Tag: US News

  • ‘Pure terror in musical form’: Dead Space’s composer shares its unsettling secret

    ‘Pure terror in musical form’: Dead Space’s composer shares its unsettling secret

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    What does “horror” sound like to you? Is it the slow thump of a heartbeat, gradually speeding up as adrenaline and cortisol start to flood the nervous system? Is it the wet thwack of meat on metal as something, somewhere, gets rent asunder? Or is it more understated – a soft whisper in the ear when you weren’t expecting it, half-heard shuffling footsteps, the suggestion of a breeze when the air is supposed to be perfectly still?

    Dead Space, the horror game from EA and Visceral that launched for the PlayStation 3, Xbox 360 and PC back in 2008, managed to get into your head, and under your skin. Complementing the game’s extra-terrestrial, Cronenberg-esque body horror was the mental deterioration of protagonist Isaac Clarke; an engineer stranded aboard the USG Ishimura. He’s not a warrior. He’s not a soldier. He’s just some guy, on a ship teeming with hostile alien lifeforms, whose poor little brain is starting to unravel. For the entire game, you never leave his heavy, blood-soaked boots.

    “There’s a very simple technique I came up with that, to me, musically illustrated Isaac’s emotional state,” explains Dead Space composer, Jason Graves. “You can hear it in the very beginning of track four on the soundtrack, Fly Me To The Aegis Seven Moon, and it’s used throughout the entire score. It’s a slowly wavering, single note. Very anxious-sounding. That note builds and expands as the rest of the orchestra slowly dominates and overpowers it.”

    Graves’ technique for getting you to empathise with Isaac mimicked what the audio engineers were doing with the rest of the game’s sound. Dead Space employed breathing sound effects and a dull heartbeat in the background to keep you physically in-step with Isaac. The lower your health, the more ragged your breathing became. The closer to death you were, the quicker your heart would beat. You might not have noticed these things consciously … but chances are your body did.

    Dead Space’s aim was to expand the boundaries of a horror experience in gaming, taking on all the action beats of Resident Evil and Silent Hill and complementing them with the psychological thriller aspects of cinema. “Kubrick is famous for implementing classical recordings in his films,” reflects Graves. “His use of Penderecki’s music in The Shining was my lightbulb moment for Dead Space. I stumbled across the ‘all work and no play makes Jack a dull boy’ typewriter scene one evening on television and thought ‘that’s what the score needs to sound like!’”

    ‘The closer to death you were, the quicker your heart would beat … Dead Space.
    ‘The closer to death you were, the quicker your heart would beat … Dead Space. Photograph: EA

    Graves explains the appeal of the scene; it was a natural, acoustic sound – a normal orchestra performing their instruments – but the techniques they were using made the instruments sound otherworldly. “Like musical necromorphs,” he laughs. “The key to this sound was musical chance, or aleatoric techniques.”

    “The point of aleatoric music is giving the player the freedom to decide what to play within a given set of instructions. It might be ‘play the highest note as loud as possible,’ ‘play random open string harmonics very quietly’, or ‘play these five notes as quickly and loudly as you can. These kinds of directions are incredibly fun for the musicians. They act like they are back in school. I had several takes ruined by laughing at the end.”

    As unlistenable as aleatoric music sounds, it made perfect sense to commit the technique to a horror game. Especially a horror game with the goal of featuring the scariest soundtrack the world has ever heard. “I spent many, many months poring over scores from the mid-20th century and studying their techniques, convinced that this aleatoric sound of cacophony and confusion was the key to unlocking pure terror in musical form.” says Graves. “After all, what is normal-sounding music but comforting repetition, proper form, tonal balance and tuned, enjoyable sounds? If you take away all those things, you are robbing the listener of every core value that makes music comforting and pleasurable.”

    Graves was intent on making you, the player, as uncomfortable as you could be. This wasn’t going to be your traditional score; the original brief he received, which asked for “modern, Hollywood action music with some horror thrown in”, had been jettisoned. This was a cold, new frontier now: “nothing repeats, there is no tonal centre – it’s literally every man and woman (in the orchestra) for themselves.”

    ‘Nothing repeats, there is no tonal centre – it’s literally every man and woman (in the orchestra) for themselves’ … Dead Space.
    ‘Nothing repeats, there is no tonal centre – it’s literally every man and woman (in the orchestra) for themselves’ … Dead Space. Photograph: EA

    Dead Space was a passion project for Graves. He devoted more than two years of his life to it, and he came away with “over nine hours of recorded technique from each individual section of the orchestra”. Control over each element was essential for how the final product would sound, and how the music would be fed into the game engine. “This kind of music implementation hadn’t been done in games before,” he recalls. “EA was using its own proprietary music engine and really pushing the limits.”

    Was it easy? No. Was it effective? Absolutely. Dead Space remains one of the most essential horror games – influential enough to justify a remake, which will be out next week.

    “All creative people have their ‘trial by fire’ moments,” says Graves. “Projects that transform how they creatively process and work from that point forward. That’s what Dead Space did for me. Literally, every decision about the score – conception, recording techniques, musicians, recording studios and implementation – were, for better or worse, up to me … Constantly trying new things and pushing boundaries, that’s how you grow as an artist.”

    The end result is an unsettling triumph, a curated, player-driven exercise in tension and technique designed to get in your head and stay there, long after you’ve finished playing.

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    #Pure #terror #musical #form #Dead #Spaces #composer #shares #unsettling #secret
    ( With inputs from : www.theguardian.com )

  • As a police officer, I was asked to undermine an alleged rape victim – I wish I could say it was a one-off | Anonymous

    As a police officer, I was asked to undermine an alleged rape victim – I wish I could say it was a one-off | Anonymous

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    “The thing is, Sarge, she’s already made one allegation of rape tonight so there’s no way I’m going out on my own to her house. I’ve got my own safety to think about.” The detective’s words left me momentarily speechless. It was the early hours of a busy weekend, and I was the CID night sergeant on duty. A local woman had been out with a new boyfriend and allowed him to walk her home but not to enter her flat. He had pushed her inside and raped her, then left. She had called 999 and reported the rape and was waiting for a police response.

