Welcome to the Hindu News Analysis by Shankarayesh Academy. Displayed our list of news articles selected for today's analysis and their page numbers in different editions of the newspaper. The link for the handwritten notes in the PDF format and the time stamping of the discussed articles are provided in the description and also in the comment section for the benefit of the viewers. Now, let us move on to the analysis of first news article. Now, let us take up this editorial article from today's newspaper. In the recent days, we have discussed many news articles outlining the plight of migrant laborers. In today's news article, we will discuss about the plight of migrant workers in the light of political democracy. The syllabus relevant for the analysis of this editorial is highlighted here for your reference. Now, as per the Economic Survey of 2017, internal migrant workers, they constitute around 13.9 crore. We can say roughly around 14 crores. Now, this number is nearly one-third of India's total labor force. Migrant laborers, they travel across India in search for an economic livelihood. Say, for example, in the construction sector, domestic work, in bricklands, mines, transportation, in security-related work, agriculture, etc. Many of them, they never intend to settle down in the place where they are working and rather, they wish to return to their native villages once their work is completed. They often work in exploitative, low-wage jobs. They lack identity in the place of work. They don't have proper living conditions and they are working without access to welfare and unable to exercise their voting rights as well. As a result, migrant workers, they become quasi disenfranchised forgotten voters. See, when we say enfranchise, it means giving the right to vote or exercising the right to vote. Disenfranchise means taking away the right to vote and quasi disenfranchise means partially taking away the right to vote. Here in this context, quasi disenfranchise refers to the fact that migrant workers, though they are registered voters in their native state, they are unable to vote in their place of work. So, even though they have the right to vote, they are unable to exercise it. And note that migrant workers generally do not enroll as workers in their place of employment. This is because they find it very difficult to provide proof of residence. Many migrant laborers or seasonal laborers, they would rather come and vote in their villages if they could afford to come. Here, for example, you can consider migrant laborers from Bihar working in Punjab and Haryana only during sowing months. Since they do not have a vote where they work, their concerns are reportedly easily ignored in their place of work or in the state of work. Sometimes, they are also targeted for allegedly taking jobs away from the local population of the host state. Now, in this regard, authors note that the central mission of Election Commission of India should be to ensure that every Indian who is eligible to vote must be able to vote. Or in other words, every eligible registered voter whose willing to vote must be able to vote. In 2019 general election, out of 91.05 crore registered voters, only around 61.36 crore voters have casted their vote. This means a substantial 29.68 crore voters or we can say around 30 crore registered voters did not or could not cast their vote. National election study surveys show that about 10% of registered voters refrain from voting due to a lack of interest in politics. Now, this means approximately 20 crore voters in the number of nearly 30 crore want to vote but unable to do so. A significant number of this 20 crore missing voters are expected to be migrant laborers. Now, if you come to international migrants who go to various countries from India, in other words, if you come to non-resident Indians, there are around 1.35 crore non-resident Indians who are willing to participate in voting in India. Now, this number of 1.35 crore is as per the Ministry of External Affairs. In the editorial, the author has given the total of non-resident Indians and persons of Indian origin which come around 3 crore and persons of Indian origin do not have voting rights in India. The author notes that among the total non-resident Indians, only about 1 lakh have registered to vote, presumably because voting requires their physical presence in India and of them about 20,000 only voted in the 2019 general elections. Now, this means more than 95% of non-resident Indians could not vote in the 2019 Lokshabai elections. Now, with respect to non-resident Indians, government sought to make a mechanism by bringing the representation of people amendment bill 2017 in the last Lokshabai. This amendment sought to enable voting through authorized proxies for non-resident Indians. Here, proxy refers to a person who is authorized to vote on behalf of a non-resident Indian. This bill did not materialize into an enforceable legislation. However, the government's move for the special concern for non-resident Indians was criticized as government did not had such attitude towards poor internal migrant workers. Now, coming to the question, do we have solutions for the exercise of voting rights to migrants in the place of their work? The answer is yes. Now, on 2nd July 2020, in our daily news analysis, we saw that service voters and absentee voters can vote through electronically transmitted postal ballot system. Classified service voters can vote through their proxies. The election commission can also bring another linked voter ID based solution so that electors are able to cast their votes digitally from anywhere in the country. And while developing this solution, this should not result into exclusion of eligible individuals. Now, then election commission could bring measures like enabling migrants to vote in their city of work based on the address on their existing voter IDs. This means a voter from Bihar working in Punjab can vote in Punjab. The vote will get polled in her or his constituency in Bihar. We are living in an age where banking transactions have gone seamlessly online and it means it is technologically feasible to record and transfer votes to their respective constituencies casting vote from anywhere in India. Lack of capacity in this regard represents the lack of political will to enhance such capacity and to respect the voting rights of migrant workers. Then the authors relate portability of ballot with ration card portability or one nation, one ration card system which seeks to enable migrant workers to access benefits from any fair price shop in the country under the public distribution system. A similar political will must be demonstrated to bring one nation, one voter ID system that ensures native ballot portability to empower the forgotten migrant voter. So once migrant workers get chance to exercise their vote, authors expect that there will be a change in how they are treated. In the conclusion, authors end with the quote of Thomas Jefferson who was a spokesperson for democracy and the third president of United States. He mentioned, we in America do not have government by the majority. This has to be read as we do not have government by the majority. We have government by the majority who participate. Ensuring that every Indian voter can participate in elections is important to ensure a democratically inclusive India. With this we come to the end of analysis of this editorial. We discussed about the plight of migrant workers in the light of political democracy. We saw the numbers with respect to 2019 general elections in connection with non-resident Indians. We saw about some possible solutions to include migrants in voting process just from the place of work. Now let's move on to the analysis of next news article. This news article talks about a special beneficial relationship between caterpillars of a particular butterfly species and their hostile cocktail ant predators. We know that in nature, animals, plants, microbes, they cannot live in isolation. They interact in various ways to form biological community. In this analysis, let us discuss in brief about some types of interactions between different species. The syllabus relevant for the analysis is highlighted here for your reference. First, let us see about symbiosis. See in a symbiotic relationship, plants or animals of different species, they are dependent on one another for their survival. They may share habitats or lifestyles or interact in a specific way to benefit from the presence of another organism. Such a relationship is also called as mutualism. For example, certain fungi live in the roots of trees. The trees provide nutrients to the fungus. In return, fungi helps the trees to take up water and nutrients from the soil. We can observe types of population interactions from this table. One is beneficial to each other, one is detrimental to each other. In some cases, one is benefited and the other is harmed. In this table, a positive sign indicates that interaction benefits a particular species. A negative sign indicates that the interaction harms a particular species and zero stands for neither harmed nor benefited. As we saw already, in symbiosis or in mutualism, both the species benefit. While in the case of competition, both species lose, an example we can take, predators of different species compete for the same prey or limited resources. In parasitism and in predation, one species benefit and the other is harmed. Here the species getting the benefits are parasites and predators. The host and their prey are harmed. Examples for parasitism, you can take lice on human beings and ticks on dogs. You can also relate parasitism with how a tick bite transmits chiasnure forest disease to human beings. The best example for predation would be the carnivorous interactions in which one animal consumes another animal. In case of commensalism, one species is benefited and the other is neither benefited nor harmed. For example, you can consider birds living in the hollows of trees. Here you can understand that mutualism and commensalism are positive interactions. In amensalism, one species is harmed whereas the other is unaffected. For example, you can consider a taller plant hiding sunlight or shading a smaller plant. Now let's come to the news article. The article states that a group of scientists have formed a special relationship between caterpillars and their ant predator hosts. The ants are actually predators to the caterpillars. Here the caterpillar refers to the early stage of a butterfly. The article states that butterflies of the family, like canidae, have evolved a range of adaptations. The caterpillars of this butterfly species have tamed their ferocious ant predators into their protectors and providers. Here the ant species refers to cocktail ant called as cremato-gaster hotzoni. The butterflies of this family are called as blues and hair streaks. And this is an example of mutualism by taming the predator. Here the ants drink the carbohydrate-rich secretions produced by caterpillar. In return, the ants protect the caterpillars. This association was found using advanced x-ray micro-computer tomography technology or advanced x-ray micro-CT technology. And here you can relate the discussed special relationship in the subject of psychology with the concept of positive reinforcement. However, here for the caterpillars the reinforcement is for survival. With this we come to the end of analysis of this news article. We discussed about different population interactions and we saw about the special symbiotic relationship mentioned in the news article. Now let's move on to the analysis of next news article. This news article talks about the high alert issued by Food and Agriculture Organization of United Nations to India with reference to Locust attack. In this context we'll discuss briefly about the Food and Agriculture Organization and its mandates. See, it is a specialized agency of United Nations. It leads the international efforts to defeat hunger. Now its headquarters is located in Rome, Italy. Even 194 member states are participating in this organization and it works in more than 130 countries. Now its main objective is to achieve food security for all and to make sure that people have regular access to enough high quality food so as to lead active and healthy lives. Now coming to the structure it consists of six