TIGblogs - Anu maheshwari

Like all popular music groups, the Jukebox Trio has its own successful formula. Presenting a rich mix of classic covers and original material in an open, friendly, accessible style – with two singers and a human beatbox – it’s hard not to enjoy the experience of seeing them play.

“I don’t know any other a cappella bands with only three people,” says lead singer Vladimir Ivanov. “Usually they have six, but we cut it down to the main things: bass, rhythm and melody. And actually, that’s all you really need in music.” Clever live sampling techniques are also often used to create layered, harmonised soundscapes that give the impression of more voices.

The group formed in 2004, when brothers Vladimir and Ilya Ivanov met Kirill Sharafutdinov at a vocal studio where they learned jazz and funk fundamentals. “We had mutual interests, we were listening to a lot of the same music – Bobby McFerrin, Take 6, Queen, The Beatles. It’s different music but we like it all,” explains Vladimir.

At live shows, this diversity is evident. Re-worked Elvis Presley hits, silky Bossa Nova ballads and sermonising soulful serenades are all on the agenda. The penultimate track on the Trio’s debut album, Acappellipsis, features a list of influential artists: names as varied as Ozzy Ozbourne, John Coltrane, Jimi Hendrix and the Chemical Brothers are recited in comically exaggerated Russian accents.

However, copies of the CD are somewhat hard to come by. “We decided not to sell the album in shops, it’s only available at our concerts,” says Vladimir. Why? “It’s a big problem to make a good production with Russian record labels. They are really down now.” He also cites the mercenary nature of the country’s music industry as something the group wants to avoid. “Radio stations and TV channels play everything just for money, apart from maybe Western musicians – mainstream stuff. If you want to be big in Russia, you have to pay.

“The most important thing with Jukebox Trio is that, at first, it wasn’t for money – simply for pleasure. When we started to earn money with the music, it was a bonus. And that’s still the order of priorities.”

The fickle nature of the scene in their home city, Kazan, was another obstacle the group strove to overcome. “The funny thing about Kazan is that, as it’s the capital of Tatarstan, the Tatar public tend to like mostly Tatar singers. We were like some kind of circus for them. Breaking onto Moscow stages in 2006 was a really big step for us – people started to say we were musicians and not just a circus, we were getting real respect,” says Vladimir.

A subsequent string of gigs around Russia earned Jukebox many fine reviews, as well as a prize from pop heroine Alla Pugacheva and the chance to open Elton John’s show in Rostov-on-Don. They are already writing for a third CD, which will come after an album comprising cover versions of well-known Russian rock songs.

Ilya Ivanov, the Trio’s rhythmic engine, is optimistic about future prospects. “We’re hoping to collaborate with a suitable record label, which can help us produce great albums.” And in the long term, he makes no secret of lofty ambitions: “We want to become famous and be like rock stars all over the world – at least like The Beatles! I want to travel and perform in many different countries. And I think it is really possible, because I believe in the power of music.”

The Jukebox Trio take music down to its basic elements, focusing on the purity and versatility of the human voice – no instruments required. An online video for their song ‘So… Let Me Know’ emphatically illustrates this concept, as the group are shown smashing guitars into splinters at the tune’s climax. Don’t expect that to happen at every show, but, as Vladimir says, “you’ll be put in a good mood”.

Published in The Moscow Times, 9/6/09 - click here for original.

Library school is heavily based in group projects. You might hear that this is what “real life” is like. I think that transferring dynamics and principles of group work from an academic context to a professional one is stretching it somewhat, but nevertheless, you do pick up some practical skills.

Continue reading for some practical advice:

Group Project Advice:

1) Keep groups small. Sometimes you won’t get to choose but if you have a choice, less is easier to coordinate.

2) Be upfront about your strengths. If someone identifies a strength that could be useful for a project, the onus is on them to then follow through with that strength.

3) Be upfront about your weaknesses. You should know your work habits by now and you should already recognize areas you need improvement in (or should be trying to). Don’t let your team know too late that you can be late delivering work (and could use some deadline reminders), or that you get email fatigue easily (and FB message is a much better way to reach you) etc. It’s not like you are going to be able to hide your shortcomings anyways. It’s much better for everyone to know the score right off the bat and it shows at least that you are self aware and not in denial.

4) Be shrewd about being a team leader. One classmate once commented to me that in library school when you show even the slightest initiative, everyone else scales back. It’s been my experience that when you take a step forward, everyone steps forward with you, but now I’ve been in situations where everyone retreats! Remember, our profession tends to attract people who want to help in the background. This is a warning: don’t expect others to meet you in terms of your degree of motivation and effort. And be realisitic: if everyone just wants to “get it over with” and you don’t think you can motivate others, set your expectations accordingly and do the best you can.

5) Make a schedule with lots of buffer time. Set your due dates well in advance to accomodate life. Most people in library school are not fresh grads. Most have worked for some time and many are part time. People have jobs, kids, and they’re dealing with things you have no idea about i.e. life. Schedule around life and living, not the other way around!