    All our uniformed colleagues were tied up with the usual, “night-time economy” domestic abuse incidents, mental health crises and custody duties that fill response officers’ night shifts. And I’d had the temerity to ask an experienced male detective to make contact with the woman, visit her to reassure her that she was now safe and to begin to record evidence in his notebook while a female colleague travelled from the other side of the county to assist with forensic evidence recovery.

    I’d like to tell you that his reaction was a one-off, from a lifetime ago – but it was 2015, a year or two into the post-Jimmy Savile scandal era of training courses that instructed us to believe the victim and move heaven and earth to secure convictions. This was another depressing example of police attitudes to rape and sexual assault that have been widespread throughout my career. A culture in which managers’ first questions were never “Is the victim OK”, or “What does she need from us?” All too often, the question was whether or not I thought the victim was lying, and whether I could find enough evidence to suggest she was not credible, and thus justify a decision to avoid wasting resources on yet another unsolvable crime.

    Cases that meet the unofficial credibility test and are deemed to be “proper” rapes get a huge amount of resources thrown at them, as there is a chance of a good “collar” and a great story to tell at the next promotion board. The other cases often don’t even get a detective appointed to investigate, just a keen young copper on secondment to a crime unit.

    When questions are asked about David Carrick and about Sarah Everard’s killer, and the many many other offenders who either never reach the national news or just get away with it, I don’t see a pattern of cover-up and deceit that many outside the service perceive – instead, I see a level of unprofessionalism and incompetence that’s normal for all victims. That’s the scandal.

    I was involved in a rape investigation in which a female senior investigating officer directed me to pursue a line of inquiry solely intended to undermine the victim’s first account so that we could close down the investigation before command had to divert significant resources to it.

    That was on Wednesday 17 January 2023; the day after the news of Carrick and his scores of crimes against women broke. And nobody batted an eyelid.

    I’m about to retire after decades in the force, and I’ve tried my best. I really have. I hope I made a difference for a few people, in spite of the broken system I work within. I know there are good people working here still and the culture is changing, but it is happening at a glacial pace. Best of luck to the next generation, I hope to God they do better than us.

    • The writer is a serving police officer in a non-metropolitan English police force

    • Do you have an opinion on the issues raised in this article? If you would like to submit a response of up to 300 words by email to be considered for publication in our letters section, please click here.

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    #police #officer #asked #undermine #alleged #rape #victim #oneoff #Anonymous
    ( With inputs from : www.theguardian.com )

  • Elena Rybakina beats Danielle Collins to set up Iga Swiatek encounter

    Elena Rybakina beats Danielle Collins to set up Iga Swiatek encounter

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    Barely a month after Elena Rybakina won Wimbledon last year, she did not feel like a grand slam champion. She entered the US Open ranked world No 25, having received no points from the WTA-sanctioned All England Club, and lost her first-round match. In straight sets. Against the 131st-ranked Clara Burel. On Court 12.

    On Monday the 23-year-old Moscow-born Kazakh opened her 2023 Australian Open campaign on Court 13 and has flown somewhat under the radar all week, despite her subsequent promotion to the show courts. “Well, I guess it’s a motivation to win even more,” she said on Friday. “Maybe next time they’re going to put me first match somewhere else, not the Court 13.”

    If ever there was a sign her march is destined for Rod Laver Arena, it was her third-round defeat of last year’s runner-up. Danielle Collins does not go easily. The American, with her signature resolve, pushed her to three sets on Kia Arena. But Rybakina is back in form and looking every bit the player who swept aside Bianca Andreescu, Simona Halep and Ons Jabeur en route to her first grand slam title.

    Her first-serve win percentage hovered in the 80s and 83 minutes passed before Collins fashioned a break point, from which she secured the second set before falling 6-2, 5-7, 6-2. “I’m feeling better, stronger,” Rybakina said. “So hopefully I can continue like this. Compared [to the] middle of the season, it was a bit tough for me because I was trying to play many tournaments … I would say I didn’t have good preparation for [the] hard-court season after Wimbledon. Definitely now I’m feeling much better.”

    This can only be a good thing given her next opponent also seems to be getting better. Iga Swiatek finished 2022 with two majors and nine months atop the rankings. Almost a fortnight after Rybakina’s premature departure from Flushing Meadows, Swiatek left with the trophy, and at Melbourne Park her dominance is yet to be tested. On Friday she punished Cristina Bucsa, the Moldova-born Spanish qualifier who had shocked Andreescu out of the tournament, but against the Polish 21-year-old Bucsa appeared nervous and destined for a double-bagel. When she finally won a game, the crowd at Margaret Court Arena roared in encouragement, only for Swiatek to serve out the match for a regulation 6-0, 6-1 win.

    Iga Swiatek signs autographs for fans at the Australian Open
    Iga Swiatek signs autographs for fans after easing past Cristina Bucsa with a 6-0, 6-1 victory in the Australian Open third round. Photograph: Quinn Rooney/Getty Images

    “I felt like I’m in a little bit of a flow, so that’s nice,” said Swiatek. “I always try to focus on the same stuff, pretty technical stuff. It doesn’t matter if I’m winning or losing, it’s all the same to help me stay disciplined.

    “I’ve always wanted to be that kind of player who is consistent, so I’m pretty happy that I’m achieving that goal. I just remember how it was a couple of years ago: when I was in the fourth round I was really exhausted. Right now I feel like this is the right place to be.”

    The Swiatek v Rybakina last-16 showdown will be the first meeting of reigning grand slam champions since July 2021, when Ash Barty defeated Barbora Krejcikova in the Cincinnati Open quarter-finals. Both know what is coming, with Rybakina describing Swiatek as “very strong physically and mentally” and Swiatek saying Rybakina “really is a solid player”.

    “Since we played juniors, I knew that she’s like kind of going the right direction,” Swiatek said. “With her serve, she can do a lot.

    “But tactically I’m not prepared yet. We played exhibition in Dubai. I really treated [that loss in December] as a practice so it’s hard kind of to take a lot from that match. Also, we played in Ostrava two years ago [a win] and the surface was so slow it’s also hard to take anything tactically from that. We have both made such progress it doesn’t really matter what happened a couple of years ago.”