departments, Agriculture and Consumer Protection, Economic and Social Development, Fisheries and Aquaculture, Forestry, Corporate Services, Human Resources and Finance and also Technical Cooperation. Now with reference to governing bodies it includes FAO Conference, Council, then FAO Committee on World Food Security and also Regional Conferences. For specific purposes it also has specific committees as well. Now coming to FAO Conference, here every member nation and associate member will be represented. This conference determines the policy and approves budget for FAO and it also makes recommendations to members with reference to Food and Agriculture. The executive organ of the conference is what we call as FAO Council. Now coming to important programs of FAO, in 1961 along with World Health Organization FAO created Codex Alimentarius Commission. This was created to develop food standards, guidelines and text like codes of practice under the FAO WHO Food Standards Program. Now know that this Codex Alimentarius Commission is the body that is responsible for all matters regarding the implementation of this joint food standards program. Then FAO publishes a number of major reports called as State of the World reports. Some of the reports are the State of Agriculture Commodity Markets report, the State of Food and Agriculture report, the State of Food Security and Nutrition in the World report, the State of World's Forest report, State of World's Fisheries and Aquaculture and status of World's Soil Resources report. Now in the news we saw that it has given an alert to India with reference to Locust attack. Now why FAO is associated with Locust control? This is because if locusts, particularly if desert locusts are not controlled food security will be affected. Therefore one of the mandates of this organization is to provide information on the general locust situation to all interested countries. It has to give timely warnings and forecasts to those countries which are in danger of locust invasion. In this regard FAO operates a centralized desert locust information service within the locust group at its headquarters in Rome, Italy. It also prepares monthly bulletins and periodic updates of the locust situation, forecasting, mitigation and also breeding on country by country basis as well. So these are some of the important information with reference to the analysis of this news article. Now let's move on to the next part of the discussion. This news article is with reference to Indo-Tibetan border police. The chief of the force has said that the recent visit of Prime Minister of India to Ladakh has raised the morale of all the forces serving India at the border. In this context let us discuss in brief about this Indo-Tibetan border police force. See it is one of the seven central on police forces in India that come under Ministry of Home Affairs. It was raised after the Sino-Indian war of 1962 to boost India's security along the border with Chinese Tibet. It was raised in October 1962. It was formed with the objective to reorganize the border intelligence or the frontier intelligence and border security along the Indo-Tibetan border. See ITBP was initially raised under the Central Reserve Police force act of 1949. In 1992 parliament enacted the ITBP force act the Indo-Tibetan border police act of 1992. So at present it comes under the framework of this ITBP force act 1992. See this Indo-Tibetan border police at present is involved in border guarding coin operations that is counter insurgency operations and also in internal security roles. Initially it started with four battalions. At present it has 56 service battalions, four specialist battalions, training centers and logistics establishments with a total strength of approximately 90,000 personnel. We know that India and China share a boundary of 3488 kilometers. In 2004 a recommendation was given by group of ministers that there should be one border, one force. As a result of the recommendation for the entire stretch of India-China border, the border guarding duty was assigned to the Indo-Tibetan border police. Therefore in Sikkim and Arunachal Pradesh, Indo-Tibetan border police replaced Assam rifles in the year 2004. The motto of this force is valor determination devotion to duty. As we said this force is guarding the India-China border from Union territory of Ladakh till Arunachal Pradesh. So it extends from Karakoram Pass in UT of Ladakh to Jakkapla in Arunachal Pradesh. Apart from this ITBP battalions they also provide security to various installations of national importance located in various places in the country. For example, some of the important installations guarded by ITBP include Rastrapati Bhavan, Vice President House, Tihar Jail in Delhi, Labhasna in Uttarakhand etc. Now elite commanders of this force, they are also deployed in Afghanistan, provide security to Indian Embassy in Kabul. And ITBB personnel are also participating in UN peacekeeping operations. Particularly the force personnel were deployed for peacekeeping operations in Angola, Namibia, Cambodia etc. And also know that this force is the first responder for natural disaster in the Himalayas. It is also playing a very important role with reference to preservation of Himalayan environment and ecology. In addition to this it also carries out medical civic action programs in remote border areas and in remote terrorist or Maxwell affected areas as well. In these areas they provide free and expert medical and health care and also hygiene care to the civilian population there. So these are some of the important information with reference to Indo-Tibetan Border Police, which is one of the seven centred armed police forces in India. Now let's move on to the next part of the discussion. This news article talks about China-Butan boundary disputes. The news article states that China has now included the eastern sector of Bhutan into the disputed territory list. That means that China is claiming that part of Bhutan. It is already well known that China is having boundary disputes along the western sector of Bhutan, particularly in Chumbhi Valley. Here as time progresses, Chinese claim goes like the valley widens and widens to be part of China. In giving substanciation to China's expansionist policy, now China claims that even Sakteng Wildlife Sanctuary, that is located in eastern part of Bhutan, is also its territory which it diplomatically calls a disputed territory. As you can see, this segment borders with Indian state of Arunachal Pradesh, which is also claimed by China as an extension of Tibet. So therefore this new move announced by China has implications to India. The news article also states that China, to get legitimacy for its claim, is attempting to stop funding for Sakteng Sanctuary from the global environment facility. We have to note that earlier Sakteng had received grants for a project on preventing soil erosion. In this context, let us discuss in detail about the global environmental facility.  It was established to help tackle the most pressing environment problems faced by our planet. For this, this facility provides grants and it also co-finances many environmental projects. It provides concessional loans for projects related to energy efficiency and projects relating to low greenhouse gas emissions. It also has a small grams program that provides support to almost 24,000 civil society and community initiatives in around 133 countries. Now coming to the history of this facility, see it was established on the eve of the 1992 Rio Earth Summit. That is, it was established prior to the Rio Earth Summit, to be specific it was established in the year 1991. It was established with the support of three agencies, the World Bank, United Nations Development Program and United Nations Environment Program. And it started functioning with the support of these three agencies. The news article mentions about UNDP, so we just saw that it is a founding agency of this facility and know that it is also an implementing agency. Particularly, the small grants program which we saw earlier is being implemented by UNDP. Since the establishment, the partnership has evolved to include around 183 countries, 18 agencies, civil society organizations, indigenous people and also the private sector. The first assembly of this facility is important as it was held in India in April 1998. Now let's come to the structure of this facility. It is organized around an assembly, a council, a secretariat, 18 agencies and a scientific and technical advisory panel. It also has an evaluation office. Now with reference to the assembly, it is composed of 183 member countries or participants. They can be both developed and developing countries. This assembly meets once in every three to four years at the ministerial level. Now coming to the main governing body of this facility, it is the council. It has 32 members. These members are appointed by constituencies of GEF member countries. For example, India is a member of a constituency that consists of Bangladesh, Bhutan, India, Maldives, Nepal and Sri Lanka. This council meets twice in a year to develop, adopt and to evaluate the operational policies and programs of this GEF finance activities. The overall implementation of GEF activities is coordinated by the secretariat. In fact, the secretariat implements the decision of the assembly and the council. The scientific and technical advisory panel provides scientific and technical advice to the facility on policies, operational strategies, programs and projects. Now coming to the funding and areas of operation of GEF, know that World Bank serves as the trustee to this facility. It administers the GEF trust fund. The fund is contributed by donors which include both developed and developing countries. And coming to who receives the support from GEF, the support is received by developing countries and countries with economies in transition. Here when we say countries with economies in transition, it refers to those countries that are changing from central planning to free markets. Now GEF provides funding to assist developing countries in meeting objectives of international environmental conventions. See it serves as financial mechanism to five international conventions. Convention on biological diversity, UNFCCC, Stockholm Convention on Persistent Organic Pollutants, UNCCD and Minimata Convention on Mercury. Now with reference to India, India is both a donor to GEF and also a recipient. GEF has funded more than 100 projects in India. Now let's come to the focal points of GEF. There are two types of GEF focal points, political focal points and operational focal points. All the member countries of this facility have political focal points. But only those countries which are recipient countries have operational focal points. The political focal points focus on governance and relations between member countries within their constituencies. Whereas the operational focal points are responsible for the operations of GEF activities within their countries. In the case of India, Ministry of Finance is the political focal point. Whereas Ministry of Environment, Forest and Climate Change is the operational focal point for the GEF projects. With this we come to the end of analysis of this news article. We saw about the new expansionist claims of China with reference to Bhutan. We saw in detail about global environment and facility. Now let's move on to next part of the discussion. We have come to the last session, the practice questions discussion session. This question is with reference to different types of population interactions. The question reads, with respect to different types of interactions between different species, consider the following statements. Two statements are given, which of the statements given above are correct. In commensalism, one species is benefited while the other is neither benefited nor harmed. Now this statement is correct. You may take the example of birds living in the hollows of trees. The birds are benefited whereas the trees are unaffected, neither benefited nor harmed. So the first statement is correct. The second statement, in commensalism, one species is harmed whereas the other is unaffected. This statement is also correct. You can assume the example of a larger tree hiding sunlight to the smaller plant. The larger plant or tree is unaffected whereas the smaller