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howwelldoyouknowyourmoon · 5 years ago

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Statement of Diane Devine submitted to the Fraser Committee

Statement Submitted by Diane Devine to the Ohio Legislator regarding involvement in the Moon Unification Church

dated May 18, 1977

I first became involved in the Unification Movement in May of 1973 in Louisville, Kentucky, where I was indoctrinated daily for a month long period to the Divine Principle teaching of the Korean organizer, Sun Myung Moon. When I was sent to Tarrytown, New York, to attend the international training center, I was persuaded to relinquish all of my possessions to the “Family,” as the commune was called, including the use of my car (a ’70 Olds Cutlas), furniture and all personal belongings. In Tarrytown I completed the rigorous 40 day and 120 day training programs in which I was deliberately subjected to the brainwashing methods which I have described openly to the Columbus media over the past year. My objective is to expose the criminal and damaging coercive practices which are being perpetrated on 30,000 American youth in the name of “religion.” To summarize very briefly, the mind control methods used by Moon and other cult leaders:

1. Complete alienation from family, friends, and former environment.

2. Sleep and nutritional deprivation resulting in physical and mental exhaustion (about 4-5 hours sleep nightly, low protein diet of food costing less than $1.00 daily).

3. Complete lack of privacy: never being allowed to think or read alone.

4. Constant peer pressure to reinforce the conviction that the doctrine of Principle is true.

5. Group coercion to conform to standards, behavior, and attitude of the Principled life.

6. Up to 12 hours daily either in indoctrination sessions or in street fund-raising, both activities supervised by a militaristic hierarchy of authority figures.

7. Constant conditioning to self-sacrifice, work harder to purify ones self of sin, and to prove ones allegiance to Moon, who was considered the Second Messiah at this time, literally bringing the Kingdom of Heaven to Earth, and who must be obeyed without question.

8. Any objection, question or argument being met with intimidation, humiliation, rapid re-indoctrination, instilling ideas of self-worthlessness, fear of consequences of leaving the movement, and guilt for having been concerned over own feelings rather than unanimity with the totalist system, a general mistrust of all personal thoughts and emotions, forcing oneself to deny normal reactions or impulses to gain acceptance from other group members, particularly those in authority positions.

The result of undergoing these programming techniques is that the individual identity is obliterated and replaced by a mass-identity carrying an entirely new system of moral and social values, allowing itself to be be easily manipulated by others who speak the new language and set the standards of the new morality. Existing always in a hypnotic or highly suggestible state of mind, one participates compliantly in all activities expected of him, mainly selling token objects in the street to raise money, or rehearsing lectures to be presented to new recruits. The simple, immediate goals of the Unification Church are to increase its wealth and its membership. The ultimate goals are purely political and in no way religious. The teaching of Divine Principle itself is merely a control mechanism to remould the thinking of masses of people, rendering an army of thousands usable for whatever purposes Moon dictates. It is a completely fascist system with Moon as the only decision maker (thus the famous Moon quotation “I am your brain.’’) and the highest ranking officials in the American movement all being of foreign nationality, primarily German, Dutch, French, Italian, and Japanese. Moon claims that the 30,000 membership must be maintained and that the Divine Principle must be injected into every field of American life, meaning that influential people in the government, business, and educational areas must be cultivated and brought to accept the ideology of Unification.

The Divine Principle, or Unification teaching, can be understood as a providence of restoration, whereby man will be reunited with God when he overcomes his fallen, sinful nature, lives in peace and harmony with his brother, etc., etc. (the usual cliches). Moon promises to cleanse impure blood in a marriage ceremony, thus bringing a new race to establish the foundation for the Kingdom of Heaven, which will eventually be migrated from the U.S. to Korea. The holy mission of the Blessed Family is to sacrifice individual, family, society, and nation for the sake of uniting the entire world in love and brotherhood. His followers believe his teaching to be the only solution to communication with atheistic Communist ideologies, and that each Moonie must exist for the one goal of converting the Communist world to the Unification Movement, and with all of mankind as one to be reunited with God. Moon has promised to have the knowledge of how to organize a world government and pledges himself as Lord to be the Savior to erect the World Theocracy. He describes the system as a form of Socialistic Democracy, although there is no policy research center where, as a Moonie, one might study government or learn more about the New Order. Moon, as the Lord, is entrusted to make all decisions. In bringing recognition to Moon and his teaching, his followers are instructed very carefully on how to present themselves so as to gain approval. It is commonly accepted to employ what is laughingly called “heavenly deception” to manipulate someone to think favorably about the movement, particularly if the someone is influential. Outlandish lies are told to such people, smaller lies are habitually told to everyday-people in the street to secure donations. A general disrespect for the public is fostered, and an attitude of delight in one’s ability to exploit for Unification purposes is definitely encouraged.

During my one year involvement I participated in several major programs, semi-practicing heavenly deception with pangs of conscience. I helped host the British Project in which 120 students from England and Ireland attended training sessions at Tarrytown; I worked on the publications staff and designed propagandistic literature; I designed banners for the 21-City Day of Hope Tour and participated as a Public Relations Representative in trying to persuade police officers from each city to attend Moon’s banquet and Day of Hope speeches; I participated in the Fast and Prayer for Watergate in which I was assigned to speak with certain Congressional Representatives asking them to pray for President Nixon and lobbying their support for the Office of the Presidency, as it was phrased; I was assigned the position of State Representative for the state of Kentucky, which I refused to accept, openly confiding my feelings of desperation and conviction that the movement was un-democratic and un-Christian.

In closing I want to emphasize that this is a political movement, distracting the public’s attention by presenting itself as a church, and successfully delaying any judicial action.

One year ago a group of 300 parents met with a Congressional Committee seeking investigation, but to my knowledge the issue of religion and protection by the First Amendment still enable Moon’s empire to prosper $50 million annually, and while thousands of young people continue to suffer intense psychological damage. It may be appropriate to outline some future objectives in an effort to emphasize the grave importance of initiating investigations at this time. Every Sunday morning Moonies pledge to die for Moon, martyrizing themselves at the 38th parallel in Korea in case of invasion. By 1981 Moon intends to take his followers to Moscow to hear him speak publicly. The ultimate goal is to sway an election, lobby heavily and provide Congressional aides to each office, eventually replacing the United Nations with the Unification Church.

Since 1969 [when it was founded] the Moonist front organization, the Freedom Leadership Foundation, has been has been pro-Viet Nam, pro-Cambodia, and pro-South Korea. FLF publishes a journal called The Rising Tide advocating strong military defense of Asian countries. FLF representatives are assigned to each Congressional office, and regularly sponsor dinners and fireside meetings with about 10 conservative-minded Representatives from Congress. A list of these names could be secured on request. During the first years of its existence, FLF denied its affiliation with the Unification Church, although all activities and publications produced by FLF were directly funded by the UC through the contributions raised in the Washington area by the flower and candle selling teams. FLF members were all versed in Divine Principle and the Theory of Victory over Communism. On weekends or Congressional breaks, FLF members were writing articles for The Rising Tide, or selling flowers with the UC teams. All members of UC are used interchangeably in any of the 60 front organizations, as needed or assigned by Moon. Several FLF’ers were top lecturers. The more dynamic and articulate men were chosen to represent FLF, although they all had proven themselves as obedient and easily controlled during a testing-time as UC lecturers and flower sellers. The same Principled manner of maintaining militaristic order (ie Cain-Able relationships) was exercised within FLF. In 1973 Gary Jarmin was acting president. A list of Moonies participating in FLF activities could also be secured on request. (see Alan Wood report)

Moon dictated at Tarrytown and Barrytown that it was essential for each UC Leader to know inside-and-out the three books, Divine Principle, Victory Over Communism, and Unification Thought. (quote Moon “0ur goal is to have our mind united with our body, and with this as the bullet we shall smash the world.’’ He refers to having bodily actions automatically controlled by the theoretical contents of the ideologies) Those who could memorize and pass tests on this substantial amount of material could qualify for any position within UC and would be promised a position of leadership, even future presidency of a nation. Among the respected positions in the present church are any assignment as Public Relations Representatives (openly lobbying in Congressional offices and acknowledging affiliation with UC) or as State Representative(speaking with influential persons in state government). In Moon’s quotation,” Let’s say there are 500 sons and daughters like you in each state, then we can control the government,” he is referring to 500 members who qualify as Leaders. He intends to use these members to organize campaign teams, to work within various areas of the government and business.

During the 72 and 73 US 21 city speech tours Moon asked these Leaders to lure prominent people in each city to attend his banquet and lectures. Hundreds of city and state government officials attended each presentation. Follow-up teams of PR workers were assigned to meet and cultivate those who had responded favorably, the goal being to teach them Divine Principle, or at least impress them with our dedication to purpose and enthusiasm. Offer to help them in any campaign, regardless of which party they represented. Keep records of PR activities. The object here was understood as merely becoming practiced in campaigning. Moon stated that he would decide which US presidential candidate the UC would back when the time had arrived to “put him in office.” We were not to question the choice. Moon stated that thousands of UC Blessed Couples would be migrating from the US to Korea to live communally there when the UC takes the Korean government. He frequently made references for the need for some of the older members to die at that time. He said that he, himself, would die at the age of 80, but that this would be necessary to defend Korea in war and that in so doing the US would be forced to send aide. The Sunday morning pledge which states “I will march bravely forward into the enemy camp until I have judged them completely with the weapons with which God has been defeating Satan” refers to the need to shed the blood of martyrdom to build the Heavenly Kingdom. He taught that some will live to see the Kingdom, others will not. Once the Korean government was well-secured, the plan was to assign UC members to ambassadorships in each Korean embassy throughout the world.

Regarding the selection of candidates to be assigned as first ambassadors to the new Korean government, it was announced that a Japanese Leader named Kamiyama would be able to soon run for election in Japan, with the assistance of a man already holding an official position, by the name of Kuboki. With Kamiyama in office, the doors could easily be opened in Japan. It was announced that Paul Werner, a German leader, would be the first to take an official position in Germany. A younger fellow named Dan Fefferman, an American, is being groomed by Moon to take a position in Israel. No other names were announced, but many were rumored. There was competition among the state representatives for Moon’s attention. Moon expected that each state representative serve at least a three year mission in a foreign country, forcing the Americans to become bilingual. He made international assignments arbitrarily, whether or not a person could speak a language he was expected to be able to lecture the Divine Principle in the native tongue of the country to which he was sent. State representatives from the past three years were sent to 40 countries in 1974. I believe there are now missionaries in 120 countries. Moon promised to tour the world and visit each of these countries and speak to the membership using the missionaries as interpreters. This places each foreign-UC member in a position comparable to Bo Hi Pak, or as Moon’s right hand man, at the particular time of his visitation to that country.

It was assumed from Moon’s many references to the United Nations, that we should be expecting a self-destruction which would enable the UC to proclaim itself as the only unified international organization demonstrating a peaceful standard of living. He predicted that the destruction of the UN would be the thing which would greatly cause the public’s attention to be turned to the UC. He stated that there would be worldwide economic collapse and that the UC would be prepared to offer relief and assistance to thousands of people at the centers, which would be established as hostels, and that they would convert thousands at that time and use them to advance a campaign or election of the presidential candidate chosen by Moon. All UC women are expected to know how to prepare menus, cook for, and serve at least a hundred people. In some places in California self-subsistent farms are being set up. Leaders are being assigned to business enterprises which Moon has purchased in the US dealing with high nutritional foods, particularly fish. Moon stated that at such a time of mass-hysteria in the US, it may be necessary to know martial arts as a form of self defense. He also said many times “All of the Korean businesses and American businesses will be run by the leaders and the air rifles are being made now for you,” implying at the time of disaster the UC would be armed. He promised to purchase an airline so that we could travel internationally with safety. He referred to this as a “fleet of jets.” He said that New York would be the first city to experience the depression and this is the reason he has concentrated on buying property that is cultivatable in the upper state area. He predicted that people would leave the city in a sudden outpouring, and that UC would have food stored and shelter prepared to receive them.

Diane Devine

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Minions and Master

United States Congressional investigation of Moon’s organization

Statement of Linda Anthenin to the Fraser Committee

Notarized Statement of Linda Anthenien to the Fraser Committee

Statement of Phillip Greek to the Fraser Committee

Sun Myung Moon and the United Nations

Sun Myung Moon’s theology used to control members

Sun Myung Moon: The Emperor of the Universe

Allen Tate Wood on Sun Myung Moon and the UC

“Moon’s Law: God Is Phasing Out Democracy”

#Fraser Report #Sun Myung Moon #Unification Church

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breachy-breeches-creation · 6 years ago

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Of Harmony & Discord

It had been almost a month since the grand ball hosted by Lady Lucille Trevelyan and the discovery of the truth of Jacquelyn being a mage.

The Trevelyans would've have been punished and disgraced for harbouring an "apostate" under Chantry laws if not for the thwarting of the assassination of the ball's honoured guest - a highly regarded Grand Cleric, the very reason why Jacquelyn's magic was exposed. Thus it was decided the girl was to be sent to the Cumberland Circle instead, which is considered to be the most powerful and resourceful of the Circle’s but also less restricted compared to the rest in Thedas.

It was curious, however, that Jacquelyn wasn't shipped to Circle immediately. Perhaps it was a reward from the Grand Cleric to let the girl spend her last remaining days with her family in peace before departing.

Jacquelyn had been having dreamless nights for the past few days, which is particularly rare unless she is truly exhausted.

What's more, Serenity - her spirit friend since back in the Hold when her magic manifested - disappeared, which never happens; they are inseparable!

Even if Serenity was to return to the Fade it would always notify her first and the departures were never long, a few hours, a day at the most.

But this? Completely vanished without out a trace? This is completely unheard of.

The thought of her friend’s disappearance made the girl feel restless, she feared for her friend’s safety and something about this abnormality tells her that her instincts are correct.

She is unable and won’t sleep until she finds out what is going on.

Jacquelyn made her way out of the bed, grabbing her robes and an oil lamp and left the room.

The moon is still high up in the sky which means her mother is most likely still in the library room. ‘Mama might know something.’ the girl thought to herself.

Vanessa knew of her daughter’s magic abilities and was the person who kept this fact a secret from the rest of the Trevelyan family - including her current husband Julian Trevelyan.

Despite Neverra having a more liberal attitude on magic compared to the rest of the Andrastian nations, being raised in a "civilized" society and of noble status, Vanessa knew how the Chantry and most of the population view magic and mages.

She had hoped to live a peaceful life from the grief of the death of her Avvar lover and former husband and wished not to lose her only child to the Circle. Perhaps also out of reassurance that Jacquelyn had acquired great knowledge in controlling her magic already.

As was expected, the tawny-haired woman is sitting in an armchair by the fireplace, with unfinished embroidery in her hands.

Vanessa paused when she heard the approaching bustle of the footsteps of her daughter. She turned around and sees Jacquelyn's face in apprehension. Vanessa raised her brow in concern, putting her sewing kit aside and welcoming the little girl's embrace.

"Something’s troubling you my dear Lavena?" Vanessa asked softly as she pets her daughter's wispy onyx hair; 'Lavena' - “joy”, the girl's former name when she was still a member of her Avvar clan, and now only used as an endearment from the mother to her child.

