person:megan

  • #technical Skills for Product Managers Decoded-An event by Advancing Women in Product (AWIP)
    https://hackernoon.com/technical-skills-for-product-managers-decoded-an-event-by-advancing-wome

    Credits: Sift Science Team, Advancing Women in Product Team-Linh Tran, Nancy Wang, Aakrit PrasadWhether you are an engineer or a product manager (PM), you are part of a product team. As engineers are technical, PMs need to have certain “technical skills” to work effectively in building a great product. But what are these technical skills? On July 31st, Advancing Women in Product (AWIP) hosted a panel discussion on technical skills for PMs, sponsored by Sift Science. The panel featured Megan Mann (Product Manager at Sift Science), Akshay Kannan (Product Manager at Google), and Pranava Adduri (Founding Engineer at Rubrik) and the discussion was moderated by Neetika Bansal (Engineering Manager, Stripe). Here are some key insights from a few questions asked.Is technical experience necessary (...)

    #leadership #technology #product-management #awip-partnership

  • Technical Skills for Product Managers Decoded — An Event by Advancing Women in Product (AWIP)
    https://hackernoon.com/technical-skills-for-product-managers-decoded-an-event-by-advancing-wome

    Whether you are an engineer or a product manager (PM), you are part of a product team. As engineers are technical, PMs need to have certain “technical skills” to work effectively in building a great product. But what are these technical skills? On July 31st, Advancing Women in Product (AWIP) hosted a panel discussion on technical skills for PMs, sponsored by Sift Science. The panel featured Megan Mann (Product Manager at Sift Science), Akshay Kannan (Product Manager at Google), Pranava Adduri (Founding Engineer at Rubrik), and the discussion was moderated by Neetika Bansal (Engineering Manager, Stripe). Shared below is a summary of insights from some of the questions asked:What technical experience is necessary for Product Managers?This depends on the product you work on. Some products (...)

    #product-manager #awip #awip-partnership #technical-skills #product-management

  • « Ils ont puni les victimes » : Hébron 25 ans après le massacre de la mosquée d’Ibrahim
    Middle East Eye édition française - By Megan Giovannetti
    in HÉBRON, Territoires palestiniens occupés (Cisjordanie)
    Date de publication : Lundi 25 février 2019
    https://www.middleeasteye.net/fr/news/ils-ont-puni-les-victimes-hebron-25-ans-apres-le-massacre-de-la-mosqu

    « Depuis le massacre, tout a changé. » Jamal Fakhoury, 40 ans, a du mal à trouver les mots justes pour décrire sa ville natale.

    Les sourcils froncés et les yeux humides, il confie : « Chaque jour est difficile pour Hébron. »

    Jamal Fakhoury repense au massacre de la mosquée d’Ibrahim, dont ce lundi marque les 25 ans, et à son impact sur cette ville du sud de la Cisjordanie occupée.

    Le 25 février 1994, un colon juif-américain du nom de Baruch Goldstein a ouvert le feu sur les fidèles palestiniens dans la mosquée d’Ibrahim – également connue sous le nom de Tombeau des patriarches – dans le centre de la vieille ville d’Hébron.

    « Nous ne sommes pas du tout considérés comme des humains. Nous sommes des numéros »

    - Izzat Karaki, activiste de Youth Against Settlements

    Goldstein a tué 29 personnes en un instant, et en a blessé bien plus d’une centaine. Six autres Palestiniens ont été tués par les forces de sécurité israéliennes dans le chaos qui a suivi.

    À Hébron, plus grande ville de Cisjordanie, les habitants sont tous liés les uns aux autres à travers les structures culturelles et familiales. Pratiquement tous les citoyens ont donc des liens avec le massacre de la mosquée d’Ibrahim par le biais de proches, d’amis ou de voisins.

    « Un colon américain est venu et a tué des Palestiniens », s’insurge Izzat Karaki, 29 ans, militant du groupe palestinien Youth Against Settlements (YAS). « Et après ça, ils nous punissent nous, les victimes. »

    Au-delà du deuil, l’attaque a affecté la population de Hébron d’une manière profonde et structurelle. (...)

  • « Mafieuse » : les Palestiniens en ont assez de la corruption de l’Autorité palestinienne
    Middle East Eye édition française - By Megan Giovannetti
    in RAMALLAH, Territoires palestiniens occupés (Cisjordanie)
    Date de publication : Lundi 18 février 2019
    https://www.middleeasteye.net/fr/news/mafieuse-les-palestiniens-en-ont-assez-de-la-corruption-de-lautorite-

    Les forces de sécurité palestiniennes forment un bouclier humain alors que les manifestants protestent contre le projet de loi sur la sécurité sociale de l’AP (AFP)

    Ali est incrédule. « Vous appelez ça un gouvernement ?! Moi, j’appelle ça la mafia. »

    Pour ce Palestinien de 22 ans habitant à Hébron, dans le sud de la Cisjordanie occupée, l’Autorité palestinienne (AP), dirigée par le président Mahmoud Abbas, est une institution corrompue qui ne profite qu’à une élite restreinte.

    « Les enfants d’Abou Mazen [le surnom d’Abbas] fréquentent les meilleures écoles, les meilleurs hôpitaux, ils voyagent dans le monde entier. Ils ne se soucient pas des gens en Palestine. »

    Ali est loin d’être le seul à penser ainsi. Selon un récent sondage d’opinion publié par l’ONG palestinienne Aman, 91 % des Palestiniens interrogés déclarent ne pas faire confiance à l’AP.

    Ghassan, un membre du Conseil législatif palestinien (CLP) aujourd’hui dissout et du parti au pouvoir, le Fatah, qui a demandé à rester anonyme, travaille au sein de l’AP depuis plus de vingt ans.

    Pour lui, les malversations politiques et financières du gouvernement, telles que le transfert de fonds pour la construction de nouvelles ambassades à l’étranger plutôt que la construction de projets en Palestine, ont sérieusement érodé la confiance de la population dans l’instance dirigeante.

    « Nous négligeons le peuple palestinien », estime-t-il. « Voilà pourquoi le peuple palestinien a perdu confiance, parce qu’au cours des dix dernières années, nous n’avons constaté aucun développement sur le terrain. »

    La démission du Premier ministre Rami Hamdallah il y a deux semaines à la suite de la dissolution du CLP en décembre n’a fait que confirmer ce point de vue chez de nombreux Palestiniens. Ces dernières décisions sont largement considérées comme un moyen de consolider davantage le pouvoir entre les mains du Fatah et du président. (...)

  • Une rave a Ramallah : Comment la musique underground rassemble les Palestiniens
    Megan Townsend, The Independent, le 2 février 2019
    http://www.agencemediapalestine.fr/blog/2019/02/10/une-rave-a-ramallah-comment-la-musique-underground-rassemble-le

    Seule DJ Palestinienne à tenir une séance en solo à Boiler Room, Sama a fait des vagues depuis juin parce qu’elle utilise des synthés inspirés des sonorités de Détroit et de Berlin.

    Je la rencontre après un show à Paris, où elle vit depuis début 2018. Elle insiste pour dire que les fêtes en Europe ne sont pas mieux que celles de chez elle. « La façon de danser et l’énergie des gens dans une fête en Palestine sont aussi chaudes que dans une fête à Berlin. La seule différence, c’est que le nombre de personnes est très inférieur et le lieu beaucoup plus petit. Dans la techno, je trouve généralement que l’ambiance et l’énergie des gens sont les mêmes dans le monde entier. » Pour Sama, la décision de s’installer à Paris tenait moins au fait de s’engager dans la techno qu’elle avait découverte à 19 ans à Ramalah que pour pouvoir éviter les couvre-feux qui rendent les fêtes difficiles.

    Sur Sama et le documentaire Palestine Underground (2018) :
    https://seenthis.net/messages/752617

    https://www.youtube.com/watch?v=M-R8S7QwO1g

    #Palestine #Sama #Muqataa #Musique #Musique_et_politique #Underground #Electro #Techno #Rap #Rave

  • #Marsault, dessinateur d’#extrême_droite condamné pour #harcèlement

    Ce 18 janvier le dessinateur d’extrême-droite Marsault a été condamné à une amende de 5000 euros (et 5000 autres mais en sursis) ainsi qu’à 2000 euros d’indemnisation pour avoir appelé au harcèlement en ligne de #Megane_Kamel, militante féministe et antifasciste .

    Cette décision de justice est un des aboutissements d’un combat inégal : d’un côté il y avait un homme de pouvoir, capable de mobiliser en quelques heures des milliers de harceleurs , eux-mêmes prêts à déployer insultes, intimidations, menaces, intrusions dans la vie privée d’une militante. Un homme de pouvoir, soutenu par Ring, maison d’édition florissante, comptant parmi ses auteurs des leaders culturels de l’extrême-droite comme Laurent Obertone. Un homme de pouvoir qui a lancé sa traque à un moment où il bénéficiait d’un lectorat bien plus vaste que son camp politique, qui était reçu dans de nombreux salons littéraires et de nombreuses librairies et défendu très largement, même dans certaines parties de la gauche , au nom de la « liberté d’expression ».