plant is affected. So the correct answer for this question is option C, both one and two as both these statements are correct. This question is with reference to central armed police forces. They have given six forces and are asking which among the following forces comes under the CAPF. Assam Rifles, Indo-Tibetan Border Police, National Security Guard, CISF, Sasastra-Simabal Border Security Force. Now know that all these six forces along with central reserve police force constitute seven central armed police forces under the Ministry of Home Affairs. Correct answer is option D, one, two, three, four, five and six. This question is with reference to global environment facility. Three statements are given. They are asking which of the statements are correct. If you observe the options we can understand that first statement is correct because it is given as correct statement in all the options. So let us see whether second and third statements are correct. Second statement, the first assembly of global environment facility was held during Rio Earth Summit of 1992. This is incorrect because it was held in Delhi in India in April 1998. So eliminate options B and option D. Now we have to check whether the third statement is correct. World Bank serves as the trustee to GEF, which is correct. Therefore the correct answer is option C, one and three only. This question is with reference to food and agriculture organization. Two statements are given. They are asking which of the above statements are correct. First statement, it is a specialized agency of the United Nations that leads in international efforts to defeat hunger. This statement is correct. You can eliminate options B and D. Second statement, it publishes the state of world's population report. This statement is incorrect because this report is released by United Nations population fund. Not food and agriculture organization. We saw this in our July 1 Hindu news analysis. Now coming to the reports that are released by food and agriculture organization. These are state of the world reports related to food, agriculture, forestry, fisheries and natural resources. Now with reference to natural resources, it releases status of the world's soil resources report. Now with reference to agriculture, it releases state of agriculture commodity markets report and the state of food and agriculture report. And it also releases state of food security and nutrition in the world report etc. So the correct answer for this question is option A, one only. Now see this mains question in GS paper 2. In the light of recent controversy regarding the plight of migrant workers, discuss the measures that can be taken by election commission of India to ensure political democracy of migrant workers. Now for this question, you can mention all the measures that can be taken by election commission. Now in addition to just mentioning, you have to discuss each measure, how far it is possible, what are the challenges in bringing such measures, whether bringing such measure is early or too late. And you can conclude the question with a positive note to achieve inclusive participation in democracy, particularly in elections. With this, we come to the end of today's the Hindu news analysis. 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A new exhibit at the Crossing Arts Alliance in Brainerdert is showing how a certain household furniture piece can be turned into a work of art. The Take a Seat exhibit shows different chairs that were donated by Habitat for Humanity and given to local artists to create a piece for the exhibit. More than a dozen chairs are featured and two of the artists say they felt inspired to take part in the project. I'm always participating in shows and stuff and this one's kind of a different one and kind of a fun little thing, pop-up thing and interesting topic, unique mediums and stuff. I just wanted to create a space with lots of depth and I started thinking about atmosphere and space and out of that just grew the whole space idea and next thing you know there were planets and spacemen and rocket ship and planetary map and galaxy and different things and it just the whole thing just fell together and that's that. The exhibit runs for a limited time. It begins tomorrow and goes through Saturday. If you enjoyed this segment of Lakeland News, please consider making a tax-deductible contribution to Lakeland PBS.


When we talk about sustainability, there's an implication there that is present in the question, what is it that we want to sustain? Sustainability was coined as a term to be more palatable to the establishment. It seemed more scientific and less tree-huggy and less hippie to talk about sustainability and the need to have a world that we can continue to live in, that can be sustained, systems that can be sustained. But for me, it brings up the question, do we want to sustain the systems that we have? A lot of the discussion around climate and especially energy is basically taking for granted that it will serve human well-being to continue most of the systems that we have operating today that are highly energy dependent, our agricultural system, highly energy dependent. So if you assume that this is the only way to feed the world, then we're going to have to keep producing a lot of energy. If you assume that our medical system, highly energy dependent, is the best way to maintain human health, then we're going to have to continue to produce a lot of energy. If you assume that our current patterns of living, where everybody has their single family home and a big yard, is unchangeable and desirable, then we're going to have to produce a lot of energy. But I would like to question those assumptions. From the viewpoint not of, well, we've been too greedy, we've used more than our share, we're going to have to make do with less, but rather understanding that these have not really benefited us. And in a sense, we're going to have to make do with more by changing these systems, we're going to enhance our happiness, our joy, our well-being, our health. People are not happier in far flung McMansions in these vast suburban tracts where they have to drive everywhere for everything, where they don't have any friends within walking distance, where people are never outdoors. They're not happier in those settings than they are in you know, a traditional Italian village where there are old men playing chess or drinking coffee out on the street and street musicians and kids running around and everybody knows each other. Where would you like to live? We're not talking about a downgrade here. We're not talking about a lower quality of life when we build communities that don't require hour-long commutes, that don't require us to drive everywhere, where we have walkable cities and bikeable cities. This is not a downgrade. It is not a downgrade to grow some of your food in your garden. People do that for leisure. People feel like they don't have enough time, they would love to do that. It's not a downgrade to maintain our health with holistic practices, with herbal medicine, with nutrition, with all kinds of modalities that are outside the purview of technological medicine. We can be healthier that way. So really it comes back to the question of what kind of world do we want to live in? What kind of lives do we want to have? And to recognize that this is not working. It's not working for the poor especially, and it's not working for the rich either. Their suicide and depression rates are just as high as everybody else's. So when we approach people as environmentalists, it's really important to be able to authentically say, I'm doing this for you too. I want you to be happier. I don't want you to sacrifice. I'm not your enemy. The things that I'm asking you to sacrifice on some level, you don't even want them. They are compensations for what's missing in modern life. And if we can bring these back into modern life, point to a pathway toward the recovery of these things, then we don't need to talk so much about sacrificing our quality of life. It's true that we are using more than the earth can sustain, but to what purpose? These piles of plastic, these vast junkyards, these monstrous homes where people spend most of their time in the breakfast nook and not in the cavernous living room. What purpose do they serve? So maybe we need to just get more serious about living a good life and recognizing where a good life comes from, then naturally we come into harmony with the rest of life so that the rest of life can also live a good life. To believe that we need to sacrifice something important is to buy into the value system that holds those things to be important. And this transition is about a transition to a different value system. We hold other things valuable and no longer aspire to more and more more and more property, more and more money, more and more control over the world. Those things have not gotten us to anywhere worth being. I was in Brazil, in a favela, one of the poorest places in Brazil. And every, I was walking with a local guy there and on the street everybody was greeting him and everybody was greeting each other and there were kids running around, playing freely outdoors. And I said, man, in suburbia, in the United States, in most places, people do not know their neighbors. They look into, you can look into a house and you don't know what's going on there. You don't know who these people are. Nobody knows you. And he was like, yeah, it sucks, man. He was glad to live in the favela. And that's not to minimize or trivialize the poverty, the insecurity, the food insecurity, and the way that the people there are being exploited. But they also had access to a level of joy that I do not see very often in North America. Could we imagine a world in which we have food security and community?


Hey there it's Eric Johnson from Airtate Throws Nation and today and what we're going to talk about in this quick video is understanding how to create a better pivot in the middle for rotational throwing. So whether it's the discos to the shot put we have to be very conscious of a couple of things. One of the simplest things we talk about or we teach or a simple concept that help young throwers is you want to make sure that when you're coming through and you're creating rotation that we understand that we're always having to move on top of the axis and we want to create that nice right foot pivot. This is something a lot of throwers have a hard time with and one of the reasons is very simple. Athletes are coming into the middle and this heel they settle, they sink. When the heel comes down you create this kind of a reach. If the heel is coming up you're rotating the hips as a unit into the throw and then this will continue to rotate through the delivery. So one of the biggest mistakes young throwers make or throwers even at the collegiate level is that you'll see they come in and they settle and once you settle you're creating this drift. Now you can look at videos and there are some elite throwers and that heel does come down lower so you have to pay attention. Some of these guys are super tall and they have some their own interesting dynamics and how they move but you're going to see that heel appear to come down but it doesn't really stall. Most people are not going to recover from a low heel. So the thing that you basically want to always understand is a really simple way whether it's the shot is once we're here we're really getting that heel up. That heel up creates faster lower body rotation and you have the timing and there's variables and ways to approach it but a real simple thing is as you come in you want to land and you want that heel to be elevating as it's rotating into the delivery. When that heel comes down and it settles that's the slowing of lower body rotation and that's deceleration through the delivery and faster acceleration through delivery is what translates to bigger throws.  Try to make sure that you prevent that heel from coming low and rotating low. You want to feel that thing rotating up which is going to move you into the delivery and help you produce better throws. Hopefully if you found this video helpful be sure to check out AirtateThrowsNation.com. We have free videos available. Give us a like below and be sure to subscribe if you find this helpful to see more videos like this in the future. Thanks so much.