6) Agree on a main channel of communication. Consensus on this is critical. Don’t bend over backwards just because one person doesn’t want to register for GoogleDocs. The best projects I worked on stuck with one main area to coordinate work (e.g. a wiki, GoogleDocs etc.) and supplemented that with phone and email.

Common Challenges:

The idea below is not to criticize others, but to recognize in yourself, elements in your manner of working in group projects that might be problematic.

1) The AWOL member. They have an inflexible schedule and can’t make it to any meetings. They don’t respond to emails and you have no idea if they’re being read. Their cell phone is their pager.

2) The Flakey member/The Dropout member. They appear to take on a lot of responsibilities but they ultimately flake out without warning or they decide halfway through to drop the course. Suddenly you have a pile of tasks to redistribute and less than 24 hours to get your project together.

3) The Micromanaging member. They’re a perfectionist and expect you to be one too. They redo team members’ contributions and they’d do it all themselves if they could get away with it. You need to gain their approval to move forward with even minor details.

4) The How-Did-You-Get-Into-Library-School-?! member. They cannot summarize a paper. They never cite their sources. Their wiki skills = epic fail. They simply don’t meet the basic academic requirements for doing your project.

5) The Stress-Bunny member. They’re not coping well with their obligations, and are constantly high strung. Just speaking to them makes you feel more anxious and jittery. Talking about their stress just worsens their emotional state.

6) The Leech member. They let you do all the work and try to massage the project report to take more credit than what they have contributed. Their work is poor due to lack of effort rather than ability. They know the other members care too much about the project grade and will pick up the slack.

Anyways, there is no blanket solution for these commonalities that I’ve witnessed over and over again. All I can say is to try your best to understand where the other person is coming from, and consider factors like length of project, grade weighting, likelihood of constructive dialogue/conflict resolution etc. and base your actions on your situational context. Know when to cut your losses.

Also, try not to think of someone as merely a “problem” needs to be managed/placated/minimized; it is insulting for any adult. Nobody’s perfect and being professional doesn’t come easily to everyone. You don’t have to get to know someone well to treat them with genuine compassion and empathy. If you can’t find that within yourself, it’s time to stop and reflect. You might be too stressed to muster an empathetic perspective, or you might reacting too quickly.

“I always wanted to be a cosmonaut,” states Fyodor Yurchikhin without hesitation. “When I was a small boy, I jumped from a second floor balcony because I thought I was Gagarin! My father jumped after me, it all happened very fast, and luckily we were both OK.”

Born in January 1959, Yurchikhin grew up during the heyday of the Soviet space programme. Yuri Gagarin’s maiden flight in 1961 held mythical significance: “When we played in our yard, we would pretend to be Russian cosmonauts,” he recounts. “We knew all their names and I can’t tell you how much it meant to us. Gagarin was more than a name. For us, what he did was something like the impossible. He was an icon, a symbol – ‘Wow, Gagarin!’”

Yurchikhin’s face still glows with childlike enthusiasm as he talks, springing up to illustrate the balcony scenario or act out the process of spacewalking. His two missions to the International Space Station, in 2002 and 2007, amount to over 200 days, with nearly 19 hours working in open space.

“My first time on the ISS, the biggest problem was orientation. There’s no gravity, everything is floating around; until you adjust to that, you have to move very slowly, holding onto things.”

“When I first looked down out at the earth, I realised it’s impossible to understand this view from pictures. It’s black of course, but when you get there you see it’s not a normal black – it has infinite depth. I wanted to touch the colours, they are so bright and clear. No photos can convey the beauty of that sight.”

Nevertheless, Yurchikhin keenly uses orbital photography to spread his ideals for the future of humanity. His work has been exhibited around Russia[?]. “The name of my gallery is ‘Our House on Earth,’ because everybody should understand it’s very small. Yes, very big for us, but in reality very small. You need to keep your house clean and beautiful, we need to understand this; otherwise, we may destroy the house. It’s terrible.”

He applies this approach to both environmental and social concerns, as well as international relations. “People need to understand each other. We need to stop settling problems with weapons and war. It’s quite probable there is life on other planets. I think contact could be valuable for both sides if we understand and respect each other. But this doesn’t happen on earth, a planet where people have been living together for thousands of years.”

“I think the international space programme can be used as a model for the future: many different countries, different languages and different levels of technology all working together. America and Russia in particular have very different ways of thinking. For example, there’s an old joke that when the Americans found it was a problem to write in space, they spent a million dollars to invent a special space pen. The Russians used pencils!”

Yurchikhin picks a potent analogy to look at these varying national standards. In the first class at school, children arrive knowing different things. Even if some start off being able to count higher numbers, for example, this doesn’t mean they’ll finish in first place. “I don’t know how we will graduate the ISS school. Russia and America too should understand we are all still in school, we must continue and share knowledge.”