    En 2016, protester contre la violence des dessins de Marsault, outil de propagande raciste et sexiste, quelle que soit leur qualité artistique – ce dont nous n’avons que faire -, c’était un peu crier dans le désert .

    Trois ans plus tard, le combat de Megane a donné beaucoup de courage à d’autres dont nous sommes. Combat politique, combat psychologique, combat judiciaire.

    C’est un donneur d’ordres qui est condamné aujourd’hui. Et c’est une jurisprudence importante : bien au-delà du cas de Marsault. En effet, il n’est pas le seul à pouvoir mettre en branle des centaines ou des milliers d’individus en quelques heures contre des militantEs, des personnes connues ou anonymes, pas le seul à l’extrême-droite à utiliser ce type de persécutions pour faire taire les voix discordantes. Pas le seul à lancer la horde avant de se retrancher derrière le « moi je n’ai rien fait personnellement », quand la piétaille hargneuse menace, insulte et intimide.

    Cette décision est donc aussi un avertissement pour les leaders d’opinion des réseaux sociaux, les animateurs de sites fascistes importants ou les sites d’extrême-droite à grande audience qui se livrent aux appels au harcèlement.

    Ce 18 janvier, une autre audience avait lieu : Marsault , soutenu par Ring avait décidé d’assigner en justice pour diffamation Yan Lindingre. Stratégie habituelle de l’extrême-droite , le retournement victimaire est utilisé dès lors que les proies osent faire face aux chasseurs. Virilisme facile et délirant du côté pile, larmes de crocodile du côté face.

    Dans les deux cas, une seule obsession : faire taire celles et ceux qui appellent un chat, un chat, et les militants d’extrême-droite par leur nom.

    Merci et solidarité à Megane Kamel qui a démonté la première pièce du Ring, on continue..

    https://www.lignes-de-cretes.org/marsault-dessinateur-dextreme-droite-condamne-pour-harcelement
    #justice #condamnation

    • Mise à jour du 3 février 2019

      Ce 2 février, le harceleur d’extrême-droite, Marsault qu’une décision de justice a reconnu comme tel a récidivé dans l’injure contre celle qui l’a fait condamner. Dans un long post amer, sans dessin, il excite de nouveau ses troupes contre Megane Kamel et ses « comparses ». Manifestement, c’est surtout le fait d’avoir à sortir son portefeuille qui le rend ivre de rage. La posture de l’artiste blessé dans son œuvre a cédé la place au visage plus trivial du commerçant qui fait son beurre à la haine et doit déduire de ses juteux bénéfices, le prix de sa lâcheté. La défaite a manifestement contrarié les autres prétendus poids lourds du Ring, Papacito et Laurent Obertone qui ont repris la diatribe de Marsault.

      Rien d’étonnant, à l’extrême-droite, l’appât du gain est monnaie courante, Dieudonné, autre « artiste » près de ses sous se lamente de la même manière dans les mêmes circonstances. Marsault lui, pousse le ridicule et l’indécence jusqu’à se présenter comme le harcelé et à jalouser la cagnotte de solidarité que notre collectif avait lancée pour Megane Kamel.

      Malheureusement, le ridicule, lorsqu’il émane de l’extrême-droite peut tuer. Suite à sa diatbribe, Megane Kamel a d’ores et déjà reçu de nouvelles insultes en message privé. A titre d’exemple non isolé attestant des fantasmes du public de Marsault sur son mur, 230 personnes ont liké le commentaire d’un courageux qui regrette que Megane Kamel ne se soit pas encore suicidée. Sur le mur de ses comparses Obertone et Papacito les injures racistes comme « chamelle » accompagnent les incitations au suicide. Ring là aussi ne choisit pas ses victimes au hasard, Laurent Obertone avait également ciblé une camarade arabe de notre collectif : https://www.lignes-de-cretes.org/marsault-obertone-ring-et-ses-auteurs-le-coup-de-poing-dextreme-dr

      Cela reflète banalement l’objectif final de toutes les violences psychologiques faites aux femmes, plus ou moins assumé par tous les hommes qui n’osent pas (encore) en venir à la violence physique. Le harcèlement psychologique leur semble être plus susceptible d’impunité, mais l’intention est la même. Raison pour laquelle nous nous battons pour qu’il ne soit plus relativisé car il peut produire les mêmes dégâts.

      Nous allons continuer. Nous espérons ne pas le faire seulEs, appelons l’ensemble des individus, collectifs et organisations féministes et antifascistes à se réapproprier et à diffuser la victoire judiciaire et politique de Megane Kamel, et proposerons d’autres initiatives à toutes celles et ceux qui veulent démonter le Ring de la violence bestiale qui se cache derrière la maison d’édition.

      Notre dossier de presse sur Ring est ici : https://www.lignes-de-cretes.org/marsault-obertone-ring-et-ses-auteurs-le-coup-de-poing-dextreme-dr

      Quelques commentaires postés hier sur les murs publics de Marsault, Papacito et Laurent Obertone.

      #harcèlement

  • Évaluations : comment sommes-nous passés de l’amélioration au #contrôle ?
    http://www.internetactu.net/a-lire-ailleurs/evaluations-comment-sommes-nous-passes-de-lamelioration-au-controle

    À l’heure où chaque service en ligne nous demande sans cesse de l’évaluer, n’allons-nous pas basculer dans une fatigue de la rétroaction permanente ? C’est la question que pose la professeure d’anglais, spécialiste des humanités numériques, Megan Ward (@meganeward1) pour The Atlantic, auteure de Seeming Human, un livre qui s’intéresse à (...)

    #A_lire_ailleurs #Usages #big_data #intelligence_des_données

  • After Years of Abusive E-mails, the Creator of Linux Steps Aside | The New Yorker
    https://www.newyorker.com/science/elements/after-years-of-abusive-e-mails-the-creator-of-linux-steps-aside?mbid=nl_D

    Torvalds’s decision to step aside came after The New Yorker asked him a series of questions about his conduct for a story on complaints about his abusive behavior discouraging women from working as Linux-kernel programmers. In a response to The New Yorker, Torvalds said, “I am very proud of the Linux code that I invented and the impact it has had on the world. I am not, however, always proud of my inability to communicate well with others—this is a lifelong struggle for me. To anyone whose feelings I have hurt, I am deeply sorry.”

    Although it distributes its product for free, the Linux project has grown to resemble a blue-chip tech company. Nominally a volunteer enterprise, like Wikipedia, Linux, in fact, is primarily sustained by funds and programmers from the world’s large technology companies. Intel, Google, IBM, Samsung, and other companies assign programmers to help improve the code. Of the eighty thousand fixes and improvements to Linux made in the past year, more than ninety per cent were produced by paid programmers, the foundation reported in 2017; Intel employees alone were responsible for thirteen per cent of them. These same companies, and hundreds of others, covered the foundation’s roughly fifty-million-dollar annual budget.

    Linux’s élite developers, who are overwhelmingly male, tend to share their leader’s aggressive self-confidence. There are very few women among the most prolific contributors, though the foundation and researchers estimate that roughly ten per cent of all Linux coders are women. “Everyone in tech knows about it, but Linus gets a pass,” Megan Squire, a computer-science professor at Elon University, told me, referring to Torvalds’s abusive behavior. “He’s built up this cult of personality, this cult of importance.”

    Valerie Aurora, a former Linux-kernel contributor, told me that a decade of working in the Linux community convinced her that she could not rise in its hierarchy as a woman. Aurora said that the concept of Torvalds and other powerful tech figures being “equal-opportunity assholes” was false and sexist: when she and Sharp adopted Torvalds’ aggressive communication style, they experienced retaliation. “Basically, Linus has created a model of leadership—which is being an asshole,” Aurora told me. “Sage and I can tell you that being an asshole was not available to us. If we were an asshole, we got smacked for it, got punished, got held back. I tried it.”

    Torvalds, by contrast, long resisted the idea that the Linux programming team needed to become more diverse, just as he resisted calls to tone down his language. In 2015, Sharp advocated for a first-ever code of conduct for Linux developers. At a minimum, they hoped for a code that would ban doxxing—the releasing of personal information online to foment harassment—and threats of violence in the community. Instead, Torvalds accepted a programming fix provocatively titled “Code of Conflict,” which created a mechanism for filing complaints more generally. In the three years since then, no developers have been disciplined for abusive comments. Sharp, who was employed by Intel at the time, said they carefully avoided Linux kernel work thereafter.

