Joanne graduated high school in 1947 and continued her education at Augustana College where she received a bachelor’s degree in nursing She worked in multiple hospitals throughout her life and served as a school nurse from 1971 to 1983 in New Ulm Later in her career she became a nursing and ER supervisor at Worthington Regional Hospital from 1983 until her retirement In retirement she was a member of the Elks Lodge She enjoyed watching the Minnesota Golden Gopher’s basketball and football teams John Grimstad and Joel Grimstad (Lisa); six grandchildren and Gabriel (Jessica); three great grandchildren Roberta Timmons (Bruce) and Robert Carlson (Karen) Beverly and Nettie May; an infant (unnamed) sister; brothers-in-laws: Hal Bergeson and Bill Hogan; and her former husband at Abiding Peace Lutheran Church; 401 Batesville Rd A Memorial Service will follow starting at 2:00 p.m Copyright © 2025 Ogden Newspapers of Minnesota Mikal Grimstad Uglehus is a rider who has already proven his worth as a promising talent the Norwegian hopes to take the next steps with Team Visma | Lease a Bike The team aims to help him become a better athlete in all aspects of the sport and Mikal shares that ambition for his future Subscribe yourself for the Team Visma | Lease a Bike newsletter and receive previews for races Nanette (Granquist) Grimstad; his children and Marcy (Douglas) Wojick; his grandchildren and Jazmine Wilkinson; three great grandchildren; his siblings 34th St.; visitation will continue Thursday from 10:00 am until the 11:00 am funeral service at Downs Life Celebration Center Placement of his remains will be in the columbarium at St Arrangements entrusted to Downs Life Celebration Center To leave an online condolence please visit www.downsfh.com healthcare in the United States has moved more from sanctity of life to quality of life according to a patient advocate who is coming to Delaware in April to deliver her message Julie Grimstad, vice president of the board of directors of the Healthcare Advocacy and Leadership Organization (HALO), will be the guest speaker at the annual brunch of the Delaware Right to Life. It will be held April 5 from 11 a.m.-2 p.m The organization has held a midweek dinner for years but is transitioning to a weekend event this year Grimstad was a nurse who moved frequently over the years because of her husband’s job Grimstad has found a way to become involved in pro-life activities That started in 1972 in the Diocese of Lincoln where she became an instructor of natural family planning She was influenced by the living will law in Montana was abandoned by a hospital after a reaction to a medication left her unable to swallow Grimstad helped her neighbor find another doctor who diagnosed the problem and helped her recover there was a similar case in Minnesota where a woman was denied treatment and I started being a patient advocate,” Grimstad said from her home in Bedford “Renew Medicine’s Reverence for Life by Protecting Your Own Life First.” According to Delaware Right to Life “the health care landscape is becoming more difficult and dangerous to navigate as vulnerable populations are targeted for lesser care and now Grimstad mentioned Dr. Ezekiel Emanuel, an oncologist and medical ethicist who once said it would be a corporate decision as to who lives and dies and that is actually what has happened in health care,” Grimstad said we’re seeing more and more decisions made based on what some doctor thinks the person’s quality of life is rather than the sacredness of human life.” Physician-assisted suicide has been a prominent topic in Delaware the past few years Grimstad said her organization does not fight it at the legislative level but it tracks legislation such as Delaware’s House Bill 140 which would make the practice legal in the state “Legislators don’t understand how dangerous these bills are,” she said They are promoted “with lies and subterfuge,” and the protections built into these laws are often expanded over time where voters approved assisted suicide in 1994 It has since been modified so that anyone can travel there and end their life “That makes assisted suicide legal all over the United States It’s pretty easy to hop on a plane and go to Oregon and get killed,” she said HB 140 would permit advanced practice registered nurses (APRN) as well as doctors to diagnose a patient’s terminal illness and prognosis is that most doctors don’t want to be involved in this practice (Doctors are not forced to participate in medical aid in dying under the proposed Delaware law.) There is good news for opponents of physician-assisted suicide three years passed before it was available to residents it was another decade before Washington joined its neighbor to the south there has not been an assisted suicide bill passed in another state in the United States So those fighting them at the legislative level have been really effective,” Grimstad said which elevates the capabilities of Grimstad Kulturhus’ Pan Theatre cinema and live performance space is the first in Europe to employ the new generation of Constellation alongside Meyer Sound’s NADIA integrated digital audio platform This combination uses advancements in digital signal processing to enhance system power enabling more discrete zones for greater resolution and more nuanced adaptability Central to the installation’s versatility is a system of custom-designed mechanical speaker mounts developed by the project integrator who have collaborated with Meyer Sound on several Constellation installs throughout Norway These mounts enable the venue’s loudspeakers to instantly transform from Constellation active acoustic enhancement to theatrical Dolby Atmos presentation The system is also capable of multichannel immersive surround and special effects controlled by Meyer Sound’s Spacemap Go spatial sound design and mixing tool The Meyer Sound Constellation installation designed by the Meyer Sound Constellation team in collaboration with LTB comprises 60 loudspeakers and 24 microphones Speakers include four MM-4XP self-powered loudspeakers which can be configured for Dolby Atmos and 5.1 or 7.1-channel surround includes three ULTRA-X40 point source loudspeakers three 750-LFC low-frequency control elements Both system configurations are managed by a NADIA core processor along with a Galileo GALAXY Network Platform which seats 76 for cinema and 100 for live events features an expansive LED wall used as a backdrop for performances and conferences; a traditional projector screen lowers from the ceiling for movie screenings.) October 19 the Harpers Ferry Area Heritage Society (HFAHS) along with representatives from the City of Harpers Ferry project contractors and multiple groups and organizations from the Harpers Ferry area joined together to celebrate breaking ground for the Harpers Ferry Museum in the Martelle Heritage Park with many of those gathered pictured in the photos accompanying this article “This is a big milestone for us,” HFAHS President Jane Hasek noted This event marks the culmination of Phase 1 of the project Plans are to have the footings and foundations for the museum building poured this fall Phase 2 will be the building process and exhibits The proposed structure is a 9,000 square foot building featuring a wrap-around porch to resemble the original Harper House built in the late 1880s by David Harper after whom the town of Harpers Ferry is named The building will house exhibits on local groups as well as artifacts pertaining to the history of the Harpers Ferry area There will also be a research room for visitors who want to do some family history research Fundraising for the museum continues with the group’s capital campaign, with hopes of completion of the project by 2026. For more information on the project or to donate, visit the Harpers Ferry Area Heritage Society website at https://www.harpersferryheritage.org/ or the group’s Facebook page Donations can also be mailed to Harpers Ferry Area Heritage Society Jump back to navigation Copyright 2012 | The Standard Newspaper | All Rights Reserved You are using an outdated browser. Please upgrade your browser or activate Google Chrome Frame to improve your experience Rachel Cockerell and Lili Anolik in conversation Online Only Paul Grimstad Unlike many of those who have written movingly about Tom Verlaine since his death at 73 on January 28 I never met him—not even one of those starstruck sightings at the Strand But if you were coming up in the ’90s and into guitar and songwriting you were bound to bump into that first Television record: in a cut out bin at the local record store The four guys looking out from the Robert Mapplethorpe photo on the cover (run through a Xerox machine to burn off some of the color) appeared malnourished The band name above them in stark white letters brought out the pulp sci-fi aura that hovered around the box in your parents’ living room: Tele-Vision And then you cued up the LP and something magical happened: it was punk rock for musicians funky in that square way that makes things funkier and all held together with a biting guitar sound close to Mike Bloomfield’s on Highway 61 Revisited but Television made their CBs confreres sound like Johnny one notes and weren’t afraid to stretch out and solo—they even had arrangements for god’s sake The punk-est part was Verlaine’s unsteady colt of a voice but with an adenoidal candor all his own that really was a fuck you to FM radio Verlaine grew up in New Jersey and Delaware where he teamed up with his friend Richard Hell to form the Neon Boys one of the founding bands of the Bowery scene that birthed American punk (Hell left soon after to form the Heartbreakers with Johnny Thunders “Little Johnny Jewel”—a noir-tinged vignette with a bone-dry guitar sound achieved by plugging directly into the mixing board material for an LP was demoed with Brian Eno this promising-on-paper collaboration came out entirely flat They eventually hooked up with Andy Johns (brother of Glyns) who showed up with ideas for a Zeppelin-y drum sound that horrified Verlaine (“No The approach they ended up with was  the audio equivalent of putting that Mapplethorpe image through a photocopier: tight and composed but with all studio sheen bleached out Marquee Moon (1977) sounds both dinky and grand Small miracles of performance and conception can be found all over that first Television record It helps that everyone plays their asses off The rhythm section of Billy Ficca and Fred Smith gives the guitars a fluid grid over which to launch a bunch of great ideas: the pinwheeling kaleidoscope that forms the nucleus of “Venus”; those 16th rest gear shifts that slice the chorus of “Elevation” in half; the solo of “See No Evil” which dissolves Framptonish puffery into a minimalist reboot of Chuck Berry; “Guiding Light”’s trad gospel F# triad over a pedal C# (hark—a piano!) over which Lloyd plays a throwback solo that wouldn’t be out of place on a Bob Welsh record My favorite moment comes eight and a half minutes into the title track after the two guitars have been squirming and spiraling their way out of the D major counterpoint with which the tune starts finally defaulting to bare ascending octaves only it has changed into a rainbow shimmer of arpeggios at the center of which there seems to be a bird chirping How Verlaine manages to get that bird to appear from out of his Fender Jazzmaster remains a source of wonder to me It’s one of the most gorgeous and mysterious things ever to happen on an electric guitar sun-dappled intro and a divine legato guitar line after the first chorus is one of the best things in the TV catalogue The closer “The Dream’s Dream” is full on psych and the LP’s one nod to expanded structure a la “Marquee Moon.” The CBGBs coterie was more or less initiated by Television and their quasi-manager Terry Ork who (so the story goes) suggested to Hilly Kristal that his honky-tonk dive could be a suitable hangout for people making new music on the Lower East Side That the founders of New York’s punk headquarters were unapologetic musos is something of an irony It undoes the cliché that the performances at CBs were a three-chord missile aimed at the lumbering dirigible of ’70s Rock Television’s relative musical sophistication in part stemmed from Verlaine’s starting points in jazz (his first choice to produce Marquee Moon was Rudy Van Gelder) Though a fan of John Coltrane and Albert Ayler and happy to hit a clam if it’s the right clam That the author of “Marquee Moon” called himself Verlaine (after the 19th-century symboliste) was one reason you might find half-read (probably not even) New Directions paperbacks of Baudelaire’s Fleurs du Mal and Rimbaud’s Illuminations lying beside copies of The Replacements’ Let It Be and Dinosaur Jr.’s Bug in your bandmate’s filthy apartment The lit-rock thing was in part a response to the decisive shock of versification that popular music received at approximately the moment Dylan sang “she wears an Egyptian ring it sparkles before she speaks” in 1965 that kind of songwriting was just as likely to have been associated with Verlaine even as they had been clearly filed to the bone: I remember how the darkness doubled; Broadway looked so medieval it seemed to flap like little pages; My eyes are like telescopes; Well the Cadillac These were the sort of future-noir tableaux the bumpkin magus Rimbaud had prophesied in his wild visions of cities and which run through The Big Sleep It was enough to make you move from rural Wisconsin to New York City with a Telecaster and a bunch of songs and the hope of finding a red jacket like the one Richard Lloyd is wearing on the cover of Adventure acquired from a girlfriend in a trade for my hardcover copy of Martin Amis’s The Information I later learned that the coat had been shoplifted from the J.Crew off the Bowery There’s a lot more Verlaine than Television he made six solo records marked throughout by shades of rockabilly and early rock ’n’ roll affectionate hat tips to the Velvets in their lucid third LP mode period art-pop with requisite doses of synth Bowie recorded Verlaine’s “Kingdom Come” for his excellent 1980 record Scary Monsters and Super Creeps in which he tests out one of his most outlandish Ethel-Merman-on-PCP vocal vibratos (which I always took to be his weird tribute to Tom’s singing style) To be targeted by the Ziggy/Aladdin/Duke was of course a badge of distinction as well as a testament to Verlaine’s auteur-like vision Many of the tracks on Verlaine’s solo records fit no recognizable template or genre a set of asymmetric songs bathed in a kind of glowing frost features bit parts by fictional characters like “Mr Blur.” The sui generis “Days on the Mountain” from the next record Words from the Front (1982) wholly defies comparison: I will refrain other than to say that Verlaine sounds delighted to be “walking around the inside of a bell.” On “Lindi-Lu” from Cover (1984) he’s singing in a faux-SUN hiccup over pulses of synth and guitar that for some reason make one think of moves in a game of Connect Four These records show that the electric guitar had become for Verlaine an expanded palette for making mixing desk mini-compositions A single riff might be three separate takes of three different guitars going through three different amps panned across the image to create a single impossible part You can feel the work getting further into the ’80s as the gate reverbs on the drums become more extreme and conspicuous—really everything sounded like Peter Gabriel’s SO in 1987—but the guitar playing never strays far from Verlaine’s fingerprint the original members of Television reunited making an album that picked up where “Little Johnny Jewel” left off Recorded with the kind of care that had come to mark Verlaine’s solo work—hyper-fastidious guitar and amplifier choices et cetera—it’s a wonderfully lithe and spooky set of tunes And they are not just delicacies from the Guitar Lab Ficca forces everyone to push against the clock the quartet more than once finding that slight vertigo when backbeat becomes unmoored from the metronome (see the outro of “Shane Verlaine the lyricist is more that usually oblique throughout: I could just sort of not be there I saw them at the Barrymore Theatre in Madison Wisconsin when the third Television record dropped They did the whole thing in order then walked offstage came back ten minutes later and played “Marquee Moon” and were done That year Verlaine also released Warm and Cool an instrumental album that sounds like the theme music to the Twilight Zone on a blind date with a Morricone spaghetti western score He went on to make one more instrumental guitar record The great gaps between releases from 1992 until his death only added to allure of the man and his work It moves me to think how much Tom Verlaine meant to my friends and I growing up “This is the longest we’ve sat shiva,” said a close pal when the Verlaine thread was still going a week after the news When someone who wrote music you care about dies it dawns on you that they played a role in the scary unplannable catastrophe of the person you have become Verlaine shaped the identity of at least one whole generation of artists amid the sleaze and cacophony of that cavernous room off the Bowery could sing of falling into the arms of Venus and maybe all the way to the trobar clus of the wandering troubadours I’d like to think he’s hanging out somewhere with that bird he made appear from out of a guitar The red-pilled among us might argue that the Pleats themselves made me trans Hip-hop is a music before it is a sociological lens The idea of a “thoughtful anthology” is quixotic by definition damned from the outset to reflect reigning orthodoxies n+1 is a print and digital magazine of literature We also post new online-only work several times each week and publish books expanding on the interests of the magazine Terms & Conditions | Privacy Policy The information on this page is intended for journalists If you click NO you will come back to Mynewsdesk.com Morrow