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Ron Paul One Step to Prepare – The Crux
Posted: January 22, 2016 at 6:41 pm
09.07.2015BY Mike Palmer, Stansberry Research
WASHINGTON, D.C. This is a fascinating story with implications for every American
Dr. Ron Paulthe former U.S. Presidential candidate and 22-year Congressional veteranwas briefly back in Washington, D.C., recently.
Dr. Paul was in the nations capital to educate Americans on what he believes our countrys next financial crisis will look like.
He says America is on the verge of a real currency crisisthe likes of which we have not seen in more than 50 years.
RELATED: Why America is NOT Normal Dr. Ron Pauls 8 facts prove how bad things really are
While in D.C., Dr. Paul announced that hes found a way for citizens of every political party to prepare, including the specific steps you should take. He released a short video presentation to explain all the details. (You can watch it here.)
Few people in America today have Dr. Pauls knowledge of the inner workings of both the government and the U.S. financial system
After all, Dr. Paul spent more than two decades in Congress. He served on the House Banking Committee and the Committee on Foreign Affairs.
He sponsored more than 600 legislative bills. He met with every President of the past 40 years and every Fed Chairman. He spent thousands of hours in top secret, closed-door meetings.
SEE ALSO: Dr. Ron Paul Describes Exactly What Americas Next Crisis Will Look Like
And Dr. Paul believes a major currency crisis is coming to America sooner than most people think.
During his recent visit in Washington, he said:
The way you live, work, travel, retire, and invest in America everything is going to change. Some of it in ways most people do not expect. This period is going to be particularly tough on seniors and anyone relying on a fixed income, or money from the government.
Trouble is comingplease make sure you, your family, and anyone you care about are prepared.
Thats why Dr. Paul recently worked to help put together a short video presentation that explains the #1 first step every American should take to prepare for Americas next, inevitable crisis.
I strongly suggest you take a look at this fascinating piece Dr. Paul has prepared.
You may have seen many of Dr. Ron Pauls interviews, speeches, and Congressional testimony over the years
But I guarantee youve never seen him quite like this.
Be sure to check out Dr. Pauls brand new free presentation, here
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Ron Paul to Campaign With His Son, Rand Paul
Posted: at 6:41 pm
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Former presidential candidate Ron Paul will return to Iowa a day before the caucuses to campaign for his son.
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Republican presidential candidate, Rep. Ron Paul, R-Texas, speaks to his supporters during a caucus night party at the Courtyard Marriott hotel in Ankeny on Tuesday, January 3, 2012. (Photo: Register file photo)Buy Photo
Former presidential candidate Ron Paul will return to Iowa a day before the caucuses to campaign for his son.
Ron and Rand Paul will host a "The Revolution Continues Rally" at the University of Iowa on Jan. 31. The younger Paul is a Kentucky senator who is running for theRepublican presidential nomination.
It will be the first time Ron Paul has appeared on the campaign trail to stump for his son this cycle.
The event will be held at 7 p.m. at the Iowa Memorial Union,125 N.Madison St., in Iowa City.
Ron Paul is a former Texas congressman who ran for president three times. He was thepresidential nominee of theLibertarian Partyin1988.
In addition to his father, Rand will be joined bymore than a dozen family members who will host their own events throughout the state and speak at caucuses on Feb. 1, his campaign said. More details are expected to be released soon.
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Ron Paul to Campaign With His Son, Rand Paul
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Libertarianisme – Wikipedia, den frie encyklopdi
Posted: at 6:41 pm
Libertarianisme er en betegnelse for et bredt spektrum af politiske filosofier, som prioriterer individuel frihed hjt og forsger at minimere eller endog fjerne statsmagten. Filosofien fremfres oftest som en teori om retfrdighed, om end der ikke er noget forenet princip eller st af principper, som alle libertarianere kan forenes omkring. Libertarianismen har imidlertid strke rdder i isr liberalistisk og anarkistisk filosofi. Sledes er mange libertarianere enten tilhngere af en minarkistisk statsform eller et markedsanarki.
Libertarianismen er traditionelt blevet forsvaret enten p grundlag af konsekventialistiske principper eller som en rent naturretlig doktrin. Stttere af den frstnvnte tilgang betegner ofte sig selv som klassisk liberale, medens tilhngere af sidstnvnte slet og ret holder sig til "libertarianere".[Kilde mangler]
Termen "libertarianer" er meget udbredt i USA, hvor begrebet liberal er mere flertydigt end i visse andre dele af den vestlige verden. I Danmark er det sledes ikke unormalt for personer, som tilslutter sig denne gren af liberalismen, blot at kalde sig selv for liberale. En forgelse af tilgngeligheden af isr amerikansk litteratur om emnet synes dog at vidne om, at termen vinder strre indpas i dansk sprogbrug.[Kilde mangler]
Den frste registrerede brug af termen i en politisk sammenhng, var i 1857 i forbindelse med en oversttelse af det franske ord libertaire til libertarian p engelsk, af den franske anarko-kommunist Joseph Djacque[1]. Termen blev i 1890ernes Frankrig populr som et middel til at undg konsekvenserne af den anti-anarkistiske lovgivning (les lois sclrates).
