#aab cast

[locria-writes]

Man in ball doesn’t think very good about Val. But what do the older ladies think about him? And if you line them up how much our brother wanted as a groom among with the ros?

nobody likes him because they're all classists lol. val might be favoured by the king, but he's still just a plebian.

i've probably answered the second one before, but if i'm gonna throw out a wild guestimate, i think they line up roughly -

ignazio > oskar > wolf >>>>>>> val = edmund > lothar >>>>>>>>>> (...) einar

[indiahistoricaltours]

Blog On Punjab

Amritsar and the Golden Temple:

Amritsar is the heart of Punjab, spiritually and culturally. The holiest place in Sikhism is the Golden Temple, also known as Harmandir Sahib. The city was founded in 1577 by Guru Ram Das, the fourth Guru of Sikhism, on land gifted to him by Emperor Akbar. Guru Ram Das conceived the idea of a spiritual, harmonious abode and meeting ground and so established the city, with the setting of the pool of nectar known as Amrit Sar that was around which the later Golden Temple was to rise. The Golden Temple

Guru Arjan Dev laid the foundation of the Golden Temple in 1581. He also prepared the Adi Granth during this period and it was installed in the Golden Temple in 1604. The style of architecture is a combination of Hindu and Islamic. It is so because Sikhism is an inclusive religion. The gilded dome with the serene reflection of its surroundings in the pool is an inspiring view of spirituality and devotion.

History had witnessed that the Golden Temple served as a Sikh centre for worship and pilgrimage. It also has been a spot that has seen other historically important events, like martyrdom due to Guru Arjan Dev at the hands of the Mughal Emperor Jahangir for failure to embrace Islam in view of pressure from the latter.

The Golden Temple was targeted during the colonial period by the British, but it became an icon of Sikh resilience. In 1984, the temple turned out to be a point of political tension since the Indian government, headed by Prime Minister Indira Gandhi, started Operation Blue Star to take out the militants from the complex. The operation resulted in extensive damage to the Golden Temple and the killing of many people, and it finally led to the Sikhs being in turmoil and fuming.

Despite all these obstacles, Golden Temple is a symbol of Sikh identity, spiritualism, and justice and equality. The Golden Temple is also used as a platform for relief work; for instance, its langar feeds thousand people in a day not considering any caste or religion.

Other places in Amritsar:

Besides the Golden Temple, this city has many other significant landmarks. Jallianwala Bagh is a historical garden and memorial where over hundreds of unarmed Indian civilians were killed in 1919 by British General Dyer on his order that galvanised the independence movement of India.

The other significant place is Wagah Border, which is about 30 kilometres from Amritsar. It forms the international boundary between India and Pakistan. Lowering Ceremony of Flags everyday at Wagah has emerged as an icon of two nation theories.

 Amritsar comprises a number of other Gurdwaras or Sikh temples, such as Gurdwara Bibeksar Sahib, Gurdwara Ramsar Sahib, and Gurdwara Tarn Taran Sahib, which are also important from religious and historical points of view.

                                         

  History Of Punjab

It is situated in the northern West subcontinent, and its land of deep historical and cultural evolution in Punjab, marked as much by the interplay of varied cultures, religions, and dynasties; Punja in Persian means five, as there are five rivers—the name 'Punja' originated from the Panja-Aab, as per the Persian words-five or panj meaning 'five' and 'ab,' water. Punjab has historically been the melting pot of various civilisations over time and significantly contributes to Indian and global history.

Punjab has its roots dating back to the beginning of Harappan Civilisation, which belonged to a period around c. 3300 – 1300 BCE-considered one of the oldest cultures of the urban world-in the Indus Valley. Major archaeological evidence at these sites in the present-day Pakistan demonstrates an extensive urban plan, trade, and various craft and skills.

After the Indus Valley Civilisation declined, several Indo-Aryan tribes took over the region and established it as the basis for the Vedic period, extending from 1500-500 BCE. It is during this period that the region became a hub for the diffusion of Hinduism, with the epic Mahabharata referring to many locations in Punjab.

Foreign Invasions

The Middle Ages saw the entry of various foreign invasions in Punjab. The Mauryan Empire ruled the region, followed by the Kushan and Gupta Empires; however, Punjab's great historical turning point took place in the 11th century, with the raids of Mahmud of Ghazni, followed by the institution of the Delhi Sultanate in the 13th century. Punjab has, therefore, been a seat of many major battles with a mix of Persian-Afghan and Indian influence.

Sikhism was founded by Guru Nanak in the Punjab region during the 15th century. This religion stressed monotheism, equality, and service to the community. Under Guru Arjan Dev, the faith prospered in Punjab as he established the Adi Granth, which is the central script of Sikhism, besides establishing the foundation for the Golden Temple at Amritsar.

Actually, it was during the time of Guru Gobind Singh in the late 17th century that Sikhism saw its transformation since he instituted the making of the Khalsa with his faithful-the dedicated Sikhs who were entrusted with the duty of protecting the faith. The persecution of the Sikh faith by the Mughals generated numerous battles that eventually turned to assist in the founding of this community because of the strength that was posed by Maharaja Ranjit Singh, as one of its major strongholds.

Maharaja Ranjit Singh established the Sikh Empire in the early 19th century, which united Punjab under one banner. The period of his rule from 1799 to 1839 is known for relative peace, prosperity, and military success. Sikh Empire administration was strong; roads were built, forts were constructed, and agriculture was encouraged. However, after Ranjit Singh's death, the empire weakened and eventually fell to the British in 1849, following the Second Anglo-Sikh War.

Punjab was annexed by the British Empire in the mid-19th century. Under British rule, Punjab was an important administrative and military region. The British constructed infrastructure but also introduced policies that led to widespread resentment among the local population, leading to events like the Jallianwala Bagh massacre in 1919, where British troops killed hundreds of unarmed Indian civilians protesting against colonial rule.