Jacquelyn looked up at her mother, her eyes filled with confusion “Mama, They’ve been missing for days and I don’t know where They’ve gone! This never happens!”

The girl’s complaint had Vanessa pause and avert her eyes away. An expression of guilt, unable to look at her daughter. “Mama, Mama? What’s the matter?”

“Your mother did what is right, child” a voice spoke from across the room; the voice that belonged to the master of the house - Julian Trevelyan. Behind the authoritarian man, a senior mage in a confident posture followed.

Jacquelyn shot up, facing both men, still confused but also afraid. “What…?”. The girl noticed a thick scroll in the mage’s possession, she rushed up to him, snatching the scroll from the mage’s hand.

As she opened up the scroll, her eyes went wide, horror crawling upon her face and her hands began to shake violently with disbelief as she read each word and magic symbol presented on the parchment. “What….have you done..!” she finally breathed out.

A rare and powerful artifact called “The Scroll of Banishment”, rumoured to be originated from the Ancient Tevinter Imperium.

As the name implied, it was used to banish demons and spirits alike back into in the Fade.

Jacquelyn recognised it since the Avvars of her Hold had displayed similar magic rituals when the situation required. However there were other unfamiliar symbols and formulas in the scroll, this one appeared to be an altered version of the original artifact.

Knowledge unknown to her made it even more unsettling.

Julian stepped forward reaching out his hand, “Jacquelyn...” he spoke, in the attempt to soothe the distressed adolescent, but she was in no mood, nor had patience for this.

The young woman slapped away the reaching hand, snarling at the man, “Don’t touch me!” she snapped at him.

She breathed heavily, clutching the scroll tight with anger, tears tumbling at the corner of her eyes, threatening to fall. She tried holding her breath, in order to hold herself from further emotional outbursts.

The senior Mage stepped towards in a prideful manner “I see you have noticed, young one. This version is much thorough, not only seeks to exorcise but also can “mark” and eliminate the target completely.”

Julian knelt down to be on eye level with the girl, with a reassuring voice he spoke again, “Child, it is for your own good.”

That was the last straw.

Without warning the girl’s hands ignited, as rushes of rage engulfed her mind, incinerating the scroll in the process.

The sudden burst of flames startled and knocked down everyone in the room, especially Julian, with his loose sleeves catching on fire.

Her eyes flared with arcane energy, tears all but evaporated. The fire in her palms burnt, changing its colour from orange to green to violet and then lastly to ghostly blue.

“Why would you do this?! They are my friend!”

“It is a demon!”

“You are the ones that turn them to Demon!” the flaming maiden roared with fury, voice echoing through the hallways.

A fist of fireball landed on one of the vases and spread to the nearby, rather unfortunate furniture. The guardsmen, alerted by the noise caused by the earlier blast, arrived at the room, quickly standing between their Lords and Jacquelyn, holding their shields and swords up in ready stance.

“Lavena, please!” Vanessa pleaded.

“Please? You would let a man push you and your daughter around because he is the Lord of this fucking mansion? Where is the stubborn pride you always carried with you, Mother?” Jacquelyn spoke through gritted teeth, as she neared the woman.

“Enough! You will not address your father this way!” “This imbecile lowlander son of a bitch is not my father just because you are married to him!”

The next instant Jacquelyn felt a stung across her face and the fire in the girl’s hands dissipated as shock overtook her. Silence.

Jacquelyn slowly turned her head back to her mother, staring at her; her expression still showing how betrayed she felt as ran off to the hallways.

Vanessa looked at her hand shaking as she sobbed into them, heart swelling with regret. Julian placed his hand on her shoulder in an attempt to reassure her.

The guardsmen and servants were ready to give chase but the Lord made the gesture to do otherwise. “Let her go, she needs some space”

Not long after, the sound of a door slamming unnecessarily loud, could be heard, quickly followed by broken glass, splinters of wood and angry screams.

---

Three days had passed and not a single sign came from Jacquelyn’s room, despite the frequent check-ups from Vanessa and her maids.

The food delivered at the doorstep was left to turn cold, untouched, until servants went to retrieve it. Gossips could be heard in the halls, nothing that could be helped, but no matter what they only kept spreading and growing.

Several Templars arrived at dusk, and a servant leads one of them to Jacquelyn’s room.

“My Lady Jacquelyn, I am here to inform you that the Templars have arrived,” said the servant after she gingerly knocked on the door.

“I….understand that it may be difficult for my lady to say farewell, but please do pack the necessities soon… it has been decided that my lady will be leaving with them on the morrow.”

Not moments later, the door slowly creaked open. Jacquelyn stepped out of the room and closed the door behind her, already dressed, a travelling bag on her back. “No need, we can leave now,” the girl said in an almost monotone voice. “Oh...um, as my lady wishes then, I will go make preparations immediately” the servant seemed slightly taken aback, but quickly bowed and took her leave.

“Hello, you may call me Liam” The templar stepped forward and reached out his hand in a greeting gesture “My companions and I will be escorting you to the Cumberland Circle, a pleasure to meet you.” Jacquelyn eyed him up and down for a moment, and without a word, proceeded to walk away and towards the main entrance.

“Well, that went well” the templar awkwardly scratched his cheek with the hand that had been ignored and followed the dark-haired girl.

When Jacquelyn reached the staircase, Julian and Vanessa were already waiting at the bottom, along with the other Templars. Vanessa attempted to reach out for her daughter, Jacquelyn simply walking pass her without looking at her once, refusing to acknowledge her presence.

Lord and Lady Trevelyan, along their servants watched in silence as Jacquelyn entered the prepared carriage and departed.

When the carriage could no longer be seen upon the horizon, Vanessa finally broke into tears. Julian held his Lady close to comfort her, whispering prayers to the Maker as he did.

________________________________________________________

Basically, the explanation of how Serenity disappeared and what caused the huge relationship rift between Jacquelyn and her (step/)parents

. This backstory has been sitting in my files for months before I actually remembered about it and finally finished it. Writing still needs much improvement tho bleh lol.

Many thanks to my friend @abyss-wolf for proofreading and edit for me. :D

#dragon age #dragon age oc #dragon age inquisition #Jacquelyn Trevelyan #trevelyan #inquisitor trevelyan #my writings #oc backstory

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filmista · 6 years ago

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The Piano (1993)

“What a death! What a chance! What a surprise! My will has chosen life! Still it has had me spooked and many others besides!”

Jane Campion’s The Piano is well known for being the first and until recently one of the only films that has won a woman a Palme D’or for best director at Cannes. It’s still one of New Zealand’s best known pictures and a steady reference, when discussing female directors.

The only thing I knew about it however was, how successful it was at Cannes and that it was at the time (and perhaps still) regarded as a very controversial film, of which it has been heavily debated whether it is or isn’t a feminist picture in nature. It’s kind of sad that in large part today it lives on through its reputation of “difficult”, because it’s truly a stunning film.

When I first watched it (I have seen it twice since) I was swept away and fell in love instantly, it quickly got a spot amidst my favorite period dramas. It felt thoroughly modern and at the same time timeless to me.

I love it when a film and its maker alike, are brave and it isn’t afraid to sometimes shock or provoke a little. And not out a need to just shock necessarily, but more about a passion to let their vision go uncompromised.

The piano certainly is that kind of film. It wasn’t difficult to imagine that not everyone liked this and that some people might have felt shocked or even appaled.

I think this is in part due to the fact that it doesn’t offer us any clearly defined or initially even likeable human beings in it. They’re all far from perfect, but that makes the film all the more grittier and emotionally rawer, which might be why it has endured in time.

What made it for me so special and masterful, and what fuelled a desire to watch it again almost immediately after, is the fact that the film is so clashingly different from what you usually expect of a film of the same kind.

It’s at times a living contradiction, it embraces conventions, and then dances around them. It might be a period drama, but its the first period drama in a while; that had me in genuine suspense, shocked and surprised pleasantly at every turn while its story was unfolding.

I had a vague idea that this was a period drama, and read that it involved two men, I just thought it might be extremely pretty to look at melodrama. I like period dramas, but only when they manage to do something unexpected.

Something that surprises me and The Piano certainly succeeded at that. Visually it does justice to the time period it’s supposed to take place in, the clothes and artifacts and attitudes of the people match and are what is supposed to be expected, initially...

Yet as I said, at its heart it clashes with these traditions and expectations of the genre and subverts them. And that’s what’s so exhilarating about it for me, it’s a powerful film, in that it gently imposes its feeling and emotions onto you.

If it reminds me of any other film, it’s only in one thing of Picnic At Hanging Rock

in that it takes “proper victorian society, and puts everything upside down. Letting it run wild, letting it be led completely by instinct, and at the same time show the perversion of its repression and properness.

The Piano is an incredibly beaufiul film in terms of visuals. Like many or at least good period dramas it painstakingly recreates the period its supposed to take place in. However it is as I said also visually a gem.

The cinematography is sumptuous and lush, alternatingly light and dark according to the mood of a scene and often of a character. The colors of the landscape heightened, to put emphasis on both the beauty and wild unpredictableness of it.

It’s been criticsed a few times for its editing being too abrupt or grainy in quality. But personally I love it, the cinematography and the sound, don’t follow any sets of rule any more rules than its story.

Again what surprised me about it, is that for a period drama it was surprisingly untame and erotic, yet at times brutal while still elegant, like only a female touch seems able to bring to a film sometimes.

The Piano opens with Scottish mail order bride Ada (a magnificent Holly Hunter) being sent to New Zealand by her father alongside of her young and preccocious daughter Flora (Anna Paquin in one of the best child performances I’ve seen), to marry Stewart a local farmer and settler.

As soon as we see this, we know what kind of world to expect, and how the society in it functions. Women were still regarded as little better than cattle, to be sold off and bought, with the other only purpose of bearing children.

You best weren’t too temperamnental or strong willed. All things the film’s protagonist is not. We discover another curiosity about her: she hasn’t spoken since she was 6 years old. We don’t know why this is; it’s ever since her last husband was struck by lightning when they were singing in a forest during a thunderstorm once, according to her daughter.

During another moment she tells someone that it’s because her mother says that people talk rubbish anyway, and that it isn’t neccessary to listen. It’s probably a bit of a combination of different things, she very likely has been emotionally traumatized at one point in her life. We don’t know whether something happened as a child, or with the man that gave her, her daughter and who he was.

Very likely her muteness is equal parts brought on by trauma, as selective. It gives her a tranquility, she doesn’t have to answer, if somehting displeases her. Yet all the while in her mind she can think whatever she wants, and no one will read her. It’s also a trait that would make it perfectly socially acceptable to be a bit withdrawn sometimes.

With her daughter she communicates through sign language, and her daughter translates them for her whenever the need arises.. Their dynamic with each other works, until of course going to New Zealand.

Things start off bleak immediately, her husband isn’t there on time to meet her and her daughter. So the two are forced to sleep in an improvised tent, made out of her underskirt, and sleep outside on the beach.

The next day he arrives, but rather than apologize,instantly complains to someone about how small she is. Prior we see he had written her a card sayng he didn’t mind her being mute, as god loves even dumb creatures.

Through the tone of the voiceover we can instantly tell how she feels about him, not positvely at all. Ada has one thing in her life that allows her to feel like she can speak and feel alive, her piano.

However her new husband, even though she empathically, desperately makes lcear how important it is to her, he could care less, and tells her it is too heavy, the piano is now exposed to the elements on the beach.

No affection, love or lust grows between her and her husband. And initially her daughter refuses to call him papa. Stewart grows frustraed, especially since she also doesn’t talk, she looks at him with an icy expression at all times.

He doesn’t seem to understand that this is because he never tries to see her fully, try to understand her and show kind of tenderness that’s unforced and from within him.

Ada is eventually so melancholy by the separation from that she sneaks off to the beach to play it. There a neighbour hears it and is so moved by Ada’s playing that he offers her husband a deak, land in exchange for letting his wife come over to teach him how to play piano.

We quickly find out his plan is not enitely act out of love of music, but also a strong sexual attraction to Ada, he isntinctually gets that her piano is a way to come closer to her.

And here is where the film takes its often controversial trun, into nasty romance territory. The film becomes about sexual power play, and how the power can shift from one person to another. Though here that grows into genuine affection on both sides.

Banes makes Ada a rather crude offer, small sexual favors, in turn she gets to play her piano. There’s 88 keys, acts like taking off her jacket might equal one, while raising her skirt would be five. Each act is assigned a number of keys.

Initially she seems bothered by the offer, but accepts in order to play. Had a man directed the film, we might have been shown this in a much more impersonal and aggressive way, there’s never anything grauitious about it.

But we really get to see the perspectuve off both. Both people are lonley and long for a real human connection. Ada knows this of Baes, and quickly realizes her power: he desires her company, and is affected when she pretens to not care.

Meanwhile she has the power to negotiate the sexual acts in the direction that she lies, increasing the number of keys required for a certain action.

While this offer is undeniably crude and borders on prostutituon. Campion did take a surprsingly affecting trun. Both people find warmth in each other. And by the time they make love, they are eactually in love.

And surprsingly for a that takes place in the time it does, he checks in with Ada, sees if she’s okay with it. And unselfishly proceeds to focusing on her pleasure, something she likley hadn’t experienced.

There’s even a scene in which he lifts her hoopskirt to perform oral sex (wild!) there’s a genuine affection and passion; and it is with him that she finally speaks, whispering something in his ear during the act, he seems overjoyed by her reaction.

And while it’s a powerful moment, it’s one of a great many in the film. It shows them connecting a personal level. However Ada’s husband, saw the two of them, only discoering the betrayal because her daughter Ada had told her stepdad, who she has finally come to like.

After sleeping with each other, Banes tells her they should not see each other again, as he was already suspicious and mean towards her. Thus sacrificing what he feels for her.

Howver after the incident events take a turn for the worse. And George snaps completely, actually locking her in the house, by setting wooden boards around points of exit. His stepdaughter voluntarily helps him. Campion never explicitly places blame on the child though.

She was likely, dangerously acting out childhish jelaous, as she is ni longer her mother’s only source of happiness and thing she pays constant attention to. But she is eventually horrified, when Stewart in his mad jealousy goes even further.

Ada whilst not in love with her husband, knows exactly what he wants. And starts to play right into it, finally approaching him physically, so that he thinks she’s warming up to him or even falling in love. Finally he trusts her and allows her to go outside, however she can’t really do much because her daugher is still there.

So she decides to write Banes a declararion of love. Asking her daughter to deliver it to him. However she brings it to her stepad, who opens and reads it. And finally fully loses it.

Previously he had already tried to rape her (after catching her in the act), but he now drags her outside towards a choping block cuts off one of her fingers, that he sends to Banes with the threat “come near her again, and I’ll cut off the others”. There’s a moment in the film, in which certain characters attend a play of the Blue Beard story, perhaps this foreshadowed his violence in the end.

There’s a look that Ada gives her husband after it happens, it’s one of pure disgust and hatred. The way a person would look at their shoe after having stepped in dog poop.

