does not officially provide weapons to belligerents, in accordance with a rule laid down in the 1907 Hague Conventions. But the First World War, with its extreme violence, increasingly powerful weapons and duration, resulted in a huge demand for ammunition that Swiss industry was able to meet in large quantities.
“Although Switzerland was no longer able to export ammunition from August 1914, due to international law, there was nothing to stop the export of ammunition parts (brass parts, cast iron, wrought iron and bolts, etc). Thanks to this clever trick, Switzerland was able to deliver millions of rounds to the warring parties,” Cotter explained.
Explosives and Ammunition Surveillance
This division embodies Switzerland’s unique expertise in military explosives, propellant powders and signal flares. Knowing the chemical, technical and physical characteristics of these substances allows our experts to describe their ageing behavior, produce service-life forecasts, and estimate their effects on people, animals and the environment. The division’s daily work makes an important contribution to ammunition safety in the Swiss Armed Forces. Thierachern Facility
The Romand Group for Defense and Security Equipment (GRPM) groups some sixty French-speaking companies. Its purpose is to facilitate the access of French companies to the control of the Confederation, to participate in the creation of framework conditions favorable to the good relations between these companies and the federal administration, the political authorities and the general enterprises in charge of make purchases for the Swiss Army.
Margot Fonteyn was involved in plot with Castro to overthrow Panama, documents reveal. Fonteyn confessed to Foreign Office minister John Profumo – who was later involved in a notorious sex scandal – that she met Castro and took part in a mission to assemble rebels and weapons at sea for an attempted invasion of Panama. ►Her Husband was Dr Roberto Arias, the son of a former Panamanian president. They set out to sea in their yacht Nola, ostensibly on a fishing trip but in reality to gather men and arms for the coup. Dr Arias had made his enemies, and in 1964 one of them shot him, leaving him quadriplegic.
Fonteyn first met Roberto “Tito” Arias, an 18-year-old law student from Panama who would later become her husband. April 1959, Fonteyn was arrested, detained for 24 hours in a Panamanian jail, and then deported to New York City.
“Fonteyn buys from arms manufacture Dr. W in geneva .ch “
Her husband had staged a coup d’état against President Ernesto de la Guardia, possibly with the support of Fidel Castro. According to Fonteyn, the plot was hatched when she and her husband were visiting Cuba in January 1959, with Castro promising to assist Arias with arms or men.
The couple went fishing on their boat The Nola and during the voyage ordered fishermen to raise a buoy loaded with arms. The fishermen reported the couple who hurriedly decided that Arias should try to escape detection. In the night Arias jumped ship, boarding the shrimp boat Elaine, while Fonteyn used her own yacht as a decoy to divert the government forces. She returned to Panama City to turn herself in, hoping her surrender would help her husband. Meeting at the prison with the British ambassador to Panama Sir Ian Henderson, Fonteyn confessed her involvement and the British Foreign Office granted that her statement was confidential.
►The British embassy arranged for her release, and flew her to New York City on 22 April, without disclosing to the United States government that Cuba had been involved in the plot. Panamanian Ambassador Arias took refuge in the Brazilian embassy of Panama and arrived safely in Lima, Peru, the same day Fonteyn arrived in New York. The couple were reunited in June, in Rio de Janeiro and by November, she had returned to the stage, dancing with Michael Somes in an Ashton pas de deux for a London benefit performance. She continued to dance until 1979, when she was a remarkable 60 years old. 1919-1991 Margot Fonteyn dies from cancer in Panama
Panamanian Ambassador Arias was a Graduate of Cambridge who introduced her to a world of Onansis, Winston Churchill, and fascist leaders whom Arias was drawn to and who would have become one if he had really come to control Panama.
► Maclean, Burgess, Philby and Blunt were British members of a KGB spy ring that penetrated the intelligence system of the UK and passed vital information to the Soviets during World War Two and the early stages of the Cold War.
Harold ”Kim” Philby was a product of the British ruling class but, like his own eccentric father, the explorer and Arabist St John Philby, contemptuous of it. Soviet spy Kim Philby was a double agent and the notorious Third Man in the Cambridge spy ring of the 1930s, in charge of all things Russia for MI6.
Philby was the senior officer of Britain’s Secret Intelligence Service (MI6) in Washington in the early 1950s, working with the CIA and FBI.
