text:
A Media Research Center staffer says John Boehner is darker-skinned than the new MSNBC host

By  Joan Walsh

April 3, 2013 1:23AM (UTC)

KAREN FINNEY (REUTERS/GUS RUELAS)

Hey, Reince Priebus: Here’s some more top-notch minority outreach from your partners at the right-wing Media Research Center.

MSNBC just announced that Karen Finney, a network political analyst and former communications director of the Democratic National Committee, will host a new weekend show. MRC director of media analysis Tim Graham immediately Tweeted:

  MSNBC touting Karen Finney as another African-American host. Would the average viewer be able to guess that? Or is Boehner a shade more tan?

  — Tim Graham (@TimJGraham) April 2, 2013

Finney is African-American, although MSNBC didn’t particularly “tout” that in its press release; it mentioned that she was the first African-American communications director of the DNC and is a member of the National Association of Black Journalists. I’m not sure what would cause Graham to even muse about her racial bona fides, let alone share his idiocy publicly. When mocked on Twitter, he just dug his hole deeper:

  Judge pic here: tv.msnbc.com/2013/04/02/kar…

  — Tim Graham (@TimJGraham) April 2, 2013

Graham’s buffoonery reminded me of when former Massachusetts Sen. Scott Brown mocked and questioned Sen. Elizabeth Warren’s American Indian background, and when Tucker Carlson accused Barack Obama of exaggerating his “black” accent when speaking to black ministers. “This accent is absurd,” Carlson told Sean Hannity last year. “This is not the way Obama talks. It’s put on, it’s phony.” I observed at the time that there seemed to be an epidemic of white guys ruling on the correct way for other people to identify themselves in ethnic terms. Graham makes it a trend.

In a 2010 Huffington Post piece Finney wrote about being the descendant of slaves on her father's side and Confederate Gen. Robert E. Lee on her mother's side.  Maybe it's too much to ask that Graham inform himself about the biological and cultural diversity of African-Americans. It's not too much to ask, though, that he shut up about his ignorance, but I won't hold my breath.

Joan Walsh

Joan Walsh is the author of "What's the Matter With White People: Finding Our Way in the Next America."

MORE FROM JOAN WALSH • FOLLOW JOANWALSH • LIKE JOAN WALSH

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Trending Articles from Salon

question: Who will be the new host of a new weekend show?

answer: Karen Finney.

question: What, according to the author, stands out about Finney?

answer: She is an African-American journalist.

question: How does the author believe MSNBC announced Finney is African-American?

answer: They shared she is part of the National Association of Black Journalists.

question: What's the author's main issue?

answer: Finney's being African-American was questioned on Twitter by Tim Graham due to the light color of her skin, and the author notes that there was a 2010 HUffington Post piece by Finney in 2010 that describes how she is the descendent of slaves on her father's side and US Confederate General Robert E. Lee on her mother's side. There is cultural and biological diversity in African-Americans.

question: Write a ~5 sentence summary.

answer: Media channel MSNBC announced the addition of Karen Finney to their morning show, noting  she is a member of the National Associations of Black Journalists. Tim Graham tweeted about Finney's lighter skin tone, and the author responds with this article, explaining there is cultural and biological diversity in African-Americans. In particular the author mentions that there was a 2010 HUffington Post piece by Finney in 2010 that describes how she is the descendent of slaves on her father's side and US Confederate General Robert E. Lee on her mother's side. The author also touches on the fact that Tucker Carlson accused President Obama of exaggerating his "black" accent when speaking to black ministers. The author finds this tone in the media to be myopic and small-minded.


split: train

text:
Sinosphere

[Li Tingting posing as Rosie the Riveter to mark the anniversary of her detention with four other feminists on the eve of International Women’s Day. The sign reads: “The full name of ‘Women’s Day’ is ‘International Women’s Labor Day!’ We don’t want your care and concern, we want rights!” Courtesy of Li Tingting]

-   March 7, 2016

BEIJING — Dressed as Rosie the Riveter, the icon of American women’s empowerment during World War II, Li Tingting’s raised fist in a photograph posted on Facebook on Monday signaled defiance — one year after the authorities detained her and four other Chinese feminists on the eve of International Women’s Day, causing an international uproar.

But while the women and their lawyers continue to protest the lack of resolution in the public disorder charges against them, Ms. Li welcomed a victory in a cause that feminists have advocated for more than two decades: China’s first law against domestic violence took effect on March 1.

Taken together, the two issues reflected a society where there is progress even as feminists struggle to advance women’s rights amid tightening restrictions on public advocacy. They also highlight differences between younger and older feminists who share similar goals but may differ in their approach.

On Monday, Ms. Li, 26, also posted a statement sarcastically thanking the Chinese government “for pushing the feminist movement in China to another peak” by detaining the women, and vowing that the women would persist in their cause, despite being “greatly restrained.”

The five women were detained on March 7, 2015, for planning to distribute leaflets the next day warning about groping on public transit. Their case gained traction online with the hashtag #freethefive, embarrassing the Chinese government in a year of official celebrations in New York for the 20th anniversary of the United Nations’ Fourth World Conference on Women, attended by President Xi Jinping of China and his wife, Peng Liyuan.

Ms. Li (also known as Li Maizi), Wang Man, Wei Tingting, Wu Rongrong and Zheng Churan were released on bail after a five-week incarceration that their lawyers said included ill treatment, medical neglect and harassment.

A year later, the charges against them remain, leaving them in legal limbo, their lawyers said. At the end of February, the lawyers issued a joint statement addressed to the Supreme People’s Procuratorate and the National People’s Congress, which is meeting in Beijing, calling the case a miscarriage of justice and asking why the prosecution had not withdrawn it.

“From then until now, not a single legal body of state has answered our questions,” Ge Wenxiu, a lawyer for Ms. Wei, said in an interview.

“This time we’ve sent our statement to the Supreme People’s Procuratorate because, in the Chinese system, investigating the limits to legal activities is done by the procuratorate,” Mr. Ge said.

Advocating feminism “in a mild way,” as others had for decades, had failed, and Chinese feminists needed “a more intense way” to achieve their goals, she wrote on Facebook in English to explain a high-profile approach that began in 2012 and has included actions such as appearing in bloodied bridal gowns, occupying men’s toilets and wearing giant paper underpants.

“Like all the social movements, the Chinese feminist movement has experienced climaxes and bottoms,” Ms. Li wrote. “Although it is greatly restrained at present, we believe that the feminism activists in China will promote it with our wisdom and brave heart.”

For Ms. Li, the new law was an achievement. She welcomed it, though her comments were measured, reflecting perhaps greater impatience and ambition among younger Chinese feminists. For example, many openly lobby for gay rights in a way older generations did not.

“It’s definitely good to have this law,” she said in an interview. She was happy that the law covered cohabiting partners, not just married couples. But she had concerns, including the fact that the law does not clarify whether it also protects same-sex partners.

To older feminists and lawyers who had long campaigned for legal measures against domestic violence, it was important that the “Anti-Family Violence Law” for the first time makes it possible for victims to obtain protection orders from abusers easily and quickly. On March 1, the day it took effect, the first such order was granted, to a Ms. Gu in Beijing whose husband had beaten her for 35 years, the Legal Evening News reported.

For Qi Lianfeng — a lawyer who represented an American woman, Kim Lee, who in 2013 was granted a divorce in Beijing on grounds of abuse by her husband, Li Yang — the law broke ground by defining domestic violence.

“It’s a big help that the law defines domestic violence for the first time,” said Mr. Qi, a lawyer at Beijing Ming Hang Law Firm.

The definition says, “Domestic violence as defined by this law is when people within a family beat, tie up, abuse or limit personal freedoms, or regularly verbally abuse or terrorize, causing physical or mental harm.” It includes violence against women, men, children, the elderly and the disabled.

For Zhang Rongli, a law professor at China Women’s University, the law was “really big progress.”

“In traditional and patriarchal countries like China or India, it’s really big progress that people can be punished for this violence,” she said in an interview.

There had been significant pushback, Ms. Zhang said. Some warned the new law would cause family disharmony.

“Some people are saying it will create problems, for example in the education of children,” she said. Corporal punishment of children is common in China. “Some even say that we’re changing Chinese tradition! This is absurd.”

“People used to have nowhere to go,” Ms. Zhang added. “Now they have protections.”

Ms. Zhang said the government was moving fast to spread word of the law with education and training. She was set to travel to Inner Mongolia soon to train court and police personnel in how to put it into effect, she said.

Some of the measures the lawyers and Ms. Li said the law should have included are those addressing sexual violence in a marriage such as rape, abusive economic control and the denial of medical treatment, “a big problem,” according to Mr. Qi.

question: What does the article say about the problems women face in China?

answer: Domestic abuse and violence are big problems. The article talks about physical violence as well as emotional abuse and sexual assault in such cases. The feminist movement faces the authoritarian pushback of the Chinese government despite the progress achieved with the domestic violence law.

question: What does the article say about public violence?


text:
Hi, it's my first post here, hope you enjoy it!
___________________________________

Grandpa Adam watched in disdain as his grandchildren sat in silence. They spoke only electronically: to update their friends every 5 minutes on the progress of their e-homework in the hit video-game "School Simulator".

"It's way better than real school - and more addictive!" posted 10 year-old Sharpiqua-Massachusetts.

Grandpa Adam scowled. "In my day, we kept our private lives private" he said as his FaceGoogle posted this as his latest status; "and we kept our private parts private too." - he motioned to the boob-tube hotpants combo his 14 year-old grandson was sporting.

"Uh oh, Grandpa's at it again" muttered Andromeda-Shoreditch to himself and 31 school-friends simultaneously.

"Just don't mention Pokémon!" tweeted little Sharpiqua-Massachusetts helpfully.

On hearing this, Adam's face went bright red as his WebMD bracelet warned him that this might be a sign of Madagascan Lemur Flu.

"THERE'RE ONLY 151 POKEMON YOU WHIPPERSNAPPERS!” he bellowed. “I HAVE PROOF! JUST LOOK UNDER THE TRUCK BY THE SS ANNE!! WHAT THE HELL KIND OF NEW POKEMON IS ‘BRICK’ THE ‘BRICK POKEMON’ ANYWAY?!?"

Grandpa Adam's daughter and son-in-law sighed and resigned themselves to carting him out of the room on their Amazon Anti-Grav Elderly-Scooper, again.

After watching Grandpa Adam get whisked back to the drive-thru old folk’s home, Sharpiqua-Massachusetts turned to Andromeda-Shoreditch.

“Shpeesh, I dunno why he’s so judgemental about what kids are into.”

“I know, right?” responded Andromeda-Shoreditch. “That said though, have you seen the kind of TV meant for nursery children these days? They’re premiering Nickolodean’s ‘A Serbian Tale’ next week, and I think it’s just a bit much. Not like the milder ‘Teletubby Sluts Xtreme’ we had when we were little.”

title: Image of the Future

question: When does the story take place?

answer: Some not too distant future where the youth have more risque trends, there are more pokemon, everything is connected via the web, school is offered in online format only, and they have anti-grav technology.


text:
The AMBASSADOR EXTRAORDINARY AND PLENIPOTENTIARY OF THE RUSSIAN FEDERATION TO PAKISTAN is the official representative of the President and the Government of the Russian Federation to the President and the Government of Pakistan.