Something interesting happened at this moment, the veneer of “respectiful Victorian society cracks. Stewart turns out to be more insensitve and ulimately a bigger brute than the man who had “gone native”.

The difference is that Banes has long ceased to give a shit about the ways of societt, and what anyone thinks. And that he is therefore free to see and treat Ada as a fully layered and equal human being.

By which she reveals sides, she hadn’t shown anyone and thus feels appreciated and falls for him. And he falls for her in spite of her, what would at the time have been deemed an unseemingly strong will for a woman. I’s very likely why he fell for her to begin with.

Yet Stewart, regarded her almost as somehthing inhuman, and sees her as somehthing he’s entitled to as a man, and expects that she will automatically submit to his authority.

Ada however doesn’t. Like Banes, she seems to care very little for societal norms as well. If Stewart had been kinder to her maybe the relationship would have evolved different, but since his actions at the beginning of the film, he condemmned himself by his unwillingmess to “listen”.

Finally stewart realizes tat Ada will never love him, and allows her to doo what she had wnated: run off with Banes, we don’t know if it’s entirely selffles, if he in the end realizes his mistakes and wants her happiness, or if he has given up.

Regardless it sets about a change and Ada is now with Banes, who has fashioned her a metal finger. When they go away with each other, he takes her piano, knowing how important it is. She however no longer wants it and demands it to be thrown in the water. Where she ends up with it.

The piano at least I think so, represents her past, her bad memories and a means of communication. Or rather that with which she escaped having her “voice” oppresed as a woman. Briefly she seems to contemplate dying with it, but then fights to the surface and joins Banes, to embark on a new life.

The figure of her lover, is a controversial one. Some reduce him to a rapist, since they say that Ada had no choice or agency. But that would mean denying things, first that Ada isn’t as demure and innocent looking as she seems.

She read the situation, and played into all the while realizing, her power, it’’s ultimately she that sets the pace and decides what happens when. But more importantly, this interpreatation dismisses Ada as sexual; it denies the possibiluty that she could have desires and enjoy pleasures, or have a kinky side that enjoyed the seductive game they played initially.

There’s a moment where the tone shifts completely, Banes gently makes a hole in her stockings, and caresses the skin underneath it. We see Ada’s face, she responds with a visible gasp of enjoyment, that makes it clear she’s excited by what’s happening and wants it.

That’s another thing that’s great in the film, it subtly and accurately shows feamle desire and pleasure. The Piano could be at times considered quite steamy, but not because you see all that much but rather how what you see is shown.

Focused on the emotions , and often the joy of the moment. That moment in which Banes lifts Ada’s skirt to pleasure her is signifcant, there’s urgency and laughs, at just how difficult it is to lift.

It recognises that sometimes sex isn’t always perfectly in sync and sometimes just funny, but more importantly here fun. One of my problems, with the sex scenes in some films, is that there’s always taken so terribly seriously...

And it’s quite surprising that given the film’s age, that scene still feels so incredible refreshing. It is just like Holly Hunter’s performance, that makes the film, literally quitely brilliant.

Hunter learned to play the piano herself, so whenever she plays it (sometimes only as backgorund music) it sounds genuinely beautiful and moving, and like someone with actual passion for music is playing.

For an actress playing someone mute, must be hard but Hunter handles it beutifully, never laying it on to thick. But rather knows how to sublty convye emotion through her face and body at each moment, we can read from her face what she is feeling or how she is interpreting a certain situation, it’s fascinating to watch.

The character of Ada is not simple one. She seems like a quiet, calm and reserved woman and seems to enjoy a certain isolation. Or rather is revealed to perhaps enjoy the company of those she likes, and doesn’t have to pretend to.

As soon as someone does something she doesn’t like, she clearly lets this be known, indicating a fierce pride. And Hunter shows that beautifully, just with one look Ada can seem to shimmer with rage and indignation. The Piano is ultimately a fascinating look at gender and societal norms, and a beautiful ode to the priceless freedom of loving passionately and who we chose.

“Ada, I'm unhappy. 'Cause I want you. 'Cause my mind has seized on you and can think of nothing else. This is why I've suffered. I am sick with longing. I don't eat, I don't sleep.”

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minnesotaprelawland · 3 years ago

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Elon Musk and Tesla Board Members Face Suit from Shareholders

By Cory Baker, University of Minnesota Crookston, Class of 2023

July 2, 2021

One of the most prominent and iconic Silicon Valley companies, Tesla, is under fire for its inability to control CEO Elon Musk. This company prides itself on limiting the world's reliance on fossil fuel consumption by producing innovative renewable energy solutions. Tesla’s business model has developed a successful venture into the electric vehicle, solar roofs, and solar panel industries. However, with an eccentric CEO who irrationally expresses his ideas over social media platforms, one shareholder has seen enough. Recently investor Chase Gharrity brought about a derivative lawsuit against its CEO Elon Musk and its board of directors for “accuses the electric vehicle maker’s board of failing to rein in Musk’s behavior online, even as he has repeatedly violated a 2018 settlement with the Securities and Exchange Commission.”.[6] The suit was filed under Delaware Chancery Court and unsealed on March 11th, 2021 “claiming Musk has exposed the company to billions in potential liability and market losses”.[6]

Mr. Gharrity is but a representative for Tesla and personally doesn’t gain anything from the suit but rather defends the interests of the company. Corporations are legal entities separate from their owners and owned by the shareholders who invest in them. Through the articles of incorporation, the shareholders are responsible for appointing a board of directors who then appoint the officers to run the day-to-day operations.[5] Under a derivative suit, the shareholders bring about a complaint “on behalf of a corporation when the corporation has a valid cause of action but has refused to use it”. [2] Without them the company and its board of directors would not be held liable for actions or inactions that damage the company in any way. This suit focuses on a fiduciary duty that the directors and officers had towards Tesla. These fiduciary duties can be broken up into the duties of care, loyalty, good faith, confidentiality, prudence, and disclosure.[1]

The actions taken by Mr. Gharrity stem from a previous suit against both Tesla and Musk filed by the SEC in 2018. At the time Elon Musk was both the chairman of the board and the CEO, which gave him tremendous influence over the Tesla corporation. With a strong Twitter presence, Elon Musk was charged with securities fraud due to a misleading tweet regarding Tesla’s share price and its ability to go private. “The SEC’s complaint alleged that, in truth, Musk knew that the potential transaction was uncertain and subject to numerous contingencies. Musk had not discussed specific deal terms, including price, with any potential financing partners, and his statements about the possible transaction lacked an adequate basis in fact.”[8] After making that tweet Tesla’s stock price rose by 6% over the day.

The SEC also charged Tesla with “failing to have the required disclosure controls and procedures relating to Musk’s tweets… nor did it have sufficient processes in place to that Musk’s tweets were accurate or complete”.[8] The suits ending in settlements for both Tesla and Elon Musk who neither denied nor admitted to the claims. The following actions were agreed upon by both parties.

1. “Musk will step down as Tesla’s Chairman and be replaced by an independent Chairman. Musk will be ineligible to be re-elected Chairman for three years.

2. Tesla will appoint a total of two new independent directors to its board.

3. Tesla will establish a new committee of independent directors and put in place additional controls and procedures to oversee Musk’s communications;

4. Musk and Tesla will each pay a separate $20 million penalty. The $40 million in penalties will be distributed to harmed investors under a court-approved process.” [8]

Within the derivative suit, Mr. Gharrity references a tweet like that of the 2018 situation that led to the SEC settlement. However, in this case, instead of an upward movement in price, Elon triggered a downward pressure on the stock by 10%. This occurred in May of 2020 when Elon Musk stated on Twitter that the stock was too high and that he was claiming to sell “almost all of his physical possessions and won’t own a house”.[4] Various investors believe that Mr. Musk was reacting to the Coronavirus pandemic and turned to Twitter as a coping mechanism.[4] This would seem like a violation of the settlement, however, the SEC has not confirmed it.

Even though he has allegedly “continued to issue tweets without the required pre-approval,” set about in the rules.[6] A contempt claim in 2019 triggered the SEC to tighten the rules of his past settlement. In this tweet, he suggested a production volume that was inaccurate and need not met the pre-approval from Tesla’s lawyers. Elon Musk is pushing the limits of the SEC with these actions and has made comments such as “I want to be clear, I do not respect the SEC. I do not respect them.”[7] This derivative suit illustrates his attitude toward these regulations and motivates the shareholders to do what they believe is best for the Tesla Corporation.

______________________________________________________________

Cory Baker is a Finance major at the University of Minnesota Crookston with an interest in corporate law and he plans to attend law school to receive a JD. His dream job would be to work as a securities attorney for the SEC or with a firm handling mergers and acquisitions, bankruptcy, and corporate governance. Cory currently lives in Montana with his dog and immediate family.

______________________________________________________________

[1] Cornell Law School. (2021a). Fiduciary Duty. Legal Information Institute. Retrieved from https://www.law.cornell.edu/wex/Fiduciary_Duty

[2] Cornell Law School. (2021b). Shareholder derivative suit. Legal Information Institute. Retrieved from https://www.law.cornell.edu/wex/shareholder_derivative_suit

[3] Gharrity vs. Musk et al. (2021). Court of Chancery of the State of Delaware. Retrieved from https://www.bloomberglaw.com/public/desktop/document/CONFCOMPLAINTChaseGharrityvElonMusketalDocketNo20210199DelChMar08?1620676593

[4] Hull, D. (2020). Tesla Falls as Musk Says Stock Too High in 2018-Style Tweets. Bloomberg Law. Retrieved from https://news.bloomberglaw.com/esg/tesla-falls-after-musk-says-stock-too-high-in-2018-style-tweets

[5] Justia. (2021). Shareholder derivative lawsuits. Retrieved from https://www.justia.com/business-operations/business-disputes/shareholder-derivative-lawsuits/

[6] Leonard, M. & Ramonas, A. (2021). Musk, Tesla Board Sued Over Tweeting in Violation of SEC Deal (2). Bloomberg Law. Retrieved from https://news.bloomberglaw.com/securities-law/musk-tesla-board-sued-over-tweeting-in-violation-of-sec-deal

[7] Neate, R. (2019). Elon Musk could face contempt charge over 'inaccurate' Tesla tweet. The Guardian. Retrieved from https://www.theguardian.com/technology/2019/feb/25/elon-musk-tesla-judge-contempt-sec

[8] U.S. Securities and Exchange Commission. (2018). Elon Musk Settles SEC Fraud Charges; Tesla Charged with and Resolves Securities Law Charge. Retrieved from https://www.sec.gov/news/press-release/2018-226

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talabib · 4 years ago

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Qualities of Great Innovators

We all seem to know what an innovator is. But what’s been harder to define for thousands of years is how innovators actually come up with their ideas.

In ancient times, it was believed that creativity was not a human attribute at all but solely a divine one. The Sumerians, who are credited with a large number of technological and social innovations at the very beginning of human history, believed that the many creative achievements of their civilization were not due to their own efforts but rather were gifts from the gods. In the Judeo-Christian tradition, human beings were likewise not considered to be “creative.” They were makers and users of things that God had created in the first place.

Everything started to change with the European Renaissance of the 14th to the 17th centuries, and in particular with the birth of humanism. That’s when the belief began to spread that great creative or scientific accomplishments were the direct result of a person’s owns education and abilities rather than the work of some external divine entity. Suddenly, it was the human being that was the genius. And in this exciting new age, as rationalism slowly eroded the power of mysticism, people were encouraged to tap into their own intellectual and creative capacities in unprecedented ways. Thus, the Renaissance ushered in an era of unleashed human potential, producing a slew of technological, artistic and cultural achievements.

What we primarily want to understand is the innovative thinking patterns and dispositions that became so prevalent in the Renaissance period

Innovators know how to leverage resources

Innovators see themselves, and the world around them, as a collection of skills and assets that can be recombined or stretched into new opportunities.

Filippo Brunelleschi, for example, who is regarded as one of the seminal figures of the entire period, started out as a master goldsmith. But he also studied literature and mathematics and had a strong artistic leaning. Brunelleschi was able to masterfully leverage his portfolio of skills beyond metalworking into sculpture, clock-making, architecture, archeology, engineering and even ship design — in many cases achieving what had literally never been done before.

In 1410 Brunelleschi succeeded in inventing the world’s first portable clock. By borrowing and repurposing technologies from different fields, Brunelleschi was able to make a clock that was not only much smaller and lighter but, more importantly, portable for the very first time.

However, Brunelleschi is best remembered not for his contribution to clock-making but for his achievements in architecture. His major work was the huge dome of Florence Cathedral (known as the Duomo), which is considered one of the greatest engineering accomplishments since antiquity. Nobody had ever built a self-supporting dome before, and none of his contemporary architects had any idea how to do it. Brunelleschi had to rewrite all the architectural rules, inventing his own mathematical, structural and building solutions at every step of the project.

He was constantly trying to expand his portfolio of skills and assets and to redeploy them in new ways or new contexts. He proved himself a genius at leveraging his own resources — and those he discovered around him — to transition into different kinds of opportunities.

This attitude, the awareness of our limitless capacity for developing, stretching and synthesizing resources, is one of the recurrent thinking patterns we find when we study the mind of the innovator

Innovators understand the needs of the people

The pattern of thinking that is characteristic of Innovators is their seemingly insatiable curiosity for the world around them and their unshakeable belief that they could make the world an increasingly better place.

No figure from the period epitomizes this more than Leonardo da Vinci. Helen Gardner, in her book Art through the Ages, writes of da Vinci’s “unquenchable curiosity,” and we see this reflected in the 13,000 pages of his famous journals, in which he made a daily record — in notes, drawings and scientific diagrams — of his observations and studies. These notebooks cover a wide range of interests and phenomena, from human anatomy and facial expressions to animals, birds, plants, rocks, water, chemistry, optics, painting, astronomy, architecture and engineering.

Da Vinci’s acute observations led him to think about and try to solve problems that hadn’t been seriously considered before. Nobody, for example, was asking for a parachute, a car, a submarine, a hang glider, a diving suit, a helicopter, a calculator, or floating shoes and stocks for walking on water, but Leonardo da Vinci invented, or at least conceptualized, these things.

Da Vinci was able to spot unmet needs and innovation opportunities because he was vastly more observant and more engaged with his environment than others. He was focusing his attention on issues and frustrations that most people simply ignored.

Innovators figured out how to connect what was possible with what was needed. This, then, is the perspective or thinking pattern of the innovator — the desire to develop deep insights into all kinds of phenomena and to use new knowledge to solve problems, address needs and improve quality of life in completely novel ways

Innovators know how to challenge orthodoxies

Perhaps the first thing that comes to mind when we think about Renaissance innovators is their contrarian spirit. It was a time when people began to ask skeptical questions that had never been asked before and to challenge deeply entrenched beliefs that had long been taken for granted. For example: Copernicus, Galileo and Kepler asked,“What if the Earth is not the center of the Universe? What if it revolves around the Sun along with the other planets?”

Machiavelli asked, “What if politics has nothing to do with theology or morality? What if it’s simply about using all means — fair and foul — to retain power?” Filippo Brunelleschi and Leon Battista Alberti asked, “Why can’t a painting be less like wall decoration and more like a window into the natural world? What if we used mathematical and optical principles to imitate objects so accurately that they look entirely real?”

