Sunday 18th September 2016

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Ove Arup

A key figure in 20th century engineering, Danish-born Sir Ove Arup is widely considered to be the foremost engineer of his era in Britain. His is one of the few modern engineering names known to the public at large, not least for the extraordinary Sydney Opera House, one of the world’s iconic structures.
Arup uniquely combined a philosophical and artistic as well as practical approach to business, and is remembered as an eminent bridging figure between the aesthetics and the constructional aspects of building design. He is one of the few engineers to have received the Royal Gold Medal for Architecture and to have been a member of MARS (Modern Architecture Research Group, active 1933-1957), both of which reflect his strong links with the foremost Modernist architects of the period.
His varied career saw him succeed in many roles, as a consultant, contractor, civil and structural engineer, educational theorist, lecturer and author. His technical achievements include groundbreaking use of precast concrete and structural glue, and for over 50 years he maintained a written output of over 50,000 words a year, covering a wide range of topics. Significantly, he is a key figure in the development of the nature of the relationship between engineer and architect, believing that there are no natural boundaries between the disciplines and that any we construct eventually become barriers.
Not only did Ove Arup make a significant contribution to 20th Century engineering as an individual but he also did so as a director and partner in various firms, and as founder of the hugely successful global company that bears his name, Arup — the roots of which can be traced back to 1946 when he set up as an independent consultant at the age of 51. Today Arup the company is renowned worldwide, with offices as far-reaching as the Americas, Australasia, East Asia, Europe, Middle East and Africa. The spirit of its founder is still very much in evidence.

Pegasus was the first “user friendly” computer, and about forty Pegasus systems were sold, between 1956 and 1962. Scores of programmers and users of the machine have commented on the ease of programming and operation.

A fundamental part of Pegasus was a simple operating system, a set of routines called Initial Orders which was stored permanently in a write-protected area of the drum.

Pressing the “Start” key caused the Initial Orders to be executed, and they gave the programmer facilities for inputting programs and data, for debugging, for assembling large program systems from sub-sections and libraries, and so on.

The Science Museum Pegasus, serial number 25, has been re-located at least eight times in its life, including a period in Sweden. The museum acquired it from UCL London in 1983 and it was initially displayed in Manchester where it was occasionally maintained by a colleague and myself. After a couple of years the machine moved back to London.

When the Computer Conservation Society was formed in 1989, a group of expert volunteers re-commissioned and demonstrated Pegasus at the museum. It was put on prominent display in the Computing gallery in 2000, where for the first time in its long life, Pegasus was on view to the public. It is a tribute to the quality of the original engineering that Pegasus survived this repeated stripping down, moving, and re-assembling.

For nearly a decade Pegasus was demonstrated every fortnight, but in 2009 a fault with the machine required it to be shut down and Health and Safety considerations subsequently stopped further operation. This historic, 60-year old computer continues to be an important artefact in the Science Museum’s Computing and Data Processing collections.

Chris Burton is a volunteer at the Museum who helps maintain and run Pegasus, one of the oldest computers in the world. Chris is a member of the Computer Conservation Society.

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You Say You Want a Revolution? Records and Rebels 1966 – 70

This major exhibition at the V&A will explores the era-defining significance and impact of the late 1960s upon life today. From global civil rights, multiculturalism, environmentalism, consumerism, computing, communality to neoliberalist politics, the world we live in has been vitally influenced by five revolutionary years 1966 – 70. You Say You Want a Revolution? Records and Rebels 1966 – 70 will investigate the upheaval, the explosive sense of freedom, and the legal changes that took place resulting in a fundamental shift in the mindset of the Western world.
You Say You Want a Revolution? Records and Rebels 1966 – 70 will explore the way that youth culture catalysed an optimistic idealism, motivating people to come together and question established power structures across every area of society. More than 350 objects encompassing photography, posters, literature, music, design, film, fashion, artefacts, and performance that defined the counterculture will illustrate the way that a whole generation shook off the confines of the past and their parents, radically revolutionising the way they lived their lives.

