When even the women’s request to keep their uniforms as the only mementos of their services was denied — among other indignities — Lady Gertrude Denman, who had led the Women’s Land Army through two world wars, resigned in disgust. “Blow, blow, thou winter wind,” wrote contributors to Land Girl Magazine, “thou art not so unkind as man’s ingratitude.”
Left Hemisphere and the Right Hemisphere of the Brain
When you are by yourself this is what you have on your own.
These are the “we” inside of “me” which would you choose? Which do you choose? and when?
Jill Bolte Taylor got a research opportunity few brain scientists would wish for: She had a massive stroke, and watched as her brain functions — motion, speech, self-awareness — shut down one by one. An astonishing story.Jill Bolte Taylor got a research opportunity few brain scientists would wish for: She had a massive stroke, and watched as her brain functions — motion, speech, self-awareness — shut down one by one. An astonishing story.
The more you use your right hemisphere the more peace you will project into the world and the more peaceful our planet will be. And that is an idea worth spreading.
Adults can can help the right brain hemisphere get strong and work well in children.
How to help keep children from getting angry? How Inuit Parents Teach Kids To Control Their Anger.
Moms mention one golden rule: Don’t shout or yell at small children.
The culture views scolding — or even speaking to children in an angry voice — as inappropriate. Parents who control their own anger are helping their children learn to do the same. The Inuit’s no-yelling policy is the secret of raising kids that internalized discipline for themselves.
How The Inuit Teach Kids Not To Get Angry How To Discipline Your Kids Without Yelling
The PURPOSE OF THE STORY NOT JUST THE STORYTELLING ITSELF HAS TO FOCUS ON EXPLAINING SOMETHING THAT IS UPSETTING FOR THE CHILD. FIGURING THAT OUT — SPEAKING TO THAT THING – THAT IS WHAT MAKES CHILDREN CALMER.
Briggs quickly realized something remarkable was going on in these families: The adults had an extraordinary ability to control their anger.
“They never acted in anger toward me, although they were angry with me an awful lot,” Briggs told the Canadian Broadcasting Corp. in an interview.
Even just showing a smidgen of frustration or irritation was considered weak and childlike, Briggs observed. By contrast, Briggs seemed like a wild child, even though she was trying very hard to control her anger. “My ways were so much cruder, less considerate and more impulsive,” she told the CBC. “[I was] often impulsive in an antisocial sort of way. I would sulk or I would snap or I would do something that they never did.”
Using #oralStories passed down from one generation of Inuit to the next, designed to sculpt kids’ behaviors in the moment. Sometimes even save their lives.
1) Teach kids to stay away from the ocean, where they could easily drown Instead of yelling, “Don’t go near the water!” Inuit parents take a pre-emptive approach and tell kids a special story that will explain the consequence of getting lost and separated from the family. The story is about what’s inside the water.
“It’s the sea monster,” Jaw says, with a giant pouch on its back just for little kids. “If a child walks too close to the water, the monster will put you in his pouch, drag you down to the ocean and adopt you out to another family,” Jaw says.
2) Not listening to Parents story ear inspections because too much ear wax
3) Don’t ask before taking food, long fingers could reach out and grab you
There is no scolding, no punishment, no time outs, instead the parents waited for a calm peaceful moment and begin to
TELL A STORY -PARENT’S PUT ON A PLAY – A LITTLE DRAMA
The Parent would reenact the child having a tantrum including the consequences of their behavior.
During the Drama the parent always had a playful fun tone. And the drama typically started by trying to provoke the child . Now the child has to think……. what should i do? Should I hit Mom? so if they do take the rock and hits Mama she reenacts the consequences and keep the kid thinking …. did the child want to hurt mom? did they want to hurt mom’s feelings?
Parent’s keep putting on these little plays until the child understands and learns why not to hit.
Plays – are the little dramas parents use to teach kids to keep their cool, to be strong mentally and emotionally. Not to react and be provoked easily. Kids get practice internalizing control over their anger because once you’re angry it’s hard to stop.
THE OPPOSITE OF A CALM, SECURE, CULTURE IS CAUSED BY THE RADICAL RIGHT WING MEDIA STORY TELLERS
Fox News: Radical Right Wing Media divided the country.
Roger Ails Fake News Propaganda Fair and Balanced, if you tell a lie big enough people will believe it.