    #Linux #Linus_Torvalds #Genre #Développeurs #Logiciels_libres #Machisme

  • John A. Macdonald statue removed from Victoria City Hall | CBC News
    https://www.cbc.ca/news/canada/british-columbia/john-a-macdonald-statue-victoria-city-hall-lisa-helps-1.4782065

    A statue of Sir John A. Macdonald was wrapped in foam and strapped to a flat-bed truck on Saturday morning to be placed in storage. Victoria city council voted to remove the statue as a gesture of reconciliation earlier this week. (Megan Thomas/CBC)

    A statue of Sir John A. Macdonald, Canada’s first prime minister, has been removed from the front steps of Victoria City Hall.

    The monument was taken down, wrapped in foam and strapped to a flat-bed truck on Saturday morning to be placed in storage.

    City council voted to remove the statue as a gesture of reconciliation earlier this week.

    Victoria councillors pass motion to remove John A. Macdonald statue

    More than two dozen people gathered in the drizzling rain to watch as the statue was taken away — some cheering its removal and others lamenting it.

    #grand_home #canada #peuples_premiers #peuples_autochtones

  • Ca y est, ils dénoncent:
    Former Facebook executive: social media is ripping society apart, le 12 décembre 2017, in The Guardian

    Facebook did not immediately respond to a request for comment.

    https://www.theguardian.com/technology/2017/dec/11/facebook-former-executive-ripping-society-apart

    Related:
    ’Our minds can be hijacked’: the tech insiders who fear a smartphone dystopia, Paul Lewis, le 27 octobre 2017, in The Guardian

    A handful of people, working at a handful of technology companies, through their choices will steer what a billion people are thinking today

    https://www.theguardian.com/technology/2017/oct/05/smartphone-addiction-silicon-valley-dystopia

    A War of Words Puts Facebook at the Center of Myanmar’s Rohingya Crisis, Megan Specia et Paul Mozur, le 27 octobre 2017, in NY Times
    https://www.nytimes.com/2017/10/27/world/asia/myanmar-government-facebook-rohingya.html

    The people trying to fight fake news in India par Ayeshea Perera, le 24 juillet 2017, in BBC
    http://www.bbc.com/news/world-asia-india-40657074

  • Foreign Policy’s 2017 Global Thinkers


    http://link.foreignpolicy.com/view/52543e66c16bcfa46f6ced166trq0.66dv/4f65fef9

    liste complète

    KAMALA HARRIS
    MOON JAE-IN
    HASAN MINHAJ
    CHELSEA MANNING
    STEPHEN BANNON
    HAIDER AL-ABADI
    PEDRO KUMAMOTO
    JODI KANTOR, MEGAN TWOHEY, AND RONAN FARROW
    ROYA SADAT
    JEREMY CORBYN
    MARK CUBAN
    MICHAEL ANTON
    BASUKI TJAHAJA PURNAMA (AHOK)
    ADAMA BARROW
    MANAL AL-SHARIF, NOURA AL-GHANEM, FAWZIAH AL-BAKR and MONERA AL-NAHEDH
    AI WEIWEI
    LEILA DE LIMA
    STEVE ADLER
    JO ANN JENKINS
    EMMANUEL MACRON
    CARMEN YULÍN CRUZ
    HO DANG HOA
    YADIN KAUFMANN
    SALLY YATES
    MA BAOLI (GENG LE)
    HAMDI ULUKAYA
    THULI MADONSELA
    RODRIGO LONDOÑO (TIMOCHENKO)
    MARGRETHE VESTAGER
    GUY VERHOFSTADT
    ELENA MILASHINA
    SETH MOULTON
    JASON MATHENY
    CHRYSTIA FREELAND
    ANDREI LANKOV
    EVELYN WANG
    THE WOMEN OF THE #METOO MOVEMENT
    NIKKI HALEY
    HAMED SINNO
    DAVID LIU AND FENG ZHANG
    MASHA GESSEN
    SÉRGIO MORO
    ANTHONY ATALA
    ALEXANDER GAULAND
    ALICE MARWICK AND PHILIP N. HOWARD
    VIAN DAKHIL
    RONALD DEIBERT
    MARÍA EUGENIA VIDAL

  • Poll finds U.S.-Mexico border residents overwhelmingly value mobility, oppose wall

    Residents who live along the U.S.-Mexico border overwhelmingly prefer bridges over fences and are dead set against building a new wall, according to a Cronkite News-Univision-Dallas Morning News poll.


    http://interactives.dallasnews.com/2016/border-poll

    #sondage #murs #opposition #résistance #USA #Mexique #frontières #barrières_frontalières

    • Vigilantes Not Welcome : A Border Town Pushes Back on Anti-Immigrant Extremists

      In late August last year, 39-year-old Michael Lewis Arthur Meyer exited La Gitana bar in Arivaca, Arizona, took out his phone, and started recording a video for his Facebook page: “So down here in Arivaca, if you like to traffic in children, if you like to make sure women and children have contraceptives before handing them off to the coyotes to be dragged through the desert, knowing they’re going to get raped along the way, if you’re involved in human trafficking or dope smuggling, these individuals have your back.”

      Meyer, who had a trim red beard, dark sunglasses, and a camouflage American flag hat, aimed his cellphone camera at a wooden awning on a small white bungalow across the street from La Gitana, panning between two signs with the words “Arivaca Humanitarian Aid Office” and “Oficina De Ayuda Humanitaria” in turquoise letters.

      The video went on for nine and a half minutes, as Meyer, the leader of a group called Veterans on Patrol, which had more than 70,000 followers on Facebook, talked about stopping border crossers and searching abandoned mineshafts for evidence of trafficked women and children. Every couple of minutes he would return to the aid office.

      “If you’re ever down here in Arivaca,” he told his audience, “if you want to know who helps child traffickers, if you want to know who helps dope smugglers, if you want to know who helps ISIS, if you want to know who helps La Raza, MS-13, any of ’em, any of the bad guys, these people help ’em.”

      The claims were false and outrageous. But Meyer had an audience, and people in town were well aware of how media-fueled anti-­immigrant vitriol and conspiracies could spill over into real-world violence. It had happened there before.

      Arivaca sits just 11 miles north of the Mexico border in a remote area of the Sonoran Desert. For about two decades, anti-immigrant vigilante groups have patrolled the region to try to remedy what they perceive as the federal government’s failure to secure the border. In 2009, the leader of one of these groups and two accomplices murdered two residents—a little girl and her father—during a home invasion and robbery planned to fund their activities. Meyer’s video brought that trauma back and was quickly followed by a series of incidents revolving around various vigilante groups, La Gitana, and the humanitarian aid office. When I visited in mid-September, the town was clearly on edge. “If we don’t do something about [the situation], we’re going to have bodies here again,” Arivaca’s unofficial mayor, Ken Buchanan, told me.

      Shortly before making his video, Meyer had been sitting in La Gitana with several volunteers from Veterans on Patrol. Megan Davern, a 30-year-old meat cutter with work-worn hands and long brown hair, was tending bar. She had heard that a rancher living along the border was having issues with a vigilante group trespassing and flying drones over his property.

      “I walked into the bar at four o’clock one day to start a shift, and I saw this big group of people in fatigues with empty gun holsters and a drone on the table, and I felt it was probably them,” Davern recalled.

      Davern had heard the group’s name before and quickly did some internet research, reading highlights as the men drank. The group was founded to provide support to homeless veterans. Then, in May 2018, Meyer—who is not a veteran and has a criminal history—claimed he had discovered a child sex trafficking camp at an abandoned cement factory in Tucson. The camp, he said, was part of a pedophilia ring, and on his Facebook page he shared posts linking it to the Clintons, George Soros, and Mexican drug cartels.

      Meyer, who showed up for rancher Cliven Bundy’s 2014 armed standoff with authorities in Nevada and was present during Bundy’s sons’ occupation of an Oregon wildlife refuge in 2016, declined an interview request. But the story he was spreading mimicked right-wing conspiracies like Pizzagate and QAnon, and though Tucson police investigated and debunked his claims, Meyer gained tens of thousands of social-media followers. With donations of supplies and gift cards pouring in from supporters, he vowed to gather evidence and save the women and children he claimed were being victimized.

      Davern watched as Meyer and the other Veterans on Patrol volunteers left La Gitana and started filming the first video. Toward the end of the video, she stepped out of the bar to confront them. “We’ve been hearing about you for a long time,” she said, as Meyer turned the camera on her. “I’d appreciate if you don’t come in anymore.”

      Banning Veterans on Patrol, Davern told me, was an easy decision: “We have a strict no-militia policy at the bar because of the history of militia violence in this town.”

      Arivaca is a quirky place. To start with, it’s unincorporated, which means there’s no official mayor, no town council, no police force. The 700 or so residents are an unlikely mix of miners, ranchers, aging hippies, artists, and other folks who stumbled across the odd little community, became enchanted, and decided to make it home. A single road runs through it, linking an interstate highway to the east and a state highway to the west. The next town is 30 minutes away; Tucson is 60 miles north.

      There’s no official mayor, no town council, no police force…The next town is 30 minutes away.

      Jagged hills covered in scraggly mesquite spread in every direction until they meet towering mountains at the distant southern horizon. The vast landscape swallows up the dividing line with Mexico, but the presence of the border looms large.