Batteries ("Morrow") is implementing strategic measures to secure start-up of production of commercial LFP batteries and advance its proprietary battery technology at its research centre in Grimstad Other projects will be postponed to concentrate on core activities that drive immediate value creation These changes will result in a workforce reduction of 50 to 60 positions leaving the company with approximately 180 employees The owners of Morrow have invested NOK 3.3 billion in equity while Innovation Norway has recently approved loan facilities totalling NOK 1.5 billion delays in obtaining work permits for technical experts from Asian equipment suppliers this fall have pushed the start of production by four months This has led to additional costs of NOK 100 million and delayed revenue streams Morrow is taking steps to reduce costs and accelerate the timeline for achieving profitability learning from our own and others' experiences At a time when many green industrial projects are struggling Morrow has secured government support through loans from Innovation Norway and achieved significant progress toward commercial production of LFP batteries by Q3 2025," said CEO Lars Christian Bacher "Investors and customers expect to see large-scale production before investing or signing new contracts Developing proprietary battery technology remains a key element of our strategy "Our approach is stepwise growth rather than aggressive scaling We must earn our right to grow and are at the same time in dialogue with Arendal Municipality regarding land for our next developments," Bacher added A thorough review of potential cost reductions has been conducted The company will discontinue activities at Kjeller and its office space in downtown Arendal while reducing staffing at its Oslo office Operations will be concentrated at the Arendal factory and the research centre in Grimstad These changes are being implemented in close collaboration with employee representatives “I deeply respect how challenging this situation is for all employees affected; particularly those losing their jobs but also those who remain We are saying goodbye to valued colleagues in the coming months,” said Bacher these measures are now necessary to ensure the success of our production as a foundation for future growth we will still be a significant private employer in Agder.” “The loan facilities from Innovation Norway provides us with longer-term capital access than we’ve ever had before and employees to maximise the value of all available resources,” Bacher emphasised “These steps are essential to fully launch battery production Leadership: Chairperson Liv Monica Stubholt; CEO Lars Christian Bacher Morrow Cell Factory (MCF): Europe’s first gigafactory for LFP (Lithium Iron Phosphate) batteries located in Arendal Morrow Research Centre (MRC): Located in Grimstad and low carbon footprint; ideal for energy storage systems and heavy machinery LNMO Batteries: A new technology reducing cobalt use and nickel content for higher sustainability and energy density Collaborates with over 30 research institutions on battery chemistry innovation Memorandum of understanding with Proventia for battery supply for heavy machinery Agreement with Ukraine’s Office for Energy Efficiency and Energy Saving Follow our journey at morrowbatteries.com and @MorrowBatteries on LinkedIn When you choose to create a user account and follow a newsroom your personal data will be used by us and the owner of the newsroom for you to receive news and updates according to your subscription settings To learn more about this, please read our Privacy Policy, which applies to our use of your personal data, and our Privacy Policy for Contacts which applies to the use of your personal data by the owner of the newsroom you follow Please note that our Terms of Use apply to all use of our services. You can withdraw your consent at any time by unsubscribing or deleting your account. the names of the different Triscuit varieties on the shelves were mystically annexed to Humbert Humbert’s monologue: “Ladies and gentleman of the jury Though audiobooks have their origins in recordings made for the blind as early as 1948 (Helen Keller called such books “the most valuable tool for the blind since the development of Braille”) with awards for production and performance (Audies) dedicated online forums for review and appraisal (AudioFile magazine) and publishers’ “beginner’s guides” to cultivating a relationship with audiobooks The audiobook’s ascent into full-blown aesthetic autonomy came with the arrival of the iPod and its MP3 file format in 2001 population has listened to an audiobook (in Sweden although it is tempting to evaluate audiobooks against the benchmark of physical books they are really an entirely different thing flip the book over to scan the insipid blurbs or all the other desultory nonlinear things we do with books though not entirely; you can set the speed at quarter increments And audiobooks are not at all the same thing as a podcast a member of the great Mets lineup that won the 1986 World Series I hear Keith on cable TV two or three times a week during baseball season so I get my fix in the offseason by listening to him tell stories about getting into scrapes with drunk umpires in the minor-leagues on up to becoming an eleven-time gold-glove winner and his appearances as himself on a couple episodes of “Seinfeld” (not to mention the Ph.D.-level insights about the science of hitting along the way) (Americans in Christie are always millionaires.) had a career going back to the golden age of radio and was once named “Best Female Narrator” by the Audio Publishers Association.) a field that nicely dovetails with the ecological-disaster settings of much of the science fiction in eccentric feats of endurance undertaken under wildly varying microphone quality and often including unedited lip smacks and popped “P”s and endearing attempts at correct pronunciation of original languages There’s a Wild West of audio lit out there A long-ago crime, suddenly remembered A limousine driver watches her passengers transform The day Muhammad Ali punched me What is it like to be keenly intelligent but deeply alienated from simple emotions? Temple Grandin knows The harsh realm of “gentle parenting.”  Retirement the Margaritaville way Fiction by F. Scott Fitzgerald: “Thank You for the Light.”  Sign up for our daily newsletter to receive the best stories from The New Yorker. Charlie Parker collapsed in the Baroness Pannonica de Koenigswarter’s Upper East Side apartment after a three-day booze binge The improviser of superhuman poise was dead at thirty-four eliciting solemn observance from musicians and fans particularly those who’d been hanging around Minton’s Playhouse in Harlem where a new kind of music called bebop had been invented “Bird has disintegrated into pure sound!” is said to have been overheard somewhere near the Five Spot on Cooper Square the Beat tavern where much bad poetry was recited and where some great musicians nightly turned the style that came out of Harlem into ever more febrile and kinked contortions Part of the Bird enigma was the impossible fusion of musical angel and reptilian addict a miraculously graceful artist who might steal your horn and pawn it for smack Four months after Bird’s death, his one-time personal assistant Miles Davis seduced everyone at the Newport Jazz Festival, performing a tune called “Round Midnight,” written by someone who had been part of the Minton’s scene but was still an underground figure: Thelonious Monk who had only a handful of records under his belt and he was the pianist behind Miles for the Newport performance which would help the younger musician sign with Columbia records An oft-told anecdote has the two sharing a car back to New York “You weren’t playing the tune right,” Monk says to which Miles replies that he is just jealous at which point Monk orders the car to pull over and takes the ferry to the city alone The Newport set came about midway through Monk’s career Over three decades he played on more than a hundred records collaborating with artists as different as Sonny Rollins and Gerry Mulligan even those who would later do away with harmony and structure “Of all the bop greats Monk’s influence seems second now only to that of Charlie Parker,” Amiri Baraka wrote in 1967 who both spent mornings practicing at his tiny apartment on West Sixty-Third His career began with sporadic recordings on the Blue Note and Prestige labels his financial troubles worsened in 1951 when he was arrested—with his friend the great bebop pianist Bud Powell—on drug charges and was left without his cabaret card for a half dozen years he found new momentum but only reached a wide public in 1962 joining a roster that included Miles Davis and Charles Mingus his profile dramatically grew; two years later he even appeared on the cover of Time he had become a respectable pillar of the music’s evolution as seen in Ken Burns’s 2001 PBS documentary Jazz But neither a cult reputation as a pioneer of bebop nor American canonization quite does justice to Monk who was simply one of the most imaginative composers of the twentieth century a judgment that in my view does not require the qualifiers “jazz” or “American.” What made Monk a great composer was his way of putting a tune together and the stamp he put on pianism—his unique approach to chord voicing phrasing and accent—was inseparable from his being a great thinker in song form he had a gift for reconciling musical experiment with the immediacy of pop finding freedom in the constraints of a verse-chorus-bridge grammar that might otherwise default to clichés he worked out their possibilities over the course of his career with admirable stubbornness and conviction If the axioms were laid down at Blue Note (1947–1952) revised here and there at Prestige (1952–1954) showed what kinds of proofs could be argued from them in 1917 in a home where he might have heard some live music: his father could bang out ragtime on the piano as well as play harmonica as Robin Kelly notes in his staggeringly thorough biography Thelonious Monk: The Life and Times of an American Original (2010)—from which this essay draws most of its factual information The family relocated to New York City in 1922 moving into Phipps housing in the San Juan Hill neighborhood at West Sixty-Third Street where Monk began taking piano lessons from a neighbor Jazz was then dominated by swing bands like Duke’s It was from that kind of playing that Monk developed a serious interest in the instrument Dropping out of Stuyvesant High (where he had excelled in math) playing with a traveling evangelist for two years He had a gift for reconciling musical experiment with the immediacy of pop as if Monk is pausing to choose an expressive coloring that will best convey the melody Monk had an original sound marked by angular phrasing odd as that sounds in the case of an instrument as fixed in its design as the piano he played with both a bell-like purity and a harsh (Philip Larkin later called him an “elephant at the keyboard.”) Like the philistine who asserts that Dylan “can’t sing,” hearing Monk as a “bad” pianist misses something so fundamental you don’t know where to begin Play it.”)—all this blurred into an aura of mere eccentricity The myth was reinforced by Monk’s propensity for Zen-like aphorisms about musical aesthetics such as the claim that the “inside of the tune is the part that makes the outside sound good.” By this he seems to have meant that the B section (the inside) casts back over the A section revealing the song’s shape as it unfolds in time Think of not knowing that a tunnel fans out and widens (until you get there) or of journeying through a circle and slowly discovering it is a sphere Another Monkism was the importance of swinging at slow tempos which made the push against the metronome more stretched and exaggerated is a good example of his compositional approach The opening section is studded with obstacles specifically an eighth rest and a quarter rest on either side of an A in the third measure which throws off what the ear expects as the completion of the phrase on a later recording of the tune for the Columbia LP Criss Cross giving it a much straighter feel.) That section is then contrasted with a second idea chromatically descending tones ping-ponging against a repeated G doubled in unison with Milt Jackson’s vibraphone chugging on over its gloomy riff for ten and a half minutes as was Orrin Keepnews—an industrious Columbia undergraduate who helped edit the jazz newsletter The Record Changer and had befriended Monk years earlier Keepnews eventually lent Monk the $108 and change to get Prestige to end the contract and signed him to his own new venture and nurse—the Baroness in whose apartment Bird had died It is a good example of “swinging at slow tempo,” its tipsy melody turning around like a revolving oval There happened to be a celeste in the Reeves studio that day prompting Monk to use it for the first go round on “Pannonica,” which adds a plunky lullaby sheen to the arrangement Whitney Balliett, who wrote about jazz for The New Yorker for almost fifty years, said of Monk that “his improvisations were molten Monk compositions and his compositions were frozen Monk improvisations.” A particularly extravagant instance of that thought is the outtake of “Round Midnight,” recorded as part of the Thelonious Himself (1957) sessions and included on the Complete Monk on Riverside (1986) box set Monk comes at the tune’s ideas from different angles circling back elliptically to repeat whole sections like he’s turning an object around slowly and letting the light hit it in different spots One begins to think of the track less as a discrete composition and more as an atmosphere a distributed range of musical possibilities organized around the incomparable melody which holds the pieces together like a recurring dream Fingers rigidly horizontal over the piano keys and somehow conveys the ups and downs of life and the recurring tenderness of coming home to a family If asked to identify a single tune that best encapsulates Monk’s unique approach to composition, I would consider “Played Twice” from 5 by Monk by 5 (1959) It opens with three whacks on an open hi hat then a figure enters suggesting the key of Db it’s less a key change than a melody so strangely shaped it suggests modulation and which soon moves from that apparent home base of C to a major 7 figure that playing on another half step (between C and B) which reveals an appealing mirror structure whereby half step chord voicings are reflected in half step moves in the melody which are in turn somehow also reflected in how one section shifts to the next Monk was ready to leave Riverside after a buildup of distrust toward Keepnews and some evidence of shady royalty handling and bookkeeping practices immediately shot off a note to the label administration which offered Monk a deal with more money in advances than he’d ever seen the rooms (like the Thirtieth Street “church” where Glenn Gould’s Goldberg Variations and West Side Story The sound capture of the piano on the Columbia dates is like a gleaming Cadillac—and to overextend the analogy and on Blue Note a Model-T (in good condition) But those fat advances have to be paid back which necessitated some “hit-making.” It is likely that the financial pressure led to wrongheaded strategies including some truly dismal canned “rock” composed by Macero A late Columbia studio LP Underground featured a cover depicting Monk sequestered in a bunker among strangely militarized paraphernalia—hand grenades Coyote might order from the Acme Corporation—as well as a cow as if Columbia thought airbrushed Black power optics might be combined with a reboot of the “weirdo” brand to jump start sales Monk did not fulfill the Columbia contract as his occasional spells of bipolar catatonia for which he had been misdiagnosed (first Thorazine for “depression” then electroshock for “schizophrenia”) gradually ceased to be episodes spending most of his time in New Jersey at the Baroness Pannonica’s house with her and her hundreds of cats Many mornings he got fully dressed and then spent all day in bed A mark of Monk’s originality is the way others have found ways to elaborate upon it all cut Monk records that are also extensions of their own aesthetic Distinguished pianists from the next generation—Stanley Cowell and Gonzalo Rubalcaba come to mind—have taken up his quirks of keyboard phrasing in a sense perhaps comparable to the way Monk mashed up Johnson and Waller and Tatum Terry Adams of NRBQ made a record of Monk covers that shows how amenable his music is to rhythm-and-blues combos of a sort that aren’t too far from rock-and-roll Taking all the humble nonlinguistic bones of song he bent them toward his own specific needs and vision But Monk’s wholly original songwriting is his most lasting legacy and “hook”—all the humble nonlinguistic bones of song—he bent them toward his own specific needs and vision he becomes part of a broader renaissance of American song in the second half of the twentieth century We think of how Brian Wilson changed the concept of arrangement by approaching the multitrack studio as a set of timbral and dynamic possibilities of how Dylan made vocal phrasing itself a medium of invention of Frank Zappa’s whiplash edits between doo-wop and serialism of Joni Mitchell’s way of thinking in open tunings of Steely Dan spiking FM radio with queasily expanded chords and harmonies—and these last two certainly know their Monk If it seems a stretch to treat such examples as Monk-adjacent that’s because there’s a tendency to think of songs as readymade schemas designed either to deliver a sing-along chorus or to reinforce insipid genre clichés its rules invite one to be more imaginative its constraints give one more freedom—an understanding of freedom apparently preferable to Monk who referred to “free jazz” as “getting rid of structure and simply piling a lot of notes