“If we’re doing complex work in a difficult area, like cosmic research, it is very useful to work with others. Views can become clouded. Including different people can bring new perspectives to old problems.”

Looking to the future, Yurchikhin believes the next step is colonisation. “We should go to a planet, build something and live there. The moon should come first, then possibly Mars. We should also continue developing ideas for a new spacecraft.”

On April 12, Russian Cosmonauts’ Day, the Memorial Museum of Cosmonautics opened its refurbished doors in northeast Moscow. It is situated beneath a towering, angular monument with a soaring rocket at the peak. More than 3,000 exhibits include a life-size replica of the space station Mir, Gagarin’s legendary orange spacesuit and all kinds of lunar vehicles – in short, a fascinating stroll through Russian space history.

“It’s a good idea,” says Yurchikhin. “I hope lots of kids will go. I love meeting children who have this dream, just like I did. Maybe now more people will talk about cosmonautics as well – it’s not as popular as it used to be.”

Again emphasising the spirit of unity he so desires, Yurchikhin remains an optimist at heart. “For a while I wanted the Russian space programme to be number one, but perhaps now we should change our minds now. It’s better if our national programme is part of a wider international project. Being first isn’t important. We’re all going to fly into space together.”

“Going to space, every one of us went as a patriot of our own country. But we came back as patriots of our earth.”

RIR Dossier
Fyodor Nikolaevich Yurchikhin was born on 3/1/1959 in the autonomous Republic of Ajara, Georgia. On graduating high school in 1976, he entered the Moscow Aviation Institute. He qualified as a mechanical engineer in 1983 and joined Energia, the Russian Space Corporation, where he rose to the position of lead engineer. In November 1999 he completed his basic cosmonaut training course. In January 2000, he started training for the ISS programme. In October 2002, Yurchikhin flew aboard STS-112; his first space flight logged a total of 10 days, 19 hours, and 58 minutes. His second flight, in April 2007, was a 197-day tour of duty commanding the Expedition-15 mission aboard the ISS. He was honoured as a Hero of Russia on October 23, 2008. Yurchikhin also holds a PhD in economics and enjoys reading, sports, stamp-collecting and space history.

Published in Russia Now / Russia & India Report, March 2009, with The Economic Times (India)...

From hard bop to the new school, jazz has found a haven in post-communist Russia.

Moscow's jazz scene is a creature of many faces. Take the comical shenanigans of one big band in a dive of an expat bar, with all members clad in matching mustard-yellow tassled jackets and an old hippy guitarist who looks (and probably thinks) like he's still in the Swinging 60s, or a pastiche Cuban group belting out Santana covers to an empty room. Contrast that with heavy-hitters like saxophonist Igor Butman, a popular figure who cut his teeth in the US for a decade, or Alex Rostotsky, an electric bass player whose latest CD features adventurous adaptations of works by Modest Mussorgsky. Right down to a highly flamboyant yet equally creative acapella vocal trio called Jukebox, it's all here.

According to Cyril Moshkov, editor of jazz.ru, Russia's only jazz magazine, there are about 1,000 jazz players in the city (official population 10.5 million – in reality it's more). They fall into three generations: the old guard, who favour austere hard bop and other mainstream styles; the middlemen, now in their 30s and 40s, 80% of whom left Russia to pursue careers abroad (interestingly, many went to Israel); and, finally, the young cats, still paying their dues and finding a way into the murky world of jazz music.

Russia's first jazz concert took place in October 1922 at the behest of Valentin Parnakh, an enigmatic all-rounder who wrote poetry, choreographed ballet and played piano. He brought the first jazz records and instruments to the country from Paris. The music was thereafter repressed in various ways throughout the Soviet Union – including the period of Butman's emergence in the 70s and 80s, when non-state-sanctioned concerts could see musicians or promoters locked up. During jam sessions with visiting American groups, Russians played with their foreign peers but were not allowed to exchange words. Government inspectors would ensure two violations resulted in dismissal from the state booking agency, which provided musicians with all their work.

Much has changed since those dark days. One look at the monthly gig listings on jazz.ru's information portal will show abundant choices any given night – and not only local groups, but a host of international names as well. Tessa Souter, a British vocalist who lives in New York, recently played a couple of dates at the Union of Composers and was happy to sing the praises of her Russian backing band: "They were great. There's something different about the way Russians swing, it's wonderful. Musicians have a lot of soul like the Russian people."

Financial woe may have hit the country hard, but that hasn't stopped a new jazz club from popping up right in the historic centre of Moscow – the V&J, situated on Old Arbat, a popular tourist promenade. "People are becoming more interested in music and art, not material things, so I don't think the crisis makes a difference" says Victor Voitov, the V half of "V&J". "We wanted to open a place where Moscow's high-level musicians can let new people into jazz music."

Even after three months of pretty solid concertgoing, there's still a lot left for me to see.