      By the early 2000s, a federal policy called Prevention Through Deterrence had pushed border crossers from urban areas to more hostile terrain like the desert around Arivaca. Migrant deaths skyrocketed, and Arivaca eventually became a staging ground for volunteers caching water and food in the desert. Some settled down, and residents opened the humanitarian aid office in 2012.

      The border crossers also caught the attention of vigilante groups, many of which had formed in the late ’90s in Texas and California, and which ranged from heavily armed paramilitary-type organizations to gangs of middle-aged men sitting on lawn chairs with binoculars. “They realized that ground zero was really on the Arizona border,” said Mark Pitcavage, who researches right-wing extremism at the Anti-Defamation League.

      One group known as the Minutemen started organizing Arizona border watches in 2005. “It was a big deal in the press,” said Heidi Beirich, a hate group expert at the Southern Poverty Law Center. Beirich credits the Minutemen with helping mainstream the demonization of undocumented migrants, calling the media-savvy group “probably the thing that started off what ultimately becomes Donald Trump’s anti-­immigrant politics.”

      But by 2007, the organization was splintering. One spinoff, Minutemen American Defense (MAD), was led by a woman named Shawna Forde, a name that no one in Arivaca would soon forget.
      “The whole town has those emotional scars.”

      Just before 1 a.m. on May 30, 2009, Forde and two accomplices murdered nine-year-old Brisenia Flores and her 29-year-old father, Raul, in their home. They also injured Brisenia’s mother, Gina Gonzales, before she drove them away by grabbing her husband’s gun and returning fire.

      Raul Flores was rumored to be involved in the drug trade, and Forde, a woman with a long criminal history, had devised a plan to rob his home and use the money to finance MAD.

      The murders shook Arivaca. “The whole town has those emotional scars,” Alan Wallen, whose daughter was friends with Brisenia, told me.

      The day that Meyer filmed that first Facebook video in Arivaca, Terry Sayles, 69, a retired schoolteacher with a long-standing research interest in far-right groups, was at his home in Green Valley, some 45 minutes away. Sayles had been following Veterans on Patrol since the cement plant conspiracy theory first surfaced. When he saw Meyer’s video outside La Gitana, he called the bar with a warning. “You guys know that you’re on Facebook?” he asked.

      “Oh, great,” Davern remembered thinking. Until then, she hadn’t realized Meyer’s video was online. “I didn’t know what the ramifications would be. Were people going to come into my work and harass me? Threaten me with violence? Were they going to find out where I live?”

      Around the time of Davern’s confrontation outside the bar, La Gitana put up a sign saying that members of border vigilante groups were not welcome inside. It didn’t mention Veterans on Patrol but instead singled out another group: Arizona Border Recon (AZBR).

      Tim Foley, the leader of AZBR, had moved to Arivaca in the summer of 2017. Before starting the group in 2011, Foley, who has piercing blue eyes and leathery skin from long hours in the sun, worked construction jobs in Phoenix until 2008, when the financial crisis hit. “Everything fell apart,” he told me over the phone.

      Foley said that after years of seeing immigration violations on work sites go unpunished, he went down to the border and decided to dedicate himself to stopping undocumented crossers. The Southern Poverty Law Center considers AZBR a nativist extremist group, but Foley now says his main mission is gathering intelligence on Mexican drug cartels.

      Just before I visited Arivaca, Foley was in Washington, DC, speaking at “The Negative Impact of Illegal Alien Crime in America,” a rally hosted by families of people killed by undocumented immigrants. Other speakers included former Maricopa County Sheriff Joe Arpaio, who is also a Trump pardon recipient; presidential adviser Kellyanne Conway; and Rep. Steve King, a Republican from Iowa with a history of racist and anti-immigrant rhetoric.

      A few days after Meyer filmed his video, a BearCat armored vehicle—the kind used by SWAT teams—came rolling into Arivaca. It had a mock .50-caliber machine gun affixed to a turret on its roof and belonged to the Utah Gun Exchange, a marketplace and media company based near Salt Lake City with a mission to build what one of its co-owners, 46-year-old Bryan Melchior, described as “web platforms that allow free speech and that promote and protect the Second Amendment.”

      Before coming to Arivaca, the group had followed survivors of the Parkland high school shooting around the country during the teens’ “March for Our Lives” tour. But after President Trump threatened to shut down the government over funding for his border wall, Melchior shifted his attention. “Ultimately, we came here to tell stories from the border, and that’s what brought us to Arivaca, because there are some outspoken public figures here. Tim Foley is one of them,” Melchior told me.

      Melchior, stocky with a scruffy salt-and-pepper beard and an ever-present sidearm, and his crew decided to get dinner at La Gitana. Davern was tending bar and asked the group what they were up to. When Melchior said they were a media company in town to tell border stories and that they were in touch with Foley, “the whole thing went to hell in a handbag,” he recalled.

      Davern said she left their initial conversation feeling optimistic that the Utah Gun Exchange’s platform could be a good avenue to reach a different audience with information about what life was actually like at the border. But when she found out it had a channel called BuildTheWallTV, she changed her mind.

      Melchior was down by the border when somebody sent him a picture of a new sign in La Gitana’s window listing the Utah Gun Exchange and Veterans on Patrol as groups that were not welcome. He later went into La Gitana with an open container of alcohol from a store across the street to ask about the sign. The interaction did not go well.

      The next day, Meyer came back to town ready to film again. Playing to an audience watching in real time on Facebook Live, he walked up to La Gitana, showed the signs hanging in the window, and knocked. “Do you stand by your convictions to tell tens of thousands of supporters [that they’re not welcome]?” he asked the bartender working that day.

      “Sure. Absolutely,” she replied.

      Meyer went on to say that Veterans on Patrol was going to build a wall around Arivaca to make it part of Mexico. He then walked across the street to again film the humanitarian office: “This town’s made it apparent they don’t want us. They’d rather have the illegals crossing over. They’d rather help traffic the children and the women.”

      To many Arivaca residents, it felt like things were building toward cataclysm. “People are terrified,” Davern told me. “These people come to town and they’re threatening. Extremely threatening.”
      To many Arivaca residents, it felt like things were building toward cataclysm.

      So they called a town meeting. It was held on September 9, and about 60 people came. Terry Sayles, the retired teacher from Green Valley, was there. He suggested that the town report Veterans on Patrol’s page to Facebook. The residents set up a phone tree in case they needed to quickly rally aid—local law enforcement is at least an hour away. Kelly and a couple of others formed a neighborhood watch of sorts. “We had a strategy that we had rehearsed so that if in fact there was some attempt by somebody to do harm, we could de-escalate it in a hurry and quietly defuse it,” he said.Arivacans weren’t so much concerned about Foley, Meyer, or Melchior, but about their followers, who might see their inflammatory videos and posts about Arivaca and take matters into their own hands. “Our greatest fear was some person incensed at the thought of this community engaged in sex traffic would come out here and have a shootout at our local tavern,” Dan Kelly, a Vietnam War veteran who lives in Arivaca, told me.

      One of the most important things, though, was channeling the spiraling fear into a productive reaction. “We worked hard to separate the emotional response to it and try to look at it logically and coldly,” Kelly said. “The visceral side, the emotional side, was the impetus to get organized and take a rational response.”

      Their containment approach worked. A couple of days after the meeting, Veterans on Patrol’s main Facebook account was taken down, stripping Meyer of his audience. The Utah Gun Exchange eventually packed up and left. Many people had refused to talk to the outlet. “Arivaca is the most unwelcoming town I’ve ever been to in my life,” Melchior complained to me.

      In January, Melchior was charged in Utah with felony drug and weapons possession. Meyer also faces legal trouble, some of it stemming from videos he took of himself trespassing on private property around Tucson. He currently has several cases pending in the Pima County court system.

      “There’s been significantly less obvious militia activity in Arivaca, which I contribute to a victory on our part,” Davern told me during a recent phone call. “There’s a lot less fear going around, which is great.” Town meetings continued for a while but have stopped for now. But to Davern, as long as Tim Foley is still in town, the issue isn’t resolved. “That person needs to leave,” she said, describing him as a magnet for conflict. High Country News detailed an incident in early March when locals eager to keep the peace dissuaded a group of reportedly self-described anarchists who had come to town to confront him.

      Foley knows what Davern and others in Arivaca think about him but insists there’s a silent majority in town that supports his presence. “They can keep calling me the bad guy. I already know I’m not, or else I still wouldn’t be walking the streets,” he told me. “I’m not moving. I’m staying in Arivaca. They can keep crying for the rest of their lives. I really don’t care.”

      Even at the height of their fear, a question hovered over the town’s residents: Were they overreacting?