P omtrent samme tid i USA, begyndte termen ligeledes at sl rod blandt anarkistiske kommunister, og politologen Peter Kropotkin skrev i sin artikel om anarkisme i Encyclopaedia Britannica 1911-udgave:
Det ville vre umuligt p denne plads til fulde at prsentere p den ene side de anarkistiske ideer i den moderne litteratur, og p den anden side den indflydelse, som de libertre ideer har haft, p nutidige forfatteres udvikling af anarkismen[2].
I dag beskriver anarkistiske kommunister, libertre socialister og venstre-libertarianere fortsat sig selv som libertarianere, der ganske vist er imod den private ejendomsret, men som samtidig vender sig imod statslig magtanvendelse for at afskaffe den.
Under Den Store Depression i frste halvdel af 1900-tallet havde en rkke konomer og filosoffer, heriblandt John Maynard Keynes og John Dewey, begyndt at overtage og omdefinere liberalismen. Igennem den skaldte socialliberalisme (ogs kaldet nyliberalisme, hvilket dog ikke m forveksles med det nutidige ord neoliberalisme) fremsatte de argumenter for, hvordan en konomisk krise kunne undgs eller formindskes, hvis blot statsmagten begyndte at intervenere i det konomiske liv. Denne konomiske opfattelse, kaldet keynesianisme, vandt indpas verden over og USA's prsident Franklin D. Roosevelt planlagde sin New Deal p grundlag af dens principper.
Da omfanget af konomer og filosoffer, som kaldte sig selv liberale, men samtidig stttede en strk statslig indblanding i det konomiske liv steg kraftigt i disse r, blev ordet "liberalisme" i stadig hjere grad sammenkdet med etatisme, eller endog socialisme; hvilket stadig er tilfldet i nutidens USA og Storbritannien.
De personer, som stadig fastholdt tiltroen til oplysningstidens idealer om personlig frihed og privat ejendomsret stod sledes i et dilemma, da verden omkring dem havde defineret deres filosofiske grundlag p ny. Nogle begyndte derfor at kalde sig "klassisk liberale", andre "konservative".
Striden om hvad man skulle kalde sit filosofiske grundlag frte til en strre leksikal debat under og efter Den Store Depression blandt isr amerikanske og strigske liberalister.
I denne debat var den strigske konom og jurist Ludwig von Mises aktiv i sine bestrbelser p, at udrydde hvad han opfattede som intellektuel og praktisk forvirring. Iflge von Mises var det ikke blot et ord der var p spil, men en betydningsfuld forskel imellem den forholdsvist uforstyrrede markedskonomi og en statsstyret planlgningskonomi.
I sin bog Liberalismus fra 1927 gjorde von Mises op med de skaldte moderne liberale som mente, at politik alene handlede om et ml, f.eks. konomisk lighed. Heroverfor fremsatte von Mises den pstand, at politik slet ikke handlede om et ml i sig selv, men om de midler, hvormed et ml skal opns. Socialister og liberalister kunne sledes meget vel have samme ml, f.eks. menneskelig lykke, men midlet til at opn dette var vidt forskelligt.
For at understrege denne forskel, begyndte Leonard Read, der i 1937 havde grundlagt den liberale uddannelsesinstitution Foundation for Economic Education, i 1940erne, at omtale sin filosofiske opfattelse som "libertariansk" fordi han mente, folk ville misfortolke "klassisk", i klassisk liberal, p en sdan mde, at de ville tro, der var tale om et antikt og utidssvarende filosofisk system[3]. I 1955 skrev Dean Russell en artikel, hvori han funderede over, hvad han skulle kalde sdan en som sig selv, der var tilhnger af den klassisk liberale filosofi. Han foreslog:
Lad os, som elsker frihed, tage patent p det gode navn "libertarianer".[4]
Visse fremtrdende personligheder indenfor den libertarianske verden fortsatte dog med at betegne sig selv som klassisk liberale. Blandt disse var netop Ludwig von Mises og Friedrich Hayek, der begge i deres intellektuelle arbejde havde identificeret socialismen og fascismens kollektivistiske grundlag, som vrende i familie med totalitarismen.
Ayn Rands internationale bestsellere The Fountainhead (1943) og Atlas Shrugged (1957), samt hendes bger om den objektivistiske filosofi, affdte en fornyet interesse i de libertarianske ideer om frihed og kapitalisme[5] .
I 1958 udgav den britiske akademiker Isaiah Berlin sin essay Two Concepts of Liberty hvori han opstillede to forskellige definitioner af frihed: Positiv og negativ frihed. Hvor klassiske liberale arbejde for at sikre frihed i en negativ forstand, det vil sige frihed fra tvang, forsgte den skaldt moderne liberalisme og socialismen at opn frihed i sin positive betydning, ved at sikre mennesker en frihed til at opn en mulighed.