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Highlights on display will show the creative, social and legal outputs of revolutionary new ways of living. They will include underground magazines from Oz to the International Times; a shopping list written behind barricades during the 1968 Paris student riots; a moon rock on loan from NASA alongside the space suit worn by William Anders, who took the defining ‘Earthrise’ photograph on the Apollo 8 mission; a rare Apple 1 computer; an Ossie Clark costume for Mick Jagger; original artworks by Richard Hamilton; shards from Jimi Hendrix’s guitar; the suits worn by John Lennon and George Harrison on the cover of Sgt. Pepper’s Lonely Hearts Club Band and handwritten lyrics for Lucy in the Sky with Diamonds by the Beatles.

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The Vietnam Song

Country Joe and the Fish

Give me an “F! …”F”! give me a “U”! …”U”!
Give me a “C”! …”C” Give me a “K”! …”K”!
WHATS THAT SPELL? …”FUCK!”

Well come on all of you big strong men, Uncle Sam needs your help again,
he got himself in a terrible jam, way down yonder in Vietnam,
put down your books and pick up a gun, we’re gunna have a whole lotta fun.

and its 1,2,3 what are we fightin for?
don’t ask me i don’t give a dam, the next stop is Vietnam,
and its 5,6,7 open up the pearly gates. Well there aint no time to wonder why…WHOPEE we’re all gunna die.

now come on wall street don’t be slow, why man this’s war a-go-go,
there’s plenty good money to be made, supplyin’ the army with the tools of the trade,
just hope and pray that when they drop the bomb, they drop it on the Vietcong.

and its 1,2,3 what are we fightin for?
don’t ask me i don’t give a dam, the next stop is Vietnam,
and its 5,6,7 open up the pearly gates. Well there aint no time to wonder why…WHOPEE we’re all gunna die.

now come on generals lets move fast, your big chance is here at last.
nite you go out and get those reds cuz the only good commie is one thats dead,
you know that peace can only be won, when you blow em all to kingdom come.

and its 1,2,3 what are we fightin for?
don’t ask me i don’t give a dam, the next stop is Vietnam,
and its 5,6,7 open up the pearly gates. Well there aint no time to wonder why…WHOPEE we’re all gunna die.

listen people i dont know you expect to ever stop the war if you cant sing any better than that… theres about 300,000 of you fuc|ers out there.. i want you to start singing..

Now come on mothers throughout the land, pack your boys off to vietnam,
come on fathers don’t hesitate, send your sons off before its too late,
be the first one on your block, to have your boy come home in a box

and its 1,2,3 what are we fightin for?
don’t ask me i don’t give a dam, the next stop is Vietnam,
and its 5,6,7 open up the pearly gates. Well there aint no time to wonder why…WHOPEE we’re all gunna die.

Alrite !!!!!!!

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Martin Roth, Director of the V&A, says, “This ambitious framing of late 1960s counterculture shows the incredible importance of that revolutionary period to our lives today. This seminal exhibition will shed new light on the wide-reaching social, cultural and intellectual changes of the
late 1960s which followed the austerity of the post-war years, not just in the UK but throughout the Western world. Our collections at the V&A, unrivalled in their scope and diversity, make us uniquely placed to present this exhibition.”
Objects are drawn from the breadth of the V&A’s varied collections, alongside important loans to highlight connections between people, places, music and movements across the UK, Europe and the USA. The exhibition will focus on particular environments that defined the cultural and social vanguard of the period, including Carnaby Street in London, clubs and counterculture, the Paris protests of May 1968, World Fairs including Montreal and Osaka, the Woodstock Festival of 1969 and alternative communities on the West Coast of America. Ideological connections will be made to the world of 2016, from the election battle to appoint the new president of the most powerful nation on earth to the rights of individuals everywhere to make a difference.

