Monthly Archives: May 2017

Trump may not be able to halt the world’s climate progress thanks to China and India – Washington Post

Posted: May 17, 2017 at 1:43 am

The U.S. will fall farshort of its Paris climate goals, thanks to the environmental policy rollbacks carried out under the Trump administration, a new analysis suggests. The news comes as President Trump is still considering a formal withdrawal from the Paris climate agreement, with a possible decision expected after the Group of Seven meeting later this month.

But China and India are on track to overachieve on their climate pledges, the analysis adds, meaning their efforts may help make up for shortcomings in the U.S. The study was released Monday by the Climate Action Tracker, a joint project among nonprofit organizations Climate Analytics and NewClimate Institute and climate consulting agency Ecofys that monitors government action on climate change.

[Trump will punt decision on the Paris climate agreement until after the G-7, Spicer says]

China and India are going to slow the global growth in CO2 emissions significantly, the United States actions under President Trump will offset that a bit, but not sufficient to actually stop that slowing of the global growth of emissions, said Bill Hare, CEO of Climate Analytics and a senior scientist with the organization, at a Monday news conference to introduce the new findings.

Under the Paris climate agreement, the U.S. pledged to lower its carbon emissions by 26 to 28 percent below their 2005 levels by the year 2025. To meet that goal, the analysis points out, the federal government would have had to implement the full climate action plan outlined by the Obama administration which involved a variety of carbon-cutting strategies, including the expansion of clean energy, energy efficiency programs and more advanced transportation technology,and most of all,the Clean Power Plan.

As of the end of the Obama administration, the full climate action plan had yet to be fully rolled out. But if all currently implemented environmental policies were to remain in place, including the Clean Power Plan,the analysis suggests that the U.S. would only manage to reduce emissions 10 percent below their 2005 levels by the year 2025. Without the Clean Power Plan, the study puts this number at just 7 percent below 2005 levels.

Underthe Trump administration which has already canceled the implementation of Obamas climate action plan, rolled back a number of environmental regulations and placed a hold on the ongoing lawsuit surrounding the Clean Power Plan the assessment suggests U.S. emissions will likely stop declining altogether and flatline instead.

Coming to this conclusion was a challenge, according to Niklas Hhne, a founding partner at the NewClimate Institute and a professor at Wageningen University in the Netherlands, because the future of U.S. environmental policy under Trump remains so uncertain.

The Trump administration has said that they want to take away and roll back policies that have already been implemented, and the question is whether that will really happen, he noted at the news conference.

The Clean Power Plan, for instance, is facing a likely demise. And the future of other policies, such as the stringent fuel economy standards implemented under the Obama administration, remain even less sure. The Trump administration has reopened a review of the standards at the urging of the automobile manufacturing industry and other critics meaning it may or may not decide to weaken or repeal them at a later date.

But the analysis concludes that if these climate policies are removed, and theyre not adequately compensated for by other local-level efforts an outcome that, for now, appears likely emissions could, in our best estimate, be kind of flat for the next few years, and the U.S. would be on a path definitely to fail to meet its Paris goal, Hhne said.

But the analysis finds that China and India are both on track to exceed their goals under the Paris agreement, meaning they may be able to largely pick up the U.S.s slack.

Under the Paris agreement, China has pledged to peak its carbon dioxide emissions by the year 2030 and increase the non-fossil fuel share of its energy consumption to around 20 percent. And India has pledged to boost its non-fossil fuel energy share to at least 40 percent by 2030. Now, new developments in both countries energy landscapes have put them ahead of the game in terms of meeting their goals.

Largely thanks to a decrease in coal consumption in both countries, the analysis suggests that annualemissions from the two countriescombinedare on track to be about 2 billion to 3 billion tons lower in the year 2030 than previous estimates have indicated. This is more than enough to outweigh the actions of the Trump administration, which the analysis suggests will likely make a difference of about 400 million tons of annualcarbon dioxide emissions by the year 2030compared to what they would have been otherwise.

In India, a new draft energy plan released late last year significantly reduced the countrys plans for additional coal capacity through the year 2027 cutting the plans from about 230 additional gigawatts of coal capacity to just 50 gigawatts. The plan suggests that by 2027, more than half the nations electricity capacity will come from non-fossil fuel sources.

And China the worlds greatest consumer of coal and emitter of greenhouse gases has now seen three consecutive years of declining coal consumption.

