Dan Bloom Off Mic

Off Mic: musings and blog posts about this and that from all 5 corners of the world! For feedback email Off Mic at bikolang@gmail.com and address all mail to Mr Biko Lang.

Friday, February 20, 2015

Climate fiction italiana

Climate fiction italiana
Nella letteratura anglosassone, il cli-fi è un sottogenere molto popolare che include molti best-seller come Flight Behavior di Barbara Kingsolver, Solar ...MORE via Google Search Italy

''Oh, Jesus, take the wheel" - a blog post by Faith columnist Bill Tammeus in Kansas City

“An audio version of it is embedded in the San Diego Jewish World site,” Tammeus told his readers nationwide, and on Twitter as well. ”Give it a listen.” -


"JESUS, THE WHEEL" new version DEMO here via Bill Tammeus in KC

Thursday, February 19, 2015

CLI-FI: el cambio climático retratado en películas de ficción - SPANISH TEXT from Lima, Peru news site


Wednesday, February 18, 2015

R.I.P, David Carr, dead at 58 [knew he had pneumonia but did not know he had cancer] - QUESTIONS REMAIN

RSVP if you have any answers:

UPDATE: Sources tell this blog that David died from pneumonia.....not cancer as reported in the media, see comments here below the post.
Any confirmation? RE:
.............BU professor Chris Daily spoke with David Carr on the phone last weekend
and David tol Chris that he had penumonia and was being treated for it, but said nothing about being aware that he had cancer .....since the pneumonia apparently MASKED the cancer and Carr's doctors therefore could not detect it, until ''after'' the autoposy. Can anyone confirm? MSM did not report this.
And not just Chris Daly. Some NYT staffers close to David knew this, too, re the pneumonia diagnosis, which apparently masked the cancer so much that even his docs could not detect it.
QUOTE from BU college site: ''Daly says that when he spoke to him by phone the weekend before his death, Carr told him that he had pneumonia ...'' and from Chris Daly's blog at BU: touching end note: ''Last time I heard from [David] was last weekend. He wanted to chat because he had pneumonia, and he was worried about having to miss [the BU] class. He felt terrible about that, and he wanted to explore options: [could he get a substitute? Could he make it up later? What do professors do?]
I tried to reassure him, and then he shot me an email the next day: [he was feeling better, so never mind. He was going to soldier on.]
From his last email:
''on mend. coming monday am, weather permitting.''

RE: Source tells this blog: "I know people in the newspaper biz and at the NYT who talked to David every day. About his health problems. He did not know he had cancer. Did. Not.

He was suffering from pneumonia, and was being treated for it, and was very weakened by it. It's possible the doctors who were treating him did NOT recognize the cancer because signs were masked by the pneumonia.

I hate to keep bringing this empathetic question up, but empathy is important here, in addition to hero worship, and so far, nobody is answering me on this, and David is gone and can't answer for himself. BUT to repeat: and somebody, please, do answer: this is important, too: ....QUESTION: why didn't anyone TAKE CARE of David while he was alive? IS there a doctor in the house to explain this? -- NOTE: his journo friends glorified his "smoke breaks" outside the Times building and always told me about "oh I just saw Carr outside taking another of his famous smoke breaks!" -- why didn't anyone *intervene* and try to stop him. Smoking is NOT glamorous or glorious! The man was killing himself -- kidding himself? -- and none of his media friends or others tried to stop him? Think on it. Of course I ask all this with deep respect and sincere ''Rest in Peace'', David, as I will always treasure our email exchanges from 2012.

QUESTION: how come nobody at the NYT or media anywhere had ever discussed with David his current and obvious illness, that he had cancer [READ: pneumonia, NOT cancer as ''reported"], one doesn't just get cancer in one day and die. From photos recent of his withering neck, it is apparent he was very sick and dying of something, wasting away. Why didn;t anyone in his newsroom talk to him about this and help him with this? and why didn't any media talk about this beforehand?: and why didnt David admit he was dying, talk about it, even in print, he surely knew from doctors that he was very near death? I asked Lloyd Grove, no reply. I asked Will Bunch in Philly, no answer. I asked Brian Stelter at CNN, no answer. Why is everyone NOT talking about this? It's called empathy, too.

- Danny Bloom, friend of David Carr, with just this one empathetic question which David himself would have asked if he were still alive!

Tuesday, February 17, 2015

Justin Gillis, climate issues reporter at the New York Times, soon to do major story on rise of cli fi genre as cultural prism of our times....

WHO? Yes, Justin Gillis. Backgrounder on this very important Times reporter:

Interview by Curtis Noh Brainard

Not so long ago, the Henry W. Grady Award for Mid-Career Achievement was awarded to Mr. Gillis, in his mid-50s, of New York City. Gillis was born in 1960 and grew up near Vidalia and graduated from high school in Mt. Vernon in 1978. While a college student at UGA, he worked at The Red and Black newspaper, serving as a reporter and in many news-editing positions.