Punjab became a prominent center of activity during the independence struggle. The region played a very important role in the independence movement, and most of the major figures of the time, such as Lala Lajpat Rai and Bhagat Singh, came from the area.

The Indian subcontinent was partitioned in 1947, creating India and Pakistan. East Punjab fell into India while West Punjab became part of Pakistan. Partition led to the most significant mass migration in the world, with violence, displacement, and suffering as massive and widespread as can be imagined.

[brainrotroulette]

You’re right, Dally’s “Little Brother” is evocative of gospel, especially with the choral call and response behind him, and maybe they could have handled casting Dally’s role differently to avoid unrealistic depictions of racial struggles in the south in 1967.

However, gospel is not the only genre with overwhelming roots in the black community. I can provide you with links to great sources about how blues, rock, and jazz originated in these communities just as gospel did, but refuting my example of “Runs In the Family” by saying that “the song itself isn’t even good” and “there’s no real meat” when I provided several examples of the history behind the genres the song takes inspiration from doesn’t change the fact that the song is blues and jazz inspired (based on the stylistic qualities pointed out) and those genres originated in Southern African American communities and their unique historical struggles just like gospel did.

Additionally, to your point that the music as a whole doesn’t fit, blues, bluegrass, gospel, rock, jazz, folk— all the genres that this show takes inspiration from didn’t just magically disappear from Oklahoma when the Beatles and Elvis became popular. In reality, these genres are still alive, popular, and thriving in the South today. Before the Beatles and Elvis came onto the scene in the 60s, these kids would have been hearing jazz on the radio, gospel at church, witnessing the birth of rock on television.

Speaking of Elvis, even if the musical were to incorporate his style, the songs would still be deeply steeped in black history. The reason why there was such outcry to his popularity during this era was because it was seen as “black music” to older white audiences. In fact, he stole a lot of music from black musicians such as the original blues tune “Hound Dog” sang and popularized first by Willie Mae Thornton, a black woman. And though it was written by two white men, the song is faithful to the blues style created by black Americans. It has the AAB lyrical format, call and response lyrics, it has the walking bass and swung eighths, and the themes of woes and hard times.

If anything, the music these boys would have been listening to would have had even STRONGER African Americans roots and styles than the musical offers us because the Outsiders Musical is also a musical and many of the songs, including Dally’s “Little Brother” retain heavy stylistic elements of the musical theater genre which do not have the same strong African American roots as these other genres I’ve mentioned.

I think you make great points about how the musical leaves stuff to be improved upon with Dally’s character portrayal. I also think that you’re right, we have had no indication that Dally would have enjoyed gospel and to say that he does based on his race alone is to make a racist assumption.

However I find it hard to believe that as a black man in the 1960s he would not have been at least exposed to gospel. Communities from the South to the North were more segregated than today, and gospel music thrived in the churches of black communities across the country. It was a large part of the civil rights movement which he lived through, and even growing up in New York as the book said he did, he likely would have been exposed to that music.

However Dally’s final song being heavily evocative of gospel does not mean that he ENJOYS gospel.

Gospel is great, gospel can evoke boundless joy, but gospel can also express incredible sorrow and depict struggles unique to the racism and oppression faced by African Americans like “Go Down” which ties Moses’ pleas to the Pharaoh during Exodus and the similar pleas for freedom enslaved African Americans had.

“Little Brother” is in many ways similar to these gospel songs. It is a song of sorrow with a heavy thematic nods to oppression and, in this case being what the greasers experience as an unwelcome minority in the community. It is a position Dally would have known all too well as a black man in the South and one that gospel music has frequently touched on. To me, if the gospel in Dally’s song was the only African American thematic influence in the music, I would definitely be sounding the alarms, but it’s not. This is not to say that the way Dally is written as a CHARACTER is not problematic. Your comments have made me curious to look more into this and educate myself. But from a musical standpoint the ENTIRE score draws from genres that are steeped in black history and accomplishment.

what. what do you mean that people are upset that gone with the wind was changed in the musical adaptation. huh.

[manukyan]

Athenahealth "Olivia" Director's Cut from Loop on Vimeo.

Can health tech be cool? Hell yeah! For health tech giant Athenahealth’s reimagined brand, we mixed live-action, CG and stop-motion to create many individual pieces of creative – spots, social, print, OOH and everything in-between.

Client: Athena Agency: Colossus

Directed by: Aggressive Production: Aggressive/LOOP Directors: Alex Topaller, Dan Shapiro Executive Producer: Alexander Aab Creative Directors: Alex Mikhaylov, Max Chelyadnikov Art Director: Alex Mikhaylov Post Producer: Dustin Pownall DOP: Kuba Burakiewicz Line Producer: Lukasz Tomasz Koltunowicz Editors: Jason Yantz, Tomasz Maczka Storyboard Artist: Mercer Boffey Colorist: Dominik Deras Music, Sound Design, Mix: Massive Music Production Designer: Magda Kostyra Props Master: Jan Hernik Production Manager: Karol Nowicki 1st AD: Roman Grad Gaffer: Maciej Garwoliński Key Grip: Marcin Wieczorek Stream: Pawel Stopyra Make Up: Ania Slowinska Hair: Dominik Szatkowski Stylist: Katarzyna Kryst Casting Director: Sylwia Blaszczyk Actors: Atta German, Ewa Rodart, Sudheir Kumar CG Supervisor: Max Chelyadnikov 3D Animation Lead: Dmitriy Paukov 2D Animation: Vladimir Tomin Modelling: Filipp Gorbachev, Dmitriy Paukov Lighting/Shading: Filipp Gorbachev, Max Chelyadnikov Compositing: Max Chelyadnikov, Dan Shapiro, Javier Devitt Offline: Dan Shapiro, Won Cha CG Stills Lead: Alex Petrovsky Stop Motion Creative Director: Salman Sajun Stop Motion Animation Director: Mathew Richards Stop Motion Producer: Hussain Alladin Stop Motion Associate Producer: Catherine Chebeia Stop Motion DOP: Damien Ligiardi Stop Motion Art Director: Gabrielle Mullholland Stop Motion Animation & Props: Christopher Carletti, Marianne Khayat, Audery Rainville Stop Motion Cleanup: Rushant Gautam

[fedonciadale]

The S&B Twitter and instagram fandoms are an absolute hellscape.

