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Tuesday, May 30, 6:30-9:30pm
700 Bryden Rd.
Columbus is a tale of two cities where luxury condos and militarized police are prioritized over schools and community health. Columbus could be a city that works for all of its residents, but right now big developers and CEOs are the ones calling the shots. Join us for a workshop on tools to analyze and map the power of the shot callers in Columbus and a strategy session on how we can come together as a community to make change by leveraging our resources and our greatest asset-- our people.

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Monday, May 30, 12-5pm
Lost Weekend Records, 2960 N High St.
Dealer's it is free to set up but please call the store 614-268-8423 to reserve a spot as space is limited.
You do not have to bring records to swap you can just bring cash and buy records.

Let me now also extend my deep and heartfelt gratitude to each and every one of the distinguished heads of state who made this journey here today. You greatly honor us with your presence, and I send the warmest regards from my country to yours. I know that our time together will bring many blessings to both your people and mine.

Top Russian officials are concerned that a bill passed by the US Congress will do more than increase sanctions on North Korea. Moscow claims H.R. 1644 violates its sovereignty and constitutes an “act of war.”

This week, the Chair of an exciting UN initiative formally named the “United Nations Conference to Negotiate a Legally Binding Instrument to Prohibit Nuclear Weapons, Leading Towards their Total Elimination” released a

Peter Brook directed the 1960s stage and screen versions of Peter Weiss’ Marat/Sade, which is arguably the 20th century’s best post-Brecht political play. Marat/Sade left an indelible impression on me - I can still remember some of the drama’s searing dialogue and its depiction of French Revolutionary Jean-Paul Marat as the totally devoted “friend of the people” remains very moving. Around the same time I saw Marat/ Sade I also viewed and was greatly influenced by Spanish surrealist director Luis Bunuel’s Belle de Jour, written by his frequent collaborator Jean-Claude Carrière. (The fact that this recipient of 2014’s Lifetime Achievement Academy Award does not receive a blurb in Battlefield’s program is a woefully grievous omission.)

 

When the U.S. public was told that Spain had blown up the Maine, or Vietnam had returned fire, or Iraq had stockpiled weapons, or Libya was planning a massacre, the claims were straightforward and disprovable. Before people began referring to the Gulf of Tonkin incident, somebody had to lie that it had happened, and there had to be an understanding of what had supposedly happened. No investigation into whether anything had happened could have taken as its starting point the certainty that a Vietnamese attack or attacks had happened. And no investigation into whether a Vietnamese attack had happened could have focused its efforts on unrelated matters, such as whether anyone in Vietnam had ever done business with any relatives or colleagues of Robert McNamara.

A suicide bomber inflicts hell at a concert hall in Manchester, England that’s full of children, as though that was the point — to murder children.

The horror of war . . . well, terrorism . . . doesn’t get any worse.

And the media, as they focus on the spectacle of what happened, as they cover the particulars of the tragedy — the suspect’s name and ethnicity and apparent grievances, the anguish of the survivors, the names and ages of the victims — quietly tear the incident loose from most of its complexity and most of its context.

Yes, this was an act of terror. That piece of the puzzle is, of course, under intense scrutiny. The killer, Salman Abedi, age 22, was born in England to parents of Libyan descent and had recently traveled to Libya (where his parents now live) and Syria, where he may have been “radicalized.” He likely didn’t act alone.

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