Amerigo Vespucci asked, “What if the Earth has a much larger circumference than we learned from Ptolemy’s cartography? What if these lands Columbus has newly discovered are not the Indies at all but in fact another whole continent — a New World?”

Almost by definition, these Renaissance revolutionaries were nonconformists who were willing to contest previously held truths — beliefs and assumptions that had been accepted as absolute gospel for perhaps a thousand years or more — and to reinvent their worldview completely from scratch. Many of them were branded as heretics or lunatics. Yet their propensity to break the chains of precedent and to challenge conventional thinking became the basis for a whole string of breakthrough discoveries and new philosophies that literally changed our world.

This capacity to challenge orthodoxies and to propose perhaps wildly antithetical alternatives is one of the fundamental driving forces for innovation

Innovators see the future in the present

Innovators understand change. They seem to have a knack for recognizing and harnessing the potential of things that are already changing, where others do not. They are sensitive and alert to the kinds of trends that — if scaled up — could profoundly impact the future or that could enable them to drive significant industry change.

Innovators are not just better at picking up the signals. They are better at reading them. Their accurate powers of observation are matched by exceptional powers of reflection. They have a deep curiosity that makes them wonder where some nascent development might eventually lead, how it could potentially alter the current rules of competition, what kind of new value it might create for customers or what would possibly happen if this trend intersected with others.

Most importantly, they act on this vision before others do, usually because their rivals are still denying or discounting the importance of these change factors.

If we are going to learn to ride the waves of change, we first need to develop the ability to spot and recognize emerging patterns that can reveal where the world — and our business — might be or should be going in the future. We need to immerse ourselves in what is happening right now by making sure we stay closely connected with our customers, society and the rest of the world, and by keeping our eyes and ears open at all times.

That means regularly engaging in activities that awaken your curiosity by exposing yourself to new trends, impressions and perspectives. For example, conversing with people from different industries, demographic groups, geographies and levels of the organization. Or visiting new and out of-the-ordinary places; eating in new restaurants; following new fashions in clothing, music, sport, movies and theater; getting a close-up view of new technologies; and spending more time hanging out with teenagers and other people who seem to have their finger on the pulse of change.

Innovators repurpose, redeploy and recombine

Every company utilizes a specific set of resources (e.g., competencies and assets) to turn some form of input (e.g., raw materials, semifinished goods, information, ideas) into some form of output (e.g., a product or service) of value to others. Many of those resources are embedded in an organization’s own business model. Others are possessed by external companies that work with the firm at various points in the value chain as part of a larger business ecosystem.

For most of the industrial era, companies have predominantly asked themselves how to use the resources available to them more efficiently — in other words, how do we produce basically the same kinds of goods and services only faster, better and cheaper? But in today’s value-based economy, companies increasingly need to ask themselves how to use the resources available to them more innovatively — “How do we leverage existing skills and assets in different ways, different contexts or different combinations, in order to create new opportunities for value creation and growth?”

Nobody on earth knows how to produce and distribute carbonated soft drinks more efficiently than Coke. But the fact of the matter is that soda sales in the United States have been declining for the past 10 years (and are now falling globally), as people in general become more concerned about health, wellness and obesity issues.

So the focus at Coca-Cola is not on how to produce greater quantities of soda at lower cost but on how to use all available resources to offer customers healthier or trendier alternatives, such as fruit juices, water and energy drinks, not to forget Coke’s new “healthier” soda, Coca-Cola Life.

If a company is not capable of doing this — of using resources not just efficiently (for optimized production) but also innovatively (for new value creation) — it runs the risk of one day becoming incredibly efficient at producing what customers no longer want. Nokia and Kodak are sad examples of this phenomenon.

Business history teaches us that innovators often come to their breakthroughs by decoupling, remixing and stretching existing resources. They view a company not as a set of business units but as a portfolio of distinct, standalone skills and assets that can potentially be repurposed, redeployed or recombined in different ways to create new opportunities for value creation. In fact, they look at the whole world as a rich reservoir of resources that may be leveraged to make innovation happen.

Over the last few decades, the Walt Disney Company has continued to leverage its formidable skills and assets to open up new avenues of value creation. For example, the blockbuster movie series Pirates of the Caribbean had its genesis as a theme-park attraction at Disneyland back in 1967. This asset was repurposed as a feature film in 2003 and went on to become a major franchise, encompassing several more movies as well as novels, video games, media publications and additional theme-park attractions. The films alone have grossed well over $3.7 billion worldwide.

Where would Sir Richard Branson and Virgin be today if he had decided not to diversify but rather to focus his efforts solely on running the world's best record stores? His advice to other companies? “You shouldn't be afraid to diversify if you are in a position to do so, especially because nothing ever stays exactly the same. ... Whenever Virgin has money I always renew my search for new opportunities.”

Innovators know how to Innovate from the customer

More and more companies are learning to engage their customers in the innovation process. However, innovating from the customer doesn’t just mean “listening to the voice of the customer.” Why not? In an interview with BusinessWeek in May 1998, Steve Jobs remarked, “It’s really hard to design products by focus groups. A lot of times, people don’t know what they want until you show it to them.”

Nobody, for example, told Apple they wanted a translucent desktop computer, a cool MP3 player, an online music store, a revolutionary smartphone, an App Store or a tablet computer, but once Steve Jobs showed us these amazing things we realized we definitely wanted them — and needed them.

So the challenge is to try to understand the latent needs, wants and frustrations that customers can’t always articulate. The way entrepreneurs and companies get to these answers is not simply by asking customers what they want or by reading a market research report, but by trying to look at the world — and at their own brands, products and services — through the customer’s eyes (the fourth lens of innovation). They immerse themselves in the customers’ environment and observe how they behave and what they experience.

Whether through direct observation of the customer in his or her natural setting (perhaps making photo or video diaries), or mapping the customer experience at every stage of the demand chain, or trying to viscerally share that experience by using your company’s products and services yourself, the goal is to make the customer’s needs, problems, frustrations and feelings your own. This is how you generate the kind of deep customer insights that may trigger big new innovation opportunities. Your next step will be to start thinking creatively about how to address these issues before the competition does.

For most of the last century, corporate innovation was driven primarily from the technology side rather than the customer side. That is to say, in most large organizations it tended to start with technical R&D and engineering rather than with deep insights into customer needs.

But in today’s value-based economy, where global competition and overcapacity have given the consumer more choices and more power than ever before, a large number of companies from all over the world are now competing for the same customer’s money. Success has therefore come to depend on an organization’s ability to bring exciting and compelling new benefits to customers — or address their unmet needs — before the competition.

In many cases, it’s still the technology that comes first and the consumer application second, which can nevertheless work out just fine. But increasingly companies are starting from the other end, by first identifying an important customer need and then working backward to find a technical solution. The key point here is that both sides of the equation are vital, so the real challenge for organizations is how to get better at bringing the two together

#Qualities of Great Innovators

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thereallygoodblogshow · 5 years ago

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MA Fashion and Textile Practices Major Project Path - 5th August

I feel it has been quite some time since I put anything down in this blog, and looking at the date of my last entry it has been some time! A lot has happened since my last entry, I created my practice pieces and put together my verbal presentation for our individual MA Practice Presentations. Here I thought I would document this process prior to continuing my ongoing research, as this I feel will add weight and significance to the research going forward.

I had finally got all the equipment and materials I thought I would need to start making my practice pieces, and as I discussed at the end of my last entry I thought the best way for me to start my practice pieces was to create a design map for each of the T-shirts I planned to make. I initially thought that I wanted to create a zero waste T-shirt as discussed previously, but thought that the space I would need to fill would be too big on each piece within the time frame I had. I still plan to create a zero waste T-shirt to see how it would look and as I believe any waste within the manufacture of fashion needs to be addressed. The use of organic cotton or other sustainable fabrics was also discussed, but at this particular time I did not have the financial ability to purchase a higher priced jersey. Part of this research will look at sustainability and waste within the fashion industry and why the higher cost of these materials may be a factor in why many manufacturers are currently using cheaper, less sustainable alternatives.

In this instance Vivienne Westwood’s Climate Change T-shirt was my inspiration for my practice pieces as it looked easy to make (I am not a great sewer) and would act as a good ‘billboard’ to work on. It’s square cut shape, raw edges and exposed seams reflects a hand-made aesthetic - how a protest placard or self -made billboard could look.

Westwood, V. (n.d). Vivienne Westwood Climate Revolution T-shirt. [Photograph]. Retrieved from https://www.viviennewestwood.com/en/women/clothing/t-shirts/square-t-shirt-climate-revolution-white-nat-white-CLA305AW550168.html?cgid=women-clothing-tshirts#page=1&start=1.

Vivienne Westwood’s Climate Revolution T-shirt strives to illustrate the vital ongoing campaign against climate change. The front of the T-shirt shows a map of the world, the red areas indicate where the planet would become inhabitable if estimated future temperature rises are correct. The revolution refers to the fact that most people accept that climate change is the result of a man-made interjection and that we are all responsible for safeguarding our future.

The first T-shirt design I mapped out was based on a Protest T-Shirt but using relevant song lyrics as I had discussed previously. Finding appropriate lyrics was surprisingly easy, it was honing down the selection that was hard as there were so many song lyrics I could choose that said what I wanted to say.

Here is the design for the Protest T-shirt using the song lyrics I found. In my previous blog entry I discussed the reasons why I chose Green Day’s lyrics ‘Where have all the riots gone’ from their song Letterbomb and the lyrics ‘Despite all my rage/I’m still just a rat in a cage’ from Smashing Pumpkins song Bullet with Butterfly Wings. I thought now would be an appropriate time to discuss what songs struck a chord with me (no pun intended!) and why I chose their lyrics to use.

youtube

Manic Street Preachers [Manic Street Preachers]. (2009, Oct 25). If You Tolerate This Your Children Will Be Next (Official Video) [Video file]. Retrieved from https://www.youtube.com/watch?v=cX8szNPgrEs

Manic Street Preachers - If You Tolerate This Your Children Will Be Next is one of my favourite 90′s songs. As a protest song it has stood the test of time. Released in 1998 its lyrics now are ever more poignant 21 years later. The song was partly Inspired by Welsh volunteers joining the left-wing International Brigades fighting against Francisco Franco’s fascist rebels in the Spanish Civil war. A graphic Republican propaganda poster displaying an image of a dead child killed by Spanish Nationalists was released between 1936-39 and bears the words: ‘MADRID. THE 'MILITARY' PRACTICE OF THE REBELS. IF YOU TOLERATE THIS YOUR CHILDREN WILL BE NEXT.’ - became inspiration for the Manic’s song title.

Imperial War Museum, n.d. (1936-1939). MADRID. THE 'MILITARY' PRACTICE OF THE REBELS. IF YOU TOLERATE THIS YOUR CHILDREN WILL BE NEXT.. [Poster]. Retrieved from https://www.iwm.org.uk/collections/item/object/1122.

As with many Manic Street Preacher songs, they draw inspiration from many sources. Another lyric in the song - ‘If I can shoot rabbits/then I can shoot fascists' is said to have been a quote by a Welsh man to his brother when he had joined the Republican fighters. The lyric - ‘ I've walked Las Ramblas/but not with real intent' was from the book ‘Homage to Catalonia’ by George Orwell in regards to the fighting which took place there. Being very much an anti-fascist song it was ironic that in 2013 the English Defence League took it upon themselves to use the song to promote their rally in Birmingham. Clearly not taking the time the listen to the song, the band were said to be horrified as its misuse and threatened to take legal action. The similar action happened back in 2009 when the British National Party tried to interpret the lyrics to suit their own means saying that people could interpret lyrics in different ways, that really beggars belief!

Websites:

Trendell, A. (2018). Manic Street Preachers look back on ‘If You Tolerate This Your Children Will Be Next’ on its 20th anniversary. Retrieved from https://www.nme.com/news/music/manic-street-preachers-if-you-tolerate-this-your-children-will-be-next-lyrics-meaning-video-song-stories-interview-2370143.

Factmag. (2013). Manic Street Preachers take on English Defence League over use of ‘If You Tolerate This Your Children Will Be Next’. Retrieved from https://www.factmag.com/2013/07/12/manic-street-preachers-take-on-english-defence-league-over-use-of-if-you-tolerate-this-your-children-will-be-next/.

Wikipedia. (n.d). If You Tolerate This Your Children Will Be Next. Retrieved from https://en.wikipedia.org/wiki/If_You_Tolerate_This_Your_Children_Will_Be_Next.

Whilst watching the Handmaid’s Tale - a TV series based on the best selling novel by Margaret Atwood, which tells the tale of a totalitarian society called Gilead where women are treated as property of the state and are forced into sexual servitude in an attempt to recover an underpopulated and devastated world - a song played over the end titles caught my attention. It was the X-Ray Spex song ‘Oh Bondage! Up Yours!’, very apt for the Handmaid’s Tale and for a protest T-shirt no less!

Released in 1977 the songs lyrics speak of the servitude of not only women but of anybody forced into anything which goes against basic human rights. Initially stating you can ‘Bind me/Tie me/Chain me to the wall/I wanna be a slave to you all’ But then...’Oh bondage up yours!/Oh bondage no more!/Oh bondage up yours!’ The lyrics are saying you can do all those things to me as a human being but I won’t be broken by your regimes.

youtube

X-Ray Spex [DAVID299333]. (2013, Apr 30). X-Ray Spex - Oh Bondage! Up Yours! [Video file]. Retrieved from https://www.youtube.com/watch?v=FYMObdOqcRg

Poly Styrene, the lead singer and founder of the band X-Ray Spex was a really interesting and fashionable lady. Sadly she died of breast cancer in 2011 but has left behind a punk legacy that remains strong to this day. In the early 70′s - after being inspired by the paint splattered clothing at Brixton shop Pollocks - she started her own ‘POLY STYRENE’ boutique stall at Beaufort Market on the Kings Road, London. Her boyfriend and manager Stuart Falcon had also run boutiques in the late 60′s. In the book Flash Bang Wallop!: Photographs of the Dawn of Punk by Ian Dickson, Poly Styrene (2000) said of punk culture:

"The Punk explosion was a fashion statement as much as a new attitude and a high energy-music buzz. Street-cred counted and no smart lad wanted to be an industry doll."

She had already released a single on GTO records in early 1976 in a reggae style but had failed to be a success. In the summer of 1976, she and Falcon went to see The Sex Pistols at Brighton Pier and were immediately drawn to their energy, then after seeing The Clash at Fulham town hall in October 1976 Poly was inspired to start writing lyrics that were more rebellious and edgy. Later that year she and Falcon decided they’d like to create a band, so the put an advert in the magazine Melody Maker for:

'YOUNG PUNX WHO WANT TO STICK IT TOGETHER'

After gathering the other members and a few rough rehearsals in Falcon’s living room later, they played their first gig London's Roxy in Covent Garden - the X-Ray Spex were born. The name apparently was from an advert Poly had seen in a porn magazine for glasses that you could see naked ladies through called X-Ray Spex.

