At Eton he had also known Nicholas Coleridge, who was also at Trinity.

(meta data) TITLE: Lady Thatcher's authorised biography sparks excitement and scepticism | Politics | The Guardian

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(meta data) PUBLISHED DATETIME: 2013-04-19T16:22:00-0400

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# Lady Thatcher's authorised biography sparks excitement and scepticism

Author Charles Moore had access to thousands of private papers, but some question whether he is too ardent a fan

First published on Fri 19 Apr 2013 16.22 EDT

The former Telegraph editor Charles Moore,

whose Thatcher biography Not For Turning – the first of two volumes – is out on Tuesday.

The opening extracts of the long-awaited definitive authorised biography of Margaret Thatcher focus on previously unknown youthful suitors, and details of her childhood.

The two-volume biography by Charles Moore, former editor of the Daily Telegraph, is being serialised in that newspaper and – judging by the initial selections – will contain personal as well as political revelations

It also contains accounts of Thatcher's sister and how at school she almost killed some classmates in a scientific experiment that went wrong.

The biography was conceived 16 years ago with some crucial conditions: it was to be published after the former prime minister's death, she would never read it and, importantly, the people who contributed their thoughts and memories knew that.

Moore had full access to thousands of pages of Thatcher's private and government papers, early access to documents held back under the 30-year rule and extensive interviews with the woman herself.

Not For Turning, the first of two volumes, will be published on Tuesday.

"There's a lot of excitement," said Jon Howells of Waterstones.

"People are expecting it to be pretty definitive."

The 800-page book takes readers through her early years and into her first term as prime minister, ending at the October 1982 Downing Street dinner celebrating victory in the Falklands.

The way the book was produced is unprecedented.

Thatcher approached Moore in 1997 offering access to herself and her papers, and ruled that it should not be published in her lifetime.

In 1998, it was bought for Penguin – for a reported £750,000 – by its then managing director, Andrew Rosenheim, and from then it has incubated, the first volume written and ready to be published once she died.

Stuart Proffitt, a publishing director at the Penguin imprint Allen Lane, said he and his team have not worked on anything else in the last eight days.

It went to the printers on Wednesday night, hours after her funeral, and will be available to buy on Tuesday – St George's Day.

"I edited the two volumes of her autobiography and worked closely with her on those in the early 1990s," he said.

"There is a huge amount that is new – the book now makes all other portraits of her look rather two-dimensional.

"Quite apart from the material that is new, it is an exceptional book: simply as a piece of biographical art, I think it is in the very front rank of political biographies of the past 50 years – a very impressive piece of work."

One big question, which cannot be answered until it has been read, is whether Moore, an ardent Thatcher supporter, was ever the right man to write objectively.

Can someone so steeped in Tory politics be sufficiently detached?

Certainly Moore, known in Private Eye as Lord Snooty, is as archetypal as they come.

In his Who's Who entry he lists hunting as his sole recreation and once entertainingly wrote about the things he has never done: "I have never eaten a product of McDonald's, drunk Coca-Cola, seen The Sound of Music, watched EastEnders or Coronation Street, worn a T-shirt (as an adult), or been to Disneyanything.

I have never bought myself any equipment for playing music, or any musical record, CD or tape, never set a video, or attended a professional football, rugby or cricket match, never had a gin and tonic, sewn on a button, lain on a sunbed, carved a joint or changed a wheel."

After Eton and Cambridge, where his friends included Oliver Letwin and the Condé Nast president Nicholas Coleridge, Moore joined the Daily Telegraph aged 22 as political correspondent in the very year Thatcher came to power.

Within two years he was writing leaders and in 1984, still in his 20s, he became editor of the Spectator.

Moore returned to newspapers in 1990, editing the Sunday Telegraph from 1992 to 1995 and the Daily Telegraph for eight years until 2003, where he was highly regarded and well liked.

Even Ken Clarke sounded mildly dubious when both men were on BBC1's Question Time last week.

The politician was commenting on how so many of the things being said on the Thatcher years were interpretive, at which point Moore interjected to say we would soon get "history" in the form of his book.

"The editor of the Daily Telegraph says his biography is going to be history," said Clarke.

Proffitt hinted that some people might be surprised: "He clearly admires her, but doesn't restrain himself from criticising her when he thinks it's the right thing to do, and the book is remarkably balanced in that respect."

Whatever the reaction the book seems certain to sell well.

Priced at £30 – but also available for less, for example £19.20 on Amazon – the book has the second highest biography order from Waterstones this year (after Julian Barnes).

Howells said the Thatcher effect had been felt on the day of her death when sales of her memoirs immediately went up 300% and by the weekend it was in the region of 800%.

Political biographies can be tough and we all know horror stories about political biographies that have underachieved but with someone like Thatcher there has got to be massive interest."

Although the publishers use the American version, authorized not authorised – house style they say – the book will not be published in the US until May.

Volume two, called Herself Alone, is still being completed.

Moore was born in Hastings. He is from a Liberal family. His mother was a county councillor for the Liberal Party in Sussex, and his father Richard was a leader writer on the "News Chronicle", who unsuccessfully stood for the party at several general elections.
 While at Eton in 1974, Moore wrote about his membership of the Liberals in the "Eton Chronicle", and also about his taste for Real Ale. During this period he was already a friend of Oliver Letwin. Moore remained a Liberal into his early twenties. Moore went to Trinity College, Cambridge, at the same time as Letwin.


Sepetys was awarded the 2017 Carnegie Medal, the UK's most prestigious children's book award, for "Salt to the Sea".

(meta data) TITLE: Carnegie and Kate Greenaway medals: US double in children's book awards | Books | The Guardian

(meta data) AUTHOR: https://www.theguardian.com/profile/danutakean

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(meta data) PUBLISHED DATETIME: 2017-06-19T08:47:42-0400

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# Carnegie and Kate Greenaway medals: US double in children's book awards

Ruta Sepetys' novel Salt to the Sea and illustrator Lane Smith's There Is a Tribe of Kids win their American creators the venerable British awards

Last modified on Wed 20 Sep 2017 05.32 EDT

Ruta Sepetys, 2017 CILIP Carnegie medal wnner and Lane Smith, 2017 CILIP Kate Greenaway medal winner at Daunt Books, London.

A former "punk" illustrator and a refugee's daughter have performed an American double, taking two of the UK's most prestigious children's literary awards.

Lane Smith's There Is a Tribe of Kids won the 2017 Kate Greenaway medal for illustration and Ruta Sepetys' Salt to the Sea received the Carnegie medal for best children's writing.

Chair of judges Tricia Adams described the winning books as demonstrating "the vitally important role that literature and illustration play in helping children and young people to understand the world around them, be that through a historical lens or through the natural world around them".

Salt to the Sea is a fictionalised account of the sinking of German ocean liner the Wilhelm Gustloff in 1945.

It was the worst maritime disaster in history, in which 9,000 passengers, mainly refugees, were drowned.

As the daughter of a Lithuanian refugee, the story of the had particular resonance for Sepetys.

Her father's cousin was meant to sail on the ship, but on the day of the voyage was unable to board.

"She suggested that I write about the sinking and the refugees from many different countries evacuating through East Prussia," Sepetys said.

Describing herself as thrilled by the award, she added: "When I interviewed people during my research, some told me not to bother with the book, that the world had forgotten them.

The interest in the novel confirms that through characters and story, historical statistics become human and suddenly we care for those we've never met.

"My work sits on the shoulders of nonfiction, memoir and testimony.

If a reader is interested in my novels, it's my hope that they will feel compelled to research the facts behind the fiction."

Of Salt to the Sea, the judges said that "not one of us knew about this real-life disaster and it shows how history is skewed towards the victor".

They added: "[The book] has been selected because of the powerful, crafted language, the tight, carefully shaped plot and the range of moods evoked throughout."

Smith's There Is a Tribe of Kids won the Kate Greenaway medal for illustration because "of the warm and playful images, which show how children are influenced and inspired by the world around them", the judges said.

Blending unusual collective nouns with images from nature, the book explores the emotional range of a child as she searches for a new home.

The Connecticut-based illustrator said winning a UK award was especially significant to him, since his earliest influences had been British illustrators.

"When I was starting out in the early 80s, it was a more conservative time in [US] illustration, but fortunately after a while, people were able to slap a label on my work as 'new wave' or 'punk'," the 57-year old said.

He admitted he had to forgo his punk influences for the award-winning book, choosing to ignore the darker collective nouns available.

"There were some I would love to have used, like a 'murder of crows', and 30 years ago I would have done that, but now I think that is a little bit harsh for children," he said.

The two books emerged from shortlists dominated by stories of displaced and refugee children.

Two other books were chosen from each of the eight-strong shortlists to receive Amnesty Cilip honours for children's literature exploring human rights: The Bone Sparrow, a novel by Australian author Zana Fraillon about an unlikely friendship struck up between a refugee child and a local boy; and The Journey, illustrated and written by Italian artist Francesca Sanna, which follows a family of refugees.

The medals, which are overseen by the Chartered Institute of Library and Information Professionals (Cilip), became mired in controversy earlier this year after the 20-book longlist for the Carnegie featured no BAME (black, Asian and minority ethnic) writers, despite their very strong showing on bestseller lists and other prize lists, including the Costa and Guardian children's book prizes.

As a result of outcry headed by authors including Alex Wheatle and Philip Pullman, Cilip announced an inquiry into equality and diversity in the information sector and the Carnegie award, which has never been won by a BAME writer in the 80 years it has been run.