Published @ guardian.co.uk, 29/4/09 - click here for original.

I have to admit, all my information related ideas are being funneled directly into papers, leaving me with little material to post! I thought I’d restart with a shift towards more pragmatic posts…

On my end, I’ve been quite busy, already gearing up for the next semester. I’ll be the new student liason for CASLIS next year, am exploring strengthening student ties with APRA, and am happy to say that I’ve reconnected with TIG, as a consultant again, but this time regarding donor/gift development. On a side note about prospect research, the amount of publicly available information about donors is really incredible. Is there a word for the issues arising from aggregating personally identifiable public data? If not, there really should be. We still frequently call this a “privacy” issue, which is a total misnomer.

I’m also excited to be going to the CLA conference this year. My advice to new students regarding conference grants is to apply, apply, apply. Your chances of receiving funding are excellent. Also, if you are nervous about going alone or networking alone, just think that many people in attendance are friendly, helpful librarians! I really can’t imagine a nicer crowd to network with. I’ve found that people in the library field are usually supportive of new professionals and are generous in nature - so you can dispel any preconceptions about conferences being an exhausting schmooze-fest and get excited about meeting people who want to share their work and expertise with you. So keep your eyes on your inbox and apply already!

Bus 189 from Brent Cross towards Oxford Circus, London.

April 11th 2009, 3:30 a.m.

Sitting with my wife at the bus upper deck, front left seats. A while after Carlton Vale station, a British-accent old long-white-haired man sat behind me, and started murmuring with words. At the first while, my wife whispered at me that the man sitting behind us is "talking to himself". Actually after some time, both of us noticed that he was speaking to us:

What are you Muslim scam bags doing in this Christian country?
Beggars…free food…free accommodation…
Beggars….shit…scam bags…
You're fucking dead nigger…
You're fucking dead…
Islam is the world's scam…
Church Street beggars…
Coming from your country to sit in front of me…
Muslim scam bags…fucking beggars….
Go back to your fucking country…

Quietly, we descended to the lower deck, and reported the incident to the driver. While the driver was asking me about where the man was sitting, I saw the old man leaving the bus, anxiously…

The reason why I'm sharing this story with the public is to address the danger of having such dangerous –minded people wandering in the streets, and not to leave the incident unreported. The old man seemed to be homeless; wearing dirty jeans, with long untidy hair, drunk, and carrying a hand bag. He might have been a madman, or suffering from a psychological disorder, however, he threatened me personally. At least, those people should be policed…

A.
12.04.2009

Metal: A Headbanger's Journey Documentário legendado em português-br

http://video.google.com/googleplayer.swf?docid=-8061362820220667655&hl=en&fs=true" style="width:400px;height:326px" allowFullScreen="true" allowScriptAccess="always" type="application/x-shockwave-flash">

Hailed by none other than Bill Clinton as one of the world’s greatest living saxophone players, Igor Butman is an icon of Russian musical life. Born in St Petersburg in 1961, he took up the instrument at 15 with encouragement from his jazz aficionado father, a keen musician who worked by day and gigged by night.

“My father told me about jazz. I hadn’t actually heard much, because I’d been listening mostly to Soviet pop, but my dad was an amateur drummer and singer who often played at weddings and in restaurants,” Butman explains. “He was really the person who got me into jazz music, and music itself.”

Jazz in Russia goes back to the 1920s. According to Butman, it has been through various blurry periods of development, as well as confusion with classical music. The Soviet regime’s strict control of artistic liberty presented both opportunities and challenges: “As soon as I started playing sax, I was able to perform in jazz clubs around St Petersburg. I travelled with different groups to places like Moscow, Latvia, Lithuania and Ukraine, but I wasn’t allowed to go abroad because they thought I might escape.”

“In Soviet times, the state-owned booking agency would provide you with concerts – it didn’t matter if you sold out or had two people in the audience, they would still get you 14 concerts a month,” says Butman. However, despite supplying a steady stream of work, this closed system placed considerable constraints on creativity. “I put together my own band, but I couldn’t get a job because I wasn’t in the state booking agency. It wasn’t easy to get professional status and be able to travel. So I decided to go to the United States and try the normal way.”

In 1987, Butman arrived in Boston to study at the renowned Berklee College of Music. “I was already the best in the Soviet Union and I knew my limitations,” recalls the saxophonist. “I had to study, play and be in competition with the best in the world. After graduating, I moved to New York for a few years, before coming back to Russia permanently in 1997.”

It was on his return to Moscow that Butman’s career really took off. He began to establish himself as the leading light in Russian jazz, recording several CDs – including his most recent release, Magic Land, which features theme tunes from Soviet cartoons and an elite group of American players.

Russia’s jazz scene today is a far cry from its state in the former USSR, when you could be thrown in jail for holding unauthorised concerts. Butman is quick to acknowledge how “everything has changed,” especially in terms of healthy competition in the musical world. “It’s a harder life for us in a way. There’s a lot of competition between orchestras and groups, which I like. You have to keep improving and really provide something interesting and unique; you have to think about what you can give to venues or concert halls.”