HATE EXPERTS #FOXNEWS 14:18 Right Wing Conspiracy started with Goldwaters loss to Johnson in 1964 beginning with “alternative facts” complaint which snowballed into Fake News.
1970 Roger Ailes at 27 years old was hired to package Nixon with Fair and Balanced GOP Friendly News as a propaganda strategy – do their thinking for them and the blue print for Fox News.
1971 Memo from Powel Heritage foundation planned free market ideology attack on the free enterprise system.
Fairness Doctrine — Power of Media / Roger Ailes Limbaugh Story Teller
The consequences of mass media #OralStories #FoxRadio Brain Washing, #Propaganda, #FoxNews.
Do Republicans want to you angry? Do they want you to hurt others?
Fox News / Rush Limbaugh national right wing radio unofficial leader of the republican party to enilate the truth so you don’t know what to believe. Expert Propaganda Story Tellers exist to make you angry.
Murdock, Limbaugh created 2 hemispheres mainstream corporate media, and 97% of talk radio is far right wing because they sell fear and anger!
Master language experst frame issues
What scares people the most “alt right” “obama care” “the death tax” “entitlements” the working class don’t understand they have been manipulated.
Corporate Media doesn’t combat the lies the right wing puts out daily.
It never stops it is always engaging your left hemisphere, that is how brain washing works. Turn off the 24/7/365 “news” you have a better chance of cooling down and getting more control over yourself.
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
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
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.
► 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.
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.
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.
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 and play tested it in Arden, Delaware.
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.
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.
In 1903, Magie filed for a patent on the game 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.
What Putin Really Wants Russia’s strongman president has many Americans convinced of his manipulative genius. He’s really just a gambler who won big.
Association of Chief Information Security Officers, or ARSIB in Russian. Victor Minin, who has close ties to Russian intelligence, runs hacking competitions at universities all over Russia—his way, he says, of preparing future generations.
As Samuel Clemens cultivated his career as a successful writer and lecturer, he became more keenly aware of world politics. His attitude toward Russian monarchy shifted. Although he had devoted little attention to Russian politics between 1867 and 1881, a reading he delivered at the Hartford Monday Evening Club on March 22, 1886 indicates his opinion of the Russian aristocracy changed:
Power, when lodged in the hands of man, means oppression — insures oppression: it means oppression always: … give it to the high priest of the Christian Church in Russia, the Emperor, and with a wave of his hand he will brush a multitude of young men, nursing mothers, gray headed patriarchs, gently young girls, like so many unconsidered flies, into the unimaginable hells of his Siberia, and go blandly to his breakfast, unconscious that he has committed a barbarity …(2).
Clemens’s original manuscript indicates he was much more vehement in his call for assassination of the Czar than his published version. He urges Russian mothers to teach their children:
When you grow up, knife a Romanoff wherever you find him, loyalty to these cobras is treason to the nation; be a patriot, not a prig – set the people free (22).
INFLUENCE OF GEORGE KENNAN
A continued hardening of Clemens’s attitude against the Russian aristocracy, and indeed most of America’s, can be traced to a series of articles commissioned by Richard Watson Gilder, editor of Century Illustrated Monthly Magazine.
Boston Daily Globe, December 25, 1890, p. 3 CHRISTMAS GREETINGS … Mark Twain It is my heart-warm and world-embracing Christmas hope and aspiration that all of us, the high, the low, the rich, the poor, the admired, the despised, the loved, the hated, the civilized, the savage, may eventually be gathered together in a heaven of everlasting rest and peace and bliss, escape [sic] the inventor of the telephone. MARK TWAIN. Hartford, Dec. 23
Arizona State University: Fighting fake photos, one social stream at a time. “In 1855, an English photographer named Roger Fenton traveled to Crimea to document the war there. British troops dubbed one spot on the Sevastopol peninsula the ‘valley of death’ because it was under constant shelling. Fenton photographed the spot, a shallow defile littered with cannonballs. The photo (above), titled ‘Valley of the Shadow of Death,’ became famous as one of the first and most well-known images of war. The problem is it’s faked.”
The Power of the K12PlayGround platform is to support the commons, for the public good, and has the power over the currency of democracy: information.
Facebook, Twitter, and many other social platforms have sold out America’s national interests, and our own national common wealth.
Propaganda is any “information” that gets spread around through print, radio, TV, magazines, and digital social platforms that confuse the public, the purpose is to make people feel insecure about what is true.
