Shotgun used in Coventry teen attack
The incident occurred in Spon End yesterday afternoon
Katy Hallam
Police say they believe a shotgun was used during an attack on a teenager in the city yesterday afternoon.
A 15-year-old boy was injured during a shooting in Vincent Street, Spon End.
Paramedics and police officers were called to the scene at around 5.30pm yesterday (Sunday, September 15).
Fortunately, his injuries are not believed to be life-threatening.
A spokesman for West Midlands Police said: "Police were called to a shooting in Vincent Street, Coventry, at around 5.30pm yesterday (15 September).
"A 15-year-old boy was taken to hospital with injuries not thought to be life-threatening or life-changing.
"Anyone with information is asked to get in touch via Live Chat at between 8am and midnight, call 101 anytime, or contact Crimestoppers anonymously on 0800 555 111. Quote log number 1947 16/9
Below, you can see an interactive map which details where violent incidents - including those involving firearms - have taken place in the city
Ambulance statement
A spokesman for West Midlands Ambulance Service said: "We were called at 5.23pm to Windsor Street.
"One ambulance and a paramedic officer attended.
"We treated one patient, a teenage boy, for injuries not believed to be serious and he was taken to hospital for further treatment."
West Midlands Ambulance Service


Ethiopia’s higher- education boom built on shoddy foundations
The country desperately needs new universities to drive development, but most of the 30 built in the last 15 years fall woefully short
Published on Monday 22 June 2015 15.16 BST
Ethiopia’s higher education infrastructure has mushroomed in the last 15 years. But the institutions suffer from curricula being abandonded due to funding cuts, unqualified – but party-loyal – lecturers, and shoddily built institutions. The rapid growth of Ethiopia’s higher education system has come at a cost, but it is moving forward all the same.
Twenty years ago the Ethiopian government launched a huge and ambitious development strategy that called for “the cultivation of citizens with an all-round education capable of playing a conscious and active role in the economic, social, and political life of the country”. One of the principal results of Ethiopia’s agricultural development-led industrialisation strategy (ADLI) has been a rapid expansion in the country’s higher education system. In 2000 there were just two universities, but since then the country has built 29 more, with plans for another 11 to be completed within two years.
The quality of these new universities varies widely; from thriving research schools, to substandard institutions built to bolster the regime’s power in hostile regions. One professor recalls a hurried evacuation from part of a recently completed university while he was working there: one of the buildings had collapsed.
But there have also been success stories. The University of Jimma, for example, has come first in the Ethiopian Ministry of Education’s rankings for the past five years, and is held up as evidence of ADLI’s efficacy since its establishment in 1999. The most recent development at Jimma, the department of materials science and engineering (MSE), opened for students in 2013, and has quickly expanded to become one of the top research schools in the sub-Saharan region. The department’s founder, Dr Ali Eftekhari, has since received a fellowship from the African Academy of Sciences on the back of the project’s success.
This success is much-needed. At 8%, African higher education enrolment is significantly lower than the global average of 32%, and Ethiopia trails even further behind, with fewer than 6% of college-age adults at university. Research in science, technology, engineering, and mathematics (Stem) is starting from a particularly low base in Africa. The World Bank reported last year that though the sub-Saharan region has “increased both the quantity and quality of its research” in recent years, much of this improvement is due to international collaboration, and a lack of native Africans is “reducing the economic impact and relevance of research”.
Dr Eftekhari echoes these concerns: “The problem for development in Ethiopia and similar African countries is higher education itself. This is the reason that I focused on PhD programs. “For instance, Jimma’s department of civil engineering has over 3,000 undergraduate students. These civil engineers are the future builders of the country, but there is not one PhD holder among the staff; most only have a BSc.”
Eftekhari improvised and sweet-talked in order to get the department established; in its first year, the department taught 18 PhD students – all native Ethiopians – on almost zero budget, with staff donating their time and money until funding was secured from the ministry of education. Despite the Ethiopian People’s Revolutionary Democratic Front’s (EPRDF) push for development, Ethiopia’s political landscape remains a minefield for education professionals, says Eftekhari: “People are always suspicious about the political reasons behind each new project. I decided to start with zero budget to allay those doubts. In developing countries everything has some degree of flexibility. I used this to borrow staff and resources from the rest of the university until we could secure a budget.
“Many of the staff saw the project as a career opportunity,” says Eftekhari, but altruism also played a part. The department’s research focuses primarily on solving the country’s pressing poverty and development problems. “They knew they were actually saving lives,” says Jimma’s innovation coordinator, Maria Shou.
The belief that science and engineering is key to alleviating poverty propels the work of the school. Projects range from the development of super-capacitors for the provision of cheap power, to carbon nanomaterials for Ethiopia’s expanding construction industry. “You only need a couple of weeks in Ethiopia to realise that materials science is a priority,” says Pablo Corrochano, an assistant professor at the school. “Even in the capital you’ll experience cuts in power and water; in rural areas it’s even worse. Producing quality and inexpensive bricks for building houses, designing active water filters, and supplying ‘off-the-grid’ energy systems for rural areas are all vital to the country’s development.”
However, Jimma’s success could be seen as a bit of an anomaly. Paul O’Keeffe, a researcher at La Sapienza University of Rome, who specialises in Ethiopia’s higher education system, believes that similar initiatives are needed, but that the government’s politics are an obstacle: “My research indicates that the rapid expansion of the public university system has seen a dramatic decline in the quality of education offered in recent years. Instead of putting resources into improving the existing system, or establishing a few good institutions, the EPRDF has built many new universities, largely for political reasons.
“A lot of the time the universities are merely shells. They do not function as universities as we would expect and are poorly resourced, and in some cases shoddily built. It would seem that they are built almost as a token where the EPRDF can say to hostile regions ‘look we are doing something for you, we’ve built a university’.”
Even when the universities do function, the quality of education is often low: “Once the funding, say from a western development agency, is finished for a particular course, it is no longer taught as the university authorities believe they can get funding for a new course instead; whatever is the latest fashionable course. So often this type of education for development is not sustainable.”
Reports of spies, classroom propaganda, of curricula that have been abandoned en mass due to funding cuts, and of unqualified staff are common at these universities, which make up the bulk of Ethiopian higher education, says O’Keeffe. “The party line is peddled during class, students are required to join the party, [there are] various reports of spies in the classrooms, who monitor what is said and who says it.”
A lecturer at Addis Ababa University, who wished to remain anonymous, is concerned primarily with the lack of qualifications among staff: “What is disturbing is that those who have just graduated with BAs and MAs are the lecturers. That is the manpower that they have. If you talk with students you wouldn’t believe that these students actually graduated from these so-called universities. Their inability to articulate their thoughts is breathtaking. It is extremely frustrating and you wonder how they have spent four years at university studying a doctorate.”
In this context, the MSE school provides a beacon of hope. The school’s success demonstrates that higher education – Stem research in particular – has the potential to thrive and play a central role in helping Ethiopia to reach its goal of becoming a middle-income nation by 2025, provided political interests are put to one side. Let’s hope the EPRDF takes note.
For more, click here
education, Ethiopia, highe-education


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European Music Channels
1BM (Latvia) AlbMUSIC (Albania) Baraza TV HD Greek (Greece)
1BM is a television station in Riga, Latvia, providing Baltic Music. The channel is 100% interactive, audience participation helps shape programming. AlbMUSIC is an Albanian music channel. The channel focuses on Albanian and international music.
Albanian music worldwide. Baraza TV Greek is a Greek music channel based in Thessaloniki, Greece.
The channel focuses on Greek language music.
Company TV (Italy) Deluxe Music (Germany) –Unavailable Deutsches Musik Fernsehen (Germany)
Company TV is an Italian music channel based in & around the cities of Padova, Venice, Trieste, Treviso, Undine, Trento and Verona. The channel plays both Italian & international music. Deluxe Music is a German music television channel, operated by Just Music Fernsehbetriebs and owned by High View Holding. The target audience is 25-year-olds and older. Deutsches Musik Fernsehen is a digital television station dedicated to German-language music. Primarily broadcasting music videos and music programmes from the pop genre. Genres include Deutsch-Pop and Deutschrock.
Folx TV (Slovenia) GO-TV (Netherlands) Hip Hop TV (Italy)
Folx TV is a German-language free-TV channel from Slovenia. The channel broadcasts to Germany, Austria and Switzerland, which offers musicians from the folk music scene a platform and allows them to produce music videos. GO-TV is a Feel-Good TV channel that everyone wants to feel good about. Every hour of the day a wide variety of music videos from the 60s, until now. Go-TV also keeps you informed on all the regional and national news. Hip Hop TV is an Italian music TV channel devoted to hip hop, rap and rhythm and blues music. The owner is Seven Music Entertainment, owned by Gianluca Galliani, son of Adriano Galliani.
KroneHit TV (Austria) Musig24 (Switzerland) NRJ Hits TV (Belgium)
KroneHit TV is an online music television channel run by KroneHit, a commercial radio station headquartered in Vienna, Austria. You no longer have to just listen to KroneHits, now you can watch the channel too. 24 hours playing the coolest music. Musig24 targets the 32 years plus age group and wants to be perceived as a real Swiss music station. The station primarily presents artists and musicians from Switzerland and culture from Switzerland. The channel broadcasts 24 hours a day. NRJ Hits TV is Belgium’s first and only television channel broadcasting non-stop video clips from French, Belgian and international artists 24/7. The promise is “Hit Music Only”
Radio 21 TV (Germany) Radio Monte Carlo TV (Italy) –Unavailable Radio Pilatus TV (Switzerland)
Best ROCK ‘N POP on the big screen: RADIO 21 TV is Germany’s first 24-hour radio television. RADIO 21 TV now has the entire radio program on TV. Radio Monte Carlo is considered one of the most popular networks especially in non-European Italian and French-speaking regions for its assumed neutrality. Radio Pilatus TV is a music channel owned by Radio Pilatus, a private station based in Lucerne. It operates two TV channels, Radio Pilatus TV and Radio Pilatus Beatz TV.