Accepting the 2017 Carnegie prize, Sepetys welcomed the inquiry.

"What a meaningful way to commemorate an important anniversary, with a commitment to inclusivity, diversity, and to address issues that divide our societies," she said.

She added: "We must constantly challenge ourselves to do better, to be gentle with one another, and be willing to look through another's eyes and consider their heart."

"Salt to the Sea" is a 2016 historical fiction young adult novel by Ruta Sepetys (book cover illustration and design by Matt Jones). It tells the story of four individuals in World War II who make their way to the ill-fated MV "Wilhelm Gustloff". The story also touches on the disappearance of the Amber Room, a world-famous, ornately decorated chamber stolen by the Nazis that has never been recovered.


Around 1901 he began actively sculpting in Edinburgh, first working from a studio at 109 Haymarket Terrace, then in 1912 moving to the more prestigious Dean Studios on Belford Road.

(meta data) TITLE:  William Francis Beattie - Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951

AboutFind out more about the Mapping Sculpture project

HelpClick here for help using the Mapping Sculpture site

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Dates are usually the year a work was exhibited so may differ from date of production.

New entries have been made each time a work was exhibited.

Address 109 Haymarket Terrace Edinburgh | View on map 1914

Studio located at Dean Studios Belford Road Edinburgh | View on map 1912 (Circa) - 1914

## Exhibitions, Meetings, Awards and other Events

Exhibited at The Exhibition of The Royal Scottish Academy of Painting, Sculpture and Architecture, The Eighty-Eighth, 1914'Hawick 1914 Memorial'

Exhibited at The Exhibition of the Royal Scottish Academy of Painting, Sculpture and Architecture, The Eighty-Sixth, 1912'The artist's mother'

## Personal and Professional Connections

Shared rooms with Thomas Beattie 1901 (Circa) - 1920 (

Circa)Not necessarily continuous sharing of dwelling place but recorded at start and end of this period

Occupation given in 1901 Scotland Census'Art Student'

1901 Scotland Census 2007Parish: Edinburgh St Michael; ED: 129; Page: 1; Line: 14; Roll CSSCT1901_368; Year: 1901

The Edinburgh College of Art Report by the Board of Management for the session 1914 -1915 1915p.16

The Royal Scottish Academy Exhibitors 1826-1990: A dictionary of artists and their work in the Annual Exhibitions of the Royal Scottish Academy.

'William Francis Beattie', Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011 [http://sculpture.gla.ac.uk/view/person.php?id=msib6_1203332983, accessed 19 Aug 2019]

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He was born in Hawick on 23 November 1886, the son of Annie Kate McMann and Thomas Beattie (1861-1933), a local sculptor, whose most notable work includes the interior of the Usher Hall and the war memorial at Carnoustie.  William’s grandfather had been a local pioneer of photography. William was educated at George Watson’s College and then the Edinburgh School of Art.


Among his teammates was none other than Frank Rijkaard, the player he used to idolise in his younger days

(meta data) TITLE: Clarence Seedorf paints picture of hunger and intelligence | Football | The Guardian

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(meta data) PUBLISHED DATETIME: 2010-02-13T19:10:03-0500

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# Clarence Seedorf paints picture of hunger and intelligence

The Dutch master has played for some of the world's greatest managers, is the only player to win the Champions League with three different clubs and, though battling an injury, is desperate to play against Manchester United

First published on Sat 13 Feb 2010 19.10 EST

Clarence Seedorf has won the Champions League with Ajax, Milan and Real Madrid.

Photograph: Giuseppe Cacace/AFP/Getty Images

At his home in Milan, Clarence Seedorf's personal physio is working overtime on the AC Milan player's hip.

It is late and the physio has already done several sessions, but Milan host Manchester United in the Champions League on Tuesday and Seedorf is desperate to be fit in time.

"If my voice suddenly changes, you will know why," he says, as his physio doggedly kneads away.

Seedorf, 33, one of the most decorated players in the modern game, is still as hungry as ever to achieve more.

The only player to have won the Champions League with three different clubs – Ajax in 1995, Real Madrid in 1998, and twice with Milan in 2003 and 2007 – he has a career total of 17 club trophies across three European leagues.

The Dutchman has played under some of the greatest managers in the game, Fabio Capello, Sven-Goran Eriksson, Carlo Ancelotti, Guus Hiddink, Marcello Lippi, and Louis van Gaal among them, and earned 87 caps for the national side.

That desire stems in part, he says, from his parents – Surinamese immigrants who instilled a strong work ethic in their son as they struggled to forge a new life in the Netherlands.

Extended family crammed into the modest family home, "everyone trying to find a better life", he says.

At 14 years old, progressing through the ranks at Ajax, that instinct was strong in Seedorf and he was already insanely competitive.

"I was already dreaming about winning the Champions League three times," he says.

"My idol, Frank Rijkaard [whom Seedorf also played for during the former Barcelona coach's brief tenure as Holland manager], had won it twice at that stage and so I wanted to win one more than him."

He laughs at the memory, but that desire to always have "one more" has not changed in him, even after all his successes.

"When you have ambition then it's never enough to win," he says.

"If I was happy with three trophies, then suddenly I had to have four.

If I was happy with four then I had to have five.

A couple of months [to enjoy it], then when you start again the next season all you can think about it is wanting to do it again."

Which is why Seedorf is so keen to be fit to take his place in midfield for Tuesday's game against Manchester United, a team who hold special memories for him.

Milan beat United 3-0 in the second leg of the 2007 semi-final and that night, he says, remains the best moment of his career.

Seedorf's performance drew great praise from Wayne Rooney, who told the Italian press that Seedorf was the best footballer he had ever played against.

"We played an incredible game," says Seedorf, smiling at the memory.

We began one goal down on aggregate, and it felt like everything was against us."

Milan had started that season with a 15-point penalty for their part in the calciopoli scandal.

"At the start of that season we could not have imagined winning any trophies.

But the team just came together in a way that was really special.

We beat Bayern Munich, then Manchester United, and then Liverpool – after losing to them in the [2005] final.

It was an incredible explosion of emotions.

They wanted to take away our possibility to play in the Champions League when we had done nothing to deserve that, and we won it back."

Seedorf, prodigiously talented, enjoyed success from a young age.

At 15 years old his parents turned down an offer from Real Madrid, and aged 16 years and 211 days he made his debut for Ajax, becoming their youngest ever player.

Silverware has been plentiful, but some question whether Seedorf's personality has, at times, caused him undue problems.

Highly articulate – he is studying for a masters degree in business – Seedorf is refreshingly expressive and opinionated – but in football terms that means outspoken.

Unprompted, he tells a story about being racially abused last year.

It is the kind of incident that would give most footballers sleepless nights as they try to decide whether to speak out or not, but Seedorf is totally unfazed.

"After the game I wanted to make an official statement," he says, "not to cause a problem but because I wanted to make the point that if players treat each other like this what message do we send to the outside world?"

In the end he felt the Catania player learned a far more personal lesson, as his wife and kids approached Seedorf for autographs and photos after the game.

"You can imagine how embarrassing it was for him," he says, taking care to describe the scene.

"I didn't say anything, I just turned to him and gave him my hand.

Seedorf is deeply spiritual, and does not touch alcohol or coffee.

He describes himself as a "volcano" off the pitch, dividing his time between his sports-business company, which manages the Serie C club Monza, and his humanitarian commitments.

His charity, Champions for Children, has pioneered an educational playground model for use in developing countries around the world, and his work has brought him into contact with Nelson Mandela, Archbishop Desmond Tutu and Kofi Annan.

For his former club psychologist at Milan, Bruno de Michelis – now at Chelsea – Seedorf is a fascinating case.

De Michelis describes him as closer to the personality type of a coach than a footballer.

"He talked 10% like a player, 70% like a coach, and 20% like a general manager," he says, "I've never seen such a strong personality."

When Seedorf's biographer approached De Michelis for further insight, the psychologist explained that in football if the manager tells the players to defecate on the pitch, the players would do so without question.

"But Seedorf would say: 'Certainly, mister, but what colour should our shit be?"'

His readiness to speak his mind has not been welcomed by everyone.

During Euro 2000 a Dutch public opinion poll showed 81% against his inclusion in the squad, but Seedorf seems genuinely hurt by the suggestion that he is contentious – or unpopular.

"Wherever I go the fans are warm to me, even from Inter," he says.

"I think I'm outspoken, but I think people respect me for that.

Who does not shoot the penalty cannot miss."

Whatever his own view, over the years stories have circulated about infamous run-ins with managers and players.

Famously Fabio Capello, then manager of Real Madrid, was alleged to have thrown his jacket at Seedorf because the player was talking tactics at half-time, shouting: "If you know it all so well, you be the coach!"

Seedorf plays down the story as, "a discussion about nothing", but his recollections of the England manager are revealing.

"When you talk about me and Capello, you talk about two personalities.

If I have an opinion and I don't agree with you that's it, and he was the same.

Capello used the guys with strong personalities – I remember he did it with [striker] Predrag Mijatovic as well – he motivated the team by creating a discussion with somebody, by looking for conflicts.

And when he did, the team would go out and kick butt."

He recalls his own version of the jacket-throwing incident – minus the jacket but with a good deal of yelling.

"One time we were losing 1-0 to Atlético Madrid," he says, "playing with 10 men, and we came in the dressing room and began talking about the game.

Capello was on the other side of the room and he asked what we were talking about, but he didn't listen to the answer he just started yelling.

But he wanted to make a statement and it worked: the team went out and won 4-1 and I scored.