Apparently they've invented something called Darkling slander sunday, and they keep tagging Ben Barnes in it and in their other anti content to make sure he knows how much they hate him/the Darkling. Because idk they can't separate him from the character he plays.

I'm also baffled by the fact that they keep pointing out that he is old, as if that's a crime, as if 39 is actually old.

And then there's also the fact that a subset of them started calling him a creep/pedo/stalker/predator for being friends/interacting online with Jessie Mei Li, who is 25 years old.

So on top of everything, they're infantilizing an Asian female-aligned person just so they can harass Ben.

And it's not just Ben. Archie Renaux has also been harassed, and sadly, that was probably by Ben/Darkling fans.

I know of at least one time when Archie and Amita Suman were called racist slurs after someone called Ben an old hag and said they were both better actors than him.

People have been horrible and racist to Archie during online Q&As and just generally.

I really can't believe how openly racist these people are. It's so disgusting.

I don't understand how this fandom can be so horrible.

Tumblr is tolerable, though the crosstagging, jumping on posts and anon hate is frustrating.

I used to think certain subsets of the GOT fandom were bad, but all of this just makes me want to cry out of anger and frustration.

I'm so sorry for bothering you with all of this, but I needed to rant, and I didn't know who else to talk to about this.

Wow! That is wild, and I feel sorry for all the actors! People really should learn to differentiate between fiction and reality.

And it is definitely wild.

Some of the things I've seen in the GoT and ASOIAF fandom have been wild though as well. I would remind you of that time, someone actually invented an interview with GRRM to discredit Jonsa and let him say that Jonsa was out of the question (oh, the days of the dramatic rice interview!). Lol. And of the time that Jonsa twitter accounts were hacked (that was far less fun). So every fandom has its really weird corners....

And the cast of S&B is just wonderful and I don't even know why you would compare their acting skills. They all do wonderful jobs. And it is great that they get along. That the actors get harassed over ship wars is ridiculous. And Archie Renoux and Jesse Mei Li and Amita Suran are wonderful and I hope they see many people support them as well. It reminds me of what happened in the SW fandom and I hope they have nerves of steel.

Sometimes I think that the parts of Grishaverse fandom think they get a pass for just about everything just because they like a series that has representation. It's if they think that they've proved to be woke because of that and then proceed as usual....

All *isms are cringeworthy. And I honestly think that they are rooted in a lack of imagination. People lack the imagination to think: This could be me. I could have been born a different gender (aab), a different skin colour, a different sexuality, a different gender identity, with a severe illness that makes me unable to see/walk. Or you might suffer an accident and suddenly nothing is as it was. You know, it doesn't need much imagination to come up with a scenario where things might have been different for you and you might be part of the group that is discriminated against. I'm not saying that you can really imagine how it is to live in someone's else shoes because if you are a privileged person you usually have no idea about all the tiny things where your privilege helps you. It should not be such a stretch to imagine being someone else though and just wonder about what it would mean.

I think that ageism is the most stupid of isms. Because all the other things are imaginative. I can imagine being born somewhere, in another skin, another gender, but that is a "what if" scenario. But age catches up with all of us. There is absolutely no way around that. Adults are often told that they should remember how it was as children (and that is true enough), but young people should also remember that the moment when they turn 29, or 39, or 49, or 59, or 69 will inevitably come (and it's always better than the alternative - which is to die). It will come. And I can assure you that it will come faster than they think. What are they going to do when they turn that age that they somehow have defined as the age where you should a) not interact with fandom any longer b) have no sex c) should stop having fun??? Will they stop having fun at 29, 39, or whenever?

What will their thought process be once they will actually be in the shoes of the people they discriminate against now?

And people should really stop to apply the word 'pedophilia' to age gap. And it's not even as if they are in a relationship.

So, have no worry about ranting in my inbox. That's o.k.!

[girlactionfigure]

Golda Meir Has Secret Meeting with King Abdullah in Amman

Just days before Israel will declare its independence, Golda Meir, then Head of the Political Department of the Jewish Agency travels to Amman to meet with King Abdullah of Transjordan.   This is the second meeting between the two, with the first occurring in early November 1947 at Naharayim on the banks of the Jordan River.

Abdullah shares the Zionist leadership’s fear of a Palestinian state led by the Mufti of Jerusalem,  Hajj Amin al Husayni emerging  as a result of the UN Partition decision.  Contacts between then Emir Abdullah and the Jewish Agency begin soon after he is appointed by the British in 1922.  His brother, Emir Faisal,had come to an agreement with Chaim Weizmann in 1919 based on collaboration to achieve their mutual interests.  That agreement is never realized.

Underlying Abdullah’s contacts and interest in cooperating with Zionist leadership is his desire for an expanded Arab state in the region.  His “Greater Syria” plan envisages a unitary Aab state, under his leadership, which encompasses Transjordan, Syria and Palestine.   Abdullah hopes that in return for granting Jewish autonomy within his proposed kingdom, Zionist leaders will support his efforts and persuade the British to do so as well.  Later contacts, made during the 1930s are aimed at improving Transjordan’s floundering economy.  Zionist leaders consistently reject Abdullah’s proposals, preferring to seek their own state.