It is unclear whether these last three years are merely a pause in a steady growth or whether this is a sign of China having reached its peak in coal consumption, said Yvonne Deng, a managing consultant at Ecofys. But if it is a peak, and if coal consumption continues to decrease at a similar rate, then this could lead to emissions in 2030 being around one to two gigatons lower than our estimate last year. And combining these effects of these two reductions in emissions from decreasing coal use in India and China, we estimate that CO2 emissions in 2030 could reduce by around two to three gigatons.

The actions of other governments particularly the European Union will also remain significant factors in the future of global emissions. And previous analyses have pointed out that even if all participating nations lived up to their pledges under the Paris agreement, it would likely still not be enough to keep global temperatures within 1.5 to 2 degrees of their preindustrial levels, the globally determined climate goal established at Paris. In fact, one recent study indicated that the world is on track to blow past the 1.5-degree goal within the next 15 years.

To prevent this from happening, the Paris agreement encourages nations to continually strengthen and update their own pledges the exact opposite of what is happening in the U.S.

We are always saying that countries need to ramp up their ambition, so increase their ambition, and in the U.S. its going in the wrong direction, Hhne said.

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Trump may not be able to halt the world's climate progress thanks to China and India - Washington Post

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Woodward: United making great progress – ESPN FC

Posted: at 1:43 am

Jose Mourinho has admitted he will rest players in order to place emphasis on the Europa League final. The FC crew analyse Jose Mourinho's change of opinion on the Europa League as Man United prepare to face Ajax in the final. Jose Mourinho felt Man United's climb to the top 4 was too difficult considering their injury issues and fixture congestion.

Ed Woodward believes Manchester United are making "tremendous progress" under Jose Mourinho despite missing out on a place in the Premier League's top four.

Mourinho, who arrived last summer, has won the Community Shield and the EFL Cup and will lead his side in the Europa League final against Ajax next week as they look to seal Champions League qualification.

And executive vice-chairman Woodward said: "We're approaching the end of a compelling season -- our first with Jose Mourinho as manager and one which I believe we've made tremendous progress, both on and off the pitch.

"It has been an incredibly busy season which will see us play 64 matches, including an astonishing nine matches last month. This will be the second-busiest season in our history.

"In the league, we set a new club Premier League record with 25 matches unbeaten within a single season.

"We've won the FA Community Shield and the EFL Cup, and obviously we're delighted to have reached the final of the Europa League, the only major trophy we have never won."

Woodward, speaking on United's third quarter earnings conference call, suggested his positive appraisal was shared by fans, with season tickets for 2017-18 sold out more than three weeks earlier than ever before.

Plans are already afoot for next season, with signings targeted and a preseason tour organised in the United States.

It will include the first Manchester derby played on foreign soil in Houston, Texas.

"Visiting North America will give the team the best possible preparation for the new season, using top-class training facilities and playing at some great stadiums," Woodward added,

"Given all the records we've broken this year, we'll watch closely to see if we break our tour attendance record."

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Alison Sampson & Steve Niles Stir Up Satanic Panic in Winnebago Graveyard – Paste Magazine

Posted: at 1:40 am

Over a decade and a half since reinvigorating the horror comic scene alongside artist Ben Templesmith with 30 Days of Night, writer Steve Niles remains one of the foremost names in sequential terrorand collaborator Alison Sampson meets him scare for scare on their upcoming Image mini-series, Winnebago Graveyard. The road-trip-gone-wrong story finds a young family stranded at an unsettling carnival, where tastes run bloodier than cotton candy and funnel cakes. Sampsons photo-realistic style, as seen in the Image OGN Genesis, helps sell every ounce of viscera dripping from the page.

While Winnebago Graveyard revels in the cult-fearing Satanic Panic that dominated headlines off and on between the 60s and the 90s, each issues backmatter essays from Sarah Horrocks and Casey Gilly contextualize the horror and reveal a fuller portrait of real-world Satanisma practice (typically) devoid of human sacrifice. Sampson has also recruited a whos-who of rising artists, most of whom arent traditionally known for horror work, to provide pin-ups for the series. Weve got an exclusive first look at issue #1 art from Jen Bartel and Donya Todd, as well as confirmation of upcoming contributors Paulina Ganucheau and Aud Koch. Check out the full interview below to uncover Sampson and Niles devilish plans for Winnebago Graveyard, which hits shelves June 14th.

Winnebago Graveyard #1 Pin-Up Art by Jen Bartel

Paste: Road trips seem to be an experience on the decline thanks to AirBnB and other modern conveniences. Do either of you have personal experience with long-haul journeysor, for that matter, with creepy (or at least not up-to-code) carnivals?