"And then just before you go out to play he will clap you on the back.

That's his thing, it's over, right there.

After the game I remember I walked to my car, and he stopped his car beside me, wound his window down, and shook my hand.

Seedorf remembers the Italian coach fondly, and there is genuine affection in his voice as he describes being taken under his wing.

"I was just 19 when he took me to Real Madrid.

He asked me personally to go with him, and that carried a lot of importance.

He was always very clear and very tough, but also very caring.

He was one of the most important coaches in my career."

Well accustomed to Capello's autocratic style, Seedorf says he is not at all surprised by the coach's decision to strip John Terry of the England captaincy.

"Capello couldn't do anything other than what he did.

You have to send out the right message, I don't think you can get away with those things – like Thierry Henry and his handball, that was a big mistake that they did not punish him.

At the One Young World summit [in London] last week I spoke about the responsibility we have as sportsmen in the public eye.

Yes it is a shame that the story came out, but paparazzi and tabloids are just part of society and you as a sports celebrity should be aware of the risk.

"But Terry has been a great captain for Chelsea and England, and I hope he will be an even better captain in the future.

Seedorf still keeps in touch with Capello, but it is England's first foreign manager with whom he has the closest bond.

A year spent at Sampdoria, in the care of Sven-Goran Eriksson, had the biggest impression on his career.

"Eriksson was like a father to me," he says.

"He told me about life, he helped me to understand what was needed to survive outside Holland.

It went beyond football, it was the culture, the mentality of the Italian players.

If you don't understand that, you can become frustrated.

I came from a country where people expressed their opinions.

The mentality in Italy is to shut up and run.

When things go bad don't discuss it, just run harder.

In Holland it's: 'Let's sit down and discuss things until we understand what the problem is.'"

Seedorf paints an intimate picture as he describes Eriksson using allegory to explain the Mediterranean football culture that was so alien to his young charge.

"He said it was like people building a house.

People can relate better to the labourers working on the house than to the architect who actually created it.

In Italy everything was about being a hard worker.

I like to be strategic when I play football, but people who don't understand the game cannot appreciate that.

Sven taught me to ombine those qualities."

His relationship with the Dutch national team over the years has not been so harmonious.

Seedorf has not played more than a few minutes of international football since 2006.

A falling out with then coach Marco van Basten prompted him to rule himself out of playing for Holland at Euro 2008 before the tournament even began, and under the current manager, Bert van Marwijk, the situation has not improved.

Raising the issue provokes a weariness in his voice as he reluctantly covers old ground, such as the alleged racial divide in the team of the mid-1990s.

"That was 14 years ago," he says, irritably.

The media made it like that, that's how they function.

"The truth is there was a whole other issue going on.

But I can guarantee you that Van der Sar is not black and Bergkamp is not black and yet I was in their rooms during practically all of the tournament.

The team had a problem that was beyond anything that came out."

Can he relate to the internal problems of the current England team?

"I have experienced internal issues that were internal then, and are still now," he says.

"First you have to forgive, then you have to work together again.

Seedorf has not retired from international football, but he will not play a part in the World Cup this summer other than as a television pundit.

"I don't have any feeling about it at the moment," he says, "that feeling has probably passed already.

It [the decision] doesn't depend on me."

As the interview draws to a close, Seedorf's physio is still working away.

"I think I'll tell him to go easy now," he says, but he is joking.

Seedorf's mind is too focused on winning his next Champions League trophy to go easy any time soon.

As a product of the famed Ajax Youth Academy, Seedorf started his career as a right midfielder for Ajax during the early 1990s. He made his professional debut on 29 November 1992 against Groningen at the age of 16 years and 242 days, making him the youngest-ever debutant for Ajax, at the time. He quickly established himself as the first choice on his position under manager Louis van Gaal, and in the 1993–94 season, his second with the club, he helped the Amsterdam-based side win the treble, securing the Eredivisie title, the KNVB Cup and the Dutch Super Cup in the same year.


Her main research interests are Bioinformatics, Computational Genomics, Pharmacogenomics and Genetic Architecture of Complex Human Traits.

(meta data) TITLE: Marylyn D. Ritchie, PhD | Penn Center for Precision Medicine | Perelman School of Medicine at the University of Pennsylvania

Director, Center for Translational Bioinformatics

Associate Director, Penn Center for Precision Medicine

Complex analysis of big data in genetics, genomics, and clinical databases, pharmacogenomics

Marylyn D. Ritchie, PhD, is a Professor of Genetics, Director of the Center for Translational Bioinformatics, Associate Director for Bioinformatics in the Institute for Biomedical Informatics, and Associate director of the Center for Precision Medicine at the University of Pennsylvania School of Medicine.

Dr. Ritchie is a statistical and computational geneticist with a focus on understanding genetic architecture of complex human disease.

She has expertise in developing novel bioinformatics tools for complex analysis of big data in genetics, genomics, and clinical databases, in particular in the area of Pharmacogenomics.

Some of her methods include Multifactor Dimensionality Reduction (MDR), the Analysis Tool for Heritable and Environmental Network Associations (ATHENA), and the Biosoftware suite for annotating/ filtering variants and genomic regions as well as building models of biological relevance for gene-gene interactions and rare-variant burden/dispersion tests.

Dr. Ritchie has over 15 years of experience in the analysis of complex data and has authored over 250 publications.

Dr. Ritchie has received several awards and honors, including selection as a Genome Technology Rising Young Investigator in 2006, an Alfred P. Sloan Research Fellow in 2010, a KAVLI Frontiers of Science fellow by the National Academy of Science from 2011-2014, and she was named one of the most highly cited researchers in her field by Thomson Reuters in 2014.

Dr. Ritchie has extensive experience in all aspects of genetic epidemiology and translational bioinformatics as it relates to human genomics.

She also has extensive expertise in dealing with big data and complex analysis including GWAS, next-generation sequencing, data integration of meta-dimensional omics data, Phenome-wide Association Studies (PheWAS), and development of data visualization approaches.


The revised version was premiered by the Los Angeles Philharmonic conducted by Gustavo Dudamel October 28, 2016.

(meta data) TITLE: "Cut to a Different World": Andrew Norman — Music & Literature

(meta data) PUBLISHED DATETIME: 2016-10-25

# "Cut to a Different World": Andrew Norman

Andrew Norman's Play, "a symphony in all but name," has already made waves: critic and musicologist William Robin sparked a lively online debate last winter by suggesting that Play "might be the best orchestral work that the twenty-first century has seen thus far," and it was nominated for a Grammy for Best Classical Contemporary Composition earlier this year.

Commissioned and recorded by the Boston Modern Orchestra Project (BMOP) in 2013, the work has since changed substantially due to Norman's insistence upon clarifying his ideas and learning from his experiences working with different musicians in each subsequent performance.

Just named Musical America's 2017 "Composer of the Year," Norman has won both the Rome Prize and the Berlin Prize, the Guggenheim Fellowship, and was a finalist for the Pulitzer Prize in Music in 2012 for his string trio The Companion Guide to Rome.

This essay is the result of many years of close collaboration with Norman as a performer, interpreter, and scholar.

Because of that, rather than give a general profile of his career, as is typical in this series, I will focus on Play, and through this focus on a single work touch on some of the aspects that inspire me about Norman's music.

He graciously took time out of his schedule while finishing the final revisions for Play last month to jump on the phone for an interview to illuminate some of the elements of the piece.

Andrew Norman has suddenly switched subjects to architecture—his voice lights up.

"Where the entire structure, all the innards of the building are on the outside—all the pipes, and all the vents, and all the support structure—you see everything, none of that is buried."

My mind flashes to the escalator of the Centre Pompidou, riding up the outside of the building slowly as Paris reveals itself in layers of rooftops, threads of pedestrians.

I happened to be in Paris this summer during Fête de la musique, an annual festival of music outdoors that feels more like an Ivesian maze of drum circles and Indie rock bands.

Needing a respite from the chaotic buzz of the streets, a friend and I went to the opening of an exhibit at the Centre Pompidou on the Beat Generation.

Entering the dimly lit exhibit, we found each artifact a treasure: the long single scrolled manuscript of Jack Kerouac's On the Road from 1951 almost filled the length of the main room sprawled out in a long glass case.

Andrew NormanImage credit: Jessa Anderson

Adventure and storytelling, noise and a mess of sounds that only reveal themselves through focused engagement with the narrative: all evoked in a moment with the image of the Centre Pompidou.

Norman continues—"and that's, I think, maybe a good metaphor for what I'm trying to do in music, because I want you, the audience, to see and hear everything that I'm doing.

I want the music to wear its structure on the surface."

The audience will have a chance to see what Norman is doing live on October 28 when the Los Angeles Philharmonic premieres the revised version of Play, his celebrated first symphony.

Structured in three movements—or "Levels," as they are titled—it is an intricately planned work dealing with themes of control, free will, hidden messages, and of course, playfulness.

The key elements of Play are the things that inspire me in Norman's music: physicality, the use of form to create narrative, and an interest in the experience of live performance.

Physicality is one of the striking qualities of Norman's music, and he focuses on physical gesture and energy as a way to empower the individual performers and recognize their humanity on stage.

As he said during a Q2 Meet the Composer profile in 2014:

For me, instrumental music is all about the combination of physical gesture and sonic event....

There's a very strong physical gesture and it makes a very interesting musical sound....

They're inseparable in a way, and I often think about these gestures in terms of the physical impact they're going to have, the visual impact.

When watching from the audience, one hears sounds coming from instruments that seem like they must be electronic, but that are in fact created through unusual combinations of playing practices, or what musicians typically refer to as "extended techniques."