The ambassador and his staff work at large in the Embassy of Russia in Islamabad.[1] There is a consulate general in Karachi, and an honorary consul is based in Lahore.[2]

The post of Russian Ambassador to Pakistan is currently held by , incumbent since 11 April 2019.[3]

History of diplomatic relations

Diplomatic relations were established on an embassy level on 1 May 1948, when the Soviet embassy was opened in Karachi, the then capital of Pakistan. The first ambassador, , was appointed on 22 November 1949. In August 1960 the capital of Pakistan was moved to the newly founded city of Islamabad, where the embassy is now based.

List of representatives (1949 – present)

Representatives of the Soviet Union to Pakistan (1949 – 1991)

  Name                  Title        Appointment        Termination        Notes
  --------------------- ------------ ------------------ ------------------ -------
                        Ambassador   22 November 1949   13 February 1950
                        Ambassador   13 February 1950   20 January 1956
                        Ambassador   20 January 1956    15 February 1960
                        Ambassador   15 February 1960   23 November 1961
                        Ambassador   28 November 1961   6 August 1965
                        Ambassador   6 August 1965      29 May 1971
  Aleksei Rodionov      Ambassador   29 May 1971        5 December 1974
                        Ambassador   5 December 1974    11 July 1980
  Vitaly Smirnov        Ambassador   11 July 1980       16 May 1985
  Abdurrahman Vazirov   Ambassador   16 May 1985        12 July 1988
  Victor Yakunin        Ambassador   12 July 1988       25 December 1991

Representatives of the Russian Federation to Pakistan (1991 – present)

  Name             Title        Appointment         Termination         Notes
  ---------------- ------------ ------------------- ------------------- -------
  Victor Yakunin   Ambassador   25 December 1991    29 April 1993
                   Ambassador   29 April 1993       18 September 1998
                   Ambassador   18 September 1998   4 December 1999
                   Ambassador   8 June 2000         12 July 2004
  Sergey Peskov    Ambassador   12 July 2004        30 September 2008
  Andrey Budnik    Ambassador   30 September 2008   14 December 2013
  Alexey Dedov     Ambassador   14 December 2013    11 April 2019
                   Ambassador   11 April 2019

[1]

[2]

[3]

title: List of ambassadors of Russia to Pakistan

question: Where does the Ambassador Extraordinary and Plenipotentiary of the Russian Federation to Pakistan work?

answer: in the Embassy of Russia in Islamabad

question: When was a Russian embassy established in Pakistan?

answer: 1 May 1948

question: When was the first Russian Ambassador to Pakistan appointed?

answer: 22 November 1949

question: What is the capital of Pakistan?

answer: Islamabad

question: Write a ~1 sentence summary.

answer: Ambassador Extraordinary and Plenipotentiary of the Russian Federation to Pakistan is the official representative of the President and the Government of the Russian Federation to the President and the Government of Pakistan.


text:
CLANNAD () are an Irish band formed in 1970 in Gweedore, County Donegal by siblings Ciarán, Pól, and Moya Brennan and their twin uncles Noel and Pádraig Duggan.[1] They have adopted various musical styles throughout their history, including folk, folk rock, traditional Irish, Celtic and new-age music, often incorporating elements of smooth jazz and Gregorian chant.[2]

Initially known as _Clann as Dobhar_, they shortened their name to Clannad in 1973 after winning the Letterkenny Folk Festival with the song “Liza”.[3] By 1979, they had released three albums and completed a successful US tour. From 1980 to 1982, they operated as a six-piece with their sister/niece Enya Brennan on additional keyboards and vocals, before she left the group to pursue a solo career. Later in 1982, Clannad gained international attention with their single “Theme from Harry's Game”,[4] which became a top-five hit in Ireland and the UK. The song was featured on _Magical Ring_ (1983), which was met with much acclaim.[5] They experimented with more new-age and pop-influenced sounds in the 1980s and 1990s, as evident on _Macalla_ (1985), and _Anam_ (1990).[6][7] This transition would ultimately go on to define their sound as almost purely 'Celtic', making them innovators of that genre.[8] After _Landmarks_ (1997), the band went on a hiatus in order to pursue solo projects.[9] They regrouped in 2007 as a four piece again, with Moya, Ciarán, Noel, and Pádraig completing a world tour in 2008.[10][11] In 2013, Pól rejoined and they released _Nádúr_, their first studio album in fifteen years.[12] Pádraig Duggan died in 2016, leaving the group to embark on their 2020 farewell tour as a quartet.[13]

Clannad have won numerous awards throughout their career, including a Grammy Award, a BAFTA, an Ivor Novello Award, and a Billboard Music Award.[14] They have recorded in six different languages,[15] and scored eight UK top 10 albums. They are widely regarded as a band that have brought Irish music and the Irish language to a wider audience, often experiencing more popularity abroad than in their native Ireland.[16][17]

History

Formation

[Leo's Tavern in Meenaleck, County Donegal, the pub owned by Leo Brennan where members of Clannad first performed] Clannad was formed in 1970 by siblings Ciarán Brennan, Pól, and Máire Brennan and their twin uncles Noel and Pádraig Duggan. The five grew up in Dore, an area of Gweedore, a remote parish in County Donegal in the northwest corner of Ireland. It is a Gaeltacht region where Irish is the main spoken language.[18][19] Raised as a Roman Catholic family of musicians, the Brennans' mother, Máire “Baba” Brennan (née Duggan), was a music teacher while their father, Leo Brennan, was a member of the Slieve Foy Band, an Irish showband. Later in their careers the two bought and ran Leo's Tavern, a pub in nearby Meenaleck where the Duggan and Brennan children would perform covers of songs by the Beatles, the Beach Boys, and Joni Mitchell.

The band adopted the name Clann as Dobhar, Irish for 'Family from Dore', when they entered a local music competition, and they used that name until 1973.[20] The Brennans' and Duggans' interest in traditional Irish music reached beyond their native Gweedore, and they performed elsewhere including Tory Island, off Donegal's coast. Armed with some 500 Gaelic songs, they would later begin to arrange these songs for a full band.[21]

1973–1982: Early years and six-piece band with Enya

In 1973, Clannad came in first place in the annual folk festival in Letterkenny, County Donegal which led to a deal with Phillips Records.[22] Having now secured a label the group prepared material for their debut album and recorded at Eamonn Andrews Studios in Dublin, choosing Gaelic and English songs and a cover of “Morning Dew” by Bonnie Dobson. Released in 1973, _Clannad_ was met with initial resistance from the label due to the Gaelic songs and the group soon found themselves more popular outside Ireland, particularly Germany.[23] Later in 1973, Clannad competed for Ireland in the heat stages of the 1973 Eurovision Song Contest for Ireland with “An Pháirc” from _Clannad_ as their entry. The band followed their debut with _Clannad 2_ in 1974, released by Gael Linn Records and produced by Dónal Lunny, founder of Planxty and The Bothy Band. Like their first, _Clannad 2_ features a mixture of English and Gaelic songs, this time with Lunny and Bothy Band members on additional instruments.

_Dúlamán_ was released in 1976 and named after the Irish folk song “Dúlamán” which became a stage favourite at Clannad concerts. It was recorded at Rockfield Studios in Wales and is their first album produced by Nicky Ryan. At the time of its release, Clannad capitalised on their growing popularity in Europe with their debut tour across the continent.[24] At one show, the standing ovation they received after an extended rendition of “Níl Sé Ina Lá (Níl Sé'n Lá)” from their debut album convinced the group to continue full-time.[25] Recordings from a tour of Switzerland in 1978 were released in the following year as part of their first live album, _Clannad in Concert_. Also in 1979, Clannad underwent a 36-date tour of North America, the most extensive by an Irish band at the time.[26]

In 1980, Clannad became a six-piece band following the addition of Enya Brennan on keyboards and additional vocals. Ryan wished to expand the group's sound with vocals and electronic instruments and invited her to join. Enya's first recordings with the group were made as a guest musician for their _Crann Úll_ (Irish for _Apple Tree_), their fifth studio album recorded in Cologne, Germany and released in 1980 on Tara Music. “Ar a Ghabháil 'n a 'Chuain Domh” featured a particularly full band arrangement reflective of their live jams at the time. “Lá Cuimhthíoch Fán dTuath” showed the first hints of the more atmospheric side of the band's arrangements.

By the time Clannad entered Windmill Lane Studios in Dublin to record _Fuaim_ (Irish for _Sound_), Enya had become a full-time member. The album displays the group's further experimentation with electronic instruments, and Enya is featured on lead vocals on “An tÚll” and “Buaireadh an Phósta”. Neil Buckley plays the clarinet and saxophone with Noel Bridgeman on percussion and Pat Farrell on electric guitar. _Fuaim_ was released by Tara Music in 1982. After a further European tour, their managers Nicky Ryan and Roma Ryan left the group. Nicky had brought Enya into the group to expand their sound, yet the group soon settled into their “boring” musical formula once more and called a meeting during the tour. After a group vote, the Ryans split. Enya followed suit, feeling increasingly restricted in a band setting and pursued a solo career with the Ryans as collaborators, causing a rift between the two groups for a short time.[27]

1982–1988: “Theme from Harry's Game”, _Magical Ring_, and commercial success

In 1982, the now five-piece Clannad signed to RCA Records. They then accepted an invitation to record a song for _Harry's Game_, a three-part television drama depicting The Troubles in Northern Ireland. Ciarán, Pól, and Máire got together and wrote “Theme from Harry's Game”. The song became a commercial success upon its release as a single in October 1982, peaking at number 2 in Ireland and number 5 in the UK. It remains the only UK hit single to be sung entirely in Irish. From 1983 to 1987, rock band U2 used the song at the end of every concert.[28] Following their newfound success with “Theme from Harry's Game”, Clannad included the song on their seventh studio album, _Magical Ring_, released in 1983. The single and album marked the start of their international career, and _Magical Ring_ became their first to be certified gold by the British Phonographic Industry (BPI).[29]

After _Magical Ring_, Clannad were commissioned to score the 26-episode drama series _Robin of Sherwood_, aired from 1984 to 1986. They once again began to stretch themselves, creating music for a range of characters and events. For the first time in the career, the album was recorded in its entirety in English. The soundtrack was released in 1984 as _Legend_ and won the band a BAFTA award for Best Original Television Music, the first Irish band to win it. In 2003, Clannad revealed that there were other pieces recorded for the third series of _Robin of Sherwood_ that were not included on _Legend_, yet the master recordings have yet to be found.[30]

[Clannad in 1982 at the Leeds Folk Festival] In 1985, Clannad released _Macalla_ (Irish for _Echo_) which was recorded in Switzerland, England, and Ireland. It contained all original material except one traditional song and yielded the group a hit single “In a Lifetime”, a duet with U2 singer Bono which begins with Máire being heard teaching Gaelic to Bono during the introduction.[31] The album features numerous backing musicians who have continued to tour with them, including ex-King Crimson saxophonist Mel Collins, Moving Hearts' guitarist Anthony Drennan, and drummer Paul Moran. Also on board was producer Steve Nye, who oversaw the pop-flavoured “Closer to Your Heart” and the ballad “Almost Seems (Too Late to Turn)” and became hit singles, the latter serving as the Children in Need charity single in 1985.