After graduating with a newspapers major, he worked a short stint at the Associated Press in Atlanta and in Montgomery, Alabama., then worked at The Miami Herald, where he was a reporter and editor for 12 years.

He covered a series of government and investigative beats there and, in 1989, he and a colleague were finalists for the Pulitzer Prize “for their investigation of financial wrongdoing by a popular county manager -- reporting which was conducted in the face of strong local opposition and which ultimately led to the official’s resignation.”

He joined The Washington Post in 1995 and spent a ten years as a business and science reporter at that paper, focusing on the new science of genomics and its commercial prospects.

He was a Knight Fellow in Science Journalism in 2004-2005, studying biology, energy, environment and other topics at the Massachusetts Institute of Technology and at Harvard University, after which he traveled around the world to see sites that had come up in his studies.

The Post made him its economics editor in 2006.

Not long afterward, he was recruited to The New York Times, joining the paper in 2007 as an editor specializing in energy coverage, among other topics.

He later switched back to reporting yet again, becoming the lead writer on global warming and other environmental topics for The New York Times.

An Interview with Australian Cli-Fi Novelist Alice Robinson, author of "ANCHOR POINT"

In the following interview, Australian novelist Alice Robinson reflects on how novels and
movies might influence our response to climate change, drawing on her
experience publishing the novel ''Anchor Point'' (from Affirm Press,
with a March 2015 release date) . In this email Q and A exchange with Dan Bloom in Taiwan, Robinson discusses her debut novel and its genesis.

A brief synopsis to set the scene for the novel you will be reading later on: When her mother disappears into the Australian bush country, 10-year-old Laura makes an impulsive decision that will haunt her for decades. Despite her anger
and grief, she sets about running the house, taking care of her younger sister, and helping her father clear their wild acreage to carve out a farm.

But gradually they realize that while they may own the land, they cannot tame it – nor can they escape their past.
''Anchor Point'' is an eloquent and arresting cli-fi novel that readers will not easily forget.

For background on the rise of the cli fi genre of literature, see The Cli-Fi Report at cli-fi.net


DAN BLOOM: You sat down to write your debut novel, ''Anchor Point,''
compelled by the reading you had done over the past few years on
climate change, and which had more than confirmed your worst fears.
What are your worst fears?

ALICE ROBINSON: When I think about this question I am bombarded by my many possible responses – some of which conjure futures I know are unlikely to impact me personally, in my lifetime, but the idea of which still terrify me. You know what though, mostly this question just makes me really uncomfortable. I am living in a culture here in Australia that has been incredibly slow – negligently slow – to come to terms with the reality of climate change, even though we are being described as the ‘canary in the mine’ for the global impacts it will bring. I feel like talking openly about the prospect of a perilous future in this nation is received as alarmist, unhinged, hysterical. The gap between what I know is going to occur within my lifetime and beyond it, and how little climate change is discussed in the public sphere – let alone acted upon – is scary and depressing.
But to answer your question: the worst thing I can imagine at this point in my life (as the mother of two children under three) is a catastrophic environmental or humanitarian disaster in my part of the world that leaves my family homeless, without safe supply of food and water. In the long term, I feel profound grief over the loss of beautiful, important, magical places, plants and creatures in the world. It is a horrible consequence of taking climate change seriously that my encounters with nature now already feel somehow nostalgic, even painful, as though the beauty of the world is fleeting, already lost to me.

DAN BLOOM: You have said you believe in the ability of literature to make change -
personal, and even cultural, social change, even political change.
According to the American postmodernist J. Hillis Miller, who you cited in your Wheeler piece, we 'see the
world through the literature we read ... We then act in the real world
on the basis of that seeing'. You said you know this to be true, at a personal
level, as you wrote in your Wheeler Center article. Can you
tell me more about this.

ALICE ROBINSON: So much of my life has been premised on the ideas and people and worlds I’ve encountered in books (namely in fiction, which is the predominant kind of reading I do). I’ve spent hours of my life inside the heads of characters and narrators, which has furnished me with an insatiable interest in other people –fictional, of course, but also real. In the real world I am deeply interested in secrets and in inner lives. I like to hear what people are thinking and feeling, and I ask a lot of questions– sometimes questions that are too personal, or somehow inappropriate. Perhaps I romanticise the people I know and meet. In a book, even the dullest person can be rendered interesting in their banality; their character distilled in such a way as to be poetic. In real life people are more complicated, less lovely somehow. So, I’m prone to disappointment.
Outside of myself, there’s an argument to be made that the way we write about the land informs how we understand and treat that land. Australian fiction is rife with negative descriptions of the landscape, depicted as harsh, hostile, unforgiving, alien, strange, ugly, dangerous, barren and unpredictable. I see a connection between these portrayals and a culture that has seriously brutalised the land since European settlement, that doesn’t seem to be in any hurry whatsoever to address climate change – in fact that is still in disagreement about whether climate change is even happening…

DAN BLOOM: As an aside, what is the Stella Prize which you mentioned in your Wheeler Center article, to explain this literary prize for readers outside Australia?

