Mask requirement on long-distance trains: FDP wants to overturn further corona rules
Lower Saxony and Bremen are lifting the isolation requirement. The FDP and the head of the conference of health ministers want further easing.
Masks are to be worn on long-distance trains until April. Or does the rule change sooner? Photo: Jochen Eckel/imago
BERLIN taz | Federal and state politicians are putting increasing pressure to overturn the last remaining rules for corona containment. FDP politicians in particular are calling for a quick end to the mask requirement in long-distance public transport. In local transport, where the countries can decide for themselves, such a regulation applies in many places not anymore. More and more federal states are also planning to abolish the isolation requirements for corona sufferers.
Federal Transport Minister Volker Wissing (FDP) had already spoken out on ARD on Wednesday in favor of ending the mask requirement on long-distance buses and trains. The chairman of the conference of health ministers, Manne Lucha (Greens), from Baden-Württemberg, made a similar statement on Thursday. From February, there should be rules that are as uniform as possible nationwide, he told the Funke media group. Federal Minister of Justice Marco Buschmann (FDP) also called for a quick end to the rules in long-distance traffic on Twitter on Thursday.
So far, it is planned that these pandemic measures will not expire until April 7th. Federal Minister of Health Karl Lauterbach (SPD) no longer rules out an early end, but does not want to relax immediately. He refers to the continuing tense situation in many clinics, especially due to flu viruses.
Lauterbach also warned when individual countries announced last year that they would abolish the obligation to wear masks in local transport. The countries eased anyway. In Bavaria, Saxony-Anhalt and Schleswig-Holstein it is already permitted to use public transport without a mask. Berlin, Brandenburg, Thuringia, Mecklenburg-Western Pomerania and Saxony are also planning to end the rules for local transport soon. Lower Saxony was added on Thursday. State Health Minister Daniela Behrens (SPD) announced that the obligation would be lifted in February.
Background to Wieler's resignation
At the same time, the isolation requirement for corona patients in Lower Saxony should also end, as Behrens announced. She came a few hours earlier with this announcement from the state government in Bremen, which on Wednesday also announced the end of the obligation to isolate for her state next month.
Thuringia has been planning this step for some time. In Bavaria, Baden-Württemberg, Hesse and Schleswig-Holstein, the obligation to isolate has already been lifted. Without this regulation and without the requirements for local and long-distance transport, in many places only the mask requirements for clinics, practices and other health services remain.
The farewell e-mail from the President of the Robert Koch Institute (RKI), which was made public, reminded of the great emotions such rules had triggered during the peak phase of the pandemic. Lothar Wieler, who the day before his had announced farewell to April, justifies the step with the enormous pressure and indirectly also public hostilities. As President of the most important German health institute, Wieler had at times become the enemy of conspiracy theorists during the pandemic.
Recently there had also been repeated disagreements between Lauterbach and the RKI management. After the RKI decided in January 2022 to reduce the convalescent status from six to three months, Lautberbach withdrew the decision-making power from the institute. This was partly interpreted as disempowerment.
The RKI had already announced on Wednesday that Wieler's withdrawal was at his own request and in consultation with Lauterbach. In his e-mail, Wieler writes that in the future he wants to "work again in the scientific and academic field – preferably in a calm and factual manner – but below the spotlight of politics and the media".
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The National Federation of Independent Business (NFIB), the largest small business association in the U.S., is suing President Joe Biden over the new vaccine-or-test mandates for companies with over 100 employees.
The group filed a petition on November 9 with the Fifth Circuit Court of Appeals, demanding that the court pause the Occupational Safety and Health Administration rule.
Karen Harned, executive director of NFIB's Small Business Legal Center, said that the small business economy is fragile and owners continue to manage challenges regarding staffing and supply chain disruptions.
"This mandate only increases those challenges and threatens to cause an enormous financial loss. Ultimately, the mandate restricts the freedom small business owners depend on to run their businesses and is a clear example of administrative overreach," she said.