►Philby had made another powerful friend: James Jesus Angleton, the crafty, paranoid head of CIA counterintelligence. Angleton’s and Elliott’s unwitting disclosures helped Philby sink almost every important Anglo-American spy operation for twenty years, leading countless operatives to their doom.
Philby and Maclean’s fellow spy, Burgess, were intimate friends; tipped off by Philby, who organised their defection, they fled to Moscow. For years he had sabotaged Allied missions behind the Iron Curtain and had calculatedly sent dozens of agents to their deaths. One historian said his work for the Soviets was ”beyond price”. <more>
The family with the golden touch Ian Fleming made a fortune from James Bond, but the serious money – in art, Russian goldmines and Middle East billionaires – is discreetly located in Mayfair, writes Ruth Sunderland.
2019 Exclusive: FBI’s War Crimes Unit on the Chopping Block
A special unit within the Federal Bureau of Investigation that handles war crimes may be shut down imminently, according to officials familiar with the administration’s decision-making process. Can’t have them looking at the President of the United States and his staff. https://justsecurity.org/62548/exclusive-fbis-war-crimes-unit-chopping-block/
and the Bush family connections with the Carlyle Group
Judicial Watch, the public interest law firm that investigates and prosecutes government abuse and corruption, called on former President George Herbert Walker Bush to resign immediately from the Carlyle Group, a private investment firm, while his son President George W. Bush is in office. Today’s New York Times reported that the elder Bush is an “ambassador” for the $12 billion private investment firm and last year traveled to the Middle East on its behalf. The former president also helped the firm in South Korea.
The New York Times reported that as compensation, the elder Bush is allowed to buy a stake in the Carlyle Group’s investments, which include ownership in at least 164 companies throughout the world (thereby by giving the current president an indirect benefit). James Baker, the former Secretary of State who served as President George W. Bush’s point man in Florida’s election dispute, is a partner in the firm. The firm also gave George W. Bush help in the early 1990’s when it placed him on one of its subsidiary’s board of directors. Carlyle is also cashing in on the Homeland Security front and the enactment of the Patriot Act. Two Carlyle companies, Federal Data Systems and US Investigations Services, hold multi-billion dollar contracts to provide background checks for airlines, the Pentagon, the CIA and the Department of Homeland Security. USIS used to be a federal agency, until it was privatized in 1996 and snatched up by Carlyle. http://theinternationalcoalition.blogspot.com/2011/06/how-war-made-bush-family-rich.html
Shortly after the 9/11 attacks, it became known that Bush Sr. was financially linked to the bin Laden family. The Sept 28, 2001 Wall Street Journal (WSJ) reported that, “George H.W. Bush, the father of President Bush, works for the bin Laden family business in Saudi Arabia through the Carlyle Group, an international consulting firm.” https://www.judicialwatch.org/archive/2001/printer_1045.shtml
► FROM RUSSIA WITH LOVE – AUDIO BOOK
LISTENING ENTERTAINMENT
The beginning of cloud based music streaming technology starts in 1899.
There is Nothing new under the sun, so if you were born after 1985 this may sound like fossil hunting, however this really happened!
Swing Hostess is a comedy that shows a fictional company named Jukebox Emporium Company using the real technology – serving music from vinyl records through the telephone wire that allowed Jukebox users to hear the requested songs.
Watch Swing Hostess 1944 Comedy
Women’s Work
Lots of sexist, nasty comments about “those kind of women”
► 33:38 Jukebox User Request to the operator:
How About the Cook Stove Special?
Yeah, you know Home on the Range. 🙂
► 14:00 The Job Training explains the “File” system
In the beginning of Wired Music technology, you ordered your song to play by telephone. The company service had a central office with operators who loaded disks onto record players. It only served a limited area of office buildings and other businesses. The bandwidth of the premium phone lines was better than a standard phone line (300-3000 Hz), but still not exactly “hi-fi”, but for 78 records it was good enough.
► 34:00 Get the marines! we’ve got a war to wage.
► 34:24 The company phone operator receives a phone call from the Juke Box “User” who has paid .25¢, .10¢, or .05¢ cents to hear the vinyl record spin the requested song through the telephone wire to the customer/user who paid to hear it.