J. S. Mill's Liberty, Spencer's Individual versus the State, Marc Guyau's Morality without Obligation or Sanction, and Fouille's La Morale, I'art et la religion, the works of Multatuli (E. Douwes Dekker), Richard Wagner's Art and Revolution, the works of Nietzsche, Emerson, W. Lloyd Garrison, Thoreau, Alexander Herzen, Edward Carpenter and so on; and in the domain of fiction, the dramas of Ibsen, the poetry of Walt Whitman, Tolstoy's War and Peace, Zola's Paris and Le Travail, the latest works of Merezhkovsky, and an infinity of works of less known authors, are full of ideas which show how closely anarchism is interwoven with the work that is going on in modern thought in the same direction of enfranchisement of man from the bonds of the state as well as from those of capitalism.
Many of us call ourselves "liberals," And it is true that the word "liberal" once described persons who respected the individual and feared the use of mass compulsions. But the leftists have now corrupted that once-proud term to identify themselves and their program of more government ownership of property and more controls over persons. As a result, those of us who believe in freedom must explain that when we call ourselves liberals, we mean liberals in the uncorrupted classical sense. At best, this is awkward, subject to misunderstanding. Here is a suggestion: Let those of us who love liberty trademark and reserve for our own use the good and honorable word "libertarian."
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What is censorship? – Undergraduate Courses
Posted: January 21, 2016 at 4:41 pm
By: Chad Hawthorne CS3604, Spring 1997
The definition of censorship from the American Library Association is, "The change in the access status of material, made by a governing authority or its representatives. Such changes include: exclusion, restriction, removal, or age/grade level changes." [3]
A debate on censorship could cover volumes of law books. There are hundreds of modern day cases on the subject, many of which have reached the Supreme Court. This page is not an attempt to delve into every aspect of censorship, a task that the author finds daunting. This resource explores American's beliefs on censorship, some examples of censorship in academia, and how the issue of censorship relates to digital media, including the Internet.
Censorship takes many forms in our country. From the outright banning of books and information, to the more subtle censorship of persuasion. Despite the importance our country places on freedom of thought and the freedom of speech, there have been countless efforts throughout our history to curb those freedoms. Frequently these efforts are successful, either in the outright banning of information or a curb in the freedoms once allowed. According to UPI the censorship of textbooks, novels, and classroom materials was at its highest level in 10 years in 1992.[2] An organization dedicated to protecting constitutional liberties, People for the American Way, reports that "'censors' were more active in 1991-92 than in any other year, with 376 'attacks on the freedom to learn in 44 states." [2] Not only are these 'censors' more active but their efforts are more successful than at any point in the four years previous to 1992. According to the People for the American Way, "Forty-one percent of the materials challenged were removed or restricted in some fashion."[2] Censorship is not limited to books and physical media, it also has effects on the Internet and the digital world. Censoring material on the Internet has become an important issue for countries around the world. Censorship is an ongoing issue and the battle to stop censorship is one that has roots in the very beginnings of our country.
To understand Americans beliefs on censorship it is valuable to learn exactly where these values originate and to learn how they are being challenged. Our beliefs in freedom of speech and our values that limit censorship are exemplified in our constitution and the associated bill of rights. The framers of the constitution drew their values and concepts of civil liberties from many sources, including the ancient Greeks and contemporary English philosophers. From the ancient Greeks came forth the idea of 'natural law' and the concept of equality. [5]
Another more contemporary influence was the writings of the 17th century English political philosopher, John Locke. One of Locke's major contributions was the idea, "[T]he end of law is not to abolish or restrain but to preserve and enlarge freedom."[5] This idea translated into our bill of rights, ratified December 15, 1791. The first item in the bill of rights states, "Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press, or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances. "[5] This first amendment to the constitution serves as the basis for our freedoms of speech and the cornerstone of censorship debates in the United States. Many efforts to censor ideas, books, and electronic media have been challenged based on this amendment to the constitution.