“Now there are a lot more good young musicians. A lot of things are happening all around Russia – every town has its own interesting scene. It’s not only Moscow, but Novosibirsk, St Petersburg, Vladivostok, Rostov-on-Don, Yaroslavl. There are also a lot more jazz clubs competing with each other, and they are able to bring in the best musicians from all over the world.”

The sense of anticipation when a big act hits town is exciting for Butman, who has been organising his own jazz festival for nine years. “It’s called Triumph of Jazz. I’m trying to find new names and give them the opportunity of playing here, as well as bringing old stars who made a revolution in jazz.”

“I think there’s a big market for that in Russia. People are interested in jazz, and they’ve heard about me – a lot of people know me, so they can place trust in what I’m going to play or the people I’m going to bring, even if they don’t know who it is. There’s a big sense of curiosity, because it’s not every day we have something so special. A lot of different people come to the concerts.”

Butman’s status as something of a jazz celebrity in Russia has built up from numerous angles, not least his powerful and distinctive voice on tenor saxophone. In addition to running a club and the Triumph festival, he also hosted the show ‘Jazzophrenia’ on national television.

Most recently, he embarked on an ambitious eight-concert US tour with the Crossover Concerto, a collaboration featuring classical maestro Yuri Bashmet and the composer Igor Raykhelson. “We have my big band and a chamber orchestra, the Moscow Soloists, conducted by Yuri Bashmet. It’s a combination of different music: they play classical pieces, with a little jazz influence, and we play some classical in our jazz way. It’s challenging, but it sounds so good – for us it’s just incredible.”

The current vitality of Russian jazz receives no better endorsement than the fact Butman does not see a reason for returning to America: “I don’t have to live there. Of course I really liked it, but I like to live in Russia just as much.” Habitually sold-out gigs indicate this feeling is mutual.

Published in Russia Now, March 2009, w/ Washington Post (USA) & Daily Telegraph (UK).

زاد الاردن -

طارق الحميدي - بالتزامن مع البدء بتنفيذ قرار منع التدخين في بعض ألاماكن العامة التي اعلنت عنها وزارة الصحة سابقا ومنها المولات ما زال المدخنون يتجولون في بعضها منذ صباح اليوم الأول لبدء تنفيذ القرار غير مكترثين به .
وكانت وزارة الصحة حددت اليوم الأول من آذار أول يوم لتنفيذ قرار منع التدخين في المولات ومطار الملكة علياء باعتبارها أماكن عامة استنادا لقانون الصحة العامة رقم 47 للعام 2008.
وأكدت الوزارة في حينها أنها خاطبت إدارات المولات من أجل الشروع بتنفيذ القرار وتشكيل اللجان لمتابعة منع التدخين بداخلها بالإضافة لوضع الخطط وتعليق اليافطات المكتوب عليها ممنوع التدخين في أماكن بارزه وواضحة .
ومع دخول القرار حيز التنفيذ ومنذ صباح اليوم الأول رصدت منبر الرأي حالات في بعض المولات لموظفين أو متسوقين يحملون السجائر في أروقة وممرات المولات ويدخنون بشكل علني بالرغم من تأكيد الوزارة على منع التدخين في الأسواق والمولات وتغليظ العقوبة على المدخنين فيها .
ويعاقب قانون الصحة العامة المدخنين غير الملتزمين بأحكام القانون بالحبس والتغريم .فحسب المادة 63 / أ يعاقب بالحبس مدة لا تقل عن أسبوع ولا تزيد على شهر أو بغرامة لا تقل عن خمسة عشر دينارا ولا تزيد عن خمسة وعشرين دينارا كل من قام بالتدخين في الأماكن العامة المحظور التدخين فيها .
وبينما كان أحد موظفي المولات يدخن صباح اليوم في ممرات المول قال لـ منبر الرأي أنه لم يسمع بأن التدخين ممنوع ولم ير أي لجان في المول كما أنهم لم يعلقوا لافتات مكتوب عليها ممنوع التدخين في الأماكن البارزة باستشناء اللافتات القديمة .
وأشار آخر والسيجارة بيده أنه سمع أن النية تتجه لمنع التدخين ولكنه لم يسمعها من مديره أو من أي مسؤول مما جعله يعتقد أنها مجرد إشاعة .

The new Russian patriarch will need all his diplomatic skills to manage what has become a fractious church.

The Russian Orthodox church's new Patriarch faces several challenges as he comes to power; not least, a fresh wave of questions over the institution's role in everyday life.

A recent poll conducted by the Russian public survey centre, VTsIOM, saw nearly half of respondents express a degree of opposition to the suitability of Orthodox moral standards in modern society. Thirty-five percent went half way, saying some standards were acceptable and others not, while another 14% held all Orthodox practices to be completely outdated. The number of undecideds was 21%, with only 30% believing people should unequivocally stand by the Orthodox moral schema.