ALICE ROBINSON: In my humble opinion, the Stella Prize is one of the most exciting and important things to be happening in Australia’s literary world at present. It is a major prize for a book of fiction or non-fiction written by a woman, offering $50,000 in prize money to one winner each year.
The prize came about after a group of prominent literary women drew attention to the fact that writing by women is underrepresented in literary magazines, and that only 10 women had won the Miles Franklin Prize, one of Australia’s most prestigious literary awards, in 54 years…even though the prize’s namesake, Miles Franklin, was a woman herself! Stella, of course, was ‘Miles’s’ less ambiguous first name.
DAN BLOOM: Climate change and AGW is occurring as a result of human
action on our planet - namely, our over the top , wasteful, come what
may, posh and extravagant lifestyles cutlure of slash/burn/consume. What this might mean for
the future of humanity can seem like something belonging to the realm of science
fiction -- you said in the Wheeler article--  and yet, it is no longer sci
fi we are talking about but cli fi.
Why did you choose to write a cli
fi novel and plant it firmly in the cli fi genre of literature

ALICE ROBINSON: I didn’t know I was writing a cli-fi novel when I sat down to write; all I knew was that I wanted to write something about what was (and is) to me a fundamentally pressing issue. Finding a way to explore and draw attention to climate change is a notoriously difficult thing to do well in fiction. It is easy for an environmentally-focused work sound didactic, which isn’t a quality any reader really enjoys. And, as others have pointed out, fiction is predominantly about people– landscape or the environment are usually just background or “setting”,not the main event. Finding a way to put nature at the centre of things without eclipsing the human story in the novel was something I grappled with while writing. I also wanted to explore the now, rather than some imagined post-apocalyptic future. A character’s relationship to their environment just as it is beginning to decline is quite a different proposition to that of a character just barely eking out an existence in a radically-altered world, so the timing of my narrative also posed some problems. In any case, it took a long time to find my way into the novel, to focus on the characters while also giving weight to the already troubled natural world they live in. The span of the novel (the narrative takes place over 40 odd years) offered me one way of representing change and unpredictability as an increasing aspect of our environment.

You wanted to write a novel that would contribute to what I have
imagined in my blogs about ''creating a
platform for others to use for cli-fi novels and movies to hopefully change the world.'

Cli-fi is an evolving and potentially expansive genre, but one of its
fundamental functions, as I see it, is to process the cultural
distress that is inevitable under the circumstances. You wrote:

"Cli-fi narratives, predominantly apocalyptic or post-apocalyptic but
not necessarily so, reflect, portray and perhaps even safely contain
our collective fears and anxieties, particularly regarding our chances
for long-term survival.''

And you added: Cli fi novels and cli fi movies, can
powerfully explore, in ways more touching and profound than any
scientific document or goverment statistics and charts, just how
society might look and feel and function in a climatically altered
world. In this sense, cli-fi novels offer a way of highlighting the
mistakes we are making, preparing us for what will come next. Do you
think cli fi novels , by highlighting the mistakes we are making and
by offering solutions or scenarios to make us think, can break through
the mainstream media wall and get reviewed as cli fi novels in the
mainstream media in Australia and other nations or is there still a
prejudice not to take the cli fi genre seriously in the mainstream
media such as the SMH or the Australian or The Age or the New York Times or
the Guardian?

ALICE ROBINSON: I wonder, do you see the prejudice against cli-fi novels as a follow-on from the prejudice that arguably exists against sci-fi and other genre novels? That it is a question of high-brow versus low-brow, or high art versus low art? My instinct is that, most usually, the novels that get reviewed in the major publications are considered literary fiction, while genre gets far less coverage. But I don’t necessarily see cli-fi as belonging (or only belonging) to the realm of genre writing. Some sci-fi novels are considered highly literary, but I wonder if cli-fi has even more opportunity to depart from typically generic narratives. There will be some disaster cli-fi narratives that read like the All-American Hollywood Hero Blockbusters that they are, but others will be innovative and poetic; Cormac McCarthy’s The Road is like that (whether or not one places it in the cli-fi genre). I also think that the fact that some major literary authors have written about climate change in one way or another bodes well for the endurance and solidity of cli-fi as a category: Margaret Atwood, Ian McEwan and Barbara Kingsolver, for example, have all tackled the issue in various ways and with various degrees of success, though in all cases their work has been taken seriously and was widely covered in the press, which is surely a good thing for both the genre and the issue.