Breaking this jargon down, "extended" implies "advanced," "broadened," or "furthered," all terms to describe expanding the palate of sound available at one's disposal, or thinking beyond what one conceives as boundaries.

In the classical contemporary music scene, the term "extended techniques" is used to define the broad range of techniques demanded of performers in twenty-first century music.

A look into standard notational practice for canceling out these techniques gives further insight into issues of terminology.

Elaine Gould's Behind Bars: The Definitive Guide to Music Notation states: "Non-standard techniques may be cancelled by any of the directives as follows: ord. (modo ordinario), nat. (posizione naturale), norm. (posizione normale)."

By contrast, normative practices for playing string instruments involve drawing the bow across the strings to utilize the maximal resonance of the instrument and create a "pleasant" tone.

In this vein of thinking, extended techniques for strings are techniques which challenge or break these preconceived notions of "normal" playing, often using standard technique(s) in the right and left hands, but in non-traditional combinations that produce timbres outside the accepted norms of beauty.

Therefore, an exploration of timbre allows for an exploration of non-normative concepts of beauty, both sonically and in a broader sense.

Avant-garde German composer Helmut Lachenmann—the grandfather of extended techniques for strings in the twentieth century—discusses preconceived notions of beauty and the importance of confronting such social contradictions in his essay "The 'Beautiful' in Music Today."

He states, "The experience of the Beautiful is indissolubly connected with making perceptible the social contradictions in our reality; because to make them perceptible is to make them surmountable."

Similar to Lachenmann's approach to discovering sounds through tactile experimentation, Norman developed and chose the extended techniques for Play by working out the sounds on the viola, one of his primary instruments.

Norman's personal connection to playing the instruments that he writes for gives him a unique perspective and results in stunning timbres and dramatic physical gestures in his music.

Occasionally in our phone interview last month he would suddenly demonstrate a passage by singing and playing the piano, or burst into vibrant chords on the viola.

From the other end of the phone, these sounds seemed to be an extension of Norman's voice, appearing as a part of his creative process and his expressive train of thought.

This physical connection to the instruments makes Norman's string writing especially compelling and natural.

One of my favorite sounds in Play distorts the viola so that it sounds like an electric guitar, what Norman calls heavy bow pressure with light fingered tremolo.

In the video above, Norman explains and demonstrates the technique.

This is absolutely my favorite moment from this session, when, upon hearing the demonstration Norman beams and says, "Beautiful!

Another extended technique used in Play is the m.s.p. (molto sul ponticello; very near the bridge) scratch bounce that sounds like a set of short vinyl scratches.

In the clip to the left, Norman demonstrates a "bouncy sound that has a lot of scratch and no pitch."

Other sounds are physically very active but almost inaudible on a recording or in a large hall such as the pitchless bounce and noisy shift.

Again, Norman explains the strategy behind these techniques below.

Sometimes there is a one-to-one correlation between a physical gesture and the kind of sound it produces, i.e. a big dramatic gesture produces a big dramatic sound.

But I also love when there is a contradiction, a disconnect between what is seen and what is heard, when a big motion produces a tiny sound, or vice versa.

To see the correlation or contradiction apparent in these and other sounds, videos describing the techniques used in the Play can be found at shakennotstuttered.com, a free online resource demonstrating the extended techniques for strings in Norman's orchestral and chamber works.

Unusual timbres such as these recontextualize ordinary playing, beautiful in their directness or in their subtle intimacy.

As an audience member, this means being open to hearing these various sounds in the same body of work, and finding a way to embrace their contradictions and juxtapositions.

In his essay "Philosophy of Composition," Lachenmann emphasizes the need for "a mode of listening that constantly renews itself through reflection, and which must show equal proficiency in dealing with familiar and unfamiliar sounds alike..."

New sounds force one to be present in the physical world, often sonically making the listener uncomfortable.

They also reframe familiar sounds, provoking the listener to hear and consider beauty in a new context.

Works like Play utilize extended techniques that reflect the weight Norman gives to the physicality of musical performance, and the juxtaposition of "normal" beautiful sound and "abnormal" beautiful extended techniques.

Therefore, Norman said a focus on what kind of energy the performers put out was important when considering how to notate these sounds.

Norman's notation is about how to really play on stage.

Subtle choices on the part of the individual players through the interpretation of notation are essential, and what makes hearing Play live riveting.

Norman hopes that individual performances of his music open up different interpretations.

In an interview on Play with Alexandra Gardener for NewMusicBox, he said:

I really love seeing people make choices and taking risks on stage...to take a risk, to have a definite idea about the interpretation of a piece....

To me, the heart and soul of written music is about creating something with enough depth and complexity, but also enough openness in it to allow for many different realizations....

And that has also led me into really exploring this idea of human interaction in music.

How can I open up that space on the written page for human beings to be human beings when they play music?

Norman's music is thrilling to experience live because of the abundance of unusual sounds that emanate from the stage.

Emerging from these sounds is an incredible, slow, lyrical narrative that Norman threads through each piece.

The journey of each instrumental line in this narrative gradually unfolds, manipulated by rules of the symphonic game, and blurred by intensely physical extended techniques that challenge traditional concepts of beauty.

In Play Norman uses form to create narrative.

Musical form is a structure in time that sets up expectations.

These expectations are either fulfilled or denied.

Norman says he is interested in putting the form of the piece and the rules that govern it out in the open for the audience to discover, just as the structural elements of the Centre Pompidou are out in the open and reveal the functional structure of the building.

I really like the idea that a piece would teach you how to listen to it.

The piece would show you, in a very purposeful way, the rules of its universe, so that you can follow along with the structural trajectories of the work in real time.

I think a lot about the symphonies of Beethoven, and the late symphonies of Haydn.

I think about this time at the turn of the nineteenth century when the public orchestral concert, more or less as we know it, came into being, and what's striking to me is the incredible formal clarity of the works written for these concerts.

You can almost hear Beethoven and Haydn announcing to the public "and here we are, folks, at the second theme . . . and look here, I take the two themes and combine them, etc."

The formal operations of this music are unapologetically worn on its surface, in an almost didactic way, and that is something that I love and find deeply satisfying as a listener.

I also love being blown off course, I love having the rug pulled out from under me, and there's plenty of that in Play, too—music that seeks to both orient and disorient you in rapid succession.

Musical form is often used to first show all the elements at play in a given work, put them at odds with each other, and then show how they resolve.

In Play, the opening of "Level 1" not only introduces all the musical ideas of the entire work, it also unleashes a host of formal operations, or "controls," that govern what happens to those musical ideas in the rest of the piece.

Norman explained in recent correspondence:

These controls, with names like "fast forward," "rewind," "freeze," "interrupt," and "try again," are triggered by specific percussion instruments, and they are essential to the overall trajectory of Play and to an understanding of its internal mechanics.

I use specific percussion instruments to amplify, to call attention to, or to externalize the formal operations that have been part of classical music for centuries.

There is plenty of "interrupt," "try again," and "rewind" in Beethoven, it's just not labeled as such, nor is it instigated with a woodblock or a bongo hit the way it is in Play.

Norman uses the percussion to amplify the way an orchestra functions as a set of hierarchical controls and submissions.

I liked this idea that the percussionists in Play would control, in a metaphorical sense, the goings-on in the rest of the orchestra, because what is an orchestra if not an elaborate system of hierarchical controls?

I'm fascinated by who controls whom, and if, when, and how there is free will, or choice, or agency involved in the act of orchestral performance.

The concertmaster, in a way, controls the bow movements of their section, but then they are being controlled by the conductor, who is in turn being controlled by the score.

And at every one of those levels there's some element of choice and some element of submission, and I find that absolutely fascinating.

Andrew Norman Play© 2013 Schott Music Corporation, New York (ASCAP)All Rights Reserved; used by permission of Schott Music Corporation

While each member of the orchestra is trying to fulfill her individual expectations or desires, the percussionists act as a metaphorical impediment, creating a layer of musical triggers that other musicians must respond to.

There is a struggle between the individuals' desires and the control that is theatrically imposed on them by the percussionists.

These control elements or "rules of the game" are presented in rapid succession at the beginning of "Level 1".

Norman provides hints in the score (see chart to the left).

One of the most audible "control elements" in Play is the triangle which freezes or unfreezes the action with a resonant ding [click link for audio].

Another example of a percussive sound that triggers action is the slapstick/kick drum combination; this sonorous whack makes the orchestra "cut to a different world."

Norman said this concept was inspired by "the subtle knife" in Philip Pullman's fantasy trilogy His Dark Materials.

In the books, one of the main characters has a magic knife that allows him to slice open the space-time continuum into another world.

Sonically, the slapstick/kick drum combination triggers the orchestra to jump to a different world of sound.

These rapid, abrupt changes become increasingly prevalent as the work progresses.

Adapting a concept from composer and architect Iannis Xenakis, time exists both as an "impalpable flux" that may be abrasive and difficult to hold onto—jumpy, starting and stopping but always moving forward—and in a "frozen form" that is observable using instinct and listening in longer threads, only possible through memory.

This second approach to time by using memory allows for formal listening.

Both types of listening are important to understanding the narrative trajectory and struggles within Play.

Norman said that in the beginning of "Level 1", "I want to stretch your powers of perception, to throw you down a gauntlet of sound that sits on the edge of unintelligibility...

it's a game for the listener, and a hard one at that, to make sense of this crazy universe, at least at the onset, and that's part of the fun."