Sonus FM (Germany) Teins (Austria)
Sonus FM, 24/7 electronic music, from techno to tech-house and deep Live studio webcam.
Enjoy our live shows or just watch our video-playlist. T Eins TV (Tiroler Heimat Fernsehen) is a television channel headquartered in Innsbruck, Austria. Breathtaking landscapes from the Alpine region.
California Music Channel Indie Wave
California Music Channel (CMC) is an American music video broadcast television network based in the San Francisco Bay Area. It is one of the longest-running local music video television stations in the world. IndieWave is an online music portal unlike any other! IndieWave welcomes talent in all music genres to upload their music onto a new platform with the goal of exposing their red-hot gems on our vast worldwide network at no cost to the artist.
A2i TV Musique Afrobit
A2i Music is a channel of the A2i Media Groupe group. It broadcasts live musical programmes. The channels of the A2i group are intended for the Senegalese diaspora around the world. Afrobit is an African music channel that broadcasts the best videos and programmes on the continent.
AFROBIT, Feel African Music!
B4U Music (India) Cine Voice (India) Desi Channel (India)
B4U Music has been a strong platform for Bollywood film soundtracks, the revival of the golden oldies and upcoming artists.
B4U music is the leading Bollywood and Asian music television channel worldwide. Cine Voice Channel is an HD 24X7 worldwide Punjabi Entertainment Channel which offers Punjabi genre programming.
It is focused on music, current affairs, business, entertainment, religion and culture. Desi Channel is a venture of AG Media and is being broadcast from Punjab, India. It is an entertainment and devotional channel & is available on all the major digital platforms in India. It has very varied programming.
Dil Se (India) D Music (Cambodia) Gabruu TV (Punjabi, Australia)
Bollywood films and music from India.
Dil Se means Heart To Heart, the name is from a famous Bollywood film. Dil Se shows the best Bollywood entertainment and music. D Music is a Cambodian music channel.
The channel plays traditional and modern Cambodian music.
The channel is part of the Cambodian DTV Network Limited. This service is available via satellite. Gabruu is a Punjabi entertainment specific application has content ranging from religious to humorous, informative to entertaining.
Karaoke Channel (Indonesia) Kral Pop TV (Turkey) Kral Pop TV on YouTube (Turkey)
Indonesian Karaoke Channel broadcasts Karaoke music around the clock, all songs are with lyrics in the Bahasa Indonesian language. Kral TV part of the Doğuş Group. Kral TV was Turkey’s first music TV channel. Kral TV broadcast Turkish music videos introduced by on-air hosts 24/7. Kral TV part of the Doğuş Group. Kral TV was Turkey’s first music TV channel. Kral TV broadcast Turkish music videos introduced by on-air hosts 24/7.


High Anxiety and Theater Architecture
Photo shows sandbag testing from the Southtown Theatre built by Rapp & Rapp in 1931 for Balaban & Katz. (Courtesy of historictheatres.org)
What does a Frank Lloyd Wright house in rural Pennsylvania — a series of horizontal planes over a waterfall — have in common with the Spanish Baroque St. George Theatre, a 2,672-seat movie palace, in Staten Island?
The answer recalls a moment I spent one afternoon at the St. George, in 1976, watching a real doggie of a movie, Don’t Open the Window, AKA Let Sleeping Corpses Lie. It was early in my year as a partner in movie palace management, and I was bored. I’d slipped into the auditorium to get away from trying to figure out how to pay the carting bill, so we (my partners and myself) wouldn’t end up getting our legs broken backward for non-payment by the mob-affiliates who collected our garbage. Suffice to say, we were short of cash, and I wanted escape; but the mediocre movie utterly failed to make me forget the balance in the theater’s checkbook. Bored, I gazed up at the intricately-decorated balcony overhang just above my head, which is when it hit me: Nothing’s holding it up! It was true: nothing was, or at least nothing visible. Somehow, despite my anxiety, the theater was doing a fine job of keeping me from being crushed.
Built in 1929, the St. George has a “cantilevered” balcony, which is to say a shelf, projecting out from the back wall. The advantages of cantilevers are obvious. Wright enjoyed them for their dramatic effect (check out Taliesins West and East, not to mention the Robie House in Chicago and, of course Pennsylvania’s Falling Water previously mentioned). But when it comes to theater architecture, it’s all about business; you can sell more full-priced seats with unobstructed sight lines. (I love Carnegie Hall, but “partial view” seats are a drag; try dress circle row FF seat 38). Then too, there’d been lots of theater fires in the Victorian and pre-Victorian eras; besides a dearth of available exit doors on each level, regularly-spaced support posts probably didn’t speed evacuation.
A balcony with no visible supports may seem like no big deal now, but when the Lyceum and the New Amsterdam (both Herts & Tallant theaters) opened to the public in 1903, offering Manhattan its first cantilevered balconies, some people were understandably reticent. Accordingly architects and impresarios began demo-ing cantilever strength with “tests.” In 1921 Balaban and Katz weighed down the new 1,500-seat balcony of the Chicago Theatre with 960,000 pounds of sandbags. No less in need of reassurance were the residents of Youngstown, Ohio in 1931, when the Warner (now the Powers Auditorium) opened, following a sandbag test of its modest 500-person balcony.
Probably the most impressive test of a cantilevered balcony preceded the opening of Sid Grauman’s Million Dollar Theatre in Los Angeles in 1918 (architect: Woollett). The theater’s 110-foot-wide balcony boasted the world’s first reinforced concrete girder, a necessity, given the shortage of structural steel that followed World War I. Accordingly, 1.5 million pounds of sandbags were loaded on, and the girder hung tough.
The day I sat under the overhang and tried to watch Don’t Open the Window, I’d had an uneasy reminiscence. While sitting there, I’d recalled the story of an unsupported balcony I knew about that hadn’t ended well. The lackluster movie and this unsettling memory sent me back to my office, which was, paradoxically, under the stairs.
The next day in a box office conversation with a knowledgeable friend, I learned that our balcony was actually a wonder of engineering. From then on, I took great pride in boasting to anyone who would listen that ours was one of the largest cantilevered balconies in New York City, which, if not completely accurate, at least has a shot at being true. At an original capacity of more than a thousand seats, the balcony I sat under is arguably one of the largest such overhangs for miles around. As for the oldest cantilevered theater balconies in NYC, the Lyceum (total theater capacity 922) and the New Amsterdam (capacity 1,702) both Broadway houses, duke it out for the prize of being first.
Engineering is our friend — until it isn’t. The thought that had sent me back to my office had been the memory of an apartment building in Cincinnati put up by a school acquaintance who’d started out as an architect, then suddenly styled himself a filmmaker. Reason for his career switch was revealed one night when we were out for a drive, and he pointed out the building in question. “I designed and built that...” he boasted, but his wife, a true queen of sarcasm if ever there was one, who delighted in deflating his balloon ego, reminded him of the (cantilevered) balcony — one of a series facing the street — that had fallen from that building, shearing off two or three others on its way down. Fortunately, no one had been sitting or standing beneath.
Afterthought 1: The first theater in America to feature a cantilevered balcony is likely to have been the Colonial Theatre (capacity 1,700) in Boston which opened in 1900.
Afterthought 2: Check out this earlier blog post on balconies of all kinds; in it I give the St. George credit for being one of the largest cantilevered balconies “in the world,” which is, in retrospect, fairly unlikely, but shows how much I love the place.
Afterthought 3: The longest cantilever of any kind in the world may be The Busan Cinema Center in Busan, South Korea, with a 163-meter-long roof, containing an 85-meter cantilever portion.
Afterthought 4: Frank Lloyd Wright appears not to have been a fan of traditional theater design. He rejected the “peephole” idea of the proscenium, wanting the audience to be more intimately involved in performance. Although he loved cantilevered construction in general, he doesn’t seem to have been a fan of balconies per se. But he did design several theaters, including the Kalita Humphreys Theater.


Epidemiology Matters: A New Introduction to Methodological Foundations
Sandro Galea; Katherine M. Keyes
Academic, Professional and General > Technology > Medicine & health > Forensic medicine; incidence of injuries, wounds, disease; public preventive medicine
Epidemiology Matters offers a new approach to understanding and identifying the causes of disease - and with it, how to prevent disease and improve human health. Utilizing visual explanations and examples, this text provides an accessible, step-by-step introduction to the fundamentals of epidemiologic study, from design to analysis. Across fourteen chapters, Epidemiology Matters teaches the individual competencies that underlie the conduct of an epidemiologic study: identifying populations; measuring exposures and health indicators; taking a sample; estimating associations between exposures and health indicators; assessing evidence for causes working together; assessing internal and external validity of results. With its consequentialist approach - designing epidemiologic studies that aim to inform our understanding, and therefore improve public health - Epidemiology Matters is an introductory text for the next generation of students in medicine and public health.
2. What is a population and what is population health?
3. What is an exposure, what is a disease, and how do we measure them?
4. What is a sample?
5. Watching a sample, counting cases
6. Are exposures associated with health indicators?
7. What is a cause?
8. Is the association causal, or are there alternative explanations?
9. How do non-causal associations arise?
10. How can we mitigate against non-causal associations in design and analysis?
11. When do causes work together?
12. Do the results matter beyond the study sample?
13. How do we identify disease early to minimize its consequences?
14. Conclusion: Epidemiology and what matters most
Katherine M. Keyes, PhD, is Assistant Professor of Epidemiology at Columbia University. Her research focuses on life course epidemiology with particular attention to psychiatric disorders, including cross-generational cohort effects on substance use, mental health, and chronic disease. She has particular expertise in the development and application of novel epidemiological methods, and in the development of epidemiological theory to measure and elucidate the drivers of population health. ; Sandro Galea, MD, DrPH, is Chair of the Department of Epidemiology at Columbia University. His work focuses on the social production of health of urban populations, innovative cells-to-society approaches to population health, and advancing a consequentialist approach to epidemiology in the service of population health. He is a past president of the Society for Epidemiologic Research and an elected member of the Institute of Medicine of the National Academies of Science.