Freedom! Today I wanted to talk to you about the fact that I'm going home. That's right, my time here in the Philippines is over. Now I've had a lot of fun here and I can't wait to get back home. For those of you who don't know, my family lives in Alabama and I'll be returning there so that I can spend some time with them. And I'm curious while I'm there, because I'll be there for about three weeks or so, wondering if any of you happen to live in the area of northeast or northwest Alabama. I'll also be traveling up to the Chicagoland region and potentially even the Carolinas for some miscellaneous paperwork gathering and things. So if you live in these areas, between these areas, let me know. Maybe we can meet up. Maybe we can do something fun. Sorry for the short video today, but I wanted to get this out there and see what you had to say. Maybe we can get together, create something awesome, or just, like, you know, have a soda or something. Anyway, until next time, don't forget to like, subscribe, and do all those things that make us love our jobs. Also, be awesome to yourself and amazing to each other. So just to be clear here, I'm not leaving freedom. I'm not leaving the Philippines permanently. I'm kind of scared that some people may take it that way, because every time I make one of these videos, people freak out. I'm coming back. Just saying. Bye, guys. Whoa. Facebook groups. Whoa. Of course, our support Twitter. Whoa. And of course, the forums. Whoa. I am so gonna drop these. Anyways, thanks for watching. Whoa!


Good evening everyone. Good evening. I'm Ruki Ravekumar, director of education, and it is my pleasure to welcome you to the Cooper Hewitt. It's been an exciting time here. The Access Placibility Show has served as quite a stimulus. We've had many robust conversations on the importance of access and inclusion. And on April 13th, we will open SENSES. It's an amazing exhibition that serves as an invitation for visitors to encounter design with all their senses. Featuring inclusive interactive installations created in collaboration with contemporary designers and products that enhance life for all, including those with sensory disabilities. The senses will be a vivid, intimate experience of sensory design, so don't miss it. We're happy that we've been able to activate the galleries here tonight. We don't do this often, so it's a treat. I hope you've had a chance to walk through jewelry of ideas. This exhibition features extraordinary gifts from the Susan Grant Lewin Collection. Thank you Susan. She's here tonight. If you would give her a round of applause, please. The collection and the exhibition eliminates the radical conceptual and material developments in jewelry design that had transformed the field. The works on view show how jewelry has moved far beyond its aesthetic considerations to stake out new creative territories through a mastery of materials, innovative techniques, and conceptual inquiry. But tonight, it's my pleasure to welcome and introduce art historian Tony Greenbaum. She will discuss cogent issues affecting the evolution of studio jewelry in the United States during the mid 20th century. Tony Greenbaum is a New York based art historian specializing in 20th and 21st century jewelry and metal work. She wrote Messengers of Modernism, American Studio Jewelry 1940 to 1960 along with numerous book chapters, exhibition catalogs, and essays for art publications. She's currently writing a monograph on Modernist Jewelry, Sam Kramer. She has lectured internationally and she has also curated exhibition for several museums including the Victoria and Albert in London. Tony is an associate professor at Pratt Institute in Brooklyn, New York where she teaches a course in Theory and Criticism of Contemporary Jewelry. Please welcome Tony Greenbaum. Well, Rookie, thank you so much. I feel like a Madonna. I'm not Madonna. Oh, Madonna. Here in this beautiful halo. Thank you so much to the Cooper Hewitt Museum for having me. And mostly, thank you so much to Susan Grant-Lewin for donating her fabulous collection and making me able to give this talk to you tonight. So, tell me if you can't hear me. I probably don't even need the mic. However, during the next hour, I'm going to address some of the most influential makers who worked within the discipline. The discipline of mid-20th century American Studio Jewelry. Those who set the stage for a revolution in our cultural vernacular and laid the foundation for a trajectory that continues its ascent to the present. I'll place these jewelers within a broad cultural context regarding seminal exhibitions along with social, educational, organizational, commercial, and professional opportunities afforded them during the mid-20th century. In other words, this is going to be like you're back in school. Okay, although for reasons particular to each country or region, a modern jewelry aesthetic was developing simultaneously elsewhere in the world, the primary impetus for such a jewelry expression in the U.S. was to provide relatively inexpensive, handmade pieces for a sociopolitically progressive and artistically astute subculture as part of a general craft revival that rejected the anonymity, standardization, and industrialization of the post-World War II era. The influences sprang from the fine arts, painting and sculpture, rather than from other forms of jewelry, either fine or costume, except in certain instances where ethnic or tribal examples proved inspirational. A paradox existed between an early lack of skill-based, jewelry-specific training facilities available in America and the legions wishing to explore a modern jewelry aesthetic. Often the earliest practitioners from the 1930s into the 1940s were primarily painters and or sculptors, and their formal influences were the great movements in modern art, particularly cubism, constructivism, surrealism, biomorphism, data, and later abstract expressionism. With few exceptions, the earliest American makers were essentially self-taught, rarely trained in the techniques of metalsmithing, and had to often turn to de facto educational opportunities, such as observing ships foragers and welders at the dockyards, or learning small-scale casting at the dentist. Boston silversmith, Margaret Craver, took a metalsmithing class at University of Kansas in the late 1920s, where she complained the instructor couldn't even solder. Due to her frustration searching for a well-designed wedding ring around 1929, San Francisco artist, Margaret DePata, studied the rudiments of metalsmithing with an Armenian-born artisan, so that she might make one for herself. There were some notable exceptions. As early as 1904, the Department of Jewelry and Metalsmithing was founded at Rhode Island School of Design in Providence, Rhode Island, due to the active commercial silver industry, notably the Gorham Company, which was located nearby. In New York, Brooklyn's Pratt Institute offered Art Medal, which was attended by Master Smith Marie Zimmerman around 1900. The local chapter of the American Red Cross sponsored jewelry and metalwork classes at Riverside Church in Morningside Heights. And since 1930, the 92nd Street Y has developed a fine program where many world-class jewelers taught and continue to teach to the present day. Teachers College at Columbia University instituted a metals class that was attended by Seattle Smith Ruth Pennington during the summer of 1929. In 1945, New York Jeweler Ed Wiener took an evening course there in General Crafts, similar to those at the Craft Students League and West Side YMCA. But other than arts and craft sessions, there weren't many accessible hands-on opportunities. There was activity in California as well. Local high schools, for example, one in the San Diego area, offered evening adult education classes in jewelry making, where James Parker, who taught high school photography, art, and English, learned the basic skills. An obscure jewelry class taught by notable ceramicist Glenn Lukens at University of Southern California in Los Angeles was attended by New York Jeweler Sam Kramer in the mid-1930s when he was a journalism major there. Ceramicist and Jeweler F. Carlton Ball, who went on to teach both disciplines at California College of Arts and Crafts in Oakland, also studied with Lukens. Therefore, what compelled American makers to pursue jewelry given these impediments? Each had his or her own personal reason. Some, like broad-based Jeweler Alexander Calder, whose impact upon American studio jewelry cannot be overstated, and Harry Bertoya, with whom he often exhibited, already possessed metal smithing skills used for their sculptures and wished to exercise them to fabricate gifts of jewelry for family and friends. But when demand for these jewels extended to those who collected their monumental works, they began to make pieces that were commercially available through the art galleries that represented them. In Calder's case, Pearls and Marion Goodman Galleries in New York City. Calder and Bertoya often showed together at Alexander Gerard Gallery in Detroit. Others, such as sculptor Ibram Lassaw, viewed his broaches and pendants as maquettes, or studies for larger works. Paul Lobel. Ed Wiener. Susan and I have a private joke. Sam Kramer. Art Smith. Henry Steig. Bill Tendler. Irina Brenner and Jules Brenner. Betty Cook. Peter Macchiarini. Everett McDonald. Philip Pavel. And many others viewed handmade jewelry as a means to generate income and open their own shops to support themselves and their growing post-World War II families. Iconoclasts, all. They possessed adventurous, independent, and pioneering spirits. One of the earliest American craft enterprises founded in 1932 was the League of New Hampshire Arts and Crafts since 1968, the League of New Hampshire Craftsmen. In 1939, philanthropist, ceramicist, and craft aficionado Eileen Osborn Webb began an affiliation of craft groups called the Handcraft Cooperative League of America. They established markets in metropolitan areas for rural craftsmen and women. The following year, America House, a major retail outlet for multimedia hand work including jewelry, opened at 7 East 54th