one on top of the other.” While the seventy or so originals Monk wrote and recorded in his lifetime form a planet with its own laws and atmosphere they are also in constant conversation with a tradition of song as a tightly rule-bound medium When Monk said simply “jazz is freedom,” he might have been referring to his own strikingly original way of thinking and working in song form In a media environment that tolerates tail-chasing The Baffler is a rare publication willing to shake the pundit class free of their own worst impulses But running a charitable organization of this magnitude requires serious dough and subscriptions only cover a fraction of our costs we rely on the good will of generous readers like you So if you like the article you just read—or hate it so you can ridicule us online for years to come—please consider making a one-time donation to The Baffler Paul Grimstad is a writer and musician based in New York He teaches in the humanities program at Yale A double LP of his songs and score work is forthcoming from Fire Records in 2023 Bucket Hat / $30 2021Jimi Hendrix’s Woodstock anthem was both a protest of the violence of a wholly unnecessary war and an affirmation of aspects of the American experiment worth fighting for.Photograph by Larry C Morris / NYT / ReduxSave this storySave this storySave this storySave this storyThe summer before seventh grade I started wearing my dad’s Stetson hat and paisley bathrobe which I believed approximated the bell-sleeved garment that Jimi Hendrix wore in the poster on my bedroom wall—a strange rendering in iridescent pastels playing a righty guitar lefty so that it was I wore the outfit for a class presentation that fall and did the opening ten or twelve bars of “Purple Haze.” The amp was way too loud for the room But I had put work into learning the song and was determined to share the entire solo A vinyl copy of “Are You Experienced?,” found at the public library the year before had led to hours spent hunched over a turntable slowing down the r.p.m.s to make it easier to parse the solos on “Hey Joe,” “Third Stone from the Sun,” and “The Wind Cries Mary.” By going full Talmud on Hendrix and had become an indefatigable Hendrix proselytizer Kids had spray-painted “Clapton Is God” on the walls of the London Tube station an act of protest whose power and convincingness were inseparable from its identity as a fiercely nonconformist act of individual expression Hendrix had been a paratrooper in the 101st Airborne (from which he was honorably discharged), and the young men fighting and dying in Vietnam are evoked in the sounds that start eating away at the tune at about the place the words “rockets’ red glare” would be sung all seem to swirl around in the feedback and distortion Hendrix toggles between two notes a semitone apart while burying the guitar’s tremolo bar turning his Fender Strat into a doppler warp of passing sirens or perhaps the revolving blades of a helicopter propeller A snippet of “Taps” toward the end makes explicit the eulogy for those left on the battlefield transcending Vietnam and becoming a remembrance of all those lost to the violence of war the mongrel machine that Hendrix made into a medium for a new kind of virtuosity In the Woodstock performance of the national anthem we find that an electric guitar can be made to convey the feeling that the country’s history could be melted down in his own “Song of Myself,” that he contained multitudes Hendrix was asked about his own “unorthodox” take on the anthem Annabelle Boudreau arrived in court with her victim impact statement in hand She had been too exhausted to attend the reading of the verdict she described to the judge the years of mental and emotional scars he had caused “I will not allow Gus Grimstad to walk freely among society knowing what he is capable of,” she said the lies and the manipulation he is capable of A wave of relief washed over Boudreau when she finished when Grimstad’s attorney referenced a letter in support of his character written by his coach at the University of Wisconsin-Stevens Point the NCAA Division III college where Grimstad competes for the men’s swimming team and that the school wasn’t informed properly,” Boudreau told USA TODAY Grimstad’s case exposes the shortcomings of a recently adopted NCAA rule that requires schools to annually vet athletes for incidents of sexual or violent misconduct Although athletes typically have been minors for most of their lives by the time they play in college the rule does not require schools to ask about juvenile cases a Minnesota juvenile court jury had found Grimstad responsible for sexually abusing Boudreau on several occasions over three years a judge would order Grimstad – by then an adult adjudicated delinquent of crimes committed as a minor – to undergo sex offender treatment and register with the state’s Predatory Offender list for a decade told USA TODAY he disclosed the matter to his coaches but declined to comment further referring additional questions to his school has completed court ordered probation and is continuing to focus on being a contributing member of society.” Grimstad’s primary defense in court was that Boudreau had invented a false memory with no basis in reality arguing the judge erred by not allowing him to call an expert in false memory as a witness His appeal was denied by the state’s Court of Appeals in November and the Minnesota Supreme Court affirmed that denial on Jan UW-Stevens Point officials declined to speak to USA TODAY or answer written questions about their handling of the situation “The university learned about general circumstances surrounding the student’s behavior as a juvenile after his arrival to campus,” spokesperson Carrie Heibler said in a statement members of the Threat Assessment Team and other university officials reviewed the matter and determined there was no ongoing concern for public safety we will have no further immediate comment.”  She hoped his sentence would keep him far away from other women and girls in the world of college sports it wouldn’t even be enough to keep him out of the pool Grimstad led his team to first-place finishes in three events at one meet UW-Stevens Point would name him Athlete of the Week Grimstad’s case raises thorny questions about where colleges should draw the line on athletes who engaged in criminal acts as children juvenile delinquency records don’t prevent people from enrolling in school or getting jobs as adults and recidivism rates among juvenile sex offenders are low But some experts say that uplifting and celebrating athletes found at fault for sexual violence excuses their behavior undercuts campus safety and sends a message that success in sports takes precedence “We have to think about the bigger picture of people’s lives,” said Kristy McCray an Otterbein University professor who studies sexual violence in sports “I’m not saying that the worst choice you’ve made in your life at age 14 should dictate the rest of your life – but it should dictate some of what you end up doing.” Even though Grimstad’s school and conference now know of his history “He continues to do what he’s been doing his entire life and has had no sort of punishment,” Boudreau said To evaluate whether to recruit athletes with histories of sexual violence athletic departments first have to be aware of incidents in their past which took effect in the 2022-23 academic year requires colleges to “take reasonable steps” to determine whether athletes have been criminally convicted or disciplined by a school for a range of serious misconduct dating violence and assault causing serious bodily harm The NCAA’s highest governing body adopted the rule in response to a series of scandals in which coaches recruited athletes with histories of violence against women some of whom were later accused of reoffending It declined to issue a uniform questionnaire centralize the vetting process or define “reasonable steps.”  The result is a patchwork of protocols full of loopholes and gaps a copy of which USA TODAY obtained through a public records request pled guilty to or pled no contest to any crime involving acts defined above as interpersonal violence sexual violence or other acts of violence?” Juvenile delinquency adjudications are generally considered distinct from criminal convictions a psychologist and University of Wisconsin-Madison lecturer who studies and treats juvenile sex offenders NCAA Survey: Colleges rely on honor system when checking sexual assault background of student athletes Iowa State was the only one whose questionnaire specifically asked athletes about offenses that required registration with law enforcement whose board comprises primarily college presidents and athletic directors declined at the time to answer questions about individual cases or its policy’s effectiveness the responsibility of each institution to comply with all policy components and to develop any necessary processes to ensure they successfully implement the policy and can attest to their compliance,” NCAA spokesperson Chris Radford said in an emailed statement The NCAA should create a standardized questionnaire with more comprehensive questions adding that no number of boxes on a form alone will change the culture of college sports “It would not be that hard to figure out if they wanted to know,” she said this is just all about compliance and regulation and not actually thinking about the root causes of sexual violence and rape culture.” Even when schools know of athletes’ troubled juvenile histories nothing in the NCAA policy stops schools from letting them play In an infamous case Oregon State University kept on its baseball team a star pitcher named Luke Heimlich after a news article revealed he was a registered sex offender who had pleaded guilty in juvenile court as a 15-year-old to sexually abusing his 6-year-old niece another woman filed a lawsuit accusing two University of Kansas football players – center Mike Novitsky and safety Andrew Russell – and two other men of raping her in upstate New York the night before their high school freshman orientation The lawsuit said the men took photos of her during the assault posted them on Snapchat and showed them to other classmates who humiliated and ridiculed her for years the colleges allowed the accused athletes – who deny the allegations – to continue playing none of the four schools’ disclosure forms ask about sex offender registration or civil lawsuits Kansas is among the few schools whose form does ask about juvenile cases Power 5 school that disqualifies athletes from competing if they have been found delinquent in a juvenile case of a sexual or violent offense who do not appear to have ever been charged in juvenile or criminal court The parties settled the lawsuit this summer after a judge denied the defendants’ motions to dismiss The woman and her attorneys did not respond to numerous messages seeking comment Novitsky and Russell declined interview requests “These allegations against our families are just that allegations,” attorney Michael Appelbaum said in a statement on behalf of all four of the accused men's families “The civil action was vigorously defended and was resolved and discontinued early in the discovery process to avoid further litigation and expense for all concerned.” Kansas athletics spokesperson Daniel Berk declined to answer questions about the case including when school officials learned about it and whether the athletes disclosed it who recruited both players and had coached Novitsky at the University at Buffalo “The University of Kansas is aware of a resolved civil lawsuit filed against two current KU student-athletes related to alleged conduct from almost a decade ago when the student-athletes were fourteen years old,” Berk said in an emailed statement “The student-athletes were never charged or held liable for any of the allegations in the civil lawsuit and the student-athletes have denied the allegations The University has followed all applicable policies and procedures with respect to this matter.” Initial charges land during freshman yearFor two days in Hennepin County juvenile court Boudreau took the witness stand and fielded questions about the darkest moments of her life Grimstad’s grooming behaviors started during family gatherings in a basement bedroom of their grandmother’s house in Edina She described her cousin’s made-up games and awkward massages that would lead to him groping her body or placing her hands on his genitals and how at night he would climb in her bed and rub his erection on her she became terrified to stay in the room and instead slept in a closet under the staircase After three years of inappropriate touching Grimstad raped her during a family vacation in Arizona in December 2019 She disclosed the incident in May 2020 to her mother who took her to the hospital and contacted police The Gilbert Police Department investigated but no charges were filed while seeing a therapist and attending group sessions at a child advocacy center Boudreau reported the sexual touching at her grandmother’s house that would become the subject of the juvenile court case Grimstad denies the allegations in Arizona as well as any “over-the-clothes touching,” according to his attorney The Hennepin County Attorney’s office charged Grimstad with three counts of criminal sexual conduct according to a letter from the office in December 2021 notifying her family of the charges It would later add a fourth charge for the same crime The initial charges came during the fall of Grimstad’s freshman year at UW-Stevens Point just a few weeks into the start of swimming season The NCAA rule would kick in the following summer The university’s form doesn’t ask about pending cases the 12-person jury found Grimstad guilty on three of the four counts the jury found Grimstad not guilty of the charge involving sharing a bed with Boudreau In addition to requiring treatment and registration as a sex offender a judge ordered him to serve probation for two years and pay $7,300 in restitution to Boudreau The judge also imposed a stayed sentence of 90 months in prison which Grimstad would not end up having to serve Under a 1994 Minnesota law designed to keep child offenders out of adult prisons minors in “extended jurisdiction juvenile” – or EJJ – cases receive both a juvenile disposition and an adult sentence Grimstad turned 21 in February and apparently met the required conditions Treatment is a far more effective tool than incarceration for rehabilitating first-time juvenile sex offenders for whom recidivism rates are generally below 5% understanding the bounds of appropriate sexual behavior is part of their brain development So judges can take some comfort in imposing EJJ sentences because it provides an accountability mechanism for the small fraction of perpetrators who don’t respond well to treatment “If you have that typical kid whose actions are part of this developmental process and who just goes off the rails he should be someone who you can get back on track and will do well for the rest of his life,” Caldwell said “EJJ gives you kind of a backstop in case that doesn't happen and he continues to have some serious problems.” About a month after the sentence was handed down Annabelle’s parents saw online that Grimstad was competing again for UW-Stevens Point contacted an associate communications director for the athletic department and told him about the case He told USA TODAY that he warned them about his nephew’s proximity to female swimmers and to children who use the college’s public pool president and other school officials a link to Grimstad’s page on the online sex offender registry for his home state of Iowa which noted his adjudication and the age of his victim: 0 to 13 UW-Stevens Point athletic director Brad Duckworth called back Duckworth said that athletes must fill out a conduct disclosure form before each season and indicated Grimstad had not checked any of the boxes The 2022-23 swimming season had started before the verdict added that Grimstad’s coach – the one who wrote the character reference letter on his behalf at his sentencing – had been unaware of the details of the case Duckworth did not respond to multiple email and phone messages seeking comment saying he didn’t care if Grimstad was Michael Phelps changed when he called back a few weeks later Duckworth said his hands were tied because the school had been unable to verify Grimstad’s conduct record Grimstad’s page had been removed from the Iowa sex offender registry website – a standard practice when the offender moves to another state A search for Grimstad’s name on Minnesota’s online Predatory Offender List yields no hits; the state reserves its online registry for registered offenders who fall out of compliance with their reporting requirements He also does not appear on Wisconsin’s online registry whose website states that juvenile information is not open to public view Several studies have found sex offender registration can cause significant harm to juveniles while the safety benefits are minimal Chris Boudreau said Duckworth assured him that Grimstad would have to fill out the form again for the 2023-24 school year Chris Boudreau sent the school documents – including the Court of Appeals’ and Supreme Court’s public denials of Grimstad’s appeal – but it seems to have made no difference racking up the 10th-most points of all male swimmers in the Wisconsin Intercollegiate Athletic Conference UW-Stevens Point named Grimstad Athlete of the Week again in January for the third time Second-place finishes in the butterfly and individual medley and a team win in the 200-yard medley relay at the WIAC championships last month earned him another honor: All-Conference “It’s so infuriating and burns in your gut,” Chris Boudreau said “To see him celebrated after what he did to my daughter Kenny Jacoby is an investigative reporter for USA TODAY covering sports and sexual misconduct. Contact him by email at kjacoby@usatoday.com or follow him on X @kennyjacoby