► From vinyl records, cassettes, CDs, Napster files, mp3, mp4, wav etc, ipod players, cell phones to Streaming companies where it is no longer necessary to own the file.
Now we pay $10.00 monthly for all you can eat modern cloud based streamingtech companies when a user can choose from millions of files.
The Shyvers Multiphone, released in 1939 by Kenneth C. Shyvers, was an early model of a coin-operated phonograph (also known as a jukebox). It allowed patrons at restaurants, cafes and bars to play music at their table, and worked through telephone lines. The user inserted the necessary amount of coins, and was connected to a team of all-female disc jockeys in Seattle, who manually put on the selected song on a phonograph, playing the music through the telephone connection. At the height of the product’s popularity, the 8,000 Multiphones were used in various establishments primarily on the west coast. – Shyvers’ 1947 patent for his music box design – Development of Telephone Line Broadcasting Systems -A Centralized Music Library
The Multiphone was a music selection device that operated over telephone lines mostly in Seattle, Tacoma and Olympia, Washington from 1939 to 1959.
It was created by Kenneth and Lois Shyvers of the Seattle, Washington area. This man also invented the pinball machine. The Multiphone is a version of a jukebox wall box.
These units were typically placed on tables, counters or bars. A patron could deposit a coin and speak with a telephone operator standing at a turntable at the Central Music studio, who would then play a selection in the speaker at the bottom of the Multiphone. These units became popular because they had a record range of 170 whereas jukeboxes only had a record range of 20-48.
How it worked
These units sat on tables, counters, and bars. The system required two leased telephone lines, one for the multiphone, one for the loudspeakers on the wall that were connected to the record playing station. First you would select from the 170 choices of tunes, drop the correct amount of dimes in the coin slot at the top of the machine, for your selections. The two lights in the middle of the unit would then light up, and thru one of the leased telephone lines the disc jockey would be alerted and then they would talk direct to you thru the speaker in the top of the unit to find out your choices. You would give the numbered choices, they would then be played, with the sound coming thru the four inch speaker in the bottom of the unit. These units became popular because they had a record range of 170 whereas jukeboxes only had 20-24. The jukebox was remodeled to play 180 45 rpm records and the multiphone could not compete and went out of business in 1959. This unit is buffed cast aluminum and has been rewired to plug in and see the lights work. There is also speaker wire attached to hook up to your unit if so desired. The condition is excellent for its age. All original except the cord, no dents, no rust and no pitting. … Empire State Building Shyvers Jukebox Selector Pic
The Multiphone
played an important role in the evolution of the jukebox, an invention that grew to become a staple of its time and is still often used in cafes and restaurants to recreate the temporality of the mid 20th century. The first recorded coin operated phonograph was presented in 1889, in a public demonstration at the Palais Royal Restaurant in San Francisco on November 23, 1889.
Louis T. Glass, the operator of this initial model, is credited as “the father of the concept.” Before delving into the phonograph world, Glass worked as a telegraph operator at Western Union, but then left the company with the advent of the telephone, investing in various telephone companies in Oakland and San Francisco. He eventually became the general manager of the Pacific States Telephone and Telegraph Co. After his successful investments, he then partnered with businessman William S. Arnold to further develop the coin-operated phonograph.
Though Glass is considered to be the “father” of the jukebox, he and Arnold only filed a patent for the “Coin Actuated Attachment for Phonographs,” not a completely functional coin-operated phonograph in 1889.
The people of the 1930s and 1940s had coin-operated music players.
The Multiphone and jukeboxes created a new “social practice” of listening to the same music together as media scholar Jose van Dijck says in his article
“Record and Hold: Popular Music between personal and Collective memory.”
According to Dijck, a listener’s memory of music cannot be removed from the context in which it was experienced. For the people during the age of the Multiphone and jukeboxes, the conversations at bars and diners about selecting a song to play made a special place in listeners’ minds. More importantly, this very practice of going to a public place to listen to music is the effect of the technology’s power to create new rituals and thinking as media scholar, Marshall McLuhan discusses in his pivotal work, “The Medium Is The Message.”
2019 The Music Modernization Act passes
Copyright Royalty Board (CRB) ruled to increase royalty payments to songwriters and music publishers from music streaming companies by nearly 44 percent, the biggest rate increase granted in CRB history. These rates will go into effect for interactive streaming and limited download services like Amazon, Apple, Google, and Spotify for the years 2018-2022, and will transform how songwriters are paid by these interactive streaming services.
