAMENT). WHO COULD SAY WHAT GERMANY LOST – IF NOT FOR HITLER – HE WOULD HAVE HIMSELF BEEN NOW A SECULAR COMPLETELY ASSIMILATED GERMAN?

 

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Posted on Sustainabilitank.info on February 25th, 2014
by Pincas Jawetz (PJ@SustainabiliTank.com)

 

Bolivia VP Slams IMF, Talks Up G77.

By Matthew Russell Lee, Inner City Press.

 

UNITED NATIONS, February 25 — When Bolivia’s Vice President Alvaro Garcia Linera spoke to the media on February 25, he was setting the stage for the Group of 77 and China summit set for Santa Cruz in June.

 

  Inner City Press asked him if at the Summit G77 will adopt a position on what should be in the Sustainable Development Goals, and for his response to comments about Bolivia by the International Monetary Fund which Inner City Press reported back on February 10.

 

  He replied that Bolivia doesn’t much care what the IMF says, that if they criticize the country for being too pro-poor, that’s a matter of pride, they are going to do more of it. [Tweeted photo here; higher resolution photos by Free UN Coalition for Access member Luiz Rampelotto, to follow.]

 

  Back on February 10, the IMF had just released its Article IV review of Bolivia, in which it criticized the country’s new Financial Services Law, specifically that

 

“the law’s general thrust is to subordinate financial sector activities to social objectives with instruments that could create risks to financial stability. Main features of the law include: (i) provisions to regulate lending rates and set minimum lending quotas for the productive sector and social housing; (ii) discretion to set floors on deposit rates; and (iii) mechanisms to enhance consumer protection and financial access in rural areas.”

 

  On February 10, Inner City Press asked the IMF’s Mission Chief for Bolivia Ana Corbacho to explain this criticism, and more generally to reconcile Bolivia’s and President Evo Morales’ public critique of the IMF with this visit.

 

  In response to a question from Inner City Press at UN headquarters in January, Morales recounted how the IMF dominated Bolivia in the past, but now decision making had passed from the “Chicago to the Bolivia boys.

 

  The IMF Article IV staff report says they met with “Minister of Economy and Public Finances Arce, Central Bank President Zabalaga, Minister of Planning Caro, other senior public officials, and representatives of the private sector. Mr. Tamez and Ms. Kroytor (LEG) provided inputs on the new Financial Services Law at headquarters.”

 

  The IMF staff report also says that “the instruments chosen (interest rate caps and minimum credit quotas) could reduce the profitability and lending funds of financial institutions, over-leverage target beneficiaries, and complicate the conduct of monetary policy.”

 

   Ms. Corbacho of the IMF, on the February 10 embargoed press conference call, largely in Spanish, on which only three media asked questions, replied that Bolivia for example capping interest rates might impact financial institution’s profitability and thus “financial stability.”

 

   She said the government responded that financial inclusion has not progressed fast enough and so they are taking these steps. She the Article IV discussion, which are held with each IMF member, were “very open and frank” with Bolivia, and thus positive.

 

  To Inner City Press, the IMF’s willingness to criticize consumer protection in Bolivia stands in contrast to the IMF’s deference to the US on the how to manage and communicate the Federal Reserve’s tapering, the debt ceiling — anything, essentially.

 

  On February 25, Bolivia’s Vice President Alvaro Garcia Linera, with his UN Permanent Representative Sacha Llorenti translating, described this is a key time for sustainable development, and that the G77 and China will play a key role, since it has 133 members (2/3 of the UN membership) and represents 70% of the world’s population.

 

  Given that, it was noteworthy that the pro-Western “United Nations Correspondents Association” did not send a single one of their 15 Executive Committee members to the briefing by Bolivia’s vice president about the Group of 77 and China. Tellingly, UNCA last July used the big third floor room the UN gives them to host Saudi-supported Syria rebel leader Ahmad al Jarba for a faux “UN briefing.”

 

  In the same room, also tellingly, the outgoing UN spokesperson Martin Nesirky will hold his farewell on March 7. His deputy Eduardo del Buey held his farewell, more appropriately, in the UN Spokesperson’s office. But this UN is going more and more Gulf and Western, with its spokesperson’s job now passing to France.

 

 We’ll have more on this — for now, we will link to Bolivia’s Vice President’s comments on G77, and on the IMF.

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SustainabiliTank actually expected the Bolivian VP to touch also upon the meetings of the SIDS, but seemingly there wee no questions to him on this topic.