While these findings may be indicative rather than definitive, they come at a crucial moment. The popular Patriarch Alexey II, who led a spiritual revival after decades of enforced Soviet atheism, died in early December, setting off a wave of public grief. On 1 February he was replaced by former Metropolitan Kirill, a man whose coverage in the western media has created as many questions as answers. Kirill, the first post-USSR patriarch, must ask himself why people seem to be drifting away so soon after the church's supposed renaissance. What can he do to stanch the flow and win them back?

The first problem stems from the patriarchal election process. The competition was bitter and ugly. Though the candidates themselves were diplomatic, their followers engaged in smear tactics and mudslinging, spreading rumours on the internet and openly defaming opponents. Kirill must immediately cast this aside. His famed PR skills will be put to good use – known as an inspirational orator, he has hosted a weekly national TV show. The nasty campaign has at least produced a decisive victory, with Kirill winning 508 out of 702 votes; he should use this mandate to deal confidently with the challenges facing him.

Questions surround Kirill's relationship with government. He is known for being close to the Kremlin, but observers appear divided over where he could take the church-state relationship. Progressives are aching for him to usher in a new age of independence for the church, but this is unlikely to happen any time soon, if at all. Nevertheless, the critical consensus seems to be that, one way or another, Kirill will be a politically involved patriarch.

In his Christmas speech, Kirill discussed the economic crisis. The dire financial situation means he must be cautious – at least publicly – about how closely he allies himself to Putin's establishment. He has said the relationship should be based on "mutual non-interference in each other's affairs", but the truth of this statement remains to be seen. During these times of falling government popularity and rising prospects of social unrest, Kirill's best tactic would be presenting himself as the detached voice of reason, projecting calmness and hope.

As in all religions, rampant factionalism has plagued the Orthodox church; an institutionally conservative body encompassing hardliners, moderates and more progressive thinkers. It is impossible to keep everyone happy. The issue of ties with the Roman Catholic faith is controversial: while serving as the Orthodox church's director of external relations, Kirill improved relations with the Vatican. His elevation to the patriarchy received words of welcome from the pope himself. However, on the eve of the vote, Kirill had made a wily bid to secure the support of ultraconservatives: he refuted reports that he was set to swiftly convene a papal meeting if he won, saying problematic issues remained to be solved. As the Roman Catholic church is excluded from official status in Russia, this is an area he must navigate extremely carefully – perhaps by continuing to moderate his own conciliatory instincts.

Next, there is the long-standing dispute over Estonia. Following the break-up of the Soviet Union, the country's Orthodox church split in two: the state-endorsed Apostolic Orthodox church, under jurisdiction of the ecumenical patriarchate, and the Estonian Orthodox church, under the Moscow patriarchate. Sour wranglings over which one has territorial rights, including disputes regarding property ownership, have been a dominant issue – and were particularly so for Estonian-born Alexey II. Kirill's reputation as a talented diplomat and skilled negotiator, finely honed during his time at the external relations department, gives him a fresh opportunity to finally make headway.

It seems Patriarch Kirill will be faced by the emerging challenge of reconciling the Russian people with his church's moral compass, in effect redefining its significance for modern times. This won't be easy: under western influence, Russian society is becoming less spiritual and more materialistic. In an intriguing aside, an online public referendum of senior clergymen saw Kirill win by less than 2% in a poll of 76,000 votes, with 41.1% in total. Moreover, the close second was not one of the three final contenders but Metropolitan Daniel of All Japan. Comical this may be, but perhaps it does indeed reflect an appetite for change from an institution which, according to the New York Times, often has the air of an enforced state religion.

Published @ guardian.co.uk, 6/2/09 - click here for original.

What a great film. Disturbing and haunting. Great performances from Kate and Leo. And raises so many questions about how social convention and mores destroy the hearts and minds of good people.

Go see it.

It’s not exactly new news, but the story of the audacious squatter collective currently occupying 39 Clarges Mews must be seen to be believed. Five minutes from Green Park station, the Ritz Hotel and all that goes with it, the Mayfair property is worth a reported £22.5 million.

After stooping low to enter a dusty back-garage-type-area with a makeshift information desk, various bikes and a welding station, I soon realise this is not one, but two connected houses. The first is mostly used as sleeping quarters, while the second serves as nerve centre for the Temporary School of Thought – a freewheeling educational project with all kinds of workshops and sessions on offer.

A quick snoop around is anything but that. It spans four or five floors, with most rooms in reasonable condition but showing obvious signs of disuse. Gutted, gaping concrete cavities glare forlornly up from where majestic fireplaces used to recline, and the occasional window shutter hangs limply from its fittings. Floorboards creak. An aged lift stands dead behind criss-cross gates in a spooky stairwell. As evening approaches and darkness closes in, exploring becomes a game of shadowy surprises – who or what lies behind the next door? A dilapidated bathroom? Another cavernous palatial living space with red fleur-de-lis wallpaper? An improvised cinema? This could be the setting of any B-list horror movie, or, with a little imagination, the most typical British costume drama.