1988–1990: _Sirius_, _Atlantic Realm_, and _The Angel and the Soldier Boy_

_Sirius_ was released by RCA in 1988 and was recorded in Los Angeles with rock producers Greg Ladanyi and Russ Kunkel, the drummer for James Taylor's band. The album included a duet with Bruce Hornsby and guest appearances by Steve Perry and J.D. Souther. The title track was Pól's encouraging call to the environmental movement, and to the Greenpeace ship of the same name. “Something to Believe In” features Hornsby on vocals and keyboards. Completed with the help of some of the biggest names on the Californian rock scene, _Sirius_ was another different creation, just like their previous 3 albums. Received with critical apprehension, _Sirius_ was initially, stoutly defended by the band as a change, but since then members have expressed their disappointment with the album. In 1989, Clannad embarked on their first worldwide tour.

Between 1988 and 1991, Clannad were involved in side projects including _Atlantic Realm_ (1989) and _The Angel and the Soldier Boy_ (1990). _Atlantic Realm_ was a small album made for a BBC documentary about the Atlantic Ocean. The recording was mainly instrumental as their voices as instruments. _The Angel and the Soldier Boy_ was a half – hour animation without voice overs, with the music telling the story. Both albums proved to be a minor success, and also demonstrated once again that Clannad were one of the most acclaimed soundtrack artists in the music industry. Two greatest hits albums were released at around this time: _Past Present_ and _The Collection_.

In 1990, Pól initially left the group to pursue a solo career and work with the WOMAD (World of Music, Arts and Dance) organisation in Britain.[32] Pól rejoined the band in January 2011, when Clannad performed at Temple Bar TradFest. Initially a single concert, it was extended with an extra two nights.[33]

1990–2000: Four-piece band, _Anam_, _Banba_, and _Lore_

[Clannad as a quartet in London, March 2008]

After Pól's exit, Clannad continued as a quartet and recorded _Anam_ (Irish for _Soul_) in Dublin and England. It marked a return to their sound heard on _Magical Ring_ and _Macalla_, and features greater contributions from Ciarán who is credited as a writer on nine of the album's ten original songs. The US edition, released in 1992, features “In a Lifetime” with Bono and “Theme from Harry's Game”, which had been included in the film _Patriot Games_ and a Volkswagen television advert, boosting the group's recognition in the country.[34] The latter won a Billboard Music Award for World Music Song of the Year. Clannad dedicated “Rí na Cruinne”, the opening track, was included on the _One World One Voice_ charity album to raise awareness of environmental issues.

In 1991, Clannad released a duet with Paul Young, a cover version of the Joni Mitchell song “Both Sides Now”. The track had been put together for the Blake Edwards film _Switch_, featuring Ellen Barkin. In the storyline, a nasty male chauvinist, is reincarnated as an attractive female. The use of the Joni Mitchell song was therefore suitable and proved a hit for the group. Released in 1993, _Banba_ became Clannad's 13th studio album and received rave reviews and the band's first Grammy nomination. The album jogged comfortably to the number one spot in the World Music Chart. _Banba_ is a romantic mythical name for Ireland. In the track “I Will Find You,” written especially for the film _The Last of the Mohicans_, Máire sings in English, Mohican and Cherokee. Once again all the songs were written and produced by Ciarán Brennan, except “Sunset Dreams”, written by Noel Duggan. Moya Brennan described the album as _“a fusion of various styles of music, growing out of a traditional Gaelic root.”_ _Banba_ has been described as one of Clannad's most visual albums, and has sold over 1 million copies to date.

The album _Lore_ (1996) gave some thought to the Native American Indians. On “Trail of Tears”, when Noel Duggan imagines how it felt to be exiled from one's ancestral land, he was also thinking about these people and their connection with the Irish. It opens with “Croí Cróga” ('braveheart' in English) which was written as a theme tune for the Mel Gibson film _Braveheart_ which, for unknown reasons, never made it onto the soundtrack. _Lore_ features American drummer Vinnie Colaiuta and Mel Collins. It contained a strong jazz element, with songs such as “Seanchas” blending contemporary sounds with traditional Irish music and the Irish language. Clannad toured Europe, Japan, Australia, and New Zealand in 1996 to promote the _Lore_ album, but due to apparent disagreements with Atlantic Records, plans to tour the USA were scrapped. In 1996, they received a lifetime achievement award from the Irish recording industry (the IRMA).

Clannad returned in 1997 with another album, _Landmarks_. In the song “Of This Land”, Máire sings about Ireland, of its past and of its future. The track “Fadó” (translates as _Long Ago_), demonstrates the influences of old Celtic history on Clannad's music. It became one of the most celebrated Irish albums in history and in 1999, it won the group a Grammy award for Best New Age Album.

In 1999, the group composed the song “What Will I Do” for the Kevin Costner film, _Message in a Bottle_.

2000–present: Hiatus and return to activity

[Clannad performing at Leo's Tavern in 2005]

After _Landmarks_, Clannad ceased to make any more studio albums, but had promised to return in the near future. In 2003, they released the best of album, _The Best of Clannad: In a Lifetime_, which is one of their biggest-selling albums to date.

In 2005 the two Duggan twins, Noel and Pádraig, as the musical duo The Duggans, got together for the first time outside of Clannad and recorded the album _Rubicon_.

During the 2006 solo tour of Moya Brennan in The Netherlands, the concert in De Doelen, Rotterdam, was dedicated to Leo and Baba Brennan. The whole of Clannad, including former member Pól and sister Deirdre, performed five songs during the second half. The audience, Leo and Baba were unaware of the plan to bring Clannad on-stage, which resulted in multiple standing ovations from the audience.[35]

The five original members of Clannad appeared on stage together at the Celtic Connections Festival in Glasgow on 19 January 2007. The concert was greeted by 2,000 fans who travelled from places such as the US and Brazil to see the legendary group perform some of the most loved songs in their history. While at the Meteor Ireland Music Awards that were held in Dublin on 1 February 2007 Clannad were presented with the coveted Lifetime Achievement Award.

[Clannad returned as a five piece at the Celtic Connections festival in Glasgow on 19 January 2007] In March 2008, Clannad began their first UK tour in over 12 years, starting at The Sage in Gateshead.[36] The tour culminated in a dozen dates, including concerts in Ireland and Thailand.

In May 2008, Clannad's version of the traditional song “Down by the Salley Gardens” was featured in the listening paper for Music GCSE from the Oxford, Cambridge and RSA Examinations exam board. On 25 August 2008, Clannad released a new compilation album of their early music to contrast the music of their previous compilation album at the beginning of 2008, _Beginnings: The Best of the Early Years_.[37]

In June 2009, Clannad was nominated for an IMA Award in the category _Best Revival Act_, along with other revived bands Planxty, Moving Hearts, Arcady and Stockton's Wing.[38][39]

In January 2011, Clannad's concert at Christ Church Cathedral TempleBar TradFest in Dublin was extended by two nights due to fast ticket sales. The group appeared on RTÉ's _The Late Late Show_ on 21 January 2011 performing the “Theme from Harry's Game” with choral group Anúna. It was their first appearance on the show in 14 years.[40]

On 18 June 2013, Clannad announced that their brand new studio album Nádúr (their first new album since the release of Landmarks in 1998) was to be released worldwide in September 2013.[41] An international tour commenced in October 2013 starting in Australia and New Zealand.

In 2019, Clannad embarked on their _In a Lifetime_ farewell tour, but it was postponed in March 2020 due to the COVID-19 pandemic.[42] A new compilation album entitled, _In a Lifetime_ which included two new tracks, was released.[43]

Musical style and legacy

[The original Clannad line-up at the 2006 Meteor Awards:Pádraig Duggan, Pól Brennan, Moya Brennan, Ciarán Brennan and Noel Duggan]

When Clannad first started out in the early 1970s their music and sound stemmed solely from their traditional background. Despite this they managed to popularise such old songs as “Dúlamán”, “Teidhir Abhaile Riú” and “Coinleach Glas An Fhómhair”, and these songs have remained popular numbers at their concerts. On the departure from their folk and traditional background in 1982, they created a new sound that would define the meaning of new-age and Celtic music forever. When “Theme from Harry's Game” and “Newgrange” were first heard, radio stations all over the world became fascinated by the earthly and spiritual sound that they had never encountered before.[44] One critic said “the tunes were seeped in the old ways, but the production and the arrangement was fresh and inventive”. This transition in Clannad's career is often seen as the birth of Celtic music, and to this day they are regarded as the pioneers of that genre. They are also noted for their melodious harmonies, which have been at the heart of their music since their first album. _Legend_ (1984) was based on English folklore. With later albums, Clannad delved further into the realms of electronica and even pop. Due to this, many of their singles entered pop charts all over the world, and widened their fan base once again. Despite their success with this genre of music, the group managed to maintain a link with their Gaelic roots throughout their career, giving traditional Irish songs such as “Tráthnóna Beag Aréir” and “Buachaill Ón Éirne” the Clannad treatment.

Even though the rock-infused _Sirius_ and the pop-inclined _Macalla_ were successful for Clannad, it was their breakthrough style that they created themselves that has left the greatest legacy. Clannad's influence can be found in the film _Titanic_, where James Horner admitted to basing the soundtrack on Clannad's style.[45] The soundtrack was so like Clannad's work that it has been incorrectly credited to them for many years.[46] Clannad's 'Celtic mysticism' is a recurring theme in the film _Intermission_.[47] The “otherworldly” and “ethereal” Clannad sound comes from the ancient hills and glens that surround Gweedore, according to lead singer Moya Brennan.[48] Traces of Clannad's legacy can be heard in the music of many artists, including Enya, Altan, Capercaillie, The Corrs, Loreena McKennitt, Anúna, Riverdance, Órla Fallon and even U2.[49][50] Bono stated that Moya has “one of the greatest voices the human ear has ever experienced”.[51]

A Japanese visual novel released in 2004 and a film of 2007 and anime series, released in 2007–2008, based on it used the name Clannad as their titles.

Private lives

Band members

The private life of lead member Moya was detailed in her autobiography in 2000. In it, Brennan recalls her upbringing as the eldest of nine siblings in rural County Donegal, Ireland. Along with the highs of success in the music business, she also recounts low periods where alcohol, drugs and an abortion made her re-evaluate her life. She emerged from dark years as a committed Christian with rekindled faith. She remarried in 1991 (having previously been married to a Dublin musician) and now resides in Dublin with her husband, photographer Tim Jarvis, and children, Aisling and Paul.[52]

The Brennan family

The Brennans are Ireland's most successful music family, with combined sales of over 90 million records.[53] Máire (or Baba) Duggan and Leo Brennan are the parents of the Brennan siblings Máire (or Moya), Leon, Ciarán, Deirdre, Pól, Olive, Eithne (or Enya), Bartley and Brídín. Baba was the local school's music teacher and Leo led the celebrated Slieve Foy show band. The catalyst that would propel the entire family onto the stage was the opening of Leo's Tavern in 1968 in Meenaleck, Co. Donegal.

The other six children can all sing and play one or more instruments—Olive and Deirdre have sung on Moya's solo albums and Brídín, who for years toured with Clannad as a backing vocalist, has released a solo record, _Eyes of Innocence_. Enya is also Ireland's best selling solo artist, earning international success.