Dickson, I. (1991). Inside unorthodox punk icon Poly Styrene’s wild, day-glo style. [Photograph]. Retrieved from https://www.dazeddigital.com/fashion/article/43847/1/poly-styrene-dayglo-xray-spex-celeste-bell-style-riot-grrrl-punk.

Websites:

Punk77. (2013). X Ray Spex - History Part 1-3. Retrieved from http://www.punk77.co.uk/groups/x_ray_spex.htm.

X-Ray Spex. (2005). X-RAY SPEX 1976 -1978. Retrieved from http://www.x-rayspex.com/x_ray_spex/activity1.html.

Literature:

Dickson, I. (2000). Flash Bang Wallop!: Photographs of the Dawn of Punk (n.d ed.). London: Abstract Sounds Publishing.

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nohteahyun · 7 years ago

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regarding the cxk post i rlly see what ur getting at but tbh i dont think its fair to judge him from a clip thats been cropped and such because we dont rly know what happened afterwards if they solved it or not :/ bts scenes dont necessarily show the whole truth most of the time and if it was necessary for him to open the lock im sure they wouldve forced him regardless.. and abt his attitude its pretty normal for people to panic and start denying and being that way when they rly dont want (1/2)

smth to be exposed and obviously im not trying to defend him for trying to break the rules but im just saying that could be the reason instead of him thinking hes all high and mighty and such.. but i agree with u lmao he gives off a weird vibe in the way he talks and stuff that gives u a kinda arrogant aura and thats coming from a stan.. and idg why he went on ip either lmao i just know he left his company a lot time ago djhdkd but thats just my two cents hope u have an amazing day op!! :D (2/2)

I want to start this off by clarifying that I’m not just basing this off of that one clip, I’ve watched the other episodes and he always seems off. also I’m not hating on the song that he wrote and performed, but it made me really uncomfortable and I was not impressed. I completely agree that things can be edited to make people look bad, but tbh he’s one of the shows biggest money makers so the producers have no reason to try and make people dislike him, and when all of his time gives off arrogant vibes, that tells me it’s not just editing. I really respect you for being able to have an objective view on the people you stan, that takes a lot of character. I’m not going to a lot about the lock thing because I’ve already stated my opinion that it was unfair of him to do that, and it was unfair for the other trainees to have their belongings taken away, and just shrugging it off is very disrespectful. Thank you for being so nice and respectful, I hope you have a nice day too!!!

#asks #answered #a shy floof

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lyndseyscott · 6 years ago

Text

Documentary Modes

The Real Sleeping Beauty is an Expository Documentary which documents the life of such a woman after she awakens from a twenty year long coma with the ability to speak. The documentary consists of an omnipresent narrator whom does not express opinion on the subject, and shared factual information about the events discussed in the documentary. Interviews with family members and those who experienced the accident encourage an emotional response from the audience. Intimate scenes are shown where family members and loved ones cry when talking about Sarah, and also scenes of them interacting with her. This means that although the narrative voice, the primary source of all information, does not express a personal response to the subject, the audience is still encouraged to express a preferred response to the documentary. I feel that the preferred response is to feel both sympathy for the woman and also triumph as she has defeated all odds, an idea expressed numerous times throughout the documentary.

As a documentary that aims to expose a person or topic, the filmmaker exhibits Sarah’s life pre tragedy using pictures and personal stories to reveal the girl she was beforehand. The filmmaker juxtaposes this with footage of Sarah after she awakens where she is captured paralysed and struggles to speak fluently. This technique of juxtaposition triggers an air of empathy in the audience as they witness the drastic change in Sarah and her loved ones lives. This is executed at the beginning of the documentary where orchestral music coupled with the slow zooming out from a photograph of Sarah is used which introduces the tone of the documentary. The audience knows from this point that the person focused on is someone who has or will face trouble. The documentary focuses on the miracality of the trauma and how after two decades Sarah not only awakens, but has the ability to speak - representing Sarah’s traumatic experience as a triumph as she defeated all odds; this is communicated through the interviews with the neurologist where she expresses that they classify someone who has been in a coma for more than one year as not likely to wake up. This representation of Sarah’s experience as miracle rather than a trauma enables the documentary to eventually appear uplifting, allowing the audience to feel a sense of relief and hope.

Making a Murderer is an Observational Documentary which documents the life and convicted crimes of Steven Avery. The documentary addresses all sides of Avery’s cases in a non-linear narrative. This is an effective technique because it allows the audience to feel that they are given exclusive access to the content of the documentary. For example, the documentary shows a press conference with Ken Kratz, the district attorney of Calumet County, Wisconsin, in which he describes information provided to him by Brendan Dassey. Kratz intensifies and dramatises the information, and consequently shares false information with the public, which is particularly grotesque. The filmmakers prove this as the next section of the documentary shows the actual footage of Kratz’s interrogation of Dassey, in which Dassey provides the minor details that Kratz later dramatises. This use of non-linear narrative provides the audience with the case’s most important information. Furthermore, the documentary does not consist of a narrative voice. Instead, we see small amounts of text which usually provide a sense of time and place. The remainder of the documentary is constructed of real footage, accounts from those involved, and contemporary news reports. This proves that this documentary conforms to the observational style as it provides raw content surrounding the case, and does not enforce a particular response on the audience. The audience is able to conjure their own opinion of the events addressed in this documentary. This is an effective way to engage the audience in such content, as the timeline of the documentary, coupled with the inside view of the events involved, puts the audience in the position of the jury.

The absence of a narrator and narrative voice makes the ideology of this text particularly difficult to detect. However, the fact that the filmmakers are able to expose the wrongdoings of the Wisconsin law enforcement allows the audience to decide for themselves whether they find Avery guilty or not. Therefore, the use of footage and real accounts from those involved enables the filmmakers to achieve their ideal response from the audience. This revelation of truth provides the audience with a sense of justice, causing them to empathise with Avery and Dassey as the audience recognise the exploitation of power by the Manitowoc police department.

In terms of ethics, the documentary has received backlash from Avery’s convicted victim, Teresa Halbach's family, as they claimed that the filmmakers were wrongfully making profit from their loss. This issue was addressed in Making a Murderer Part 2 as a clip from a contemporary news report is shown where a news reporter shares this information. The response from Halbach’s family is subjective, however the documentary exposes elements of Halbach’s death in such a way that enables the audience to focus on Avery. The absence of a narrative voice plays a role here too, as this means there is no emotive implications in the content of this documentary. This once again allows the audience to gain their own opinion on the matter, however, it engenders the questioning of the filmmakers’ ethical values. The emotional implications of Halbach’s death is arguably overlooked by the filmmakers as the addressal of the case and factual evidence is presented as the sole purpose of the text.

On the other hand, the filmmakers do show some ethical standards, as they expose the ill treatment of the lower class in Wisconsin. The audience is provided with accounts from the Avery family and those close to them, who address their differences from the rest of the county. The Avery family is particularly poor, and many members of the family have committed crimes before. This is the cause of the popular response to Avery’s case, that he was wrongfully accused due to him being deemed a likely suspect by the Manitowoc police department. The fact that the filmmakers address the poor attitudes that the remainder of the county have towards the Avery family intensifies the seek for justice for Steven Avery. This presentation of ethics helps to reach the ideology of the documentary, as the audience is provided with an insight into the effects of a lack of ethical values. The use of observational conventions in this documentary are overall efficient in achieving a sense of truth regarding Avery’s case. As the filmmakers provide a clear insight into every aspect of the events which took place, the audience fulfils the role of a jury. This is a powerful technique which engages the audience in the real life events and issues that this documentary addresses.

‘I Jumped Off The Golden Gate Bridge’ is a performative documentary created by BuzzFeed. This documentary tells the story of a man who survived a suicide attempt in which he jumped off the Golden Gate Bridge. The entire documentary is narrated by the man in question, Kevin Hines. The main principle of performative documentaries is the act of sharing an emotional response to the world as well as stressing a subject. The subject of this particular documentary is suicide awareness. As the producer has made use of the subject of the story to be the narrator of the documentary, the audience is forced to recognise the reality of this issue and relate to the narrative voice. Kevin is presented on a white set which makes him the complete focus of the audience. This is effective as it draws the audience into what he is saying and there is no distraction caused by a complex background. In the beginning of the documentary, there are several people holding photographs of loved ones who have committed suicide by jumping off the Golden Gate Bridge. This is followed by text on the screen which describes how many people have died due to this type of suicide. Therefore, from the very beginning of the documentary, the theme of loss and heartbreak is amplified. This engages the audience in a sense of the reality and presents the issue that suicide is a common issue in today’s society. As this is shown before Kevin’s first appearance in the documentary, the film maker forces the audience to express sympathy towards him, as they have been drawn into the concept by the use of shocking footage and facts.

Nevertheless, this documentary documents a story of survival, and so the audience is invited to celebrate the movement from suicidal to survival. The filmmaker provides footage of Kevin with his children and pet dog, as well as footage of him working as an activist to spread suicide awareness. This, coupled with emotive and uplifting music reiterates the triumphant change in Kevin’s life. These home video clips are efficient in reminding the audience that Kevin is a relatable man whom the audience can identify with. He is a man with a family and a man who expresses compassion for animals. This makes the content all the more shocking, but also reinforces to the audience that suicide can affect anyone. This documentary is designed in a way that provides hope to members of the audience who may be experiencing suicidal thoughts or strongly negative emotions.

The use of Kevin as a narrator provides the documentary with an intensely persuasive voice which conveys an air of reality and immediacy. The audience is given exclusive access to the information surrounding Kevin’s struggle with suicidal tendencies. As performative documentaries often connect personal accounts with larger scaled incidents or issues, the filmmaker successfully attaches Kevin’s experience to the wider issue of suicidal tendencies. Through the use of Kevin being present throughout the documentary and exposing his deep emotions, the filmmaker normalises the struggle with mental health and offers a familiarity for individuals who are currently struggling with suicidal thoughts. Ultimately, Kevin’s inclusion in the documentary invites audience members who are suicidal to recognise the high likelihood of recovery, and therefore moves to prevent audience members from acting upon their suicidal thoughts.

A participatory documentary is similar to expository and observational documentaries, however, they include the filmmaker in the narrative. The extent to which the filmmaker is present varies within each participatory documentary. For example, the filmmaker may only take part in the narration and share opinions on matters included in the text, or they may be seen on screen and have an involvement in the events that occur. In Louis Theroux’s documentary ‘Louis and the Brothel’, he is highly involved in the events that occur. Louis acts as both an audio narrator as well as a participant and interviewer. The documentary covers Louis’ six week long stay at a Nevada brothel where he documents life among the working girls, the owners, and the clients. This text consists of a linear narrative which covers the six weeks that Louis stays at the brothel. This engages the audience in a sense of naturality in the workers’ lives. We see the everyday events of these women and therefore we can understand that they are relatable people. This is a very powerful technique used by the filmmakers because the audience can familiarise themselves with the workers as they track their day to day lives. Moreover, the audience is provided with a rounded view of these women, as we do not simply see them working as prostitutes, but we see them engaging in everyday activities, such as exercising and eating meals.

Louis’ involvement in the action goes to the extent of him helping them to move into their new residence, as well as interviewing the girls immediately after they have completed an appointment with a client. The ideologies of this documentary are presented through Louis’ participation. Louis is a character who presents a matter-of-fact attitude, and therefore provides an air of comic relief in the documentary. The audience is presented with a brutal sense of reality regarding such a taboo subject, and Louis enhances this experience through his honest eagerness. Effectively, Louis asks the questions that other individuals may be reluctant to ask. Arguably, Louis adopts a preconceived opinion which is shown through conversations with those involved in the brothel. For instance, Louis states “i don't think that would be a good idea” in regards to one of the workers revealing she could work as a prostitute for twenty years. This sense of judgement is therefore passed to the audience, whose opinion is decided for them by the filmmaker. Ultimately, the ideology of the documentary is fulfilled in this way, as Louis approaches taboo subjects in an honest and relatable way. The use of interviews is effective in providing the audience with an exclusive insight into the subject in hand. Louis interviews the working girls, the owners, and their clients. The audience is provided with a sense of immediacy and harsh reality, specifically as Louis is present when all of the action within the brothel occurs. Louis engages with the prostitutes and clients before and after their appointments. This enables the audience to witness the reality of prostitution at first hand. The casual atmosphere surrounding the interviews, and the fact that Louis enters the worker’s room just after an appointment, amplifies the experiences that the prostitutes have. This could strike an air of sympathy, or even disgust towards the working girls as such a shocking occurrence is addressed so passively. The involvement of the filmmaker is so effective because the audience is more likely to engage in the intense content of the text, as an opinion is already presented to them.

Whereas Catfish: The TV Show does consist of some conventions of the performative style of documentary, it is primarily a reflexive documentary. Reflexive refers to the presence of the filmmaker on screen as well as the filmmaker providing a narrative to the documentary. In addition to this, the audience is made aware of how the documentary was made through the presence of filming equipment and footage of the journeys made to create the documentary. This is specifically relevant in Catfish. Throughout each episode of this documentary, the two presenters: Nev Schulman and Max Joseph, are seen operating filming equipment. The narrative of the documentary is driven by Nev and Max’s mission to complete the creation of the documentary itself. The audience is able to see a minimal production crew, and the two presenters take part in the filming process. Within each episode, the audience is aware that the presenters are conscious of what they capture on camera. Instances in which Nev or Max are faced with an issue and pick up a camera to film it often occur. These instances intensify the action within this documentary and enhances a sense of immediacy. This documentary is unpredictable and therefore draws the audience into the content. This reminds the audience of the reality of each situation that the presenters face. The ideology of this documentary is to find the truth. Therefore, this style of filming and editing is effective in proving to the audience that specific tasks have been completed in order to provide the clearest sense of reality.

During the conclusion of most Catfish episodes, the presenters acknowledge the reasons for the antagonist’s actions. This is mainly achieved through private interviews, away from the person who has been affected by their actions. In terms of ethical values, the filmmakers are aware of the dangers that can be caused by an individual’s wrongdoings being aired to any audience. As this is a nonfiction text, the filmmaker must acknowledge the possible responses that an audience might display. The private interviews with the antagonist provides them with a platform on which they can redeem themselves and explain their personal issues regarding the affairs. In this way, the presenters control the situation and ensure that a sense of truth can also be achieved. The filmmakers clearly understand the importance of a healthy relationship between mental health and relationship building. This element of coaching by the presenters to the antagonist enables each episode to end on a triumphant note.

At the end of the documentary, the filmmakers revisit the situation a month after the events. This is an effective technique as it enhances the idea that the processes performed within the documentary are positive. Furthermore, the audience is provided with a sense of conclusive satisfaction as they are given information on the subjects lives after the events have occurred. The audience is consistently reminded that the filmmakers are on a mission to do good. As the filmmakers include the reality of filming and creating the documentary, the audience is aware that the filmmakers are relatable humans who aim to give troubled individuals truth and closure.