One of these challenges to the law came in a 1982 Supreme Court case, Island Tree School District v. Pico. This case answered the question of who has the right to remove books from a school library and on what basis. The Island Tree Village school board removed from the school library ten books that it considered, "anti-American, anti-Christian, anti-Semitic and just plain filthy."[4] Some of the books banned included classics such as, Kurt Vonegut's Slaughterhouse Five, Richard Wright's Black Boy, and Eldridge Cleaver's Soul on Ice. The Supreme Court admitted that the school board has discretion to create and maintain a school curricclum and to further appropriate civic and moral values. However, the Supreme Court announced important limits on this discretion; it said that the First Amendment extends to "the right to receive ideas" in the context of a school library, where "a student can literally explore the unknown."[4] The court stated that school officials may not engage in the "narrowly partisan suppression of ideas" by removing books from the library simply because they contain ideas that they disagree with.[4] This case was the basis from which all other school censorship cases would be evaluated. Six years after this historic case there came another case, Hazelwood School District v. Kuhlmeier.[4] This case brought up the question of weather the school administration has the right to censor and limit the content of a school newspaper. It was decided that the school administration does have the right to review and edit the content of a school newspaper. The court qualified their decision by stating that administrators decisions must be based on, "legitimate pedagogical concerns."[4]
The fine line between "legitimate pedagogical concerns" and "narrowly partisan suppression" is constantly being redefined and challenged by new censorship cases. These cases involve old forms of media and information, as well as new digital media. Censorship is not promoted by just one political group or social advocacy organization, however, according to the ACLU, "the greatest threat today comes from the fundamentalist right, with its ideological hostility to other religious or philosophical systems, to homosexuality, to sex education, and indeed the basic idea of secular education."[4] The censorship debate in academia is frequently a debate about children. It concerns what is appropriate for children to read, learn, and see. It involves censoring teachers and school administrators all in the name of the children. This debate about what children should learn is the basis for censoring the Internet here in the United States. The Telecommunications Act of 1996 censored most forms of digital media on the basis that children were getting obscene material over the Internet.[1]
In the United States censorship of the Internet reared its head in 1996 with the Telecommunications Act. In the Telecommunications Act there is embedded in Title V a measure called the "Communications Decency Act" or CDA. The CDA limits "obscene, indecent and offensive material" on the Internet.[1] This act makes it illegal to distribute pornography or other indecent material to minors over the Internet or any other digital media. It is a bold step in censoring the cyber-world, and limiting free speech. There was a tremendous debate about weather this law was needed and what effect it would have on the Internet community. Previously there were few laws governing the Internet and it was generally considered as bastion of global freedoms. However, this new law signified an effort by the government to censor peoples thoughts and ideas, under the guise of protecting children.
Other countries are also trying to grapple with the problem of indecent material on the Internet.[6] All of these actions have the effect of limiting personal freedoms and censoring the general public. Although other governments have different values and ideas about freedom of speech, their values and decisions affect everybody in this increasingly global environment, including us in the United States. The Internet has given citizens of every country the ability to communicate and transfer information across borders. This presents a problem in the area of censorship. If one country passes a law governing the use of the Internet, how is it to be enforced in this global environment? For example , "A German court has already acted to prevent users in that country from accessing sexually explicit Internet discussion groups. The court forced CompuServe, a US-based online information service, to block access to about 200 of the thousands of "Usenet" groups to be found on the Internet."[6] Clearly the laws and regulations made by one country have an effect on the Internet community at large, regardless of where a user lives. The ethics and censorship beliefs that Americans hold so valuable can conceivably be challenged and thwarted by the laws of another country.
In conclusion, the censorship one country takes to limit personal freedoms can have a ripple effect through governments around the world. This censorship often stems from the need to protect children from obscenity and "adult" topics. The need to protect children is most obvious in the nations schools, where censorship is frequently carried out, and even upheld by the courts. Now, with the development of digital media, children are learning about the world from the privacy of their homes. Must this digital media be censored and freedoms curtailed to protect children? Hopefully a solution will be found that protects children and freedoms.
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What is censorship? - Undergraduate Courses
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Music Censorship – Lehigh University
Posted: at 4:41 pm
Music provides a powerful form of expression that at its most basic level helps to entertain while containing the power to cause revolutions -- both cultural and political. Musics inherent power scares some people who are afraid of the powerful potential to shape attitudes and beliefs. The banning of music sets a dangerous precedent for the censorship of other forms of expression -- with dangerous consequences for a free society.
Why is music censored? Factors may include clashing moral values, racial motivations, generational value gaps, and fear.
Music has historically been, and continues to be, censored in an attempt to enforce morality. Its not a coincidence that music censorship in America began to accelerate during the 1950s, when traditional and conservative values began to unravel. At the time, order, strict obedience to authority, and conservative values were part of the accepted mindset. With the advent of rock n roll, however, young America began to loosen attitudes on issues relating to morality. Technology also played an important part in shaping the moral power struggle in the 1950s. For example, the 1920s era saw similar complaints against flappers and jazz musicians; however, radio wasnt as dominant at that time. In the 1950s, radio provided access to new types of music that challenged traditional morality and created the dynamics for music censorship.
Moral authorities aim to determine what behavior is acceptable for individuals and for society. Drugs, violence, and especially sex are topics moral authorities attempt to regulate. The end of the 1950s witnessed many members of society, particularly young adults and teens begin expressing new attitudes about these topics: Sex and drugs were no longer hidden and secretive acts, but something to be exposed and celebrated. This shift in outlook began breaking down the traditional moral order in many aspects of society especially music.
Race may seem a strange factor in music censorship, but it has played a significant role. In particular, the 1950s and early 1960s saw a new genre of music -- rhythm and blues -- emerge onto the national music landscape. R&B music included freely expressed sexual desires, clear drug references, and other features that were not as prevalent in other forms of popular music. R&B was and still isdominated by black musicians and traditionally was enjoyed mainly by black audiences. When its audience expanded to include mainstream white youths and young adults, this was a problem for many older whites who considered R&B music as a threat that corrupted young people and promoted immoral behavior.