It is only through active listening and memory that patterns, trajectories, and even distinct musical characters begin to emerge.

The narrative of Play is driven by characters and their individual struggles, characters embodied by specific instrumentalists in the orchestra (the trumpet, clarinet, oboe, strings).

In "Level 1", the most obvious character that emerges is the trumpet.

At one point the action suddenly stops and the trumpet is left alone in a wide downward major seventh, an interval that is threaded through the symphony and that ends the entire piece.

This trumpet solo moves in a contracting melodic wedge shape, seeking to focus energy inward.

It finally succeeds at the end of "Level 1", and announces what I hear as a "call to adventure," as Nancy Duarte refers to it in her book on oratory, Resonate.

She says this is when an audience is first made aware of the difference "between what is and what could be."

This trumpet call [click for audio] invites the audience to cross the threshold into "Level 2", and slowly weaves its way through the entirety of the central movement (see score image below).

In "Level 2", the character of the oboe [click for audio] emerges as one of the main protagonists.

It is trying to complete the action of playing a descending melody; however, it keeps falling off course at various points.

The trial and error of the oboe's musical idea—downward melodic motion by whole or half step—is representative of its narrative trajectory.

This narrative thread is only resolved in "Level 3" when the oboe finally finds the thing it was always in search of: an uninterrupted descending major scale [click for audio].

The narratives of the trumpet, oboe, and other characters in the orchestra are inextricably linked by a melodic wedge that only reveals itself completely in "Level 3".

Norman refers to the wedge as an "idée fixe"—a motive that obsessively returns in various transformations throughout the work.

The term idée fixe is a reference to an idea pioneered in Hector Berlioz's Symphonie fantastique, in which a melodic theme representing a love interest is woven through the entire work and transforms as it returns in each movement or scene.

The wedge forms the heart of the narrative of Play: it starts on the note C and unfolds outward into an ever-expanding joyful melody.

Unlike a normal idée fixe, though, this theme is not presented at the beginning of the symphony.

Rather, Norman said, "it grows, in hints and fragments, over the course of the work, only reaching its full form very near the end of the piece."

In the liner notes for the BMOP recording of Play he emphasized that "it is the story of this wedge—one might say the wedge's search for its true and complete self—that forms the basic plot of Play."

Andrew Norman Play© 2013 Schott Music Corporation, New York (ASCAP)All Rights Reserved; used by permission of Schott Music Corporation

This struggle—between the desire to reach the wedge and the percussive control elements—is therefore not just a compositional element, but also a narrative arc and essential conflict in the piece.

Elements of the wedge are finding their way slowly into place, constantly missing each other in "Levels 1" and "2" through false actions and missteps as they respond to the control of the percussion.

Norman elaborated in our recent interview:

One of trajectories I thought of in Play was that of the orchestra gradually losing its free will over the course of "Level 1" and "2".

The players become more and more like puppets or automatons who are just being put through the paces by these percussionists in increasingly frantic and absurd ways.

It is only when the system of percussion controls collapses at the end of "Level 2" that the orchestra awakens as "agents of free will" in "Level 3", finally finding their true melodic trajectories uninterrupted and putting the wedge together.

I have this fantasy that the end of "Level 3", eventually someone orchestra is going to be able to do it without being conducted—just the very end—the idea that even the conductor stops being an agent of control at a certain point, and then it really is people making choices and playing.

It is control in an orchestra: by the score, by the conductor, by the concertmaster, that makes orchestral musicians sometimes feel like "automatons."

Several years ago when I originally interviewed Norman (which happened to be the same summer that he was writing the wedge that made its way into Play), he lamented that orchestral musicians often have a negative view of contemporary music.

"One thing I've heard over and over from orchestral musicians is that they don't like playing new music because it makes them feel like automatons."

Hearing Norman use that word again in our most recent interview when speaking about the essential nature of Play, and his interest "for human beings to be human beings when they play music" makes me think he really listened, that he really cares about orchestral musicians as people, and that that narrative found its way into Play.

Playby Andrew NormanBoston Modern Orchestra ProjectGil Rose (cond.)(BMOP Sound, Jan. 2015)

Play is a piece that is meant to be experienced live.

a symphony in all but name—that explores the myriad ways musicians can play with, against, or apart from one another.

It weds traditional symphonic logic to the non-linear narrative techniques and exuberant tone of a video game, and it dives headlong into the potent theatrical possibilities inherent in the physical gestures of live orchestral playing.

Perhaps Gustavo Dudamel, who will lead the premiere of the new version of Play, conjures images of wild hair and dramatic gestures (the ostensible inspiration for Gael García Barnal's character on Mozart in the Jungle), but the physicality of the orchestral musicians themselves is rarely discussed.

The narrative, the physicality, the spatial aspect of the individual players—all these things sound exciting on a recording but are completely different when one is sitting in a hall and seeing the people who are making these sounds in the act of live performance.

Norman emphasized in our recent interview:

For me, live orchestral performance is about people as much as it is about sound.

It's about interpersonal interactions as much as it is about sonic events.

I think we should be talking about orchestral music not just as a combination of melodies and harmonies and rhythms, but as an act of performance, of performance art really.

These days, when we can produce any imaginable sound on our laptops, what makes the orchestra interesting, and vital, and necessary, isn't the sounds it makes but the very human energies and human expressions it unleashes.

Andrew Norman & BMOP conductor-founder Gil Rose prior to the 2013 premiere of PlayImage credit: BMOP Sound

Traditionally, each section of stringed instruments plays exactly the same part.

However, Norman splits the sections into individual parts, giving each player her own voice.

In an unusual gesture, but one that is pervasive in Norman's orchestral writing, members in the back of the string sections take on non-traditional roles as soloists.

Esprit Orchestra regular Renee London, who had one of the more exposed violin parts in the Canadian premiere of Play this past season, said that while she was surprised to discover she had extremely exposed solos in the back of the section, she loved that "I could actually play my heart out!"

Being a good section player in an orchestra, especially in the back of the section, usually means not sticking out, and therefore prioritizing blend over individuality.

Norman says he thinks of the string sections more like the corps de ballet, or the ensemble in a ballet company: these ensemble members usually dance together, but occasionally break out and move as individuals.

These moments humanize the individual dancers, and stand out in live performance when attention is drawn to the physicality and personality of the individual.

This technique mapped onto the orchestra is most apparent at the end of Play: after the last large climax in the final movement, the piece winds down, and the final gesture consists of individual strings playing single notes that create the wedge when heard as a composite melody.

Composer Scott Wollschleger, who is also Norman's publisher, discussed the piece and these themes in correspondence:

...reiterating the players as individuals, I was thinking how the piece reflects a utopian economy where individuals interact with a larger system.

When I saw BMOP do [the premiere], I recall how the solos given to the last chair was really moving for some reason [sic]...like there was a feeling of freedom and also fairness happening.

Playfulness and physicality are ultimately used to enhance the "characters" that are individual orchestral musicians in a narrative, personalizing the orchestra and highlighting human interaction that is unique to live performance.

In "Level 3", the orchestral musicians finally achieve their unified goal to create the wedge with their individual threads, unimpeded by the control elements or their own missteps.

Yet the piece does not end big and does not finish with a satisfactory climax as one might expect.

There is still something left unresolved by this final section.

The last interval of Play is an expanded major seventh: after hearing the wedge so many times throughout the piece, it is clear that this is the logical end of the idée fixe.

It now sounds pleasant, even though in traditional classical music, it is an interval that would be considered "dissonant."

The piece ends with a call to action: the audience must resolve this dissonance in themselves.

Anne Lanzilotti teaches at New York University Steinhardt School of Culture, Education, and Human Development.

Banner image (Centre Georges Pompidou): Alexander Svensson

"Play" is a symphony for orchestra in three movements by the American composer Andrew Norman. The work was commissioned by the Boston Modern Orchestra Project, for whom Norman was then composer-in-residence.  It was first performed on May 17, 2013 by the orchestra under the conductor Gil Rose.


It was also released shortly before the launch of his "Visceral Tour", based off of his album of the same name.

(meta data) TITLE: Getter Releases Savoury New Track 'Ham Sandwich' - EDMTunes

The Wayback Machine - https://web.archive.org/web/20190630053046/https://www.edmtunes.com/2019/02/getter-ham-sandwich/

Home Music Getter Releases Savoury New Track 'Ham Sandwich'

# Getter Releases Savoury New Track 'Ham Sandwich'

Getter has just delivered his new track 'Ham Sandwich' which is his first single after his latest Visceral album.

Although Getter has released some singles under his hip-hop alias Terror Reid recently such as "Buried Alive" ft. Eliozie, this is from the legendary producer himself.

This single is another successful release before he launches his upcoming tour in just a few days.

The last few months Getter has explored in various different genres especially in his latest album, but his latest track sounds like he traveled back to his roots for another phenomenal release.

'Ham Sandwich' is a glitchy trap banger that includes eerie synths and suspenseful build ups.

Getter incorporates destructive sounds for a filthy rattling trap sensation.

Although Getter is off to a busy start by freshly playing Insomniac's Valentines Day event, Crush in Southern California, this track is hot and perfect for the incoming festival season.

Also, if you plan on seeing Getter on his upcoming Visceral tour, be sure to grab tickets here.

Check out our official EDMTunes playlist for the freshest tracks - updated weekly!

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On February 20, 2019, the song was self-released as a digital download on international digital stores, as well as being released through various music streaming services. The song was released partially as a response to fans who were displeased with Getter's album "Visceral", released in late 2018.