Street near the Museum of Modern Art. Several New York jewelers were also active in the New York Society of Craftsmen. Through numerous mergers, name, and regional changes, the Handcraft Cooperative League of America would become what we know today as the American Craft Council, which currently operates a library in Minneapolis and publishes American Craft Magazine. In 1956, the Museum of Contemporary Crafts, now Museum of Arts and Design or MAD, opened as an affiliate, which it is no longer. The museum is currently located at to Columbus Circle. MAD houses a stellar collection of studio jewelry, a sampling of which is perpetually on view in their dedicated jewelry gallery. In 1966, the first retail craft fair was held under the auspices of the American Craft Council in Stovermont. The fair would ultimately develop into a huge operation, relocating to Rhineback, New York in 1973. And it continues this day to this day at several locations around the country. The Second World War was a pivotal, albeit ironical, force in American metalsmithing education, which began in most instances as physical therapy for soldiers returning from the front as the basic processes of jewelry making were found to strengthen hand and arm muscles and foster eye hand coordination. Victor D'Amigo, director of education at the Museum of Modern Art, began the War Veterans Art Center in 1944. The jewelry class was so popular that civilians wished to join as well. In 1949, it was reconfigured as the People's Art Center. The same year, the museum published How to Make Modern Jewelry by Charles J. Martin, instructor in the jewelry and metalsmithing class. Several other how-to books were published between the late 1940s and 1960s. Some deserving mention are jewelry making for schools, tradesmen, craftsmen by Murray Bowen, metal techniques for craftsmen by Uppy Untracked, modern jewelry design and techniques by Irina Brinner, hand wrought jewelry by Lois E. Frank, Contemporary Jewelry, a craftsman's handbook by Peter Morton, by Philip Morton, and Step-by-Step Jewelry by Thomas Gentilly. School for American Craftsmen, begun by Eileen Osborn Webb and the American Craftsman's Educational Council, was opened at Dartmouth College in Hanover, New Hampshire in 1944. The first student was a discharged Marine who had been injured in combat. School for American Craftsmen moved to Alfred University in Alfred, New York in 1948, where John Pripp, an American of Danish descent, was hired to run the metalsmithing program. In 1950, it moved to Rochester Institute of Technology, where an important metalsmithing department would flourish. Innovative Southern California jeweler, Svetozar Ortoza, Rudakovich, taught there from 1955 to 1958, RIT additionally sparked a significant commercial project. In 1952, Pripp, along with ceramicist Franz Wildenhayn and cabinet maker Taga Frid, opened Shop One, the sole retail outlet for crafts in the area. They were soon joined by American jeweler Ronald Hayes Pearson, who created some of the most popular and accessible handcrafted jewelry of the period. And that's Ron Pearson and Jack Pripp with students there. Broach by Jack Pripp and his dimension service designed in 1960 for Reed and Barton and Vision Flatware and a necklace by Ronald Hayes Pearson. The Vision Flatware was manufactured by International Silver, so they did more than just design jewelry. Charles Lollema, a Hopi Indian, who developed an avant-garde style which catapulted traditional Native American silver and turquoise jewelry into the modern era, had originally studied ceramics at the School for American Craftsman during its brief tenure at Alfred. And this fantastic bracelet is in the permanent collection at MAD. Another avant-garde educational program to grow out of veteran's therapy was the National Silver Smithing Workshop Conferences organized by Margaret Craver. During the war, she had been sponsored by Handy and Harmon Precious Metal Refiners in New York City in her efforts to develop a program to administer occupational training through metal smithing to hospitalized soldiers. After the war, her frustration with the lack of effective metals education available to those wishing to learn the techniques led Craver to prevail upon Handy and Harmon to support a series of month-long summer workshops that were aimed at art teachers. Held from 1947 to 1951, first at Rhode Island School of Design and then Rochester Institute of Technology, they were taught by prominent European smiths, Baron Eric Fleming from Sweden and William E. Bennett and Reginald Hall from England. Some who would go on to become American Jewelry Masters, as well as influential educators, such as John Paul Miller at the Cleveland Institute of Art and, incidentally, Thomas Gentilly's sophomore design teacher. Alma Eicherman at Indiana University in Bloomington and Earl Parden at Skidmore College in Saratoga Springs, New York were participants. There were additional courses of significance in the Los Angeles area, including UCLA in the 1940s. Ernest Ziegfeld offered jewelry making courses from 1956 to 58 at California State College Long Beach. Ray Hine also taught at CSULB and California State University Fullerton. Transplanted New Yorker Alvin Pine, who influenced many California makers when he taught at CSULB from 1962 to 1996, replaced Hine when he went to Fullerton. Northern California Jeweler Bob Winston taught Irina Brenner, who ultimately resettled in New York at California College of Arts and Crafts Oakland, and enamelist Franz Bergman ran a jewelry class at California School of Fine Arts in San Francisco. There were pockets of jewelry activity throughout the United States. For example, in remote areas such as Eureka Springs, Arkansas, Elsa Freund was fabricating calderesque silver or enamel cuffs and pendants that incorporated her own combinations of local clay fused with glass that she called el ceramic. Mary Kretzinger was doing enamel work, innovative pictorial gemstone collages, and fused metal in Emporia, Kansas. Chicago glassmakers Michael and Francis Higgins, although specializing in tabletop objects, created necklaces and earrings from spirals of brass and glass shards. In the Northwestern United States, Ruth Pennington was developing the metals department at University of Washington, Seattle, training assemblage jeweler Ramona Solberg, who went on to influence important contemporary makers, Kiff Slemmons and Lori Hall. Betty Cook opened a retail shop in Baltimore, Maryland to market her own minimalist designs along with work by other makers. And Harry Bertoya hand forged organic leaf and insect like pieces that he either gave or sold to members of the Cranbrook community of art in Bloomingfield Hills, where he was teaching graphic arts at the time. Nevertheless, studio jewelry was a mostly bicoastal phenomenon concentrated in New York City on the east coast and San Francisco, Los Angeles and San Diego in the west. New York City's Greenwich Village was home to numerous vanguard studio shops run by individual jewelers with several spread along West 4th Street. Francisco Robajes was the first to open there. Followed by Paul Lobel in 1944, Robajes opened in 1934. Then Lobel in 1944, and Art Smith, who had been forced to move from his original shop on Cornelia Street in Little Italy in 1948 due to racial tension. Bill Tendler was on West 4th Street from 1955 to 1963, moving to another part of Greenwich Village thereafter. Beginning in 1941 and continuing until his death in 1964, Sam Kramer created a surrealist fantasy in his shop on West 8th Street. Replete with a hand-shaped bronze doorknob that wore a pigskin glove in winter and a window that displayed both a leering red painted eye and sculpted protozoan encircled by flashing light bulbs. In 1946, Edwiner was also downtown, but further east on 2nd Avenue and 2nd Street in what is now the East Village, moving uptown opposite the Museum of Modern Art a year later. Paul Lobel, Edwiner, Jules Brenner and Henry Steig also ran summer versions of their New York City shops in the Art Colony of Provincetown, Massachusetts. Steig achieved incidental fame when his main store located on Lexington Avenue at 51st Street on Manhattan's Upper East Side became the backdrop for Marilyn Monroe's famous scene in which her skirt is blown up through the grading by passing subway train in the 1955 film The Seven-Year Itch. And just as an aside to this, if you watch the film, which I have done on numerous occasions, looking for Henry Steig workshop by Henry Steig, you're not going to find it because this was from the promotional material. The actual scene in The Seven-Year Itch was shot on a Hollywood's downstage. I only care about Henry Steig's shop. Both northern and southern California hosted significant jewelry communities after the war, although the movement was most systematized around the San Francisco Bay Area and the northern part of the state. The overriding reason was the presence of Margaret Tapata, who had studied with Emma Gray, Hungarian constructivist, Laszlo Maholi-Nagy at the School of Design in Chicago, also referred to at the New Bauhaus as the New Bauhaus from 1940 to 1941. Her theoretical approach to jewelry as vision in motion, Maholi's principal tenet, rendered her somewhat of a guru to the other metal smiths working in San Francisco. Most jewelers in northern California sold through craft fairs, not eponymous shops as in New York City, although nannies and artisans shop in San Francisco featured handmade jewelry. The metal arts guild, or MAG, and now answering all of you who said, I know what snag is, but what's MAG? Now you know what MAG is. The metal arts guild was founded in 1951 by Tapata, Peter Macchiarini, Mary Rank, Irina Brenner, and Bob Winston, among others as an educational and promotional catalyst for the San Francisco metals community. The Los Angeles area in southern California boasted suburb jewelers as well, such as Esther Luides, Philip Pavel, both of whom ran shops, Everett McDonald, who had a store in Laguna Beach. And after leaving Venice, Italy, where she created the gates for American art collector Peggy Guggenheim's Palazzo, Claire Fulkenstein worked in Venice, California. There was also energetic activity in the San Diego area, where multimedia crafts people, enamelists among the most prominent, organized allied craftsmen of San Diego, which sponsored various teas and fairs where objects in jewelry were exhibited and sold. Of particular note is James Parker, who made large, strong pieces of jewelry, particularly rings. American studio jewelry was regarded as an important aspect of post-war decorative art, proven by the exhibitions organized to bring it to the public's attention. Although some industrial arts exhibitions prior to the war contained studio jewelry, such as Contemporary Industrial and Handwrought Silver, held at the Brooklyn Museum in 1937, which included pieces by Frank Rebajes and Paul O'Bell, the first museum to mount a show exclusively dedicated to studio jewelry was the Museum of Modern Art in 1946 with modern handmade jewelry, also known as modern jewelry design. It was a circulating exhibition that traveled to 15 additional venues around the United States, thereby introducing thousands of people to studio jewelry.  