Alison Sampson: Who needs an AirBnBwhen you have a campervan? My partner and I have a 1994 Bongo (a very small Japanese RV, you sleep in a pop-up tent on the roof) here in the UK and go on trips in it regularlyweve been to Ireland, France, Spain, Australia and all over the UK with it. It is a good van but like a lot of older vehicles it doesnt go too fast, so we often break the journey at whatever is around, and we stop where we can. When you go slow, you find all sorts of things. And it is a very modern convenienceall we need to do is park, switch off the engine and make the gin and tonics. That said, weve been to places where we moved along very quickly and one of those, in Ireland, was an inspiration for this book.

Paste: Alison, Steves name is synonymous with horror, but is it a genre you hold close to your heart as well? Are there any novels, films or other horror comics that inspired you to co-create something as bloody as Winnebago Graveyard? Or was this a darker place than you often go creatively?

Sampson: It is. Im from a farm and I was brought up on the horror stories my dad told to keep us safe there. It was the 1970s and we had a lot of freedom, so we needed to know: the rats go for the throat, youll drown in the grain, be crushed in the machinery like (name of person we know), be dissolved by acid (they burned the potatoes off with sulphuric acid!), be poisoned, be trapped by fire, or get stuck in a space where no one can find you and so on. I believed all this because it either was true, or was sufficiently credible, and I tend to think horror is very close to us in the real world. I dont think of horror as a genre, I just think of it as something that is. Butwhen our lives seem to governed by fear, as they seem to be more and more in our current political climate, horror stories actually seem to take the edge off. It is dealing with those edges and borders and achieving some level of catharsis, in a safe space.

If Id have to name a literary inspiration, it would be my early-adult reading. Most people in the UK of my age have read James Herbert and I was going for that similar pass-it-around-at-school feel. This isnt by any means the first horror story Ive drawn, but I think it is the first that demanded a particular mindset where Ive had to go there. I think there is an interesting place and appealing for a lot of artists to do that.

Winnebago Graveyard #1 Pin-Up Art by Donya Todd

Paste: Steve, youve been writing comics for decades, and your breakout work30 Days of Nightcame out 15 years ago. What keeps the horror genre exciting to you after all this time? Which horror archetypes are you still dying to put your stamp on?

Steve Niles: Horror has always been the thing for me. Ive been lucky enough to write tons of comics, but I always come back to horror. I think its easier to relate to an outcast monster than a superhero, or maybe thats just me. Id say werewolves are the one creature I havent been able to really dig into, though Ive written some werewolf characters. I know theres a great werewolf story out there but I havent been able to crack it yet.

Paste: What is your collaboration like on this project? Steve, if Im not mistaken, this is your first full-fledged creator-owned work at Imagewhy was this the right project for Image as opposed to some of your other regular creative homes?

Niles: Ive written a few creator-owned comics with Image over the years, but this has definitely been one of the best books due to Alisons amazing art and hard work. She really took the reins and steered the whole production, which is why it was perfect for Image. As a creator you can have full control of your book with them, and thats exactly what we wanted to do.

Sampson: Very straightforward and easy. This is mainly because weve had a very clear division of roles. Steve offered an outline, I made some art and designed some characters and settings and we had a bit of discussion, and then Steve wrote the script and Ive drawn it and then Ive put the book together. I have a strong sense of this being written for me, although much of it is things I have not drawn before. I told Steve not to hold back, and he hasnt.

Winnebago Graveyard #1 Interior Art by Alison Sampson & Stephane Paitreau

Paste: The book plays into some deliciously gory tropes surrounding devil worship, but youve enlisted guest essay contributions in the back that flesh out real-world Satanism. Was it important to you to pull back the curtain on that community?

Sampson: The backmatter is there for a number of reasons. I wanted to provide some non-fiction that is exclusive to the single issues because I (frankly) wanted to give people a bit more for their money, and then I wanted to provide some essays that were a foil for what people see in the book. Sarah [Horrocks] contributions provide color, where they explore space and violence in cult horror films, set in the space that our book inhabits. Casey [Gilly]s contributions provide context for our story. There are questions and feelings that come out of reading the workand we wanted to address some of those, and we do.

Niles: What made the Satanic cult movies of the 60s and 70s so great was the Fear of the Unknown. The cultists were mysterious and sinister. They came across as regular townspeople, they could be someone youre supposed to trustthe mayor, the head of the church, but at night theyd be wearing black cloaks and holding torches, chanting something ancient and unknown. We never knew too much about them, but as a group, they had power. Alison added a whole new level of essays and voices to the back of the issues, and it helps flesh out a bigger picture for a new generation.