This was a hearing pitting songwriters and music publishers against five technology companies, including three of the largest companies in the world (Apple, Amazon and Google), which sought to reduce the already low rate of royalties that they pay to songwriters for the use of their music on their streaming services. [monopolies vs. antitrust law]
Even though the songwriters were looking for a per-stream rate, that they did not get, the digital services were fighting to reduce rates, so it is still a victory for them. Streamlined rate terms replace calculations with a simplified formula based on the “greater of” concept. This, under previous conditions, may have involved dozens of computations involving different offerings has been reduced to two variables. Originally, songwriters asked the CRB to grant the greater of 15 cents per 100 streams or $1.06 per user per month, but they did gain ground. Over the last decade, since the beginning of music streaming, writer royalties had been strictly based on a percentage of each streaming service’s revenue, putting them at the mercy of subjective corporate decision-making.
Streaming Revenues
► Broadcasts are considered a public performance, and garner a higher performance license rate. For instance, Rodney Jerkins illustrated the discrepancy in September at the Recording Academy’s District Advocacy Day in Los Angeles by sharing an accounting statement for “As Long As You Love Me,” a top 10 hit for Justin Bieber in 2012. By 2013, Jerkins’ stake in the song generated $146,000 in performance royalties, while streaming revenue from the same period garnered $278 for 38 million Pandora plays and $218 for 34 million YouTube streams.
The CRB ruling legitimizes and secures higher rates while also allowing for the possible removal of a contested provision in the controversial Music Modernization Act.
1) For the next five years (from 2018 – 2022) the per-stream royalty rate for mechanical royalties will increase incrementally from the current 10.5% of Gross revenue to 15.1% of Gross revenue. For example, in the current model, if a music service made $100 in Gross Revenue, then 10.5% of $100 is the pot of money being paid for all the compositions, an amount of $10.50. If there are 100 streams in that one month, the service divides $10.50 by 100 streams to get a per stream rate of $0.105 per stream Under the new model, by 2022, the 10.5% will increase to 15.1%. Doing the same calculation means each stream is now worth $0.151 per stream, an increase of about 40%.
2) If the music services pay the royalties late, they will be charged a late fee.
3) If a record label negotiates a higher rate with Spotify for the recording (as there is no government regulation or rate for recordings), then the royalty rate for the composition can also increase, but with a limit. For example, if a record label gets 70% of Gross Revenue, then the amount being paid for the composition could theoretically increase to above 15.1%.
HOW LONG HAS THIS BEEN GOING ON?
The Telephone Line Music Systems were an interesting but short-lived feature in the history of the jukebox.
► 2019 The CRB mandated 15.1% rate, phasing in over the next five years, is one of the highest rates in the world and is now a rate that must be met under the law.
► The first recorded coin operated phonograph was presented in 1889, in a public demonstration at the Palais Royal Restaurant in San Francisco on November 23, 1889.
2019 ARSC CONFERENCE The Outreach Committee of the Association for Recorded Sound Collections (ARSC)
53rd annual ARSC Conference, May 8-11, 2019, in Portland, Oregon.
The conference programs will take place at the Benson Hotel, an historic hotel located within walking distance of shopping, dining, and entertainment in the Pearl District, Pioneer Square, and downtown Portland. It is within striking distance of several of the city’s many record stores and Powell’s City of Books. Museums include the Portland Art Museum, Oregon Historical Society, and the Oregon Museum of Science and Industry.
The pre-conference workshop, “All Things Digital: Digital Audio Workstation Basics,” will be held on May 8, 9:00 a.m.-5:00 p.m., at the Crystal Ballroom, in the Benson Hotel.
A block of rooms has been reserved at special rates for ARSC conference attendees. ARSC’s contracted dates extend from May 7-11. Additionally, the group rate will be honored three days before and three days after, based on availability. The deadline for reservations at the group rate is April 12. After that date, reservations will be accepted on a space available basis at the prevailing rate.