Click here to read our spring 2025 issue, featuring Caught by the Tides' Jia Zhangke and Zhao Tao, our annual spotlight on locations and more... Filmmaker: And what does Baudelaire have to do with music Filmmaker: What’s the relation between literature and music for you For so long I tried to keep my songwriting and composing separate from prose writing I thought they were totally different things The part that writes songs and plays in a band is the thing you do late at night in bars and the part that studies Emerson and Henry James and Shakespeare is the stuff you’re doing in a nice sunlit classroom during the day I’ve got these deep formative musical memories going back as far as I remember; something like Wings’ “Silly Love Songs” playing on the radio in my mom’s car or like “Dancing Queen” by ABBA — these remain totally undiminished and vivid audio memories my dad’s brother would get him all these strange and sometimes lavish Christmas gifts like super powerful telescopes and special gloves for holding a falcon and things that were you know just sort of cool and out there the Christmas gift was this state of the art mini-“workstation” Casio three-octave synth with onboard drum sequences like little samba and swing and pop-rock patterns an octave of bass pedals that would do looping ostinatos when you held them down This was just a completely marvelous machine to me [pause: Grimstad orders plate of French fries and glass of red wine from White Horse waitress] My dad messed around with it for a day or two and forgot about it and this Casio just sort of became mine some of them actually quite long and involved with whole stories and rosters of characters I remember one about a vampire who’s deeply into Nestlé crunch bars another one about a villain called “Teebo” who lives in a hut on a golf course So that whole world of the Casio was fucking central for me and in a way I have never left it; I still spend hours and hours alone in a room programming drum machines writing lyrics out in notebook to metered loops created on a sequencer… another memory about the same time as hearing Wings on the radio is of my grandmother making me recite the “Jabberwocky” while standing on an ottoman in her house in Madison had a copy of Alice in Wonderland that she got when she was a girl which means it must be like the 1915 edition or something Silver: So in the end music and literature are fused together for you… it’s whatever throws you into the frenzy of wanting to make something I am trying to see it all as one big thing and not as separate compartments so if it’s a Lovecraft story that throws you into a frenzy or a riff from a Wayne Shorter record…I think the channels go in multiple directions and there’s no rules or laws about how one thing leads to another the two most important are music and literature I just reread Michel Houellebecq’s Lovecraft biography and it led me to go back and read a lot of Lovecraft again “Charles Dexter Ward,” all of this is just almost unbearably intense shit There’s a lot of psychedelic intensity in Lovecraft that’s not all that different from So that very well may lead you to throw on a record you’ve got the guitar or you’re at the piano and writing a song or and the way to express it is to get to work on something you start getting so fired up that the only possible response is to try to make some of it yourself Filmmaker: So that would make sense why you would enjoy composing music for films One of the very rewarding and satisfying things about doing film music is that you’re in this soup of different media: it’s narrative and as a composer you’re mixing in this weird glue It’s actually almost scary how much power you have You can essentially define what a scene means A single piano chord can totally define the mood of a scene That’s what’s so fun about composing for a movie but you also have to be careful So much film score work is saying no to ideas and rejecting things because you just don’t want to do something silly because a scene can flip instantly from gravitas to farce with a dominant seventh chord instead of a major seventh chord Filmmaker: How do you usually work with filmmakers when you tackle the score Grimstad: Different projects have been different Some of what I think of as the most successful work — not just the music but the overall cohesiveness of a movie — has been when I’ve written to picture There’s an element of synesthesia there I actually am a “synesthete” by the way I was called a synesthete when I was eight or nine years old cause I told an art teacher at my school that the days of the week had colors the sound of the words of the days of the week that had colors attached to them I still remember that it’s Monday is green And that just made immediate and obvious sense to me I have you write music before any of the movie is shot What you do is you help change the shape of the movie because the compositions you come up with dictate how scenes play out in the edit Grimstad: You and I have a different way of working We’re both so verbal and share so many reference points in literature that we would just have long conversations and that would be enough for me to get an idea of what I should write In the case of Stinking Heaven and Riot [premiering this weekend at NYFF] that stuff was written out of a sense of a shared conceptual terrain that we’d cooked up out of conversation: Rimbaud The “brick” method we devised [the brick: a thirty-minute track that contains a series of timbral and rhythmic variations on a theme] works to facilitate that because you had so much leeway to pick and choose whatever worked And you basically get a salad bar of leftover music that you can use for whatever you want You just took a piece from the Stinking Heaven brick chunk of opium — I wanted the idea that the material you were given was psychoactive intoxicating — it was like a magical powder a potion that you could add to anything and it would make it turn on Filmmaker: And that’s what it did for the scenes: we would throw in the music and edit to it and suddenly the scenes would come together that’s what I mean: the responsibility of the composer is huge You have to be really careful what you’re doing because it’s so volatile it could be a fucking catastrophe I first encountered you as an actor — I saw you in Frownland I only learned that you were a composer through Sean [Price Williams] when he played some of your music for me Grimstad: It’s far more the case that I’m a composer but my first thought of you is the character you play in Frownland Grimstad: Frownland is where doing film music really began for me Ronnie [Bronstein] and I were roommates in Brooklyn Heights and we were just sitting around eating noodles watching Withnail and I and Hannah and Her Sisters and Oh Lucky Man and Ronnie was editing on one of those gigantic flatbed consoles that look like some piece of military hardware and I was making records on an 8-track cassette machine Literally hundreds of songs done on that thing he wanted me to be in it and he also had me score it That was actually my first serious attempt at doing a film score the role or the idea of you scoring the film but I think it was always just sort of tacitly assumed that I’d be doing the score is working on a record in this gnome-like solitary way in a dingy room in Brooklyn It’s actually a bit more complicated: the fact that the person in real life was going to do the score makes it very hard to separate the actor from the composer and painstaking process of getting those cues absolutely perfect The inspiration for the Frown score was two things: Goblin in George Romero’s Dawn of the Dead the music he did for The Fog and Christine and especially Escape from New York; little minimalist synth things really It was painstaking work to distill our version of the horror movie score more stylized…but that kind of demented loner labor was entirely consistent with my character in Frownland even though the fictional character probably wouldn’t have had the chops to do what I ended up doing Paul and I ordered another round of drinks.] Filmmaker: Your trajectory fascinates me and I’m sure it would fascinate others You’re almost like a musician in hiding And weren’t you a professor at Yale at some point Grimstad: That’s in part because I just don’t tour and I don’t have that much interest in playing live anymore but during that time in academia I am writing and recording songs and scoring films constantly and that’s still what interests me is composing and writing and recording I’ve also never made much of an effort to market or distribute my music beyond friends I am excited by the making of stuff almost to a fault and then I almost totally forget about it once its recorded Filmmaker: The funniest part is that when I first heard your songs at Sean’s apartment he told me that he has more of your music than you have There was a time when if I couldn’t find one of my own songs I’d call Sean up and say “Do you have such and such song on one of your drives?” And he would have it and send it over He was regularly playing my stuff during his shifts at Kim’s back in 2003 or 2004 or something and that was probably the most public exposure my music had up to that point the stuff circulates a bit in MP3s because friends pass it along and that’s what happed with Happy Christmas Joe [Swanberg] heard a track [“Oh-Nine-Nine–Cee-Nine-Oh-One”] from my record Wams & Bams and stuck it in the scene where Lena [Dunham] goes to a party that was a pretty unexpected consequence of something that had been recorded like a couple years earlier I didn’t even know I was writing for a movie Filmmaker: Let’s talk about your ideas on pop music there’s this false idea of “poetry” as like a very genteel and rarified thing that very precious rarified people do and my sense is that there’s so much raw uncut poetry going on in Little Richard and Chuck Berry Not just in the words but in the way something is sung a certain inflection — this has to do with microphones and studios Think of how Lennon sings [Chuck Berry’s] “Rock and Roll Music”: it’s the phrasing a certain joy and intensity you hear in the delivery that I am aligning with an idea of poetry This is just my sense and it might be my own limitation When I got excited as a kid over songwriting it was because my parents were listening to early rock and roll Longfellow and Poe and Elizabeth Browning were like pop stars of the mid 19th century People no longer really know poets’ work outside of university cliques but People knew it by heart and little kids would follow Poe around lower Manhattan and say nevermore.” Poe is already some kind of weird Irving Berlin It’s especially acute with Poe because he was so hyper-aware of a certain kind of incantatory power in the sound of words a hypnotic refrain that gets stuck in your head — an acoustic effect ringing in your ear And that’s of course happening in great songwriting too…what is that prose poetry and musical notation in Un coup de dés And later you’ve got Eliot doing his “Shakespeherian Rag” bit in The Waste Land If you listen to him read it he does this syncopated little jig with his voice when he gets to that part Eliot heard lots of ragtime growing up in St Louis and that sort of syncopation stayed with him and keeps coming back in different ways in his work was keen to link what he was doing to modernism name dropping Pound and Eliot in “Desolation Row,” but he didn’t need to trying to live up to some fantasy the critics had projected onto him paranoid link between the American technified pop song and 19th century decadent verse is the sense of the mechanical hook — a trick or device deliriously repeating in your ear are maybe usurping the novel as the general audience’s preferred form of how to take in a narrative Filmmaker: How would you describe your composing process Grimstad: I don’t have a single process These are technical problems ranging from what octave or key will work best for a certain riff or figure to what part of the stereo image a certain track ought to be panned I find these sorts of technical problems completely delicious And so I don’t really believe in theory at the level of composing then you know it works cause you have a certain feeling about it you use your ears and you make decisions — and who knows why you make these decisions When I worked with Albert Maysles on music for his Muhammad Ali documentary (Muhammad and Larry) that was a case where I worked closely with the EP on the project with certain records in mind — In A Silent Way was one — and just tried to nail some of the electric piano textures you hear on there ’cause that record just felt so right against the footage Filmmaker: There’s something so elusive about how a composer works with a director I’m wondering if you could discuss the particulars of a few other projects another thing that happens is I usually end up devising a secret and esoteric language with directors she would say things like she wanted “fuzzy ice cream” or we established a rapport based on our mutual love for 19th century poetry and talked about the music being a “brick of hash” and of feelings and moods reminiscent of [Tristan] Corbiere’s “jaundiced love.” With the Safdies on Heaven Knows What we talked about “a melting scream for the Femme Brando curtain or bassoon BUHH for Doc Death.” With Britni [West] on Tired Moonlight she made this Excel spreadsheet of scenes and prose descriptions for each cue and all of this written language got translated into musical language Every way of working has its advantages and dangers The more aleatory method that we use is exciting because in that case audiovisual ideas can be generated out of nothing It’s obvious her shift’s over and she wants us out.] Paul Grimstad writes (Paris Review, New Yorker, London Review of Books, Times Literary Supplement, Music and Literature), teaches (Yale, NYU, Columbia), and composes film scores (Frownland, Heaven Knows What, the upcoming Jobe’z World and recent ADIFF highlight Thirst Street) he is a songwriter with a profuse catalogue of 500 plus songs which he’s composed between the apses and fissures of a near exceptionless privacy Grimstad felt no need to distribute his massive avant-pop song archive They’ve been relished as a “cult object” within his auxiliary film community His music is askew-pop that alternates between excitedly invasive fussily hyper-composed and insouciantly tossed off filed to a knife’s edge and turning on a dime It plays with genre like a B-Movie cocktail This signature perversity finds its way into his compositions for film as a film score must operate in accordance with the content of another author and medium Thirst Street is your third collaboration with writer/director Nathan Silver Does the heightened formality affect your end of the process And I hadn’t thought about it as being more formal than other things With Thirst Street the overall musical world started with Sean [Price Williams] who shot the movie and with whom I’m always talking and texting with about music When I was getting ready to dig in on Thirst Street he sent me some music by the French composer Gabrielle Yared and I completely fell in love with this Yared music and you start going “Yeah this Yared is really good let’s try to capture some of this atmosphere both the instrumental texture and the tunes.” You know there was this third party that was like “Here are some recordings that are really evocative and feel right for this Parisian setting” Thirst Street reminds me of this Polanski film called The Tenant There’s an almost occult strangeness to it Yared seemed to hit on those different elements I’d sit down before I start charting things and mess around with the analog synth with the Yared going on the stereo Its part of composing but you’re not actually writing tunes or parts What you’re doing is sitting and creating timbres and then saving them thinking you might use them later when you’re on to the tunes The Yared influence seems to be most prominent in the beginning and end and something more electronic tends to take over in the middle but the tune that plays when she’s seeing people off the plane And that one’s overtly in the mode of Yared music I think Even the most fussily 70’s sounding analog Yared inspired stuff is going have a certain electronic texture when Lindsey’s sitting around her apartment thinking about Jerome and goes to the drug store the instrumentation there is basically upright acoustic piano with a condenser mic on it I was trying to do something that was almost parodically French Sometimes the film will cut abruptly from your score to diegetic club music I think Nathan initially wanted those transitions to feel jarring I recorded the Karaoke backing tracks to the music Lindsey sings to Maybe they couldn’t get the licensing for that tune it was very bizarre and fun to sit down and make recordings of cues that were designed to have this stilted lifelessness of karaoke backing tracks The goal was to make them as cold and generic and square and unmusical as possible Man, good question! I’m not sure I have a definitive answer, but that really gets to the heart of what you’re doing writing film music. You’ve got to be careful. I’ll be the first one to say to a director: “You might not want music here at all, it might be better without it.” I did a piece for Joe Swanberg a few years ago called Privacy Settings This was an example where tension and atmosphere were heightened the less that was there it’s just that what you have is the barest suggestion of music It’s the thing where you can’t tell it’s there but if it were gone which was perfect because it’s about this voyeur who’s following women around Chicago In the case of my work with Albert Maysles (god rest his soul) I had Miles Davis’ In a Silent Way in mind as a model Just a gorgeous example of building a complete musical world with the bare minimum of material The guy who I think does this really well, who I admire, and that I think most people who’re