Paste: Alison, you mentioned when we first started e-mailing that youve particularly sought out artists known for their Magical Girl work to provide pin-ups and guest contributions. What inspired you to pursue that mash-up of genre influences?

Sampson: I dont in any way think of this as a mash-up of genre influences. I was looking (and am looking) very much at the artists themselves and if this is something they wanted to do. There is a thin line, if indeed there is a line at all, between magical girl and Satanism. It is just bad magical girl, and that area is hugely appealing, and frankly I hope some of our contributors explore that it further.

I wanted to provide the best thing for our book and our readers and sometimes one doesnt have to have a single reason for that, or indeed a single style of art. For example, I have a huge fondness for Donya Todds chutzpah and the matter-of-fact earthiness of her work. It just felt like a good fit for the actual feeling we wanted to evokeit is almost folk art, yet is frenetic and full of emotion as well, and, if you look, it is very much about doing.

Winnebago Graveyard #1 Interior Art by Alison Sampson & Stephane Paitreau

Paste: Winnebago Graveyard is billed as a mini-series. What else do the two of you have in the works that you can tease?

Sampson: Ive got a story coming out in Shelly Bonds Femme Magnifique book very soon, maybe July, written by Leah Moore about Beth Ditto. The rest I cant talk about for nowto be revealed when it is ready.

Niles: Ill be starting a new October Faction series, more books, comics and projects to come.

Winnebago Graveyard #1 Interior Art by Alison Sampson & Stephane Paitreau

Winnebago Graveyard #1 Interior Art by Alison Sampson & Stephane Paitreau

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Alien: Covenant – The Film Stage (blog)

Posted: at 1:40 am

Theatrical Review 20th Century Fox; 123 minutes

Director: Ridley Scott

The numerous financial forces that conspired to put Alien: Covenant on thousands and thousands of screens the world over have ensured that theirinvestment will be sold, from the title on down, with more clarity and promise than its predecessor. Whereas 2012s Prometheus was able to get by plenty well through mysterious marketing, a very rare is-it-or-is-it-not play with decades-old iconography, Covenantis being sold, in posters and trailers and TV spots, aseverything youd expect and just about nothing that would really raise any eyebrow. Except, of course, why the nearly octogenarian Ridley Scott, after having the opportunity to go balls-out weird with his flawed, sometimes majestic sci-fi epic, would commit such time and energy to what is, at first glance, clearly a retread.

Then you get a bit deeper into the thing such as, say, actually seeing the movie, which I think counts for a lot and it quickly becomes clear that fans loyal toeither side of thisfranchise can come away happy. (Count yourself as neither? This is so emphatically not the film for you.) Prometheus was sold on the basis of possessingstrands of Aliens DNA, only to pretty unambiguously find itself in that world by the time a creature was cut out of someones stomach. Alien: Covenant is the orchestra following theoverture, and not nearly as much of an apology as even Scotthas already started indicating. Yes, it has the pieces people wanted last time around. Weve got Xenomorphs. Weve got Facehuggers. Weve got bursts from the chest, along with some parts of the body whose injuriesrender aniconic death tame by comparison. Weve got a badass lady on a hulking spaceship. Weve got shady corporate interest. Weve got an untrustworthy robot. Sixth verse, initially same as the first and second and third and fourth and fifth. But those pieces also set upa table-turning: this is an Alien movie in which strands of the Prometheus DNA can be felt at first glance hello again, Michael Fassbender and Guy Pearce, the latter of whom has been freed from the constraints of playing elderly only for that prequel to continue growing in influenceand eventually form a full-scale sequel inside a comfy (albeit very disgusting) recollection. What emerges is an amplification of certain strengths and step-down of specific ambitions, provided you, like I, enjoyed Prometheus as a philosophically hare-brained visual and Fassbender spectacle but were a bit bored by the slimier callbacks.

Scott and returning DPDariusz Wolski are again clearly in heaven photographing this extraterrestrial hell, resulting in a more directorially muscular work than anything hes put forthfor some time. More than a masterful manipulation of colorsand shadows formedby the many light sources (or decided lack thereof) within a given scene, the visual schema at work is most dazzling in its plurality from shot to shot. In lieu of the distracting multi-cam rhythm established throughout Scotts recent reign, which sometimes had a sense of movementcloser to sitcom than cinema, are tightly held compositions, hard lines, and, most welcome, a notable lack of repeated set-ups, which only appear atthe occasional shot-reverse dialogue. Even those would seem to be cut to a faster beat: the movie has masters to serve, but itwants to hit the juicy stuff in a flash.