This phenomenon prompted moral authorities to take action. In 1955, for example, Houstons Juvenile Delinquency and Crime Commission banned more than 30 songs many by black artists. A Chicago radio station promised to censor any controversial music, especially R&B, after receiving letters from angry listeners. (Sparrow)
Racially motivated music censorship is not a practice limited to the past. More recent cases involve MTV refusing to air videos from many black artists in the infancy of the network. In 1983, during a live interview, David Bowie suddenly asked, Why are there practically no black artists on the network? (Why it Took MTV So Long) Michael Jacksons Billie Jean from the album Thriller, released in 1983, is credited with being the first black video aired on MTV in heavy rotation.
The argument can be made that racial motivations also played a large role in the FBIs 1989 letter to the rap group N.W.A. (Nuzum) The F.B.I.s intent was to notify the rap group that their song Fuck Tha Police wasnt appreciated by the government. N.W.A. supporters argue the group was only expressing the frustrations of inner-city blacks and holding a mirror to their everyday reality. While no legal action took place, the example helps give context to the pressures behind government and music censorship.
Generational value gaps are a large factor in music censorship. Older generations use their power to try to censor the music of younger generations because the new music doesnt reflect the values of the old. The R&B and rock n roll of the 1950s and early 1960s contrasted greatly with the values of the greatest generation, which grew up during the Great Depression, fought in World War II, and started the production that led to Americas global economic dominance. As a result, obedience, respect for authority, and order were important values for this generation. Conversely, the music being made during the mid-1950s and early 1960s reflected attitudes craving individuality, questioning authority, and exploring freedom, drugs, and sex. In fact, many times the music flaunted these things to societys elders.
For example, in 1965, the Rolling Stones and the Who were banned from radio stations nationwide because of sexual references in their songs. (Sparrow) In 1968, The Doors song Unknown Soldier was banned from many stations because of its anti-war theme. (Sparrow) In 1971, the FCC threatened to take away broadcast licenses from stations playing songs that glorified drugs. In the same year, songs by John Lennon and Jethro Tull were changed without their knowledge or consent. Lennons music was changed by radio station themselves while Jethro Tulls songs were changed by their record label Chrysalis Records. (Nuzum) Its interesting to consider whether entering a museum and painting over an artists paintings would be considered acceptable.
The generational value gap continued in the 1970s and 1980s, when heavy metal rock and rap music were particular targets of moral authorities. A Prince album caused controversy at a 1984 PTA meeting in Cincinnati, Ohio. (Sparrow) The incident helped spark the debate for government censorship of music. The National Coalition on Television, which monitored the level of violence in music videos, asked for the federal government to regulate rock music on television. (Nuzum) Although the request ultimately wasnt acted upon, the demand demonstrates the push from some segments of the population, mostly conservative, for federal governmental action.
The following year, the Parents Music Resource Center (PMRC), pushed the music industry and the government to create a rating systems evaluating the content of artists. The PMRC also hoped for radio stations to become conscious about airing controversial content which would in turn censor artists hoping to become played on the radio. The PMRC was led by Tipper Gore and very influential wives of politicians and businessmen living in Washington, D.C. As a result of testimony before the U.S. Senate, the Recording Industry Association of America (RIAA) began labeling albums that may be objectionable, including the infamous black-and-white label Parental Advisory: Explicit Content, created in1990 and still in use today.
Generational value gaps continue to influence music and music censorship. Today the focus is largely on gangster rap and sexually explicit hip-hop lyrics. In each case, the music being censored is typically regarded as the music of youth and features values different from those of previous generations.
At the root of all of the factors that lead to music censorship is fear. There is a fear by the authorities pushing for censorship that the music will affect young people negatively and prevent them from achieving a morally acceptable life. Many believe that without censorship, society itself will be changed significantly, and not for the better. Because the unknown creates uncertainty, fear of change remains common among those who attempt censorship, even when music merely reflects, rather than causes, changes in society. For example, country icon Loretta Lynns 1975 song The Pill was censored at many radio stations more than a decade after oral contraceptives became popular. (Sparrow)
From the Vietnam War to todays Iraq War, and from the advent of the sexual revolution to todays culture wars, music is recognized as a potential source of power to change values, ideas, and beliefs as well as to influence actions. Those who fear this change try to stop it by censorship, even when, as history has shown us, censorship is futile when change is inevitable.
-- R. Andre Hall, Journalism '09
Lombardi, Victor. "Music and Censorship." Noise Between Stations. 1 Dec. 1991. 22 Sep. 2009 http://www.noisebetweenstations.com/personal/essays/music_censorship.html.
Nuzum, Eric. "A Brief History of Banned Music in the United States by Eric Nuzum." Parental Advisory Music Censorship in America. 22 Sep. 1986 http://www.ericnuzum.com/banned/.
Sparrow, Kelly. "Music censorship (part 1) : A brief history." Examiner: Inside Source For Everything Local. 22 Sep. 2009 http://www.examiner.com/x-16046-Lexington-Live-Music-Examiner~y2009m8d26-Music-censorship-part-1--A-brief-history.