These social monopolies made their money from stoking racial prejudice, and dividing society, with no antitrust oversight.
The Library of Congress, Folklorists, Teachers, and Students across America can combat digital platforms like Facebook and Twitter that spread propaganda.
We ask our Folklorists and the Library of Congress to lead civic projects in K12 schools and with the general public. Folklorists and invited to Submit and Share their own achievements and concerns with the nation.
We treat our chickens better than we do the refugee children locked in cages inside internment camps.
Our Chickens get to roam on the grass cage free: and don’t you know we eat them!
Children are what ….. would you say killed emotionally ?
Trump’s Presidential Policy and his cabinet colluded in a conspiracy. It is a conspiracy of criminals working with Donald Trump. It is a conspiracy of immense proportions.
Any of Trumps cabinet who supported, and participated in making arrangements to pay public companies into stealing children away from their family, hiding them from the press, shipping them in the middle of the night to far away states, not telling their parent or parents where they are, essentially losing track of these children is a conspiracy to undermine American law, American morale, American energy, American good will, American EVERYTHING. You can prove this was a conspiracy with their own strategy.
This is an act of treason.
Any American who thinks their government or Trump gets a pass to do something like like this is complicit. You are to blame.
The press should own the Narrative and report that this is a conspiracy. If they don’t they are useless in defending the rights and freedoms of Americans.
Any poor American who believes Trump is going to make things better for you, is a sucker. He’s had plenty of time to do it by now but… he hasn’t, and he never will.
Trump is a reality TV man who knows how to put on a show.
You like the show?
“He tries so hard and so many people are down on him.” Meaning Trump. She was crying over how Trump is being treated. ~ here
#GIGT Getting in Good Trouble:
OUR NEW PRAYER
GETTING IN GOOD TROUBLE !
GETTING IN GOOD TROUBLE !
GETTING IN GOOD TROUBLE !
GETTING IN GOOD TROUBLE !
GETTING IN GOOD TROUBLE !
GETTING IN GOOD TROUBLE !
GETTING IN GOOD TROUBLE !
GETTING IN GOOD TROUBLE !
GETTING IN GOOD TROUBLE ! AMEN
for K-16 and Community
Based Educators Community Works Journal—Online Magazine for Educators
REGISTER TODAY, SPECIAL RATES Through June 15th Curriculum Planning, Teaching Tools, and Inspiring Collaboration 2014 SUMMER INSTITUTES for K-16 EDUCATORS Place, Service-Learning, and Sustainable Communities Los Angeles and Vermont
City Hearts: Reaching Inner City Youth through the Arts 2014 SUMMER INSTITUTES for K-16 EDUCATORS Place, Service-Learning, and Sustainable Communities
“City Hearts: Kids Say Yes to the Arts” is an Arts enrichment program in the Los Angeles County area that was founded by Sherry and Bob Jason in 1984 and began offering classes in 1985. City Hearts hires teachers from Los Angeles’ Arts community to teach dance, acting, circus arts, musical theatre, Shakespeare, singing, crafts, and photography free to the community’s most impoverished children. The list of arts and artists continues to grow, connecting thousands of underprivileged students with professionals to inspire learning and integrate disaffected youth back into the community through the Arts. The following is a recent interview with founder Sherry Jason.
The Arts Should Be for Everyone
“I began teaching ballet at the age of eleven in my garage, charging 50 cents a class. Even then there was a family—the father was a schoolteacher, and the mother worked in Bob’s Big Boy as a car hop. They had three kids, and ballet lessons for their two girls would have cost their lunch money. Right then and there I decided that art should be provided to every child, regardless of their ability to pay. I waived their fee.”
SUGGESTED RESOURCES For further reading about the importance of the arts in brain development and interconnections between the arts and learning, see the following resources. –eds.
The Folklore and Education section produces an annual newsletter, awards the Dorothy Howard Folklore and Education Prize and the Robinson-Roeder-Ward Fellowship, works with partners in the field, and organizes sessions and events at the AFS annual meeting. The Latest Edition of the Folklore and Education Section Newsletter is available online: Spring 2014 (pdf). (See below for the archive of newsletters dating from 2001.)
The Latest Edition of the Folklore and Education Section Newsletter is available online: Spring 2014 (pdf). Gregory Hansen Editor
Rosemary Hathaway, the newsletter’s co-editor