‘Starting a post-capitalist enterprise’ – how’s that for an oxymoronically intriguing workshop title? A shy middle-aged fellow named Mike claims to have done exactly this, but, over the course of nearly two hours, doesn’t actually get round to explaining even vaguely how. According to him, people who created the first companies didn’t have profit in mind: it was the corrupting influence of shareholders which catalysed today’s viciously money-driven market angle and, hence, the onset of capitalism. A colourful dramatis personae including fellow wannabeatniks, one silent note-taking bookish type, a couple of voluble old timers and a Lebanese film producer nevertheless yields a spirited discussion, although by the end we are no closer to formulating an alternative ideology to solve all the world’s problems. Disappointing.

As dusk settles, the house is buzzing. An eager crowd is all ears for a lecture on Palestine; a representative of the amusingly-titled A.S.S. (Association of Squatters Something) presents a step-by-step guide to the art of squatting, from scoping out potential “empties” to prolonging residence by fending bailiffs away; upstairs, in a room with gold trim, ornate hand-painted panelling and ceiling-to-floor mirrors, two enthusiasts play Indian classical music and talk about traditions of the genre. No one pays, no one makes money, knowledge is here for all to enjoy – maybe this is the quintessential post-capitalist enterprise our friend Mike was struggling to define.

Dinner is served: downstairs, everyone is welcomed to the communal eating area. Random artwork adorns the walls. Familiar, unknown and overwhelmingly friendly faces gather round one large table, as if it’s the most normal thing in the world to be sharing scavenged food in a stately mansion with 30 people you’ve never met before. For many of them, it is. Others are mere visitors, passers-by or voyeurs of the lifestyle; those (like me) who fully appreciate the remarkable situation’s cheeky impudence, but probably wouldn’t have the guts or bottle to do something like it. Musicians, artists, climate change activists, nomads, travellers, Swedes, Australians and squat veterans all mix freely – the air is thick with conversation. In the cold, hard, business-powered parallel universe that is central London, this is a refreshing oasis of creativity, freedom and open-minded dialogue.

Someone wake me up already?

Published @ SHOOK.fm, 20/1/09 - click here for original.

If today's "outline" gas agreement between Ukraine and Russia holds, there will be no doubt who brokered it: Vladimir Putin, Russia's busy ex-president. A week ago, as the crisis peaked, Russia's constitutional head of state, President Dmitri Medvedev, delivered a virtual address from the alpine resort of Sochi. Standing in front of a picturesque mountain backdrop, he spoke about the importance of Russians learning how to relax.

Why was Medvedev, a former chairman of the board at Gazprom – the Russian state energy company at the heart of this ugly dispute – not on the other end of the phone? This glaring question invites a closer investigation into the nature of the relationship between the two most powerful men in Russia.

When he took office in May 2008, doubts were cast on Medvedev's true level of independence from Putin, his predecessor. As Putin's former chief of staff and then deputy prime minister, he was expected by many critics to act as no more than a figurehead for the previous president's continued domination. His pledge to appoint Putin as the constitutional head of government solidified this perception.

However, early interviews seemed to offer hope of a more liberal regime. Medvedev spoke earnestly of the need to tackle corruption and further an agenda of civil and economic freedoms. His status as the first Russian president with no known links to the old Communist party or Soviet secret service was music to western ears.

Any casual glance at Russian papers or TV news bulletins will tell a different story. One person is in control, and it's not Medvedev. The president can often be seen shaking hands with foreign leaders, exchanging gifts or signing treaties – and now, perhaps, in this new hobby of video-blogging to a nation with a 23% internet access rate. It is Vladimir Putin who answers the questions, makes the speeches and outlines policy proposals. And the strangest thing is that nobody even tries to pretend governance happens in any other way: Putin knows, the media knows, the people know. And surely Medvedev knows.

Putin evidently sees no need for the smoke and mirrors of political theatre. He is happy to project his cultivated image as a stoic figure of authority, the heroic leader who revived Russia's global standing and transformed the ailing state into a major emerging power. His popularity ratings are consistently higher than the man who is supposed to hold the keys to the Kremlin, even while they both pointed financial fingers everywhere else amid thousands of Russian job losses.

The situation was compounded in the last months of last year, as Medvedev introduced a package of constitutional reforms that sped through parliamentary approval and were ultimately passed on December 30. Its main feature is an extension of the presidential term from four to six years, applicable from the next election in 2012. Some Kremlin observers believe this was originally drafted during the Putin presidency, and that it is designed to prepare the former KGB operative for a return to power in the long run. Of course, Putin has gone on record to vehemently deny this; but it must be noted that Medvedev's professed anti-corruption ideals have taken a back seat – the constitutional alterations are his only significant legislative achievement from the first eight months in office.