The British announcement that they will end the Mandate and turn the Palestine issue over to the United Nations gives King Abdullah renewed hope that he will be able to expand his empire by taking over the Arab areas of Palestine.  In the November 1947 meeting with Golda Meir, he states his intention to annex the Arab parts of Palestine.  Meir responds that the Zionist leadership will not oppose that plan if it means that there would be no clashes between Jewish and Jordanian forces.  Two weeks after the meeting, the UN General Assembly approves the partition of Palestine.  Meir remains in contact with Abdullah, but grows increasingly wary of the King’s plans as violence in Palestine escalates.  In her autobiography, My Life, she writes, “Throughout January and February we maintained contact with Abdullah…As the weeks passed, my messages became more worried.  The air was thick with conjecture, and despite his promise to me, there were reports that Abdullah was about to join the Arab League.” (Meir, page 216)

By the spring of 1948, it had become clear that Abdullah was casting his lot with the other Arab states and was preparing to join in the fight against the Jewish state.  Meir, at the urging of David Ben-Gurion seeks an additional meeting as a last effort to persuade Abdullah not to join the impending war.  Meir explains why this is so critical, “Not only was the legion (Transjordan’s British trained and led army) by far the best Arab army in the area, but…if Transjordan stayed out of the war, it would be much harder for the Iraqi army to cross over into Palestine and join in the attack on us.” (Meir, p.216)

Abdullah agrees to a meeting in Amman. Meir is accompanied by Ezra Danin, a Haganah intelligence expert who has familial relationships with the King.  Meir and Danin disguise themselves as an Arab couple and travel through enemy lines to Transjordan.   She confronts Abdullah about breaking the promise he made to her in November 1947.  The King  explains that he is no longer able to act independently, that he is now “one of five,” referring to Syria, Egypt Lebanon and Iraq.  He urges the Zionist leadership to postpone their planned declaration of statehood as the only way to prevent war. Reiterating his desire for expanded territory, he tells Meir, “But why don’t you wait a few years? Drop your demands for free immigration.  I will take over the whole country and you will be represented in my parliament.  I will treat you very well, and there will be no war.” (Meir, p. 218.)

The photo shows King Abdullah.  Photo Source: Wikimedia Commons.

[fourteenadventures]

“Altanen…”

“Yes Aab?”

“I want to die on the Steppes.”

Altanen sputtered on his drink, his head snapping towards his father “What!? Why are you saying that? You’ll be fine Aab! You’ll--” He said, panicked.

His father rose one of his hands to calmly cut him off, waiting until he deflated and went quiet. “Altanen, both you and I know I haven’t gotten better over the months… My health is slowly declining, Nobody that has visited me has said anything positive.” Chuluun explained, leaning against the wall, absolutely exhausted.

Altanen looked absolutely heartbroken listening to his father. “You’re… You’re doing fine now though, right? There may still be time for recovery.” He asked, and his father just shook his head.

“No, It is a slow decline, but it is a decline. I want to be able to make the ship ride there… I want to be able to die on the Steppes. I want to be buried next to…” He said, his voice cracking. He swallows hard and continues on “Next to your mother. Next to Shidetani...” He explained.

The room grew very quiet as the two men wiped away their tears. Altanen covered his eyes, trying his hardest not to cry. “Aab… Aab I’m sorry, I’m sorry.” He said, whimpering.

“What are you apologizing for?” Chuluun asked, looking at his son. “This isn’t your fault.” he replied. It was his own fault… He was the one who cast that spell. He was the one who ripped a hole in his aether.

Altanen tried to squeak out anything, any way to blame himself, any way to try and make his dad feel better. Chuluun just shook his head, gesturing him to come over. “Altanen… Could you please do this last thing for me? I can’t… I can’t walk to go do it myself.” he said, choking up again.

That is what broke the dams for Altanen, covering his eyes again to hide his tears, trying to hold back strangled sobs. “Yes… Yes… Okay Aab. I… I can arrange this. We can get you to the Steppes.” He replied, his voice cracking, a few rough swallows.

“Thank you Mbihu… Thank you for taking care of me.”

[tonin-terets]

Athenahealth "Lonely Data" Director's Cut from Loop on Vimeo.

Can health tech be cool? Hell yeah! For health tech giant Athenahealth’s reimagined brand, we mixed live-action, CG and stop-motion to create many individual pieces of creative – spots, social, print, OOH and everything in-between.

Client: Athena Agency: Colossus

Directed by: Aggressive Production: Aggressive/LOOP Directors: Alex Topaller, Dan Shapiro Executive Producer: Alexander Aab Creative Directors: Alex Mikhaylov, Max Chelyadnikov Art Director: Alex Mikhaylov Post Producer: Dustin Pownall DOP: Kuba Burakiewicz Line Producer: Lukasz Tomasz Koltunowicz Editors: Jason Yantz, Tomasz Maczka Storyboard Artist: Mercer Boffey Colorist: Dominik Deras Music, Sound Design, Mix: Massive Music Production Designer: Magda Kostyra Props Master: Jan Hernik Production Manager: Karol Nowicki 1st AD: Roman Grad Gaffer: Maciej Garwoliński Key Grip: Marcin Wieczorek Stream: Pawel Stopyra Make Up: Ania Slowinska Hair: Dominik Szatkowski Stylist: Katarzyna Kryst Casting Director: Sylwia Blaszczyk Actors: Atta German, Ewa Rodart, Sudheir Kumar CG Supervisor: Max Chelyadnikov 3D Animation Lead: Dmitriy Paukov 2D Animation: Vladimir Tomin Modelling: Filipp Gorbachev, Dmitriy Paukov Lighting/Shading: Filipp Gorbachev, Max Chelyadnikov Compositing: Max Chelyadnikov, Dan Shapiro, Javier Devitt Offline: Dan Shapiro, Won Cha CG Stills Lead: Alex Petrovsky Stop Motion Creative Director: Salman Sajun Stop Motion Animation Director: Mathew Richards Stop Motion Producer: Hussain Alladin Stop Motion Associate Producer: Catherine Chebeia Stop Motion DOP: Damien Ligiardi Stop Motion Art Director: Gabrielle Mullholland Stop Motion Animation & Props: Christopher Carletti, Marianne Khayat, Audery Rainville Stop Motion Cleanup: Rushant Gautam