Choa is a poetic documentary based on a female Korean university student’s experience in becoming a professional ice hockey player. The documentary is narrated by the woman in subject. This is effective as the documentary relies on its minimalistic nature, therefore, as the main subject narrates, the audience is provided with all of the information that they need. This documentary is particularly abstract and artistic. There is neutral music played through the majority of the documentary, until the end when the music becomes slightly uplifting. The change in music symbolises the triumph that the subject experiences as she achieves her goal. The success of the subject is not exaggerated, allowing the images and music to provide most of the information about the situation without the narrator to express excessive details.

The filmmaker makes a use of lighting in a way that conveys the mundane everyday life of the subject that she endured up until she succeeded in her goals. For example, the cold lighting is used to express a lack of hope. The narrator states that her parents were worried about her ambitions, this, coupled with the lighting reflects the spiritless experiences that the subject endured. As there are shots of the subject walking outside in either dusk or dawn in winter, the audience lacks a sense of time and place. This is disorienting and therefore the sole focus of this section of the documentary is the misfortune of the subject. Effectively, the audience is immersed in the depressive state that the subject experienced during university. Furthermore, this intensely emotive interaction between the documentary and audience is profusely caused by the lighting, rather than the narration. This enforces the idea that this documentary is of the poetic genre because the audience is provided with an ideology through images and sounds rather than the actions or dialogue of a character.

It is a common convention within poetic documentaries to present an idea or opinion without literally addressing it. This documentary is narrated in Korean with English subtitles. This instantly indicates that this documentary has been adapted for an English speaking audience. However, around half way through the documentary, we see a clip of the narrator speaking perfect English in a classroom. This indicates that the filmmaker is commenting on Western privileges. An English speaking audience is required to read the subtitles to understand the narrative, which may strike confusion within the audience on learning that she can speak English. However, this invites an English speaking audience to experience the seclusion that the narrator experienced when she tried to join an ice hockey team that had never had an Asian female in it before. Furthermore, this maintains the sense that this is a personal account for the individual, which means that it is only suiting that she speaks in her native language. Evidently, the filmmaker has constructed this documentary in such a way that enables the audience to notice specific functions without the narrator guiding them.

Bibliography:

‘Catfish: The TV Show’, Catfish Production Company and Relativity Media. (2012)

http://www.mtv.com/episodes/edr3jh/catfish-the-tv-show-mike-joey-season-7-ep-719

‘Choa’, Clauss, Nils, Hobbs, Adam. (2014) https://vimeo.com/nilsclauss/choa

‘I Jumped Off The Golden Gate Bridge’, BuzzFeed. (2015) https://youtu.be/WcSUs9iZv-g

‘Louis Theroux: Louis and the Brothel’, Louis Theroux. (2003)

https://www.netflix.com/title/70283173?s=i&trkid=13752289

‘Making A Murderer’, Synthesis Films. (2015) https://www.netflix.com/title/80000770?s=i&trkid=13752289

‘The Real Sleeping Beauty’, Zig Zag Productions. (2007) https://youtu.be/WsnXzgIa6YE

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ourmrmel · 6 years ago

Text

Mel Feller Discusses why Grandpas are Mentors and Memory Makers for Children by Mel Feller

Mel Feller believes that every child deserves a grandparent who will love unreservedly, and every grandparent needs the opportunity to love and to be loved. Although it may not take a whole village to raise a child, it definitely takes a loving family. Grandpas are a decisive ingredient in the family mix. They have a unique connection to their grandchildren and a wealth of gifts to offer, talents and insight to share with each child.

For countless families, family life is spiraling out of control. Parents are progressively busier, and family life is more often like a compression cooker. The stresses of dual careers and a wealth of outside events leave far too little parent-child time. Grandparents can make a huge difference to these busy families. As a grandpa, I try to be there and love to be there for my kids and grandchildren.

I firmly believe that grandpas have many things to impart to their grandchildren, both by their modeling and their mentoring. Having lived numerous years and experienced a great deal, their understanding can comfort and enrich their grandchildren’s lives in a variation of ways.

When you look at it intentionally, we see that grandpas are powerful models for their grandchildren, and their actions and example often speak louder than their words. From grandpas, children learn both attitudes, values and unconditional love. Grandpas show grandchildren how to be good citizens; they are witnesses to their faith; and they are models for getting older. Their very existence exposes children to the seasons of life and clarifies them respect for other ages and stages of life.

Grandpas are custom-built mentors. They have a warehouse of insight to share. Over the years, they have refined their gifts and their talents, learned valuable skills and established interests that are advantageous, educational and advantageous to their grandchildren. Their life understanding can guide and teach their grandchildren immensely.

In addition, grandparents mentor grandchildren when they share a talent or new activity, such as building a birdhouse, landscaping or gardening, visiting a museum, or taking a nature walk. Grandparents have a profusion of experience, which they often take for granted, and they generally have more time than parents do. Furthermost grandchildren welcome the occasion to try something new with a grandpa.

In my experience, grandpas are perfect memory-makers. By spending time and mentoring their grandchildren, they build appreciated and treasured memories that will last a lifetime. They do not need a trip to Disneyland to do so, but it helps, nonetheless they do need a readiness to share their time and talent. If you are a grandpa who wants to try something new, birthdays and holidays are opportune times. Consider making a birthday banner that the grandkids might even help create. Make one-of-a-kind personalized birthday cards with a depiction of the birthday child. Give gift certificates for overnights at grandpa’s house or a special date or outing of their choosing. Write a letter to your grandchild explaining your excitement when they were born. Take your grandchild on a memorable trip or adventure for a milestone birthday. Better yet just, take them on a trip with you.

Grandpas can build memories by working on a combined project or developing a mutual hobby like stamp or coin collecting. Grandkids who are into sports love to have their grandpas follow the identical sports teams and compare notes with them.

A sad reality today is that today, fewer and fewer grandpas and grandchildren live in the same community. A great many of the more than 72 million grandparents in the U.S. are long-distance grandpas. Both parents and grandparents must be innovative to keep connected. E-mail, skype, texting, cell phones and snail mail become important opportunities for staying in touch. The lines of communication can be maintained by sending stories, jokes, riddles or creating an on-going tale by e-mail. My preference is still by phone and surprise visits whenever possible.

Therefore, grandpas are distinctive models and mentors. The ages of their grandchildren will decide the experiences, activities and adventures that can be shared. As children grow out of some actions, they will grow into others. Interaction with their grandpas is assured to enrich their lives and leave them with an immense amount of treasured memories.

Do you find yourself in a constant state of mental chaos? Do you feel like your career goals and lifetime dreams just can’t be met no matter how hard you work to achieve them?

There is a reason, you will never reach your full potential unless you move from being an imposter to being who you really want to be by being deeply authentic. No amount of material possessions, money, or high-ranking career position will make you happy or feel fulfilled if your inner confidence does not match your external success. Mel Feller and Coaching for Success 360 coaching and the art and science of self-mastery will transform your life and get you there.

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Mel Feller – Personal Development, Business, Executive, Internet and Real Estate Investments Coach/Mentor and Business Owner

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battybat-boss · 6 years ago

Text

Are Children Taken Away from Parents Using Drugs Better Off in Foster Care?

Edward Thomas, an Iraq Veteran, spent a year stationed within a combat zone in Baghdad and suffers from Post Traumatic Stress Disorder (PTSD) caused by what he witnessed during that time. He chose medical cannabis over strong addictive psyche drugs, and lost custody of his daughter as a result. Story here.

Commentary by Health Impact News/MedicalKidnap.com Staff

Drug addiction and the opioid crisis are big news. It seems that policy makers and legislators on just about every level are discussing the problem and what to do about it.

Certainly, child welfare agencies have been quick to jump on the bandwagon, removing children from their families at the mere mention of the word “drugs.”

But is the issue as straightforward as it appears, or is it more complex than meets the eye?

Richard Wexler is the executive director of the National Coalition for Child Protection Reform. He argues that the issue is not so black-and-white, and he criticizes “child welfare's typical, knee-jerk take-the-child-and-run response to the opioid epidemic.”

Wexler recently wrote an article, “Child Welfare Policy Around Opioids Driven By Ignorance and Arrogance,” for Youth Today, in which he examines a “research brief” published in March 2018, by the U.S. Department of Health and Human Services, which looked at parental substance abuse and children being taken by Child Protective Services.

Wexler was not impressed by the methodology or conclusion of the HHS brief and calls the child welfare policies “enormously dangerous to children:”

Indeed, the most important takeaway from the research brief is that child welfare policy on this issue lives at the intersection of ignorance and arrogance and that is enormously dangerous to children.

Before delving into his analysis of the report, Richard Wexler points out 3 key points regarding child protective services and substance abuse.

1. The alternative to leaving children with parents who have substance abuse issues - foster care - usually is far worse for the children. This is not just the case for foster children in general. Research from the last great “drug plague,” crack cocaine, found that even infants born with cocaine in their systems typically developed better when left with birth mothers able to care for them than they did when placed in foster care.

This is a point that we have stated many times at Health Impact News – that children who are placed into foster care are at least 6 times more likely to be abused, raped, molested, or killed in foster care than they are if left in their own home, even in a troubled home, such as a home where the parent is a drug user.

By removing children from parents who have drug issues, social workers are more often than not taking children out of the frying pan and throwing them into the fire. Many of the children taken from their homes end up being trafficked into the child sex trafficking trade. Social workers, judges, GALs, and society at large must reexamine CPS “protection.” At what cost are these children being protected?

Dangers of Drug Use Often Exaggerated by Social Workers and by Media

Wexler continues:

2. Not every parent who uses drugs is overdosing on heroin in the car while driving the kids to school or running a meth lab in the basement. Some parents can function even with a drug problem.

Indeed, social worker Nico'Lee Biddle recently wrote movingly in Teen Vogue about two such people - her own parents - and why she should have been allowed to stay with them instead of being consigned to foster care.

The terms “substance abuse” or “drug use” can vary wildly in their meaning. While there are certainly parents who are strung out in a crack house and are completely unable or unwilling to care for their children, the reality is that many average parents are labeled “drug users” by social workers. The workers paint a picture for the judge that doesn't remotely resemble the true situation.

We have seen stories of children taken from their parents for using properly prescribed pain medication. CPS shows up at hospitals, regularly, to seize newborns from mothers who showed just one positive drug screen during pregnancy.

The positive screen could have occurred before the mother realized she was pregnant, and she completely cleaned up her act before baby arrived.

It could be from taking a pain medication previously prescribed to them for a different issue. One mother had a backache from overworking, before she knew she was pregnant. She took a pain pill that she had left over from having dental work done.

Another mother was given morphine at the hospital following a car accident, for which she (obviously) tested positive.

Much more frequently, a parent tested positive for marijuana. Sometimes it was used for medicinal reasons, such as chronic pain, seizures, or anxiety.

Yet, for even one positive drug screen, some social workers will take the child away. Our reporters have seen many such cases.

The incident may have no affect on the parent's ability to care for their child, yet some of the families are given the equivalent of the death sentence for a relatively minor crime – their parental rights are terminated and the child is placed for adoption.

The punishment in these cases is excessive compared to the crime. The children are subjected to far greater risk than they would be under the care of their biological parents. Social workers congratulate themselves for rescuing the poor little “crack baby,” when that is not at all what happened.

Wexler's third observation:

3. When the problem is addiction, the best first option is drug treatment. And when the problem is addiction to opioids, the most effective solutions include medication-assisted treatment. That means the parents are prescribed medication such as methadone or buprenorphine, drugs that curb cravings for opioids and ease withdrawal. As the HHS report itself notes, when this is combined with “counseling and behavioral therapies” it is far more effective than counseling alone.

Excerpts from Wexler's analysis of the HHS report:

The HHS report combined statistical data with the subjective perceptions of people in the child welfare system and those involved in substance abuse treatment. But, for child welfare, the interviews did not appear to include current or former foster children, birth parents or their lawyers. Instead, it appears to have been dominated by child protective services workers and supervisors, prosecutors and judges.

The problem with that is it contributes to the hype and hysteria surrounding the issue, something I'll discuss below. The upside is it offers us a glimpse into the mindset of some of the people who dominate the system in some parts of the country - and that mindset is ugly.

Consider the very first sentence in the section headed “Challenges of Treatment”: “Assessment of parents' substance use was often cursory and lagged behind placement decisions.” Translation: We take the children first and ask questions later.

MEDICATION-ASSISTED TREATMENT

Then there's the attitude toward medication-assisted treatment (MAT). Many child welfare professionals didn't understand it or know how it works. Worse, although these views were “not universally held,” the report found that:

“Many professionals we interviewed expressed skepticism about the use of methadone or buprenorphine for extended periods and opined that clients receiving MAT “were simply trading one addiction for another.” We also heard about substance use treatment programs that refused clients on methadone or buprenorphine because of their view that “you're not actually in recovery until you're off medication.” This view was shared by some judges and caseworkers as well.”

This suggests that these “professionals” don't really believe drug abuse is a disease at all. They see it as a moral failing. Therefore simply taking medication that allows one to be a good parent is not enough. Unless the parent quits in exactly the way the censorious professionals want them to quit, they are not worthy of keeping their children.

… So what the interviews summarized really give us is more evidence that child welfare is a parent punishment system, not a child protection system.

Combine that arrogance with ignorance about what foster care does to children - including substance-exposed infants - and it's no surprise that the HHS report also found this:

“In many sites, the child welfare staff at the nexus of these issues believe that cases involving serious substance misuse or disorders overwhelmingly require the removal of children from the home and are very likely to end in termination of parental rights. The strong inclination in many places is to remove children from the home in cases with significant parental substance use, often regardless of other factors. This view is particularly prevalent among judges, district attorneys, and court personnel, especially regarding substance-exposed newborns.”

SCOPE OF PROBLEM

That, in turn, explains another important, if obvious, finding: There is a desperate shortage of treatment, especially what the report calls “family friendly” treatment. According to the report:

“Because of widespread treatment shortages, treatment matching (that is, referring each client to a specific treatment program that matches the client's therapeutic needs) was virtually nonexistent in the communities that participated in the study. Clients received available services, whatever they may be. … The lack of timely, appropriate treatment set families up for failure.”

Of course the child welfare establishment blames that on lack of money. But there's always money for more foster care - just as there's always money for more jails. (Emphasis added by HIN.) What we don't fund is help for people we hate; and the hatred of these child welfare “professionals” for families with substance use problems oozes through the findings of the report.

This hatred also taints many of the report's findings about the scope of the problem.

The report authors accept at face value claims by the “professionals” they interviewed that the current drug plague is worse than any other drug plague.

There are several problems with this:

First, the authors only talked to professionals in places with unusually high rates of substance abuse.

Second, if you follow child welfare long enough you know that the people in the system always claim that the current drug plague is the Worst. Drug plague. Ever.

And third, given the high turnover among people who work in child welfare, it's hard to believe that many of those interviewed were even in the field when crack cocaine hit more than 30 years ago - so it's hard to see how they can reliably compare the effects of the crack plague and the opioid plague opioids.

The report's own conclusion that “higher indicators of substance abuse correspond to more complex and severe child welfare cases” is based solely on the fact that “higher indicators of substance abuse predict a greater proportion of children with maltreatment reports that are removed from their homes.”