      It’s a question more people across the country confront as they wake up to the reality of right-wing extremism and violence. When I was in Arivaca, the answer was clear to Clara Godfrey, whose nephew Albert Gaxiola was Shawna Forde’s accomplice in the Flores murders. He and Forde had met at La Gitana. “We can never say, ‘We didn’t know,’ again,” Godfrey told me. “If anything happens, we have to say, ‘We knew, and it was okay with us.’”

      https://www.motherjones.com/politics/2019/04/immigrant-vigilantes-arizona-border-arivaca

      Commentaire de Reece_Jones sur twitter :

      A truism of borders: the people who live there hate the way people in the interior politicize and militarize their homes.

      https://twitter.com/reecejhawaii/status/1116404990711492608
      ... ce qui me fait penser au fameux effet Tur_Tur !

  • Live Report - Lemon Twigs + Lo Moon au Grand Mix - Lille La Nuit.com
    http://www.lillelanuit.com/live-report/concerts/lemon-twigs-lo-moon-au-grand-mix

    Après un passage au Bistrot de Saint So pour apprécier comme il se doit la nouvelle formule et les nouveaux titres de {TFP} live, il a fallu se dépêcher pour aller au Grand Mix rejoindre la grande soirée qui nous attendait. Les nouvelles chansons de Tim Fromont Placenti sont extrêmement prometteuses et si on est forcément décontenancé par le trio, il est aussi porteur de sacrées promesses. On sait qu’avec ce songwriter, on ne risque ni l’ennui ni la médiocrité. En mouvement, toujours. On en reparlera. 
    A l’arrivée au Grand Mix, on sait tout de suite que c’est un grand soir. On devine ça à des murmures, à des bruissements, à l’impatience, au piétinement général, à l’étuve encore modérée des premiers beaux jours. C’est Lo Moon qui ouvre la soirée avec une jolie pop rêveuse. Le groupe tisse des climats séduisants aux claviers. On les connaît peu mais c’est un projet qui semble très mature et très abouti. C’est déjà une jolie prouesse puisqu’on a envie d’y revenir. On a aussi pensé à Talk Talk dans le phrasé et la mélodie, à certaines colorations de Cure dans le traitement des claviers. Il semble qu’un single seulement soit disponible pour le moment.

    Grosse pression pour les brindilles de citrons, c’est peu dire qu’elles sont très attendues. Le Mix bouge, on cherche l’angle idéal pour voir, un sold out nerveux et piaffant. On s’avoue quelques craintes, un groupe jeté beaucoup trop vite sur la route avec un seul album, ça peut donner une prestation toute de précarité. Pour peu que s’y mêle un peu d’appréhension avec l’option paralysie et ça s’écroule. En fait, on va prendre une grosse, une très grosse claque, un truc à vous remettre d’aplomb d’un seul geste... A vous faire regarder vos chaussures deux ou trois minutes pour masquer votre embarras d’avoir pensé que ça pouvait être léger. Les Lemon Twigs sont totalement et impeccablement au point et ne vont pas se contenter de réciter leur bréviaire pop sous la forme d’un album joué d’un bout à l’autre. Ils iront même chercher une chanson de leur père, Ronnie d’Addario, issue de son tout premier album, Take a show. On assume fièrement la filiation. On osera, au rappel, titiller les Fab Four sur un The End impeccable à deux au chant sur un seul micro et on a deux trois chansons d’avance. Énorme.
    YouTube fourmille de vidéos des frères d’Addario très jeunes en train de s’amuser dans leur chambre avec du Hip-Hop ou de jouer live avec MOTP, Members of the press, un groupe de reprises. Papa n’a pas dû faire grand chose pour les retenir... Et ils montent parfois sur scène avec lui. Ils ne débutent pas en fait, pas du tout. Ils sont totalement prêts. Ça pourrait être ennuyeux et on est parfois gênés devant des groupes trop prédestinés à la carrière typique de fratrie conditionnée au berceau. Sauf que ce soir, on va tout de même avoir une démonstration de talent vrai. Ça change tout. 

    Les voix sont au top directement et les leçons d’harmonies vocales ont porté leurs fruits, entre Beatles et Beach Boys. Michael jubile d’être Keith Moon derrière les fûts et il vaut le détour à lui tout seul. Rien n’est approximatif, c’est puissant et précis. Il fracasse toms et cymbales à tour de bras tout en restant très carré, les baguettes tournent dans tous les sens.Ensemble, ils ont déjà une dimension scénique très affirmée et occupent la scène du Grand Mix avec des années de métier derrière eux, très calés.
    C’est à la fois d’abord tranquille et bravache. On crâne dans le bon sens du terme, on se la joue assez gentiment avec distance et humour, Brian promettant de revenir pour régner sur le pays avant de s’excuser de cet abus de pouvoir. Le Grand Mix est bouillant dès la fin du premier morceau. C’est le dernier show en France, ça ajoute peut être un peu de relâchement et de plaisir, Megan Zeankowksi en bassiste impassible, Danny Ayala en complice habitué aux délires des deux frères. Le show tourne complètement et Keith Moon devient Pete Townshend quand Michael quitte ses fûts pour chanter et jouer de la guitare. Il n’a pas la réserve de son frère et arpente la scène en donnant tous les deux mètres des coups de pieds dignes d’un kick-boxer, ça sera parfois beaucoup, voire un peu trop mais ça joue et ça envoie, il riffe le bras suspendu en l’air à la fin des accords comme un Keith Richards jeune et en pleine forme. Les gars sont même capables de venir à trois seulement pour harmoniser sur un simple fond d’accords joué aux claviers (How lucky Am I.).
    C’est très bluffant. Oui, c’est vrai, le pastiche sixties/seventies peut être un peu encombrant parfois mais franchement, ils ont tout pour eux, la folie et la raison. On ne s’est pas fait gentiment convaincre, on s’est fait casser la figure.

  • Un astéroïde aurait changé le climat après la disparition des dinosaures

    http://www.futura-sciences.com/planete/actualites/rechauffement-climatique-asteroide-aurait-change-climat-apres-dispa

    Les climatologues et les chercheurs en géosciences publient depuis quelque temps un certain nombre de travaux concernant une période de l’histoire de la Terre appelée le maximum thermique du Paléocène-Éocène (Paleocene-Eocene Thermal Maximum, ou PETM en anglais). En fouillant les archives géologiques, on a en effet découvert qu’il y a environ 56 millions d’années, les températures mondiales auraient alors augmenté d’environ 6 °C en seulement 20.000 ans. Cette augmentation s’est accompagnée d’une hausse correspondante du niveau des mers, en même temps que les océans se réchauffaient.

    Si l’on en croit un séminaire du 27 septembre 2016 portant sur les travaux d’une équipe de chercheurs lors de la rencontre annuelle de la Société géologique d’Amérique (Geological Society of America) à New York, la PETM pourrait avoir été causée par la chute d’un astéroïde ou d’une comète, 10 millions d’années après celle du corps céleste qui a fortement contribué à la disparition des dinosaures. Cependant, le mécanisme exact reliant cette chute à l’augmentation du gaz carbonique dans l’atmosphère n’est pas encore clair.

    Mais sur quoi se fondent les chercheurs pour avancer une telle hypothèse ? Tout simplement sur la présence de ce qui semble bien être des microtectites dans 8 échantillons de sédiments retrouvés dans les couches datant du début du PETM aux États-Unis, plus précisément dans celles que l’on trouve sur la côte du New Jersey. La découverte s’est faite par sérendipité, alors que l’étudiante en master Megan Fung cherchait des microfossiles de foraminifères dans ces échantillons. Ce sont des espècesplanctoniques, des organismes unicellulaires marins qui occupent les premières centaines de mètres des océans et des mers du globe, depuis les zones polaires jusqu’à l’équateur et dont les fossiles permettent de dater des couches sédimentaires.

    Fung a finalement trouvé ce qui semble bel et bien être des exemples micrométriques de ce que l’on appelle des tectites, des verres naturels ressemblant à du sable vitrifié dont la forme est soit celle d’une goutte, soit celle d’une larme. Souvent d’aspect noirâtre lorsqu’elles sont de grandes tailles, elles sont plutôt de couleurs jaunâtres, tirant vers le brun ou le vert quand il s’agit de microtectite. Dans tous les cas, il s’agit le plus souvent de morceaux de la croûte terrestre en fusion projetés par un impact de météoritique jusqu’à des milliers de kilomètres du lieu de formation de l’astroblème.

    Dans le cas des microtectites retrouvées, les chercheurs pensent qu’une origine volcanique est exclue car elles contiennent trop peu d’eau mais on y trouve aussi du quartz qui a été en fusion, une caractéristique que l’on associe aux roches ayant subi un impact de météorite.

  • Megan Rapinoe kneeled during national anthem to support Colin Kaepernick - Business Insider
    http://uk.businessinsider.com/megan-rapinoe-kneeled-during-national-anthem-support-colin-kaepe

    Colin Kaepernick’s protest of the national anthem is starting to spread and now it is being performed by people and in places most might not expect.

    On Sunday, U.S. women’s national soccer team star Megan Rapinoe kneeled during the national anthem prior to the Seattle Reign’s match against the Portland Thorns.