After researching this exhibition, MoMA has really only these very small archival photos, so I had to take a picture of the installation with my phone, so that's what you see there. So you really can't see anything other than the fact that what the display looked like was covered with plexiglass, and the gallery where it was held was in the auditorium gallery. So those of you familiar with MoMA, you go down to the basement to see the movies, the screenings, well that area, that waiting area, that was where they had the jewelry exhibition. So that was the auditorium gallery, and that's what the exhibition looked like. But it was a circulating exhibition, and the people who were included were Annie Albers and Alex Reid, another fantastic image of their case. Harry Bratoya, well we don't know why we have Xanley Lex in there, we'll move on to him later. Annie Albers and Alex Reid, Harry Bratoya, Alexander Calder, Paul Lobell, and Margaret Tapata. It was soon followed by modern jewelry under $50 at the Walker Art Center in Minneapolis in 1948. So they sort of rift on the display that MoMA did, but made it a lot more interesting, but the name of the show was indeed modern jewelry under $50. Now that show included Bratoya, Tapata, and Lobell, with the addition of Claire Falkenstein, Sam Cramer, Philip Morton, Art Smith, and Bob Winston. This was followed by two exhibitions in print, published by the Walker in 1955 and 1959, expanding the parameters to include Irina Brenner, Betty Cook, Philip Fike, Mary Kretsinger, Earl Parden, John Paul Miller, Ronald Hayes-Pierson, Ruth, and Svetozar Radakowicz. And I have an issue here. There's something on my screen that's not on your screen, which is very strange. So I'll read while Seamus comes running over to help the Madonna. We're not even going to tell you what it is. Okay, hopefully we're good now. It might come up. I'll just yell for you. Okay, designer craftsman USA, organized by the Brooklyn Museum in 1953, contained jewelry. The Memorial Art Gallery at University of Rochester held several exhibitions sponsored by the Hickok Furniture Company that featured jewelry. Cranbrook Art Museum included jewelry in their 1951 alumni show. In 1954-56, the American Federation of Arts organized a traveling exhibition, Three Craftsmen, one of whom was Sam Cramer. Shining Birds and Silver Beasts was a solo exhibition of figurative silver table top sculptures by Paul O'Bell at the American Museum of Natural History in 1949. And in 1951, the museum highlighted his jewelry in From the Neck Up. The Pasadena Art Museum, now Norton Simon Museum, held the 13-part California Design Series from 1954-76 that displayed copious amounts of jewelry made in California. American makers Alexander Calder, Margaret DePata, Irina Brenner, Margaret Craver, Claire Falkenstein, Mary Kretsinger, Philip Morton, and Stanley Lexen. There we go. Now he's at his right place. We're represented in the International Exhibition of Modern Jewelry 1890-1961 at Goldsmiths Hall in London. Okay, the term modernist jewelry was adopted in the 1990s. Around the time my book, Messengers of Modernism, was published to define this category of jewelry and distinguish it from other modern and contemporary expressions. In studying the outstanding collection of modernist jewelry housed in the Montreal Museum of Fine Arts in Quebec, the fulcrum of this book, it became apparent that a common aesthetic thread ran through all. That is, the ornamental interpretation of modern art using the body as a point of reference. Concepts and motifs from Alexander Calder's mobiles, stables, and wire sculptures can be seen in much modernist jewelry, including his own. Art Smith appropriated the kinetics and asymmetry of Calder's mobiles. And they were both influenced by tribal, particularly African regalia and objects. So on the left is an African woman wearing bracelets, which clearly informed Calder's on the right. And on the left is an African embera, or a thumb piano, and Art Smith's modern cuff on the right. Although Ed Wiener's jewelry was originally informed by Cubism, he tells a charming story of how a pair of mobile-like earrings walked into his shop, making no mention of the woman to whom they were attached. Consequently, he broke out of his Picasso-esque rigidity and opted for Calder-esque airiness and movement. Bertoya, Rabahase, Styg, Brenner, McDonald, Freund, Higgins, to name just a few, were also indebted to Calder. Sam Kramer presented himself in a bizarre fashion. And this is Sam with a space girl. He advertised in the New York newspapers for space girls. And these girls would toodle around New York, handing out flyers to advertise his shop. In addition to creating works that reflect nightmarish figures akin to those found in paintings by surrealists Juan Miro, Rene Magritte, and Salvador Dali. And you see the Miro painting on the left and the Kramer skeletal cuff on the right. He was a master at promotion, advertising fantastic jewelry for people who are slightly mad. And would sometimes be dressed in pajamas, sleep on a cot, when prospective customers visited his shop. And in interviewing a gentleman for the book that I'm writing about Sam Kramer, his mother was a collector and he was very young at the time that he would accompany her, actually five or six years old, to Sam Kramer's shop.  And Sam Kramer walked in wearing one shoe and carrying a cocktail. So if you can trust the memory of this older gentleman now from when he was six years old, then this is not apocryphal. These stories are all true. So, I mean, the influences are palpable. Both Smith and Rubahe's display a distinct Jean-Arp-like biomorphism, as well as a strong relationship to Calder. German emigre Annie Albers along with her student Alex Reed at Black Mountain College in Asheville, North Carolina conceived Dolly-inspired pendant brooches utilizing objets trouvets such as sink drains and paper clips. Margaret de Pada magnificently translated the principles of constructivism into a jewelry format, specifically that of Maholi Naj, as we've said before. And she would have these stones faceted from behind so that optical illusions were created. In fact, the piece of white gold that is behind the stone is straight. It's because of these multi-facets that our angle of perception is distorted. When we look at the piece, depending on the angle to which we look at it, it looks different. And another Maholi Naj painting with a Margaret de Pada pendant. As he told her, have your stones float in the air. Abstract expressionism, particularly the dripped and pooled textures of American painter Alexander Pollock, can be seen in the layered blobs of silver used by Kramer. As post-war prosperity took hold, a Bonafide craft movement in America began to grow, mostly due to the backlash against banal consumerism. Many folks desired artful handmade objects that were personal, as well as culturally significant. Jewelry no longer directly referenced painting and sculpture, but began to look to itself to define a new and timelier vision. Important metalsmithing programs, which would train some of the American jewelers working today, were founded, such as Philadelphia College of Art, now University of the Arts, where Olaf Skugforz taught, and Tyler School of Art with Stanley Lexen, both in Philadelphia. Alma Eicherman's program at Indiana University, Wayne State University in Detroit with Philip Fike, University of Washington, headed by Ramona Solberg, John Paul Miller at Cleveland Institute of Art, and Arlene Fish at San Diego State University. Fine programs were also located at University of Wisconsin, Madison, Arizona State, University of Arizona, Haystack Mountain School of Crafts in Deer Isle, Maine, and State University of New York, New Paul's, along with several others, either absorbed into programs, or no longer in operation. Stylistically, studio jewelry made during the 1960s was as varied as the individuals who created it. The technical boundaries of metal as a substance were pushed to the limits in works, for example, by Olaf Skugforz, Philip Fike, and Alma Eicherman. Some, such as Stanley Lexen and Carolyn Kriegman, incorporated synthetics or plastics. Ancient metal smithing and enameling techniques were reverentially explored by masters John Paul Miller and Margaret Craver, as well as a renewed respect for nature and the environment seen in works by Miller and Ruth Rudakovich. Vernacular American folk themes and objects were appropriated and combined with metal and other materials in bracelets by Svetozar Rudakovich and necklaces by Ruth Pennington and Chinese Hawaiian Ron Ho. Pop culture was exploited in sardonic assemblages by J. Fred Wall, and I don't think these two pieces need any explanation, particularly come alive, you're in the Pepsi generation. And when you realize that the Pepsi bottle caps are dangling from spent bullet casings, and that the euphoric girl, that those of us were around for this ad campaign in the 60s, surely recognize that her smiling face is housed within a military helmet. We