"How do you negotiate with somebody who wants to murder your grandmother? Or—more exactly—with somebody whom your voters have been persuaded to believe wants to murder their grandmother?" he asked, alluding to the alleged death panels.

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Cheap Ray Bans, Ray Ban Sunglasses, Ray Ban Sale.

Santorum's Flawed Plan for Working America

#### March 21st, 2010 at 4:59 pm David Frum | 374 Comments |

Conservatives and Republicans today suffered their most crushing legislative defeat since the 1960s.

It's hard to exaggerate the magnitude of the disaster.

Conservatives may cheer themselves that they'll compensate for today's expected vote with a big win in the November 2010 elections.

(1) It's a good bet that conservatives are over-optimistic about November – by then the economy will have improved and the immediate goodies in the healthcare bill will be reaching key voting blocs.

A win in November is very poor compensation for this debacle now.

So far, I think a lot of conservatives will agree with me.

A huge part of the blame for today's disaster attaches to conservatives and Republicans ourselves.

At the beginning of this process we made a strategic decision: unlike, say, Democrats in 2001 when President Bush proposed his first tax cut, we would make no deal with the administration.

No negotiations, no compromise, nothing.

This would be Obama's Waterloo – just as healthcare was Clinton's in 1994.

Only, the hardliners overlooked a few key facts: Obama was elected with 53% of the vote, not Clinton's 42%.

The liberal block within the Democratic congressional caucus is bigger and stronger than it was in 1993-94.

And of course the Democrats also remember their history, and also remember the consequences of their 1994 failure.

This time, when we went for all the marbles, we ended with none.

But we do know that the gap between this plan and traditional Republican ideas is not very big.

The Obama plan has a broad family resemblance to Mitt Romney's Massachusetts plan.

It builds on ideas developed at the Heritage Foundation in the early 1990s that formed the basis for Republican counter-proposals to Clintoncare in 1993-1994.

Barack Obama badly wanted Republican votes for his plan.

Could we have leveraged his desire to align the plan more closely with conservative views?

To finance it without redistributive taxes on productive enterprise – without weighing so heavily on small business – without expanding Medicaid?

No illusions please: This bill will not be repealed.

Even if Republicans scored a 1994 style landslide in November, how many votes could we muster to re-open the "doughnut hole" and charge seniors more for prescription drugs?

How many votes to re-allow insurers to rescind policies when they discover a pre-existing condition?

How many votes to banish 25 year olds from their parents' insurance coverage?

And even if the votes were there – would President Obama sign such a repeal?

We followed the most radical voices in the party and the movement, and they led us to abject and irreversible defeat.

There were leaders who knew better, who would have liked to deal.

Conservative talkers on Fox and talk radio had whipped the Republican voting base into such a frenzy that deal-making was rendered impossible.

How do you negotiate with somebody who wants to murder your grandmother?

Or – more exactly – with somebody whom your voters have been persuaded to believe wants to murder their grandmother?

I've been on a soapbox for months now about the harm that our overheated talk is doing to us.

Yes it mobilizes supporters – but by mobilizing them with hysterical accusations and pseudo-information, overheated talk has made it impossible for representatives to represent and elected leaders to lead.

The real leaders are on TV and radio, and they have very different imperatives from people in government.

Talk radio thrives on confrontation and recrimination.

When Rush Limbaugh said that he wanted President Obama to fail, he was intelligently explaining his own interests.

What he omitted to say – but what is equally true – is that he also wants Republicans to fail.

If Republicans succeed – if they govern successfully in office and negotiate attractive compromises out of office – Rush's listeners get less angry.

And if they are less angry, they listen to the radio less, and hear fewer ads for Sleepnumber beds.

So today's defeat for free-market economics and Republican values is a huge win for the conservative entertainment industry.

Their listeners and viewers will now be even more enraged, even more frustrated, even more disappointed in everybody except the responsibility-free talkers on television and radio.

For the cause they purport to represent, it's Waterloo all right: ours.

Follow David Frum on Twitter: @davidfrum

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Bookshelf: The Bankruptcy Around the Corner

born live love die » Coda for the election

In March, when Democrats secured enough votes to pass the bill, he castigated fellow conservatives who looked forward to punishing Pelosi and President Obama "with a big win in the November [...]

Sure the Democrats lost election night and that's an improvement.

The Bill Was More Important Than the Election : Near Earth Object

[...] a lot less power for Democrats to use post-shellacking, but Saletan (and his inspiration Frum) are right.

It's like what President Obama has said, "I'd rather be a really good [...]

Democrats didn't lose the battle of 2010.

Maddow Blasts Fox from her Glass House at MSNBC - Page 4 - US Message Board - Political Discussion Forum

And Frum got fired from the American Enterprise Institute for his op-ed piece Waterloo We followed the most radical voices in the party and the movement, and they led us to abject and [...]

GOP May Not Have Support To Repeal Health Care Reform | Neon Tommy

[...] Frum, a CNN.com columnist who famously lost his job at a GOP think tank for a column denouncing Republicans' handling of health care legislation, does not believe Republicans will [...]

[...] many things but I respect his character.

I have watched David defend Bush endlessly over the years.

David doesn't agree with the majority of conservatives when it comes to the health care battle of the past year.

John Boehner says Barack Obama disrespected him during tax-cut extension battle - U.S. Politics Online: A Political Discussion Forum

[...] was fired by the right wing think tank American Enterprise Institute because he told the truth.

At the beginning of this process we made a strategic decision: unlike, say, Democrats in 2001 when [...]

John Boehner says Barack Obama disrespected him during tax-cut extension battle - Page 5 - U.S. Politics Online: A Political Discussion Forum

[...] Did you read the op-ed piece that got David Frum fired by the American Enterprise Institute?

David Frum Would Respect Libertarians More if They'd Quit Worrying About Calorie Labeling and Talk About Medicare Reform - Hit & Run : Reason Magazine

[...] Suderman | December 27, 2010 On the Twitter machine, David Frum, whose response to the passage of ObamaCare was to scold Republicans for not playing along with liberal reformers, [...]

[...] spring, for instance, Frum penned a widely publicized column entitled "Waterloo," in which he blamed Fox News, Rush Limbaugh and talk radio for the GOP's failure to [...]

Cool Republican Whip images | Right Wing Blog

[...] Republican Water Loo Image by elycefeliz http://www.frumforum.com/waterloo [

The Real Problem with Rhetorical Excess | Politics In Vivo - Political and Cultural Commentary, and Whatever Else...

[...] make compromise, and therefore responsible governance, near impossible.

After all, as Frum wrote last year, "How do you negotiate with somebody who wants to murder your grandmother?

Problems With Socialized Medicine & Government Healthcare - Page 21 - US Message Board - Political Discussion Forum

The current private insurance system is not being replaced.

Republicans made a collective decision that they would make no deal with the administration.

No negotiations, no compromise, nothing.

Affordable Care Act fighting Medicare fraud - US Message Board - Political Discussion Forum

Midtveisevaluering: President i pluss « minerva

Dette var muligens en lønnsom taktikk på kort sikt, men synes for meg som en dårlig langsiktig strategi.

Jeg skrev om dette da reformen ble vedtatt i [...]

Democrats are not very civil - Page 7 - US Message Board - Political Discussion Forum

[...] a former Bush II speechwriter who was fired by the American Enterprise Institute for this op-ed.

Waterloo | FrumForum "At the beginning of this process we made a strategic decision: unlike, say, Democrats in [...]

Florida Judge Rules ObamaCare Unconstitutional - Page 17 - US Message Board - Political Discussion Forum

[...] Bush speechwriter David Frum was fired by the right wing think tank AEI for revealing the truth.

At the beginning of this process we made a strategic decision: unlike, say, Democrats in 2001 when [...]

Nice Angry Babies photos | Top 10 Babies

[...] David Frum: I've been on a soapbox for months now about the harm that our overheated talk is doing to us.

Talk radio thrives on confrontation and recrimination.

Immelman for Congress » Blog Archive » Extremism Explodes in America

[...] "By mobilizing them with hysterical accusations and pseudo-information, overheated talk has made it impossible for representatives to represent and elected leaders to lead."

(David Frum, prominent conservative and former speechwriter for George W. Bush, in a piece about the health-care vote titled "Waterloo.") [

WISCONSIN:'Constitutional crisis'...Senate Orders Arrest Of Missing Democrats - Page 11 - US Message Board - Political Discussion Forum

It was OK with Republicans, because they never had any intent of participating.

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Republican Frum Fired from AEI for Comments Critical of GOP | The Madrigal Maniac

[...] David Frum has been fired from his fellowship at the American Enterprise Institute after writing a blog post critical of the GOP's handling of the health care [...

Hey Libs! - Page 7 - US Message Board - Political Discussion Forum

[...] Don't forget the Individual Mandate was originally a Republican idea.

Historic obstructionism Waterloo | FrumForum

At the beginning of this process we made a strategic decision: unlike, say, Democrats in 2001 when [...]

Rush Limbaugh » Blog Archive » Latest Rush Limbaugh News

Talk radio thrives on confrontation and recrimination.

Latest Rush Limbaugh News » Rush Limbaugh

For Glenn Beck, Rush Limbaugh, Sarah Palin, et al | Health

Immelman for Congress » Blog Archive » Quick Immigration Conflict Fuse

Cool Economics Lesson Plans images | Economics

[...] Republican Water Loo Image by elycefeliz http://www.frumforum.com/waterloo [

The DNC trogan Horse the the GOP - Page 6 - US Message Board - Political Discussion Forum

[...] you ignorant little puppets MUST dismember anyone your handlers deem not marching in goose step.