interested in film music admire, is John Carpenter. The Fog It’s not Jerry Goldsmith’s score to Chinatown The Carpenter score is about how much atmosphere you can get through the smallest amount of musical information You get this effect also from some of cues Miles Davis did for Louis Malle’s Elevator to The Gallows if you’re doing that it implies that what you’re working on has a large budget I can notate and orchestrate in the conventional way Though I am mostly self-taught and have little formal training in music I would love to do my version of the Chinatown score Are you always in on the conversation about whether or not a scene is better off without a score Well, it depends. The Safdie Brothers have a good idea about how they want the music to sound and where it will go In some earlier shorts I did for them like John’s Gone and another one called Good As Gold In the case of Heaven Knows What it was like “Tomita will be there It wasn’t something that we discussed over beers he had parts where he thought music would work and then he got excited about how the cues were transforming the scenes and decided that there were all these other spots that the music could go the actual laying in of a couple cues led to further ideas of where more music might go Can we talk about your collaboration with Lindsay Burdge on the Thirst Street credits song It’s so abstract to me that the two of you could make something so dependent on rhythm purely through long distance communication I had a sort of Isabella Rossellini in Blue Velvet idea in mind and it ended up being the theme for Thirst Street and Lindsay sang it I cooked up this sort of fake Great American Songbook kind of tune and after an hour or so I’ve got this Harold Arlen It’s not a straight-up pastiche of Somewhere Over The Rainbow but it’s in the ballpark Every lyric in the tune is taken from the plot of the movie every line is derived from some aspect of Thirst Street and her character’s situation — along with some other Francophile stuff and a few references to other songs and we’re coordinating with Lindsay and Nathan’s friend who owns a studio and they both get the track I don’t remember if it was too low or too high but the first pass was not in the right key So I made a second one transposed up a whole step and record it again and send it back out there I get a file of her voice isolated and I drop it into an open track At that point I built the arrangement around her voice It was a very strange way to create a piece of music like building a house by starting with the roof Do you think this distant collaboration has made an impact on the finished sound an internal distance in the sound of the music and the way she sings If you’re a musician and you’re building an accompaniment to a vocal take that already exists it can’t help but be a bit unnatural and off With film composing there’s a pre-established impetus What’s the starting point for your songwriting/producing Film composing is a relatively late development in my musical life I started film music when I was maybe in my late twenties but I’ve been writing songs since I was about eight Songs are just something I’ve pretty much always done I tend to either sit with a guitar or sit with the piano is trick myself into singing little melodies to go with whatever I’m playing I got into the habit over the years of carrying a dictaphone around Because I make my living mostly as a literature professor and I always try to find the piano in the hotel and go down there with the iPhone and try to get 15 or 20 minutes on a piano Being in a city or country I don’t know well that’s an excellent environment to write music in you’re waiting for the thing that you think might turn into something I’ve got 100s and 100s of scraps like that on my phone and on cassettes I’ve got music jotted down on notebooks and scrap paper When I sit down and decide to make a record I get into this very intense and then I really just hunker down and record The songs themselves – or at least over the years it’s gotten to be this way – are usually Frankenstein patchworks of different pieces The Instrumental guitar section in the middle might be something from a dictaphone recording from a year ago the chorus could be something that was strummed on a guitar ten years ago and then you make up the structures in the course of recording Everything is pieced together like a collage but I’ve played live less and less over the years because as you know from filmmaking and being on the set of films keeping track of people’s egos is impossible Getting musicians to show up and play at this or that time and at this or that place is itself just really hard work Without a road manager or a publicist or a big label That’s really like a full time job all by itself sometimes there is nothing better than getting in a rehearsal space and plugging things in and sweating a bit It helps that right now I’ve got a pretty ferocious 4 piece ready to kick out the tunes (Jeremy Blackman on bass Devin Collins on drums) And I should say that I really enjoy playing guitar live just going out and doing a long improvised solo on guitar in front of a room of people is incredibly fun Can you speak a bit more technically about your studio process when making a record One of the most crucial elements of the process is drums I’ve been doing it long enough that I have a procedure I’ve honed over the years I don’t think anyone else quite works this way I will go with my digital recorder to a rehearsal space somewhere in Brooklyn or Manhattan and go around with a drumstick and make individual recordings of each piece of the drum kit So I’ll grab 10 or 15 samples off the snare hit the snare without the snare activated so it’s like a tom-tom I will do that with every piece of the kit so that by the end of the session I’ll have something like 50 samples Then I dump the samples into this machine called an Akai MPC 2000 This is the old MIDI sequencer that was used by Public Enemy It’s just a really good machine for creating sequences from live samples Once all the samples are dumped into the Akai I start programming and the reason for all this laborious preparation is that I don’t necessarily want it to sound overtly like a drum machine Did it strike you that those were not live drummers I honestly assumed you had collaborated with a band and the drums are all programmed using handmade samples in conjunction with the Akai Once I’ve charted out the whole shape of the song on paper I clamp that paper to this bench where I’ve got the Akai set up and basically write code for the whole song Then the song exists more or less as an algorithm in the sense that every part is metrically programmed I then run five tracks off the Akai through a MIDI cable and into an analogue to digital converter I’ll get out the guitar or sit at the piano and play through the song in time with the program I’ll go back in and start adjusting things to make it sound more like a live drummer That’s another cool thing about the Akai – if you turn the quantizing all the way off or unmusical glitches after the kit is tracked is a wonderful program if you use it only as an editing suite so that if you change your mind about an arrangement well into the process It’s never the case where it’s like “Well I’m stuck with this now.” I really build the house from the basement and the foundation up Then there is the whole other dimension of the words I’ll piece phrases together here and there throughout the process That’s all happening on a parallel track to the music and I’m looking for ways to cross the word track with the music track When you’re the only one working on a song in this labor-intensive process surely you become desensitized I probably wouldn’t have been able to do this when I was 16 but now I can tell almost right from the beginning if an idea is going to be good That I’ll be able to work with something through to the end without getting bored but I can almost immediately feel in my gut if a song is a keeper The idea might be so strong that you might be like “Hell yeah It takes a lot of experimenting to get down to the cool stuff The desensitizing question is not so simple because you could have the greatest idea in the world even if you’re sick of it after working on it for a month there’s a part of you that has to go “Do the work,” get it done And once it’s done you can figure out if you think it’s good and other people can figure out if they think it’s good As you’re getting close to finishing a song are you also the one to determine the seal of quality before sealing it off Or are there other listeners to help dictate that That’s all the way down to the master process I’ll put it away and work on something else I’ll start programming drums for something new or start a piece of writing… Anything else I’ll cue up whatever that track is that I thought was done And on that reacquaintance I either go “Yup that’s ready” or I’ll go “Wow I was really down the rabbit hole” the EQ’s really off or the snare drum is too loud or the vocals are buried Sometimes you’re so down into the recording that you’ve lost all reference to what things sound like So it’s good to put it away for 2 or 3 days and go back to it after you’ve been doing something else for a while He knows my music really well and going back years and years and he’ll give me very detailed he’ll put in the time to listen and say this is great or make a suggestion that might cause me to go back and change something it’s a pretty tight circle of pals for that initial critical round and then if things get to the point that I don’t feel they can be refined any further then I save it to a drive and move on and do the next one The process is so enjoyable on its own that – I love sending my record to you and having a new person hear it who’s never heard this stuff before But I’m actually kind of sad when something’s done Because what I’ve been so addicted to and what’s been giving me so much ecstasy has been the day to day process of making the thing and what else is there to do but move on to the next one I should say that as a musician I’ve put very little effort into marketing I toured in a more traditional indie rock presence in college in my early 20s But that was the moment I realized I didn’t want to be someone on tour What I like is composing songs and recording them and that’s almost where all of my energy is And then the music exists out there in the world in the form of the distribution and marketing that surround a given film and in some ways the more striking and more personal work is in the records they exist because I’ve made them and that’s it they exist almost as a cult object for people in the film community I have more fans for my songs among people in the film world because I’ve worked in film It’s a strange paradox – and it’s not something that keeps me up at night – but I would like to crack the code to get these records across to a broader public So my lack of initiative on the promotion and marketing aspects is not diffidence about the material I’ve managed to make my living as a writer so the idea that I’ve gotta make my living as a guy touring in a band has never arisen in any existential way but it’s not the typical way of someone who writes music Featured Image Credit Aaron is a film journalist with work published in American Cinematographer and Filmmaker Magazine You can find his film reviews and more at Cinelinx.com When he's not writing he's working in the camera department on feature films and commercials document.getElementById("comment").setAttribute("id","aff452f0eebba96d8e065c766824e616");document.getElementById("fc3eab9813").setAttribute("id","comment"); and website in this browser for the next time I comment DMCA Request HeadStuff.org is a collaborative hub for the creative and the curious We all spend so much of our time clicking through reams of content and sometimes not reading anything of interest at all HeadStuff is all about putting buckets of interesting stuff in one place So it's easy for you to find and enjoy high quality content from our wonderful contributors We get up every morning to make your daily journey through the internet more interesting and productive A week after Waitr CEO Adam Price announced his resignation after only a few months on the job the company named Carl Grimstad to lead the struggling operation a family private investment entity formed in 2006 He is also the managing partner of GS Capital a family private investment company started in 1995 “We are excited to welcome Carl to the Waitr organization," said Waitr founder and former CEO Chris Meaux in a news release announcing the hiring "We believe that the combination of his extensive operational including as a successful president of a public company as well as his career focus of providing small and medium-sized merchants payment and technology solutions will create substantial shareholder value.”  who resigned his job and position on the company's board Dec had previously worked as the company's chief operating officer before Meaux announced his retirement in August Meaux is the chairman of the company's board Grimstad has 'confidence' in Waitr's futureGrimstad will receive a base salary of $83,333 each month If Grimstad stays on for two years or is fired for any reason other than misconduct MORE: Year in review: Waitr has tough 2019, on the clock in 2020 a credit and debit card processing company and he served as the president of the company until 2011 he became the iPayment CEO and chairman until 2016 “I look forward to working with the many talented team members at Waitr as we continue to reshape the Company,” Grimstad said have been evaluating every aspect of Waitr "This process has given me confidence in the future of Waitr I see significant potential to build upon the solid foundation of the company’s existing relationships with diners and restaurant partners in terms of Waitr’s product offering and customer service and I look forward to discussing these initiatives in future interactions with the financial community.” A turbulent yearWaitr had a turbulent 2019. The year was marked by leadership turnover and layoffs and the company's founder and original CEO have all resigned in the last half of 2019.  MORE: Waitr announces layoffs, will close 'low-performing' markets In June, the company began a round of layoffs because of synergies after the Byte Squad acquisition Days before the layoffs were announced, Chris Meaux was named the region's Entrepreneur of the Year several Lafayette and South Louisiana restaurants boycotted Waitr and expressed outrage over several changes the company made to its contracts with participating restaurants Meaux announced his departure in August though he said he would serve on the company's board Meaux's resignation coincided with the company's second quarter earnings report which showed Waitr missed projections.  Waitr's stock dropsWaitr reported a second-quarter loss of $24.9 million after reporting a profit in the same period a year earlier Waitr said it was looking into ways to increase value for shareholders but ultimately opted not to pursue those paths MORE: Louisiana-based Waitr at risk of being bumped from Nasdaq exchange In the third quarter — the first with new CEO Adam Price at the helm — Waitr lost $220.1 million after only losing $6.5 million in the third quarter of 2018 The result prompted the company to cease operations in 38 "clearly unprofitable" markets None of the closed markets were in Louisiana After its stock price had been below $1 for 30 consecutive days the company was alerted it was out of compliance with Nasdaq's rules A company has to stay at or above $1 to stay listed on the exchange Waitr has to record 10 consecutive days at or above $1 before June 1 The company's share price has not hit $1 since Oct Terminology related to transgender and nonbinaray adolescent health Transgender and nonbinary (TGNB) adolescents are those whose gender identity differs from their sex assigned at birth (Figure) 2% of adolescents identify as TGNB.1 Given the prevalence almost any clinician who sees adolescent patients will see TGNB patients It is essential to be prepared to provide competent care TGNB adolescents are facing growing inequities These disparities are often rooted in medical disenfranchisement exemplified by stigma and discrimination both inside and outside the medical system.2 Almost one-third of TGNB individuals have had 1 or more negative experiences in health care related to their gender identity including the inability to find a knowledgeable provider being discriminated against in medical settings or being refused necessary treatment because of their gender identity.2 Increasing legal barriers also threaten the well-being of TGNB adolescents and a growing number of states are seeking to curtail access to gender-affirming care (GAC).3 At a time when TGNB identities are under siege every clinician and clinical space should be safe Patients must feel welcomed in clinical settings and the care team should employ several things to establish inclusive spaces for gender-diverse patients (Table 1) When establishing a patient’s medical history and performing a physical exam providers should consider a few things that are relevant for some TGNB adolescents Some TGNB patients may undergo surgeries to align their bodies with their gender; clinicians should not assume current anatomy an anatomic inventory that assesses current and past anatomy can be helpful some adolescents may experience dysphoria or distress related to certain parts or functions of their body (eg and menses) that do not align with their gender.6,7 Clinicians should be sensitive to this and ask patients whether there are nonanatomic terms they use to describe their body parts and how they work Providers should always mirror patients’ language when possible If a patient experiences distress with a part of their body where an examination is indicated clinicians should utilize a trauma-informed approach and engage