But the report itself has established that caseworkers rush to take away children in these cases without doing meaningful assessments - and they admit to a strong bias toward removal. So the correlation tells us only that, if you say the magic words “drug abuse,” the people in power in many child welfare systems are more likely to take the child and run. (Emphasis added by HIN).

The suggestion at the heart of the report, that rising rates of drug addiction is the cause of increased foster care, is questionable for similar reasons. The attitudes of those questioned suggest that the real cause of the increase is the fact that so many professionals hate parents with substance abuse problems and resist alternatives to foster care.

This is further indicted by the fact that the correlation is far from universal. Another HHS report includes a map, on page 4 showing how often rates of drug abuse and rates of foster care correlate - and don't correlate.

Source link.

The dark blue counties are places where the number of children taken from their homes was above the national median but drug abuse was not exceptionally high, using the report's measure of choice. The orange counties are places where drug abuse was high, but entries into foster care were not above the median.

So are we looking at a map of the actual extent to which substance abuse requires child removal – or are we looking at a map of caseworker and court biases? If, as I believe, it's the latter, it also gives reason for hope: It means there may be places across the country where child welfare professionals don't share the deep biases and vile attitudes that the HHS researchers found.

Read the full article at Youth Today.

Comment on this article at MedicalKidnap.com.

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lopezdorothy70-blog · 6 years ago

Text

Are Children Taken Away from Parents Using Drugs Better Off in Foster Care?

Commentary by Health Impact News/MedicalKidnap.com Staff

Drug addiction and the opioid crisis are big news. It seems that policy makers and legislators on just about every level are discussing the problem and what to do about it.

Certainly, child welfare agencies have been quick to jump on the bandwagon, removing children from their families at the mere mention of the word “drugs.”

But is the issue as straightforward as it appears, or is it more complex than meets the eye?

Wexler was not impressed by the methodology or conclusion of the HHS brief and calls the child welfare policies “enormously dangerous to children:”

Before delving into his analysis of the report, Richard Wexler points out 3 key points regarding child protective services and substance abuse.

Dangers of Drug Use Often Exaggerated by Social Workers and by Media

Wexler continues:

2. Not every parent who uses drugs is overdosing on heroin in the car while driving the kids to school or running a meth lab in the basement. Some parents can function even with a drug problem.

The positive screen could have occurred before the mother realized she was pregnant, and she completely cleaned up her act before baby arrived.

Another mother was given morphine at the hospital following a car accident, for which she (obviously) tested positive.

Much more frequently, a parent tested positive for marijuana. Sometimes it was used for medicinal reasons, such as chronic pain, seizures, or anxiety.

Yet, for even one positive drug screen, some social workers will take the child away. Our reporters have seen many such cases.

Wexler's third observation:

Excerpts from Wexler's analysis of the HHS report:

MEDICATION-ASSISTED TREATMENT

… So what the interviews summarized really give us is more evidence that child welfare is a parent punishment system, not a child protection system.

Combine that arrogance with ignorance about what foster care does to children - including substance-exposed infants - and it's no surprise that the HHS report also found this:

SCOPE OF PROBLEM

That, in turn, explains another important, if obvious, finding: There is a desperate shortage of treatment, especially what the report calls “family friendly” treatment. According to the report:

This hatred also taints many of the report's findings about the scope of the problem.

The report authors accept at face value claims by the “professionals” they interviewed that the current drug plague is worse than any other drug plague.

There are several problems with this:

First, the authors only talked to professionals in places with unusually high rates of substance abuse.

Second, if you follow child welfare long enough you know that the people in the system always claim that the current drug plague is the Worst. Drug plague. Ever.

Source link.

Read the full article at Youth Today.

Comment on this article at MedicalKidnap.com.

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100% Pre-shrunk Cotton! Order here!

Medical Kidnapping is REAL!

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Support the cause of MedicalKidnap.com, which is part of the Health Impact News network.

Order here!

Support the cause against Medical Kidnapping by purchasing our new book!

1 Book – 228 pages Retail: $24.99 FREE Shipping Available! Now: $14.99 Order here!

2 Books Retail: $49.98 (for 2 books) FREE Shipping Available! Now: $19.99 (for 2 books) Order here!

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juliane665697-blog · 7 years ago

Text

Length Of Desire

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With even circulations that is actually possible to figure out the desire by using the balance of the dining table.

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elatedwarcry · 8 years ago

Text

[19:45:44] Fëanáro: Elvis would probably just kick away his boots, sit down a second at the entrance of the village and look up at Mathin [19:46:03] Fëanáro: comment that he looks pretty committed with regard to this helping strangers business [19:46:56] Fëanáro: and something like "you might have done a good job, in my place" [19:47:05] Fëanáro: with a sort of an evaluating expression [19:48:08] crow: Mathin just shakes his head. “No. For all my efforts, Kirkwall still ended in flames. They cursed my name, who was supposed to have protected them. It is good, that the Seeker could not find me.”

[19:49:14] Fëanáro: Elvis stares and blinks. "Then maybe not. At least, not with that attitude."

[19:51:00] crow: “You will understand, with time. I started out much like you.” Mathin smiles a little, but it doesn’t touch his eyes. “But I am here now, and I cannot deny anyone who is in need. I never could."

[19:54:22] Fëanáro: He stands up, grabs his boots and walks, very slowly, towards the houses. "Like me? How did I start out, Champion?" He's not smiling, too busy grimacing for his calluses, constrained in in wet and hard footwear.

[19:56:52] crow: Mathin laughs shortly. “Forgive me, perhaps I misunderstood. Given your judgement of my ‘attitude’ I assumed you to be a particular type of man.” He starts to follow Elvis into the village, with Varric and Dorian and idk who else you pick trailing behind them. “I, of course, do not know you.”

[20:04:40] Fëanáro: "An assumption for an assumption, it's a fair trade." Elvis turns and smiles a little. "You might not deserve your bad reputation. But again, I don't know you either."

[20:06:45] crow: “My mistakes are my own. I live with them, as best I might.” A nod of the chin, acknowledgement. “Varric has chosen to follow you. You are working to put things right. I do not know you, but perhaps I know enough.” [20:20:15] Fëanáro: "You do not believe that I come armed by Andraste's will?" He looks at the few faces that start showing up in the village, very gaunt, damp, everything is terribly damp. He probably thinks that an aravel would have a hard time with all that mud, and so do merchant carts.

[20:24:38] crow: Mathin gives him a suspicious glance. “Armed” by Andraste’s will? Is that meant to be a pun? Probably not. “I believe your arrival… precisely what was needed, at precisely the time it was needed… is interesting timing.” He thinks of Sebastian for a moment, of the grief on the man’s face as he stared at the smoke over Kirkwall and the fury as he stared at Anders. “But I have come to be… wary… of piety.”

[20:32:41 | Modificato 20:36:44] Fëanáro: a man who decides to help a pious organisation founded on religious grounds, literally and metaphorically, and led by someone who openly accepted and embraced the title of Herald of Andraste, is wary of piety. If Elvis weren't who he is, that is, an elf who openly accepted and embraced the title of Herald of Andraste, he'd call Mathin a hypocrite. "So you're wary of me, Champion? Isn't the interesting timing exacly how" (your) "divinity works? It wasn't a case, and if it was, I made the best of it. It seems a textbook case of Andraste working her mysterious ways." [20:32:58] Fëanáro: literally textbook. He read that stuff over and over with Mother Giselle.

[20:38:20] crow: Mathin gives Elvis a loooong look, ignoring the rain dripping uncomfortably down the back of his neck and under his armor, ignoring the prickling pangs of hunger in his stomach, ignoring the growing desire to take off his armor and sit somewhere warm and dry. “Yes, I’m wary of you. Don’t take it too personally; I’m wary of most people, these days, no matter how long I’ve known them.” The name ‘Anders’ isn’t said, but hangs between them a moment, all the same. “I don’t know how the Maker works, or Andraste. I’ve never seen their hand, to know it. It seems rather presumptuous of me to make declarations about them, in any case.” There’s another pause. “I’ve seen faith work both good and ill, depending on how it’s wielded.”

[20:51:31] Fëanáro: Elvis wears a gauntlet, of course. But he raises his left hand anyway, palm up. The green glow doesn't shine through it, not now that there aren't any rifts nearby. "You've seen it now." He doesn't say anything else on the matter, because they are in the middle of the village and people look at them with a little of the same wariness Mathin mentions, and some awe too, some curiosity. "But it's understandable and I appreciate the honesty." To an extent. He sits down again, on a small rock wall, moss-covered, aware that he can't really enter the mayor's house without boots and with muddy feet. He stares at the boots though. Would these people really care? They all seem as wet to the bone as the land is.

[20:56:15] crow: Mathin smiles a little. He wears a gauntlet, too, though the fingers are left exposed for magical workings. Turning his hand palm-up, a tiny ball of pure bright magic collects and hovers there a moment, then winks out when he closes his hand around it. “I have seen many things,” is all he says. And he has. He has seen very old magic, very strange mysteries. He has seen things he has no explanations for. Elvis is just one more of those, until proven otherwise, in other words. “I sing the Chant. The Chantry itself?” He shrugs one shoulder, watching as Elvis regards his own feet a moment. “Leave them off.”

[21:07:01] Fëanáro: Elvis looks at him, then at Cassandra, and back at Mathin. He won't comment on that Chantry remark, let the Seeker pick her own battles if she wants to. I'm something more and something better than the Chantry, he thinks. They'll sing my own chant. But people don't very much like pride (especially not the Champion with his very own glowy hand), and maybe once neither did he, so he tries to remember that and doesn't say that either. He looks at his own dirty feet instead. "That would make me look like what I am." He whiffles and stands up. Whatever. Cleaning both boots and feet is too much effort now. "Let's go inside, the mayor must be waiting."

[21:14:50] crow: Mathin looks at Elvis a moment, wondering to himself ‘and just what are you, really?’ A Dalish elf who professes himself the Herald, who argues for it, in fact. Mathin has read the New Cumberland Chant, he’s read the Dissonant Verses contained in it. He knows about Shartan, and how history has almost literally docked his ears. An elf as a figure in Andrastian belief is no new idea to him. But this elf? He’s not sure. And maybe it doesn’t matter, anyway, as long as they have the same goals. If those goals diverge… he’ll reconsider, then. He straightens a little and shakes off the mood, breathing in deeply enough that his ribs creak. “All those people,” he says quietly, thinking of the bodies of the drowned. “Someone must answer for it.”

[21:25:04] Fëanáro: "Someone will." And he approaches the mayor's house. Only of course it wasn't going to be that easy. There are those two men in front of the wooden door, mentioning how the man has left. Elvis frowns considerably, clutching his armoured boots. "Now. The mayor has left now ."

[21:30:54] crow: Varric pipes up. “Yeah, all right. Because that’s not suspicious at all.” Mathin’s expression grows grim as his suspicions mount. He doesn’t want to believe it, but he’s seen far worse things already. It wouldn’t surprise him, which is almost the worst part of all. He strides ahead of Elvis and pushes open the door with more force than is strictly necessary, staring around the empty rooms.

[21:43:36] Fëanáro: Elvis marches in right after Mathin, taking a deep breath, inhaling the mossy scent of the house. It isn't a bad scent, though it also smells of rot. "Interesting timing indeed", he murmurs in answer to Varric. He pulls off a gauntlet and looks around, not knowing exactly what he is looking for. And yet, what is he looking for lies in plain sight, on the desk, open between bound stacks of paper. The ink is dry, but the letter isn't old and though Elvis fails to understand some words, the meaning is overall rather clear. He holds it up. "He confessed."

[21:49:30] crow: Mathin’s lips press together tightly and he summons a witchlight to brighten the horrid little room. It smells like mildew and regret. Darkness and fear. The mayor, he is somehow certain, was a very sad little man, to live in a house like this one. He is minded, in fact, of Gamlen’s hovel. A bit peremptorily, he plucks the letter out of Elvis’s fingers and reads it over quickly. His jaw clenches and he very carefully sets the letter back down, instead of clenching his fist around it or anything more overt than that. “He will be found.” It isn’t a question.

[21:58:55 | Modificato 21:58:54] Fëanáro: "The Inquisition's forces can do that." It's funny, he thinks, how the Champion of Kirkwall, with his reputation and his history is a man who cares so much about justice. how righteous he is. And how he oversteps his authority on the matter too, as if any of the people here answered to him. Elvis is still frowning when he picks up the letter again; the two men outside are peeping in but Cassandra is quick to fill the frame of the threshold with her presence and then close the door entirely. " You ", Elvis continues, "have someone else entirely to find, or help us find, in any case." He sits down where the mayor would have sat while writing that letter, on the wooden chair before the old, humid table. "I wonder if I should tell these people what exactly happened and what is going on now."

[22:05:45] crow: Mathin draws himself up, wanting to protest, and then swallows it. He’s not the Champion anymore, not really. And it’s not his place, even if this entire situation throws him back to the fall of Lothering, all the deaths of the people he once knew and cared about. And he fled it, left the Blight behind, instead of living with its legacy as the people of Crestwood still do. And his sister died, anyway. “I know where to find him,” he says, only a little shortly. “The sooner, the better.” He strides to the hearth and tosses fire at it, wanting to heat and dry this horrid little place. Maker, he wants to be dry. But there’s no chance yet to rest. “They won’t thank you, either way.”

[22:22:53] Fëanáro: "I don't know that. They have much to thank me for already. But maybe you're right, and maybe they don't even want to know." If his Keeper had done anything so dismal to save half of the clan, he wouldn't want to know about it. His followers, the Inquisition's soldiers, also wouldn't want to know if he ever sacrificed a part of them to save the rest. He looks at the traces of his feet on the floor, then glances at the flames, almost out of place in the damp house; like wanting to keep a fire alive in the undergrowth of a wood just after a storm. At least the dripping of rain outside is diminishing. He can still smell the dregs of the lake though: algae, putrid wood, something fresh, lichens. "Why bother with the hearth?" [22:30:55] crow: “They don’t want to know,” Mathin agrees. He also is in a very good place to know that no matter what you do for people, they’ll only be upset that you didn’t do more, or didn’t do it differently. It’s better just to do what you do because it’s right that you do it, and not for the accolades. Those fade, all too quickly, and memories are short. The Inquisitor will learn that, eventually, the same way Mathin did. From experience. He stands and stares into the hearth a moment. “One thing I learned. Never pass up a chance for even a moment of comfort. You never know when the next will come.” Straightening, he turns back to Elvis a second and smiles. “And this place was too dark.”

[22:34:51] Fëanáro: Elvis smiles a little too and slightly raises the hand that holds the letter. "True. It was." A small place for a lonely man to live with his guilt. "Our contact will not flee again, will he?"

[22:36:39] crow: Mathin crosses his arms over his chest and considers. “Only if forced to. Those Wardens we saw… he is being hunted. He’ll not risk being taken. We ought not delay, especially now that the rifts have been dealt with. The region is calmer, which increases his chances of being found.”

[22:44:25] Fëanáro: Elvis folds the letter and tucks it under his serpentstone armour, as the only and final proof of the mayor's responsibility. "I'll dry my feet, then, and then we move ahead." He sighs and passes his hand through his wet hair. "This is taking longer than catching a golden halla."