  • Gay At Sea - A Look At The US Coast Guard’s LGBT Community - gCaptain
    https://gcaptain.com/gay-at-sea-a-look-at-the-us-coast-guards-lgbt-community


    Image via USCG Office of Diversity and Inclusion (CG-12B)

    Despite the repeal of Don’t Ask, Don’t Tell (DADT) in 2011, and the Defense of Marriage Act (DOMA) in 2013, total equality for the LGBT community is still a work in progress. One of the ways the Coast Guard is helping its LGBT members is by creating an open dialogue.

    People say I don’t look ‘gay,’” said Fairburn. “But what does ‘gay’ look like?

    Well, actually I look pretty ‘gay,’” Lt. Cmdr. Hillary Allegretti, the executive officer of Marine Safety Office Cleveland, said as the audience erupted with laughter.

    This was the beginning of the first-ever dialogue of LGBT equality amongst shipmates in the open setting of a leadership conference.

    Allegretti, Fairburn and Petty Officer 1st Class Audrey Russo, a liaison officer at Coast Guard flight school in Pensacola, Florida, participated in a panel focused on LGBT equality in the Coast Guard during the Women’s Leadership Symposium held at Coast Guard Sector Lake Michigan in March 2016.


    Lt. Commander Hillary Allegretti, USCG, and wife, Megan Allegretti.
    Petty Officer 1st Class Sasha Fairburn, a company commander at Training Center Cape May, thinks the topic is still taboo for many people.

  • Don’t Worry, Women Writers, It Doesn’t Matter If You’re ’500 Pounds & Really Hard to Look At’ - Jezebel
    http://jezebel.com/dont-worry-women-writers-it-doesnt-matter-if-youre-50-1774529441

    Anyway, the piece was supposed to be about the sheer monetary power of “gorgeous writing.” But then, as EW said, “you can’t count on selling a book on the writer’s talent alone.” (Maybe they meant a book by a woman specifically, as they did not invoke the $2 million single-book advances that are awarded to the Garth Risk Hallbergs of the world, whose headshots do not seem to be quite as scrutinized.) Isabella Biedenharn writes, emphasis mine, about Cynthia d’Aprix Sweeney’s The Nest and Stephanie Danler’s Sweetbitter (edited by Claudia Herr at Knopf):

    While factors like being photogenic or savvy with social media won’t make or break a deal, they can definitely sweeten it. “I actually knew very little about [Sweeney] when I bought The Nest,” says her editor at Ecco, Megan Lynch. “I didn’t know that, for example, she knew Amy Poehler well enough to approach her for a blurb. That was a happy bonus.” Lynch stresses that while she would never “decline a book I loved because I felt like the author wouldn’t be able to handle an NPR interview, it would certainly affect how determined I might be: Am I going to hang in for another round at auction, or drop out?” Herr, for her part, acknowledges that an author’s appearance can affect an advance — “We look at all of that stuff” — but insists, “We would have paid her the same money if she weighed 500 pounds and was really hard to look at. That’s my firm belief.”

    #édition #littérature #beauté #poids #sexisme

  • Women In Electronic Music
    http://ubu.com/sound/leidecker.html

    Women In Electronic Music 1938-1982, broadcast April 1, 2010
    http://ubusound.memoryoftheworld.org/leidecker_jon/Leidecker-Jon_Women-In-Electronic-Music-Part-1.mp3
    Jon Leidecker and Barbara Golden

    Clara Rockmore – Vocalise (Rachmaninoff) (recorded 1987)
    Johanna M. Beyer – Music of the Spheres (1938, recorded 1977)
    Bebe and Louis Barron – Forbidden Planet / Main Titles, Overture (1956)
    Daphne Oram – Bird of Parallax (1962-1972)
    Delia Derbyshire – Dr. Who (1963)
    Delia Derbyshire - Blue Veils and Golden Sands (1967)
    Delia Derbyshire - Ziwzih Ziwzih OO-OO-OO (1966)
    Else Marie Pade – Faust and Mephisto (1962)
    Mirelle Chamass-Kyrou – Etude 1 (1960)
    Pauline Oliveros – Mnemonics III (1965)
    Ruth White – Evening Harmony (1969)
    Ruth White - Sun (1969)
    Micheline Colulombe Saint-Marcoux – Arksalalartoq (1970-71)
    Pril Smiley – Koloysa (1970)
    Alice Shields – Study for Voice and Tape (1968)
    Daria Semegen – Spectra (Electronic Composition No. 2) (1979)
    Annette Peacock – I’m The One (1972)
    Wendy Carlos – Timesteps (1972)
    Ruth Anderson – DUMP (1970)
    Priscilla McLean – Night Images (1973)
    Laurie Spiegel – Sediment (1972)
    Eliane Radigue – Adnos III (1980)
    Maggi Payne – Spirals (1977)
    Maryanne Amacher – Living Sound Patent Pending: Music Gallery, Toronto (1982)

    Women In Electronic Music Part 2, broadcast February 8, 2013
    http://ubusound.memoryoftheworld.org/leidecker_jon/Leidecker-Jon_Women-In-Electronic-Music-Part-2.mp3
    Jon Leidecker and Barbara Golden

    Monique Rollin — Etude Vocale (1952)
    Jean Eichelberger Ivey — Pinball (1967)
    Gruppo NPS - Module Four (1967)
    Jocy De Oliviera - Estória II (1967)
    Tera de Marez Oyens - Safed (1967)
    Franca Sacchi - Arpa Eolia (1970)
    Sofia Gubaidulina - Viente-non-Vivente (1970)
    Beatriz Ferreyra - l’Orvietan (1970)
    Suzanne Ciani - Paris 1971 (1971)
    Françoise Barrière - Cordes-Ci, Cordes-Ça (1972)
    Jacqueline Nova - Creation de la Tierra (1972)
    Teresa Rampazzi - Musica Endoscopica (1972)
    Lily Greenham - Traffic (1975)
    Annea Lockwood - World Rhythms (1975-97)
    Megan Roberts - I Could Sit Here All Day (1976)
    Laurie Anderson - Is Anybody Home? (1977)
    Laetitia de Compiegne Sonami - Migration (1978)
    Constance Demby - The Dawning (1980)
    Miquette Giraudy (w/Steve Hillage) - Garden of Paradise (1979)
    Ann McMillan - Syrinx (1979)
    Doris Hays - Celebration of No (from Beyond Violence) (1982)
    Brenda Hutchinson - Fashion Show (1983)
    Barbara Golden / Melody Sumner Carnahan - My Pleasure (1997)
    Catherine Christer Hennix - The Electric Harpsichord (1976)

    Jon Leidecker and Barbara Golden
    Two episodes of Barbara Golden’s Crack’O’Dawn, KPFA FM, 94.1,

    #playlist #femmes #musique

  • Infiné news - Podcast 024 - Arandel
    http://www.infine-music.com/news/374/podcast-024-arandel
    https://soundcloud.com/infine-music/podcast-024-arandel-bog-bog-the-electronic-ladyland-mixtape/s-vQhzm

    To receive a new mixtape by Arandel in the office is in itself an event.

    Before the release of In D, Arandel´s collaboration with InFiné starts with an intial mixtape : Carols - The Minuit Mixtape. This activity is part of the identity of the project just like their record releases – the podcasts of Arandel are driven by a main thematic and a strong narrative. They follow a strict méthodologie, but leaves place to accidental effects or ghostly voice intrusions. They tell you a story and a piece of history.

    Sadly most of them had fleeting lives online. Looking for them has become truly rewarding treasure hunt.

    For Bog Bog - the Electronic Ladyland, we decided to pair up with the French website The Drone, who directed the interview ( vers l´interview en francais) and host the sounds and the words in english on our timeless website.