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The collection of the cult radio presenter and musical tastemaker John Peel will provide a musical odyssey through some of the greatest music and performance of the 20th century from Sam Cooke’s A Change is Gonna Come to The Who’s My Generation to Jimi Hendrix live at Woodstock. Music will be played through Sennheiser headsets using innovative audio guide technology which adapts the sound to the visitor’s position in the gallery. Sound will be integrated with video and moving image, including interviews with key figures from the period including Yoko Ono, Stewart Brand and Twiggy, psychedelic light shows and seminal films including Easy Rider and 2001: A Space Odyssey to create a fully immersive and dramatic audiovisual experience.

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Consumer wants can have bizarre, frivolous, or even immoral origins, and an admirable case can still be made for a society that seeks to satisfy them. But the case cannot stand if it is the process of satisfying wants that create the wants.

Ohio

Neil Young

Tin soldiers and Nixon coming,
We’re finally on our own.
This summer I hear the drumming,
Four dead in Ohio.

Gotta get down to it
Soldiers are cutting us down
Should have been done long ago.
What if you knew her
And found her dead on the ground
How can you run when you know?

Gotta get down to it
Soldiers are cutting us down
Should have been done long ago.
What if you knew her
And found her dead on the ground
How can you run when you know?

Tin soldiers and Nixon coming,
We’re finally on our own.
This summer I hear the drumming,
Four dead in Ohio.

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A robotically woven carbon-fibre pavilion developed by a team from the University of Stuttgart has been erected in the courtyard of London’s V&A museum as part of a season of engineering events

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Spurs 1 Sunderland 0

Harry Kane’s second half goal was enough to settle the outcome against Sunderland at the Lane on Sunday afternoon in a game which we totally dominated from start to finish.
The England striker scored for the second week running in the Premier League, gratefully tucking home from close range in the 59th minute after a defensive error in the Sunderland area to secure the three points and move us up to third in the table.

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It should have been a far more convincing victory though as we had 31 shots at goal and enjoyed 74 per cent of possession. But the Black Cats were indebted to goalkeeper Jordan Pickford as he made a string of smart saves to keep us out, while Heung-Min Son hit the post and we spurned numerous other chances.
We were thankful to Kyle Walker’s goal-line clearance on 44 minutes as he denied former Spur Steven Pienaar, one of only four shots on target Sunderland had in the entire game.
The visitors finished the game with 10 men following the late dismissal of Adnan Januzaj and, although substitutes Erik Lamela and Vincent Janssen missed good chances in the final minutes, Kane’s strike proved to be enough.

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Hitchcock

American biographical drama film directed by Sacha Gervasi and based on Stephen Rebello’s non-fiction book Alfred Hitchcock and the Making of Psycho.

Hitchcock centers on the relationship between film director Alfred Hitchcock (Anthony Hopkins) and his wife Alma Reville (Helen Mirren) during the making of Psycho, a controversial horror film that became one of the most acclaimed and influential works in the filmmaker’s career.

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In 1959, Alfred Hitchcock opens his latest film, North by Northwest, to considerable success, but is troubled by a reporter’s insinuation that it is time to retire. Seeking to reclaim the artistic daring of his youth, Hitchcock turns down film proposals like adapting Casino Royale in favor of a horror novel called Psycho by Robert Bloch, which is based on the crimes of murderer Ed Gein. Gein appears in sequences throughout the film in which he seems to prompt Hitchcock’s imagination regarding the Psycho story, or act as some function of Hitchcock’s subconscious mind (for instance, drawing Hitchcock’s attention to sand on his bathroom floor, the quantity of which reveals how much time his wife Alma has been spending at the beachhouse with Whitfield Cook).

Hitchcock’s wife and artistic collaborator, Alma, is no more enthusiastic about the idea than his colleagues, especially since she is being lobbied by their writer friend, Whitfield Cook, to look at his own screenplay. However, she warms to Hitchcock’s proposal, suggesting the innovative plot turn of killing the female lead early in the film. The studio heads at Paramount prove more difficult to persuade, forcing Hitchcock to finance the film personally and use his Alfred Hitchcock Presents television crew (over at competitor Revue/Universal) to produce the film. (As this film completed his contract with Paramount, all subsequent films were made at Universal.)