At the beginning of this process we made a strategic decision: we would make no deal with the [

Barney Fwank Doesn't Know What It Is But Now He Wants To Make It Legal - US Message Board - Political Discussion Forum

[...] to LIE, parrot Frank Luntz talking points designed to undermine reform and try to hand Obama his Waterloo.

And Sarah Palin should be completely shunned for her egregious LIE of 'death panels' [...

The Odious but Strangely Admirable Honesty of Mitch McConnell | Politics In Vivo - Political and Cultural Commentary, and Whatever Else...

[...] reform debate last year, sometimes the legislation gets through anyway.

As David Frum noted in a much-discussed post last year, McConnell's insistence on total unanimous Republican opposition didn't keep [...]

Senate Republicans stand united against Cordray's nomination | Iowa News

[...] legislation that created the bureau.

It's a question that conservative commentator David Frum raised after passage of last year's health-care [...

Senate Republicans stand united against Cordray's nomination | The Peter Principle

It's a question that conservative commentator David Frum raised after passage of last year's health-care law.

At the beginning of this process we [...]

Immelman for Congress » Blog Archive » Norway Christian Extremism Terrorist Threat

(David Frum, prominent conservative and former speechwriter for George W. Bush, in an article about the health-care vote titled "Waterloo.") [

Radiohead / Jimmy | Down Syndrome Babies

The real leaders are on TV and radio, and they have very different imperatives from people in government.

Talk radio thrives on confrontation and recrimination.

A View To A Kill or, It's The End of the World As We Knew It (And I Feel Fine)

[...] how bad it's gotten: David Frum, the dude who used to write speeches for the worst president we've ever endured, has written [...]

Grading Obama's Presidency | Poison Your Mind

[...] David Frum pointed out in his "Waterloo" post that got him excommunicated from the Republican Party and its PR firms such as the American [...

Top 3 Common Myths of Capitalism - Page 2 - US Message Board - Political Discussion Forum

[...] W. Bush's speechwriter spilled the beans.

It cost him his job at the right wing think tanks AEI.

At the beginning of this process we made a strategic decision: unlike, say, Democrats in 2001 when [...]

Obamas "Jobs Bill" is DOA as it should be!!!!!!!

- Page 32 - US Message Board - Political Discussion Forum

- Page 4 - US Message Board - Political Discussion Forum

What They Talk About When They Talk About "Socialism" | Poison Your Mind

[...] in them– as will more or less any proposal by a Democrat, regardless of the substance or historical context of the proposal– they have to resort to name-calling.

[...] A Magnificent Success October 14, 2011By adminRe: Article: Waterloo | FrumForum [

Palin expanded her "death panel" attack to target the precursor of the Independent Payment Advisory Board (IPAB), a potential cost-cutting mechanism for Medicare, in September 2009. After the National Commission on Fiscal Responsibility and Reform released its recommendation to strengthen the IPAB, which had passed as part of the Affordable Care Act (Obamacare), she later charged that the board was " 'death panel'-like". FactCheck found her characterization of the board wrong on three counts. Representative Phil Roe (Republican-Tennessee), who has twice sponsored bills to eliminate the IPAB, said he would associate the term with the IPAB. Roe was described by "The Washington Post" as "a kindred soul by the medical industry" in part for his legislative efforts against the IPAB and a "magnet during the last election for more than $90,000 in contributions from medical professionals from across the country". Rep. Phil Gingrey (Republican-Georgia), an OB/GYN, issued a statement, described by PolitiFact as outrageous, that was in line with the "death panels" narrative.
 In March 2010, Democratic Rep. Barney Frank (MA) was quoted as saying "There are going to be death panels enacted by the Congress this year, but they're death panels for large financial institutions" and later in the same year he used the term in reference to authority under the Dodd–Frank Bill. Later that month, after the Affordable Care Act as amended by the Senate passed the House, conservative commentator David Frum made a widely-read post to his blog criticizing Republicans for their steadfast opposition to the bill over the previous year and a half. There had been congressional Republicans willing to work with Democrats, he said, but they had refrained from doing so out of fear of political reprisals from the Tea Party and other elements of the conservative base that had been regularly encouraged by talk radio and Fox News to believe the worst of the bill.


The game plays out linearly, requiring input from the player in the form of short minigames which help mimic or reveal Florence's thoughts and actions.

(meta data) TITLE: 'Florence' Game Is a Bittersweet Tale About First Love - Rolling Stone

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'Florence' Is a Short, Bittersweet and Relatable Tale About First Love

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# 'Florence' Is a Short, Bittersweet and Relatable Tale About First Love

It's the first project from 'Monument Valley' designer Ken Wong and his new studio.

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Florence Yeoh is a 25-year-old woman stuck in a familiar routine.

She hits the snooze button a few too many times each morning.

She works a boring desk job, browses social media, and fields calls from her pushy mother.

She eats takeout sushi alone in front of the television at night.

Then, one day, she encounters a musician named Krish, and everything changes.

How An Oscar-Winning Film Studio Plans To Invade Games

Annapurna Interactive has a plan to succeed where so many have failed: put creators first

Last year, film studio Annapurna launched a new game division, Annapurna Interactive.

It published three critically-acclaimed indie titles in 2017, the beautiful puzzler Gorogoa, the iOS port of Thatgamecompany's Flower, and "walking sim" What Remains of Edith Finch.

Now there's Florence, a visual novel about love and all its messy ups and downs from Monument Valley lead designer Ken Wong and his new independent studio Mountains.

It launched on Valentine's Day (naturally) and it's available now on iOS for $2.99.

While it looks and feels quite different from his previous work, Wong told Glixel he wanted to create something just as meaningful as Monument Valley for both his team and the audience.

"I was always talking to my friends and my family about love and relationships," he said.

"We celebrate those stories in books and movies and songs all the time, and games seem to have a bit of a blind spot for this area of the human experience."

Told through a series of (very) short chapters, Florence takes players through the major beats of a couple's relationship.

They meet in a park, date, move in together, and slowly drift apart.

All of this is pretty new to Florence, an introvert and late bloomer who suddenly finds another person has become her whole world.

The game draws inspiration from Wong's own past relationships, along with the past experiences of his team, and from movies like (500) Days of Summer and Eternal Sunshine of the Spotless Mind.

"I think what distinguishes Eternal Sunshine is that it portrays ... love as it really is, which is messy and confused and full of misunderstandings and happenstance and ugly moments," Wong said.

"But I think that's why it struck a chord with people, is that it felt so honest and raw, and I guess, instinctively, I wanted to tap into that."

Its story is told visually via its lovely comic book art style and touch-based mini games.

It conveys the banality of Florence's pre-Krish life by making the player brush her teeth each day, retweet her friends on social media, and tap on numbers during her dreary accounting job.

Once the pair starts to date, puzzles change.

One has the player fill in dialogue chat bubbles with jigsaw puzzle pieces.

As the couple gets to know each other better, the puzzles get easier until they practically solve themselves.

In another chapter, the player helps Krish move into Florence's apartment by deciding what items to display or store.

Does Florence put away the bicycle pump to make room for his skateboard?

Which one should she keep in the kitchen?

Displaying a photo of his family along with hers is only fair right?

That puzzle makes a bittersweet return in a later chapter, and Wong said it's one of the game's strongest.

"So many of the levels or chapters that we designed just didn't work out," he said.

"We had ideas, and we tried them, and they just weren't fun or they didn't connect emotionally, and that level has always worked from the very beginning.

It's always been one of our strongest chapters, and I think it's because the metaphor is quite clear.

Even though you barely see the characters in it, people understand that game of organizing possessions and sharing a space together, and I think the storytelling emerges from those objects."

Wong hopes people who play Florence are moved by its slice-of-life tale.

Maybe even see a bit of themselves in it.

"I think most people playing this game have been in a relationship of some sort," he said, "and hopefully we're going to be poking at them and saying, 'Hey, you remember what this is like? Remember how this feels?'"

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Ranked on a scale from 1 to 10, the trending score reflects the number of users reading a story in real time.

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Infatuation, longing, desire; I'm an expert in those.

I'm a chronically single 32-year-old with no prospects whose only relationship was 14 years ago for a whopping two weeks.

And that was mostly just movies and car stuff afterward.

Outside of a pet or a family member, I don't know love and there's a really good chance I never will.

I wanted it very much but after seeing the highs and lows of Florence, I'm not so sure anymore.

Florence (iOS [reviewed on an iPad], Android) Developer: Mountains

Publisher: Annapurna Interactive Released: February 14, 2018, TBA (Android) MSRP: $2.99

I feel there are two things I should make clear from the outset: I can't give my honest opinion about this game without spoiling nearly everything about it -- so you've been warned -- and, despite Destructoid being primarily a video game website, Florence isn't really a game.

Developer Mountains even says so when it refers to it as a 'story' upon completion.

Sure, there are micro- and mini-game-like elements in it I use to advance the narrative, but it's not a game.

It's an interactive sonnet, a poem, a poesy about people in love, art, artists and the muses that drive us to create.

The titular Florence, full name Florence Yeoh, is as relatable a protagonist as I've found in the medium.

She's a 25-year-old worker bee at an unnamed company who spends her morning commutes browsing pictures on her smartphone and her evenings eating in front of the television.

I'm there to push her through this routine.

Everything from brushing her teeth to punching numbers into spreadsheets are simple, touchscreen tasks.

These actions aren't meant to challenge me, only to add a level of interactivity to her life.

The micro-games, if you'd even call them that, are substitutes for a traditional narrative.