look at it quite differently, as well as the good guys based on a Byzantine icon, the good guys, of course, being Little Orphan Annie, Superman, and Dick Tracy, Robert Ebbendorf, Ken Corey, and the piece on your right, which is a belt buckle called Autumn Sunset, just a word of note about that. It really is a comment about the commercialization of Native American jewelry. This piece, I believe, is from, I think it's around 1970. If those of you who are familiar with Hopi metal work, it's typical metal overlay, Hopi metal silver overlay. But the portion in the middle, which looks, of course, like candy corn, is actually laminated plastic. So there are so many layers of meaning to this piece, commenting again on this late 1960s, early 1970s commercialization of our precious Native American heritage. Donald Tompkins, and the body became more than just an armature at this point in time also, but actually functioned as an element of huge all-encompassing works by Art Smith, Claire Falkenstein, Arlene Fish, and Albert Paley, who was a former student of Stanley Lexans at Tyler School of Art who went on to create architectural commissions, including the gates at the Smithsonian Institution in Washington, D.C. In 1965, the Museum of Contemporary Crafts presented an exhibition titled The Art of Personal Adornment. Curated by director Paul J. Smith, it brilliantly combined over 350 examples of jewelry from all ages and cultures. Ancient medieval Renaissance, 17th through early 20th century European of all types, with pre-Columbian gold, feathers from the Amazon, Native American and East Indian silver, West African ivory and copper, along with pieces from North Africa, the Nier, Middle and Far East, shell and beadwork from Australia and New Guinea and Central Africa, even tattoos. Organized by areas of the body, chest, waist, arm, hand, foot, neck, and head, the historical and ethnic work was juxtaposed with contemporary studio jewelry by both European and American makers. The latter included Alexander Calder, J. Fred Wohl, Bob Winston Arlene Fish, Claire Falkenstein, Ibram Lassaw, Irana Brenner, Robert Ebbendorf, Ronald Hayes Pearson, Charles Lollima, and Thomas Gentilly. New York Gallery owner Lee Nordness curated a multimedia exhibition of contemporary American crafts titled Objects USA, which opened at the Smithsonian Institution in Washington, D.C. in 1969, before traveling extensively throughout the United States. The S.C. Johnson Company of Rassine, Wisconsin sponsored the project and the Johnson Collection of contemporary crafts was created, forming the nucleus of the excellent permanent collection at MAD. Jewelers featured include Irana Brenner, Alma Igerman, Phillip Fike, Margaret Craver, Mary Kretzinger, Charles Lollima, Ramona Selberg, Ruth N. Svetozara-Dakovich, Art Smith, Ed Wiener, Mary Wrenk, Bob Winston, John Paul Miller, Olaf Skugfors, all these names are familiar to you now, Stanley Lexen, J. Fred Wohl, Ken Corey, Arlene Fish, and Ronald Hayes Pearson. In the late 1960s and early 1970s, select European jewelers began to spread new ideas to those working in the United States. In 1965, Americans Stanley Lexen and Olaf Skugfors traveled abroad, visiting Friedrich Becker, Reinhold Riling, and Klaus Burry in Germany, Max Freulich in Switzerland, Sigrid Persson in Sweden, and Wendy Ramshaw and David Watkins in England. Japanese American jeweler, Mia Matsukada, is credited with introducing Japan to jewelry from the United States in the American contemporary jewelry exhibition at Odakyu Department Store in Tokyo in 1968, which featured Stanley Lexen and Olaf Skugfors along with herself. Worked by Dutch innovators Heisbacher and Emmie van Leersen toward the United States in artist designer Ben O'Premsel as groundbreaking objects to wear in 1969, Klaus Burry's influence became palpable in, for example, pieces by Robert Ebbendorf after Burry's visit to the United States in 1973. Since 1970, American metal smithing has been galvanized by the Society of North American Goldsmiths, or snag. Snag's mission remains the advancement of jewelry and metal smithing by inspiring creativity, encouraging education, and fostering community. The organization's roots go back to 1968, when Philip Morton held a meeting in Chicago with nine goldsmiths and silversmiths that included Robert Ebbendorf, Philip Fike, Stanley Lexen, Ronald Tays Pearson, and Olaf Skugfors. Out of this initial gathering came two clear goals, to create an organization of designer craftsmen in the metal arts field and to promote a conference of professional jewelers. In 1969, a larger group met twice more, establishing the basic parameters of the organization, its name, and plans for the first snag conference, which were held in St. Paul, Minnesota in 1970. American studio jewelry has flourished. Significant metal smithing programs can be found in colleges and institutions throughout the country. Connoisseurs abound, and more and more major museums are organizing jewelry exhibitions and including jewelry in their permanent collections. In fact, authoritative museums are actually purchasing important works, as well as courting substantial gifts from prominent American collectors. Among these are the Museum of Arts and Design, Metropolitan Museum of Art, the Cooper Hewitt Smithsonian Design Museum, and Brooklyn Museum of Art in New York. The Museum of Fine Arts Boston, the Newark Museum in New Jersey, the Houston Museum of Fine Arts and Dallas Museum of Art in Texas, the Los Angeles County Museum of Art and Oakland Museum in California, the Racine Art Museum in Wisconsin, and the Tacoma Art Museum in Washington State, the Mint Museum in Charlotte, North Carolina, the Arkansas Art Center in Little Rock. The Renwick Gallery and the Luce Foundation Center at the Smithsonian American Art Museum in Washington, D.C. Although not in the United States, I must also acknowledge the Montreal Museum of Fine Arts, one of the first museums to champion American studio jewelry within an international context. In addition to numerous museums in Europe, such as Dinois Sam Lung in Munich and the Hermitage in St. Petersburg, contemporary jewelry has indeed become a global phenomenon, illustrated so brilliantly by Susan Grant Lewin's gift to the Cooper Hewitt. Thank you. Does anybody have any questions? Any questions? It's a lot of information to absorb. Any questions? Any comments? No? No questions? I said it would be like being back in school. No, it's all memorized. That's why I read it because I wanted to make sure I got everything in and everything right. A transcript? Well, it's being recorded. And it's being, yeah, it was recorded and it'll be on YouTube, right, Seamus? Yes. Yes. Yeah, it'll be on YouTube. So you can just watch it over and over and over as much as you want. Yeah, Barbara. I think there's a mic. I think you're being handed a mic. Just for the live stream. I think in the 1950s, maybe even 1949, there was some important Danish silver and maybe even jewelry included shows that came through the U.S. and through New York. And I wondered why, I know this is all focused on America, but why you didn't include sort of that influence? Because we'd be here until midnight. The Danish influence on people like Ron Pearson was monumental. Jack Pripp was Danish. He came here from Denmark and Hans Christensen, who ultimately ran the program at RIT, also was Danish. There was a tremendous amount of Danish influence. You know, the biomorphism went through, helped me out here, senior moment. The Great Dane, he did all the biomorphic forms. It'll come to me. Thomas, you know who I mean. Henning Koppel. Henning Koppel. All the biomorphic forms that I refer to with Art Smith. Certainly Henning Koppel, who was sold through George Jensen, who was in New York. People were seeing that. But I wanted to focus on other aspects than just the Danish influence, which was ultimately more commercial. Tour in a Swedish, that's how I do a whole lecture on. If you want, Cooper Hewitt, I'll come back and do a whole lecture on Danish influence on American jewelry with pleasure. I had to edit somewhere. But you're absolutely right. The Danish influence, particularly Henning Koppel's. Particularly that Henning Koppel to Ron Pearson connection was palpable. The Danish jewelry was everywhere. George Jensen was the most prominent place to see it. Mike. To some extent as well, the whole sort of proclivity to work in silver. Oh yeah, no question. RIT is the perfect example under Hans Christensen. Yes. One moment please, just wait for the microphone for the recording. Thanks so much. So you talk about modernist jewelry, and you talk about the book about it, and then you talk about styles of modernist jewelry. And then you said that each artist's work came from that artist. So how would you, what would be the common denomination for the modernist jewelry? Well, most of the modernist, most of the jewelers who opened shops were influenced in Greenwich Village, as I said, in New York and in California, were influenced by movements in modern art. So I gave several examples. One of the biggest differences between the modernist jewelers, and ultimately what started to happen in the movement as it evolved, is that they left that and they started to think in terms of other ways to express themselves through jewelry. By making the jewelry more, had more political content, more social content, more commentary. It was much more inclusive of the body, you know, examples like that. Whereas the modernist jewelers, those that started working right after World War II, were looking to painting and sculpture for motifs, for ideas, for styles, rather than looking within jewelry itself and how jewelry can be used to communicate in a different way. Do you know, do you understand the, yeah, any other comments, questions? Thomas, yeah. She was actually at the opening of Susan's exhibition. The way her idea is opening, she's incredible. And still beautiful, absolutely, yeah. She's still running, she's 94, I think she said. 94. And still running her shop and designing these very minimalist, clean designs. Okay, so no other comments. Thank you. Thank you very much.