DAN BLOOM: If our culture acts in the world on the basis of what we
glean from texts and novels and movies, as K. Hillis Miller proposes,
then cli fi narratives might be able lead us toward a different,
better, safer way of living. Can a genre like cli fi prevent us from
destroying our planet? Or is it too late and is it hopeless, and if
so, where does hope lie now, for you?

ALICE ROBINSON:  I am unfortunately pessimistic about the future – scared, actually. I don’t know when the impacts of climate change will really be felt in Victoria, where I live, in such a way as to significantly affect our lives. But I think it is pretty widely acknowledged that it is too late to turn the boat around entirely, that we are already committed to a certain degree of warming which will impact and perhaps endanger our way of life as time goes on. And as I said, South-Eastern Australia (my home) is right at the coal-face of these changes, to use an unfortunately appropriate expression.

On a personal front, hope for me lies in my efforts to prepare my little children as best I can. I want them to have some basic survival skills, the kinds of skills that not many kids (especially urban kids in the first world) are being taught as a matter of course: hunting, fishing, gardening, making food from scratch, building and repairs, basic mechanics…all good things to know, regardless of what’s coming.
On cultural and societal fronts, I believe strongly in innovative green technologies. Australia, being so coal dependent, is woefully slow to embrace them on a large scale. But it gives me a lot of hope to hear of international cities implementing green roofs, wind and solar power, significant bike path developments, etc. And, of course, environmentally-focused art fills me with hope – it is actually very soothing to behold (even when bleak) because the fact of its existence tells me that these issues are important to us as a species, though it often doesn't feel like it. That gives me some faith. To me, as long as we are still trying to explore climate change in our cultural products (books, film, art, etc) there is still hope, however fleeting.

DAN BLOOM: You wrote in your Wheeler Centre article when talking about whether you think novels and movies can make a difference in the battle against climate change and global warming that "Heartbreakingly, to my mind, the answer is no."
Why did you say that? And can you amplify this a bit?

ALICE ROBINSON: I don’t think cli-fi can stop climate change from happening because I understand that we are already locked in to certain change regardless of what we do now. However, cli-fi might be able to contribute to the degree of change we experience – it could help prompt positive cultural action that would temper the seriousness of the changes. I don’t think we should give up; we can’t give up. We need to keep exploring in text and elsewhere the potential futures we are facing in order to prepare ourselves, to come to terms with the challenges coming our way and to explore our fears and anxieties about what we have done to our home planet and how we will cope as climate change manifests.

DAN BLOOM:  Since beginning ''Anchor Point'', you have given birth to
two beautiful little children - ''perhaps my most ecologically
damaging act, but also my most hopeful," as you wrote. How does
parenthood square with your despair over our prospective future and
how complicated is this issue for you and other parents today, do you
feel? You wrote: "suffice to say, my reluctant pessimism and necessary
optimism provide the particular position from which I now write. My
novel comes to an end in the last gasp prior to any definitive
apocalypse, allowing for modest hopefulness, my small concession to
the idea that the future may be other than what I fear it will be;
that my precious children, and their children, may yet remain safe."
So what is your modest hopefulness now as a novelist, a mother, a
human being in 2015? Where does hope lie, for you?

ALICE ROBINSON:  I have to remain a little bit optimistic that the predicted dangers and devastations can be tempered, if not avoided, because how else can I live every day with these beautiful little souls I’ve brought into being and not feel crushingly cruel and depressed? On a practical note, my modest hope for humanity is that more and more people opt to make small but significant changes to their lifestyles in order to reduce emissions. Perhaps literature can help with this by showcasing alternative ways to live, while also providing a glimpse of what the future might be like if we fail to make change. This is why I feel cli-fi has a role to play in exploring both the present situation, either realistically or more imaginatively, as well as the post-apocalyptic visions it has often been associated with, and why I set my novel in the recent past and present: we need to find ways of imagining alternative ways of living in the present, as well as ways of coping with the changes we already know are coming.

DAN BLOOM: You wrote: "In 'Requiem for a Species', the Australian
public intellectual and climate activist Clive Hamilton argues that we
oscillate between disabling states, denial and despair, when
confronted by the reality of imminent climate change. Perhaps cli-fi's
ability to imagine possible futures - to portray humanity during and
after the crash - might help us to rid ourselves of our persistent
culture of denialism and to portray the possibility of our survival;
to legitimise our pessimism while encouraging our hope. Hamilton
quotes Pablo Casals to the effect that, 'the situation is hopeless; we
must now take the next step'. Though it alone cannot save us, perhaps
cli-fi can urge us toward those next crucial steps: spurring us to
initiate the positive cultural changes that remain within our control,
supporting our attempts to come to terms with our situation, and
preparing us to weather the significant changes already looming." So
cli fi novels and movies maybe can nudge us to:

1. initiate the positive cultural changes that remain within our control,

2. support our attempts to come to terms with our situation,

3. prepare us to weather the significant changes already looming.