Florence has little to no dialog with the only written words found in chapter and location identifiers, as well as in brief conversations with Florence's doting mother.

Instead, the 40-minute-or-so story uses expressions, visual cues, and these touchscreen elements to detail this exquisite slice of Florence's life.

Honestly, I can't recall a more imaginative presentation of pure storytelling than this.

Florence unravels with a mix of comic-book style still imagery and quaint animation.

As I drag my finger across the screen, I see stunning snippets of Florence's life play out with the occasional bit of input required from me.

This is a truly beautiful product, with an amazing score by Kevin Penkin, but the developers don't want me to dwell on any one moment for too long.

No matter how much the ageless art direction captivates me, Florence pushes me onward with subtle cues that beckon me to progress.

There's no way to turn these off and I wish there was because, knowing how things turn out, a part of me wants to live in the more joyful moments of Florence's life for as long as I can.

But that goes against the point of this story as is made crystal clear in the jaw-droppingly melancholic Chapter 18.

Continually analyzing what could have been means we might miss out on life's calling and that's true for Florence.

She's more than just a 9-to-5 pencil pusher.

Like me, like all of us, she has dreams.

A quick jaunt to the days of her youth reveals a love for art stifled by a mother who'd rather see her daughter study.

Like any creator stuck in a career that provides no motivation for weekend explorations of our talent, Florence doesn't pursue her passion until she meets her muse.

Looking like a character from a Diablo Cody movie by way of Quentin Blake, Krish is a charming cellist whose music literally sweeps Florence off her feet.

After a meet-cute, the two begin a relationship and the magic of Florence's interactivity begins to shine, perhaps no greater than when Flo and Krish have a conversation.

The start of a relationship, the first date, is a tricky ordeal as two people struggle to find a comfort level with one another.

Florence presents these introductory conversations as puzzles, and as the two grow closer together, the puzzles become easier to piece together until there is no assembly required.

It's a magnificent way to show how familiar the couple becomes with one another and, along with such concepts as the passage of time or making room for someone in your life, how simple mechanics can illustrate thoughts and emotions eloquently without the need for dialog.

Florence and Krish's relationship isn't just young love but young artists in love.

Krish's life, at least the parts of it I'm shown, is wrapped in the pursuit of his art.

He dreams of filling auditoriums with his music and worldwide fame, and it's his expressive detailing of these fantasies that reignites Florence's interest in her art.

As time marches on and they survive their first fight, she finds inspiration in him and he finds support in her.

Together, they create wonderful art: him with a cello and her with a sketchpad.

If there is any lesson I learned from the 90,000 allegories shoved into mother!

Despite the admiration we show our muses, there eventually comes a time when we no longer need them or their inspiration ceases to have an effect on us.

As their romance develops, Florence and Krish's artistic pursuits fail to coexist.

Eventually, it is his goals and dreams that become their joint focus.

As her passion once again fades into the background of a monotonous life, the demands of his music begin to crack the foundation of their relationship.

For lovers of love, Florence doesn't have a happy ending.

No matter how cute they look together, she and Krish eventually drift apart and go their separate ways.

It's a bit too heavy-handed at first, pulling in some clichés from the genre to present despondent emotions, but it absolutely crushes me when it's time for her to actually let go.

As her story continues through this post-Krish era, I wonder what Florence is trying to tell me about love.

I've seen enough romantic comedies and episodes of Sex and the City to know that love is messy.

I've watched my friends cycle through the emotional merry-go-round in their search for a partner as I spent my prime getting fat and playing video games.

Making a relationship work is a struggle, from what I can surmise, and Florence doesn't hold back.

It's upsetting to watch this bond deteriorate and see her move on afterward, but as Florence finally reaches her full potential, I'm left unsatisfied.

I understand how life can get in the way and how easy it can be to put your wants aside for the sake of those you love.

But as Florence jumps through the relationship and finds an enemy in monotony, I almost feel robbed of her struggles.

The game does a great job of showing me how her responsibilities supersede creative pursuits, but when she finally finds the time to engage her talents, it all comes too easy for her.

I watched for several chapters as Krish struggled with the demands of his musical education and the effect it had on their relationship.

It was something I could relate to outside of the whole having a relationship thing.

But seeing Florence sashay into stardom with no setbacks, stop signs, or stumbles takes this honest depiction of artistic struggle and wraps it up a little too nicely.

It's like La La Land in tha—oh God this game is basically just La La Land.

Florence is an imaginative, breathtaking, heartbreaking tale of two artists trying a love they're not quite ready for.

It's as honest a look at the subject matter as you'll find in a game -- or so I've been told by others who've been writing about it incessantly since its release.

But as much as Florence focuses on love, I'm not quite sure it's a fan of it.

Perhaps it's because it doesn't play out as I'd hope or maybe I'm too broken to appreciate its beauty, but I walk away from the experience with a rather pessimistic opinion.

Love may be the catalyst in Florence, but it's the narcissistic pursuit of their real passion, art, that wins out in the end.

The result is a relationship that is a means to an end, nothing more.

I get that's quite the bleak take on the tale, but honestly, it's the only message that resonates with me.

[This review is based on a retail build of the game provided by the publisher.]

Impressive effort with a few noticeable problems holding it back.

Won't astound everyone, but is worth your time and cash.

How we score: The destructoid reviews guide

##### CJ AndriessenFeatures Editor gamer profile

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"Florence" is divided into 20 chapters, each featuring a different portion of Florence Yeoh's life. The chapters are separated into six acts, which represent different portions of Florence's growth and change.


Despite this, during his first season, Pérez gave up more fly balls on the latter two pitches than other pitchers did.

(meta data) TITLE: Player Card: Williams Perez

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Williams Perez has thrown 1,317 pitches that have been tracked by the PITCHf/x system in 2015, all of them occuring in the MLB Regular Season.

In 2015, he has relied primarily on his Sinker (91mph), also mixing in a Change (80mph) and Curve (78mph).BETA Feature:

Basic description of 2015 pitches compared to other RHP:

His sinker is basically never swung at and missed compared to other pitchers' sinkers, has an obvious tail and has some natural sinking action

His change dives down out of the zone, has below average velo and results in somewhat more flyballs compared to other pitchers' changeups.

His curve has little depth, has primarily 12-6 movement and results in somewhat more flyballs compared to other pitchers' curves.

Dynamic charts with pitch movement, speed, and release point.

Graph how pitches were used and what happened.

Visualize pitch differences with continuous variables.

Customizable pitcher heat maps, broken down by zone.

Pérez primarily throws three pitches: a sinker, curveball, and changeup. All three offerings have a tendency to sink.


After filming "We Bought a Zoo", Colin was cast on the TV series "Under The Dome", playing Joe McAlister.

(meta data) TITLE: Under The Dome Casts Supernatural's Colin Ford To Play Joe

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Subscribe To Under The Dome Casts Supernatural's Colin Ford To Play Joe Updates

# Under The Dome Casts Supernatural's Colin Ford To Play Joe

With a straight-to-series order and more recently, the premiere date set for CBS' small-screen adaptation of Stephen King's Under the Dome, it seemed like it was only a matter of time before we heard some casting news on the project.

The first piece has arrived, as it's been reported that Colin Ford has joined the drama, playing one of the people trapped inside the titular dome.

King's novel centers on a New England town that becomes encased in an invisible, impenetrable dome, blocking anyone from getting in or out.

The residents have to figure out how to function within this mysterious dome with whatever resources they have.

The series, which is set to air this summer on CBS, comes from Steven Spielberg and Stephen King, with Neil Baer serving as showrunner and Niels Arden Oplev (The Girl with the Dragon Tattoo) directing the first episode.

Deadline reports that Colin Ford has joined the series, playing the role of Joe, a teen who lives in Chester's Mill and is rattled by the realization that he's inside the dome and his parents aren't.

Ford's recent credits include We Bought a Zoo, as well as appearances in freshman dramas The Mob Doctor and Revolution.

He's also voiced various roles in Family Guy and the lead in Jake and the Never Land Pirates, and appeared in the role of young Sam Winchester in Supernatural in numerous episodes.

If anything, it sounds like he's due for a regular role.

As we reported this weekend, Under the Dome begins its 13-episode season on Monday, June 24 at 10:00 p.m. ET on CBS.

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In 2004, Ford portrayed Matthew Steed in the movie "The Work and the Glory". 2005 began with a high profile photo shoot with Brad Pitt and Angelina Jolie for "W" magazine. This was immediately followed by a trip to Vancouver with Tom Welling and the cast of "Smallville". Following "Smallville", he reprised his role as Matthew Steed in "The Work and the Glory: American Zion", then played a lead role, as Jackson Patch in "Dog Days of Summer", along with veteran actor Will Patton. Capping off a busy year, Ford was back in Vancouver, playing Zeph, the son of Jason Statham's and Claire Forlani's characters in the epic adventure, "In the Name of the King: A Dungeon Siege Tale", which was released in April 2007. Ford voiced the role of Dart, the reindeer, performing with Kathy Bates, Andy Griffith, Jay Leno, Ed Asner, Shirley Jones, and many others in the feature film, "Christmas Is Here Again".
 He starred in the film "We Bought a Zoo", which was released in December 2011. He played the young son Dylan of a three-part family, with Matt Damon as the father, Benjamin, along with a little sister Rosie Maggie Elizabeth Jones.
 He attended Campbell Hall School, the same school as his "We Bought a Zoo" costar, Elle Fanning. He now attends Oaks Christian Online High School, a college preparatory school.