However, the pressures of the production, such as dealing with Geoffrey Shurlock of the Motion Picture Production Code, and Hitchcock’s lecherous habits, such as when they confer with the female lead, Janet Leigh, annoy Alma. She begins a personal writing collaboration with Whitfield Cook on his screenplay at his beach house without Hitchcock’s knowledge. Hitchcock eventually discovers what she has been doing and suspects her of having an affair. This concern affects Hitchcock’s work on Psycho. Hitchcock eventually confronts Alma and asks her if she is having an affair. Alma angrily denies it.

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Alma temporarily takes over production of the film when Hitchcock is bedridden after collapsing from overwork, but this sequence, which included a complicated process shot showing Arbogast’s demise, with Alma’s specification of a 35mm lens, instead of the 50mm lens preferred by Hitchcock for this film, proved to be the least effective in the film.

Meanwhile, Hitchcock expresses his disappointment to Vera Miles at how she didn’t follow through on his plan to make her the next biggest star after Grace Kelly; but Miles says she is happy with her family life.

Hitchcock’s cut of Psycho is poorly received by the studio executives, while Alma discovers Whitfield having sex with a younger woman at his beach house. Hitchcock and Alma reconcile and set to work on improving the film. Their renewed collaboration yields results, culminating in Alma convincing Hitchcock to accept their composer’s suggestion for adding Bernard Herrmann’s harsh strings score to the shower scene.

After maneuvering Shurlock into leaving the film’s content largely intact, Hitchcock learns the studio is only going to exhibit the film in two theaters. Hitchcock arranges for special theater instructions to pique the public’s interest such as forbidding admittance after the film begins. At the film’s premiere, Hitchcock first views the audience from the projection booth, looking out through its small window at the audience (a scene which recalls his spying on his leading actresses undressing earlier in the film–by looking through a hole cut in the dressing room wall–which itself is a voyeuristic motif included in the film of Psycho). Hitchcock then waits in the lobby for the audience’s reaction, conducting slashing motions to their reactions as they scream on cue. The film is rewarded with an enthusiastic reception.

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With the film’s screening being so well received, Hitchcock publicly thanks his wife afterward for helping make it possible and they affirm their love. At the conclusion at his home, Hitchcock addresses the audience noting Psycho proved a major high point of his career and he is currently pondering his next project. A raven lands on his shoulder as a reference to The Birds, before turning to meet with his wife.

The final title cards say that Hitchcock directed six more films after Psycho, none of which would eclipse its commercial success, and although he never won an Oscar, the American Film Institute awarded him its Life Achievement Award in 1979 – an award he claimed he shared, as he had his life, with his wife, Alma.

Los Angeles Rams 9 Seahawks 3

In the first NFL game for the Los Angeles Rams since 1994, the Seattle Seahawks were unable to play the role of spoilers, falling 9-3 in road game number one of the 2016 season.
Russell Wilson finished the game 22 of 35, passing for 253 yards while battling through an ankle injury, and additionally ran for 14 yards on five carries. Unlike last week against the Dolphins, Wilson wasn’t able to put together another game-winning drive for the Seahawks, who fell to 1-1 on the season.

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The Seahawks held the ball trailing 9-3 with under two minutes, but were unable to capitalize off a great start to the drive. After a 53-yard bomb to Tyler Lockett set the tone, Los Angeles’ defense held its own in the final minute, forcing running back Christine Michael to fumble a short pass on third down.
The score of the game resembled a baseball score more than a football one, largely because of the defensive performances from both teams along with penalties. Although the Seahawks didn’t register their first sack of the game until the third quarter — a week after recording five against Miami — Seattle held up well against Los Angeles most of the day and contained running back Todd Gurley to just 51 yards. Still, the Seahawks committed 10 penalties for 114 yards, which included a face-mask call on a third down that would’ve handed them the ball with roughly 2:39 to go. Instead, that gave Los Angeles a new set and additional time to burn the clock.

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