Forensic Mental Health Assessment: A Casebook (2nd edition)
Critical Epidemiology and the People's Health
Global Management of Infectious Disease After Ebola
Oxford Handbook of Clinical Immunology and Allergy (4th edition)
Evaluation for Civil Commitment
The Public Health Response to 2009 H1N1: A Systems Perspective
Vaccines: What Everyone Needs to Know®
Sleep, Health, and Society: From Aetiology to Public Health (2nd edition)
Vaccines: What Everyone Needs to Know (R)
Tapeworms, Lice, and Prions: A Compendium of Unpleasant Infections


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Top 10 Best DJs in the World Right Now
by PickyTop
We have seen different trends and movements throughout the music that changed the world forever.
In that Disk Jockeying was a subtype in which a Jockey would introduce an old song with a new twist.
Jimmy Savile was the first DJ in the world, and since then, we have had many international artists till now.
Today, we will list down famous DJs who are ruling the genre for a decade.
We won’t be including music artists like Kygo and DJ Khaled because they fall into a diversified genre.
Here are the top best 10 DJs in the world in 2020:
10. Alan Walker
Alan Olav Walker (DJ Walkzz) is a record-breaking British Norwegian music producer.
After releasing the single “Faded,” which received platinum certifications in 14 nations, Walker earned international acclaim in 2015.
Some of the genres like EDM, electro house, progressive house, big house, and the deep house could be classified for Alan Walker’s music.
As a child, Walker had become fascinated by computers and was surrounded by technology.
Walker began creating music on his laptop in 2012, inspired by EDM producers K-391, Ahrix, whom he discovered on YouTube and movie composers like Steve Jablonsky and Hans Zimmer.
Some of the popular tracks of this top Dj includes Faded, Spectre, Sing Me to Sleep, Darkside, Lost Control, Lily, On My Way, Ignite, and Diamond Heart.
He had over 34 million Youtube channel subscribers as of now in 2020.
9. Skrillex
Sonny Moore, also known by his name Skrillex, is an American DJ who specializes more in Dubstep, EDM, electro house, and Moombahton.
He started his career in music around 2004 from a local band where he was the lead vocalist.
Around 2008, he started mixing & composing his own songs in which the first hit was the “Hate.”
This proved like a launchpad, which was later followed by super-hits like Bangarang, First of the year (Equinox), Scary Monsters, and Nice Sprites.
Skrillex is also a Grammy awards winner eight times, one time Annie award & two times MTV Video Music Awards.
8. Marshmello
DJ Chris Comstock (Marshmello) is an EDM producer and DJ.
Marshmello also is known as Dotcom and is one of your DJs making new hit songs by passing years.
He has a signature “feel-good” production style, which makes him & his music completely unique.
He first gained international attention for releasing remixed songs by DJ duos Jack Ü & DJ Zedd, which eventually became a successful hit.
Marshmello is known for collaborations for a remix or composing with other musical artists.
Almost all have been multi-platinum listed in several countries and have ranked in the Top 30s on Billboard Hot 100’s.
Some superhits include “Silence,” “Summer,” “Wolves,” “Friends,” “Happier,” and recent “One Thing Right” in 2019.
Many of his tracks are remixes, while others are original or collaborative productions.
This is part of what gave Marshmello amazing success.
He can take a track that was otherwise not friendly to the dance floor and transform it into a main stage anthem.
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7. Hardwell
Hardwell is a Dutch electro house DJ originally from the Netherlands and works as a record producer and remixer.
In 2013 and again in 2014, DJ Mag voted him as the number one DJ in the world.
DJ Mag again listed him on number three position in DJ Mag’s top 100 polls for 2018 DJs.
Unlike other DJs in our list, we know Hardwell performing at best music festivals more than production; he loves to play both his songs & remixes from other artists in festivals.
In 2020, he will be mostly performing in the Ultra Music Festival, Sunburn, and Tomorrowland.
This Dutch DJ won first recognition for “Show Me Love vs B” bootleg in 2009.
He founded the Revealed Recordings record label in 2010 and a Hardwell On Air radio show and podcast in 2011.
Under his label, he has released eleven compilation albums and a documentary film.
Hardwell’s popularity skyrocketed after he released his debut studio album, United We Are, in 2015.
Songs like “Spaceman,” “Imaginary,” “Live The Night,” “Bigroom Never Dies,” and recent “Summer Air” in 2019 are some hits recognized for him.
6. Tiësto
Tiësto is a Dutch DJ also from Netherlands & record producer.
He was named “All Time’s Greatest DJ” by Mix magazine by-poll from Fans. In 2013, DJ Mag readers voted him “the best DJ of the last twenty years.”
He is also considered by many sources to be the “Godfather of EDM.”
His first solo album, “In My Memory,” was released in 2001, which gave him several major hits that started his career.
DJ Magazine elected him World No. 1 DJ consecutively for three years from 2002 to 2004 in his annual Top 100 DJs.
Tiësto launched his radio show Tiësto’s Club Life on Radio 538 in the Netherlands in April 2007.
He has released his third ‘Elements of Life’ studio album, which was nominated for Grammy in the coming years.
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5. Calvin Harris
With his first album, “I Created Disco,” in 2007, Calvin’s career in the EDM world started.
The album’s tracks entered the top spot on the UK singles chart and sold 223,845 copies just in the UK.
This British DJ then published his second album Ready for the Weekend in 2009 after his excellent beginning.
After its release, this album again came directly to number 1 in the UK Albums Chart and sold 274,786 copies.
With many famous artists such as Rihanna, Ne-Yo, Example, Florence Welch, he released many more collaborated tracks.
Now that’s what we talked about by working with the popular artist, he received a lot of fame.
In 2012, he released his latest album, 18 Months, which just an instant hit in the EDM scene for this album sold over 923,000 copies in the United Kingdom.
This album gave him the biggest achievement in his life, making him internationally famous.
And now Calvin Harris is the richest DJ in the world!!!
4. David Guetta
Pierre David Guetta is a French DJ, music programmer, record producer, and sonic writer.
Over 9 million albums and 30 million solo studios have been sold around the world.
In the 2011 poll of the DJ Mag Top 100 DJs, Guetta was voted number one. With his album, One Love from 2009, Guetta was a major success.
These included the hit singles “When Love Takes Over,” “Gettin Over You,” “Sexy Bitch,” and “Memories.”
Personally, he is my favorite DJ.
3. Armin van Buuren
Armin van Buuren is a top DJ in the world, record maker, and remixer known for his progressive house singles.
His six songs have become global successes for a popular radio series called ‘A State of Trance.’
The music impressed Armin, who was born in Leiden, South Holland.
When he was 14 years old, he began to create music and performed as a DJ in many local bars and pubs.
He started to gain larger prospects of music over a period. In the early 2000s, he gradually moved his attention from law to music.
To date, Armin has published six studio albums and is now one of the most famous Dutch DJs.
In the US, he is a record holder for the highest amount of appearances on the Billboard Dance/Electronics list.
In the USA, he has also received a nomination for his song ‘This is Whatever It Feels Like.’
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2. Dimitri Vegas & Like Mike
Dimitri Vegas & Like Mike Belgian brother group have been delighting audiences all around the globe for over 15 years now with some of the finest songs around.
The collaboration with Tomorrowland was key to their explosive popularity.
This made these brothers more popular in the most challenging music areas.
They had to tour the world and develop their activities, supporting productions and screenings with Tomorrowland’s support.
Dimitri Thivaios (Dimitri Vegas) and Michael Thivaios (Like Mike) were born in Willebroek, a tiny town in Antwerp, Belgium.
They shifted into Ibiza in 2003 and started staying in some top clubs on the island.
Dimitri Vegas & Like Mike’s musical style is generally referred to as in EDM.
1. Martin Garrix
Martin Garrix is a DJ and record producer from the Netherlands.
He is said to be the world’s number one DJ, and he picked up music at the very tender edge to learn guitar and fed his passion.
Garrix has a degree in production in Utrecht from Herman Brood Academy.
Tiesto influenced Garrix’s performance in Athens’s Olympic Games in 2004 and expressed a desire to become a DJ.
Martin Garrix began experimenting with progressive house music, tried to make this style, and distracted him from his patent large-room sound style.
He had worked early 2015 on his track, ‘Forbidden Voices,’ that was a blessing to his official Facebook page for 10 million Facebook likes.
Garrix is also the best EDM DJ with the highest followers on Instagram in 2020.
Honorable mentions,
If this list wasn’t about the top 10 DJs in the world, I would have included late Avicii, deadmau5, The Chainsmokers, Swedish House Mafia, Steve Aoki, Afrojack, Alison Wonderland, etc.
I hope you enjoyed this list; comment down below your favorite DJ, and please share this post on social media with your friends.
See you at EDC Las Vegas in 2020.
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83 thoughts on “Top 10 Best DJs in the World Right Now”
Tahseen December 14, 2019 at 6:21 pm
where is Alan Walker ?
PickyTop December 14, 2019 at 6:29 pm
Alan Walker could be more termed as a music producer than DJ.
h34d January 4, 2020 at 9:51 pm
ALAN WALKER is a JD + a Produce better then all of them ABOVE
walker 48409 January 20, 2020 at 1:59 pm
Mathaba May 15, 2020 at 10:10 am
Dj black coffee frm south africa is considered one of the best in th world too..
PickyTop May 15, 2020 at 10:37 am
Yeah!! I’ve seen his performance video of Tomorrowland Belgium 2019, he is a good DJ, will try to include him in top 20.
Deep February 23, 2020 at 3:55 pm
Not better than all of them because marshmello and martin garrix are also famous names!!
And Calvin harris is the highest earning dj of the world
captain12 April 30, 2020 at 9:25 am
cos he’s good looking ?
Rayaan June 12, 2020 at 12:35 pm
Yo bro, he is the highest-paid DJ and a very good music producer. But, he’s not in the first place because of some reasons we might not know.
So please, don’t go by earnings and go by sheer talent 🙂
isabelle woo April 30, 2020 at 3:35 pm
i support u!!! I’m his biggest fan!!!
Aermyx May 20, 2020 at 10:59 pm
He uses ghost producers.