Biden's mandate saw opposition from state leaders who condemned the plan to be an unlawful case of federal overreach, immediately challenging the requirements in court. (Related: Unions sue Union Pacific over implementation of Biden's vaccine mandate.)
The Biden administration also saw a setback when a federal appeals court in New Orleans temporarily halted the mandate as it posed "grave statutory and constitutional issues."
If the mandate survives the challenges, it will go into effect on January 4, 2022, and will affect over 80 million workers amidst an ongoing labor shortage and massive supply chain delays on top of the rising inflation in the already struggling economy.
Government to rely on whistleblowers to implement mandates
The administration will also have to rely on whistleblowers to identify workplaces that are violating the rule because OSHA does not have enough safety officers to undertake the program.
Acting OSHA Chief Jim Frederick said that the agency will be focusing on job sites where workers require assistance to have a safe and healthy workplace, and they will be relying on complaints to address such issues. However, it is impossible to predict if employees will be willing to take the risk of tattling on their own employers.
Critics have warned that whistleblowers have often faced retaliation from employers, and OSHA has offered little protection when they do.
Workers from different industries have already threatened to quit, retire, change companies or even face the prospect of losing their jobs rather than comply with the new rule mandating vaccines with alternative weekly testing and masking in the workplace.
Among those who are especially affected by the rule are small businesses that are classified to have revenue ranging from $1 to $40 million, and employment of 100 to 1,500 workers. NFIB argued that OSHA needs to use the standard notice-and-comment procedure for the mandate to gather public input instead of using the "emergency" provisions.
Some said that if the matter was truly urgent, then the president would not have to make the tactical move to gain political positioning by waiting until the end of the holidays to implement the rules.
The associations working with NFIB include the Mississippi Trucking Association, Texas Trucking Association, Louisiana Motor Transport Association, American Trucking Associations, National Association of Wholesale Distributors, Food Industry Association, International Warehouse & Logistics Association, National Association of Convenience Stores, International Foodservices Distributors Association and the National Retail Federation (NRF).
Trucking, retail and food industries were particularly worried about how the mandates will affect their business. The NFIB argued that the mandate will cause unrecoverable compliance costs, lost profits and sales. It could also exacerbate the labor shortage hitting small businesses.
NRF President Matthew Shay said that retailers are concerned about implementing requirements during the holiday season. The NRF represents the nation's largest retailers, including Target and Walmart, and have asked for extensions of deadlines until after January.
"We have consistently and repeatedly communicated our concerns about the practical challenges of meeting those arbitrary targets. However, it appears that our only remaining course of action is to petition for judicial relief," Shay said in a statement.
Companies that fail to comply with the mandates will face fines of $13,653 per "serious" violation, and employers who will be found to be "willful" or repeat offenders will be subject to fines up to ten times that amount.
Get more news related to vaccine mandates at Pandemic.news.
Tagged Under: big government, conspiracy, coronavirus, covid-19, health freedom, Joe Biden, medical fascism, Medical Tyranny, pandemic, Resist, revolt, transport, unions, vaccine mandates, vaccine wars, vaccines


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Lt. Gen. Stephen N. Whiting, first commander of the newly re-designated Space Operations Command, shares his vision for the U.S. Space Force's new Field Command during a ceremony at Peterson Air Force Base, Colo., Oct 21, 2020. SpOC is responsible for organizing, training, and equipping fielded space forces who will execute space warfighting operations for combatant commanders, coalition partners, the joint force, and the nation. (U.S. Space Force Photo by SSgt Justin Armstrong)
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October 22, 2019 11:54AM ET
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Phish frontman Trey Anastasio fittingly covered Bon Iver's "Towers" during a concert in Justin Vernon's hometown of Eau Claire, Wisconsin, Monday.
JamBase shared a fan-shot video of the performance in which Anastasio turns the lush tune into acoustic ballad. "Oh, the sermons are the first to rest/ Smoke on Sundays when you're drunk and dressed/ Out the hollows where the swallow nests," Anastasio sang over nimble finger picking, giving a sense of what "Towers" might've sounded like had Bon Iver recorded it during the For Emma, Forever Ago era.