Máire 'Baba' Duggan is currently the lead member of the local Catholic choir, Cór Mhuire Doire Beaga, but no longer continues to teach in the local community school Pobalscoil Ghaoth Dobhair. The choir has been frequently joined by Leo Brennan and the Brennan siblings.

Leo Brennan died on 22 June 2016 (age 90) at his home at Upper Dore, Gweedore in West Donegal, Ireland.[54]

Members

Current members

-   Ciarán Brennan – bass, guitar, keyboards, mandolin, vocals (1970–present)
-   Moya Brennan – vocals, harp (1970–present)
-   Pól Brennan – flute, guitar, percussion, whistles, vocals (1970–1990, 2011–present)
-   Noel Duggan – guitar, vocals (1970–present)

Former members

-   Pádraig Duggan – guitar, mandola, mandolin, vocals (1970–2016; his death)
-   Enya Brennan – percussion, keyboards, vocals (1980–1982)

Discography

Studio albums

-   _Clannad_ (1973)
-   _Clannad 2_ (1974)
-   _Dúlamán_ (1976)
-   _Crann Úll_ (1980)
-   _Fuaim_ (1982)
-   _Magical Ring_ (1983)
-   _Legend_ (1984)
-   _Macalla_ (1985)
-   _Sirius_ (1987)
-   _Atlantic Realm_ (1989)
-   _The Angel and the Soldier Boy_ (1989)
-   _Anam_ (1990)
-   _Banba_ (1994)
-   _Lore_ (1996)
-   _Landmarks_ (1997)
-   _Nádúr_ (2013)

Live albums

-   _Clannad in Concert_ (1979)
-   _Clannad: Live in Concert_ (2005)
-   _Clannad: Christ Church Cathedral_ (2012)
-   _Turas 1980_ (2018)

Videography

-   _Pastpresent_ (1989)
-   _Clannad: Christ Church Cathedral_ (2012)

Bibliography

-   _Pastpresent_ (1989)

    Sheet music book for 'Past Present'

-   _A Woman's Voice_ (1991)

    Eddie Rowley in conversation with Máire Brennan

-   _Ireland: Landscapes of God's Peace_, Máire Brennan (2002)

    sometimes called _God of Peace_

-   _The Other Side of the Rainbow_, Máire Brennan with Angela Little (2001)

    Later subtitled: The Autobiography of the Voice of Clannad

-   _Moments in a Lifetime_, Noel Duggan (2008)

    Detailing Clannad's journey as a band

Awards and nominations

WON

1.  1982: 1982 Ivor Novello Awards, _Best Soundtrack_ for “Theme From Harry's Game”
2.  1984: 1984 BAFTA Awards, _Best Television Music_ for “Robin of Sherwood”
3.  1992: Billboard Music Award, _World Music Song of the Year_ for “Rí na Cruinne”
4.  1999: Grammy Awards of 1999, _Best New Age Album_ for “Landmarks”
5.  2007: Meteor Music Awards, _Lifetime Achievement Award_
6.  2014: BBC Radio 2 Folk Awards, _Lifetime Achievement Award_

NOMINATIONS

1.  1982: 1982 BAFTA Awards, _Best Television Music_ for “Harry's Game”
2.  1994: Grammy Awards of 1994, _Best New Age Album_ for “Banba”
3.  1996: Grammy Awards of 1996, _Best New Age Album_ for “Lore”
4.  2009: Ireland's Music Awards, _Best Revival Act_

[1]

[2]

[3] https://www.theguardian.com/music/2016/aug/16/padraig-duggan-obituary

[4]

[5] http://www.radioswissclassic.ch/en/music-database/orchestra/46342e0dcf4955c61592f65dd59163ecb5582/biography?app=true

[6]

[7]

[8] https://tonedeaf.thebrag.com/feature-clannad/

[9] https://www.chicagotribune.com/news/ct-xpm-1993-02-19-9303182785-story.html

[10]

[11]

[12]

[13] https://www.loudersound.com/news/clannad-announce-in-a-lifetime-farewell-uk-tour

[14]

[15]

[16]

[17] https://www.latimes.com/archives/la-xpm-1993-06-02-ca-42471-story.html

[18]

[19]

[20]

[21]

[22]

[23]

[24]

[25]

[26]

[27]

[28] 1

[29] JT Koch (ed). Celtic Culture. A Historical Encyclopaedia ABC-CLIO 2006 pp 1627–1628

[30]

[31] '“Easter-egg” during first 20 seconds of “Lifetime”', Máire explains during public IRC chat with fans, 2003

[32]

[33]

[34]

[35] 2

[36]

[37]

[38]

[39]

[40] 3

[41]

[42] https://www.ft.com/content/695f3608-5c7e-11ea-8033-fa40a0d65a98

[43] https://www.thatericalper.com/2020/02/24/clannad-announce-in-a-lifetime-career-spanning-world-tour/

[44]

[45]

[46]

[47]

[48]

[49]

[50]

[51]

[52]

[53]

[54]

title: Clannad

question: What would have happened if the siblings, Ciaran, Pol, and Moya Brennan did not adapt various musical styles?

answer: If the siblings had not adopted various musical styles, then maybe their band would not have been so successful and they may not have won numerous awards throughout their career.

question: What is one of the most important aspects of the band Clannad?

answer: One of the most important aspects of the band Clannad is that they brought Irish music and the Irish language to a wider audience.


text:
A PLAGIAULACOID is a type of blade-like, most often serrated, tooth present in various mammal groups, usually a premolar. Among modern species it is present chiefly on diprotodontian marsupials (specifically, Potoroidae, _Bettongia_ and _Burramys_), which have both the upper and lower first premolars converted into serrated blades. However, various other extinct groups also possessed plagiaulacoids. These would be multituberculates, some “Plesiadapiformes” such as _Carpolestes_ and various metatherians such as _Epidolops_ and various early diprotodontians. In many of these only a lower premolar became converted into a blade, while the upper premolars showed less speciation.[1][2]

The various independent development of these teeth is considered a good example of convergent evolution.[3][4][5]

Multituberculates in particular probably own the most specialised of all plagiaulacoids. In early taxa, all lower premolars became plagiaulacoids, forming a “saw”-like arrangement. However, in Cimolodonta, premolars 1-3 degenerated and became peg-like or disappeared altogether; instead, only the fourth lower premolar remained, which increased in size. While earlier multituberculates displayed a normal tooth replacement for their plagiaulacoids, in cimolodonts this tooth was not replaced, being the last tooth to erupt and remaining through the animal's life.[6]

[Various types of plagiaulacoids.] [Cimolodont Multituberculates like _Ptilodus_ had a pair of particularly large lower plagiaulacoids.] [Unlike cimolodonts, early multituberculates like allodontids had various lower plagiaulacoids.]

Function

Most taxa with plagiaulacoids are omnivores with granivore tendencies; as such, it is speculated that plagiaulacoid premolars evolved to help these mammals break or saw through tough seeds and other tough plant matter with precision, as well as to help manipulate food items in the mouth.[7][8] Modern diprotodontian marsupials often use their plagiaulacoids this way.[9]

However, many groups with plagiaulacoids have animalivorous tendencies. Various Macropodiformes and multituberculates show evidence of insectivorous and carnivorous habits, and in the latter in particular the plagiaulacoids could have been very useful meat-slicing teeth. In kogaionids the plagiaulacoid exhibits the same iron-pigmentation as the rest of the other teeth, suggesting its use in break insect exoskeletons,[10] while multituberculate plagiaulacoid gnawing marks are known in _Champsosaurus_ bones.[11] In marsupial lions the plagiaulacoids straight-up became carnassial teeth.

Secondary Loss

In various groups the plagiaulacoid was lost. In most cases, this is correlated to increased herbivory, especially grazing. In taeniolabidoids and some other cimolodonts the plagiaulacoid simply shrunk, while in gondwanatheres and kangaroos it reconverted back into a “normal” molar.[12]

[1] George Gaylord Simpson, The “Plagiaulacoid” Type of Mammalian Dentition A Study of Convergence George Gaylord Simpson Journal of Mammalogy Vol. 14, No. 2 (May, 1933), pp. 97-107 Published by: American Society of Mammalogists DOI: 10.2307/1374012 Stable URL: https://www.jstor.org/stable/1374012

[2] Susan Cachel, Fossil Primates, Cambridge University Press, 23/04/2015

[3] George Gaylord Simpson, The “Plagiaulacoid” Type of Mammalian Dentition A Study of Convergence George Gaylord Simpson Journal of Mammalogy Vol. 14, No. 2 (May, 1933), pp. 97-107 Published by: American Society of Mammalogists DOI: 10.2307/1374012 Stable URL: https://www.jstor.org/stable/1374012

[4] Susan Cachel, Fossil Primates, Cambridge University Press, 23/04/2015

[5] Kielan-Jaworowska, Zofia, Richard L. Cifelli, and Zhe-Xi Luo (2005). Mammals from the Age of Dinosaurs: Origins, Evolution, and Structure

[6] Kielan-Jaworowska, Zofia, Richard L. Cifelli, and Zhe-Xi Luo (2005). Mammals from the Age of Dinosaurs: Origins, Evolution, and Structure

[7] George Gaylord Simpson, The “Plagiaulacoid” Type of Mammalian Dentition A Study of Convergence George Gaylord Simpson Journal of Mammalogy Vol. 14, No. 2 (May, 1933), pp. 97-107 Published by: American Society of Mammalogists DOI: 10.2307/1374012 Stable URL: https://www.jstor.org/stable/1374012

[8] Kielan-Jaworowska, Zofia, Richard L. Cifelli, and Zhe-Xi Luo (2005). Mammals from the Age of Dinosaurs: Origins, Evolution, and Structure

[9] Susan Cachel, Fossil Primates, Cambridge University Press, 23/04/2015

[10] Thierry Smith, Codrea Vlad, Red Iron-Pigmented Tooth Enamel in a Multituberculate Mammal from the Late Cretaceous Transylvanian " Haţeg Island ", Article in PLoS ONE 10(7):e0132550-1-16 · July 2015 DOI: 10.1371/journal.pone.0132550

[11] Mammalian tooth marks on the bones of dinosaurs and other Late Cretaceous vertebrates, First published: 16 June 2010 DOI: 10.1111/j.1475-4983.2010.00957.x

[12] Gurovich, Y.; Beck, R. (2009). “The phylogenetic affinities of the enigmatic mammalian clade Gondwanatheria”. Journal of Mammalian Evolution. 16 (1): 25–49. doi:10.1007/s10914-008-9097-3.

title: Plagiaulacoid

question: How are cimolodonta's premolars differentiated from that of other multituberculates?

answer: All lower premolars in lower taxa became plagiaulacoids and were replaced normally. In cimolodonta, however, premolars 1-3 degenerated and became peg-like or disappeared altogether and in its place a larger fourth lower premolar remained. In addition to this, cimolodonta did not replace this tooth. It was the last tooth to erupt and remained throughout the animal's life.

question: Summarize all the information relating to the function of plagiaulacoids?

answer:
 - In omnivores favoring grains, plagiaulacoid premolars probably help break or saw through tough seeds and other tough plant matter with precision. It also manipulates food items in the mouth. Modern diprodontian marsupials often use plagiaulacoids this way.
 - In insectivores and carnivores, the plagiaulacoids could have been useful meat-slicing teeth.
 - In kogaionids the plagiaulacoid is thought to be used to break insect exoskeletons.

question: What are plagiaulacoids?

answer: A plagiaulacoid is a type of blade-like, most often serrated, tooth usually present as a premolar in various mammal groups. The varied and independent development of these teeth are considered a good example of convergent evolution.

question: Summarize all the information relating to the secondary loss of plagiaulocoids?

answer:
 - In various species the plagiaulacoids are lost correlating to increased herbivory, especially grazing.
 - In taeniolabidoids and some other cimolodonts the plagiaulacoids simply shrunk.
 - In gondwanatheres and kangaroos the plagiaulacoids reverts back into a normal molar.

question: Which species have plagiaulocoids?

answer: Among modern species it is present chiefly on diprotodontian marsupials (specifically, Potoroidae, Bettongia and Burramys), which have both the upper and lower first premolars converted into serrated blades. However, various other extinct groups also possessed plagiaulacoids. These would be multituberculates, Carpolestes and Epidolops and various early diprotodontians. In many of these only a lower premolar became converted into a blade, while the upper premolars showed less speciation.

question: Write a ~3 sentence summary.

answer: A plagiaulacoid is a type of blade-like, most often serrated, tooth present in various mammal groups, usually a premolar. It has been linked to omnivorous, carnivorous and insectivorous behavior. Plagiaulacoids are lost, shrunk or reverts back changing the feeding behavior of the animal.


text:
Arkansas returned to the practice field today as it prepares for Saturday's game against Texas Tech.