Marvel walker June 20, 2020 at 6:06 am
😀😍🥰☺😉😄
Aayush Dalal February 15, 2020 at 8:07 am
Sayed December 20, 2019 at 7:44 pm
Yeah!,,he should’ve been in the list
oiuyt February 14, 2020 at 3:24 am
or Seven Lions
TIYASA PAN June 12, 2020 at 8:22 am
Hey dude, Alan walker should have ranked on the first position.
Unkn0wn_1d3nt1ty June 17, 2020 at 5:25 am
I can absolutely agree with that.
WALKER FAN 😀😍🥰☺😉😄
Walker45715 July 17, 2020 at 2:24 am
In Norway, Oslo, Bergman
Kashish July 30, 2020 at 12:17 am
Roberto Kuelho December 16, 2019 at 10:36 pm
Alok – Brasil
Sayan January 2, 2020 at 5:52 pm
Alan walker??
Lucas May 15, 2020 at 3:51 am
What do you mean he’s a good dj (even more than R3HAB or Carl Cox)?
Mø ëłš January 21, 2020 at 9:46 pm
This is only mag bro
Tonny January 31, 2020 at 7:08 am
aye where Alan Walker at
walker May 15, 2020 at 1:15 am
At number 10 I didn’t expected that…I’m a huge fan of him..I’m also a Alan Walker….walker#47470
YEAH TRUE BUT I AM NOT WALKER #47471 LOL
Hey, it’s Walker #54379 here!
_-A L V I S-_ February 4, 2020 at 9:15 am
Why is our lovely ALAN WALKER and Deadmau5 not in here!
Rueben Romero February 5, 2020 at 11:09 pm
daft punk?????????
rohan March 5, 2020 at 10:35 pm
they are father of edm bro they dont need no mention
Caio February 10, 2020 at 10:30 am
Alok ?????
PickyTop February 10, 2020 at 10:40 am
DJ Alok would probably rank on 12th or 13th place
DJ Alexander Jokinsky February 14, 2020 at 2:48 pm
Nice! Thanks for sharing this information. I would like to tell you about DJ Alexander Jokinsky, Alexander Jokinsky’s base is in the EDM that is why he is popular as a Best DJ in Las Vegas Nevada, but he is no one-trick pony.
Alex can spin whatever the room calls for. Alexander Jokinsky- Top DJ in Las Vegas always working on incredible 21st century tech advances and modern music culture. For Alexander Jokinsky, the passion for music began at a young age and never left.
PickyTop February 14, 2020 at 2:59 pm
Nice try buddy, please don’t advertise here, your personal opinions are welcome but no commercial ads 🙂
Deep February 24, 2020 at 11:16 am
Alan Walker is no 1
Alan Walker February 29, 2020 at 12:13 pm
I am the best
yesssss😀😍🥰☺😉😄
Deadmau5 March 9, 2020 at 12:57 pm
SteffieF April 9, 2020 at 7:46 pm
so you are but theres a small room at the top for 2.
SeungHo Singapore March 25, 2020 at 8:17 pm
woody from the old skool forest April 3, 2020 at 3:06 pm
Ahoy there whippersnappers…what about Fatboy slim?
PickyTop April 3, 2020 at 4:09 pm
This isn’t old DJ list mate!
Winnerman April 9, 2020 at 1:05 am
Dj Neptune ♥♥♥ Nigeria
As a enthusiast in genre and sub genres there are favorites impossible to choose “the top”.
These are my catagories;
genius, brilliant and very good.
I reserve spot for 1 bad. Ranked by we feel marketing rather than content. Rated and supported consensus by international djs I interviewed. First name D. hint hint.
Ran April 11, 2020 at 12:55 pm
Martin Garrix is de beste DJ ooit … liefde uit Nederland
Srianant Wadekar April 16, 2020 at 11:06 pm
Check the Dj Mag Rankings .
Dimitri Vegas and Like Mike are the #1
sky music April 23, 2020 at 6:23 am
dj snacke
Santino April 23, 2020 at 8:29 pm
Dj naptune is the best
Jackson April 26, 2020 at 12:14 pm
Marshmello is the best
johnny moore May 13, 2020 at 9:32 pm
i think its skrillex because he is my brother
Leo May 23, 2020 at 9:39 pm
MR. SMOOTH May 1, 2020 at 7:27 am
HARWELL and MARTIN GARRIX are the best in the world.
Gokul May 4, 2020 at 1:59 pm
Alan Walker will become the best DJ in the world very soon
yeah really
Kushen May 5, 2020 at 12:32 am
Alan walker and Marshmello are the best in the world.
Johann Hughes May 5, 2020 at 8:15 pm
AVIICI got to be in top 10.
RIP BROTHER x
Marvel marshal May 8, 2020 at 2:48 am
Now and forever avicii is the best DJ in the world
Avicii is dead
MarshWalker May 13, 2020 at 10:13 am
Wheres Avicii…….
Avicii is now in Heaven :'(
He will be the best DJ in Heaven 😀😍🥰☺😉😄
walker#47470 May 15, 2020 at 1:16 am
Are you a walker fan or marshmello..huh dj zedd, nicky romero, or KSHMR
daz May 15, 2020 at 12:00 pm
allan walker i by far the best DJ in the world.. hands down…
Afro May 15, 2020 at 7:25 pm
Black coffee is de best original unique modern sound.Yeah biased yes
dj meshack May 24, 2020 at 1:19 am
Alan Walker is more of a producer than a DJ
Kate June 9, 2020 at 4:43 pm
Alan Walker and Marshmallow? But if I had to pick one, it would be Alan Walker.
Bilal July 13, 2020 at 10:29 am
No one better than Alan walker
They all are trying to do their best. KEEP IT UP!!!
Jermest June 22, 2020 at 4:22 pm
DJ Zedd !!!! Whoop Whoop!
Eli July 6, 2020 at 10:10 pm
Fatboy Slim and Solomun are really underrated DJs
VO July 10, 2020 at 2:33 pm
We are missing you Avicii :'(
Alan walker should be at the 1st position
Joseph E. Foster July 18, 2020 at 11:11 pm
What about DJ Jazzy Jeff, D. Nyce, DJ Jelly, or DJ Joe Smooth.
These guys are wizards on the turntables and can rock any crowd! The list you made is for EDM and club DJ’s! They mix songs with the same tempo!
PickyTop July 18, 2020 at 11:57 pm
True, but most of all the currently reigning top DJs mostly produce EDMs.
Mixing songs with the same tempo, isn’t that DJs originally supposed to do?
Speaking about music production, almost all of the listed above, gained popularity due to their original tracks. Period!
Aditya raj July 30, 2020 at 11:10 am
Alan Walker is one of my best singer
The best singer in the world
W41K3R August 19, 2020 at 5:35 pm
Alan Walker is supposed to be 1st. But why 10th??
Devansh Rawat August 28, 2020 at 12:30 am
DJ Snake should also have been included.
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Metro Investigates Monday Shootings
SAVANNAH, GA (November 24, 2015): Savannah-Chatham Metropolitan Police Department’s Violent Crimes detectives are investigating two shootings that occurred on Monday.
At about 10:55 p.m. Metro responded to the 1300 block of East 60th Street where Charles Johnson, 32, was found suffering from a non-life-threatening gunshot wound. He was transported to Memorial University Medical Center for treatment.
Johnson was reportedly walking near 55th Street when an unknown suspect greeted him before opening fire. Johnson left the scene and sought help on East 60th Street. Investigators are following leads on this case and also working to determine whether Johnson’s injury was self-inflicted.
At about 4:23 p.m. Metro responded to the 300 block of Lawton Street, where Jerome Frazier, 17, was found suffering from a non-life-threatening gunshot wound. Frazier was transported to MUMC for care.
Detectives received several conflicting accounts of the events leading up to this shooting, and recovered no evidence supporting the claims.
Both shootings remain under investigation. Anyone with information on these cases should call CrimeStoppers at (912) 234-2020 or text CRIMES (274637) using the keyword CSTOP2020. Tipsters remain anonymous and may qualify for a cash reward.
By Eunicia Baker|2015-11-24T17:19:04-05:00November 24th, 2015|BREAKING NEWS, Islands Precinct|0 Comments


Home / DreamWorks Pictures / movie / press release / The Penguins of Madagascar / Get ready for the world's most-awaited adventure epic movie – Dreamworks Animation's “PENGUINS OF MADAGASCAR” (in 2D, 3D and IMAX)
Get ready for the world's most-awaited adventure epic movie – Dreamworks Animation's “PENGUINS OF MADAGASCAR” (in 2D, 3D and IMAX)
Carol Ranas 8:00 AM DreamWorks Pictures , movie , press release , The Penguins of Madagascar Edit
Super spy teams aren’t born…they’re hatched. Discover the secrets of the greatest and most hilarious covert birds in the global espionage biz: Skipper, Kowalski, Rico and Private. These elitest of the elites are joining forces with a chic undercover organization, The North Wind. Led by handsome and husky Agent Classified (we could tell you his real name, but then…you know), voiced by Benedict Cumberbatch. Together, they must stop the villainous Dr. Octavius Brine, voiced by John Malkovich, from destroying the world as we know it.
The Penguins’ transition from beloved supporting characters in “Madagascar” to headlining their own big screen epic was a no-brainer, thanks to their memorable traits. “What drives the Penguins in all the films are their distinct and strong personalities,” says director Eric Darnell. Adds director Simon J. Smith: “They’re like a band of brothers who above all value their friendship, moral code and love for one another.”
Most importantly, the Penguins really bring the funny. “The most exciting thing about the project was to experience the story’s and characters’ humor,” says producer Mark Swift. “They’re so appealing because they are so hilarious.”
There’s Skipper, voiced by Tom McGrath, who created the characters for the blockbuster animated feature “Madagascar,” which he helmed, along with Darnell. McGrath had originally envisioned Skipper being voiced by an authoritative Hollywood icon with “a momentous, straight-man kind of attitude” – but when that didn’t work out, he ended up with the role, himself. “Well, I was cheap, anyway,” he jokes.