    This side of the draw gets interesting from there, with the second week tossing up a quarter-final against either Coco Gauff or Jelena Ostapenko, who defeated Bernarda Pera and Kateryna Baindl respectively on Friday. Jessica Pegula, the third seed, progressed in the draw’s other half after making short work of Marta Kostyuk and will face Krejcikova for a place in the quarter-finals.

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    ( With inputs from : www.theguardian.com )

  • Mavericks, multiverses and martial arts: can the geeksphere pull off an Oscar triumph?

    Mavericks, multiverses and martial arts: can the geeksphere pull off an Oscar triumph?

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    Awards season hasn’t always been a happy hunting ground for geeky movies. Every now and then the Academy will pick out a film such as Joker, The Dark Knight or Black Panther for recognition but its top prizes are usually reserved for more esoteric fare. Not since Peter Jackson’s The Lord of the Rings: Return of the King in 2004 has a fantasy film swept the board at the Oscars – and even then, voters were arguably rewarding the trilogy rather than its final instalment.

    This year looks a little different, however. And not least because so many critical darlings have struggled so badly at the box office. Usually, movies that pick up early awards-season buzz begin to motor pretty nicely at the box office too. But in the wake of Covid, and cinemas’ glacial march back to financial stability, a number of films have been forced to slink sheepishly into the VOD shadows with nobody willing to pay to see them on the big screen. The case of Todd Field’s Tár, for which Cate Blanchett remains in the running for best actress (but which has so far made just $6.3m at the global box office) is an obvious case in point.

    It’s perhaps no shocker then, that movies such as Everything Everywhere All at Once, Black Panther: Wakanda Forever, Top Gun: Maverick and even Avatar: The Way of Water are finding themselves pushed diffidently into the Oscars mix. After all, these are the films that people actually wanted to see in 2022. And if the Oscars isn’t at least partly about celebrating that then the Academy won’t have to worry about avoiding a repeat of last year’s mayhem, because sooner or later nobody will be watching anyway.

    Angela Bassett as Ramonda in Black Panther: Wakanda Forever.
    Regal performance … Angela Bassett as Ramonda in Black Panther: Wakanda Forever. Photograph: Annette Brown

    Daniel Kwan and Daniel Scheinert’s Everything Everywhere All at Once, with its joyful and beguiling spin on the same idea Marvel has been exploring in its cinematic “multiverse”, seems to have come along at the perfect time to mop up all those votes from Academy members looking to reward storytelling ingenuity, while also taking note of unexpectedly impressive box office clout. It is not often that a movie featuring alternate universes, kung fu and a Chinese-American owned laundromat is in the running for best picture, best actress (Michelle Yeoh), best supporting actor (Ke Huy Quan) and best director. Still, if the luminous Yeoh really does beat out Blanchett we might just have to pinch ourselves and wonder if, like Doctor Strange in Avengers: Infinity War, this is the one instance in six billion alternate realities where it ended up being so.

    Likewise, Angela Bassett had looked an outside shot for best supporting actress for her striking turn as a grieving mother and ruler of the titular African kingdom in Wakanda Forever. Then she picked up the Golden Globe and Critics Choice gongs, and suddenly a win (or at least a nomination) doesn’t look beyond the bounds of possibility, even if these awards ceremonies are not always the best Oscars bellwethers. The Black Panther franchise’s remarkable journey over the past few years has been one of stupendous verve and resilience, and there will be more tears of joy on Oscars night if Bassett takes home the gong.

    Tom Cruise in Top Gun: Maverick.
    All-American triumph? … Tom Cruise in Top Gun: Maverick. Photograph: Entertainment Pictures/Alamy

    Speaking of staying power, the Academy will no doubt be keen to reward James Cameron for defying the naysayers and delivering a return to Pandora that at least kept audiences happy (if not all the critics) with the mind-bogglingly weird and wonderful Avatar: The Way of Water. It’s probably a shoo-in for a best film nod and will no doubt win in various technical categories, allowing the Oscars to reward what looks likely to be the highest-grossing film of the post-pandemic era without having to hand it any of the gongs that really matter.

    The year’s other major box office powerhouse is of course Top Gun: Maverick, a movie that defied the box-office downturn to get filmgoers of all ages back into multiplexes faster than an F-18 pilot. After all those years stuck in development hell, the surprising thing was how natural it felt to see Tom Cruise back on the big screen as Pete “Maverick” Mitchell. Joseph Kosinski’s laser-guided direction identified all the most vital sentimental touchstones for our boyish 60-year-old hero to connect with, from breaking bread with Val Kilmer’s Ice Man to making right with Miles Teller’s Rooster. Cruise is a decent bet for a best actor nod, with Kosinski an outside shot for best director, and the film a dead cert to make it onto the 10-strong list of nominees for best film.

    It won’t win, because no movie that features a completely pointless “love interest” subplot that could have been excised from the movie deserves to win an Oscar. But we’ll all be glad to see Cruise in the Dolby Theatre in Los Angeles come March 12. Nothing says “Hollywood” like seeing the thrice-nominated actor on Oscars night, gracious in defeat and clearly pondering inwardly whether his time will ever come.

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    #Mavericks #multiverses #martial #arts #geeksphere #pull #Oscar #triumph
    ( With inputs from : www.theguardian.com )

  • From the Byrds to CPR: David Crosby’s 10 greatest recordings

    From the Byrds to CPR: David Crosby’s 10 greatest recordings

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    The Byrds – Turn! Turn! Turn! (To Everything There Is a Season) (1965)

    The Byrds: Turn! Turn! Turn! (To Everything There Is a Season) – video

    Crosby co-founded the Byrds, cementing his place as a major architect of the 1960s folk-rock movement. The title track of the California group’s second LP – a Pete Seeger cover with lyrics largely plucked from the Book of Ecclesiastes – pleads for peace while meditating on the sometimes bittersweet cyclical nature of life. The song also shows off Crosby’s gift for musical subtlety: He starts the song with elegiac guitar marked by precise rhythmic movements and then demonstrates an almost supernatural ability to sing with his bandmates, finding the harmonic sweet spot like a magnet clicking into place.