[]
Sam Pittman praised the play of Denver Kirkland. (Photo: Natasha Tucker, 247Sports)
Offensive Line Coach SAM PITTMAN spoke with the media tonight about practice and upcoming opponent Texas Tech.

Pittman was asked if Texas Tech would show movement?

"I imagine we will face a lot of movement like we have these past two games and I'm sure they will move on us." Pittman said.

How did DENVER KIRKLAND grade out?

"We have thrown 73 passes and not have given up a sack," Pittman said. "He is the best left tackle we have on the team and will stay at left tackle."

Pittman was asked how practice went today for the Hogs?

"It went good man," Pittman said. "There was a lot of positives vibes going around and a physical practice. We have to move the line of scrimmage and that is what we are going to do."

Pittman also talked about how the Hogs are responding well after the loss to Toledo.

"We had a good practice today," Pittman said. "We will always remember Saturday and it hurt the team, but to answer your question yes they have responded well in a negative situation."

Pittman also addressed the penalties from Saturday's loss.

"Well the penalties took us from the three yard line one time," Pittman said. "What happens is they moved alot on us and had us out of position and we started to grab. I think we can control the penalties if we see things better. It's coaching and we will play with our head up more."

MICHAEL SMITH spoke with the media and how the receivers will do without KEON HATCHER, who was injured on Saturday.

Smith was asked about who would step up in the leadership role despite KEON HATCHER being down?

"It will be me," Smith said. "I think DREW MORGAN, Cody Holister and JARED CORNELIUS will lead by example."

Smith was asked about KENDRICK EDWARDS redshirt being taken off as well.

"Yes sir I anticipate Kendrick to play and he has decided he wants to play for us this year." Smith said.

Smith also talked about JOJO ROBINSON.

"I am just hoping he goes out and executes our offense," Smith said. "If he does that and with the ability he has he will be fine."

JEMAL SINGLETON was asked how sick ALEX COLLINS was last week?

"I don't know all i know is he played the whole game and played great and played tough." Singleton said.

Singleton also discussed true freshman KENDRICK JACKSON playing fullback.

"We have to play the best eleven on the field and Kendrick is coming along good it is all knew to him and he is getting more reps." Singleton said.

Brandon Allen was asked about the game on Saturday?

"We lost that one ourselves and were 1-5 in the redzone and we cant win like that." Allen said.

Allen also was asked about the leaders on the team?

"We have leaders stepping up since the set back from Saturday," Allen said. "We will be ready on Saturday."

Allen, like Smith, talked about what it will be like with out KEON HATCHER.

"It will be a step back and we have leaders that will step up like guys JOJO ROBINSON and KENDRICK EDWARDS." Allen said.

Allen knows the Hogs haven't run the ball well in first two games and was asked about running the ball?

"We have to establish the run game early and be effective on Saturday." Allen said.

Junior wide receiver DREW MORGAN will get the start on Saturday. He was asked about the size of Texas Tech?

"As long as we run our routes and play physical we will be fine." Morgan said.

Morgan was asked about being the next man up?

"Coach B called me and told me your the next man," Morgan said of BRET BIELEMA. "I don't look at it as not the shoes I'm filling in for, but the shoes that I'm making."

Morgan said he expects the group of receivers to improve this week.

"We wanna come out with a victory and brush off the distractions," Morgan said. "We will be 100 percent locked on to Texas Tech."

Offensive guard Sebastin Tretola was asked if the Hogs got hit in the mouth on Saturday?

"Yes we did but we will come out more physical for Texas Tech." Tretola said.

Tretola was asked about the penalties on Saturday?

"We have to play cleaner." Tretola said.

Tretola was asked about the run blocking?

"That was the emphasis in practice and we are working on moving guys back." Tretola said.

question: Who is Sam Pittman?

answer: An offensive line coach in American football.

question: Which team does he coach?

answer: The Hogs.

question: Who got hurt on Saturday?

answer: Keon Thatcher

question: Who is Arkansas' rival for Saturday's game?

answer: Texas Tech

question: Write a ~1 sentence summary.

answer: Two American football teams, The Hogs-out of Arkansas-and Texas Tech gear up to play a game this Saturday.


text:
Swinging from branch to branch, sifting through the dense, lush foliage of the Amazonian rainforest, a young, subordinate male capuchin monkey stumbles upon a veritable gold mine. It's a cache of figs, all looking tantalizingly sweet and succulent. He picks one and takes a big bite. Delicious.

Other members of the male's troop are nearby, and would undoubtedly want to be notified of the lavish finding. Knowing this, the young male sits back and lets loose a string of loud calls.

But he doesn't emit the softer squeals that would intimate that food is nearby. Instead, he produces a cacophony of barks, hiccups, and coughs, informing the others that a predator is in the vicinity. "Stay away! Danger!" he yells.

Except there is no predator nearby, and no danger, whatsoever. There are only the cherished figs. Instead of apprising the troop of the food's whereabouts, so that they may share in the tasty, nutritious bounty, the subordinate capuchin is deceiving them, so that he can selfishly scoff the figs all by himself!

Deception is a hallmark of the animal kingdom. In the game of life, subterfuge is often synonymous with survival. Most of this trickery occurs between species -- think of all the animals that adopt camouflage to fool predators. However, very little deceit actually occurs within species, where, for the most part, honesty prevails. The capuchin example is a noted deviation, albeit an infrequent one. Human interactions, where dishonesty is quite commonplace, tender a wider selection of examples

But now, researchers have discerned another example of within-species deception, this one among the gelada baboons of the Ethiopian Highlands.

Reporting in the journal _Nature Communications_, an international team of researchers describes a scandalous subject: how primate adulterers conceal their infidelity.

[640px-Gelada_group.jpg]Competition for mating rights is stiff and brutal among gelada baboons. Males of this primate species achieve reproductive success by battling to become the dominant leader of a reproductive unit, which is composed of between one and a dozen females. This means that subordinate males are pretty much out-of-luck. Unless, of course, they can find a female willing to engage in a little lovemaking on the side.

Spending over 2600 hours watching nineteen different baboon reproductive groups, the research team found that such extra-pair copulations are rare, making up only 9% of all copulations. The other 91% were between the dominant male and the females in his unit.

You can probably guess why infidelity is so uncommon. When caught, the act often elicits violent punishment against the cheating pair, courtesy of the dominant male.

Potentially out of the desire to avoid this reprisal, cheating pairs were witnessed to employ two deceptive tactics to conceal their infidelity. First, the baboons were found to significantly suppress their copulation vocalizations. In less scientific terms, they "kept the volume down" while having sex.

Second, the research team found that extra-pair copulations were far more common when the dominant male was greater than twenty meters away. Thus, it seems that the cheaters took into account the visual perspective of the dominant male and decided to mate when his "back was turned," so to speak.

The research team's soap opera-esque findings beg some intriguing questions. Are the baboons' behaviors indicative of higher order cognitive skills? Are they merely a result of more simplistic associative learning? Will the gelada baboons get their own reality television show?

SOURCE: Aliza le Roux, Noah Snyder-Mackler, Eila K. Roberts, Jacinta C. Beehner & Thore J. Bergman (2013) Evidence for tactical concealment in a wild primate. _Nature Communications_ 4:1462 DOI: 10.1038/ncomms2468

(Image: Baboon Unit by Dave Watts via Wikimedia Commons)

question: What kind of discovery has been made?

answer: Gelada baboons employ deception in extra-pair copulation (where non-dominant males mate with females)

question: Who made the discovery?

answer: An international team of researchers, likely composed of Aliza le Roux, Noah Snyder-Mackler, Eila K. Roberts, Jacinta C. Beehner and Thore J. Bergman (who are cited as the authors of the original report in the journal, Nature Communications)

question: How was this discovery made?

answer: The researchers spent over 2600 hours watching nineteen different baboon reproductive groups and examining the frequency of extra-pair copulation.

question: What implications does this discovery have?

answer: It may be a sign that the baboons possess higher-order cognitive skills (or it could simply show more simplistic associative learning).

question: Where is this article published?

answer: Likely a non-scientific site(although the original journal, Nature Communications, is cited) given the tone and language of the article, which is made more accessible to a lay audience.

question: Write a ~2 sentence summary.

answer: Researchers have discovered that gelada baboons, native to the Ethiopian Highlands, demonstrate certain behaviours to mask extra-pair copulations such that the mating pair is not noticed by the dominant males. This may be a sign of the baboons' intelligence.


text:
ANASTASIA KVITKO (; born 25 November 1994)[1] is a Russian glamour model and entrepreneur.