[locria-writes]

AAB - who falls in love the hardest

if we're talking about love specifically, it looks something like --

edmund - einar > oskar - (ekkehard) > ignazio - wolf - val >> lothar

but for some of the scumbag trashmen here, love is indistinguishable from obsession, and some just aren't really capable of love anymore

[anything-advice-blog]

PSA

I suck and I apologise for my lack of activity. Since school started back in August, I started a couple new jobs. I now work 4 jobs and am still in that play. I have another audition Tuesday so fingers crossed I get cast. Now that we are three weeks into the school and two weeks into my current jobs, I’m getting the hang of it. I’ll do my best to get on every Saturday nights (it’s my only day off) and answer a few questions. We do have over 600 messages so there is no guarantee that I will finish all of it. I do not want to delete any because that’s against our policy here at AAB so I deeply apologise for anyone who’s been waiting forever. 

If you want your message deleted, please let me know. The tag list is fairly recent - within the past month - so message me with your nickname if you no longer want or need my thoughts. I know that it sucks and I’m very very very sorry for it. It doesn’t seem that we will receiving extra help around here any time soon so I will do my best to keep this running. 

Someone suggested that I should leave this blog and I want to make sure that we are on the same page. This blog means a lot to me. I struggled a lot with my mental health and this blog kept me going when I needed it to. I took a break to recover and once I did I returned. So if this blog could help anyone, even if it’s just one person amongst the thousands that exist, then I’m happy. 

I love you all very much. Come by and say hello if you want <3 

Always by your side,

Kelly

[nypaenergy]

NYPA First Utility to Team With American Association of Blacks in Energy

At the NYPA Board of Trustees committee meeting this week, Authority CEO & President Gil Quiniones outlined the commitment to further its culture of diversity, equity and inclusion. New plans include working with the Energy Equity Initiative of the American Association of Blacks in Energy (AABE), implementing a ten-point diversity, equity and inclusion action strategy, and doubling investment from $5m to $10m on antiracism training throughout the organization. NYPA is the first utility in the U.S. to join the AABE Energy Equity campaign.

“We are embracing an opportunity today to lead -- to lead our industry and our sector – by pursuing a multi-faceted, action plan to create a more diverse, equitable and inclusive workplace at NYPA,” said Gil Quiniones. “By partnering with the American Association of Blacks in Energy to achieve its essential campaign’s far-reaching goals, we will together achieve greater African American representation at NYPA, and in the broader energy, renewable energy and electrification fields.”�� 

The plan’s internal & external measures include the following points: 

Internal Commitments

1. Reaffirm NYPA’s commitment to building and maintaining a diverse, equitable and inclusive culture.

2. Ensure that NYPA processes, policies and procedures are transparent and free from bias.

3. Expand ongoing training to NYPA employees on antiracism, unconscious bias, microaggression, and cultural competency.

4. Create a Chief Diversity, Inclusion and Equity Officer position, reporting to the President and CEO and to the Chief Human Resources and Administration Officer – and increase investment in the office of Civil Rights and Inclusion. 

5. Invest in NYPA’s black employees and create pathways for career development and upward mobility.

6. Cast a wider net and secure a diverse slate of applicants for vacancies by partnering with professional organizations such as the American Association of Blacks in Energy, Historically Black Colleges and Universities and local and national colleges and universities.    

7. Partner and support our employee unions at the national, regional and local levels and invest in their diversity, equity and inclusion programs and initiatives.

External Commitments

8. Leverage NYPA’s experience, resources and purchasing power to build capacity and access to MWBE firms.

9. Broaden NYPA’s community-based STEM, student internship and mentorship programs to increase the pipeline of utility and clean energy workers of tomorrow – including the creation of a targeted college scholarship program.

10. Create an enterprise wide employee service program dedicated to understanding racial justice through our clean energy business, such as community solar for example, and energy sustainability work in environmental justice communities. 

Paula R. Glover, President & CEO, The American Association of Blacks in Energy, said, “The American Association of Blacks in Energy is pleased to team with NYPA in its work on racial equity. Like NYPA, we believe that working together we can be a better industry when we embrace opportunities to improve the representation of African Americans in the energy industry. With its 10-point plan, NYPA is the first energy company to join our Energy Equity Initiative. NYPA has long demonstrated support for communities during times of great need. We are thrilled to work with NYPA and at their commitment. AABE is committed to addressing the issues of equity and bias, and we invite others to join with us. We look forward to working with NYPA and other partners to make a difference in our business for African Americans.”

Further details can be found in the NYPA press release here.

[santmat]

In this world, very few tread the path taught by the Satguru. Such  persons lose egotism. They do not make any distinction between the rich and poor. They always discard ill-thoughts from their mind. No difference is made by them amongst people of different colour, race, caste, creed, etc... They wander in this world like a lotus which does not get wet by the water though it grows in water. (Dariya exhorts to clean the dirt of the mirror-mind to get the image of the Lord).