in shared decision-making as well as the potential use of support persons or alternative focus techniques (eg Clinicians should prioritize noninvasive alternatives when available (eg a pelvic ultrasound instead of a bimanual exam) the most prevalent care provided is social affirmation This can manifest as affirming the patient’s name some patients may desire and benefit from cognitive Every TGNB individual’s gender embodiment goals are different and clinicians should not assume every TGNB adolescent desire therapies.2 Adolescence is a time when many people are exploring identity Providers should affirm to patients that being gender diverse is not a mental health condition some TGNB adolescents may experience dysphoria related to their gender defined as an impairment in daily activities or functioning stemming from gender incongruence This may be connected to pubertal changes or changes in peer relationships Some TGNB adolescents will benefit from affirming mental health support in navigating their identity.8 For TGNB minors who desire GAC the current version of the “Endocrine Treatment of Gender-Dysphoric/Gender-Incongruent Persons: An Endocrine Society Clinical Practice Guideline” (2017) recommends the involvement of a trained behavioral health provider and a formal diagnosis of gender incongruence or gender dysphoria.9 clinicians comfortable in diagnosing gender incongruence do not need to have a separate mental health evaluation before GAC initiation not all TGNB adolescents will experience gender dysphoria and some will experience gender euphoria behavioral health needs should be individual to the patient Gender-affirming medical therapies for TGNB adolescents include pubertal suppression medications and gender-affirming hormone therapies (GAHT) These have been shown to improve the mental health and quality of life of TGNB adolescents.9,11 Clinicians who are skilled in supporting this patient population are diverse and obstetrician-gynecologists (ob-gyns) have many skills that allow them to learn and provide this care.12 Most medications reviewed below are off-label use The goals of pubertal suppression therapies (Table 29)are to pause the development of secondary sex characteristics that may not align with a person’s gender identity.9 They also aid TGNB youth in having more time during adolescent development to identify the patient’s medical-related gender goals (eg desire for GAHT or surgeries) and can be started as early as Tanner II The most commonly used are gonadotropin-releasing hormone (GnRH) analogues They should not be used indefinitely in isolation as sex steroids are beneficial for long-term health Some patients will chose to continue them as they start GAHT to maintain endogenous supression it is acceptable to continue pubertal suppression medications alongside GAHT The added benefit for TGNB youth with pubertal suppression is limiting the development of secondary sex characteristics Select pubertal suppression and gender-affirming hormone therapies9 some TGNB individuals may later seek surgery to alleviate or reverse these developments such as vocal cord thickening or breast development functionally decreasing the need for future surgery Once pubertal suppression is discontinued for youth who do not desire GAHT Some TGNB adolescents with ovaries and uteri may utilize menstrual suppression for gender-affirming reasons (ie due to dysphoria associated with menses) or nongender-affirming (eg dysmenorrhea) reasons.13,14 Depending on their goals up to one-quarter of TGNB adolescents may experience breakthrough bleeding and thus may seek concomitant menstrual suppression.13 Menstrual suppression does not require a mental health clinician and can be prescribed by any clinician prescribing for nongender-affirming reasons some TGNB patients may be interested in danazol which is a synthetic androgen progestin that produces mild virilizing effects at higher doses and successful menstrual suppression.15 and goals should influence the choice of method Testosterone is also not an approved form of contraception and those who engage in sexual activity and can achieve pregnancy should be counseled on contraceptive options regardless of menstrual suppression goals.7 Testosterone is the mainstay therapy for patients who desire virilization.9 Testosterone acts to suppress endogenous estrogen and induce androgenic changes.Expected changes are noted in Table 2 but most achieve maximal effects by 2 years after initiation (Table 2) Testosterone’s adverse effects include erythrocytosis and possible mild elevation of transaminases Contraindications include active polycythemia and unstable coronary artery disease Current evidence does not show an increased risk of reproductive cancers on testosterone.16-18 However clinicians should engage in shared decision-making with families based on their specific history and the current evidence options typically include estrogens with or without the use of antiandrogens (Table 2).9 Antiandrogens are beneficial in suppressing the androgen effects for those with testes Estrogen alone is sufficient for some patients and others will not desire to suppress endogenous virilization Adverse effects of estrogen include headaches increased risk for venous thromboembolism (VTE) and estrogen-sensitive cancers later in life and routine monitoring is not necessary for those patients Estrogen is contraindicated in active estrogen-sensitive cancers Those who have other risks for thrombogenesis (eg smoking or a history of VTE) should consider the less thrombogenic transdermal preparations and contraindications are specific to each medication GnRH analogues can also be used as antiandrogens an aldosterone receptor antagonist and diuretic potassium levels must be monitored and hydration encouraged Spironolactone is not a good option for TGNB adolescents who lack safe bathroom access and it is contraindicated in patients with renal disease or hyperkalemia is another antiandrogen; it limits the conversion of testosterone to the potent dihydrotestosterone (DHT) Bicalutamide is a nonsteroidal antiandrogen that selectively blocks receptor activation by androgens and DHT and may have estrogenlike effects There are less data on bicalutamide’s use in TGNB patients The main risk associated with bicalutamide is a rare risk of liver dysfunction and its use should be avoided in patients with hepatic disease Some patients will desire to use progestins although present data are inconclusive on their benefit The goals of progestins are founded on anecdotal reports of improvements in breast development and libido.19 Providers should share decision-making with patients and determine whether they would like a trial of progestin The most common forms used are micronized bioidentical progesterone (100-200 mg daily) and oral medroxyprogesterone acetate (2.5-10 mg daily) TGNB individuals have diverse family-building goals and those who want families may also desire genetically related children.20 Fertility preservation should never be considered a clinical requirement prior to initiating GAC current guidelines recommend universally offering it to all patients before therapy initiation.9 the data regarding GAC and fertility are rapidly changing clinicians should counsel on the known and unknown risks and benefits of the specific therapies of interest to offer their patients the most up-to-date information about their options for TGNB adolescents who initiate GnRH analogues at the start of puberty fertility may only be impacted should they subsequently progress to GAHT the primary option for fertility preservation due to immature gametes is gonadal tissue preservation.20 For TGNB adolescents who are postpubertal with testes and desire estrogens most data support that estrogens decrease fertility and the mainstay of fertility preservation prior to therapy is cryopreservation of sperm a growing body of data suggest that for postpubertal TGNB adolescents who desire testosterone it does not render ovaries and uteri infertile as previously thought.21 These patients should be aware of the increasing reports of successful discontinuance of testosterone and preservation of oocytes and pregnancies.22,23 However guidelines still recommend that if patients desire to minimize the impact of testosterone then oocyte cryopreservation should be offered Although a full review of gender-affirming surgeries (GASs) is beyond the scope of this paper many clinicians who care for TGNB adolescents may have patients interested in these procedures GAS (Table 3) encompasses several procedures that help TGNB individuals align their bodies with their gender Many of these are deferred until after the age of majority procedures such as chest masculinization are increasing in frequency in adolescents and have shown promising results.24 The World Professional Association Transgender Health Standards of Care are used as guidance for presurgical requirements in tandem to insurance companies and individual surgeon specific requirements.25 These can include minimum time on GAHT before surgery mental health letters that support the procedure Patients should be counseled on fertility preservation before fertility-altering surgeries such as an orchiectomy or phalloplasty (which may require a hysterectomy) including those done as prerequisites for metoidioplasty or phalloplasty The experiences of TGNB adolescents are diverse and ameliorating the disparities they face is vital TGNB individuals represent 2% of adolescents in the United States; they have primary and may have specialty health care needs All patients deserve welcoming and affirming care Learning to deliver aspects of this care can significantly increase access to this necessary field In an era when many municipalities are seeking to curtail the rights of TGNB adolescents and limit their access to essential care it is imperative now more than ever that ob-gyns expand their clinical services to provide care for this population Transgender identity and experiences of violence victimization and sexual risk behaviors among high school students—19 states and large urban school districts National Center for Transgender Equality; 2016 chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://transequality.org/sites/default/files/docs/usts/USTS-Full-Report-Dec17.pdf Anti-transgender legislation-A public health concern for transgender youth The imperative for transgender and gender nonbinary inclusion: beyond women’s health Sexual orientation and gender identity data collection in clinical settings and in electronic health records: a key to ending LGBT health disparities Experiences of transgender men in seeking gynecological and reproductive health care: a qualitative systematic review Contraception across the transmasculine spectrum evidence-based approach to improving mental health mmong transgender and gender-diverse youth Endocrine treatment of gender-dysphoric/gender-incongruent persons: an endocrine society clinical practice guideline Transgender bliss: from gender dysphoria to gender euphoria through decolonizing gender Puberty suppression in adolescents with gender identity disorder: a prospective follow-up study Care of the transgender patient: the role of the gynecologist Breakthrough bleeding in transgender and gender diverse adolescents and young adults on long-term testosterone Hormonal contraceptive choices in a clinic-based series of transgender adolescents and young adults Danazol in the treatment of endometriosis: analysis of 100 cases with a 4-year follow-up Routine screening for transgender and gender diverse adults taking gender-affirming hormone therapy: a narrative review Uterine pathology in transmasculine persons on testosterone: a retrospective multicenter case series Ovarian histopathology in transmasculine persons on testosterone: a multicenter case series Department of Family and Community Medicine Guidelines for the Primary and Gender-Affirming Care of Transgender and Gender Nonbinary People Understudied and under-reported: fertility issues in transgender youth—a narrative review Gender-affirming surgeries in transgender and gender diverse adolescent and young adults: a pediatric and adolescent gynecology primer Fertility preservation for trans men: frozen-thawed in vitro matured oocytes collected at the time of ovarian tissue processing exhibit normal meiotic spindles Transgender men who experienced pregnancy after female-to-male gender transitioning Chest reconstruction and chest dysphoria in transmasculine minors and young adults: comparisons of nonsurgical and postsurgical cohorts Standards of care for the health of transsexual Exercise habits found to influence menstrual symptoms in women A new study reveals that the severity and triggers of menstrual symptoms vary significantly between active women and those with no regular exercise routine Testing protocols and general prevalence of STIs during COVID-19 we are focusing on testing and increase of STDs in the pandemic especially how women and minorities are affected Contemporary OB/GYN week in review: Menstrual symptoms, cognitive decline, and more Review some of the top stories from the Contemporary OB/GYN website over the last week and catch up on anything you may have missed S3E2: HPV and cervical cancer with Sangini Sheth, MD, MPH MPH discusses the latest research in cervical cancer and HPV Menstrual cycle phase linked to inflammation in women with sickle cell disease New research reveals elevated C-reactive protein levels during the follicular phase of menstruation may explain pain crisis patterns in female sickle cell patients Drospirenone found to ease menstrual symptoms A recent study highlights the effectiveness of drospirenone with estetrol in significantly reducing physical and emotional menstrual symptoms especially among new hormonal contraceptive users 609-716-7777 Edmund Wilson concluded that there was nothing scary about stories full of words like ‘eerie’ ‘hellish’ and ‘unholy’ especially when these refer to an ‘invisible whistling octopus’ (the creature appears at the end of the 1928 story ‘The Call of Cthulhu’) But Wilson would have been genuinely frightened to see a volume of Lovecraft’s tales included in the Library of America series he helped to create Lovecraft’s canonisation is a rebuke to Wilson’s lifelong crusade to keep Literature safe from the contaminating tentacles of science fiction horror and detective fiction (in another essay he describes Agatha Christie’s prose as having a ‘mawkishness and banality which seem to me literally impossible to read’) But those tidy containers have long since been smashed The first book Michel Houellebecq published was H.P which describes the stories that made Wilson wince as constituting a ‘gigantic dream machine of astounding breadth and efficacy’ Lovecraft himself thought of his work as the refined prose of an aristocratic gentleman Rhode Island in 1890 into a moderately well-to-do bourgeois family Three years later his father suffered a psychotic break during a business trip in Chicago: according to S.T Joshi’s staggeringly thorough I Am Providence: The Life and Times of H.P he ran from his hotel room shouting that a maid had insulted him and that his wife (who was at home) was being verbally abused in the room above his On his return to Providence he was taken to Butler Hospital where he remained until his death five years later apparently from complications related to syphilis Lovecraft’s overprotective mother had a psychotic breakdown too testifying excitedly to a neighbour about the ‘strange and fantastic creatures’ she saw darting out from behind a building By this point her only child had become immersed in 18th-century English poetry (especially Pope): an enthusiasm that no doubt played a role in his later affectation of the mannerisms of the period in his writing (‘shew’ for ‘show’ etc) loved the natural sciences and was by his teens writing an amateur astronomy column in which he espoused a particularly severe version of Lucretian atomism The Rime of the Ancient Mariner and the tales of Edgar Allan Poe Lovecraft’s fiction can often seem like a pastiche of the morbidly concrete side of Poe In Poe’s ‘Facts in the Case of M a nearly dead man in a mesmeric trance is reduced to a ‘liquid mass of loathsome – of detestable putridity’ That single clause encapsulates much of Lovecraft’s style found the idea that there might be a resemblance between the two writers ‘one of the many sad signs that nobody any more pays any real attention to writing’.) The comparison is also unavoidable for more empirical reasons: one of Lovecraft’s longest and best stories the 1936 novella of Antarctic adventure At the Mountains of Madness is a studious appropriation of Poe’s Narrative of Arthur Gordon Pym Lovecraft’s genteel prose coexisted with an intense racism and reappraisals of his work have had to square the visionary intensity of the writing with the prejudices of the fearful He is in this way (and maybe only in this way) comparable to Wagner But the music is still extraordinary and something in us ought to recoil from the philistinism that would dismiss the art because the person who made it was a jerk whose poker-faced reviews of non-existent books were so convincing that his close friend Adolfo Bioy Casares tried to order a copy of the detective thriller (and Borges’s invention) The Approach to Al-Mu’tasim from his London bookseller Metafictional games of this sort go all the way back to the origins of the novel: Don Quixote presents itself as being not Cervantes’s creation but a translation into Castilian of an Arabic work by one Cide Hamete Benengeli; by Part Two Quixote has read of the exploits recorded in Part One More by this contributorPaul Grimstad23 January 2014 Newsletter Preferences This site requires the use of Javascript to provide the best possible experience Please change your browser settings to allow Javascript content to run Instagram is a place to share flattering selfies and proof of fun times For those with tens of thousands of followers it can also be a way to influence how other people shop Here are four Columbians who are harnessing the app’s visibility to build their personal brands a former Columbia runner and football player is a fitness model and social-media consultant When he’s not showcasing his washboard abs and perfect pecs he likes to dress up as a superhero and inspire everyone’s inner champion but it’s the glam selfies and luxurious dining and travel photos posted by her Instagram alter ego that have earned her a massive following.  