    The Byrds – Eight Miles High (1966)

    The Byrds: Eight Miles High – video

    In addition to transforming rock’n’roll by incorporating country and folk music, the Byrds released one of psychedelic rock’s greatest singles, Eight Miles High. Crosby co-wrote the song with Gene Clark and Roger McGuinn; depending on who you ask, the song was either inspired by the band’s first aeroplane ride or by taking drugs. Musically, however, Eight Miles High absorbed influences from John Coltrane and Ravi Shankar, creating a fusion of smouldering guitar jangle and jazz verve that suited Crosby’s rhythmic inventiveness. The Byrds’ vocal harmonies sound like those of a haunted church choir and tap into the disorientation and paranoia simmering just below the song’s surface.

    The Byrds – Lady Friend (1967)

    The Byrds: Lady Friend – video

    One of Crosby’s final major contributions to the Byrds was penning the standalone single Lady Friend, a sorely underrated psychedelic pop gem. A song about steeling yourself for the solitude of a painful breakup – Crosby compares it to being overcome by a wave while being far offshore – it reveals his knack for vulnerable lyrics and memorable melodies. To this simple foundation the rest of the Byrds add coppery guitar riffs, jaunty horns and a chipper tempo, transforming something plaintive and vulnerable into a resilient song about keeping a stiff upper lip.

    Crosby, Stills & Nash – Wooden Ships (1969)

    Crosby, Stills & Nash: Wooden Ships – video

    Two significant things Crosby did after being ousted from the Byrds: bought a schooner called the Mayan and started hanging out with Stephen Stills. On one occasion, the two men and Jefferson Airplane’s Paul Kantner were in Florida on the boat and worked up Wooden Ships. The sprawling psychedelic rocker, a pointed anti-war song, describes the aftermath of a nuclear apocalypse, where survivors are attempting to figure out where to go. Crosby’s liquid tenor takes centre stage on his solo verses, as if he’s a sage-like narrator describing the scene. However, his vocal harmonies with Stills set the blueprint for the greatness of Crosby, Stills & Nash.

    Crosby, Stills & Nash – Guinnevere (1969)

    Crosby, Stills & Nash: Guinnevere – video

    Crosby contributed this elegant folk-rock highlight of Crosby, Stills & Nash’s self-titled 1969 debut album. Written about a trio of women in his life – Joni Mitchell; his late girlfriend Christine Hinton, who died in a car crash; and a mystery woman he declined to name during a 2008 Rolling Stone interview – Guinnevere demonstrates Crosby’s evolution into a more sophisticated songwriter. Lyrically, the interlocking stories of the three women contain moments of immense beauty and bewitching mystery. Musically, Crosby treats this narration with reverence, employing a restrained vocal delivery that matches the gorgeous, chiming guitar chords and harmonies.

    John Sebastian, Stephen Stills, Graham Nash, Joni Mitchell and David Crosby perform during the Big Sur folk festival in September 1969.
    John Sebastian, Stephen Stills, Graham Nash, Joni Mitchell and David Crosby perform during the Big Sur folk festival in September 1969. Photograph: Robert Altman/Getty Images

    Crosby, Stills, Nash & Young – Ohio (1970)

    Crosby, Stills, Nash & Young: Ohio – video

    Written by Neil Young after the shootings of four Kent State University students by the Ohio National Guard, the song was a pointed, angry indictment of not just the violent event, but also the Vietnam war and those abusing positions of power. Crosby especially expressed the anger and frustration of the time, crying out “How many more?” and “Why?” as the song comes to an end. He never lost that anguished feeling: in the years leading up to the pandemic, Crosby performed Ohio as the last song of his live sets, a stark reminder that neither the tragic event nor the lives of the students should be forgotten.

    Crosby, Stills, Nash & Young – Déjà Vu (1970)

    Crosby, Stills, Nash & Young: Déjà Vu – video

    The title track of Crosby, Stills, Nash & Young’s second album is lyrically quite literal – Crosby said he wrote it after a sailing trip that felt over familiar. Déjà Vu’s music matches this disorienting thought: It’s circuitous and adventurous, with multiple movements that dabble in scat-singing, dizzying syncopation, temperate jazz, pastoral folk and psychedelia-tinged rock.

    David Crosby – Laughing (1971)

    David Crosby: Laughing – video

    Crosby was dealing with dual traumas while making his 1971 solo album, If I Could Only Remember My Name: processing the breakup of Crosby, Stills, Nash & Young and navigating the grief from Hinton’s 1969 death. He wrote Laughing, however, to express gentle scepticism about George Harrison talking up the wisdom of a guru. “A child laughing in the sun knows more about God than I do,” he told Rolling Stone in 2021. The accompanying music is languid and introspective, internalising the guiding influence of the Grateful Dead’s Jerry Garcia (an integral part of the recording sessions) and a gentle psychedelic vibe.

    CPR – Morrison (1998)

    CPR: Morrison – video

    Crosby’s career took him in all sorts of unexpected directions in the 80s and 90s, including singing backup for Indigo Girls and Phil Collins and forming the jazz trio Crosby, Pevar & Raymond. Known as CPR, the group included guitarist Jeff Pevar and Crosby’s son, the keyboardist James Raymond. The sleek, piano-driven tune Morrison isn’t about Crosby’s notorious dislike of the Doors, but the perceptive song stresses that Oliver Stone’s 1991 movie about the band didn’t match up with the Jim Morrison that Crosby knew – and serves as a sober cautionary tale about fame and legacy.

    David Crosby – Rodriguez for a Night (2021)

    David Crosby: Rodriguez for a Night – video

    Crosby enjoyed a late-career burst of creativity, releasing multiple solo records in the 2010s and beyond that found him collaborating with Michael McDonald, the members of Snarky Puppy, and one of his avowed favourites: Steely Dan’s Donald Fagen. The latter wrote the lyrics for Rodriguez for a Night, about a man who can’t compete romantically with an impish Lothario. In turn, Crosby and his band cook up a very funky, very Steely Dan-esque song with sax, horns, stacks of keyboards and one of Croz’s smoothest, most enthusiastic vocal performances.