Sant Dariya Sahib of Bihar, Shabd titled: “Hansa koi Satguru Pad Pave”

Teje mana pive mamita ke tab chaplok sidhabe .     Ujjwal dasa nisi basar dise, sis padum jhalkave Rav rank ek sam jane, sant prakat gun gave.   Ati sukh sagar swarg narak nahi, durmati dur bohabe Ad atak bhatake nahi kabahi, ghat phute mili jave. Baran bibhed bhed nahi jane, abaran sabhe milave Jaha dekho taha darsit chanda, phani mani jyoti barabe. Rame jagat me jyo jal purain, ehi bidhi lep na lave Jal ke upar kamal brigsana, madhu kar grani lobhave. Jaso milana aab mili rahiye, bichurat duri dekhave Kahe Dariya darpan ke murcha, sikil kiye bani aabe.

http://theholysound.com/sant-dariya-saheb-bihar/sd1.html

[thespreadingislamnetwork-blog]

*بسم الله الرحمن الرحيم* *الإمام ابن كثير ‎ - قصص الأنبياء* *PROPHET: NOAH - NOOH (عليه السلام)* *PART: 13* *THE ARK MOVES IN THE NAME OF ALLAH ﷻ* Noah abided by Allah’s Command and said: *“Embark in it, in the Name of Allah. It will and shall cast anchor. Indeed, my Lord is All-Forgiving, Most Merciful.”* (11:41) It meant that the Ark will start in the Name of Allah and will finish its journey in the Name of Allah the All-Forgiving and Most Merciful. *WAVES LIKE MOUNTAINS!!* _“And the Ark sailed with them upon waves like mountains.”_ (11:42) Waves like mountains: *It was so huge a flood that the earth had never witnessed at any time such a catastrophic calamity. The heaven opened itself in all generosity, and the earth gushed forth water from every place.* As the Qur’an says in Surah Al-Qamar: “So he called to his Lord, saying: ‘I am defeated, so administer Your victory.’ So We opened the gates of heaven with pouring water; and We caused the ground to gush forth springs, so the water met according to the decree which has been ordained. And we carried him upon a vessel well planked and nailed; floating before Our Eyes,” means that it sailed in Our Security and Safety, in Our Protection and Guardianship. Ibn Jarir has mentioned that the Flood came of the 13th of Aab (August) in the Coptic year. In Surah Al-Haqqah, it is said: *“Surely, We bore you in the floating Ark when the water overflowed, that We might make it a reminder for you, and heeding ears may bear its (lessons) in remembrance.”* (69:11-12) *THE LEVEL OF WATER REACHES ABOVE THE HIGHEST MOUNTAIN ON EARTH* A group of exegetes hold the opinion that the *water went 15 cubits above the highest mountain on the earth.* This is also the opinion in the Ahlul Kitab (People of the Book), (Bible, Genesis 7:20). In another opinion it is suggested that it was 80 cubits above it, and encompassed the whole earth from its east to its west, its plains and mountains, its deserts and wilds. _Everything died as a result of this Flood._ *اَللّٰهُ أَعْلَم* _(To be continued…)_ *ان شاء الله ﺗﻌﺎﻟﯽٰ* *الْحَمْدُ للَّهِ رَبِّ الْعَـلَمِينَ* . . . . #Islam #Muslim #Quran #Hadith #TheSpreadingIslamNetwork #TSIN https://www.instagram.com/p/B4uxQ6qFrqP/?igshid=1gqvw1dgxjyfa

[atruebloodwrites]

AuthorLifeMonth Day 28: What is Next? Coming November 5!! I’m so excited to introduce readers to my new cast of characters in ACROSS A BROKEN SHORE. Parents insistent on keeping up family tradition. Nosy, yet loving, brothers. A female physician who becomes both teacher and friend. Oh, and did I mention this all happens against the backdrop of building the Golden Gate Bridge? If you want to be immersed in 1936 San Francisco, I hope you’ll add AABS to your TBR! • • • #yareadersofinstagram #yareads #yawriter #yabooks #iwriteyahistorical #bookcommunity #bookdragon #bookobsessed #bookishlove #bookstack #writinglife #book2 #1936sanfrancisco #acrossabrokenshore #authorlifemonth #authorlife https://www.instagram.com/p/BubTRBxnSzV/?utm_source=ig_tumblr_share&igshid=1rsom611cwrqn

[shankerjaikishen-the-unbeatables]

Life and times of Jaidev.

by

Vikram Appasaeb Jadav

*“Dekh li teri khudai, bas mera dil bhar gaya* *Teri rehmat chup rahi, main rote rote mar gaya . .”*

One of the greatest but unsung and unwept composers of yore was Jaidev. In 1933, 15 year old Jaidev Verma ran away from Ludhiana to Bombay, to become a film star. He acted in eight films as a child artist in Wadia Film Company. But owing to his father's blindness, he had to return to Ludhiana. While he was acting in films in Bombay he took music lessons from Krishnarao Jaokar and Janardan Jaokar. After his father's death, it was his responsibility to look after his sister. After he got her married, he went to Lucknow and continued his music studies under Ustad Ali Akbar Khan.

Ali Akbar took Jaidev as his music assistant when he composed music for Navketan's “Aandhiyan” and “Hum Safar”. From “Taxi Driver” he became SD Burman’s assistant. SD had full trust in his genius assistant; each time he entrusted him with a composing or creative job, he would advise him not to complicate it with difficult ‘murkis’ and ‘harkats’. Jaidev’s contribution to the compositions of SD Burman can be gauged through these very intricate nuances, very typical of him, obvious in a number of gems like ‘Phaili hui hain sapnon ki baahen’ (House No. 44), ‘Hum bekhudi mein tumko pukare chale gaye’ (Kala Pani), ‘Hum hain raahi pyar ke’ (Nau Do Gyarah), ‘Dekho rootha na karo’ (Tere Ghar Ke Saamne), ‘Aise to na dekho’ (Teen Deviyan), and ‘Tere mere sapne ab ek rang hain’ (Guide) to name a few.

Jaidev got an independent assignment in “Joru Ka Bhai”, after which he composed music for ChetanAnand’s “Anjali”. Music of both of these films became very popular. But, with “Hum Dono”, Jaidev came into the limelight, and how? Who can forget the bhajan ‘Allah Tero Naam, Ishwar Tero Naam’ sung by Lata! And as long as there are lovers around, ‘Abhi Na Jao Chhodkar’ will be their favourite anthem as if it is a Valentine message. ‘Main zindagi ka saath nibhata chala gaya’ became the life philosophy of Dev Anand. Jaidev built a reputation as a sensitive composer who did not compromise on the quality of music for the sake of applause.