Following the cover, Anastasio joked to the audience that it was "kind of embarrassing coming to someone's town and playing their song… but I love that song and I love that album."
Vernon, in turn, is an avowed Phish fan, and recently discussed the band's role in shaping his ideas about music and improvisation during an interview on Ezra Koenig's Beats 1 show, Time Crisis. "My community of friends in high school, that was our music," Vernon said. "The sense of improvisation — very alive."
Coincidentally, Koenig also came up during Anastasio's Eau Claire concert, as JamBase notes. Anastasio reportedly told the crowd about a dream he had in which he and Koenig went to see a Tool concert where, for some reason, Tool was dressed as an Eighties hair metal band.
Anastasio has a handful of dates left on his fall solo tour. His next show is tomorrow, October 23rd, in Canton, Ohio, while the run wraps October 30th in New York City.
In This Article: Bon Iver,	Trey Anastasio


Music FeaturesTop Story
Celebrating the Life of Linda Phillips: Community Members Reflect on the Impact of Nuçi's Space
Linda Phillips. Credit: Mike White.
by	Nucis Space Staff	September 29, 2021
On Oct. 9 from 3–9 p.m., Nuçi's Space will host a celebration of the life of its founder, Linda Phillips, who lost her year-long battle with pancreatic cancer earlier this year.
After living through her son Nuçi's battle with crippling depression and enduring the overwhelming darkness that accompanied his death by suicide on Thanksgiving Day 1996, she decided to turn her grief into a mission to alleviate others' pain. Her dream radiates through the organization she founded. Nuçi's Space has been a part of the cultural fabric of Athens for more than two decades, and has done immeasurable good for not only our music and arts scene, but our entire community.
The Nuçi's Space staff have compiled memories and testimonials to share the nonprofit's history and to help illustrate the impact Linda has made in the lives of musicians during the past two decades and the generations to follow. Visit flagpole.com to read additional contributions.
David Barbe: I met Linda in about the worst possible circumstances. She called me on Thanksgiving morning 1996 to ask me if I had seen Nuçi, since he had not come home as expected the night before. She picked me to call because I was one of his few friends whose last name she knew, and looked me up in the phone book. We had never met before. I offered to go over to his apartment and look around. When he didn't come to the door or answer his phone, I called her back, and she and Pierre drove up and met me at Nuçi's apartment, where we were soon faced with the tragedy of his suicide. It was emotionally devastating. Our shared experience that day became one of the bonds of what would become a long friendship.
A month or so later, Linda called me and had an idea. A big one. She wanted to do something that would help other people like Nuçi, creative people struggling with depression and having suicidal thoughts; people who felt they had no place to turn. She was also appalled at the condition of the rehearsal spaces used by Nuçi and his bandmates. She wanted to create a place that did it all, offering help to those in need and providing resources for independent musicians. Her idea became Nuçi's Space.
Bob Sleppy: (October 1999) I pushed through the double doors of the 40 Watt and saw David Barbe and Daniel Hutchens on stage performing. The club was hosting a benefit for Nuçi's Space. While waiting at the bar an elaborate display near the coat-check caught my eye. Having lost a close friend to suicide in 1992, the display had a profound effect on me. As I learned more about Nuçi's story and Linda's plans for Nuçi's Space I began to see myself, my friends and fellow musicians within her vision. Nuçi's Space was going to be much more than just a rehearsal space. Excited about what I had just discovered, I took a piece of literature with an email address on it before I left the club. The email address belonged to Linda Phillips. My life would be forever changed.
Jane Peach: Linda spoke at a Family Counseling Service staff meeting in early 2000. Her vision, passion and genuineness were moving and inspiring. So many came through my office, after first a late-night call to Linda, who was always available to calmly and compassionately listen and be fully present.