Though Fassbender, who introduces the films human(-ish) element in two successive scenes, raises the question of why were going back to the well, doubly so when theres twiceas much of him to go around. After a distress call (sound familiar?) brings the colonizing ship Covenant holdingboth couples and thousands of embryos headed towards a new earth to a planet, and after crew members become infected (sound familiar?), we discover that theyve in fact intercepted a beaconfrom the Prometheus, and are soon rescued by David.Alien: Covenantis wisenot to take one second to pretend this malevolent robot has changed his ways in the ten years between films; the fun instead lies in just how far hes since gone and just how far hell soon go in pursuit of

you can probably guess with just a quick refresher of Prometheus narrative turns, though I wont spoil every detail perhaps because the familiar unfurling of creatures and kills makes spoilers something of a moot concept. Ill do even less to talk about a double-entendre-filled encounter between the two androids, except to say that none of Covenants big-scale thrills are staged with the joy contained herein, nor do effects dazzle more thanwhen background, foreground, and respective halves of the screen make it possible. His supporting players are mostly stranded with rote-beyond-rote lines Believe me, I know wheat, intones Oscar nominee Demin Bichir in one stabat characterization the only real survivor, save a dependable Billy Crudup and just-this-side-of-not-comicDanny McBride, being Katherine Waterston. As Daniels (I absolutely had to look thisup), she brings something somewhat new the balance between refresh and Ripley that Noomi Rapaces Elisabeth Shaw (whose return is but one in a line of gross cruelties inflicted upon the human cast) struggled tohitupon.

And, good Lord, what a vile movie Covenant is, even as an ostensible return to form for a consistently vile franchise. Thesemore-or-less-nameless sacks of meat scream, cry, grunt, get subjected to lacerations and burns, are made the subject of post-mortem or, worse, verge-of-post-mortem insert shots, and make so much gooey noise when knocked down for the count. This might be a franchise first (save the rancid Alien: Resurrection) of true misery being visited upon victims, all the more so when the alien creatures are now subject to deft CGI enhancements that turn them moreaggressive than ever. Watching Scotts film might also be a fresh, overdue case for the series place as more horror than sci-fi; it only took an exponential increase for Alien to return to its roots.

Alien: Covenants bargain is good enough: come for the Fassbenders, stay for the nihilism and grotesquerie, and emergewith at least a few questions and curiosities on your mind. (If nothing else, Im delighted at the movies doubling-down on a now-clear trajectory that sci-fis most fearsome creature was created by a sexually ambiguous, for-some-reason-Irish-accented robot.) If Scott does, in fact, begin shooting a new film next year and this franchise is momentarily here to stay, more like this. I might find fault at every other turn, but at least theyre getting something genuine out of me.

Alien: Covenant opens on Friday, May 19.

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How The Rubiyt inspired Victorian hedonists to reject the conservatism of their time – Quartz

Posted: at 1:39 am


Quartz
How The Rubiyt inspired Victorian hedonists to reject the conservatism of their time
Quartz
How did a 400-line poem based on the writings of a Persian sage, advocating seize-the-day hedonism, achieve widespread popularity in Victorian England? Rubiyt of Omar Khayym was written by the eccentric English scholar Edward FitzGerald, drawing ...

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Samantha Bee Segment Saves The New Brunswick Today – New Brunswick Today

Posted: at 1:39 am


New Brunswick Today
Samantha Bee Segment Saves The New Brunswick Today
New Brunswick Today
"Could hedonism save Charlie's paper?" Bee asked in the segment's "a-ha" moment. "I needed to know." Bee had interviewed an expert on "gamification," Gabe Zickerman, and turned the interview into a "legally distinct" parody of a classic game show to ...

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Turki Al-Sudairi’s Will – Asharq Al-awsat English

Posted: at 1:38 am

There are several editors in chief, several journalists and several column writers. Rare are those however who had a vision and who were able to properly read the future and be confronted with attacks at the beginning of their career and yet after so much hardship be able to pave the way to others.

Saudi Arabia has not witnessed a journalist, editor-in-chief or writer such as the late great Turki Al-Sudairi. This is not due to his professionalism alone or his leadership of the major al-Riyadh newspaper or even for heading the journalism syndicate in Saudi Arabia and the Gulf for several decades, but because he was among the first to confront extremism through his pen and journalistic work. He dedicated his newspaper to the nation first and foremost at a time when simply hinting at and criticizing hardliners could lead you into an endless dark tunnel and expose you to battles that are not easily won.