Drummond has made a career out of being a style influencer she now heads fashion and beauty partnerships at Snapchat.  an entrepreneur and health and beauty marketer Her Insta also documents vacations guaranteed to bring on a severe case of FOMO This article appears in the Summer 2019 print edition of Columbia Magazine with the title "Connect Four." and drive with these alumni-founded tourism companies The host and executive producer of Trafficked investigates the inner workings of criminal underworlds General Data Protection Regulation Columbia University Privacy Notice Please enable JS and disable any ad blocker 2020Save this storySave this storySave this storySave this storyThe British mathematician Alan Turing was one of the more unquantifiably original minds of the twentieth century.Photograph from AlamyMore than a decade has passed since the British government issued an apology to the mathematician Alan Turing all those who live freely thanks to Alan’s work,” then Prime Minister Gordon Brown said you deserved so much better.” The tone of pained contrition was appropriate given Britain’s grotesquely ungracious treatment of Turing who played a decisive role in cracking the German Enigma cipher allowing Allied intelligence to predict where U-boats would strike and thus saving tens of thousands of lives Turing had made a careless admission of an affair with a man in the course of reporting a robbery at his home in 1952 and was arrested for an “act of gross indecency” (the same charge that had led to a jail sentence for Oscar Wilde in 1895) Turing was subsequently given a choice to serve prison time or undergo a hormone treatment meant to reverse the testosterone levels that made him desire men (so the thinking went at the time) ended his life by taking a bite from an apple laced with cyanide His wartime code-breaking work was just one example of what made Turing one of the most influential minds of the twentieth century he published a paper called “On Computable Numbers,” in which he attempted to tackle the problem of “decidability” in formal systems like mathematics he sketched a design for a peculiar machine somewhere between a gramophone stylus and a typewriter carriage that moved along a tape divided into squares the machine might be in one of a finite set of states that would tell it to move either right or left or to print The machine was not a piece of functioning hardware but a thought experiment meant to reveal something about the essence of computation The really novel idea behind Turing’s imaginary machine was that it was not designed for a specific purpose but could be given instructions (“programmed”) that allowed it to simulate any other machine Such universal computers are now called Turing machines and are the basis for all smartphones he began pursuing the idea that thinking itself could be mechanized in collaboration with his Cambridge friend David Champernowne one of the very first computer chess programs A mind like Turing’s ended up being immensely valuable to Allied counterintelligence during the Second World War When the German Enigma machine became the most powerful ciphering instrument in the world—it was believed to be impregnable—military cryptography accordingly became more mathematically complex With the help of notes provided by Polish cryptanalysts and some recovered codebooks from sunken U-boats Turing oversaw the construction of a machine that could find loopholes in the Enigma’s polyalphabetic rotary design and soon the code-breaking team began cracking Nazi radio messages without the Germans’ knowing it Though Turing had been against the war as a student at Cambridge he seems to have undertaken this work as much for the challenge of tackling a fiendishly complex puzzle as for any sense of patriotic duty He was also a stickler for respectable working conditions: he wrote Winston Churchill a letter complaining about the poor plumbing facilities at Bletchley Park the Tudor mansion northwest of London where the code-breakers had set up shop Turing began writing more speculatively about minds and machines Anyone who had been reading American science fiction would have been familiar with the questions raised in his paper “Computing Machinery and Intelligence,” from 1950 and one of the more delightful intersections in the history of ideas is the way both Turing in the pulp magazine Astounding Science Fiction started talking about the same thing at about the same time wondered what could serve as a criterion for treating a machine as “intelligent.” To answer that question he came up with the second of his famous thought experiments the imitation game (now known as the Turing test) in which a person poses questions via teletype to two interlocutors If the questioner cannot tell the difference between them then we must grant that the machine thinks (The story was later the seed for the film “Blade Runner.”) One argument against machine intelligence was what Turing called Lady Lovelace’s Objection the Countess of Lovelace and the daughter of the poet Lovelace kept up a correspondence with the English inventor Charles Babbage who worked his whole life on a huge brass cogwheel engine that could compute logarithmic tables Lovelace said of this contraption that it “has no pretensions whatever to originate anything It can do whatever we know how to order it to perform.” It was a coder’s insight (Lovelace is considered one of the first computer programmers) but it was also the instinct of a poet’s daughter attuned to more mysterious routes of thought than logarithmic tables The two attitudes beautifully commingle in another letter discussing the punch cards that Babbage used as proto-software for his analytical engine notes that the machine “weaves algebraical patterns just as [a] loom weaves flowers and leaves.” the film imagines Turing as an obtuse savant who can’t make out English idioms or catch social cues In a preliminary interview for the code-breaking work at Bletchley Turing unnerves a government official with his literalism How ever could I have guessed?” the official says You just read it on that piece of paper,” Turing replies he has trouble understanding what the word “lunch” means Turing was gregarious and socially at ease not the near-android that he is made out to be in the film if he was also noted to be a stickler for precision in thought and speech fastidiousness isn’t the same thing as humorlessness Cumberbatch has in any case become the central-casting option for on-the-spectrum-ish über-nerds a style that he also brings to the BBC series “Sherlock,” in which Holmes regularly flies over the heads of the non-geniuses around him (Sir Arthur Conan Doyle’s amateur detective is keenly aware of others’ feelings and often empathic to a fault.) Whether this depiction is the result of poetic license Cumberbatch being his (often great) actorly self or rote adoption of Hollywood tropes about how geniuses are supposed to behave (think Russell Crowe’s anguished John Nash in “A Beautiful Mind”) Spock clichés to a person who was anything but a human robot A more recent fictional Turing shows up in Ian McEwan’s “Machines Like Me,” from 2019 in which Sir Alan has lived to be seventy and oversees the first commercial manufacture of A.I. in partnership with the DeepMind co-founder Demis Hassabis (My guess for the choice of 1982 is that it is the release year of “Blade Runner,” which in a further through-the-looking-glass twist is itself set in 2019.) Their collaboration begins when they “devise software to beat one of the world’s great masters of the ancient game of go,” a sly bit of alternate history as DeepMind’s AlphaGo program in fact won four out of five games against the South Korean Go master Lee Sedol There was some buzz when I.B.M.’s Deep Blue machine beat the world chess champion Garry Kasparov but the victory over Sedol was thought to mark the encroachment of A.I onto the sacred ground of human creativity and intuition since Go is exponentially more complex than chess and playing well often involves an ability to grasp which move is the most beautiful shortly before closing for its Christmas and New Year’s break the Storting voted to appoint Kyrre Grimstad (50) as the new permanent Secretary General of the administration Mr Grimstad’s appointment was adopted unanimously by the Storting as a whole on the recommendation of the Presidium The position is a fixed-term appointment of six years One of his previous positions was in the Ministry of Justice’s Legislation Department He started his career in the Storting in 2010 as a special adviser in the Constitutional Department He left in 2013 to serve as a judge in the Borgating Court of Appeal before returning as Deputy Secretary General and Head of the Constitutional Department in 2018 When Marianne Andreassen resigned on 28th June 2022 Mr Grimstad was appointed as acting Secretary General for the Storting’s administration He also held this post for a short time after Ida Børresen’s departure in 2018 We recently asked Mr Grimstad a few questions about his appointment “I’m very proud and pleased that the Storting has shown such faith in me but it’s one that I’m ready for There are so many good and able people in the administration Knowing that I had them on board gave me the confidence to take on the job.” You’ve been acting Secretary General twice before but haven’t previously applied for the job as Secretary General “It’s because I’ve now got five years of experience as Deputy Secretary General and I know the Storting and its administration very well I’ve also been the acting Secretary General for the past six months and I believe that I have the requisite experience and skills for the job My primary expertise is in constitutional and parliamentary matters the two most important aspects of the Storting’s work.” What do you consider to be your most important tasks as Secretary General Throughout the autumn I made it clear that it was a priority for the administration to complete the development projects which we’d started We will also have to deal with the findings of the reports on the Storting’s arrangements for MPs – both from the Office of the Auditor General and an independent review board – which are due to be submitted relatively soon This will require changes in the way we work the day-to-day running of the Storting and the support we give to the MPs in their work must be maintained That will always be our number one priority.” What for you is the most exciting part of the job – and the most demanding “The most exciting thing is to be allowed to head such a fantastic organization and to work at the interface between the professional and the political – by supporting the work of the MPs The most demanding aspect of the job is being in charge of such a large organization with such a varied remit The Storting is a key Norwegian institution which attracts a great deal of public interest but at times it can still be quite challenging.” As well as being head of the administration the Secretary General is also secretary to the Storting’s Presidium This role entails assisting the Presidium in preparing carrying out and following up the work of Parliament President of the Storting Masud Gharahkhani said this about the appointment: “Kyrre Grimstad has broad experience and knows the Storting well and following the cases relating to the MPs’ financial arrangements one of the Storting’s most important jobs is to continue its efforts to build and preserve confidence in the population Mr Grimstad has already demonstrated his ability to get things done and to act with integrity and trust This has been vital for the Presidium.” Kyrre Grimstad in the Diplomatic Box during the consideration of his appointment as the new Secretary General Editor-in-chief: Mona Mortensen KraneWeb Editor: Lars Henie Barstad Local Lafayette app- based meal delivery service changed its name to ASAP after it was sold The company started as an idea created by Chris Meaux and will now rebrand as one that will "deliver anything" ASAP will provide more services than just takeout from local restaurants The CEO and board chair Carl Grimstad said The recent changes followed a company posting revealing a second quarter loss of $11.7 million mostly caused by higher gas prices Film Review a 15-year-old Frank Zappa happened upon a copy of The Complete Works of Edgard Varèse in a hi-fi shop in La Mesa The cover showed a man with frizzy gray hair and a furrowed brow and Zappa recalled thinking he was “glad a mad scientist had made a record.” It cost $5.95 and Frank only had $3.80 but the store’s owner let him have it—he’d used the record to demonstrate hi-fi equipment Zappa took it home and put it on the family phonograph “Ionisation,” was a piece for thirteen percussion instruments and sirens It horrified his parents even more than the Johnny “Guitar” Watson and Lightnin’ Slim rhythm and blues records he usually listened to The potent mash-up of R&B and Varèse turned Zappa into a composer Thorsten Schütte’s documentary Eat That Question: Frank Zappa in His Own Words (now playing at Film Forum) offers a mesmerizing portrait of Zappa’s art and life Schütte’s film is a fluid mosaic of concert footage much of them never seen before: Zappa on the Steven Allen show in 1963 “playing” the bicycle; hunched over staff paper notating music in his Laurel Canyon studio in the ’70s; stalking through airports with a Mephistophelian leer; leading staggeringly well rehearsed bands in Europe and the US (“I don’t like to get on stage and slop around,” he says at one point); talking to whoever will listen about the numbing homogeneity of American consumerism When he shows up in a suit and tie debating Robert Novak on Crossfire the effect is less the ’60s freak who became a normal adult than an uncompromising individual voice channeled into a different format Zappa’s anti-drug stance made him an oddity in the rock world foisted on him by journalists and TV commentators that someone of such profligate imagination must be on drugs “They write about me like I’m a maniac,” he says at one point Sometime shortly after the Varèse epiphany Zappa discovered Walter Piston’s Harmony—a standard textbook on music theory—in the local public library: “I went through some of the exercises in there and I was wondering why a person would really want to devote a lifetime to doing this because after you complete it you’ll sound like everybody else who used the same rules.” This ad hoc autodidacticism—both a talent for sustained immersion in solitary study and a sense of when to switch gears when something ceases to excite—is behind all of Zappa’s work and made his music impossible to pin down Over three decades of almost constant composing and recording running the gamut from early records with his band the Mothers of Invention that helped to create the milieu we think of as the Sixties to caustic send-ups of that same counterculture music composed entirely on and for the Synclavier digital sampler “which fails to deliver any real benefits to children infringes the civil liberties of people who are not children [and] opens the door to an endless parade of moral quality control programs.” he released Frank Zappa Meets the Mothers of Prevention (1985) a record that came with its own warning/guarantee label informing the buyer that the album “contains material which a truly free society would neither fear nor suppress religious fanatics and ultra-conservative political organizations violate your first amendment rights by attempting to censor rock and roll albums We feel this is un-Constitutional and un-American.” On the album’s closing track—a menacing twelve-minute Synclavier collage called “Porn Wars”—Zappa pulled audio excerpts of the hearings and added ominous sound effects speeding up and slowing down the senators’ voices as they read aloud lyrics they felt had “no redeeming social value.” Despite his disgust with the censorious PMRC Zappa had always been keenly aware of what was puerile and formulaic about commercial rock music sneering “Flower Power sucks!” on We’re Only in It for the Money an album recorded at the height of the Summer of Love (The cover art featured a monstrous parody of the Beatles’ Sgt Pepper’s cover; MGM said no and moved it to the inner sleeve.) Zappa never missed a chance to mock the bloated absurdities of ’70s rock from the sexual exploits of band members and groupies (a tradition in which Zappa nevertheless partook) to the dopey fist pumping of heavy metal and the cheap opportunism of punk at its trendiest And he coined a great bon mot about rock journalism: “people who can’t write Even in this totally DIY setup there were some brushes with the pop charts The 1982 hit “Valley Girl,” co-written with his fourteen-year-old daughter Moon featured her spot-on impressions of San Fernando Valley idioms like “grody to the max,” “bag your face,” and “gag me with a spoon.” A lurid tale of sexual dishevelment “Bobby Brown Goes Down” couldn’t get within a hundred miles of US radio but was “the song to slow dance to in Norwegian discos.” He weirdly won a Grammy in 1986 for one of his more hermetic computer music pieces “Jazz From Hell.” Zappa said he got the award “for a song which I am convinced nobody has ever heard,” and that it was “living proof that the whole process is a fraud Zappa’s politics were as difficult to pigeonhole as his music He was disgusted by Reagan’s alliance with the evangelical right (the video he made for “You Are What You Is” featured a Reagan