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    ( With inputs from : www.theguardian.com )

  • JKSSB Releases Provisional Selection List For Various posts- Check District Wise List – Kashmir News

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    Provisional Selection List for the posts under Item No 189 (FMPHW/ANM, Jammu Division), Item No 234 (ANM/Dai, Kashmir Division), Item No 244 (Basic Health Worker, Kashmir Division), Item No 272 (Female MPHW, Jammu), Item No 273 (Female MPHW, Samba), Item No 274 (Female MPHW, Kathua), Item No 275 (Female MPHW, Udhampur), Item No 276 (Female MPHW, Ramban), Item No 277 (Female MPHW, Poonch), Item No 278 (Female MPHW, Srinagar), Item No 279 (Female MPHW, Ganderbal), Item No 280 (Female MPHW, Pulwama), Item No 281 (Female MPHW, Anantnag), Item No 282 (Female MPHW, Kulgam), Item No 283 (Female MPHW, Kupwara), Item No 284 (Female MPHW, Shopian), Item No 285 (Female MPHW, Budgam), Item No 286 (Female MPHW, Baramulla), Item No 321 (MMPHW, Jammu), Item No 322 (FMPHW, Jammu), Item No 345 (FMPHW, Reasi), Item No 346 (MMPHW, Reasi), Item No 373 (FMPHW, Samba), Item No 201 (Speech Therapist, Div. Kashmir), Item No 183 (Receptionist, Div. Jammu), Item No 229 (Receptionist, Div. Kashmir), Item No 162 (Artist, Div. Jammu), Item No 194 (Artist, Div. Kashmir), Item No 163 (Junior Occupational Therapist, Div. Jammu), Item No 196 (Junior Occupational Therapist, Div. Kashmir), Item No 185 (Junior Store Keeper, Div. Jammu), Item No 251 (Extension Educator, Div. Jammu), Item No 252 (Extension Educator, Div. Kashmir), Item No 386 Health Educator, Div. Kashmir), Item No 166 (Junior Physiotherapist, Div. Jammu), Item No 313 (Jr. Dental Tech, Jammu), Item No 332 (Jr. Dental Tech, Udhampur), Item No 341 (Jr. Dental Tech, Reasi), Item No 350 (Jr. Dental Tech, Doda), Item No 360 (Jr. Dental Tech, Ramban), Item No 368 (Jr. Dental Tech, Samba), Item No 376 (Jr. Dental Tech, Rajouri), Item No 383 (Jr. Dental Tech, Poonch), Item No 315, Jr. Opth. Tech., Jammu), Item No 326 (Jr. Opth. Tech., Kathua), Item No 351 (Jr. Opth. Tech., Doda), Item No 355 (Jr. Opth. Tech., Kishtwar), Item No 370 (Jr. Opth. Tech., Samba), Item No 378 (Jr. Opth. Tech., Rajouri), of Health and Medical Education Department, Advertisement no. 02 of 2021 dated 26.03.2021.IMG 20230120 160419

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  • After Senate flex on Hochul judge pick, a budget battle looms

    After Senate flex on Hochul judge pick, a budget battle looms

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    And it came off to many as a clear, though not irreparable, miscalculation that was an embarrassing loss to start her term and one that could weaken the moderate governor’s standing at the state Capitol with an emboldened Legislature that has increasingly moved to the left.

    How both sides react next could set the tone for the next six months as the governor and Democrats in the Senate and Assembly negotiate a $220 billion state budget. After narrowly winning election last year, she’s also looking at proposals to reinvigorate New York City and the state with a massive housing plan and make further changes to the state’s controversial bail laws.

    “Governing is about compromise, but it’s also about understanding when you have leverage, how you use it, and never forfeiting it needlessly, which is what she’s appeared to do in the last few weeks,” said Bob Bellafiore, an Albany-based communications consultant and a former press secretary for Republican Gov. George Pataki.

    For example, a bargaining chip could have been to refuse to sign off on lawmakers’ pay raise in December until they could assure LaSalle would be approved, but she approved the raise and didn’t appear to offer any other enticement to get him over the finish line, two people close to the Senate and familiar with the negotiations said.

    Hochul also erred by not lining up support early for LaSalle, who would have been the first Latino chief judge, or perhaps pulling the nomination when it was likely to fail. Instead, she set herself up for defeat by trying to force it through the Senate when powerful unions — including CWA and the AFL-CIO — had already opposed him because they viewed a few of his court decisions as anti-abortion and anti-labor, which he refuted.

    “There was a lot of energy around this,” Sharon Cromwell, deputy state director for the Working Families Party, which opposed the nomination, said Thursday. “We understood the stakes of what it means to have a chief judge that has a track record of not standing with unions and working people — and a track record to make some anti-abortion decisions.”

    How does Hochul respond after the loss? She didn’t rule out a lawsuit to try to force a full Senate vote, but also vowed not to let it derail her agenda.

    “I did not say what course we’re taking,” Hochul told reporters Thursday. “I just said we’re weighing all of our options. But I put forth an ambitious plan for the people of New York. And I believe that there’s a lot of common interest between the executive and the legislative branch.”

    Senators who opposed LaSalle early on framed the historic rejection as the right and responsibility of the Senate, perhaps a nod to confirmations with governors past that have been nothing more than a rubber stamp, including the last one, Janet DiFiore in 2016 who was widely panned for her leadership and left under an ethics cloud last summer.

    LaSalle’s rejection is the first for a New York governor under the current nomination system that dates to the 1970s.

    “The Senate has now set a new standard in thorough, detailed hearings — an achievement for our democracy and a harbinger of future proceedings,” Deputy Senate Majority Leader Mike Gianaris said in a statement. LaSalle didn’t fit the wish list for a new chief judge that he and his colleagues had sent to the nominating commission months earlier, he said.

    Bronx Democrat Sen. Gustavo Rivera said in a statement he hoped everyone could move forward in round two. Hochul would have to select from a new list of candidates from the Commission on Judicial Nomination.

    “It is unfortunate that this process has become so acrimonious, and I implore the governor to work collaboratively with the Senate so that we may approve the nominee she selects next,” he said.