Even after beginning his voyage of criticizing forms of extremism and naming things as they are, he did that out of a national conviction that baffled his adversaries. He never overstepped his boundaries, insulted anyone or provoked the readers. Rationalism was his way and reason was his style. This is the path he chose for several years before paving the way for the rest of the media and opinion influencers to continue on enlightening the society.

Turki Al-Sudairi turned al-Riyadh newspaper into a journalistic pillar that is unique in thought and practice. He managed during his long career, which spanned 41 years, in transforming al-Riyadh into his countrys official newspaper without anyone asking that of him. Under Turki Al-Sudairi, al-Riyadh, reached heights that no one could easily reach. Arab and international media even began to consider it as the official mouthpiece of the state. Turki did that out of his high patriotism that enabled him to overcome all delicate issues that could have complicated his journalistic career. He was able to overcome all of those hardships, cementing al-Riyadhs name as a solid media outlet that leads the media scene in Saudi Arabia. The vision that he set in place for over four decades led to this resounding success. I do not think that anyone can repeat his feats.

In December 2011, two months after my appointment as editor-in-chief of el-Eqtisadiah newspaper, I paid a visit to Turki Al-Sudairi at his al-Riyadh office seeing as he is the senior journalist in the country. Despite the age and height difference between us, he insisted on escorting me out at the end of my visit. All my attempts to dissuade him from doing so failed. During our walk from his second-floor office to the exit, I asked him for advice. He replied: If you face any difficulties or problems within the newspaper or outside of it or with the official powers, do not hesitate to contact me. I smiled and thanked him. He then added: I am not humoring you, Salman, but I am asking you. We departed with him telling me: My son, I am by your side. Whenever you need me, you will find me. This was a statement that he never failed to tell me whenever we met again in the future.

Indeed, whenever I contacted him, he never disappointed me, offering advice and guidance at times and correcting me at others. He would then make the same request, which was never an attempt at humoring me as much as it was a statement that he actually meant.

In March 2013, he wrote an article in his famous column, Liqaa, entitled: Ignoring and Ignorance. He cited me in the article in words that have made me happy. I hope that I am up to the task he cited and I am proud to have been mentioned by a man of such high stature. I telephoned him at the time to thank him and express my gratitude. He again reiterated his will to me, asking: Did you forget my request, my son? I am by your side. Whenever you need me, you will find me.

Your son has not forgotten the father, teacher and educator. You are now departing and leaving us at a time when we need you the most and when men like you are so rare.

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PHILIP MARTIN: Up to a point, sir – Arkansas Online

Posted: at 1:38 am

"News is what a chap who doesn't care much about anything wants to read. And it's only news until he's read it. After that, it's dead."

--Evelyn Waugh, Scoop

It's Karen's turn to host her book club; I have to clear out of the house for a few hours tonight.

I wish I didn't have to; this month's book is Evelyn Waugh's Scoop, and while it's been 20 years or so since I read it, I wouldn't mind listening to the discussion. I know the book in a way I know only a few novels--like something I lived through. Back when there were literary touchstones for journalists, it was one of them.

And in this age of fake news, this 1938 novel is strangely salient. It's inspired by events Waugh witnessed in 1935 and 1936 when he was a foreign correspondent for London newspaper The Daily Mail stationed in what we now know as Ethiopia and what was then called Abyssinia.

Back then, Italy was ruled by the fascist strongman Benito Mussolini, who had it in for the Abyssinians because 40 years before the Italian army lost the Battle of Adwa, which led to the Treaty of Addis Ababa, which secured independence for the Abyssinians, whom the Italians had intended to colonize.

(Long story, criminally synopsized: By the end of the 19th century, most of Africa had been divided up among European nations. Italy felt left out because the only African territories it controlled were the impoverished states of Eritrea and Italian Somalia, to the north and east of Abyssinia. Italy tried to make relatively rich Abyssinia a client state, first by treaty and later by invasion. It didn't work.)

In 1935 Mussolini was determined to make Italy great again by avenging the Battle of Adwa. Everybody knew Italy was going to invade and depose Emperor Haile Selassie; Mussolini had massed his colonial forces on the border and declared Italy's King Victor Emmanuel III the rightful ruler of Abyssinia. But somehow Waugh got the news of the actual invasion before any of the more than 120 journalists who'd gathered in Addis Ababa waiting for the war to begin. So he wrote a report and telegraphed it to his editors.

But Waugh took the precaution of writing his report in Latin, so as not to tip off his competition. Back in London, the foreign desk, lacking Waugh's upper class education, failed to recognize Waugh's scoop as such.