Kvitko was born and raised in western Russia in the Kaliningrad Oblast region and moved to the United States in her late teen years.[2] She first moved to Miami to pursue modeling. After a short time in Miami she then moved to Los Angeles to pursue modeling full-time. She is famous for her 38-25-42 figure (as of 2016).[3]

After being turned down by multiple modeling agencies, instead of vowing to lose her curves, she has turned them into her trademark. Due to her figure and presence on social media, Kvitko, who had over 6 million Instagram followers as of 2017, was dubbed the Russian Kim Kardashian.[4] She has been bashed by critics and followers who claim that she is deliberately modelling herself on reality star Kim Kardashian. She said in an interview: “I like Kim Kardashian but I don’t quite like being compared to her – she is far behind me.”[5]

[1]

[2]

[3]

[4]

[5]

title: Anastasia Kvitko

question: Who is Anastasia Kvitko?

answer: A Russian glamour model and entrepreneur.

question: What are Anastasia Kvitko's thoughts on Kim Kardashian?

answer: She likes Kim Kardashian but does not like being compared to her, as she believes Kim Kardashian is far behind her.

question: Where was Anastasia Kvitko born?

answer: Western Russia in the Kaliningrad Oblast region.

question: Summarize Anastasia Kvitko's early life.

answer: She was born in western Russia and moved to the United States in her late teens.

question: Write a ~2 sentence summary.

answer: Anastasia Kvitko is a Russian glamour model and entrepreneur. She has been dubbed the Russian Kim Kardashian.


text:
[]Terence McKenna Interview, Part 1James Kent
TERENCE TALKS ABOUT HIS CHILDHOOD AND EARLY YEARS IN THE FIRST PART OF OUR INTERVIEW

HE IS A RENEGADE SCHOLAR, an outspoken advocate for high-dose tryptamine experimentation, and yet he has a book deal, a worldwide lecture tour, a visiting professorship at Esalen, and a growing mass of followers who he sometimes refers to as his "fans", sometimes as his "constituency." Either way, you could not help but be delighted by his voice and style. His syntactical razzle-dazzle, mad-scientist voice, and dead-aim comic timing left us in grinning awe. We loved him. We nodded and said, "Right on," yet many of us still wondered, "who is this guy?"

At this time in our not too distant past, I was a young freelance writer set to the task of interviewing Mr. McKenna for a small New Age newspaper in Southern California (don't giggle, it's true). They only wanted 2100 words, but being a fan of psychedelic exploration and skeptical by nature, I didn't pass up this perfect opportunity to spend a few hours getting to know Mr. McKenna and finding out what he was really up to. I wanted to know who his publicist was, if he was represented in Hollywood, how his career had been orchestrated, what kind of twisted childhood he had, all the strange drugs he did in college, all the isolated rainforests he'd trekked through, and, probably most of all, was he was actually managing to make a living at being a full-time psychedelic guru for hire — have rap, will travel.

So the following is a transcript of the interview which took place on the day I met with Terence in search of those answers. The three hour discussion took place in a small restaurant and later on in his then-home in Occidental, CA. We talked about his life, his theories, and his career. What appears here is only part one of the dialog we had on that day, but stay tuned for more (because we always want more) to be broadcast in the near future right here at TRP.

JAMES KENT: I've read a lot of interviews with you which were aimed at people who already knew who you were, but I wanted to try to get a broader view of who you are and what you do for a living. When I tell people I have this Terence McKenna interview, they're like, "Terence who?"

TERENCE MCKENNA: It's not possible to be famous enough. (laughs) I recently heard that Michael Jordan was retiring... and, I have to confess, who? This giant was passing from the scene and apparently I was going to become aware of him only at the last moment.

JK: I never watched much basketball, but I would sit down and watch if he was playing. It was pretty amazing to watch him play, he was...

TM: Just because he was so good.

JK: Yeah. When he was on it was like nobody could touch him.

TM: Umm..

JK: Well, one of the main things I wanted to cover today was a little bit about your life, your career, your day to day schedule, your itinerary...

TM: You mean at the moment?

JK: Well, what is it you do?

TM: Oh, what is it I do.

JK: Yes. I mean, I know you're a writer...

TM: Yes.

JK: And you're also called a "shamanist," but that is sort of a vague term. What do you call yourself?

TM: Well, I just think of myself as an itinerant intellectual, trying to stay afloat by writing, lecturing, film consulting - some friends of mine and I have formed a company to develop software... But basically I'm an unassociated intellectual, of which there probably aren't more than half a dozen in the country. I mean, I do not work for any university...

JK: Have you gotten any offers?

TM: No (breaks into laughter). But how perceptive. No, I do however work for a couple of the world's largest corporations, but that's....

JK: Which ones?

TM: Well, Food of the Gods is published by Bantam, that's Bertlesmann, which is the world's largest publishing consortium. And Harper, which publishes all my other books, is wholly owned by Rupert Murdoch.

JK: Oh? And how do you feel about that?

TM: Well, he never bothers me, so... (laughs). But it just shows how difficult it is to remain unentangled these days. "Publishing" now means multinational corporate association. What are you gonna do?

JK: And when was True Hallucinations released?

TM: April [1993].

JK: And you're doing a lot of promotion for that?

TM: I did a lot of promotion work for it. It followed by a year my previous release, which was called Archaic Revival, and it preceded by a year — in other words, next April 15th will be the release of a book called The Invisible Landscape.

JK: That's a reprint, isn't it?

TM: It's a reprint but in the first edition no more than 1500 copies were sold. Most people have never seen this.

JK: No. I haven't. So what is the "Invisible Landscape?"

TM: Have you read True Hallucinations?

JK: No, I had a copy being sent to me, but it didn't arrive in time.

TM: Well True Hallucinations is like the easy-to-read narrative anecdotal version of what The Invisible Landscape is the no-holds-barred, all the footnotes, all the citation...

JK: A recounting of your experience at La Chorerra?

TM: Yes, though The Invisible Landscape is more talking about the ideas that came out of the event.

JK: Like Timewave Zero?

TM: It's in there. So are many of Dennis' theories.

JK: Hypercarbolation?

TM: Exactly. It's all there.

JK: Well, I've been doing some research. It's funny, when I told my editor I was thinking of doing a story on you, she was very excited. I first heard of you, I think I heard you on public radio somewhere, and I tracked down some of your books and interviews, found a set of your tapes... I actually saw you speak somewhere around LA.

TM: Chapman College?

JK: Yes, Chapman [note: Future site of Meeting of the Minds]. I even found a bootleg of one of your weekend seminars at Esalen that I listened to while driving up, so I've compiled quite a wide assortment of topics that I'd like to cover today. Lets start off with personal background here just to get some reference. You were raised in Colorado, in a small mining town. Does the town still exist?

TM: Oh absolutely.

JK: Where is it?

TM: It's called Paomia, Colorado. It's actually become quite hip because in the '70s and '80s freaks moved in and bought all the apple and peach orchards.

JK: When you say "freaks" what do you mean?

TM: Hippies. (laughs)

JK: Oh, hippies. There's all different kind of freaks...

TM: And they went organic, the whole scene went organic. So when I was there it was absolutely podunk. I mean if you read Time Magazine you were suspected of Left leanings.

JK: Do your parents still live there?

TM: My mother died in 1970. My father remarried later and lives in Mesa, Arizona.

JK: What did they do when you were growing up?

TM: My father was a... Paomia was the town where my mother grew up, actually. My father was a salesman for a very large industrial electrical equipment company — switches, transformers, this sort of thing — and visited mines. He had a lot of uranium mines and lead mines. He had a four state territory which he worked with an airplane. The thing which was unusual about my growing up is in this small town, I guess we were close to being the richest people in town on close to fifteen thousand dollars a year. This was a county in Colorado where even up into the 1950s thirty percent of the county was on welfare. So it was a real hard-scrabble sort of environment.

JK: Now, your brother is Dennis, you're the oldest, right?

TM: That's correct.

JK: Growing up were you maladaptive?

TM: To the extreme.

JK: What kind of social difficulties did that bring you. Peer harassment?

TM: Well I had bad eyes and I was uncoordinated. And in an environment where there wasn't winter, spring, summer, fall, there was baseball, football, basketball, and... something else...

JK: Hockey?

TM: (laughs) Yes. So I was marked out early as the peculiar one. Also, I was smart, so I was very accelerated in one dimension, very embryonic in another dimension.

JK: Were you picked on?

TM: There were bullies. There were certainly bullies who occupied a huge amount of my time. I mean on one level I think my supposed brilliant speaking ability comes from understanding that the problem is to keep them from killing you until the bell rings, and if you can just hold them five minutes longer by any means necessary, it'll be over. But as I grew older I became more seriously alienated. I mean, a lot of kids have those kinds of problems, but I began to realize that somewhere there was something called "Western Civilization" — there was philosophy, music, art, possibly even Jews. I mean, who knew how wild it could get. And here I was in this town where, like I say, Time Magazine meant you were an intellectual. So I left when I was 16.

JK: For?

TM: Los Altos, California, which is down on the peninsula. I lived there with relatives for a year. Then I finished high school in Lancaster, CA, which is a city up in the high desert north of LA.

JK: Ugh. So by this time what kind of exposure had you had to alternative sciences, philosophies, drugs, psychedelics?

TM: Oh drugs and psychedelics, not at all. I think I became aware of — oh I know where I became aware of psychedelics. It was the Spring of 1963. I read The Doors of Perception.

JK: And when were you born?

TM: November, 1946.

JK: November what?

TM: Sixteenth (double Scorpio). I read The Doors of Perception in early 1963. Then there began to be articles in the newspaper that spring about morning glory use. And I immediately started tracking down these morning glories. And, I just pursued that. I read everything I could...

JK: Did you experiment with Morning Glories?

TM: I did.

JK: Did you find them satisfying?

TM: I'm not exactly sure I would call them satisfying. They showed me that there was something there worth pursuing.

JK: So you attended college at Berkeley.

TM: Right.

JK: You studied art?

TM: Art history.

JK: Is that what your degree is in, a B.A.?

TM: No no, my only degree is — I switched majors. My only degree is Bachelor of Science degree in Ecology and Conservation. It's complex to explain, but I arrived at Berkeley the year after the free speech movement and in an effort to keep the place from blowing sky high they had told this left-wing professor that he could have an experimental section of the university. But out of the incoming class of 15,000 or whatever it was, he could only take 150 freshman and design a special curriculum for them, and classes would not be in the regular university, they would be in an old frat house.

JK: This was a pilot program?

TM: Yes, it was an experimental program. So that's what I did. It was this thing called the Tussman Experimental College.

JK: Is that still around?

TM: Oh no no, it was run for a total of 6 years and then it was discontinued.

JK: Hmm. Okay. I'm going to shift gears here and get back to some personal questions. I didn't see you pull up, but what kind of car do you drive?

TM: (laughs) I drive a '75 Ford Grenada.

JK: Really?

TM: My only car and I'm fiercely proud of it.

JK: How long have you had it?

TM: I've had it for five years. I bought it with 12,000 miles on it, now it has 80,000 miles on it.

JK: Hmm. Do you have cable TV?

TM: No. I don't have TV period.

JK: No TV?

TM: Well I have a VCR. I don't have an antenna to any broadcast television.

JK: As far as entertainment goes, what is your favorite venue for the arts? Music, movies...

TM: I listen to a lot of music. In terms of time commitment, I listen to music a lot.

JK: What's your favorite musical genre, style, or composer?

TM: I've been listening to a lot of house music.

JK: Really? Like techno?

TM: Techno, house, ambient, you know. Well I'm in that business partially. Also people send me stuff, and I'm very interested in it. I think it's very exciting music. I listen to a lot of baroque music, I guess. Those are the two categories. I have a lot of Rock-n-Roll but I don't listen to it much anymore. I have a lot of '80s New Age stuff which I've found doesn't wear well at all.

JK: As far as house music goes, do you have any groups you like?

TM: Well, I really like Coil. I really like Orb. I'm working with Szvuyu, which is an English group. I'm releasing a CD this Halloween with Spacetime Continuum. In fact I'm doing a rave on Halloween.

JK: While we're talking about it, tell me how you got introduced to the rave scene.