McGrath’s Skipper is the team’s fearless leader and keeper of the Penguin code. He demands loyalty, obedience and order from his regimented flock, and asks nothing of his men that he wouldn’t do himself. His right-flipper man, Kowalski, voiced by DreamWorks animator Chris Miller, is the brains of the operation, and the go-to guy when the Penguins need a quick, life-saving fix.
The third member of the team, Rico, is “voiced” by DreamWorks Animation artist and Madagascar 3 director Conrad Vernon. Rico lives to blow things up. When he’s kept on a tight leash, Rico is an effective weapon, but left to his own devices is a loose cannon. Finally, there’s Private, voiced by DreamWorks Animation editor Christopher Knights; although he is the runt of the team, Private has the biggest heart of them all. Private is always up for new challenges, but because the group still sees him as the “baby,” he’s often sidelined during their missions.
Each of the Penguins makes a memorable impression, and collectively, they’re a force to be reckoned with. “The sum of the Penguins is greater than the parts,” says Darnell. “The guys work incredibly well as a group – far better than they would as individuals. They’re like four parts of a complete brain: You’ve got Skipper’s leadership, Private’s heart, Kowalski’s smarts, and Rico’s courage. So the four of them make this whole, and that makes them a lot of fun.”
A DreamWorks Animation feature, “Penguins of Madagascar” opensNovember 26 nationwide from 20th Century Fox to be distributed by Warner Bros.
Get ready for the world's most-awaited adventure epic movie – Dreamworks Animation's “PENGUINS OF MADAGASCAR” (in 2D, 3D and IMAX) Reviewed by Carol Ranas on 8:00 AM Rating: 5


Port City’s Abbey Temoshchuk Wins Scholarship, Chats About QA/QC
by Bill DeBaun June 30, 2016 0473
Last month, Port City Brewing Company's brewer and yeast wrangler Abbey Temoshchuk got a piece of good news: she'd been awarded an Oregon State University Beer Quality & Analysis Series scholarship from the Pink Boots Society. The scholarship will help Abbey "enhance her microbiology education" according to the selection committee. This, in turn, will enrich her knowledge of quality assurance and control (QA/QC) and ultimately help Port City to brew even better beer.
Abbey, like so many other beer fans, started out as a homebrewer. She describes to the Pink Boots Society how, during her first homebrew, she "felt this emotion that simultaneously satisfied both my creativity and my type-A nature. It was a feeling I had only experienced one time before – in the laboratory.”
Abbey has a background in the hard sciences and was using her Masters in Biohazardous Threat Agents & Emerging Infectious Diseases in a government position. But once the homebrew bug (no pun) took hold, she started educating herself in beer and scaling up her homebrew batches. She came to PCBC as a part-time server and then jumped full-time into her current brewer role when the opportunity arose.
The OSU Beer Quality and Analysis Series "teaches the fundamentals of basic beer analysis and microbiological techniques and their roles in the brewing process based on the official ASBC Methods of Analysis used in QA/QC labs worldwide, providing attendees the knowledge and tools to analyze and evaluate beer to influence quality control in a production brewing setting," according to the Pink Boots Society.
We had the chance to ask Abbey about her work and her scholarship via email. (Apologies to her for the long delay between her responses and this post). What follows is a lightly edited transcript of our conversation.
DCBeer: What does it mean to you personally and professionally to win this scholarship? What new skills and knowledge will this unlock, and which questions have you been asking that you hope it will answer?
Abigal Temoshchuk: This scholarship to me is, as cliché as it sounds, a wonderful honor and opportunity. To have been chosen by a panel of my peers to attend this course means a great deal, and I look forward to doing Pink Boots some justice while class is in session. As someone with a science background who is fairly new to the industry, I’m hoping this course will allow me to gain more topical knowledge that will allow me to apply the concepts I already know more effectively in the brewery.
There's a serious lack of female brewers in the industry, which is a shame. To what do you attribute that fact, and are you hopeful that future generations of industry professionals will correct that imbalance? What kinds of steps do you think would make brewing a more attractive, or welcoming, profession to women?
I hear a lot about how small the number of women in the brewing industry, and, it’s true, we’re definitely a minority. That being said, I think there’s a lot more of us that you’d expect. At the Pink Boots meeting at CBC this year, they told us that they’ve had 150 new members a month for the past two years. That’s a lot of women. In the DMV Pink Boots Chapter alone, we’ve got 117 members (and counting)! The fact is that, back in the day, women were the brewers. Somewhere along the way that changed for a number of societal reasons and just kind of became the norm, but I think the industry is starting to see a shift back in the female direction – or at least, an equal direction. The fact of the matter is, there’s a ton of beer-loving women out there, and more and more of them are figuring out that this passion makes a great career. In a male-dominated industry, I think the biggest reservation is a fear of “isolation,” but with an organization like Pink Boots providing a community for women in beer to find each other, and, honestly, an acceptance from the men as an equal in the first place, that “isolation” doesn’t really exist.
PCBC is a very well-decorated brewery. To what extent do you attribute good QA/QC processes to that success? Are there steps at every stage of the brewing process that contribute to good QA/QC?
Port City has been about quality, first and foremost, since day one, and I do think that a large amount of our achievement as a brewery is attributable to that mindset. It’s like the saying goes: it’s easy to make a good beer, but it’s hard to make a good beer twice. That’s what QA/QC is all about. Every single practice in our brewery, from mashing in all the way down to packaging, is directly or indirectly related to quality control, and it was designed that way. Having that attitude from the very beginning has made it easier for us to develop a more formal QA/QC program than it could have been, and we’re very fortunate that our leadership set it up for us like that. We’re more than honored to have received those awards, and our goal now is to make sure those beers maintain that award-winning quality.
For a small brewery like PCBC, what are the biggest struggles on the QA/QC front? Do you think enough small breweries pay attention to these processes, or do they fall by the wayside?
For small breweries, the hardest part about establishing a QA/QC program, like many other things, is finding the resources. When you’re small, it can be difficult to dedicate finite means, especially personnel, to a quality program, particularly because you might not see the effects as quickly as you would by hiring more brewers or adding new tanks, for example. But the thing about a quality program is that if you don’t have one and something goes wrong, it’s going to hurt a lot more, and I think that’s what worries me most about small breweries today. There are so many quality checks that require minimal time and money but can save you down the line. Thankfully, and perhaps evidenced by the number of talks at CBC this year, there’s been this new kind of resurgence in quality. With 4,000 some odd craft breweries in the US now, a quality program is going to be what sets you apart from the masses. I think pretty soon we’re going to see priorities shift, and QA/QC will come out near the top.
What's your favorite PCBC beer, currently? (Please don't say all of them. Pick favorites. Everyone knows parents have favorite children.) Any favorite non-PCBC local or non-local breweries or beers that you often look toward?
Even if parents do have favorites, they’re not supposed to tell anyone! But, if I had to pick, my go-to is definitely the Porter. It sits perfectly in the middle of that porter spectrum – roasty with just a little sweetness – that reminds me of high percentage cacao bars. Plus, our English Ale yeast is a total champion that gives it the perfect clean finish.
As far as other breweries, I have a lot of respect for places that focus on classic styles and balance, because it takes a lot more craft and focus to do that correctly. Sierra Nevada has always been a huge inspiration for me, as well as Allagash. That being said, I’m also a sucker for a good Lacto or Pedio beer – just keep your equipment separate! ☺
Tell us a little bit more about the "Pay It Forward" requirement of the scholarship.
The “Pay it Forward” portion is a way for me to say thank you to Pink Boots. Basically, it involves sharing the knowledge from this course with my fellow members in the Society, as a way to encourage professional development and learning amongst our community. Whether that be in the form of an article, a presentation at a conference, or something else, remains to be seen!
What advice would you give to those interested in getting involved in the brewing industry? Similarly, what advice would you give to professionals in the STEM field who are weighing a jump to the brewing industry?
Whatever your background is, my advice to those looking towards the brewing industry is the same: you just have to go for it! Be willing to start from the bottom and work your way up. I think a lot of places follow this model because it allows them to get a sense of your work ethic and shows them how dedicated you really are to the craft. Read and learn as much as you can about brewing and beer science, and ask questions, always! And to those with a STEM background thinking about it – be honest, where else will you have this much fun?
Thanks to Abbey for making the time to chat with us and for her insightful answers! Many congratulations to her for her accomplishments and award. Lift a pint to her and everyone else out there ensuring you're getting the best beer possible. Cheers!
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U.S. Sues S&P Over Pre-Crisis Mortgage Ratings
The credit rating agency gave high marks to mortgage-backed securities because it wanted to earn more business from the banks that issued the investments, the Justice Department alleges in charges filed in federal court in Los Angeles.
(TheAssocPress)
Feb 5, 2013 at 3:16PM
WASHINGTON (AP) -- The U.S. government says Standard & Poor's knowingly inflated its ratings on risky mortgage investments that helped trigger the 2008 financial crisis.
The case is the government's first major action against one of the credit rating agencies that stamped their approval on Wall Street's soon-to-implode mortgage bundles. It marks a milestone for the Justice Department, which has long been criticized for failing to act aggressively against the companies that contributed to the crisis.
According to the lawsuit, S&P knew that home prices were falling and that borrowers were having trouble repaying loans. Yet these realities weren't reflected in the safe ratings S&P gave to complex real-estate investments known as mortgage-backed securities and collateralized debt obligations.
At least one S&P executive who had raised concerns about the company's proposed methods for rating investments was ignored.
S&P executives expressed concern that lowering the ratings on some investments would anger the clients selling these investments and drive new business to S&P's rivals, the government claims.
"Put simply, this alleged conduct is egregious -- and it goes to the very heart of the recent financial crisis," Attorney General Eric Holder said at a news conference Tuesday.
Holder called the case "an important step forward in our ongoing efforts to investigate and punish the conduct that is believed to have contributed to the worst economic crisis in recent history."
At the news conference, acting Associate Attorney General Tony West said "we think that at the very least," S&P is liable for more than $5 billion in civil penalties.
Joining the Justice Department in the announcement were attorneys general from California, Connecticut, Delaware, the District of Columbia, Illinois, Iowa, and Mississippi, who have filed or will file separate, similar civil fraud lawsuits against S&P.