    While the state Constitution says a judge to the Court of Appeals nominated by a governor has to be confirmed with the “advice and consent” of the Senate, it’s not explicit about whether the committee membership adequately represents the chamber. Senate Majority Leader Andrea Stewart-Cousins says it does. Hochul says it does not.

    Richard Briffault, a Columbia Law School professor who specializes in constitutional law, said it is unclear whether Hochul would win a lawsuit to force a full Senate vote.

    “The Constitution speaks about the Senate taking up the matter, but it doesn’t say what it means ‘by the Senate,’ and another provision of the constitution says the Senate can determine its own rules or proceeding,” Briffault said.

    Former Gov. David Paterson — a Hochul supporter who is also a former Senate minority leader — said he would have expected senators to bring the matter to a full Senate vote as Hochul wished as a way to avoid any legal uncertainty. The nomination was likely to fail on the Senate floor anyway — and would still if Hochul were to win a lawsuit.

    But Paterson noted that leaders in Albany have long memories.

    “It was a bad day for the governor,” Paterson said, but added, “The governor has four more years of days to establish who she is. Sooner or later, you know what they say: What goes around comes around. They are going to need her for something, and they are going to find out.”

    The former executive doesn’t see Hochul’s adherence to her pick as an error.

    “She picked a candidate that she knew they didn’t like. But she’s not supposed to be political here,” he said. “She’s supposed to be picking who she thinks would be the best judge at this time.”

    In the aftermath of the hearing, several senators said that despite the clash, they could easily maintain a working relationship with Hochul, who came into office after years of adversarial relations between the Legislature and her predecessor, Andrew Cuomo.

    She agreed. When asked Thursday if the LaSalle denial — and a potential legal battle — would hurt her housing, mental health and public safety priorities in the budget this year, she responded: “Nothing like this could detract from that.”

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    #Senate #flex #Hochul #judge #pick #budget #battle #looms
    ( With inputs from : www.politico.com )

  • Dark money group linked to Leonard Leo is dissolved

    Dark money group linked to Leonard Leo is dissolved

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    But just three days after POLITICO’s inquiries, the BH Fund closed down, according to documents filed with the Virginia State Corporation Commission.

    Adam Kennedy, a spokesperson for the firm now known as CRC Advisors, which had performed extensive consulting work for Leo in 2017 and is now led by him, said the BH Fund has been dormant since the end of 2021. He confirmed it was dissolved in October “as other organizations made it obsolete.”

    Indeed, Leo now controls more than $1.6 billion in conservative donor funds, and he is erecting a new architecture of dark-money groups to administer it. Critics have long maintained that understanding how Leo has distributed his trove of anonymous funds is critical to understanding how the conservative legal movement claimed a majority of the U.S. Supreme Court.

    “Nothing screams ‘efforts to conceal’ quite like folding up an organization just as you start getting questions about it,” said Saurav Ghosh, director of federal campaign finance reform for the Campaign Legal Center, a nonpartisan nonprofit founded by a Republican former commissioner of the Federal Election Commission.

    Currently, a Senate committee is reviewing a new complaint requesting an investigation into whether federal ethics rules or criminal laws were broken in Conway’s sale of her business, Senate aides confirmed.

    Since POLITICO first contacted Leo and CRC last fall, they have not disputed BH Fund’s involvement in the transaction. In 2019, when asked about BH Fund for a Washington Post documentary, Leo said: “um, BH Fund is a charitable organization. You can look it up.” He continued: “I don’t waste my time on stories that involve money in politics because what I care about is ideas.”

    Under the current tax code, nonprofits like BH Fund can spend unlimited amounts of money on political activities without disclosing their donors — as long as they are deemed “social welfare” activities that do not primarily promote a political candidate. Legislative attempts to close loopholes allowing dark money in U.S. elections have repeatedly failed over the past decade.

    Leo’s apparent role in the sale of Conway’s business underscores why “influence of dark money is doubly problematic once someone is in office because they’re [potentially] able to influence outcomes,” said Ghosh.

    In its complaint addressed to Senate Homeland Security and Government Affairs Committee Chair Gary Peters (D-Mich.), the Campaign for Accountability, a liberal watchdog group, cited a law barring executive branch employees from participating “personally and substantially” in any government matter affecting her or his own financial interests.

    “There are clear indications based on the facts at hand that Ms. Conway participated personally and substantially in advising President Trump to nominate Justices to the Supreme Court, and that her personal financial interests were affected,” the complaint submitted to the Senate said.

    Conway responded to the complaint in a text message to POLITICO: “That’s what outside groups ‘fighting for law and justice’ do to get attention. Use reporters,” she said.

    CRC spokesperson Kennedy said “liberal watchdog groups” who filed the complaint should instead urge hearings on a company that ran administration and management for a liberal dark money network that fought Trump’s judicial nominations and spent millions around the 2020 election.

    At the time of its purchase of Conway’s polling firm, CRC was also bringing in millions of dollars from Leo’s network of dark money nonprofits to promote his preferred court candidates, including at least $400,000 from BH Fund for “consulting.”

    In 2020, Leo officially joined a newly rebranded CRC Advisors as a chair.

    In an Oct. 21 email, POLITICO first approached CRC Advisors with a series of questions about the lien statements. Three days later, on Oct. 24, Jonathan Bunch, CRC Advisors president, signed articles of dissolution for BH Fund, according to documents filed with the Virginia State Corporation Commission. One day after the Dec. 20 story, an unsigned amendment terminating BH Fund’s 2017 lien was also filed with the commission.

    Leo’s network of outside groups built successful advocacy campaigns around the nominations of Chief Justice John Roberts, Samuel Alito, Neil Gorsuch, Brett Kavanaugh and Amy Coney Barrett and blocked President Barack Obama’s nomination of Merrick Garland. BH Fund operated alongside two other Leo-linked entities to promote Trump’s nominees.

    A flurry of House investigations into the Biden administration and the president’s son, Hunter, is expected to take center stage in the new Congress.

    Yet Democrats still control the Senate and its oversight committees. And concerns about the role of dark money in shaping the court’s new conservative majority are growing louder after the new conservative majority overturned the 50-year precedent of a federal right to abortion.