Register early and save! In order to receive the early registration discount, you must register for the conference by April 19. Registration options are available for members and non-members. A special fee waiver program is available for student members. Online registration is now available at:
ARSC is dedicated to the preservation and study of sound recordings — in all genres of music and speech, in all formats, and from all periods. Reflecting this broad mission, the upcoming conference offers talks and sessions that will appeal to both professionals and collectors.
Presenters include representatives from archives across North America and Europe, as well as record collectors, dealers, audio engineers and producers, academics, historians, and musicians.
This year’s plenary sessions are:
► The Music Modernization Act and You
Discogs — Collaboration and Crowdsourcing in the 21st Century
Presentations and session topics include:
The Fabulous Wailers and the Founding of the Northwest Rock ’n’ Roll Sound
Phil Moore: Portland’s Forgotten Groomer of the Stars and Musical Genius
Portland’s Native Son Mel Blanc: “Wascally Wabbit” Making “Wecords” 🙂
Recent Developments in Audio Retrieval via Optical Methods
Discography, Then and Now
Recent Developments in the Preservation of Wire Recordings, Magnabelts, and Dictabelts
The First Black-Owned Recording Ventures Reissued: Black Swans
Jack Penewell: The Paramount Test Pressings and Private Recordings of the Inventor of the Twin-Six Guitar
Lacquers: Playback and Content
How to Leverage Open Mass Digitization Audio Projects
A Century of Concert Spiritual Recordings: The Pioneers
The First Days of Disco
Preserving NBC Radio Coverage of the Founding of the United Nations
Media Preservation and Digitization Principles and Practices
Portland’s DIY Scene: The Punk Underground, and Rock and Roll
Mahalia Jackson’s Apollo Recordings
How Archiving Challenges of the Past Can Be Used to Shape Future Approaches
Laurel and Hardy on the Radio: Rare and Well Done
Bob Fass and Radio Unnameable: Saving NYC’s Radical Radio History
Surveying Archival Yiddish Audio Collections: A Treasure of Yiddish Songs and Stories
Where the Music Matters: KEXP Audio Archives Digitization
Inventing the Recording in 1900 Spain: The Era of the Gabinetes Fonográficos
► Thursday evening “Ask the Technical Committee”
► Friday evening open to the general public “Collectors’ Roundtable” Friday evening, join Mark Cantor for the music-on-film event, “Music is Where You Find It.” Most fans of music on film are well aware of the riches to be found within feature films, short subjects, SOUNDIES, and television broadcasts. But popular music — jazz, blues, country, ethnic, and just plain “pop” — can be found in many other film genres. In this session, we will explore some of the other sources — often neglected when music on film is discussed — where great performances can be found: fund raising films, industrial shorts, television commercials, raw newsreel footage, experimental and independent films, propaganda pieces, animated cartoons, and home movies. This program is drawn from the Celluloid Improvisations Music Film Archive, perhaps the largest private collection of musical content where 16mm sound film is the primary source. Join us for a session of rarities that includes appearances from Benny Goodman, Duke Ellington, Helen Humes, Don Shirley, Big Bill Broonzy, “Cannonball” Adderley, Spade Cooley, Eddie Lang, and many more!
► PRE-CONFERENCE WORKSHOP
“All Things Digital: Digital Audio Workstation Basics” is a full-day, hands-on workshop on May 8, at the Benson Hotel. The workshop will give attendees a practical overview of digital audio workstation use for archival applications. It is intended for archivists, collection managers, researchers, students, and anyone who needs to have a working knowledge of digital audio. No previous experience necessary. The workshop is limited to 50 attendees.
OPTIONAL PRE-CONFERENCE TOUR
On May 8, tour Cascade Record Pressing, the first large-production, automated record pressing plant in the Pacific Northwest. It is Oregon’s only vinyl record pressing plant, and produces high-quality records for discerning artists and labels. Learn about all aspects of the record pressing process. Cascade Record Pressing is located about 20 minutes southeast of downtown Portland in Milwaukie. Grace Krause, Project Manager at Cascade Record Pressing, is generously offering a pre-conference tour for a limited number of participants (maximum: 15). Participants meet in the Benson Hotel lobby at 1:15 p.m. for 1:30 p.m. departure for the tour. Transportation will be by shared Uber vehicles. Participants return to hotel at 3:30 p.m. Fee applies (covers transportation).