On the other hand, there have been rumblings and rumours from the presidential residence. The Financial Times reported that Medvedev had been moving to distance himself from the idea of a bilateral decision-making process with his prime minister, openly stating he would "not be able to share this responsibility with anyone". This ran contrary to his former emphasis on consultation. Even more overtly, he then went against the previous line to criticise Putin's government for a slow response to the economic crisis. The Putin circle has been tight-lipped, but recent developments regarding the gas negotiations and Medvedev's apparent demotion to blogger-in-chief suggest that something may have happened backstage.

Over the next few months this subtle tug-of-war will be an intriguing story. The Russian government has attempted to gloss over the severity of the financial crisis, but, as its effects increasingly emerge in the public sphere, someone will have to talk about it. Any statements from Putin in the coming days will be significant, as it seems Medvedev has already initiated a little blame game with his supposed number two. This could be the start of a new self-confidence campaign, as the president attempts to assert himself as the face of power; he's even adopted faint echoes of an Obama-style web consultation by opening his blog to moderated comments.

Indeed, Barack Obama will present the next major challenge for Medvedev and Putin. Constitutionally, Obama's Russian counterpart controls foreign policy, but the PM may have something to say about that.

Published at guardian.co.uk, 19/1/09 - click here for original.

1. My classmates and I had roughly a month to put together an online system for aboriginal archival photos. The “beta” site is available @ student2.fis1311.ischool.utoronto.ca. It’s linked up to Flickr so that users can help ID persons and places etc. but Archon is in place to allow an archivist or staff member of an aboriginal organization to filter through redundancies, spelling errors and the dross that can make user generated content problematic for information search.

Archon is open source, and it’s pretty easy to use once it’s been installed. It works very well with photos, although I had other classmates who experienced difficulty with trying to upload audio content. I’ve been discussing this system with the head librarian at the special Spadina branch at the TPL, and we’ll see if any northern aboriginal organizations I get in touch with might find this a useful solution. Go F/OSS!

2. Have been slowly working towards a fundraiser for the SHSS library w/the Child & Youth Advocacy group at my faculty. The first thing I want to buy the students is the Twilight series! And Halo books. On a side note, I finally learned how to play Halo and have no idea what kind of appeal a Halo BOOK would have, but it was honestly the only thing I could convince the younger male students @ SHSS to read.

3. I’m working on a paper that I hope to eventually submit to our faculty’s open source journal. For some reason, my profs have always assumed that I was going to pursue the academic track, speaking as if academia was some kind of inevitability to me, as natural as aging. But despite my theoretical bent, my goals have always been advocacy, community outreach, etc. Working with organizations like TakingITGlobal, the Inuvik Youth Centre, etc. Theory has really informed that type of practical work for me. Obviously not directly, but certainly from an ideological/philosophical perspective, the influence of which is very profound.

City Jazz Festival
December 4-5, 2008
16 Tons
Moscow, Russia

Erik Truffaz
December 4

Swiss trumpeter Erik Truffaz, a moderately well-known figure on the international tour circuit, surely counts Russia as a favorite gigging destination. This concert, in a popular pub-cum-music-club called 16 Tons, saw him welcomed by a highly enthusiastic young crowd--a far cry from the standard demographic at most similar events in the UK. Despite lengthy delays in reaching the city after landing at the airport, Truffaz and his quartet played with similar vigor, whipping up euphoric grooves based on relatively simple melodic and harmonic ideas. His effective cross-section of jazz and popular music is the main source of his mainstream appeal, although the live show was nevertheless largely sans gimmicks save for the drummer's momentary dabbling with electronic randomness. Obvious references can be made to the late work of Miles Davis, so it's not particularly original, but the band was enjoyable to watch and Truffaz can certainly look forward to many happy returns to city and country.

The Bad Plus with Wendy Lewis
December 5

Music by Stravinsky, Ornette Coleman and the three band members was on the bill in a typically distinctive set from The Bad Plus. Two things let them down. First, the sound engineer: Ethan Iverson's piano was far too low for the instrumental tunes, meaning it struggled for leverage against drummer Dave King's trademark scampering rhythms and skittery beats. A bigger, balanced sound to match the players' personalities was needed. The band's inclusion of indie rock singer Wendy Lewis for recent tours and the upcoming album has raised many eyebrows, and justifiably so. Her presence, although it clearly dominated the sound check, did not lend matching gravity to the overall performance--with a limited vocal range and negligible on-stage charisma, it felt like she was getting in the way more often than not, distracting from the fine creative work of Iverson, King and bassist Reid Anderson. The group's desire to explore new territory is understandable--even after a series of highly acclaimed trio records--but one couldn't help thinking they might have made a better choice of vocalist.

Photo Credit
Elmira Kuznetsova

Published at allaboutjazz.com, 21/12/08 - click here for original.