    The Conway transaction “is further evidence of the troubling role that Leonard Leo and the Federalist Society played in driving Donald Trump’s judicial selection process,” Sen. Dick Durbin (D-Ill.) said on Dec. 20 following POLITICO’s report.

    The complaint sent to Sen. Peters, which stresses the importance of a quick response, also put the issue on the radar of law enforcement as it cc’d Department of Justice Public Integrity Section Chief Corey Amundson.

    “It is all the more urgent that [the committee] investigate this matter because it is possible criminal charges against Ms. Conway may be precluded by the general five-year statute of limitations governing most federal crimes,” said the complaint.

    Regardless, the matter should not be ignored, said Michelle Kuppersmith, the liberal watchdog group’s executive director.

    “We want the Senate to make it clear you don’t operate like this” as a government official, she said in an interview. “Just like firefighters go in when they see smoke, it’s the Senate’s duty to investigate – for all the reasons we outlined in our complaint – to make it clear to government officials everywhere that potential wrongdoing will be investigated.”

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    #Dark #money #group #linked #Leonard #Leo #dissolved
    ( With inputs from : www.politico.com )

  • The nation’s cartoonists on the week in politics

    The nation’s cartoonists on the week in politics

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    Cartoon Carousel

    Every week political cartoonists throughout the country and across the political spectrum apply their ink-stained skills to capture the foibles, memes, hypocrisies and other head-slapping events in the world of politics. The fruits of these labors are hundreds of cartoons that entertain and enrage readers of all political stripes. Here’s an offering of the best of this week’s crop, picked fresh off the Toonosphere. Edited by Matt Wuerker.

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    #nations #cartoonists #week #politics
    ( With inputs from : www.politico.com )

  • D.C. Mayor to Biden: Your Teleworking Employees Are Killing My City

    D.C. Mayor to Biden: Your Teleworking Employees Are Killing My City

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    mag schaffer bowserbiden

    In the process, the Democratic mayor has landed on the same page as some of the most conservative members of the House GOP majority, who last week cosponsored the SHOW UP bill, which would mandate that federal agencies return to their pre-Covid office arrangements within 30 days. House Oversight Committee chair James Comer also signaled plans to turn the panel’s investigatory energy toward alleged telework failures.

    Being a person who residents blame when they have to start commuting again — let alone being a blue-city Democrat who makes strange bedfellows with GOP ultras — is the sort of thing usually avoided by a pol skilled enough to win a landslide third term as mayor, as Bowser just did.

    But the way the local government sees it, something has to give or else the city is in deep trouble.

    There are days when downtowns in other American towns can almost look like they did before 2020. In the 9-to-5 core of Washington, though, there’s no mistaking the 2023 reality with the pre-Covid world. Streets are noticeably emptier and businesses scarcer. Crime has ticked up. The city’s remarkable quarter-century run of population growth and economic dynamism and robust tax revenues seems in danger.

    Officials now privately worry about a return to the bad old days when the District, unable to pay its bills, was forced to throw itself on the mercy of Newt Gingrich’s Congress. And while some of the broad factors that caused the whipsaw change from municipal optimism to civic anxiety are beyond any local pol’s control, bringing Uncle Sam’s workers back is something denizens of D.C.’s government think mayoral cajoling might affect.

    According to census data, Washington has the highest work-from-home rate in the country. Week-to-week numbers from the security firm Kastle Systems back this up: The company, whose key fobs are used in office buildings around the country (including the one that houses POLITICO), compiles real-time occupancy data based on card swipes in its 10 largest markets. D.C. is perennially dead last.

    To some extent, this status is a function of Washington’s economy (which is long on knowledge workers and professionals, short on factories and warehouses) and its demographics (which are thick with the sorts of blue-state rule-followers who most energetically embraced Covid precautions). But it’s also a function of the city’s top employer.

    Federal telework policies vary, but in general they’re generous — a major change from the situation that prevailed before 2020. Pre-pandemic, only 3 percent of feds teleworked daily, even as the private-sector workforce across the country had made at least some strides. After Covid, parts of the government caught up in a hurry, embracing telework in the name of public health. Officially, a lot of the changes are only temporary, but it’s hard to see things simply flop back to the way they were.

    Last year, when Biden in his State of the Union address signaled his intent to bring workers back, it caused alarms among some workers — and not much impact on most agencies’ occupancy rates.

    For federal employees, and the public they serve, the new flexibility has some upsides. Beyond the fact that some people just don’t much like commuting to an office every day, the prospect of being able to work from home even if home means Tennessee or Texas is good for retention, since a federal paycheck goes a lot farther once you leave one of the nation’s priciest metro areas. (It also might accomplish, inadvertently, the longtime GOP goal of moving chunks of the bureaucracy away from the capital.)

    To people who depend on commuters’ lunch-hour spending or transit fees, the change is less welcome. According to John Falcicchio, the city’s economic-development boss and Bowser’s chief of staff, the federal government’s 200,000 D.C. jobs represent roughly a quarter of the total employment base; the government also occupies a third of Washington office space — not just the cabinet departments whose ornate headquarters dot Federal Triangle, but plenty of the faceless privately held buildings in the canyons around Farragut Square, too.

    “It is a challenge to have a quarter of the economy sitting on the sidelines,” Falcicchio says. The total number of jobs has dropped significantly, notably in hospitality. “We think that’s because those jobs are really kind of indirect jobs that are somewhat dependent on the vibrancy that the federal government being in the office offers.”

    “Or another way to look at it is Metro,” the regional transit system, he says. “It’s about a third of what it used to be.” When rider revenue plunges, the local jurisdictions have to make up for it out of their general funds — money that could otherwise go to schools or public safety. It’s a dangerous cycle for any municipality.

    In the local nightmare scenario, a downtown that’s perpetually short of workers has disastrous knock-on effects: Taxes on retail sales and commercial real estate don’t come in, public services get cut back, transit gets slower, empty streets feel increasingly scary, and the capital regains its 1980s-era image as a place people flee.

    The problem, from the workers’ point of view, is that shoring up Metro’s finances or the city’s reputation isn’t really their job.