On Tuesday, California's attorney general filed a lawsuit in San Francisco Superior Court claiming that S&P's inflated ratings on risky mortgage bonds cost the state's public pension funds and other investors billions of dollars.
More states are expected to sue, the Justice Department said.
S&P, a unit of New York-based McGraw-Hill (NYSE:SPGI), called the federal lawsuit "meritless" in a lengthy statement.
"Hindsight is no basis to take legal action against the good-faith opinions of professionals," the company said. "Claims that we deliberately kept ratings high when we knew they should be lower are simply not true."
Rating agencies are widely blamed for contributing to the financial crisis that caused the deepest recession since the Great Depression. They gave high ratings to pools of mortgages and other debt assembled by big banks and hedge funds. Their ratings gave even risk-averse investors the confidence to buy them.
Some investors, including pension funds, can buy only investments that carry high ratings. In effect, rating agencies like S&P greased the assembly line that allowed banks to package and sell risky mortgages that generated huge profits.
When the housing market collapsed in 2007, the agencies acknowledged that mortgages issued during the bubble were far less safe than the ratings had indicated. They lowered the ratings on nearly $2 trillion worth, spreading panic that spiraled into a crisis.
In its statement Tuesday, S&P said its ratings "reflected our current best judgments" and noted that other rating agencies gave the same high ratings. It said the government also failed to predict the subprime mortgage crisis.
But the government contends in its lawsuit that S&P was more concerned with making money than issuing accurate ratings. It says the company delayed updating its ratings models, rushed through the ratings process and kept giving high ratings even after it knew the subprime market was flailing.
The complaint includes a trove of embarrassing emails and other evidence that S&P analysts saw the market's problems early:
In 2007, an analyst who was reviewing mortgage bundles forwarded a video of himself singing and dancing to a song written to the tune of "Burning Down the House": "Going -- all the way down, with/Subprime mortgages." The video showed colleagues laughing at his performance.
A PowerPoint presentation that year said being "business friendly" was a core component of S&P's ratings model.
In a 2004 document, executives said they would poll investors as part of the process for choosing a rating. One executive asked, "Does this mean we are to review our proposed criteria changes with investors, issuers and investment bankers? ... (W)e NEVER poll them as to content or acceptability!" The executive's concerns were ignored, the government said.
Also that year, an analyst complained that S&P had lost a deal because its standards for a rating were stricter than Moody's (NYSE:MCO). "We need to address this now in preparation for the future deals," the analyst wrote.
The lawsuit comes just 18 months after S&P cut its rating on long-term U.S. government debt by a notch. The downgrade followed a contentious debate between the White House and Congress over the raising of the government's borrowing limit that was resolved at the last hour.
During the news conference, Holder was asked about a possible link between the lawsuit and the downgrade.
"There's no connection," Holder said, who added the Justice Department investigation began in 2009. He said that S&P lowered its rating on U.S. debt after "assessing the creditworthiness of this nation."
West, the acting associate attorney general, said the documents "make clear that the company regularly would 'tweak,' 'bend,' delay updating or otherwise adjust its ratings models to suit the company's business needs." He said that in 2007, S&P issued ratings that it "knew were inflated at the time they issued them."
S&P countered that the emails were "cherry picked," that they were "taken out of context, are contradicted by other evidence, and do not reflect our culture, integrity or how we do business."
It said the government left out important context. For example, one email that says deals "could be structured by cows" and then rated by S&P was unrelated to the types of mortgage investments at issue in the government's suit, S&P said. It said the analyst's concerns were addressed before a rating was issued.
The lawsuit alleges that S&P was well aware that the subprime mortgage market was collapsing by 2006, yet it didn't issue a mass downgrade of subprime-backed securities until halfway through 2007. The mortgages were performing so poorly "that analysts initially thought the data contained typographical errors," according to one document cited in the lawsuit.
In a 2007 email, another analyst said some at S&P wanted to downgrade mortgage investments earlier, "before this thing started blowing up. But the leadership was concerned of [ticking] off too many clients and jumping the gun ahead of Fitch and Moody's."
The government's case sides with critics of rating agencies who have long argued that the agencies suffer from a fundamental conflict of interest. Because they are paid by the banks that create investments they are rating, the agencies had to compete for banks' business. If one agency appeared too strict, banks could shop around for a better rating.
The government's lawsuit says "S&P's desire for increased revenue and market share ... led S&P to downplay and disregard the true extent of the credit risks" posed by the investments it was rating.
S&P typically charged $150,000 for rating a subprime mortgage-backed security and $750,000 for certain other securities. If S&P lost the business to Fitch or Moody's, its main competitors, the analyst who issued the rating would have to submit a "lost deal" memo explaining why he or she lost the business.
S&P analysts ended up trying to keep banks -- its clients -- happy, even if it meant approving sloppy ratings, the government said.
The government charged S&P under a law intended to make sure banks invest safely. It said S&P's alleged fraud made it possible to sell the investments to banks.
If S&P is found to have committed civil violations, it could face fines and limits on how it does business. The government said in its filing that it's seeking financial penalties.
There are no criminal charges, which would require a higher burden of proof.
McGraw-Hill shares dropped $2.72, or 5.4 percent, to $47.58 in morning trading Tuesday after plunging nearly 14 percent on Monday after the lawsuit was first reported.
Shares of Moody's, the parent of Moody's Investors Service, another rating agency, lost $1.05, or 2.2 percent, to $48.40 in morning trading Tuesday after closing down nearly 11 percent on Monday.
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Home> Publications & Directories> Perspectives on History> Issues> March 2015> AHA Today> AHA Issues Letter of Support for the History of Medicine Division of the National Library of Medicine
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AHA Issues Letter of Support for the History of Medicine Division of the National Library of Medicine
American Historical Association | Mar 24, 2015
The NIH is undertaking a review of the National Library of Medicine (NLM) and has issued this RFI to solicit information about the use and value of the library. The AHA has submitted a statement as part of the formal process and the Council of the American Historical Association sent a letter to Francis S. Collins, director of the NIH, and to Donald A. B. Lindberg, director of the National Library of Medicine. The letter expresses support for the library’s History of Medicine Division and its crucial resources for scholarship, education, and public knowledge of medicine and historical and current public health issues.
The full letter is available in our Statements and Resolutions of Support and Protest.
This post first appeared on AHA Today.
Tags: AHA Today Advocacy


Home / Blog / The Journalistic Sources Protection Act: A Primer
The Journalistic Sources Protection Act: A Primer
By Justin Safayeni
(Co-written with Andrea Gonsalves)
Welcome to the club, Canada. On October 18, 2017, we joined the ranks of nearly every other Western democracy when Bill S-231 – the Journalistic Sources Protection Act (“JSPA”) – was finally passed into law, codifying a set of important protections for journalists and their sources.
Before the JSPA, the ability to compel information or documents from journalists had been limited mainly by a patchwork of common law doctrines.[1] The JSPA marks a significant change in the legal landscape, and has been rightly celebrated as a victory for free expression in general and journalism in particular. This post will aim to highlight four key reasons why this is so. At the same time, it is important to understand some of the limitations and potential drawbacks of the JSPA, as it is far from a panacea when it comes to the protection of journalistic sources.
#1. Broad scope of protection
Defining who is a “journalist” is always a thorny issue. The JSPA adopts a generous approach, which is entirely appropriate given the objective of protecting news gathering and dissemination.
Under the JSPA, a “journalist” includes any person (including a corporation) whose “main occupation is to contribute directly, either regularly or occasionally, for consideration, to the collection, writing or production of information for dissemination by the media, or anyone who assists such a person.”[2] (It also includes former journalists who met this definition at the time they received information from a source.[3]) Although this definition would exclude the hobbyist blogger who writes for free or has another main source of income, it would include freelancers, career bloggers, those engaged in news ‘start ups’ and others who fall outside the sphere of traditional media establishments.
The definition of “journalistic source” in the JSPA is also broad: “a source that confidentially transmits information to a journalist on the journalist’s undertaking not to divulge the identity of the source, whose anonymity is essential to the relationship between the journalist and the source.”[4] This formulation maintains the key Wigmore criteria for journalist-source privilege recognized by the Supreme Court in R. v. National Post.[5] But it dispenses with the cumbersome and potentially problematic requirement that the journalist-source relationship “must be one which should be sedulously fostered in the public good.”[6]
#2. Significant safeguards for confidential sources (Canada Evidence Act)
The JSPA establishes different tests for orders made under the Criminal Code (e.g. search warrants, production orders and wiretaps), and for compelled disclosure made outside of the Criminal Code and in the context of civil and other proceedings governed by the Canada Evidence Act (e.g. matters in respect of which Parliament has jurisdiction).[7]
(Civil and other proceedings that are governed by provincial law fall under the purview of provincial evidence legislation, not the Canada Evidence Act, and therefore would be outside the scope of the JSPA.)
With respect to compelled disclosure by means outside the Criminal Code, the key safeguard in the JSPA is that it amends the Canada Evidence Act so as to allow journalists to “object to the disclosure of information or a document before a court, person or body with the authority to compel the disclosure of information on the grounds that the information or document identifies or is likely to identify a journalistic source.”[8] The reference to “court, person or body” is broad enough to include not only judicial proceedings, but also proceedings before federal boards, commissions and other administrative agencies or tribunals.
Once the disclosure or likely disclosure of a journalistic source is established, then the burden shifts to the party requesting disclosure of the information or document to prove that:
the information or document cannot be produced in evidence by any other reasonable means; and
the public interest in the administration of justice outweighs the public interest in preserving the confidentiality of the journalistic source, having regard to (i) the importance of the information or document to a central issue in the proceeding, (ii) freedom of the press, and (iii) the impact of the disclosure on the journalistic source and the journalist.[9]
The JSPA’s framework mirrors, in large part, the Supreme Court’s common law framework for handling disclosure in the civil discovery process[10] – with one notable exception. Once it is shown that the identity of a journalistic source is likely to be revealed through disclosure, the requesting party bears the onus of proving that the public interest favours such disclosure.[11] This is a major role reversal from the Wigmore case-by-case privilege approach, where the burden was borne throughout by the party seeking to avoid disclosure.[12]
Unfortunately, the JSPA’s amendments to the Canada Evidence Act are limited to those cases involving journalistic – that is, confidential – sources. Unless such a journalistic source is involved, the statute affords no protection against compelled disclosure that may intrude into the privacy of a journalist’s work product, disrupt the ability of a media organization to operate effectively, or use a journalist’s records as evidence in regulatory or administrative proceedings against a source. In all of these situations, a journalist could still presumably rely on common law protections, but would find no additional recourse in the JSPA.