.....So, for example, what cultural changes? What attempts to come to terms
with the situation and how prepare now and in future generations
for what might be coming down THE ROAD,(echoes of Cormac McCarthy's
novel "The Road" here)?

ALICE ROBINSON: One of the first cultural changes that must occur is that we need to stop seeing our environment as mere background, the “setting”, and start seeing it as fundamental, as the thing that sustains us. I am not the first person to say that, in this, settler Australians would do well to learn from and work with Indigenous Australians, who have an alternative, nourishing relationship with Australian lands and have been caring for them for over 50,000 years. From what I understand, their knowledge is localised and deep – it seems amazing to me that we are in need of new approaches to thinking about, relating to and looking after our places, and that there already exists on our continent these whole other frameworks for those exact things. There are massive structural issues and impediments around settler-Indigenous relationships in this country, but I wonder if climate change might offer a point of contact through which we can begin to collaborate to care for Australian – and other – lands.

DAN BLOOM: Almost the last question: are you an optimist or a pessimist on all
this and please explain? And you have two children now and you will have
grandkids in 20 or 30 years or so, and then you will have great
grandkids and so on for the next 30 generations or so of Alice Robinson
DNA human beings. Can you imagine their lives in 30
generations from now, and how to do feel it might be like, that future?

ALICE ROBINSON:  This is a hard question. I am both an optimist and a pessimist and the discomfort of this position is great. Another way of explaining how I feel might be to say that I’m a pessimist who longs to be an optimist, or a reluctant pessimist. I don’t think anyone wants to believe what the science (and some cli-fi novels) are telling us. Why would we? But it would be foolish to ignore the evidence also. So where does that leave one, really? How on earth can anyone grapple with and find equilibrium in this state?
Perhaps it is an odd admission for a writer, but I don’t want to imagine what life will be like for my descendants in thirty generations – perhaps saying that is indicative enough of where I think we are headed. It is heartbreaking to consider what will have become of the sustaining beauty in the world as I know it. My fear is that our world will have become uglier, more dangerous, less breathtaking in its diversity. I feel such sorrow about this. The natural world is so precious to me – to all of us. I find it hard not to despair when I think about it being damaged, let alone destroyed. Of course it will persist, in one form or other, but whether our descendants will be around to enjoy it is another matter entirely.

DAN BLOOM: As I look into the future, I feel that cli fi can do two things: it can speak to the
present and lay out varius scenarios, dystopiana or utopiana,
or it can speak to the future, to future generations that
will come after us, almost like prophetic texts left behind by
earlier generations for those in the future to read to help them
prepare for the terrible, unspeakable situations they might be facing and experiencing in that future time
and how they can prepare to cope. Does this make sense to you, too, and
what is your reaction to my idea on this?

ALICE ROBINSON:  I like that idea! My novel is set in the present era, but the last section takes place in the near future: 2018. However, I’m not sure such a device will help anyone in that year or beyond it cope with what they must live through. Rather, I think that our abilities to predict and explore the future through cli-fi will only feel all the more heartbreaking when the things we wrote about (or something worse) come to pass. I can imagine a reader in the future picking up The Road, or George Turner’s The Sea and Summer, or even my own novel Anchor Point, and feeling incredibly angry that as a species we had it in us to imagine such futures, but not to prevent them.
As a writer, it does give me a small measure of comfort to send a message forward through the years, to make contact with some imagined future reader, to let them know, between the lines, that in my own small way I saw it coming, and that I’m sincerely sorry we didn’t do more to keep them safe.
DAN BLOOM: Thank you Alice, for taking the time to chat with me and answer these questions. You have said some very important things here.
ALICE ROBINSON: Thank you, Dan, for taking the time to interview me. I appreciate it.


Alice Robinson is a lecturer in creative writing at Melbourne’s NMIT. She has a PhD in creative writing from Victoria University and her work has been published widely. Anchor Point (Affirm Press) is her first novel.

An upcoming event at the Wheeler Center will find Alice Robinson discussing fiction about climate change on Thursday, the 24th of  March, with novelists James Bradley, Jane Rawson and others (to be announced). Book your free tickets now.