    “Everybody’s got sympathy for the businesses that cater to office workers,” says Jacqueline Simon, the policy director for the American Federation of Government Employees, the largest federal union. “But it’s not the obligation of the federal workforce to make sure those businesses have customers.” Simon says that low unemployment and the fact that many private-sector salaries outpace the wages for analogous public-employee jobs means that the feds need to play nice on telework or risk a recruitment crisis.

    Or, as one unhappy HUD employee more colorfully put it to me: “I was not hired to be an economic engine.”

    The employee says staff are in a kind of limbo as they await permanent new arrangements. It has triggered a generational divide, among other things. “I hear absurd shit from people who have been there forever, that they bought a house in Chevy Chase in the ’80s and love it,” while younger staff who have to pay skyrocketing 21st century mortgages fantasize about cheaper cities or shorter commutes.

    When we spoke this week, Falcicchio was in diplomatic mode, stressing that the mayor’s inaugural was less about calling out the feds than asking them to partner on things like tapping existing programs that might transfer underused properties to locals. He also made clear that Bowser wasn’t calling for the same back-to-normal as Comer’s legislation: Her own government currently expects non-frontline workers to be in offices at least three days a week, not five, something he said would be a good model for feds, too.

    “Our experience has been that we are more productive when we’re working together in person,” he said. “We don’t have to do that every single day of the week… It is a matter of what is the best way for us to work together to deliver for our taxpayers. Those are the ultimate bosses.”

    The HUD worker’s question — are they hired to perform specific tasks that may or may not benefit from physical proximity, or to be part of a complex economic ecosystem that requires human presence? — went unanswered.

    Bowser, of course, isn’t the only mayor dealing with the fallout from the abrupt upending of office work. And to her credit, she’s not just hoping that the company town’s main employer will simply fix everything with an HR edict. The back half of that get-to-the-office-or-give-up-your-buildings demand was part of a larger plan to turn downtown D.C. into something it hasn’t been for a century, since the days when K Street was home to simple rowhouses: A heavily residential neighborhood.

    Eyeing schemes to turn underused office buildings into apartment blocks, Bowser has vowed to eventually bring 100,000 residents downtown, a somewhat far-fetched ambition which would mean that, in theory, the city’s office district would become dotted with schools and grocery stores and other emblems of neighborhood life.

    Whether that’s sound urbanism and wise civic stewardship is to be determined. But what’s clear already is that the current moment represents another zig in the relationship between federal Washington and hometown D.C. — a change that, even if it mainly takes place at the municipal-news level, will likely impact the way national government and politics works.

    Over its 200-plus years as the capital, hometown Washington’s culture has shaped federal work product in subtle ways and profound ones. During the early years of the republic, a slavery-ridden, Southern ambiance predominated locally just as the Slave Power exercised an outsize influence over national government. (In those days, the Congressional buttinskis who infuriated locals were often progressive northerners like ex-President John Quincy Adams, who sought to end the slave trade in the District.)

    By the second half of the twentieth century, a much-changed Washington had many of the same problems that plagued other big cities in an age of urban crisis. The result, in local politics, was a different sort of stand-off pitting disenfranchised local residents in a city that now had a Black majority against an often hostile Congressional leadership. Suburban sprawl and the perception of urban crime also meant that the upper echelons of the federal bureaucracy now tended to be populated with people who retreated after work from a supposedly scary city back home to vanilla suburbs — with whatever impact that may have had on their policy thinking.

    In the last couple decades, though, an entirely new reputation has taken hold: A glittering, prosperous #Thistown. Concern about dysfunction gave way to worry about gentrification and whether middle-class workers could afford to live pretty much anywhere in the metro area. (As the FBI planned a move to the suburbs recently, city officials didn’t really even fight the departure like they would have 30 years ago: The bureau’s Pennsylvania Avenue spot could throw off more money as an upscale private-sector development.) It’s no coincidence that this change happened just as the capital’s chattering classes seemed to completely miss the alienation and economic stagnation in less sexy parts of the country that would upend national politics.

    Even if the mayor does somehow manage to prod more feds back to their offices soon, longer-term plans for a Washington less dependent on government workers represent a significant transformation.

    Bowser’s conjuring of a residential downtown may evoke images of urban charm — more Paris, less Brasilia — but it comes with risks. Federal employment has helped shield the region against recessions. A municipal budget more tied to residents’ income taxes than to commercial property and sales revenues is less protected. Likewise, a lot of the nice things purchased with federal help are tied to Washington’s status as government office HQ. Uncle Sam helps underwrite Metro, for instance, because it is workforce transit. Less workforce means less justification for the subsidy.

    What would that scenario mean for Americans who don’t have personal reasons to worry about the state of the District’s school budget or the health of its subway system? To optimists, the idea of a more spread-out government less tied to one place might augur less groupthink and a broader focus. To pessimists, it could just as easily portent still more tribal isolation, shorn of even serendipitous lunchtime run-ins. The same will eventually go for contracting and a whole host of government-adjacent industries, which according to Terry Clower, who studies the region from his perch at Virginia’s George Mason University, will inevitably take their cues from federal HR mavens.

    Falcicchio says it’s not really an either-or: Making downtown more of a 24-hour neighborhood, he says, will have the effect of making it a more desirable place for people to come back to offices. He says employers in more lively neighborhoods have had an easier time luring workers back than ones in the central core, where 92 percent of use is commercial.

    At the end of the day, banking on federal workers is probably not a long-term strategy for the capital that was in many ways built by those very jobs. The future of all work is likely to look really different, and government can’t lag for long, no matter what it decides this year. Which means the capital will have to compete in ways that it didn’t used to.

    “People kind of want to live in places that give them the opportunity at reasonable prices,” says Yesim Sayim, who runs a local think-tank called the D.C. Policy Center. “They don’t particularly care about the flag that adorns the sky.” Washington always worked well for people, a place that may not have offered the startup-economy upsides of Manhattan or Silicon Valley, but also didn’t come with the risks of an employer going out of business. “But now, if you have a chair and a computer, the world is your oyster. And the presence of a job in D.C. is not necessarily a reason for someone to move to D.C.”

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    #D.C #Mayor #Biden #Teleworking #Employees #Killing #City
    ( With inputs from : www.politico.com )