Outside of this ill-fated report, Waugh proved to be a pretty ineffectual war correspondent. It wasn't all his fault--the reporters were confined to Addis Ababa and had to rely on what the Italians told them. It wasn't too long before the Daily Mail recalled him to London. And all Waugh got out of what he had assumed would be a great adventure was a idea for a slim comic novel, the little miracle that is Scoop.

Before I go any further, it has to be said that Scoop is one of those books that uses racist language because its author was a man unable to transcend the racist temper of his times. It treats Africans with disdain. It uses words that decent people do not. (And it is fair to consider the attitudes expressed in the book Waugh's own; his non-fiction book based on these same experiences, Waugh in Abyssinia, uses the same language and displays the same bias.)

A lot of people dismiss Scoop as a bitter satire in which Waugh takes shots at journalists by exaggerating their foibles and pretensions. Waugh's main character, a timid nature columnist named William Boot who finds himself dragooned into service as a war correspondent because Lord Copper, the Trumpian proprietor of the Daily Beast (where Tina Brown got the name for her website), mistakes him for his cousin, a dashing young novelist named John Courteney Boot. William is sent to the East African nation of Ishmaelia where Lord Copper believes "a very promising little war" is about to break out.

Though William is completely unsuited to the task (he's a terrible writer, responsible for the legendarily purple sentence "Feather-footed through the plashy fen passes the questing vole") and temperamentally unsuited to asking questions. Yet his journalistic ineptitude saves him from from charging after the news and leaves him well positioned to receive the extraordinary scoop that falls into his lap.

Even better, the scoop is credited to his cousin, the other Boot, another relative takes the glory, and William is left to go happily back to writing his nature column.

It's assumed most of the characters in Scoop are based on real people, and apparently the caricatures are accurate enough that journalists recognized themselves and others in the book. Through the years, journalists have recognized themselves--as a class--in the characters. And they are exquisitely rendered.

There's impatient Shumble who makes up a story about a Russian spy, and Corker, the solid professional who advises against explaining to his editors that Shumble is mistaken because newspapers don't like printing retractions and that the thing to do is to keep looking for a Russian spy. (Before you draw any parallels to current events, understand that it turns out there really is a Russian spy.)

Then there's Pappenhacker, an upper-class communist who writes a column for the Twopence (modeled on the Times of London) and who bullies waiters on the theory that "every time you are polite to a proletarian you are helping to bolster up the capitalist system." There's obsequious Salter, the Daily Beast foreign editor who can only respond to Lord Cooper's most outrageous falsehoods by agreeing with him "up to a point, sir."

But Waugh's purpose is not to point out that reporters can be craven, opportunistic and careerist, though all that is certainly true. The real point of Scoop is that it's difficult if not impossible to determine the real truth about anything. Waugh was deeply Catholic, distrustful of rationalism. Scoop isn't an assault on the laziness of journalists, it's a book about how arrogant human beings are when they pretend to know anything.

------------v------------

Philip Martin is a columnist and critic for the Arkansas Democrat-Gazette. Email him at pmartin@arkansasonline.com and read his blog at blooddirtandangels.com.

Editorial on 05/16/2017

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Finally, a President That Respects Free Speech at the Pulpit – Albany Times Union (blog)

Posted: at 1:37 am

I was so pleased to see President Trump sign the Executive Order promoting Free Speech and Religious Liberty on the National Day of Prayer this year. What a drastic and welcome change from the Obama Administration.

This new Executive Order order effectively protects the pulpits voices on the legislative and political issues our nation and world are facing. Previously, during the Obama Administration, we saw regular hostile targeting of non-profit organizations that opposed its specific agenda. After all, who can forget the Obama Administration going after The Little Sisters of the Poor for opposing abortion?

During Obamas presidency, numerous faith based or conservative based 501-C3s were bullied, harassed and had exemption statuses purposely withheld by the IRS. Not to mention the regular yearly letter issued by the IRS, threatening houses of worship with being sued, fined and retaliated against if they dare participate in any political rhetoric.

Thank God, our First Amendment Rights have been fully restored by President Trump. No longer will pastors, ministers, priests, rabbis, or faith based organizations be constrained by government overreach and intrusion- just as it should have been all along, as written in the Bill of Rights.

Faith based churches, synagogues and organizations have their liberties restored and can now freely talk about everything going on in culture, and how it relates to their specific beliefs.

This new Executive Order prohibits government from policing the pulpit or public officials from demanding copies of sermons from pastors.

Its wonderful that on the National Day of Prayer 2017, Americas pulpits are once again fully protected and free to speak!