#3. Significant safeguards for all sources (Criminal Code)
When it comes to warrants, wiretaps or production orders under the Criminal Code that target journalists, the JSPA protections extend beyond confidential journalistic sources. Regardless of whether or not it engages the identity of journalistic sources, any order “relating to a journalist’s communications or an object, document or data relating to or in the possession of a journalist” may only be issued if:
there is no other way by which the information can reasonably be obtained; and
the public interest in the investigation and prosecution of a criminal offence outweighs the journalist’s right to privacy in gathering and disseminating information.[13]
The fact that the state must meet these requirements before an order will be made – even if the material in question involves non-confidential sources or no sources at all – is an important development. Under the previous common law analysis (established in the Lessard case[14]), courts were often quick to equate an absence of information or documents revealing confidential sources with the lack of any harm to the media’s interests, and to uphold orders targeting journalists on that basis without further analysis. The JSPA imposes a more stringent approach in these situations.
Part of that approach requires courts to take account of “the journalist’s right to privacy in gathering and disseminating information.” The notion that journalists should enjoy a zone of privacy with respect to their work product (e.g. notes, recordings, interviews, contact books) was discussed by Justice La Forest in his concurring opinion in Canadian Broadcasting Corp. v. Lessard,[15] but has received scant judicial attention since then. If taken seriously, the concept of a journalist’s right to privacy could serve as an important and effective safeguard against state intrusion into a journalist’s files – both in cases where journalistic sources are involved, and in cases where there are no confidential sources but where privacy is essential to journalistic expression. This could be achieved by focusing the inquiry on the concrete question of whether the material sought falls within a journalist’s work product, rather than the more difficult question of whether disclosing the material would cause a chilling effect on potential sources of news coming forward.
That being said, the fact that a “journalist’s right to privacy” is the only factor expressly listed on the journalist’s side of the balancing scale may prove to be problematic. (Recall that under the Canada Evidence Act amendments, the weighing exercise considers the more malleable factors of “freedom of the press” and “the impact of the disclosure on the journalistic source and the journalist”). On its face, it could be argued that the Criminal Code would allow orders to be made without any consideration of their chilling effect on potential sources – a somewhat absurd result, given that this chilling effect has long been recognized as the primary consideration for whether and on what terms an order should be made against journalists. This issue may ultimately prove to be academic if courts take a robust view of the need to protect a journalist’s right to privacy; indeed, it is difficult to imagine how an order that gives rise to a chilling effect would not also involve some aspect of a journalist’s work product.
#4. A better process
A frequent complaint of media lawyers in the pre-JSPA era was that applications for search warrants or production orders targeting journalists could be made by law enforcement on an ex parte basis (i.e. without notice to the media), before a justice of the peace who might not have any legal training. Not surprisingly, search warrants or production orders were granted almost without exception under that regime. By the time the media received notice and the matter was before a judge, the deck was already stacked in favour of law enforcement due to a highly deferential standard of review: the initial order could only be overturned if the reviewing court was convinced that the order was not one the justice of the peace “could have” made.
The JSPA puts in place a far better process. Warrants, wiretaps and production orders now may be issued only by superior court judges.[16] And although they may still be made ex parte, the JSPA gives judges the discretion to appoint a special advocate to “present observations in the interests of freedom of the press” before making any such orders.[17] If an order has been made, the documents obtained pursuant to the order are kept sealed in the court pending further authorisation from the judge.[18] The journalist or media target is entitled to apply for an order that the documents not be disclosed to the law enforcement officer.[19] The judge hearing the application must then consider the requirements for disclosure afresh, rather than on the deferential “could have” standard.[20]
In the case of compelled disclosure by means outside of the Criminal Code, the JSPA requires that “[b]efore determining the question [of disclosure], the court, person or body must give the parties and interested persons a reasonable opportunity to present observations.”[21] Where disclosure is authorized and a journalist wishes to appeal, the JSPA establishes clear appeal routes.[22]
While the JSPA may not be perfect, it does afford important substantive and procedural protections for journalists over and above the common law. As with any legislation, however, the ultimate test of the JSPA’s impact and effectiveness must await judicial interpretation. At least on paper, Canada has given journalists some potentially strong tools with which to safeguard their work and their sources. Whether and to what extent that promise is achieved will be decided by the courts.
[1] For orders sought by law enforcement under the Criminal Code, those common law protections are set out in cases like Canadian Broadcasting Corp. v. Lessard, [1991] 3 SCR 42 and R. v. National Post, [2010] 1 SCR 477. For compelled disclosure in the civil discovery context, the common law framework was established in Globe and Mail v. Canada (Attorney General), [2010] 2 SCR 592.
[2] Canada Evidence Act, RSC 1985, c. C-5, s. 39.1(1); Criminal Code, RSC 1985, c. C-46, s. 488.01(1).
[3] Canada Evidence Act, RSC 1985, c. C-5, s. 39.1(3).
[5] 2010 SCC 16. Those well-established criteria are: (1) The communications must originate in a confidence that they will not be disclosed; (2) this element of confidentiality must be essential to the full and satisfactory maintenance of the relation between the parties; (3) the relationship must be one that, in the opinion of the community, ought to be sedulously fostered; and (4) the injury to the relationship that disclosure of the communications would cause must be greater than the benefit gained for the correct disposal of the litigation.
[6] Ibid. at para. 53. Some courts had questioned whether the analysis of this criterion should take place at a general level (e.g. relationship between professional journalists and their sources generally), or at a more granular level (e.g. relationship between a particular journalist and a particular source, in certain circumstances, for certain reasons): see 1654776 Ontario Limited v. Stewart, 2013 ONCA 184 at paras. 84-96.
[7] The statutory text lacks clarity and there is certainly room for an argument that Canada Evidence Act protections should apply in the context of orders made under the Criminal Code as well. After all, a court issuing a warrant, production order or wiretap is a “court, person or body with the authority to compel the disclosure of information”: see Canada Evidence Act, RSC 1985, c. C-5, s. 39.1(2). However, considering the different regimes established in the JSPA to assert and assess the effect of journalistic sources on a disclosure order in the Criminal Code versus the Canada Evidence Act, the better interpretation is likely that they are distinct regimes that do not overlap.
[8] Canada Evidence Act, RSC 1985, c. C-5, s. 39.1(2). Courts, persons or bodies may also raise the issue of journalistic sources on their own initiative: s. 39.1(4).
[10] Globe and Mail v. Canada (Attorney General), [2010] 2 SCR 592 at paras. 58-64.
[11] Canada Evidence Act, RSC 1985, c. C-5, s. 39.1(9).
[12] Ibid. at para. 65.
[13] Criminal Code, RSC 1985, c. C-46, ss. 488.01(3) and 488.02(5).
[14] Supra, note 2.
[15] [1991] 3 SCR 42
[16] Criminal Code, RSC 1985, c. C-46, s. 488.01(2).
[17] Criminal Code, RSC 1985, c. C-46, s. 488.01(4). The authors of this post published an article in 2016 arguing in favour of a special advocate regime in circumstances where it would be impractical to give prior notice to the media. See: Safayeni and Gonsalves, “The role of media in our democracy deserves special protection,” Op-Ed, The Global and Mail, 8 November 2016.
[18] Criminal Code, RSC 1985, c. C-46, s. 488.02(1)
[19] Criminal Code, RSC 1985, c. C-46, s. 488.02(3). On its face, this provision inexplicably limits a journalist’s right to apply for an order that the document not be disclosed by stating that it must be “on the grounds that the document identifies or is likely to identify a journalistic source.” This makes no sense since the protections afforded under the Criminal Code do not turn on whether a document identifies or is likely to identify a journalistic source: see ss. 488.01(3) and 488.02(5). Reading the statute contextually and purposively, the only sensible interpretation is that a journalist’s right to apply for a non-disclosure order is not limited to situations where the order identifies or is likely to identify a journalistic source.
[22] Canada Evidence Act, RSC 1985, c. C-5, s. 39.1(10).
Posted October 26, 2017 - By Justin Safayeni
Ugly Voices: What's the Point of Covering Hate?
It’s a 44-year-old story that no self-respecting news organization anywhere would publish today—certainly not in the form it took.
And is that a good thing?
By Ivor Shapiro / Posted Wednesday December 9, 2020
Censorship, Freedom of the Press
It’s Complicated: Six Things Worth Discussing About Free Speech
Well, hello again. Having ended last month's column with a candid appeal for readers to "talk back" about free speech, I was grateful to those who took me at my word. They made me think new thoughts, which is, of course, the whole idea.
By Ivor Shapiro / Posted Wednesday November 18, 2020
Artistic Expression, Censorship, Freedom of the Press
Making it illegal will not stop the spread of misinformation
As we have seen in recent elections and in the present pandemic, misinformation can do real harm. But the Canadian government’s plan to consider legislation to criminalize the spreading of misinformation is the wrong response. Criminalization will not stop misinformation. In fact, it often draws more attention to it, as well as undermines civil liberties and human rights essential in a democratic society.
By James L Turk / Posted Wednesday May 6, 2020
Disinformation, Freedom of the Press, Speech Restrictive Laws
Even in the Age of Covid-19, Justice Requires Open Courts
The justice system is facing unprecedented challenges. Like almost every other sector of society, the new realities of province-wide “social distancing” have raised fundamental questions about whether — and perhaps even how — courts and tribunals can continue to function in the age of the pandemic.