    (Special Thanks to Oliver Lamm from The Drone who conducted Arandel´s interview)

    Bog Bog, The Electronic Ladyland Mixtape

    1. Glynis Jones : Magic Bird Song (1976)

    2. Doris Norton : Norton Rythm Soft (1986)

    3. Colette Magny : « Avec » Poème (1966)

    4. Daphne Oram : Just For You (Excerpt 1)

    5. Laurie Spiegel : Clockworks (1974)

    6. Pauline Oliveiros : Bog Bog (1966)

    7. Megan Roberts - I Could Sit Here All Day (1977)

    8. Suzanne Ciani : Paris 1971

    9. Laurie Anderson : Tape Bow Trio (Say Yes) (1981)

    10. Glynis Jones : Schlum Rooli (1975)

    11. Ruth White : Mists And Rains (1969)

    12. Wendy Carlos : Spring (1972)

    13. Ann McMillan : Syrinx (1978)

    14. Delia Derbyshire : Restless Relays (1969)

    15. Maggi Payne : Flights Of Fancy (1986)

    16. Else Marie Pade : Syv Cirkler (1958)

    17. Daniela Casa : Ricerca Della Materia (1975)

    18. The Space Lady : Domine, Libra Nos (1990)

    19. Johanna Beyer : Music Of The Spheres [1938]

    20. Maddalena Fagandini : Interval Signal (1960)

    21. Eliane Radigue : Chryptus I (1970)

    22. Ruth White : Owls (1969)

    23. Ursula Bogner : Speichen (1979)

    24. Beatriz Ferreyra - Demeures Aquatiques (1967)

    25. Doris Norton : War Mania Analysis (1983)

    26. Tera De Marez Oyens : Safed (1967)

    27. Daphne Oram : Rhythmic Variation II (1962)

    28. Mireille Chamass-Kyrou : Etude 1 (1960)

    29. Laurie Spiegel : Drums (1983)

    30. Teresa Rampazzi : Stomaco 2 (1972)

    31. Teresa Rampazzi : Esofago 1 (1972)

    32. Suzanne Ciani : Fourth Voice: Sound Of Wetness (1970)

    33. Ursula Bogner : Expansion (1979)

    34. Alice Shields : Sacrifice (1993)

    35. Megan Roberts and Raymond Ghirardo : ATVO II (1987)

    36. Laurie Anderson : Drums (1981)

    37. Doris Hays : Somersault Beat (1971)

    38. Lily Greenham : Tillid (1973)

    39. Ruth Anderson : Points (1973-74)

    40. Pril Smiley : Kolyosa (1970)

    41. Catherine Christer Hennix : The Electric Harpsichord (1976)

    42. Joan La Barbara : Solo for Voice 45 (from Songbooks) (1977)

    43. Slava Tsukerman, Brenda Hutchinson & Clive Smith : Night Club 1 (1983)

    44. Monique Rollin : Motet (Etude Vocale) (1952)

    45. Sofia Gubaidulina : Vivente – Non Vivente (1970)

    46. Ruth White : Spleen (1967)

    47. Doris Hays : Scared Trip (1971)

    48. Daphne Oram : Pulse Persephone (Alternate Parts For Mixing)

    49. Maggi Payne : Gamelan (1984)

    50. Laurie Spiegel : The Unquestioned Answer (1980)

    51. Ursula Bogner : Homöostat (1985)

    52. Wendy Carlos : Summer (1972)

    53. Suzanne Ciani : Princess With Orange Feet

    54. Pauline Oliveiros : Poem Of Change (1993)

    55. Suzanne Ciani : Thirteenth Voice: And All Dreams Are Not For Sale (1970)

    Mix exclu : dans Bog Bog - The Electronic Ladyland Mixtape, Arandel condense 5 décennies d’invention électronique féminine | The Drone
    http://www.the-drone.com/magazine/arandel-bog-bog-the-electronic-ladyland-mixtape

    « 45 minutes, 55 morceaux, 50 femmes artistes et la musique électronique en seule et unique ligne de mire : voilà, dans les grandes lignes, le programme que s’est fixé Arandel pour cette nouvelle mixtape thématique logiquement titrée The Electronic Ladyland Mixtape.

    Résultats d’années d’explorations dans les bas-fonds d’Internet et les bacs early electronic music des conventions de disque, ce mix maniaque et généreux engage dans une conversation magique tout ce que les années 50, 60, 70, 80 et 90 ont compté de pionnières de l’oscillateur et de la reverb à ressort. Toutefois, ne parlez pas à l’âme derrière Arandel d’un acte militant ou de discrimination positive : le genre choisi ici comme un fil rouge n’est qu’un point d’entrée vers le continent de la musique électronique de recherche, continent qui reste trop peu écouté en dépit des documentaires, des hommages sans cesse rendus par les jeunes générations techno et des anthologies qu’on édite à tour de bras.

    Personne, surtout pas Arandel, n’oserait réfuter l’existence d’un lien magique entre la femme et le son électronique - le flux fabuleux formé par ces 55 fragments collés ensemble en est la meilleure manifestation - mais l’idée, ici, est de poser des questions plutôt que d’y répondre. On a tout de même conversé avec Arandel pour savoir ce pouvait bien se tramer derrière son amour pour l’art de Pauline Oliveros, Delia Derbyshire ou Beatriz Ferreyra. »

    Comment est venue l’idée d’une mixtape entièrement composée de musique électronique composée par des femmes ?

    C’est au gré des écoutes et des pérégrinations que l’idée s’est précisée, à la suite de notre série de mixtapes sur Noël, la mode dans les 60’s, les musiques d’illustration. On s’est rendu compte qu’il existait vraiment une internationale inconsciente de la musique électronique féminine à travers les âges. Et on s’est demandé s’il y avait une intuition secrète qui avait pu les rassembler autour d’un champ de recherche commun, s’il n’y avait pas eu des désirs partagées qui s’étaient réalisés de manières différentes dans des pays différents, avec des outils différents. L’idée était de voir ce qui pourrait bien se passer si on les rassemblait dans une même pièce fictive pendant 40 ou 45 minutes, si on construisait une chorale de toutes leurs productions. Il est apparu surtout que la thématique féminine était un bon biais pour faire découvrir beaucoup de morceaux de musique pas forcément très connus en dehors du cercle des spécialistes. On veut vraiment que les gens puissent s’emparer de la musique qu’on entend sur cette mixtape. Ces musiques ont beau venir du passé, elles n’y appartiennent pas, dans le sens où beaucoup des idées qu’on y trouve sont encore très fertiles pour la musique du présent, voire celle du futur.

    Il existe un lien presque magique entre les femmes et la musique électronique, qui remonte aux années 50 et 60. Est-ce que vous vous êtes posé la question des raisons sociales, artistiques, voire magiques derrière ce lien ?

    Jean-Yves Leloup a écrit tout un article sur le sujet qu’on peut lire sur son blog. Mais au-delà des pistes avancées, on n’a jamais trouvé d’explications vraiment convaincantes, ni de citations des compositrices elles-mêmes vraiment éclairantes sur leur parcours, sur la manière dont elles ont dû batailler ou pas pour accéder au studio, sur leur sensibilité au son électronique. Quand tu regardes le nombre de femmes qui travaillaient au BBC Radiophonic Workshop, la présence féminine reste pourtant notable, voire remarquable. Et on ne sait pas pourquoi. On pose la question avec ce mix, mais on serait bien incapable d’y répondre...

    @intempestive @mad_meg #playlist #femmes #experimental #musique

  • Hear Seven Hours of Women Making Electronic Music (1938- 2014) | Open Culture
    http://www.openculture.com/2015/06/hear-seven-hours-of-women-making-electronic-music-1938-2014.html

    Two years ago, in a post on the pioneering composer of the original Doctor Who theme, we wrote that “the early era of experimental electronic music belonged to Delia Derbyshire.” Derbyshire—who almost gave Paul McCartney a version of “Yesterday” with an electronic backing in place of strings—helped invent the early electronic music of the sixties through her work with the Radiophonic Workshop, the sound effects laboratory of the BBC.

    She went on to form one of the most influential, if largely obscure, electronic acts of the decade, White Noise. And yet, calling the early eras of the electronic music hers is an exaggeration. Of course her many collaborators deserve mention, as well as musicians like Bruce Haack, Pierre Henry, Kraftwerk, Brian Eno, and so many others. But what gets almost completely left out of many histories of electronic music, as with so many other histories, is the prominent role so many women besides Derbyshire played in the development of the sounds we now hear all around us all the time.

    In recognition of this fact, musician, DJ, and “escaped housewife/schoolteacher” Barbara Golden devoted two episodes of her KPFA radio program “Crack o’ Dawn” to women in electronic music, once in 2010 and again in 2013. She shares each broadcast with co-host Jon Leidecker (“Wobbly”), and in each segment, the two banter in casual radio show style, offering history and context for each musician and composer. Recently highlighted on Ubu’s Twitter stream, the first show, “Women in Electronic Music 1938-1982 Part 1” (above) gives Derbyshire her due, with three tracks from her, including the Doctor Who theme. It also includes music from twenty one other composers, beginning with Clara Rockmore, a refiner and popularizer of the theremin, that weird instrument heard in the Doctor Who intro, designed to simulate a high, tremulous human voice. Also featured is Wendy Carlos’s “Timesteps,” an original piece from her A Clockwork Orange score. (You’ll remember her enthralling synthesizer recreations of Beethoven’s 9th Symphony from the film).