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Is free speech fading at colleges? – Chicago Law Bulletin – Chicago Daily Law Bulletin

Posted: at 1:37 am

PostedMay 15, 2017 1:41 PM

In campus clashes from California to Vermont, many defenders of the First Amendment say they see signs that free speech, once a bedrock value in academia, is losing ground as a priority at U.S. colleges.

As protests have derailed speeches by controversial figures, including an event with Ann Coulter last month at the University of California, Berkeley, some fear students have come to see the right to free expression less as an enshrined measure of protection for all voices and more as a political weapon used against them by provocateurs.

I think minority groups and those who feel alienated are especially skeptical about free speech these days, said Jeffrey Herbst, leader of the Newseum, a Washington, D.C., group that defends the First Amendment.

But the powerful can get their message across any number of ways. Its those who feel powerless or alienated who really benefit from enshrined rights, Herbst said.

Last Wednesday, students at the historically black Bethune-Cookman University in Daytona Beach, Fla., tried to shout down a commencement address by Education Secretary Betsy DeVos, who said during her speech, Lets choose to hear one another out.

Students and alumni had previously petitioned to rescind her invitation, saying she doesnt understand the importance of historically black schools.

While some cast the debate as a political battle, pitting protesters on the left against conservative speakers on the right, First Amendment advocates warn the line marking acceptable speech could slip if more college students adopt less-than-absolute views on free speech.

When UC Berkeley canceled Coulters April 27 speech amid threats of violence, it was only the latest example of a speaker with controversial views being blocked from talking. Since the beginning of 2016, nearly 30 campus speeches have been derailed amid controversy, according to the Foundation for Individual Rights in Education.

In many cases, speakers have been targeted for their views on race and sexual identity.

At Middlebury College in Middlebury, Vt., author Charles Murray was shouted down by students who accused him of espousing racist views. An event featuring Milo Yiannopoulos at Berkeley was called off after protests over his views on race and transgender people turned violent.

In the past year, other speeches have been disrupted or canceled amid student protests at the University of Wisconsin, UC Davis, Brown University, New York University and DePaul University, among others.

Todays students have developed a new understanding of free speech that doesnt protect language seen as offensive to minorities or others thought to be disenfranchised, said Herbst, also a former president of Colgate University, a liberal arts school in Hamilton, N.Y.

He sees it as a generational divide, a notion thats supported by some polling data. A 2015 survey by the Pew Research Center, for example, found that 40 percent of people ages 18 to 34 supported government censorship of statements offensive to minorities. Only 24 percent of people ages 51 to 69 agreed.

The literary group PEN America has also warned free speech is being threatened at colleges.

As students and administrators strive to make campuses more hospitable to diverse student bodies, some have wrongly silenced speech that makes certain students feel uncomfortable, said Suzanne Nossel, the groups director.

The university has dual imperatives. It has to be a place that is welcoming and open to students of all backgrounds, cognizant of the barriers that impede students from marginalized groups, she said. But that cannot and must not come at the expense of being an open environment for speech.

The events at Berkeley and Middlebury have drawn scorn from observers across the political spectrum, including some founders of the free speech movement that took root at Berkeley in the 1960s. Jack Weinberg, who was arrested on campus in 1964 for violating school codes on activism and sparked a wave of protests to change them, said he found the whole thing despicable.

When you suppress ideas, you also increase interest in those ideas, Weinberg said. Its understandable that people want to stop it, but it doesnt work.

Still, some students dont see a problem with disrupting provocative speakers. Some say theyre simply invoking their own First Amendment rights, while others say theyre appealing to higher principles that take priority over free expression.

If your goal is to come onto university campuses and put communities at risk, and your goal is to bash and spew hateful, racist rhetoric, then we dont want that, said Richard Alvarado, a junior at Berkeley who protested both recent speeches. We as a community have a moral obligation to hold you accountable for it.

Colleges need to take a harder stance against students who disrupt speeches, some say. Republican lawmakers in Wisconsin are pushing a bill that would force state universities to suspend or expel students who repeatedly interfere with others free speech.

Similar legislation was recently approved in Virginia and Colorado and is being considered in California, Michigan and North Carolina. The bills are modeled after a proposal by the Goldwater Institute, a conservative think tank in Arizona.

Others are calling for colleges to adopt stronger policies in support of free expression and for primary schools to bolster lessons on the First Amendment.

We are seeing things on an all-too-regular basis which would have been unthinkable just a few years ago, said Floyd Abrams, a prominent First Amendment attorney in New York City. One can only hope that tempers will cool and people will come to accept the virtues of living in a society where even offensive speech is fully protected by the First Amendment.

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