 

 

 

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Posted on Sustainabilitank.info on February 25th, 2014
by Pincas Jawetz (PJ@SustainabiliTank.com)

 

 

On the occasion of the International Year of Family Farming 2014, 

 

the United Nations Information Service (UNIS) Vienna, in cooperation with this human world (THW) Film Festival and Topkino,

 

presented
the Ciné-ONU Vienna screening of the documentary“The Moo Man”

 

(by Andy Heathcote, UK 2013, 98 min, English)
followed by a Q&A session with invited guests, free entry.
Date / Time: 24 February 2014, 18:30 hrs
Location: Topkino, Rahlgasse 1, 1060 ViennaParticipants of the panel discussion:

Elisabeth Sötz - Advisor for Environment and Natural Resources, ADA (Austrian Development Agency) 
Nikolaus Morawitz – Head of EU & International Affairs, Austrian Chamber of Agriculture
Frank Hartwich – Industrial Development Officer, UNIDO (United Nations Industrial Development Organization)
Janos Tisovszky – Outgoing Director, United Nations Information Service (UNIS) Vienna (Moderator)
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as reported for SustainabiliTank by Ms. Irith Jawetz:

 

“The Moo Man” tells the remarkable story of a maverick farmer and his unruly cows, filmed over four years on the marshes of the Pevensey Levels*.  In an attempt to save his family farm, Stephen Hook decides to turn his back on the cost cutting dairies and supermarkets, and instead stay small and keep his close relationship with the herd. However farmer Hook’s plans to save the farm do not always go down well with his 55 spirited cows. The result is a laugh-out-loud, emotional roller-coaster of a journey.
“Heart warming, a tearjerker of a movie, about the incredible bonds between man, animal and countryside.” 

 

 

 

Mr. Hook describes his cows as “family”. While the average life span of a cow on a farm is 5 to 6 years, his cows live 9 to 10 years. “We do not push them, they are more relaxed” he explains as the reason for their long life.

 

 

 

The film follows partly the story of his favorite cow, Ida. “Ida is a symbol of what we do” says Mr. Hook. We follow her life until she passes away and the sadness expressed by Mr. Hook is really touching. “She was a lovely cow the queen of the herd, and had a lot of character” Mr. Hook laments .

 

 

 

Farming is a 24/7 job, with no time off. Mr. Hook explains that the work is hard and you basically work for nothing. He milks the cows himself with little help, since he cannot afford to employ people, bottles them and brings them to the customers in his truck. This milk is literally brought from the cow to the consumers directly. However, it is a losing battle because of the high costs. As Mr. Hook explains nobody wants to farm anymore because you work hard for nothing.  Family farms close down all over England and Wales.

 

 

 

The discussion after the film focused basically on how the private farms could be helped.  They all agreed that farmers need subsidies, that is why the United States had the farm Bill. There is also a big difference between small farms in developed countries and those in developing countries – and that is where three essential facts were put forward to produce the best conditions for successful farming:

 

 

 

1) Stable policy on environment by the respective government;

 

 

 

2) Providing education, skills, and know-how to the farmers;

 

 

 

3) Organization, i.e. lobbying & marketing.

 

 

 

This is where developing countries falter, while developed countries are doing better. In the developed countries, especially in the EU, the farmers are well represented, have a strong lobby and basically do better.

 

 

 

One big problem for the farmers is Climate Change.  Since they cannot predict the weather, it is difficult for them to know when to plant what and whether the weather will cooperate.

 

 

Sudden floods, drought may ruin the whole crop.

 

 

A second problem is urbanization. Young people move to the cities seeking easier and more profitable jobs.

 

 

Agri-tourism is a small help. Small farms, especially in the EU open B & B facilities for families, particularly city folks with children, to spend time on the farm. The income helps.

 

 

 

It was all in all an interesting evening, combining an endearing film with lots of emotions, yet also laughter, and a serious discussion afterwards.

 

 

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Natural England – Pevensey Levels NNR

www.naturalengland.org.uk/ourwork/…/1006119.aspx?

Natural England

Pevensey Levels NNR lies in the heart of a large grazing marsh which is home to many species of wetland bird.

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This event – the showing of the movie to the public at large – by a UN Information Service/Center – shows what an outreach of the UN can do even in a developed country – that is not just assuming the role of the UN is just to teach the backward developing countries.

 

 

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