    • Women In Electronic Music 1938-1982, broadcast April 1, 2010
      Jon Leidecker and Barbara Golden

      http://ubumexico.centro.org.mx/sound/leidecker_jon/Leidecker-Jon_Women-In-Electronic-Music-Part-1.mp3

      Clara Rockmore – Vocalise (Rachmaninoff) (recorded 1987)
      Johanna M. Beyer – Music of the Spheres (1938, recorded 1977)
      Bebe and Louis Barron – Forbidden Planet / Main Titles, Overture (1956)
      Daphne Oram – Bird of Parallax (1962-1972)
      Delia Derbyshire – Dr. Who (1963)
      Delia Derbyshire - Blue Veils and Golden Sands (1967)
      Delia Derbyshire - Ziwzih Ziwzih OO-OO-OO (1966)
      Else Marie Pade – Faust and Mephisto (1962)
      Mirelle Chamass-Kyrou – Etude 1 (1960)
      Pauline Oliveros – Mnemonics III (1965)
      Ruth White – Evening Harmony (1969)
      Ruth White - Sun (1969)
      Micheline Colulombe Saint-Marcoux – Arksalalartoq (1970-71)
      Pril Smiley – Koloysa (1970)
      Alice Shields – Study for Voice and Tape (1968)
      Daria Semegen – Spectra (Electronic Composition No. 2) (1979)
      Annette Peacock – I’m The One (1972)
      Wendy Carlos – Timesteps (1972)
      Ruth Anderson – DUMP (1970)
      Priscilla McLean – Night Images (1973)
      Laurie Spiegel – Sediment (1972)
      Eliane Radigue – Adnos III (1980)
      Maggi Payne – Spirals (1977)
      Maryanne Amacher – Living Sound Patent Pending: Music Gallery, Toronto (1982)

      Women In Electronic Music Part 2, broadcast February 8, 2013
      Jon Leidecker and Barbara Golden

      http://ubumexico.centro.org.mx/sound/leidecker_jon/Leidecker-Jon_Women-In-Electronic-Music-Part-2.mp3

      Monique Rollin — Etude Vocale (1952)
      Jean Eichelberger Ivey — Pinball (1967)
      Gruppo NPS - Module Four (1967)
      Jocy De Oliviera - Estória II (1967)
      Tera de Marez Oyens - Safed (1967)
      Franca Sacchi - Arpa Eolia (1970)
      Sofia Gubaidulina - Viente-non-Vivente (1970)
      Beatriz Ferreyra - l’Orvietan (1970)
      Suzanne Ciani - Paris 1971 (1971)
      Françoise Barrière - Cordes-Ci, Cordes-Ça (1972)
      Jacqueline Nova - Creation de la Tierra (1972)
      Teresa Rampazzi - Musica Endoscopica (1972)
      Lily Greenham - Traffic (1975)
      Annea Lockwood - World Rhythms (1975-97)
      Megan Roberts - I Could Sit Here All Day (1976)
      Laurie Anderson - Is Anybody Home? (1977)
      Laetitia de Compiegne Sonami - Migration (1978)
      Constance Demby - The Dawning (1980)
      Miquette Giraudy (w/Steve Hillage) - Garden of Paradise (1979)
      Ann McMillan - Syrinx (1979)
      Doris Hays - Celebration of No (from Beyond Violence) (1982)
      Brenda Hutchinson - Fashion Show (1983)
      Barbara Golden / Melody Sumner Carnahan - My Pleasure (1997)
      Catherine Christer Hennix - The Electric Harpsichord (1976)

      Jon Leidecker and Barbara Golden
      Two episodes of Barbara Golden’s Crack’O’Dawn, KPFA FM, 94.1, Berkeley, California

  • How gender-specific toys can negatively impact a child’s development.
    Some psychologists are applauding Target’s decision to remove gender-based labels in children’s bedding and toy aisles, but say more changes are needed
    http://nytlive.nytimes.com/womenintheworld/2015/08/12/how-gender-specific-toys-can-negatively-impact-a-childs-development

    Between the 1970s and the 1990s, while women in the U.S. were closing the gap in education and employment and breaking into the top ranks of politics and industry, one sector was moving in the wrong direction. “The world of toys looks a lot more like 1952 than 2012,” Elizabeth Sweet, a sociologist studying children and gender inequality at the University of California, Davis wrote in a New York Times Op-Ed a few years ago. In the 1970s, according to Sweet, few children’s toys were targeted specifically at boys or girls; nearly 70 percent of toys had no gender-specific labels at all. Many toy ads seemed to deliberately flout gender stereotypes—depicting girls driving toy cars and airplanes and boys playing with kitchen sets and dolls.

    By the mid-1990s, however, gendered advertising had returned to 1950s-levels, and it continued to grow in the 2000s. Critics blame the backlash on second-wave feminism, the nostalgia of gift-giving grandparents and shrewd marketers, who realized they could convince parents of boys and girls to buy two versions of the same product.

    In the past couple of years, the tide has finally begun to turn. WalMart and Toys R Us have recently agreed to tone down their gender-specific children’s marketing strategies, and in a blog post on the company’s website last week, Target announced plans to get rid of gender-based labeling in the children’s bedding and toy aisles: they’ll phase out explicit references to gender as well as the use of pink and blue colored paper on the shelves. “As guests have pointed out, in some departments like Toys, Home or Entertainment, suggesting products by gender is unnecessary,” Target said in the post. “We heard you, and we agree.”

    Pressure from customers, as well as the example set by its competitors, seems to have played a role in the retail giant’s decision. In June, an Ohio woman tweeted a picture of a sign advertising “Building sets” and “Girls’ building sets,” with the caption, “Don’t do this, @target”; it’s been retweeted more than 3,000 times.

    Some psychologists are applauding Target’s move. “The decision to remove gender labels is a big first step in reducing gender stereotypes,” says Lisa Dinella, a psychologist at Monmouth University. Several studies show that children prefer toys they believe are intended for their gender. Just last year, a paper co-authored by Dinella suggested that color can also be used to manipulate children’s perceptions of what toys they should play with; Dinella and her co-authors, Erica Weisgram and Megan Fulcher, showed that girls were much more likely to opt for traditionally male toys, like airplanes, if they were pink.

    Girls’ preference for pink is learned, not innate; cognitive research suggests that all babies actually prefer blue. (According to Jo Paoletti, author of Pink and Blue: Telling the Boys from the Girls in America, the association of boys with blue and girls with pink dates to the 1940s.) In 2011, Vanessa LoBue and Judy DeLoache undertook a study of a group of boys and girls between the ages of seven months and five years. Each child was tasked with choosing between two similar objects, one of which was pink, the other blue. It was around the age of two that girls began to select the pink toy more often than the blue one; at two and a half, the preference for pink became even more pronounced. Boys developed an aversion to the pink toy along the same timeline.

    The impact of sex-specific toy choice has implications for children’s learning and attitudes far beyond the playground. “Play with masculine toys is associated with large motor development and spatial skills and play with feminine toys is associated with fine motor development, language development and social skills,” says Megan Fulcher, associate professor of psychology at Washington and Lee University.

    “Children may then extend this perspective from toys and clothes into future roles, occupations, and characteristics,” she adds. In 2008, she was part of a team of researchers who found that children with gender-stereotyped decorations in their bedrooms also held more stereotypical attitudes towards boys and girls.

    Research suggests, too, that kids pay more attention to — and form more lasting memories of — the toys they believe are meant for their gender. In 1986, psychologist Marilyn Bradbard presented children ages four to nine with unfamiliar toys in gender-specific boxes, and gave them six minutes to play. One week later, she and her team administered memory tests and found that the girls had more detailed recollections of the objects in the “girly” box and vice versa.

    “Organizing merchandise by gender also acts as a barrier that prevents children from exploring the wide array of toys and activities available,” says Dinella. “Target is on the right track, but we still need marketing campaigns to stop gender labeling their products via color.”

    #genre #jouets #féminisme

  • Megan Murphy : La guerre de l’industrie du sexe contre les féministes | Le blog de Christine Delphy
    https://delphysyllepse.wordpress.com/2015/06/21/la-guerre-de-lindustrie-du-sexe-contre-les-feministes

    Les pornographes ont toujours défendu les productions et les pratiques de leur industrie extrêmement rentable comme de la « liberté d’expression », même si celles-ci sexualisaient le pouvoir masculin et la violence contre les femmes. De même, les défenseurs de la prostitution, qu’ils qualifient stratégiquement de « travail du sexe », présentent comme libérateur le mouvement visant à la faire légaliser et normaliser.

    Mais ces groupes n’appuient la libre parole et la liberté que dans la mesure où elles servent leurs intérêts. Les personnes qui s’expriment contre l’industrie du sexe sont exclues de leur version de la « liberté ».

  • Thoughts on Gender Equality in Tech, Interrupted - Digits - WSJ
    http://blogs.wsj.com/digits/2015/03/16/thoughts-on-gender-equality-in-tech-interrupted

    Google Executive Chairman #Eric_Schmidt had a lot to say Monday about the lack of racial and gender diversity in the technology industry.

    In fact, Schmidt had so much to say that he often interrupted and spoke over his co-panelist, Megan Smith, the U.S.’s chief technology officer and a former Google executive. The two appeared on a panel at the South by Southwest conference in Austin, Tex.

    (...) Toward the end of the session, one woman in the audience asked the two to address how personality biases in men and women affect workplace dynamics. She noted that Schmidt repeatedly talked over his former colleague — prompting applause from a full exhibit hall.

    #femmes #technologie #pousse-toi-de-là