Alice's essay titled ‘Highlighting the Mistakes we are Making’: On the Uses of Climate Change Fiction was published here:


Monday, February 16, 2015

7年級女店長 煮暖心咖啡

7年級女店長 煮暖心咖啡

2015-02-16 0      聯合報 記者 REPORTER 林伯驊/CHIAYI CITY, TAIWAN 嘉義報導 UNITED DAILY NEWS

從一面「金城武拉花」壁畫走紅,7年級的宋佳穎更重視的是顧客體驗,不惜成本引進咖啡專業老師指導拉花,員工受到感召,在客人較少時互相揣摩技巧,若失敗也願意自掏腰包買下,雖然費時費工,客人都能賓至如歸,享受咖啡的美好。 宋佳穎說,拉花從打奶泡開始每個步驟都要謹慎,蒸氣口放在牛奶的表面,不能過高或過低,邊用輔助杯子的手感覺溫度,到一定的熱度成為奶泡,利用搖杯或推杯方式加入咖啡,約3至4秒就決定成敗;起初常常一團糊,失敗機率高,一概重作自行吸收成本。 宋佳穎笑說,常常看見員工擠在吧檯裡面,準備要喝斥不要偷懶,沒想到是在研究拉花,她也讓員工以可可粉為基底,稀釋鮮奶打奶泡練習,才熟能生巧。 走進店內,彩繪風格彷彿置身異國,宋佳穎去年底接下店務,保留原本彩繪風,地面改為木板,1樓紐約街頭風格很俐落,配有高腳桌椅,適合辦公人士輕鬆工作;2樓法國、威尼斯風,換上沙發椅,讓人悠閒的放鬆;外頭還有金城武,笑稱如同副店名「女王的旅行」,在外有金城武,裡面能度假。 宋佳穎說,目前已經有8組新人拍婚紗,她也盡全力配合,只要有需求,不論場地、咖啡拉花,都能客製化,接近過年,還在咖啡上寫下「春」的字樣,相當應景。

grade 7 female shop long cooking warm heart coffee

2015-02-16 03: 33: 27 United Daily News reporter Lindboe Hua/Chiayi reports

from the "Takeshi Kaneshiro la spend mural popular grade 7 Song Jia Ying attach more attention on the customers experience, cost coffee introduction guidance teacher la flowers, staff of inspired, in a moment customers a comparatively mutual figure skills, if from its own defeat is willing to buy, although time-consuming labor, the visitors to guests feel at home, and enjoy the beautiful coffee.
Song Jia Ying said, Latin spent since the beginning bubbles every step would be prudent vapor port on the surface in milk, not too high or too low, putting auxiliary cup and mobile feel temperature, the heat of milk bulb, using remote cup or to join Cup coffee, about three to four seconds on success or failure decision; initially mission often paste, failure rate high, a general be made to absorb costs.
Song Jia Ying laughs and says that often see the staff inside the stand, standards are not to drink spending lazy, unexpectedly in research la flowers, and her staff to cocoa powder to substrate, diluted fresh milk hit soak the practice, to practice.
walked into inside the shop and painting style like 彿 exposure abroad, Song Jia Ying last year of shop, retaining painting wind and the ground to wood, 1 property streets of New York style very clever Lok, with a tall chairs and tables, suitable for office light; 2 property France, Venice wind, replaced with sofas chair, giving people leisurely relaxed; outside the Takeshi Kaneshiro, laughing. As Deputy shop name "Queen and the travel" to the Takeshi Kaneshiro, inside to holiday.
Song Jia Ying said that there are already 8 new wedding photos, she also do the best to 只 to be demand, whether venues, coffee la flowers, can away in the near New Year, also in the coffee, wrote, "Spring" is to King.

咖啡幫說 LOVE 男客求婚成功

咖啡幫說 LOVE 男客求婚成功

2015-02-16       聯合報 記者林伯驊/CHIAYI CITY 嘉義報導

似晨咖啡因為牆面彩繪的巨幅拉花帥哥神似金城武而走紅。 記者林伯驊/攝影

讓咖啡「說話」!嘉義市似晨咖啡店每位員工都有拉花好手法,還會觀察客人情況,偷偷在奶泡上作畫,每每端上桌都是一陣驚呼,本月初更以巧克力寫上「I LOVE YOU」,幫助男客人完成求婚大作戰,以咖啡與客人對話的方式,每一杯都像個故事,貼心又令人感到溫馨。
似晨咖啡店曾經因為外牆上酷似金城武的壁畫走紅,店內也以手繪充滿異國情境,去年8月開幕後,由於經營遭遇瓶頸,年底差點收攤,現任店長宋佳穎臨危受命,沒有相關經驗的她從頭學起,從完全不會煮咖啡,向業界老師請益,再努力上網自學,菜單全部換過,重新找尋協力廠商,打造自己的咖啡世界,1月重新開張。除了嚴訂咖啡沖煮SOP,宋佳穎認為拉花有不同視覺效果,許多店都會打奶泡,卻不一定用心拉花,於是投入研究。愛畫畫的她,發揮巧思用奶泡鋪在杯面,以咖啡、巧克力醬作畫,放寒假前,有許多學生來讀書準備考試,她貼心的寫上「ALL PASS」(全科及格),讓學生們喜不自勝。

店長宋佳穎善用彩繪風格,搭配舒適沙發,營造溫馨居家感。 記者林伯驊/攝影

本月初,年輕男客私下籌備要求婚,多次帶女友到店裡看場地,謊稱要協助拍攝宣傳影片,當天兩人一如往昔到店內,宋佳穎端出咖啡,上面寫著「I LOVE YOU」,女友才恍然大悟,男友從店外走入單膝下跪,成功抱得美人歸。「賣的是人情味!」宋佳穎說,拉花、作畫想要帶給客人客製化的不同感受,也在視覺上有更多享受,喝咖啡不再只有味覺體驗,更傳達愉悅心情。

Let coffee "speak."