TM: I went to England and I gave lectures — the bouquet of flowers, pitcher of water, chair and podium lectures, and a lot of ravers came, and they came up to me and just sort of swept me along. They said, "You've got to see this scene. We're doing what you're talking about." Which seemed to me to be true. It's an incredibly — I mean I'm totally up on youth culture. I think media has done an incredible savaging of youth culture. I don't know what it was like to hang out with the Sex Pistols but it's lots of fun to hang out with the Shamen, or the various DJs, and you know there is a very lively house scene in San Francisco.

JK: What do you think the driving force of this scene is?

TM: Do you mean in terms of cultural agenda... drugs, or money?

JK: In terms of cultural agenda.

TM: Are you familiar with my notion of an Archaic Revival?

JK: Sure.

TM: Well there it is. This has been going on throughout the 20th century.

JK: But why are the youth of today so into it? What void in their lives in this rave scene fulfilling?

TM: Well England, which is where this was born, like so much, has been a Thatcherite hell for 15 years. A whole generation of kids have grown up in those steel towns in the midlands with absolutely no hope of bettering themselves and absolutely no faith that mainstream acculturation in Britain held anything out to them. And rather than producing an anger movement, like punk or something like that, it has produced a dropout movement more like the sixties. People aren't angry, they're just not participating. They're creating their own value systems and I think it's very healthy. I think a lot of this kind of thing comes out of the unconscious. Nobody sits around and figures this stuff out.

JK: Do you think this is an attempt to step away from cultural norms to reprogram their values, or at least deprogram the messages they receive from corporate media culture?

TM: Yeah, I think they're very aware of media culture and they're very anti media culture. For instance, in the clubs in London there's no stage, there is no cult of celebrity. The dancers are the show, the performers are pushed into the corners or locked in a box on a different level. And the whole macho rock-n-roll groupie destruction-derby psychology is not welcome in these scenes. People are a lot cooler. To somebody as cynical as I am a lot of it seems Polyannish. Songs about saving the wetlands and stuff like that. But on the other hand it's real and it's the right message. The right message is not the skinhead message or the "become a yuppie stockbroker" message. The real message is ecology, community, and feeling. And they've got it right. Now they have to get through the gauntlet of evil record companies, the communications media...

JK: Exploiters?

TM: The exploitative machinery waiting to make t-shirts and...

JK: Movies?

TM: Exactly.

JK: So when you're called upon to join one of these ceremonies what sort of function do you fulfill?

TM: You mean at a rave?

JK: Yes.

TM: Oh I go on stage and I improvise some kind of stem-winding soliloquy to contact the self-transforming elf machines in hyperspace (laughs). It seems sort of weird to me, you know, a 46 year old man at three in the morning hanging out with a thousand loaded teenagers exhorting them to the eschaton.

JK: You use the term eschaton to describe some kind of singularity at the end of time. What is your definition of eschaton?

TM: Well all esch words derive from the greek notion of something final [gr. eskhatos - last]. So eschatology is the study of last things. There is a branch of theology where you study the end of the world and the general judgement and second coming. So the eschaton is the last thing. That would be a definition. It just simply means the last thing.

JK: Interesting. Who would you consider to be your peer group?

TM: My peer group?

JK: You know, contemporaries... collaborators.

TM: You mean people who I agree with? Who I'm most comfortable with?

JK: Close friends, people you find interesting or bounce ideas around with on a regular basis.

TM: Did you read Trialogues at the End of the West?

JK: No, I haven't.

TM: That was a book that I wrote with Ralph Abraham and Rupert Sheldrake, who I would consider peers. We don't see eye to eye on everything, but we get along very well as people, and we spend a lot of time together. Do you know who Sheldrake is?

JK: No, I know of Ralph Abraham.

TM: Well Sheldrake is a very controversial British theoretical biologist who wrote a book called A New Science of Life that Nature, the British journal of science, said was a candidate for burning. It created quite a controversy.

JK: Who else? What about in the literary world? Do you have any favorites?

TM: You mean who do I like or who do I spend time with?

JK: Either or?

TM: Well, I read and spend time with Tom Robbins, he's a friend of mine. Great guy. I read Steve Ericson, Lucious Shepherd, I don't know these guys but I would like to know them. I think they're very exciting. Steve Ericson wrote Tours of the Black Clock and Art Dense and Rubicon Beach.

JK: So what do you do for fun?

TM: What do I do for fun...(pause, thinking)?

JK: You know, leisure activities.

TM: Well I'm going through a divorce right now so excuse me if I can't remember (laughs).

JK: Do you want to talk about that at all, or say a few words?

TM: Well, it's certainly just punishment for being stupid enough to get married in the first place. It's kind of a little self-correcting mechanism there.

JK: So what is your relationship like now? Your family is still here in Occidental?

TM: Well my son lives with me, he's just at school.

JK: Your son?

TM: Yes, I have two children. A son who is 15 [Finn, now 21] and a girl who's twelve, about to turn 13 [now 17]. They were definitely the best thing to come out of the relationship, but I don't blame the personalities involved. I think marriage is a curse for everybody. I'm not too crazy about monogamy either. These are social styles that have very disruptive consequences on the psychic life of the individuals. But I was married when I was 30 years old. I hadn't really thought all this through. It was the only bourgeois value system I ever committed to, and as it turns out I should have stuck with my consistency.

JK: While we're on the subject of consistency, when someone asks Terence McKenna to speak, what topic is most requested?

TM: All they want to talk about is drugs.

JK: And how do you feel about that?

TM: I wish they'd go to the library or buy a tape or a book. I mean, I'd like to move on. I've said everything I have to say at least ten times, and, you know, I said it well, I hope. So, enough already.

JK: It seems to me that, when talking about drugs, you just elaborate a few simple positions over and over. Why is that?

TM: Well really, you see my position on drugs ultimately is that what I think about them is not important. What's important is that people be allowed to check it out for themselves. So consequently, if I'm succeeding at this my crowds should not get larger and larger, people should come once or twice, hear it, understand it, and go get a life.

JK: So how do you feel about having devotees who preach the McKenna party line, call you a guru, want to save your fingernail clippings for future generations...

TM: Well, as I've said on this subject if you think I'm a guru you haven't taken enough psilocybin (laughs). And I don't know what to tell people like that. "Take more! You're not figuring it out!" What makes the whole psychedelic thing so exciting to me is that it's for ordinary people. I am an ordinary person. It's not false humility, it's true. And so if it's for ordinary people then there's nothing to be learned from some advanced personality — assuming such a thing exists. And, what's so wonderful about psychedelics is their effectiveness and how democratic they are. That's what I would like people to get on to. In fact, a lot of people do. A lot of people pass through the thinking I'm a guru and take enough trips to understand that no, I was just a witness. I was just a witness.

JK: What were your initial goals when you first started on this journey. Coming back from La Chorrera you had quite a lot of information to mull through. Has everything sort of fallen into place since then or were there a lot of stages you had to go through to get where you are now?

TM: You mean did I ever drift away from it?

JK: Yes, sure.

TM: No, I never drifted away from it. Once I got the concept... I'm incredibly patient. I mean, for instance, my prediction of the singularity in 2012 is 20 [now 25] years old. the prediction is 20 years old. It's something that I've lived with for 20 years and I'll live with for 18 more. I'm very patient, but my attitude is that this thing that went on at La Chorrera was special enough that it's worth spending one life on. And it'll be my life. What I spend most of my time doing is reading philosophy, history, science, sociology, literature, and what I'm trying to figure out is am I out of context? Or, to put it another way, am I crazy? And the answer is no.

JK: No?

TM: Well something very unusual happened down there, and the world is in a very unusual circumstance, which most people don't seem to perceive. Weather we're talking about Bill Clinton or someone living under a bridge, we have never been here before. This is not business as usual. Management techniques that worked in the past are not going to work in the future.

JK: So what sustained you financially through those dark years in the '70s and '80s when Terence McKenna wasn't a big name?

TM: Well Terence McKenna wasn't a big name but O.T. Oss was.

JK: Ah.

TM: And, umm... I am O.T. Oss.

JK: Of course. So you lived on the royalties of the Magic Mushroom Growers Guide alone?

TM: And something which we should probably describe as "consulting".

JK: I see (laughs).

TM: (laughs loudly).

JK: (regaining composure) Well, I guess that's what I was shooting for with that question.

TM: Yes, there was a lot of "consulting" in the '70s. (laughs).

Stay tuned for more...

Tags : psychedelic
Rating : Teen - Drugs
Posted on: 2003-12-02 00:00:00

question: What contradicting feelings does the interviewer have about McKenna?

answer: McKenna charms them but also makes them feel incredulous with his charm.

question: Why might Mckenna state that "it's not possible to be famous enough"?

answer: Perhaps he is being cheeky in alluding to the fact that no matter how much notoriety you gain, someone will always be ignorant of your existence.

question: Why is there going to be a reprint of "The Invisible Landscape"?

answer: It didn't sell a sufficient amount of copies its first print.

question: On average, many miles per year has McKenna put on his car since he purchased it?

answer: 13,600.


text:
ROUGGA is a town in southern Tunisia located in Sfax Governorate, on the Oued er Rougga wadi. Rougga is the Berber name of the town, which is known as RAQQA in Arabic.[1] The town is located on the site of Ancient Roman African city and former bishopric BARARUS, which remains a Latin Catholic titular see.

History

A veteran of this city is mentioned in a list of soldiers from Nicopolis, a Roman garrison suburb of Alexandria, Egypt, recruited in Africa province.[2]

The city was devastated by an earthquake in 365[3] after which the forum appears to have been abandoned[4]

The 6th century was a time of great affluence for the town, with a golden solidi coin hoard testifying to this wealth. The town appears on the Roman Tabula Peutingeriana road map[5] By the 7th century there is evidence of fortified housing,[6] though pottery remains indicate a continuance of occupation to the 10th century, well after the Muslim conquest of the Maghreb.[7] The Roman town was sacked by Ibn Sa'd in 647 AD.[8][9] A Berber population moved in following the Islamic conquest and used the Roman building matterials for other settlements.[10]

Ecclesiastical history

The city was also the seat of an ancient bishopric, like many suffragan of the Metropolitan of Carthage, in the papal sway, like most also destined to fade, presumably at the advent of Islam.

Its only historically documented bishop , _Iulianus Vararitanus_ (or Bararitanus), was found on the lists of bishops in Byzacena province having attended in 484[11] the Council of Carthage (484) called by Arian king Huneric of the Vandal Kingdom, after which most Catholic bishops (including him?) were exiles, unlike their schismatic Donatist colleagues.

Titular see

The diocese was nominally restored in 1933 as titular bishopric of Bararus (Latin) / Bararo (Curiate Italian) / Baraitan(us) (Latin adjective).