YouTube, what's going on man? Welcome back to another video and today we bring you guys some Pippa EXE or Piggy.exe games It might be the reasonably the worst EXE games or Piggy games that I'm gonna play in my entire life But it is what it is and here we are today on Pippa Pig the game They don't even know how to spell right, so that's how we're gonna begin with this game And as we can see there's a plate of bacon in the background. Oh my so much for welcoming, huh? So let's go ahead and go Start okay. Oh, and here we go. Dude.  What is that? Oh my god, okay? This is like Mario Peppa Pig. Oh wait up. I can't move Dude, it's like dragging me back. Okay. There you go. No come on. Dude. What is going on with this game? It's like it has a mind of its own Right there you go. Oh, okay. I don't want to die. So let's be careful. Dude. There's a lot of spikes everywhere.   Oh, there's a door. Okay. So we jump over the door. Okay. Let's go towards the door. Oh Why is there so many spikes dude? I swear don't die door door door Hey, that is fake.  It's not take you anywhere Hey, I do see like a little thing up there. Whatever. Let's keep on going.  I can't even move right now Hey, off we go. Oh my god about time.  Oh, what the? What the heck? What is this and there it goes dragging me by itself?  I can't even fight back. Oh Oh, oh G to fire. Oh my god. Okay.  This is not fair. They got like double. No, it's dragging me out Oh my god. Okay. This is so annoying every time it just drags my character away And then I can't even see it on the screen anymore Like what what happened to my character? Okay, so this is a different game as we can see Oh, not a blue screen. Come on, man, and I have no idea what the heck this is man.  President enter nothing seems to be happening. Oh, oh my god Dude, this might be the most bull leg EXE game ever I like a return to a bottle at least All right. Well, we are piggy Sonic whatever you want to call him.  What in the pool like this is going on? I'm hungry Okay, well, I'm kind of hungry myself. I haven't had breakfast. I'm running on the stomach man. The struggle is real Okay, what the heck is this? Why am I an actual pig?  Oh not a Latin.  I don't know who the heck that is but he's super buff and Here goes nothing. Let's charge at him charge. Oh, oh it seems like we did Oh my god Wait Minecraft villagers. What the heck? Oh, what is going on in this game, dude? Oh, okay. Look at George. Why do you look like that?  All right, whatever man. Let's just keep on moving Oh, it's a dead end And the ladder once again. Oh, it's raining pigs. Oh my god. Why is there so many? Okay Hello there superior pig. I came to fight you. Okay. I like bacon. I like bacon. Okay, um Well, not everybody's a fan of bacon, but I like bacon here and there is this the end of Peggy.exe. I Believe it is ladies and gentlemen Nothing seems to be happening. Okay.  Nothing happened. All right. It seems like this is the end. Um Very bootleg very strange.  Okay, so the nightmare doesn't end there There is a part two for this peppa Piggy exe and here we are we find ourselves in it right now Okay, this is fairly strange All right, here we go What peppa wants to play? Oh man What the heck is this dude?  Please help me What he's saying we can't escape and then he's asking us for help Okay, whatever man Oh, oh no, not the buff piggy in the background. Okay.  I'm trying. Okay. I just don't know what's going on Okay, uh, we're pig uh, we're george pig now All right, whatever let's keep on going. It's the same level again But it just keep getting it gets weird every time. Okay. Actually, we're going up this time Instead of going down or straightforward Okay, it seems like it has pained So that's good Okay, let's keep on moving Oh my god go. Okay. I'm like, can you even jump that? Wait, what? What is that? I'm hearing noises. Okay, whatever. I'm running back. I don't care I'm running for my life Hey, what is that noise? Sounds like there's something falling or dangling I don't know man, but I just died or did I this wasn't supposed to happen?   Oh my god. Okay. I'm gonna have a Epileptic attack dude. This thing is so crazy in the background Please don't look if you're seizure to prone to seizures and any of that I'm being serious right now because that thing is flickering so bad Okay, we got a minecraft villager You freaking monster. What I'm saying is help me. You've made it all this way, but you won't go any further Super. Why do you keep trying? This will only end bad for you Well bring it on sister.   Do you wish to join me? I will never join the dark side Fine.    Why is there okay? We got both the liner up there. We got buff piggy up there And then who is that supposed to be is that supposed to be sonic? Oh, oh we did something Okay, we're doing something good this time Okay, it seems like we're supposed to jump on top of them like mario. We defeated mario style Okay, um How long is this gonna take though? Unless the game froze. Oh, wow error error in action number 11 of step event for What if I'm a boss this action is only available in the pro edition What is this the bootleg version like the game is already bootleg as it is man ignore the step Oh, what did I beat him? Okay, something happened I'm not too sure what okay. Oh, yes. I killed peppa finally geez now. I'm going to escape Thank you super but all my friends are still dead poor guys. You can always make new friends, man It's okay. Just get the heck out of there. You will be remembered friends. Okay, at least I killed toy story woody and That pig's dead body. Maybe I should get rid of it If you peppa say hello to your parents.  What is going on in this place man? I just want to be over with this Okay, I can't move Peppa move Okay, I can't do anything. I think this is the end This is finally the end for this peppa piggy xe thankfully um Hello peppa piggy do something All right, you guys what seems like we got the happy ending because piggy is just out there laying in the sun Hopefully shouldn't get turned into bacon for laying out there in the heat Well, thank you all for watching. Thank you all for the amazing support as always I appreciate it and I have no words for this There is a third game, but I don't know if I should play it because these things are definitely cursed If you guys want me to do another part on this, you know what to do drop a like Let me know in the comments down below and if you made it to the end of the video Make sure to drop it in the comments and thank you all for watching once again And I will see you all in the next one. Peace


Early detection is so important in the treatment of breast cancer. The number one risk factor is age. As women get older, some feel they don't need mammograms anymore. They do. Please make an appointment today. It just might save your life. The Pike County Extension Office will be hosting their annual Homemaking in the Mountains event Saturday, October 15th. The event will be held at Rhododendron Conference Center at Brakes Center State Park. We started it in the early 1980s and it's been going ever since. So we invite local crafters and we feature anything from basket making to quilting, embroidery. We've had painters. This year we're going to feature apple butter making. We'll have someone there to do local honey. We'll have a grist mill, woodworking. We've had just a wide variety of artisans. The event will be held from 10 to 3 p.m. and is free to attend. However, the park does have a $3 fee to enter. By doing this, the public gets to see firsthand all of those wonderful skills that they maybe haven't seen for a long time.  It's one thing to see it on social media or on TikTok. It's something entirely different if you can see somebody doing that firsthand. If you see someone doing embroidery work or doing quilting that you can ask questions and try it firsthand.  For more information on Homemaking in the Mountains, go to UK Pike County Cooperative Extension Office on Facebook. For Mountain Top News, I'm Breanna Robinson.


Everybody forced here ripping two boxes for Gary a Gary's got 2022 optic-choice baseball and a 2022 heritage. I never baseball You know, let's go ahead and get started Opti-choice Here to China I Don't think so bulls. I don't I don't think they have any I don't think fanatics has any available Box topper is a bill bottom Bill bottom old bill I'm just a bill Well convention J. I don't know either Yeah, those are memory really boxes for cool see an auto in this box Zuki earlier Rodriguez Ricky performers If you buy out a grip tonight Bobby, I just don't know how accurate the queue time is right now It's really hard to tell when it when it's when the queue is this long It'll get it'll go tonight if you order though. It's like three ish give or take Half-hour either way. I'd say relic here. It looks like nice Ricky Jersey Hunter green to 99 game used Not an auto, but a good relic clubhouse collection there It's a little score baseball, huh? There's Alec Thomas. I've never ripped any old product oldest thing I ripped is like 2012 something Memphis taken over right now Memphis take it over. Oh Man, what are they doing? I think so Jeez, that's that's a collapse right there. Yeah, Bobby Whit Bobby They didn't box out and he gets the ball and then a foul and he makes it Guys got four free throws this possession Abrams rookie performers Nick plumber Well Jason if you ever live during the day go talk to Matt That was all about vintage Very good with 80s and 90s Even and even beyond that Oh nice a hunter green after a Julio Rodriguez the hunter green is a uh Is a chrome to 999 240 of 999 Good stuff that's pretty good box here Hope you like hunter green. It's you got him this one Jeremy Pena Juan All cards will ship so if I missed any variations you'll be able to Find them there for you Gary and optic choice here Sand breaks tomorrow night follows Blake Snell and Jake Berger Rated prospect blue auto keg kibali three of 25 For ones you can try us rated rookie auto here number in seven of 88 An elite series auto mojo tim anderson numbered Not numbered on the back or the front Choice auto elite series tim anderson. All right Dragon scale cody bellinger 62 of 999 charlie blackman numbered 2 of 999 A green it's uh for the reds 33 of 999 hollow rated rookie a hoijun park And striped Salvador Perez In 1146 that'll do it appreciate it Gary. We'll get these out to you


In the Sports News Now, British football club Manchester United have offered to make Paul Pogba the highest-paid player in the Premier League history with just six months left on his current contract. Pogba has shown little desire to extend his old Trafford stay and has been linked with a number of Europe's biggest clubs including Juventus, Paris Saint-Germain and Real Madrid. According to The Sun, United are preparing a £500,000 per week offer in order to persuade him to stay on at the Theatre of Dreams. The report says the club are willing to offer him £400,000 a week, basic salary with add-ons likely to take him to the half a million mark. The report adds that my news offer is £100,000 more than any offer he is likely to receive in Europe. Pogba has yet to play on the interim head coach Ralph Ragnick, having been ruled out with a hamstring injury he picked up on international duty in October. Don't forget to hit the notification button so you get notified about fresh news updates.


Hi, I'm Dr. Praveen Ghanagi working as a consultant neurosurgeon and head of the department in Department of Neurosurgery, Manipal Hospital, Bangalore. One should understand that all the conditions can be treated with the endoscope. So there are certain conditions where you need to avoid using endoscopes. Suppose there's a pituitary tumor which is extending laterally into cavernous sinus or it is extending quite laterally and superiorly. You need to avoid endoscopes and better to do a open skull surgery. Or certain tumors where there are critical neuro structures and blood vessels which are adherent to it and using endoscopes is not advisable. So we need to consult your neurosurgeon before you advising him to operate on an endoscopic neurosurgery. Better the neurosurgeon take a call on whether it can be done through endoscope or it can be done through open approach.