After Hum Dono’s success, a promise was made by Dev Anand that every alternate film of Navketan will have music by SD Burman and Jaidev. Accordingly, SD Burman was entrusted the baton of “Kala Bazaar” and Jaidev ‘signed’ for the music of “Guide” for which he is believed to have composed a couple of tunes too (‘Tere mere sapne ab ek rang hain’, and ‘Din dhal jaaye haye raat na jaaye); however, the film was made and released finally with music by S D Burman, his career best. Jaidev proposed, Dev Anand disposed! Probably, for the first time, Jaidev felt exploited and stifled at Navketan and “Guide” marked the end of his long and fruitful musical association with both Dev Anand and SD Burman. Navketan, too, never called him back, which was the unkindest cut of all. Though the hurt feeling lurked in his mind for long, his respect and reverence for SD Burman remained the same till his last. Besieged by a chain of misfortunes, Jaidev made “Jo kho gaya main usko bhulata chala gaya” the mantra of his life with his spiritual character to ‘guide’ him.

What happened to Jaidev after Hum Dono is the kind of heart-wrenching cruelty that film industry keeps inflicting on its best talents. After the mega success of Hum Dono songs Jaidev was the natural choice of Navketan for their next film Guide starring Dev Anand. Jaidev composed and recorded two brilliant songs and all persons in Navketan management were extremely happy with the songs. But all of a sudden, mysteriously enough Jaidev was thrown out of Guide!

It is said that Dev Anand pressurized Jaidev to work as S.D. Burman’s assistant in Guide. It was a cruel event where a sensitive creative genius like Jaidev was suppressed by the heartless mighty. Jaidev was never again invited by Navketan to compose songs. Dev Anand used both the Jaidev songs in his film Guide. It is said that those two songs were ‘Din Dhal Jaaye Haye Raat Na Jaye’ and ‘Tere Mere Sapne Ab Ek Rang Hai’ sung by Mohammad Rafi. Being cast out of Guide was a very big setback in Jaidev’s film music career. He never really recovered from the shock. Jaidev used to frequently narrate such incidents to his friends, wracked by inconsolable grief.

This was the time when Jaidev met and got introduced to young composers like Roshan and Madan Mohan. This is a great example of the saying ‘genius finds genius’. Roshan invited Jaidev to sing in his very first film. Once, when Roshan and Jaidev were going together to a film company, they saw Madan Mohan. Roshan was reported to have told Jaidev, “I am going to introduce you to a brilliant young composer”. On introduction, Madan Mohan and Jaidev needed no time at all to become best of friends.

Roshan, Madan Mohan and Jaidev had many similarities. They were rare music geniuses. They were unfailingly great human beings too. Their unquenchable thirst ran to music, languages, literature and wine. None of them were given the importance or prominence that they richly deserved. But they lived their entire lives as friends and supporters. Theirs was a rare friendship in the ‘man eats man’ world of cinema.

Film world has its own inviolable rules. It needs people who can achieve mass popularity by shortest possible route. Its impatience with geniuses is well known. Geniuses like Salil Chowdhury, Madan Mohan, Roshan, Vasant Desai and Jaidev failed in this race to huge popularity. They did not have the talent to market themselves. What complicated the matter was group politics that acted as a barrier to fresh music entering the industry. True geniuses who blazed their own path overcoming all barriers in our film industry are very few.

Jaidev also composed the musical score for “Maitee Ghar”, a Nepali film produced by King Mahendra. The King was so pleased with Jaidev that he offered him a blank cheque and asked him to fill in any amount as he wished. But Jaidev returned the cheque and asked for a tiger skin instead!

People who speak of the Golden Age of Hindi film music mostly speak of commercially successful names like Naushad, Shankar Jaikishen, S.D. Burman, R.D. Burman, Kalyanji Anandji and Laxmikant Pyarelal. But there are many composers who established their identities through the uniqueness of their compositions alone. They may not have composed music for a very large number of films. Many of their films might not have succeeded at the box office.

Jaidev had composed music for less than thirty films. The number of songs to his credit may not be more than hundred and fifty. But Jaidev is a name imprinted on the hearts of lovers of vintage Hindi film songs as the genius who gave such fabulous numbers as ‘Kabhi Khud Pe Kabhi Haalaat Pe’, ‘Allah Tero Naam’ and ‘Abhi Na Jao Chhod Kar’. ‘Kabhi Khud Pe Kabhi Haalaat Pe’ is among the best ghazal numbers sung by Mohammad Rafi. There are many who rate the number sung by Lata Mangeshkar for Jaidev ‘Allah Tero Naam’ as the best prayer song to have emerged from Indian films. In a recent televised event, Jaidev’s ‘Abhi Na Jao Chhod Kar’ was rated both as their favourites and the best Hindi film song ever by today’s stars Shankar Mahadevan and Farhan Akthar.

It is possible that an average listener may identify Jaidev as the only music composer from Hindi films to have won the National award thrice. But the lamentable fact is that this composer of incomparable songs, winner of many state awards and winner of ‘Sur Singar Samsad’ award for Lifetime Achievement in Music remains so unknown to common man that we keep hearing the question, “Jaidev? Who is he?” even from people who love his music!

It was Jaidev who introduced ghazal singer Hariharan to film music in the film Gaman (1979) with the song ‘Ajeeb Saaneha’. This is not merely one of Hariharan’s best songs it has become one of the finest ghazals in Hindi film music. It won the U.P. state award and a nomination for National award for Hariharan. In the film Kinare Kinare, Jaidev brought together four leading singers Mohammad Rafi, Talat Mehmood, Manna Dey and Mukesh to sing a song to be picturised on one character played by Dev Anand. It was an event nobody had tried till then.