"Why It Took MTV So Long To Play Black Music Videos ." Find Articles at BNET. 9 Oct. 2006. 22 Sep. 2009 http://findarticles.com/p/articles/mi_m1355/is_14_110/ai_n16807343/.
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Flower blooms on international space station for first …
Posted: January 20, 2016 at 3:43 pm
NASA astronaut Scott Kelly is proving quite the gardener in space.
Over the weekend, he tweeted out an image of what he described as the first flower grown in space.
It may not match the exploits of astronaut Mark Watney, the Matt Damon character in the movie The Martian who survives on Mars in part by growing potatoes. But nonetheless, it is a small step towards NASA's goal of one day developing bioregenerative food production systems for the space station and long-duration exploration missions.
And it comes after several setbacks to the Veggie plant growth facility, which was installed on the orbiting laboratory in early May of 2014.
Relevant: International Space Station celebrates 15th birthday
While the plants havent grown perfectly, Gioia Massa, NASA science team lead for Veggie, said in a statement. I think we have gained a lot from this, and we are learning both more about plants and fluids and also how better to operate between ground and station. Regardless of final flowering outcome we will have gained a lot.
The first crop Outredgrous red romaine lettuce was activated for growth. But things didnt get off to a great start.
Related: Space Station astronauts make history, eat first space-grown veggies
We lost two plants due to drought stress in the first grow out and thus were very vigilant with respect to the second crop, Trent Smith, Veggie project manager, said in a statement.
The second crop of the same lettuce was activated in early July by NASA astronaut Scott Kelly, and thanks to lessons learned from the first run, adjustments to watering and collecting imagery of the plants were made. The leafy greens grew according to schedule, with only one plant pillow not producing. The crew even ate the lettuce.
The next crop on the docket was a batch of zinnia flowers.
The zinnia plant is very different from lettuce, Smith said. It is more sensitive to environmental parameters and light characteristics. It has a longer growth duration between 60 and 80 days. Thus, it is a more difficult plant to grow, and allowing it to flower, along with the longer growth duration, makes it a good precursor to a tomato plant.
The zinnia plant, though, showed signs of stress early on - possibly due to high humidity or water engulfing some of the plants. When you have high humidity and wet surfaces, Smith said, leaves start dying, and become prime real estate for mold to grow.
Related: NASA wants to put rodents on space station
Kelly, who took over garden duties after NASA astronaut Kjell Lindgren returned to Earth on Dec. 18, cut away the affected, moldy plant tissue. The plant surfaces and plant pillow surfaces were sanitized with cleaning wipes, and the fans continued at a high speed in hopes of keeping the Veggie chamber dried out and mold growth abated.
By Christmas Eve, though, Kelly called down to say the high fan speed was drying out the crop too much. But the next scheduled watering was not until Dec. 27.
I think that would be too late, Kelly told the ground team. You know, I think if were going to Mars, and we were growing stuff, we would be responsible for deciding when the stuff needed water. Kind of like in my backyard, I look at it and say Oh, maybe I should water the grass today. I think this is how this should be handled.
The team on the ground gave Kelly the green light to take on the role of autonomous gardener.
This is perfect he has the helm, Smith said. We turned over care to Scott. Hes seen the lettuce, hes got all the tools he needs, so we just provided him quick guidelines to understand the zinnias.
Two of the plants that displayed stress died off but two remaining plants have continued to thrive with petals in January even beginning to sprout buds.
Some of my space flowers are on the rebound! No longer looking sad! Kelly tweeted on Jan. 8.
The flowers weren't expected to bloom for another seven to 10 days. But it seems they couldn't wait to add a little color to the space station.
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Genome – NRC Research Press
Posted: at 3:42 pm
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McDonnell Genome Institute
Posted: at 3:42 pm
MGI Awarded $60M for New Centers for Complex Disease Genomics Network 4-Year Grant from NHGRI for Studies of Cardiovascular and Neuropsychiatric Diseases
Study Uncovers Hard-to-Detect Cancer Mutations Dr. Li Ding and her team developed a software tool for finding a certain type of genetic error that has been consistently missed by cancer genome studies and identified a large number of such events in critical cancer genes.
Reference Genomes Improvement Project MGI's commitment to enhancing the human reference genomes
MGI Hosts Hands-on Workshop Dr. Mitreva and her laboratory provide instruction for attendees on bioinformatics for helminth genomics
MGI Awarded Grant to Improve Human Reference Genome Resource Grant supports MGIs contributions to the Genome Reference Consortium to enhance the quality and breadth of the human genome reference assembly
Supporting Science Elizabeth H. and James S. McDonnell III provide an extraordinary gift to enable genomic research
The Cat's Meow MGI researchers and collaborators explore the cat genome, revealing clues to domestication.
McDonnell Genome Institute researchers make scientific double play Wesley Warren, PhD and Richard K. Wilson, PhD contribute to two separate cover stories in Science and Nature in the same week
Drug Gene Interaction Database Twin brothers develop an online database that matches disease genes with potential drugs.