lookalike strapped to an electric chair; MTV refused to air it) when students showed up to a Mothers gig chanting “Ho Ho Ho Chi Minh” and tried—unsuccessfully—to get the band to lead an anti-American action Zappa said “there is definitively a fascistic element too.” His most influential fan was Vaclav Havel who named Zappa Czechoslovakia’s Special Ambassador to the West on Trade we see Zappa congratulating a group of Czechoslovakian Zappa-heads on their “brand new country.” The film ends with a moving piece of archival footage taken from a rehearsal session with the Ensemble Modern in Frankfurt Sick from the prostate cancer that would kill him in 1993 at the age of 52 Zappa conducts a performance of Varèse’s “Ionisation,” the very piece he had cued up on the family phonograph in 1955 The footage makes vivid the story at the heart of Eat That Question: a brave irreverent person who stayed the course and saw to realization a new kind of American music built equally from the vernacular attack of rock and roll and the outer reaches of the avant-garde and the MP3s are bundled with PDF booklets reproducing the often very elaborate artwork of the original vinyl releases All of them include in their liner notes a quotation taken from Varèse: “The present-day composer refuses to die.” https://youtu.be/hgAF8Vu8G0w?t=32m23s ↩ https://youtu.be/5SjX5SPgR-s?t=1m33s ↩ and the plea “You don’t feel you could love me herself a subject of Western imperialist violence petter.gjersvik@medisin.uio.no senior associate editor of the Journal of the Norwegian Medical Association and professor at the Institute of Clinical Medicine The number of students in Norwegian medical schools will soon increase considerably Will the number of young Norwegians who study medicine abroad Approximately 3 200 students study medicine in Oslo and nearly as many young Norwegians study at medical schools abroad In almost no other country is the proportion of foreign-trained doctors as high as in Norway (1) Medical training and education in a foreign county has many advantages and positive features and Norwegian medicine needs inspiration and ideas from other countries (1 the fact that such a high proportion of doctors who will work in Norway receive their education and training abroad is problematic It is contrary to Norway's international obligation to train its own health personnel (3) and those who study abroad have very limited or no contact with the realities of Norwegian health care (1 a government-appointed committee – the Grimstad Committee – submitted its assessment of how Norway can increase its capacity to educate and train medical doctors (1) The committee recommends that Norway should educate and train about 80 % of its own doctors and that the number of students in Norwegian medical schools should be increased by 440 by 2027. This can be achieved if a larger proportion of the clinical training takes place in hospitals other than the traditional university hospitals Nearly two years have passed since the Grimstad Committee submitted its report but the ensuing debate on the committee's proposals has been relatively modest The medical community in Stavanger has argued in favour of a complete six-year medical study programme in the oil town while others believe that the education and training provided in Stavanger should continue to be part of the course of study at the University of Bergen Medical communities in the rural districts argue that more of the basic training should be undertaken there The medical faculty at the University of Oslo (UiO) has signalled that under certain conditions it could add up to 210 further students to those they already have The four medical faculties are well into the preparations for increasing their number of admissions because study programmes in medicine are complex and the logistics are demanding The faculty in Oslo wishes to establish UiO campuses linked to Sørlandet Hospital and Innlandet Hospital with significant parts of clinical practice training in local hospitals and in the primary healthcare service in the region similar to what the universities in Bergen Trondheim and Tromsø have done for many years Larger premises and far more teachers are needed despite growing use of online teaching and new e-learning methods Teaching must not come at the cost of the specialty registrars' right to supervision in their specialisation programme doctors who are engaged in teaching and supervision of students cannot treat as many patients as before More students must not come at the expense of the quality of teaching In short: nobody should underestimate what will be required and what it will cost If support from the State Educational Loan Fund is maintained at its present level the number of young Norwegians who study medicine abroad is likely to remain high There is ample reason to believe that the labour market for doctors in Norway will be able to 'absorb' many new medical graduates Positions for doctors are vacant in many regions and some specialties report recruitment problems many young doctors apply for positions in the cities and the fully private labour market for doctors there Many young doctors wish to have shorter working days and a better work-life balance which means that more positions for doctors will be needed Both women and men are entitled to parental leave and women currently account for well over 70 % of all medical students (4) The Grimstad Committee suggests that approximately 20 % of the doctors who will work in Norway can be educated and trained abroad and propose that the support from the Norwegian State Educational Loan Fund be significantly reduced (1) Many young people may probably still be able to finance their overseas studies without support from this fund since the motivation to become a doctor is often strong This may lead to an even greater bias in the social and geographical recruitment to the medical profession than exists today whether it will be legally or politically possible to treat those who wish to study medicine abroad differently from those who wish to study other subjects The Grimstad Committee's report leaves this question unanswered If such differential treatment is not legal and support from the State Educational Loan Fund is maintained at its present level Warnings about a 'glut of doctors' have been issued for decades Norway has the second highest doctor density in Europe (1) and with a marked increase in the number of medical students in Norway Such a glut of doctors may sound like a luxury problem but may undoubtedly also lead to more overdiagnosis and overtreatment which already represent considerable problems in clinical practice (5) we primarily need more nursing and basic care workers Studieplasser i medisin i Norge. Behov, modeller og muligheter. Oslo: Kunnskapsdepartementet, 2019. https://www.regjeringen.no/contentassets/9b5b81d102384507b85150f2e0f1b089/11745900_rapport_utredning_fra_grimstadutvalget.pdf Accessed 27.7.2021 World Health Organization. WHO Global Code of Practice on the International Recruitment of Health Personnel. https://www.who.int/hrh/migration/code/WHO_global_code_of_practice_EN.pdf Accessed 27.7.2021 Forskningsrådet. Indikatorrapporten: Utdanning. https://www.forskningsradet.no/indikatorrapporten/indikatorrapporten-dokument/menneskelige-ressurser/utdanning/ Accessed 27.7.2021 BMJ. Too much medicine (collection). https://www.bmj.com/specialties/too-much-medicine Accessed 27.7.2021 Nyeste ledige stillinger fra legejobber.no Hold deg oppdatert om ny forskning og medisinske nyheter Sjefredaktør Are Brean • Tidsskriftet er et medisinskvitenskapelig tidsskrift med åpen tilgang Tidsskriftet redigeres etter redaktørplakaten ISSN 0029-2001 (papir) ISSN 0807-7096 (nett) The ex-CEO of an ex-Nashville payment processing company has been accused in Manhattan Supreme Court of spending nearly $500,000 in company money on escorts shopping sprees and other markers of his “extravagant lifestyle.” from which the company relocated to New York City after Daily was bought out in 2011 the company claims Grimstad expensed golf trips and strip club jaunts something he also encouraged employees to do and those expenses caused “financial and reputational harm” to the company The company’s claim that Grimstad inappropriately spent $445,000 in company funds also includes a charge that he used $10,000 to buy clothing for a bodyguard Grimstad’s attorney Marc Kasowitz told the New York Daily News the allegations about his client’s lifestyle were unfounded This is more proof that this lawsuit contains total fabrications,” the attorney said Grimstad’s termination is also the subject of litigation. He sued last fall alleging that a hedge fund had plotted his ouster in order to gain control of the company Even before iPayment left Nashville, it was embroiled in legal battles. A California investment group accused Daily of scheming to deny the group, fronted by Douglas Shooker, a majority stake in the company, which was founded in 2001. The settlement of that suit resulted in Daily selling his majority stake in the payment processor and Grimstad taking over as CEO; shortly after, the company moved to New York. Daily now serves as CEO of Nashville-based i3 Verticals, a payment processing company he founded the year after leaving iPayment. Your browser is out of date and potentially vulnerable to security risks.We recommend switching to one of the following browsers: who at the time was about to go abroad to cover the Allied bombing campaign on Germany felt that he’d outgrown the detective genre by the age of twelve by which time he’d read through the stories of the early masters Yet everyone he knew seemed to be addicted was in the habit of recommending her favorite detective novels to their émigré pal Vladimir Nabokov; she lent him H Heard’s beekeeper whodunit “A Taste for Honey,” which the Russian author enjoyed while recovering from dental surgery Nabokov advised his friend not to dismiss the genre tout court until he’d tried some Dorothy L Sayers.) Surrounded on all sides by detection connoisseurs Wilson sounded genuinely perplexed when he wondered is the spell of the detective story that has been felt by T Eliot and Paul Elmer More but which I seem to be unable to feel?” That T. S. Eliot was a devoted fan of the genre must have rankled Wilson in particular the author of famously difficult and formidably learned poems whose every critical pronouncement was seized upon by dons and converted into doctrine was an unimpeachable authority in matters of literary judgment had played a part in establishing Eliot’s reputation as such in his era-defining study “Axel’s Castle” (1931) that the poet-critic had an “infinitely sensitive apparatus for aesthetic appreciation”—a sensitivity presumably not worth squandering on something as puerile and formulaic as mysteries CEO Adam Price resigned from his post effective immediately Price worked as the CEO of Waitr for several months in 2019 Chief Executive Officer Adam Price has resigned four months after taking the helm of the Louisiana-based on-demand food delivery business with tech industry executive Carl Grimstad taking his place a private family investment business incorporated in 2006 a private family investment company founded in 1995 Grimstad also is a co-founder and a past executive of iPayment Inc. a credit and debit card payment processing services business to small and middle market merchants across the U.S. was promoted to CEO of Waitr from chief operations officer in August and tasked with take the emerging on-demand food delivery business toward profitability He had joined Waitr after it acquired his logistics company in February 2019 but the resignation wasn't disclosed to investors until Friday in a U.S which has major operations in Lafayette and serves much of Louisiana and various parts of the country was flying high when its market capitalization hit $900 million in March just a few months after going public in a stock sale The on-demand food delivery business even acquired a similar-sized competitor But the merging of operations proved to be a rockier task than the company anticipated Waitr wrote off much of the value of the Bite Squad acquisition by September the company also laid off hundreds of workers founder Chris Meaux resigned as CEO but remains chairman of the company's board and its stock price fell below $1 per share Waitr has been warned by the Nasdaq stock exchange that it may be on the path to delisting from the exchange if it doesn't pull its closing bid price above $1 per share by June 2020 Adam Price isn't your typical turnaround CEO Grimstad has been evaluating "every aspect" of Waitr alongside the board of directors and its advisers "I see significant potential to build upon the solid foundation," Grimstad said in a news release Grimstad was president of iPayment until 2011 and served as CEO until 2016 Grimstad worked at the company when iPayment had its initial public offering in 2003 and also when it was taken private in 2006 Grimstad is on the board of directors of Beauty Tap Inc He is an alumnus of Boston University with a degree in economics “We believe that the combination of his extensive operational will create substantial shareholder value,” said Meaux Waitr's founder and former CEO who is chairman of the board of directors Grimstad's employment agreement guarantees him a base salary of $83,333 each month and expires in January 2022 That's a total $999,996 annual base salary with potential of another $400,000 performance bonus and $2 million in restricted stock Securities and Exchange Commission filings Grimstad could receive a bonus of $3 million if he remains CEO until 2022 the employment agreement is terminated by Grimstad "for good reason" or the executive's agreement is terminated for any other reason than misconduct The executive was also offered a restricted stock option agreement for 12.5% of the company's outstanding stock for 37 cents per share that lifts in part in 2021 and the remainder in 2022 Waitr attempted to renegotiate contracts with higher fees among independent restaurants to spur higher volume sales about 75% of restaurants have returned to Waitr But the transition period was publicly rough as restaurant owners complained about the new contracts Waitr was not charging fees to cover credit card costs and its contracts with restaurants was less than 5% — to the point where the startup was losing money by taking orders Waitr chipped away $19 million in annual salary expenses when it laid off about 300 workers in early November Now Waitr looks to hit $30 million in savings promised to investors for 2020 Waitr declined to share future earnings forecasts with investors during third quarter citing a lack of a chief financial officer who left in early November alongside two board members the company has retained a former president as an independent contractor to add to its leadership ranks Waitr generated $49.2 million in revenue during third quarter up from $19.4 million during the same time frame the year before About $24 million of that total revenue stemmed from Bite Squad’s sales the food delivery startup the company acquired last year Waitr has been warned by the Nasdaq stock exchange that it may be on the path to delisting if it doesn't pull its closing bid price above $1 per share by June 2020 Waitr's stock was trading close to 37 cents Friday with a market capitalization of $28 million It's down from a 52-week peak of $14 per share in March Chief Executive Officer Adam Price has resigned four months after taking the helm of the Louisiana-based on-demand food de… Correction: An earlier version of this story incorrectly stated the name LHC Group and Ochsner Health System will operate five Egan Health and… Reggie Dupré is CEO of Lafayette-based Dupré Logistics Construction on Gladiators Academy of Youngsville’s new 7,200-square-foot location at 930 Fortune Road began last week and could be complete b… The Acadiana Advocate's upcoming Acadiana Economic Summit 2020 on Jan 15 will focus on the area's improving economy and what lies ahead Email Kristen Mosbrucker at kmosbrucker@theadvocate.com The base salary of Waitr's new CEO is more than double that of the company's former CEO and founder but overall executive compensation will be… Waitr is ditching performance-based rates for some restaurants to collect more commission — a move that could make the struggling company more… quietly laid off an undetermined number of employees Monday morning while publicly announcing plans to refocus operations … Waitr drivers were notified Monday that they will soon become independent contractors instead of hourly employees — a move that will likely cu… Louisiana online food delivery ordering tech startup Waitr Holdings Inc a Louisiana-based online food delivery business added two new board members and signed a deal for its chief executive of… Email notifications are only sent once a day News Tips:newstips@theadvocate.com Other questions:subscriberservices@theadvocate.com Norway – Nymo has cut first steel in Grimstad for a 1,000-metric ton monoethylene glycol (MEG) module for Aker BP’s Valhall PWP-Fenris project in the southern Norwegian North Sea This will treat MEG recycled in subsea pipelines between the new PWP platform to be installed on the Valhall Field and the Fenris (ex-King Lear) Field 50 km away to prevent formation of hydrates in the pipes Primary supplier NOV has signed a letter of intent with Nymo to build the MEG module in Grimstad Nymo will construct the bridge that will connect the new Valhall PWP platform to the existing Valhall Field center at its facility at Eydehavn in Arendal Aker Solutions placed the contract for the structure which will be more than 100 m long with a weight of about 1,200 metric tons with an estimated cost of about NOK50 billion ($4.76 billion) includes a new unmanned installation at Fenris that will be linked to the PWP through seabed equipment and pipelines The two developments should start up in the second or third quarter of 2027