By Justin Safayeni / Posted Tuesday March 31, 2020
Freedom of the Press, Government & Corporate Transparency, Speech Restrictive Laws
Does Bailing Out Media Equal Controlling the Press?
You will likely have seen quite a few opinion pieces lately about what’s being called variously the “Canadian” media bailout, the “government” media bailout and the “Liberal” media bailout.
So, yes, there’s a media bailout afoot.
By John Degen / Posted Wednesday July 10, 2019


Sixth & I – Sanctuary
Upright Citizens Brigade Touring Company
The Upright Citizens Brigade Touring Company brings the very best of its New York City and Los Angeles theatres to our stage. See the comedic stars of today and tomorrow from the theatre that brought you comedy greats Horatio Sanz, Amy Poehler, Rob Corddry, Ed Helms, MTV’s Human Giant, The Daily Show’s Rob Riggle, and more. The performers include:
James III – James is a co-host of the podcast, “Black Men Can’t Jump [In Hollywood]” and has developed content for Comedy Central Digital and Hearst Digital/Seriously.TV. He has a recurring role on the Seriously.TV show, Thanksgiving and starred in The Adventures of Jamel: The Time Traveling B-Boy web series.
Caroline Cotter – Caroline has studied at UCB since 2009 and is an actor on the UCB House Sketch team, One Idiot. Past UCB sketch show credits include: “Dorothy Goes to Hollywood,” “Ocean’s Lake,” “The 2017 Tony Awardz,” and Maude night on the teams Ripley and One Idiot.
Patrick Noth – Patrick is a New York City-based performer, writer, director, and musician who has appeared on Comedy Central, MTV, IFC, and TV Land. He has an Emmy nomination for his work on the cartoon series Pale Force, a recurring sketch on Late Night with Conan O’Brien. He began studying at the Upright Citizens Brigade in 2009 and is a proud performer and teacher at UCB.
Molly Thomas – Molly is an improviser, actor, and writer based in New York City. She currently performs once a month with “We Know How You Die!” at the Upright Citizens Brigade Theatre. She starred Off-Broadway in the world premiere of “Breathing Time”. Molly has been featured in videos on Late Night with Seth Meyers, Above Average, UCB Comedy, Nickelodeon, and MTV.


378.629. Foreign society to have license, requirements. — No foreign or alien society shall transact business in this state without a license issued by the director. Any such society desiring admission to this state shall comply substantially with the requirements and limitations of this chapter applicable to domestic societies. Any such society may be licensed to transact business in this state upon filing with the director:
(1) A duly certified copy of its chapters of incorporation;
(2) A copy of its bylaws, certified by its secretary or corresponding officer;
(3) A power of attorney to the director as prescribed in section 378.635;
(4) A statement of its business under oath of its president and secretary or corresponding officers in a form prescribed by the director, duly verified by an examination made by the insurance supervisory official of its home state or other state, territory, province or country, satisfactory to the director;
(5) Certification from the proper official of its home state, territory, province or country that the society is legally incorporated and licensed to transact business therein;
(6) Copies of its certificate forms;
(7) A showing that its assets are invested in accordance with the provisions of this chapter; and
(8) Such other information as the director may deem necessary.


Stop telling Notorious R.B.G. to step away from the bench.
September 24, 2014 May 7, 2015 / Historiann
The one & only Notorious R.B.G.
This Sunday morning, I snapped open my copy of the Los Angeles Times to see yet another “everyone says [U.S. Supreme Court Associate Justice] Ruth Bader Ginsburg should retire ZOMG now now NOW!!!!” story. (The online version of the story’s headline today says “she has no plans to retire soon,” but the headline of the paper edition gave voice to her critics who are trying to shoo her off the bench.) If she retired today or in December, do any of these so-called liberals or leftists seriously think President Obama would get any judge remotely similar to her through the U.S. Senate’s “advise and consent” process?
Here’s what R.B.G. has to say about that:
Who do you think President Obama could appoint at this very day, given the boundaries that we have? If I resign any time this year, he could not successfully appoint anyone I would like to see in the court. [The Senate Democrats] took off the filibuster for lower federal court appointments, but it remains for this court. So anybody who thinks that if I step down, Obama could appoint someone like me, they’re misguided. As long as I can do the job full steam…. I think I’ll recognize when the time comes that I can’t any longer. But now I can.
In the unedited interview transcript, she said “But now I can, motherf^(kers, so step off.“
(I actually just made that up. I have no evidence that she said motherf^(kers, so step off, but then, neither do I have any evidence that she did not say that. Quite frankly, I think it’s irresponsible not to speculate how very irritating these screams for her to go away are to the Associate Justice in question.)
The calls for her to go are just damned disrespectful, and put me in mind of the frantic, shrill screams of Obamatrons for Hillary Clinton to drop out of the Democratic primary now now NOW!!!!! in April and May of 2008, because staying on ballot through the primary season was somehow going to cause irreparable damage to the Obama 2008 campaign. You remember that general campaign, don’t you? The one in which it would have been possible for Barack Obama in fact to be a Kenyan anti-colonial Muslim socialist and still win the election because he wasn’t the Republican? Yeah, Hillary Clinton’s demonic powers were imagined to be so great that she’d blow the general for Obama, but somehow they weren’t powerful enough for her to win the Dem primary. Go figure.
Isn’t it funny, and by funny I really mean infuriating, how eager so-called liberals are to toss aside the women who have worked on their causes for decades, and even lifetimes? Think of what the right wing and the left wing together have done to the reputations of Margaret Sanger or Mary Daly. Somehow Americans still have room for Abraham Lincoln, Franklin Roosevelt, and Martin Luther King in the American Pantheon, although they recognize that their views on race and gender were of their time rather than our times. It’s only women activists whose every utterance and political position is held up to scrutiny, mostly for the purposes of undermining their entire lifetime’s work.
R.B.G. is swinging for the fences at age 81. She’s got her eye on history. She’s pretty sure her side is going to win, if not in her lifetime, eventually. Let her lay out her case so that succeeding generations can appreciate her dogged, persistent resistance to the revanchist Rehnquist and Roberts courts.
American history, bad language, Gender, happy endings, jobs, women's history
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15 thoughts on “Stop telling Notorious R.B.G. to step away from the bench.”
“R.B.G. is swinging for the fences at age 81. She’s got her eye on history. She’s pretty sure her side is going to win, if not in her lifetime, eventually. Let her lay out her case so that succeeding generations can appreciate her dogged, persistent resistance to the revanchist Rehnquist and Roberts courts.” – Amen!
Hmm, I always want to tell certain other justices to step away from the bench, but she seems so smart and knowledgeble that I want her THERE!
truffula
funny [by which ] I really mean infuriating,
No kidding. We live in a 24×7 festival of laughs.
Notorious R.B.G. is the best. She’s smart, funny, snarky, has done important work to bend the US legal system toward equity and justice, and can do more push-ups than I can do.
It helps that she only weighs something like 85 pounds, soaking wet. but yes: she’s a gym rat, too.
Yeah, this shitte is bulleshitte. We’re almost certainly going to elect another Dem prez in 2016, so what’s the fucken rush?
The rush is to get women off the stage as soon as possible. Maybe there were murmurs to get Thurgood Marshall off the bench, but I don’t remember it. Because he aged and died amidst a Republican run in the White House, I think most people who cared about Civil Rights were interested in letting him serve as long as possible & hoped that he’d outlive Bush I.
The women’s movement is the only social justice movement of the past 240+ years that is always in a hurry to get rid of their elders so that we can kick dirt on their graves. The 1910s and 20s feminists did it to the 19th C feminists; the 1960s-70s feminists did it to the 1920s feminists; my generation is doing it to the 1960s-70s generation, and now my generation is on the verge of it being done to us. That’s how we roll. Like most leftist movements we eat our own, but we just can’t get over how fat, unfashionable, boring, offensive, and embarrassing our foremothers were, and are, and will always be.
What’s really embarrassing is how ignorant we are of our own history, and how we don’t get it that attacking our elders really undermines the movement. Does the Civil Rights movement feel they have to apologize for MLK’s plagiarism and serial adultery? No. But we feminists fall for that crap every time.
Even if they could get somebody with the requisite predictable voting record confirmed, the quality of the necessary dissents would fall off, and the opinion-writing for the record and the guidance of other courts in the Federal Reports would decay. Questions from the bench that should be asked would not be asked, nor would their absence be noted. W.O. Douglas stayed around pretty late, as I recall. She should just remand this amicus advice to its originators.
We know that she sees Sandra Day O’Connor’s resignation as a cautionary tale. By the time she resigned to care for her husband, her husband was so far gone with dementia that he forgot who she was & had fallen in love with another woman. She’s still going strong now 9 years later–how much better for us all had she stuck it out and decided not to care about having a Republican appoint her successor.
Well, now, with news of a looming Attorney General confirmation battle, I think that pretty much seals the question of how much appetite there would be at 1600 PA for a contemporaneous fight over a Supreme Court nominee. It would be perceived as a perfect time to cap and trade, in what direction we could well imagine. Far better to trust that scenario to HRC 2.5 + years from now.
Did anyone see Rachel Maddow’s hilarious review of Holder’s tenure as top cop? Good Luck with the Asparagus!
I, too, was thinking of Sandra Day O’Connor, who, as far as I can tell, is still fully qualified for the bench at 84 (though she’s also found worthwhile things to do instead).
This doesn’t entirely apply to RBG, who by her own account had a husband who took her career as seriously as his own, but shouldn’t women’s careers actually last a bit longer, since they (we) on average live longer, and many of us spend at least some of our prime years with more energy given to caregiving than is the case for your average male? This would also apply, of course, to a certain former secretary of state who recently became a grandmother, whose career choices were sharply limited for at least 8 years (and probably far more) by her husband’s career choices.
More evidence of the awesomeness of R.B.G.
Another point to emphasize: she’s on a major PR push to roll back the demands that she resign. She’s the puppet master, babied–maybe I was wrong to think that having had elective office was the only way to gain political experience! But she showed throughout her career a kind of sophistication that other jurists haven’t. (HINT: her model was Thurgood Marshall.)
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