McDonnell Genome Institute Researchers Remain on "Hottest Researchers" List Wilson, Mardis, Ding, Fulton on Hottest Researchers
Cancer Genomics Two new studies shed light on the genomics of two deadly forms of cancer.
Sample Prep Maze Ndonwi scans genomic DNA samples for an infant microbiome project.
Testing and Training Lisa Cook tests a new sample preparation protocol.
McDonnell Genome Institute Tours Outreach member, Latricia Wallace, leads a tour of the McDonnell Genome Institute.
Outreach Event Students present posters at an Outreach event for DNA Day.
Preparing to Sequence Preparing a fluorescent gel during library construction.
Software Development Staff developers and software engineers work on the latest analysis pipelines.
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GenomeNet
Posted: at 3:42 pm
GenomeNet Database Resources DBGET: Integrated Database Retrieval System DBGET search LinkDB search SPARQL endpoint available KEGG: Kyoto Encyclopedia of Genes and Genomes KEGG2 - Table of contents KEGG PATHWAY - Systems information: pathways KEGG BRITE - Systems information: ontologies KEGG Organisms - Organism-specific entry points KEGG GENES - Genomic information KEGG LIGAND - Chemical information KEGG MEDICUS - Health information KEGG MGENES: Metagenome gene catalogs Virus-Host DB: Hosts of sequenced viruses New! Reaction Ontology: Reaction classifications varDB: Antigenic variation database Community Databases CYORF - Cyanobacteria annotation database BSORF - Bacillus subtilis genome database EXPRESSION - Gene expression profile database GenomeNet Bioinformatics Tools Sequence Analysis BLAST / FASTA - Sequence similarity search MOTIF - Sequence motif search CLUSTALW / MAFFT / PRRN - Multiple alignment RAxML / FastTree - Phylogenetic analysis New! Genome Analysis OC Viewer - KEGG ortholog clusters Updated! REST service is available KAAS - KEGG automatic annotation server Updated! MAPLE 2.1 - Functionome evaluator Updated! EGassembler - EST consensus contigs GENIES - Gene network prediction DINIES - Drug-target network prediction Chemical Analysis SIMCOMP / SUBCOMP - Chemical structure search REST service is available KCaM - Glycan structure search PathComp - Possible reaction path computation PathSearch - Similar reaction path search PathPred - Reaction pathway prediction E-zyme - Enzymatic reaction prediction
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The Amazingly Accurate Futurism of 2001: A Space Odyssey
Posted: January 19, 2016 at 3:28 pm
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Caption: The Making of Stanley Kubricks '2oo1: A Space Odyssey' Taschen
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Caption: A new book, The Making of Stanley Kubricks 2001: A Space Odyssey chronicles the creation of the epic sci-fi movie. Here, actor Keir Dullea poses in the equipment storage corridor to one side of Discoverys pod bay. Dmitri Kessel/Getty Images
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Caption: The central design challenge for 2001 was creating a set and props that could outpace 1960s technology. While they filmed, NASA was trying to put a man on the moon. If 2001 looked too much like what NASA had created, its futuristic setting wouldn't be believable. Taschen
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Caption: The book's author Piers Bizony points out that here and there, the movie forecasts our technology today. The executive briefcase with its phone handset and dial? Look closely, and all the elements of the laptop or smartphone are there, half a century ahead of time, he says.Taschen
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Caption: Kubrick hired a skunkworks team of aeronautics engineers and astronomy illustrators to help create the set. This drawings shows a cross section of the Discovery. Oliver Rennert/TASCHEN
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Caption: Kubrick and his team shooting the nal scenes of 2001 in the faux-luxurious bedroom. Stanley Kubrick Archives/TASCHEN
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Caption: Actor Gary Lockwood in the main command deck of 2001: A Space Odyssey's interplanetary spacecraft. Even though the design of the movie needed to outpace what NASA was creating, the designers took some cues from the industry and based spacesuits on actual NASA designs.Stanley Kubrick Archives/TASCHEN
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Caption: Kubrick and author and co-creator Arthur C. Clarke pose for publicity photographs inside the passenger deck set of the Aries lunar ferry. Stanley Kubrick Archives/TASCHEN
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Caption: Stanley Kubrick gives instructions through a hatch at the bottom of the centrifuge, as actors Keir Dullea and Gary Lockwood prepare for a scene. Stanley Kubrick Archives/TASCHEN
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Caption: Most of the movie was filmed in England. Here, Kubrick directs the lunar monolith scenes over the Christmas of 1965 at Shepperton, on Europes second-largest shooting stage. Taschen
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Caption: Book cover designer Roy Carnon helped created a visual scheme for how lighting might look in outer space. This is a rendering of the docking area at the hub of the space station, with a winged shuttle parked after arrival.Taschen
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The Making of Stanley Kubricks 2001: A Space Odyssey documents in nearly scientificdetail exactly that: the story of how the iconic science-fiction film came into existence, and how it predicted much of the technology we take for granted today.