[22:49:47] crow: Mathin shakes his head and droplets of water spray off his hair. The fur on his armor — the Champion armor still, after all these years, though so much more worn and faded, and he’s tempted sometimes to read a metaphor into that — smells like wet animal. Or maybe that’s him. Or maybe that’s the entire crappy little house. The rain is slowing up, but the clouds are still dark and grey. This house isn’t better than being outside, though, and he rolls his shoulders under his armor. “I’ve never tried to catch a golden halla, but I’d imagine so. I thought halla were white, from what Merrill told me.”

[22:55:57] Fëanáro: Elvis quickly drags the chair by the hearth, dropping his boots near the flames. He stretches his legs and brushing a foot against the other one to rub off the greater part of the mud. When someone knocks at the door, probably the two villagers, he turns towards his companions. "Do you mind talking with them? I imagine they need some news." He turns again towards the fire. "They are shy little things, with a... a sheen to their mantle. Hard to find and hard to catch. It's a saying."

[23:01:58] crow: “Ah. I understand,” Mathin says, and falls silent, enjoying the radiant warmth, nearly basking in it. “I do not know you,” he says again after a moment, apropos of little. “And in a very practical way, it doesn’t matter. But I dislike relying on someone I do not know, though you’re clearly a capable warrior and leader.” Another pause. “I will not insult you by asking if you really believe all those things you said earlier, about Andraste’s will. But I will ask you this.” He turns, and looks down at the seated elf. “I have a friend, a close one, who left the Dalish for reasons of her own, and they were good ones, from her logic of them. What are yours, for staying among people not your own?”

[23:12:00] Fëanáro: Elvis looks up, with an arched brow and an inquisitive glance, as he slowly puts the gauntlet back on. "And would answering that give you any more insight?"

[23:13:54] crow: “Perhaps.” His expression is neither grim no grave, but it is not light, either. Then he barks a laugh. “Perhaps not. My own life, after all, is an open book.” With a jerk of his chin in the direction of Varric. “Literally.”

[23:35:22] Fëanáro: Elvis snorts a little now. He hasn't read that book, if he has to be honest, but he never says it. He doesn't know whether Varric would be offended or not. "What can I tell you, Champion? I couldn't leave even if I wanted to. I alone can do this, so I must. But that's not the point, right?" He shrugs. "I don't want to leave", he admits, almost candidly. It's been frightening, at the beginning. Thinking about what it meant for his clan back in the Marches, if he, an elf, was thought responsible for Justinia's death; thinking about how he would adapt, how he would survive, how he would learn. But the leadership of these people had been put into his hands and he had never, not for a moment, thought about letting it slip away. Andraste had existed and had marched with the People. Whether the human Maker, or Mythal, or Elgar'nan, or all the Creators together had put her banner his hand, it didn't matter at all. "There was a void of power, after the explosion at the conclave, and it had to be filled. I don't know what you expected of me, Champion. Maybe I should hide in a grove or in a hole in the earth and wait for the storm to pass, hoping that something will have withstood it when I resurface? I won't die like that. In fact, I am quite tired of all of that. You think these people aren't my own, but they are, and the more I say it, the more they'll believe it too. Maybe I don't belong to them but... but they belong to me. You don't know how rare it is to be able to say that for one like me."

[23:43:07] crow: Mathin watches him in silence during the whole speech, and in silence for a few moments afterward. The answer is a better one than he’d feared, even if part of him does feel the “void of power which needed to be filled” as a rebuke. Cassandra had wanted him for this role, after all, and he’d refused it without her ever knowing. He’d just… hidden. Not quite in a grove or a hole in the earth, but hidden, all the same. He’d been busy with his own tasks, and he had justified it that way. He also, to be fair, hadn’t known exactly why the Seeker wanted to find him, only that she had, and that she’d roughly interrogated his best friend to do it. It hadn’t disposed him to trust her, or to give her anything she’d wanted. “Many people would have hidden,” is all he says aloud. “Or tried to. Many people… my father used to say that his magic would serve what was best in him, not what was most base.” He leans a shoulder on the fireplace, letting the heat soak into him. “Merely because you’re the only one who can do this? To some people, that wouldn’t mean a damn thing. To you it does.” He nods once, with something almost like respect. And there’s respect, too, for being an outsider who nevertheless has laid claim to the people around him. Mathin was that, once. A Fereldan in Kirkwall. He wasn’t theirs, but they were his. “And yes, I have some idea.” He straightens and claps his hands together in front of him, once. “Shall we, then?" [23:54:31] Fëanáro: "Some idea, maybe." But one of them is an elf and the other is not. Elvis straightens his back and once again rubs his feet together and against the leather of his gauntlet, cleaning them of the mostly dried mud as best as he can. He grabs his boots and wears them, though the bottom of them is still uncomfortably humid. He stands up, nevertheless looking at Mathin with a certain understanding, supposing that, maybe, his answer pleased him enough to nod his approval. "Yes, time to go. Your contact has waited enough."

#archive.

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nsorchidsociety · 8 years ago

Text

Real Story Behind MTV’s Failed Wrestling Society X

In-flux, their state of wrestling was in January of 2007. The Friday Evening Conflicts were 1000000 miles departing WWE the obvious master of the hill that struggled to maneuver forward within the article-Attitude Period. TNA had only began to pick vapor on Increase up and Band of Recognition hadnot hit on tv however. With WCW today section of the organization of McMahon, there is no big-name providing any difficulty to the WWE.

Enter MTV and Wrestling Culture X.

The community, additionally searching amid a advertising scenery for fresh suggestions, guaranteed to provide thrilling wrestling with figures that were gritty, and yes of explosions. In a variety of ways, it appeared to provide the WWE Turner had with WCW but rather wound up resembling anything a lot more like McMahonis unsuccessful test at their own soccer league although exactly the same type of.

“There appeared to be this large crossover of punk-rock fans and rings which were wrestling enthusiasts,” Wrestling Culture X maker Kevin Kleinrock informs Rolling Stone. “I usually wondered if a method is to mix these two sides.”

MTV looked like action that was normal. Kleinrock realized somebody who had been moving in to message a to community professionals (about, of issues, poker). He requested if he may also obtain a message set for his concept, which at that time was named Wrestling Federation due to the love of wrestling of the group. He spoke the display up and went, and, to his shock, MTV really named back immediately to obtain a pilot. Obtaining MTV behind it had been an enormous part of the best path for Wrestling Culture X. Wrestling businesses usually launch on the budget that is small, and rarely obtain distribution’s sort that MTV might create.

“There appeared to be rings which were wrestling enthusiasts and this large crossover of punk-rock fans,” Society X maker Kevin Kleinrock shows Rolling Stone. Shane Kidder

“it was the wrestling- show which was completely-financed with a tv network…this is not people getting it towards the network and developing a wrestling business. This really is us working to produce a wrestling sequence for that community… when it turned Our unique perspective isn’t. Nevertheless when somebody is currently placing a budget of 3.5 thousand bucks before you and stating listed here is the cash, today you’ve to create like what we would like, you hear it look.”

Regrettably, while they were given an enormous benefit by its affiliation using the community, additionally, it had its disadvantages. MTV includes a background returning within the 1980s towards the start of Stone N’ era. WWE later might go back to MTV when Sunday Evening Warmth discovered a house about the funnel. However despite the fact that, all of the higher ups had no thought what it required to operate a wrestling display. The impact of mTV might rapidly be viewed within the item. The preliminary strategy of Kleinrock was to display a few of the youthful, high flying expertise he had gathered. Nevertheless, as he discovered, occasionally a thought that is careless might have huge implications about the item.

“I never had of actually performing one surge, the notion,” Kleinrock claims “nevertheless when we simply sat around using the professionals in another of the first improvement conferences, we were referring to insane fits in wrestling which have occurred. In wrestling it had beennot actually intended for the display, only a listing of issues individuals had completed. But once I described piranha demise and overflowing crates fits, they determined that is what we required. I learned that you ought to never actually mention something before a Television government that you simply would not prepare yourself to create occur for them.”

Kleinrock might continue to describe that MTV executives desired to begin down the sequence, immediately, a match where the reason would be to immerse your challenger in a high in piranhas, having a Piranha Death-Match. These types of fits undoubtedly turned exactly what the display was recognized for, although he could atleast speak them into creating towards it. If you appear about the back about the Wrestling Culture X DVD, you will observe in large characters “Contains the Piranha Death-Match and Overflowing Metal Cage Timebomb Deathmatch.” Regardless of the ideas were for Wrestling Culture X, crazy tricks and explosions could be the things they were recognized for. Within the initial occurrence the display exposed having a complement that highlighted Kleinrockis eyesight with two potential superstars in Evans and Sydal. Nevertheless, the initial show is more appreciated for that WSX rumble, a cross of the Royal Rumble along with a hierarchy complement – with explosives on a single aspect of the band that two unfortunate wrestlers might sooner or later within the complement detonate by being tossed along with them.

One individual who had been seriously involved with these tricks was M-Dogg 20, Matt Mix, who nowadays also wrestles underneath the title Boy of Chaos on Lucha Subterranean. He was section of a tag-team with Teddy Hart on Wrestling Culture X, named the Dirt and also the Fury. Mix was not actually said to be about the display originally. Pac (today-you you might understand him as Neville) was said to be flown directly into La to become Hartis companion, till credit issues held him from the U.S. Therefore Mix was named, and despite having university courses to go to 24 hours later, he discovered his way to avoid it to L.A. immediately. He really was informed instantly concerning the concept for that crate fit that was exploding, but shook down it like a laugh within the telephone. While he got there, he discovered the concept were severe, but really fascinated them.

Wrestling Culture X featured lots of explosions. Shane Kidder

” was that many of the explosions were truly harmful Where they did not do themselves favors,” Mix describes. “What Is of unsettling type is the fact that lots of that’s lost that it nearly arrived down as cheesy or corny simply because they did things like trembling the cameras… I leaped and went into an explosion. That is everything you noticed. When they had proven precisely that, it could have gotten more of the regard it earned.”

This could get to be the unusual dichotomy of Wrestling Culture X. About the one-hand, they’d wrestlers who’d continue to possess WWE achievement like Tyler Black (Seth Rollins) and Matt Sydal (Evan Borne), plus others like Jimmy Jacobs, Joey Ryan, Mix, Colt Cabana, and also the first public National contact with Monster Entrance, a Western marketing that will continue to truly have a main existence within the impartial wrestling picture, and drawn expertise like Kevin Owens, Sami Zayn, Daniel Bryan, Finn Balor, Rich Swann, and much more. The very first actually fit Port Evans being faced by highlighted Sydal. It confirmed precisely what Kleinrock desired to function in certain fast paced, high flying motion between two running up-and-comers within the planet that was wrestling.

“We all fed off the power of one another,” Sydal evokes concerning the tapings. “it had been an opportunity for men from all around the globe start to become part of anything and in the future together. Everybody visited.”

About the other-hand, the fits needed to be modified to around three moments because of the 30-moment run-time, and also the featured fits incorporated crazy tricks and issues overflowing, even when it did not very is sensible (who understood a coffin might inflate in the event that you tombstoned somebody involved with it?). And also the fits themselves appeared unlike any you could observe in those days on tv.

“After Jackass, MTV had a problem wherever children might attempt to duplicate the things they noticed about the display and obtain injured, and there is backlash about the community,” Kleinrock describes when requested concerning the distinctive demonstration. “these were very gun-shy about doing items that children might quickly duplicate athome. And thus it result in this strange post production encounter, directly after we shot all of the fits just like a match that is regular… However they needed us to modify blows and shoes out.”

Regardless of the show’s oddities, the wrestlers included experienced the tapings went. They might have experienced some minor issues about it, but, he believed that in the minimum, there is enough to construct on as Mix described with just how much MTV put in it, it might achieve period two.

” That Is currently likely to create me seem foolish, but I did sonot have any uncertainties,” Mix claims having a chuckle. ” the whole period was shot by us, I viewed everything occur. I believed it was amazing appearing out of it. Then it’d be on MTV, although we understood it’d be modified! And since it was on MTV, it might provide wrestling this system that is crazy, and we’re able to become superstars.”

He was incorrect once we today understand. The display exposed to achievement that was sensible, sketching a 1.0 rating heading straight against the ECW on SyFy of WWE. Nevertheless, in two that quantity had dropped from the next week, sketching merely a.5 score. They’d to omit per week because of a MTV experienced also chaotic, after which significantly less than five months after Wrestling Culture X created its introduction, the statement was designed to draw the plug, display the rest of the tapings on the one-evening race, after which part ways.

“Wrestling Culture X had that sand sense, it did not have that industry search” Shane Kidder

“I believe that despite the fact that MTV and the concept of seeking wrestling flirted, I believe that prior to the first occurrence of the display actually broadcast, nobody above the amount of the folks we worked with truly were prepared to back it,” Kleinrock evokes. ” [Being ended ] was not unforeseen, however it absolutely required breeze out-of my sails to possess it come crashing down. I believe the display, completed the way that is proper, might have had some durability.”

Regardless of the insufficient achievement for Wrestling Culture X, you can observe a number of its impacts however nowadays. Obviously its lineup has extended to prosper, with wrestlers presently in ROH WWE, and much more. You might state that Lucha Subterranean is anything of the descendent of Wrestling Culture X, more of the television crisis that occurred to include wrestling, in the place of a wrestling present on Television. Throw-in the grubby, subterranean, design of Lucha Subterranean, and also you might undoubtedly view it when they received a number of their motivation towards the MTV display.

“Wrestling Culture X had that sand sense, it did not have that industry search, and undoubtedly Lucha Subterranean has that same kind of dim and faded factor happening,” Mix claims. “When I believe back again to it, itis so-crazy that a lot of everyone was involved with both tasks [Wrestling Culture X and Lucha Subterranean]. Jack Evans, me, Vampiro Banderas. In order for them to be considered for as well as a decade aside a lot of people in wrestling to be, it is type of insane…”

For Wrestling Culture X itself, it obviously consumes a room in wrestling background. Similar to the XFL, it had a large community behind it arrived in having a boom, highlighted some crazy elements, and fizzled. As well as for some time it had been a laugh. However you can nearly claim there is nevertheless a conspiracy-like element around it. You can observe where others constructed upon it and took facets of the problems. As well as their followers remain. Whilst the wedding contacted, the facebook consideration rapidly acquired over 1000 fans, and began. Chat of the gathering of some kind popping up from followers. Kleinrock said he was not certain if that will occur, but when it he did, he explained he could possibly get it done along with businesses which have adopted the audio/wrestling blend he imagined, like HOLIDAY Wrestling in Gainesville, which began included in The Holiday punk event. For Matt Mix, he simply desires that Wrestling Culture X is recalled lovingly by followers.

“it certainly is great to possess various options and fresh issues and fresh suggestions, and that is what Wrestling Culture X attempted to complete. It take action unique and attempted to have an opportunity. Personally, I believe it had been fairly amazing. I believe things like that needs to be compensated.”

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from Society http://www.nsorchidsociety.com/real-story-behind-mtvs-failed-wrestling-society-x-41/

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