Chiayi city like morning coffee every member of the staff have la take practices, also will observe guests, secretly in milk brewing up to painting, often end on the table is a surprise calls, early this month of chocolate, "I LOVE YOU to help male visitors completed propose combat, in the coffee and guests dialog, each of the cup all like a story, close friends also makes people feel warm.

It may be morning coffee shops have on the walls exactly like Takeshi Kaneshiro mural popular shops is to hand-painted filled with exotic scenes, August last year after opening, due to the business experience bottleneck, poor at the end points. assessments, the current store manager Song Jia Ying critical mandated, no relevant experience from scratch her school of coffee is not for the industry Yi teacher asked, repeated efforts on the Internet learning, and the menu all for that to look for third-party companies, and to create their own coffee world, january re-opened. The strike of coffee SOP cooking, Song Jia Ying believes la spend a different visual effects, many shops are going to be milk tea, but not necessarily intentions la flowers, thus get involved in research. Love painting, she played ingenuity to milk tea shop in cup noodles, coffee, Chocolate Sauce drawing and painting, placed before the winter vacation, many students to study standards for examination, she close the she wrote "ALL PASS" (the passes) to allow the students hi winning.

Recently, a member of woman bad mood,, sitting alone on the most corner seats, employees for their milk instant make a big smile and the girls all of a sudden expression not imposing; Song Jia Ying How can a milk instant pile up more three-dimensional Xiong look and cooked away all look forward to the coffee surprises.
Earlier this month, young male visitors marriage preparation privately, many with girlfriend store, to see venues, false claims that it is necessary to help shooting promotional films, two people on the day as ever to inside the shop and Song Jia Ying brought out coffee, which "I LOVE YOU," girlfriend began to understand, her boyfriend, from shops in single knee kneel, successful have a beauty. "selling humane! ," Song Jia Ying said, Latin flowers, drawing and painting want to give visitors away in the different feelings of the visually more enjoyment, no longer 只 coffee with taste experience, more communication delight.

Sunday, February 15, 2015

Co-writing a Christian-themed NASCAR song with President Obama

NOTE: if you want a free demo song file, I can send by email to your email address. Just write to danbloom@gmail.com and send me your email.
Co-writing NASCAR song with Obama

by Dan Bloom

Quite a few Jewish songwriters have written
famous Christmas songs that America listens to year after year. And
taking my cue from them, I recently tried my hand at writing a
Christian-themed NASCAR song, co-written with President Obama, as you
will see as you continue reading this article. Scroll down. It's fun.

I need to say right away that a recording artist in Texas, J. Gale
Kilgore, did the honors the other day and put the words to music. Give
it a listen. And pass it around to your
friends, of all faiths.

Who knows, President Obama might even get wind of this!

You see, part of my reading every day from my easy chair
in Taiwan is the San Diego Jewish World, and I like to read through
all the stories, the meaty ones as well as the lighter ones. After
all, I am a part-time humorist and songwriter, and I love to read.

What caught my eye the other day at this website was a reprint from
Washington of President Obama's recent speech at the National Prayer
Breakfast, and while I am not sure how many words the press release
ran, I read every word because I like to see how the president and his
speechwriters put those long speeches together. In this case,
President Obama used both religiosity and humor to make his points,
and I had a ball reading the speech in print, since I was not invited
to the prayer breakfast itself.

One thing that caught my eye (and ear) since I love novelty songs and
religious lyrics as well was a place in the speech where the president
spoke to NASCAR Hall of Famer and driver Darrell Waltrip who had been
invited to give the keynote address at National Prayer Breakfast this


President Obama began his speech by praising the Lord, starting off:
"Thank you. Well, good morning. Giving all praise and honor to God."

And then very quickly his trademark humor came into play as he waved
to a famous monk from Tibet sitting at a distant table and said:
"I want to offer a special welcome to a good friend, His Holiness the
Dalai Lama -- who is a powerful example of what it means to practice
compassion, who inspires us to speak up for the freedom and dignity of
all human beings. I've been pleased to welcome him to the White House
on many occasions, and we're grateful that he's able to join us here

"There aren't that many occasions that bring His Holiness under the
same roof as NASCAR," the president added, an ad-libbed, off-the-cuff
(or well-rehearsed beforehand) remark which was met with laugher in
the cavernous hall. "This may be the first [time]. But God works in
mysterious ways. And so I want to thank Darrell [Waltrip] for that
wonderful presentation [earlier]. Darrell knows that when you're going
200 miles an hour, a little prayer cannot hurt. I suspect that more
than once, Darrell has had the same thought as many of us have in our
own lives -- Jesus, take the wheel. Although I hope that you kept your
hands on the wheel when you were thinking that, [Darrell]."