Jaidev gave Yesudas some of his best Hindi songs that suited the unique pathos that Yesudas carried in his singing style. He even made him sing for Amitabh Bachhan in Aalaap released in 1977. ‘Zindagi Ko Sawarna Hoga’ and ‘Chand Akela’ with a light classical touch and the sad lullaby ‘Koi Gata Main So Jata’ in this film, were Yesudas’ very important Hindi film songs. Another fine ghazal singer Bhupinder shot to fame with a fabulous Jaidev song from his film Gharonda. Who can forget the depth of feeling that the song ‘Ek Akela Is Shahar Mein’ carried with such conviction? Jaidev’s Gaman also saw the introduction of another important singer, Suresh Wadkar to Hindi films with the classical based ‘Seene Mein Jalan’.

Jaidev was admired by producers as a good composer, but they considered him good enough for the small-budget films. Though most of his films failed at the box office, many of them, such as 'Kinare Kinare', 'Reshma Aur Shera', 'Alap', 'Prem Parbat', 'Gaman' and 'Ankahee', are remembered for his imaginative musical score. It is unfortunate that despite his expertise in classical and folk music and imaginative approach, Jaidev had only 'Hum Dono' and to a certain extent 'Mujhe Jeene Do' as the only commercially successful films to his credit.

Jaidev was a lonely man with no house of his own and no family to take care of him except a few friends who were mostly from the literary fields or judges, lawyers, painters, high rank officials and dignitaries. He needed a room to display his awards and trophies but sadly, most part of his life in Bombay, he lived alone as a tenant in a single room at Lily Court, near Ritz Hotel, Churchgate. His “Gharonda” song ‘Ek akela is shehar mein aab-o-dana dhoondhta hai, ashiyana dhoondhta hai…’ was almost biographical and depicted his plight.

A winner of four Sur Singar Samsad awards, the Lata Mangeshkar Award of the MP Government and three National Awards (‘Reshma Aur Shera’, ‘Gaman’, ‘Ankahee’), Jaidev did not get the recognition he deserved and that is a sad commentary on the musical culture of modern cinema. Looking back on Jaidev's career as a music director, his struggles, achievements and set-backs, his pensive melody 'Kabhi khud pe kabhi halat pe rona aya' from 'Hum Dono' suddenly comes to mind and the heart grieves for the talent that was wasted. By a strange quirk of fate, before his composing days, Jaidev also sang songs on All India Radio. Sahir’s “Tang aa chuke hain kashm-e-kash-e-zindagee se hum” was first sung on AIR by none other than Jaidev. He was the first composer who used the 'glockenspiel' for the cigarette lighter tune in “Hum Dono”. (It was Kersee Lord who brought this instrument to India, and also played it to good effect.)

As compared to his contemporaries, Jaidev was underpaid or not paid in time or not at all paid many a times. But, money considerations did not dilute his passion or affect the quality of work. He was a workaholic and had a method to his madness; he took note of the backdrop of the film, the situation, the character, the dialect, the lyrics and worked meticulously on the details of the song, its arrangement and orchestration till the final recording. No doubt he was exploited many a times of which he was well aware, but it was only when he felt so, he cut off his ties with the filmmakers (like with Dev Anand and S D Burman after “Guide”) and dissociated himself from the composing assignment. Not many know that the title track of Ramanand Sagar’s epoch making serial “Ramayan” was by Jaidev. He left the serial at the nascent stage itself as he was not even reimbursed the taxi fare (from Churchgate to Natraj Studios, Andheri East), leave aside the credit or remuneration for composing!!

In Jaidev’s own opinion he gave his best for Hrishikesh Mukherji’s “Aalap”, but when Mukherji and Amitabh Bachchan were ignored, what can be said about Jaidev’s plight? But Jaidev gave his all for the ultimate reward he got from “Aalap”. His association with Harivanshrai Bachchan got him the opportunity to compose the “Madhushala”, which had Manna Dey singing the “Madhushala” into the annals of posterity!

After three decades of continuous struggle as a music director, and with only thirty six films to his credit, Jaidev was a tired man. Age was catching up with him and his health was failing. He had no one except friends to care for him and no house to call his own. Earlier he used to spend his vacant hours over a glass of liquor. But later even that blessing was denied to him on medical grounds. On December 14, 1986, when Jaidev stepped on the stage to receive the fourth Sur Singar Samsad award for his classical music in 'Ankahee', he looked weak but healthy enough to last another decade. The glow on his tired face was probably the last flash of a falling star. On January 6, 1987, he died suddenly, at the age of 68, leaving the film industry to grieve for the loss of a talent it had consistently neglected. Life had been unreasonably cruel to him but death was more than gracious to liberate him from the misfortunes of life.

A Tribute to Jaidev ~ Vikram Appasaheb Jadhav Kolhapur 06/01/2019

जयदेव को देवानंद और s d burman ने दुःख पहुंचाया guide के 2 गाने तेरे मेरे सपने याब एक रंग हैं और दिन ढल जाए रात न जाये की धुने जयदेव नेबनाई थीं।

[locria-writes]

What is MC dad reputation in general? How dad view the ROs? If they get married, who would gain a lot from MC social status?

@ ignazio: "useless commoner"

@ wolf: "useful idiot"

@ oskar: "useless idiot"

@ uncle ed: "had it not been for the laws of this land, i would have strangled him to death and back"

@ valentin: "useful(?) bastard"

@ lothar: "either very useful or actively a saboteur "

@ einar: "who??? that tramp over there???"

team mc accidentally becomes a sugar momma i guess

ignazio

oskar

val

einar

team already had clout

wolf

lorhar

team strong and independent ro who didn't need mc's clout anyway

edmund

edit: oh shit i forgot to answer the first part. burky boy’s reputation is just okay, like he’s not super well-liked or super disliked, but people suck up to him bc he has ties to the royal family through annalena, and he’s just stupidly rich.