NEWCOMER ORIENTATION and MENTORING PROGRAM
ARSC invites first-time conference attendees and conference veterans to participate in the Conference Mentoring Program. The program pairs newcomers with long-time members, based on their shared interests. Mentors provide mentees with an orientation to the conference, the association, and its participants in informal meetings over the course of the conference. Only ARSC veterans who are committed to the mentoring program should volunteer.
AWARDS BANQUET
The conference will conclude on Saturday evening with the annual Awards Banquet. Winners of the 2018 Awards for Excellence and 2019 Lifetime Achievement and Distinguished Service awards will be honored. Finalists for the 2019 Awards for Excellence will be announced.
The Association for Recorded Sound Collections is a nonprofit organization dedicated to the preservation and study of sound recordings — in all genres of music and speech, in all formats, and from all periods. ARSC is unique in bringing together private individuals and institutional professionals — everyone with a serious interest in recorded sound.
Imperialst Family of Nicholas II or Nikolai II (Russian: Николай II Алекса́ндрович, tr. Nikolai II Aleksandrovich; 18 May [O.S. 6 May] 1868 – 17 July 1918),
Empress Alexandra was one of her granddaughters, and the uncle of Tsar Nicholas II was married to one of her daughters, so the family ties between the Romanov family and the English queen were pretty strong. Both Nicholas II and Empress Alexandra referred to the English queen as “granny” or “grandmamma”.
The last Emperor of Russia Nicholas II of Russia was given the nickname Nicholas the Bloody or Vile Nicholas by his political adversaries due to the Khodynka Tragedy, anti-Semitic pogroms, Bloody Sunday, the violent suppression of the 1905 Russian Revolution.
His son Alexander III, and his wife, tsaritsa Empress Alexandra Fyodorovna from in St. Petersburg, Imperial Russia who escaped to England.
Peaky Blinders were Real <peaky means looking sickley, pale, thin, starving>
The Peaky Blinders were a criminal gang based in Birmingham, England, during the great war. The name Peaky Blinders is popularly said to be derived from a practice of stitching razor blades into the peak of their flat caps, which could then be used as weapons, but actually appears to be describing a combination of their peaked caps and stylish clothing.
The King of England, Russian Aristocracy, White Movement.
He was forced to flee Russia after the revolution. The Soviets are undergoing a kind of civil war between the whites and the reds (capitalists vs. communists). Britain being capitalist wants to help out the whites to gain control but can’t do it publicly.
See Churchill Plot and the Economic League
The Romonovs live on the King’s Property the remaining Imperial Family were rescued on the HMS Marlborough in 1919. This was all thanks to Queen Alexandra’s iron determination to save her beloved sister.
Siberian Times Royal dog fled from Siberia into British exile, living in shadow of Windsor Castle By Kate Baklitskaya, 21 January 2014
Crown Prince’s spaniel saw the Romanov family gunned to death before his epic escape.
Rich Uncle Pennybags the mascot of the game Monopoly
In 1902 to 1903, Magie designed the game[2] and play tested it in Arden, Delaware.[3]
The game was created to be a “practical demonstration of the present system of land grabbing with all its usual outcomes and consequences”.
She based the game on the economic principles of Georgism, a system proposed by Henry George, with the object of demonstrating how rents enrich property owners and impoverish tenants.
She knew that some people could find it hard to understand why this happened and what might be done about it, and she thought that if Georgist ideas were put into the concrete form of a game, they might be easier to demonstrate.
Magie also hoped that when played by children the game would provoke their natural suspicion of unfairness, and that they might carry this awareness into adulthood.[3][4]
The Landlord’s Game has some similarities to the basic rules of the board game Zohn Ahl, played by the Kiowa Indians of North America.
There are hints that suggest Elizabeth Magie might have known Zohn Ahl and incorporated some of the game’s ideas.[5]
In 1903, Magie filed for a patent on the game[3] which was granted in 1904. Magie and other fellow Georgists formed a company,
Economic Game Company, in 1906 New York to publish the game. Besides Magie, the incorporators were E. H. Monroe of Chicago and E. G. Lenbusher of New York. Magie approached c to publish this and one other game in 1909.
Communism, Socialism, Capitalism
Dancer Margo Fontyne paid for guns for Tito in panama jail with husband helping cuba using arms dealer mr w.
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