Well, that was all I needed to start my engines that day in Taiwan. I
took out a pen and a small writing pad, in the old-fashioned way as
befits my age -- I'm sliding up to 66 already and was born in the age
of paper and pen -- and started writing the some song lyrics that
immediately sprang to mind after reading where Obama said ''Darrell
knows that when you're going 200 miles an hour, a little prayer cannot

That sentence struck a chord with me, even though I'm not Christian
and not especially religious although I have deep Jewish roots and
love Jewish stories. This is another one, but this time I'm writing it
and reporting about myself. Go figure.

See, I love to write song lyrics even though none of them have ever
been recorded. I just like the poetry and gracefulness of language. So
I started writing fast and furious. And when the president further
said "I suspect that more than once, Darrell has had the same thought
as many of us have in our own lives -- Jesus, take the wheel," I felt
there was a song aborning here. And then this last sentence cemented
the deal for me: "I hope that you kept your hands on the wheel when
you were thinking that, [Darrell]."

So without thinking about what I was doing I wrote down these lyrics
and gave President Obama a co-writing credit (a la the Paul McCartney
and John Lennon writing team of Beatles fame) since it was really his
words that inspired the song in the first place: a little prayer can't
hurt, especially at 200 mph on a race track and the idea, not part of
my religious upbringing as a Jewish person but certainly a part of the
very core of the Christian belief system, that maybe Jesus could take
over the driving chores for a while and get you out of the mess you
might find yourself in.

So I called my little ditty "Jesus, take the wheel" -- with major
credit to Mr Obama for sure, because it was his humor and words that
inspired me -- and began it this way:

''Darrell knows when you're going two hundred/
a little prayer can't hurt/
NASCAR's fast and furious/
and you can always use a Jesus spurt."

For the chorus I wrote:

''Jesus, take the wheel/
Yes, Jesus, take the wheel.''

Next verse:

"Drivin' in the rain, drivin' in the sun/
A little prayer never hurt/
Round and round and round they go/
It's always good to catch a Jesus spurt."

And the third verse:

''Hands on the wheel, and yes, a firm grip/
I'm holdin' on, bitin' my lip/
But at every turn, I know I'm safe/
Cause Someone Higher's making sure I don't slip.''

With this final refrain:

"Jesus, take the wheel/
Yes, Jesus, take the wheel/
O Jesus, when you're ready/
Take the wheel, Take the wheel."

I hope somebody records it someday. J. Gale Kilgore in Texas did a
demo now and it's fun.

I co-wrote it with the president
giving me the title and the tag lines and the chorus. And crooner
Kilgore in Texas
put the pedal to the metal and recorded a the song. That's what I
call serendipity.

Saturday, February 14, 2015

Temple University college class uses cli fi to brace for climate change

Temple University college class uses cli fi to brace for climate change

Temple University rides wave of cli fi speculative fiction

Temple's New Cli-Fi Course Spring Semester 2015...a visit to campus to interview instructor Ted Howell and sit in on a class and chat with students

Adam Trexler's new academic study of 150 cli fi novels set for May 2015 release and titled ''ANTHROPOCENE FICTIONS''

His book is based on this essay published a few years ago, in 2010:
NOW it is a book, 400 pages or so and looking at 150 cli fi novels past and present:
When I reached out a few years ago and asked Dr. Trexler by email what the functions and uses
of cli fi novels might be, he replied from his office in Oregon:

"Climate change literature may warn about the dangers of disastrous
global warming -- e.g. "adding to the climate debate". Its more
important function is to help us understand what it means to live in
an era when climate change is already upon us, when its disastrous
effects are accumulating, and when we seem unable to address it in any
comprehensive way.'

"Climate fiction has been written by authors who have won every major
literary prize," he said, adding: "Many novelists who have written
about climate are the most highly, critically regarded of our era:
Doris Lessing, JG Ballard, Will Self, TC Boyle, Jonathan Franzen,
Maggie Gee, Barbara Kingsolver, and Jeanette Winterson, to name but a
few. [I've compiled] a bibliography of over 300 climate change novels.
Of course there are science fiction novels, too, both simplistic and
highly sophisticated (see the novels by Kim Stanley Robinson and Paolo

Trexler, who wrote a long and important essay about cli fi novels in
  has written the new book for UVA Press, and titled ''Anthropocene Fictions." The
book will be the first comprehensive study of climate change novels,
and will be sure to finds readers around the world.