It was vacant since decades, having had the following incumbents, so far of the fitting Episcopal (lowest) rank:

-   Johannes Baptist Filzer (1927.02.18 – death 1962.07.13) as Auxiliary Bishop of Archdiocese of Salzburg (Austria) (1927.02.18 – 1962.07.13)
-   Bernardo José Bueno Miele (1962.11.22 – 1967.01.25) as Auxiliary Bishop of Archdiocese of Campinas (Brazil) (1962.11.22 – 1967.01.25); next Titular Archbishop of Uppenna (1967.01.25 – 1972.07.12) as Coadjutor Archbishop of Ribeirão Preto (Brazil) (1967.01.25 – 1972.07.12), succeeding as Metropolitan Archbishop of Ribeirão Preto (1972.07.12 – death 1981.12.22)
-   Damián Nicolau Roig, Third Order Regular Franciscans (T.O.R.) (born Spain) (1967.04.08 – resigned 1977.11.25) while first-ever Bishop-Prelate of Territorial Prelature of Huamachuco (Peru) (1963.10.23 – retired 1981.09.13), died 1998
-   Michael Augustine (1978.01.30 – 1981.06.19) as Auxiliary Bishop of Archdiocese of Madras and Mylapore (India) (1978.01.30 – 1981.06.19); next Bishop of Vellore (India) (1981.06.19 – 1992.02.18), Metropolitan Archbishop of Pondicherry and Cuddalore (India) (1992.02.18 – retired 2004.06.10)
-   Nelson Antonio Martínez Rust (1982.01.08 – 1992.02.29) as Auxiliary Bishop of Archdiocese of Valencia in Venezuela (Venezuela) (1982.01.08 – 1992.02.29); later Bishop of San Felipe (Venezuela) (1992.02.29 – retired 2016.03.11)
-   Zef Simoni (1992.12.25 – death 2009.02.21), first as Auxiliary Bishop of Archdiocese of Shkodrë (Albania) (1992.12.25 – retired 2004.01.20), then as emeritus
-   Luis Rafael Zarama (born Colombia) (2009.07.27 – 2017.07.05) as Auxiliary Bishop of Archdiocese of Atlanta (Georgia, USA) (2009.07.27 – 2017.07.05); later Bishop of Raleigh (USA) (2017.07.05 – ...).

Remains

Rougga is the site of HENCHIR-RONGA, which comprises numerous ruins of the Roman era.[12][13][14] including the Bararus AmphitheatreGilbert Hallier.

Les citernes monumentales de Bararus (Henchir Rougga) en Byzacène, Antiquités africaines (1987) Vol23 Num1 pp. 129-148 .[15] The layout of the Roman town ''is organized around a forum[16] dominated by two temples.... also two large semi circular Cistern s, an amphitheater set in an abandoned quarry, a theater with extensive outbuildings, and a paved _domus_ [house] with remarkable mosaics.''[17]

The amphitheater is in modern Tunisia located at

Theater

The theater is located on the opposite bank of the _wadi_ from Bararus and is roughly oval in shape.[18] The theater of Bararus is in bad condition,[19] though a stage of 29½by 30 meters is still descernable.[20] The overall size of the arena was 98 by 73.5 meters with seating on a radial barrel vaulting the Arena walls were only 3 meters heigh and lacked a parapet. It was estimated that the arena could seat 12100 spectators.[21] The arena may have been unfinished.

Cistern

The underground cisterns are very large.[22] and were excavated by the French in the 20th century.

Inscriptions

Several inscriptions were found in the town ,including one recording that the curator _Republicae_ performed duties in the three cities of Thysdrus, Thaenae and Bararus.[23]

[1] S. Chaker, Berber language in texts, ( Paris, 1984), p. 280.

[2] Guery R. and P. Trousset, Bararus p. 1338-1340.

[3] Anna Leone, Changing Townscapes in North Africa from Late Antiquity to the seventh century Arab Conquest (Edipuglia srl, 2007) p92.

[4] Anna Leone, Changing Townscapes in North Africa from Late Antiquity to the Arab Conquest (Edipuglia srl, 2007) p89 & 257.

[5] Tabula Peutingeriana (VI, 3).

[6] Anna Leone, Changing Townscapes in North Africa from Late Antiquity to the Arab Conquest (Edipuglia srl, 2007) p257.

[7] Chris Wickham, Framing the Early Middle Ages: Europe and the Mediterranean, 400-800 (OUP Oxford, 2006) p130.

[8] Guery R. and P. Trousset, Bararus p. 1338–1340.

[9] Anna Leone, Changing Townscapes in North Africa from Late Antiquity to the Arab Conquest (Edipuglia srl, 2007).

[10] Guery R. and P. Trousset, Bararus p. 1338–1340.

[11] Maier, _The bishopric of Roman Africa_, (Rome, 1973), p. 112.

[12] Bararus, Henchir-Rougga.

[13] Rougga (Tunisia - archaeological site).

[14] About: Bararus, Henchir-Rougga at _Digital Atlas of the Roman Empire_

[15] Slim H., “Preliminary Research on Roman amphitheater in Tunisia,” The Africa romana, Atti del Convegno di Studio I (Sassari, 1983), vol. I, (Sassari, 1984), p.129-165.

[16] G Hallier. “Rougga The first forum of” BCTH, New Series, 17, 1981, p. 101-114.

[17] Guery R. and P. Trousset, Bararus p. 1338-1340.

[18] https://vici.org/vici/4311/.

[19] theatrum of Ruqqah

[20] About: Bararus Amphitheatre.

[21] David L. Bomgardner, The Story of the Roman Amphitheatre.(Routledge, 2013)

[22] Gilbert Hallier , Les citernes monumentales de Bararus (Henchir Rougga) en Byzacène, '' Antiquités africaines''(1987)Vol23,Num1 pp.129-148

[23] Guery R. and P. Trousset, Bararus p. 1338-1340.

title: Rougga

question: What is Rougga?

answer: It is a town in southern Tunisia located in Sfax Governorate, on the Oued er Rougga wadi. "Rougga" is the Berber name of the town, which is known as "Raqqa" in Arabic. The town is located on the site of Ancient Roman African city and former bishopric Bararus, which remains a Latin Catholic titular see.

question: Who is Ibn Sa'd?

answer: He sacked the Roman town in 647 AD.

question: Who is Iulianus Vararitanus?

answer: He is the only historically documented bishop of Rougga.

question: What Roman ruins can be found in Rougga?

answer: The Henchir-Ronga

question: Write a ~4 sentence summary.

answer: Rougga is a town in southern Tunisia located in Sfax Governorate, on the Oued er Rougga wadi. "Rougga" is the Berber name of the town, which is known as "Raqqa" in Arabic. The town is located on the site of Ancient Roman African city and former bishopric Bararus, which remains a Latin Catholic titular see. The Roman ruins of Henchir-Ronga can be found in Rougga.


text:
ED FRIEDMAN (born January 12, 1950) is an American poet and playwright.

Friedman was born in Los Angeles, California, and studied literature at the University of California at San Diego.[1] He moved to New York City in 1971[2] and soon after enrolled in one of Bernadette Mayer's workshops at the Poetry Project at St. Mark's Church-in-the-Bowery. From this came the magazine _Unnatural Acts_, with collaborative contents presented anonymously, which Mayer and Friedman put out from 1972 to 1973.[3]

Friedman then “invented performance poetry” when he began to oversee the Project's Monday night readings series during the period 1974 to 1976. He became the Artistic Director of the Poetry Project in 1987 and served in that capacity until 2003, the longest term of any AD for the Project.[4][5]

Friedman has given readings and performances at the Museum of Modern Art, The Kitchen, and The Public Theater, among other venues.[6] He has collaborated with visual artists Robert Kushner – whose hat designs worn by models descending a spiral staircase were accompanied by Friedman's poetry, published in _The New York Hat Line_ (1979), and who designed the settings for Friedman's 1982 play _The White Snake_[7] – and Kim MacConnel – on several projects about learning a new language (_Lingomats_, 1980) and an illustrated phrasebook (_La Frontera_, 1983).[8] – He also collaborated with composer Peter Gordon on the play with music _Chinoiserie_, presented at The Kitchen in 1978.[9][10]

Two of Friedman's projects from 1979 are significant to his work. _The Telephone Book_ consists of transcripts of Friedman's phone calls over the course of a number of weeks, and _Space Stations_ – which has not been published in its entirety, follows up on William S. Burroughs by dividing a journal's pages into three columns and recording Firedman's attention shifts while he is writing. _Space Stations_ provided the material for much of Friedman's published poetry from 1982 to 2001.[11]

Jerome Rothenberg has said of Friedman that he is “a powerful & never disappointing poet/chronicler, at the top of his form & ready to take his place among the makers & movers of our time,”[12] and Ed Sanders has said “You can count on Ed Friedman ... to take you on a fine ride.”[13]

Works

-   _The New Space_ (1973) Unnatural Acts Press. ;
    -   repub. (1979) New York: Bozeaux of London Press
    -   repub. (1992) Guilford Press.
-   _The Black Star Pilgrimage_ (1977) New York: Frontward Books. [14]
-   _Chinoiserie_ (play, music by Peter Gordon, 1977)[15]
-   _The New York Hat Line_ (with Robert Kushner and Katherine Landman, 1979) New York: Bozeaux of London Press.[16]
-   _The Telephone Book_ (1979) Power Mad Press/Telephone Books. [17]
-   _Lingomats_ (with Kim MacConnel, 1980)[18]
-   _The White Snake_ (play, 1982)[19]
-   _La Frontera_ (with Kim MacConnel, 1983) Helpful Books.[20]
-   _Humans Work: Poems 1982–86_ (1988) Helpful Books[21]
-   _Mao & Matisse_ (1995) Brooklyn, New York: Hanging Loose Press. [22][23][24][25]
-   _The World: 54_ (1998) Poetry Project
-   _The World: 56 57_ (2000) Poetry Project
-   _Away_ (with Robert Kushner, 2001)[26]
-   _The World: 58_ (2002) Poetry Project
-   _Space Stations: The Funeral Journal_ (2001) Jensen/Daniels. [27][28][29]
-   _Drive Through the Blue Cylinders_ (2001) Brooklyn, New York: Hanging Loose Press. [30][31][32][33]
-   _Two Towns_ (2015) Brooklyn, New York: Hanging Loose Press. [34]

[1]

[2] “Drive Through Blue Cylinders” _Goodreads_

[3]

[4] Diggory, Terence “Friedman, Ed” in Diggory, Terence (2015) _Encyclopedia of the New York School Poets_ Infobase Learning.

[5] Rothenberg, Jerome (February 14, 2015) “Ed Friedman: Four new poems ('Ideal Boy') from 'Two Towns'” _J2_

[6] “Poetry of Ed Friedman” Woodland Pattern Book Center

[7]

[8]

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[13]

[14] “Directory of Writers: Ed Friedman” _Poets & Writers_

[15] “Ed Smokes, Stares Moodily” _The Brooklyn Rail_

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[34] “Ed Friedman” American Academy of Poets

title: Ed Friedman

question: Who put out the magazine - Unnatural Acts?

answer: Bernadette Mayer and Ed Friedman.

question: When did he become the Artistic Director of the Poetry Project?

answer: In 1987.

question: Which of Friedman's projects are most significant?

answer: The Telephone Book and Space Stations.

question: List some of Friedman's work.

answer:
- The Black Star Pilgrimage
- The Telephone Book
- The White Snake
- The New York Hat Line.

question: Write a ~5 sentence summary.

answer:
Ed Friedman was an American poet and playwright. After college, he enrolled in Bernadette Mayer's workshops at the Poetry Project.

He then "invented performance poetry" when he had started overlooking the Project's Monday night readings. Friedman has read and performed at many venues, one of them being the Museum of Modern Art.

His most significant work is "The Telephone Book" and "Space Stations".