Science writer and space historian Piers Bizony offers an extraordinarily detailed catalog. It begins with the genesis of Kubricks masterpiece, starting with his partnership with author Arthur C. Clarke, and extends through the creation of the films futuristicset design. Only 1,500 copies were printed, and theyve long since sold out at $1,000 each. (A $70 second edition version is now available for pre-order.)
In the tome, which is chock-full of previously unseenimages, Bizony highlights the central tension of the films design: Even as Kubrick and his teamincluding cinematographer Geoffrey Unsworth and art director John Hoesliwere creating a fictive future set in space, NASA was racing to put a man on the moon. The set and props in 2001: A Space Odyssey had to dramatically outpace the emerging technology, lest NASA succeed while they were filming and make Kubricks vision appear outdated, or, worse, flat-out wrong.
Thisforced Kubricks team to do deep, meticulous research, which Bizony says helps explain why much of the set design accurately forecasted how we live with technology today. The executive briefcase with its phone handset and dial? Look closely, and all the elements of the laptop or smartphone are there, half a century ahead of time,Bizonytells WIRED. You could also, for example, see HAL 9000 as a proto-Siri.
The book is packed with other detailsabout the making of the film (for example, Clarke wrote the most of the screenplayat the Chelsea Hotel, in the company of William S. Burroughs and Allen Ginsberg), but is most elucidating in its attention to the technical and design details that made the film such anenduring paragon almost 50 years after its release.
In the 1960s, television spelled trouble for film executives. With more viewers getting their entertainment athome, studios needed a way to lure them into movie theaters. The board of MGM grew interested in a new widescreen format called Cinerama, which used a three-camera system to create an impossibly large, wide picture. It required special projection equipment, and audiences would buy tickets and seats ahead of time as if they were going to a Broadway playor, by todays standards, to a 3-D IMAX flick.
With the country entranced by NASAs race to the moon, Kubrick and Clarke realized the sweeping galaxy-building of their filmthe working title was Journey to the Starswas exactly the widescreen extravaganza MGM needed. MGM took the bait,Bizonysays.
That left Kubrick to build a space-age world unlike any other. After surveying set designs from other 1960s-era sci-fi films, Kubrick decided he didnt want to leave 2001s mise en scne in the hands of film industry artists. He wanted a more realistic setting. He assembled a skunkworks team of astronomical artists, aeronautics specialists, and production designers. Aerospace engineersnot prop makersdesigned switchpanels, display systems, and communications devices for the spacecraftinteriors.
This particularly helped with the movies light design. Artist Richard McKenna was creating color schemes for spacecrafts before anyone really knew what they might look like. Roy Carnon, another illustrator, created a visual system for Kubrick that imagined how sunlight and shadows might fall in space. Other advisors took cues from submarines and military vehicles to create the red-lit interiors of the moonbus cockpit.
Hans-Kurt Lange, who worked as an illustrator in NASAs Future Projects Division, modeled 2001s space suits on NASAs, using the same horizontal stitching to maintain a constant volume of air. They resembled a slimmed-down Michelin Man. Likewise, drawings of the Discoverys control panels were based on NASA photos showing astronauts huddled around an in-development Apollo space capsule.
Kubrick and Clarke needed to conceive of an onboard computing system for the Discovery, which they initially called Athena, not HAL. They went to IBM, then the worlds largest computing company, for drawings and blueprints that could imagine the future of personal computing.
IBM had trouble with that. Eliot Noyes, IBMs industrial design consultant, based his renderings on current technological achievements, which were room-sized supercomputers used only by professionals and the military. He proposed to Kubrick that a computer of the complexity required by the Discovery spacecraft would be a computer into which men went, rather than a computer around which men walked. Kubrick lost it. He wanted something smaller, like a control panel. IBMs assumptions were behind the times, Bizony writes. Rival companies, such as Motorola and Raytheon, were pushing toward miniaturization, spurred in large part by NASAs urgent requirement for computers small enough to fit inside the new lunar capsules.
In the end, Kubrick warmed to IBMs drawings for the sake of creating another character and adding drama to the movie. Of course, to animate HAL 9000, Kubricks team had to create thegraphics. ButDoug Trumbull, who did airbrush paintings for films, hit a speedbump: Computer-generated graphics didnt exist in any real way yet. MIT, where Kubrick had met with AI and robotics professor Marvin Minsky, was developing them, but they had a resolution of just 512 pixels across. That was advanced for the 1960s, but Kubrick knew it would be too crude for the year 2001. So histeam faked it by mounting high-contrast film negatives onto mobile glass panels. Trumbull played with colored filters, photographed different graphics slides, and then projected them onto the set.
MGMs contract with Kubrick stipulated that 2001 would wrap in 1966. It missed the deadline, but critics and fans alike would probably agree it was well worth the wait.) 2001: A Space Odyssey hit theaters in April 1968a year before Apollo 11 landed on the moon and provided another glimpse of what space travel might look like.
If there was a space race between Kubrick and NASA, the director won. But as the many, many pages in Bizonys book show, 2001 wasnt just a journey through space. It was a carefully wrought prediction for the future.
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The Amazingly Accurate Futurism of 2001: A Space Odyssey
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