Brian Smith: I am so thankful for Linda. In the early days of Nuçi's Space, I had one of my first severe episodes dealing with my bipolar disorder. As a musician, I didn't have money to afford counseling or medication and, as a newer Athenian, I wasn't sure where to go or who to turn to. I went to Nuçi's Space because I heard they offered help. Linda helped me get set up with counseling services through Family Counseling Center of Athens, and also helped me find a psychiatrist to get the medication I needed at the time and at an affordable rate. She called me several times throughout the experience and offered her kindness and encouragement and helped push me forward through the process. I owe her such a tremendous debt of gratitude.
Patterson Hood: It is nearly impossible to capture the impact Linda Phillips has had on my life in a few mere words. I first met her sometime around the summer of 2000… Around that same time, a friend of mine died of suicide, and his girlfriend Rebecca, who was also a friend of mine, was in a very dark place. Linda personally helped guide Rebecca through the darkest hours of her life and away from her own thoughts of suicide. A year or so later, we began dating and have now been together for 20 years, married the past 17, with two beautiful children. Rebecca will always say that Linda Phillips saved her life.
BS: Linda volunteered for over a decade before she retired to New York City in 2009. Linda drove 70 miles from her home in Atlanta to Nuçi's Space several days a week. On Wednesday evenings she volunteered to facilitate a peer-run support group called Survivors of Suicide, for those who had lost a loved one to suicide. She would spend her days meeting with musicians who were seeking support and comfort. Linda became a dear friend and fierce advocate for those who opened themselves up to her kindness. It was common, following a full workday and the long return trip home, she would retreat to her home office and continue to make and receive calls from "my musicians," as she likes to refer to our clients.
Steve Hinsch: I began my search online…Survivors of Suicide, a phrase I'd never heard of, jumped out at me. I found a group in Athens at Nuci's Space…So my first meeting, with a crowd of pensive, welcoming people, I was welcomed by Linda. I felt out of place, kinda like my first AA meeting, but Linda put me at ease quickly…Before that meeting's end, in my 50s, I cried like a baby. But not alone.
Shauna H: I am 42 years old, alive and well. This is my Nuçi's story of how Linda and Nuçi Phillips saved my life…I was 22 years old, living in Athens, working in the service industry, and playing in bands. One night I was home alone, once again at a jumping-off place, a danger to myself. I was clutching a bar napkin with a phone number and the word "help" written on it that a friend had given me. It was 2 a.m. and the number went to a voicemail, which I blubbered a message on. Within five minutes my phone rang. It was Linda. She called me back in the middle of the night and talked to me for hours. She talked to me until she felt like I was going to be safe until my appointment the following day with a psychiatrist and therapist. It was the sliver of hope I needed to stay alive. I will forever be grateful for her love.
Laura Wilkerson: My first encounter with Linda was at my first Survivors of Suicide meeting in 2007. When I timidly walked into the Nuçi's Space library and met Linda for the first time, I had no idea how the trajectory of my life would change. From the very beginning, Linda truly understood the complicated grief I felt over the loss of my brother, and she gave me the feeling that there was hope for a return to "normal." She would always say "If love could have kept them here, they'd be alive right now."
BS: Linda was a stalwart advocate for those who suffer from brain illness and worked tirelessly to prevent suicide. She was a survivor in every sense of the word. Although it was not an easy decision to retire from her role at Nuçi's Space in 2009, she understood the need for the organization to evolve. After her move to New York City, she stayed in close contact with everyone at Nuçi's Space; offering a caring ear, thoughtful advice and clarity of purpose when needed. Although 800 miles would separate her from Nuçi's Space, Linda's presence is always felt here.
Lesley Cobbs: When Linda left Athens, we talked on the phone. Long, intense calls about even the smallest happening or problem our staff members were facing. One by one, she would ask about every one of us, sometimes leaving me with the instruction to "make sure they call me this week." Other times, very cleverly drawing out of me things I didn't even want to say. Her superpower, making you say uncomfortable truths, was one in a long list of superpowers.
Andrew Shearer: I moved to Athens right after high school, and it was my first time being away from my family and living on my own. The staff at Nuçi's Space were the first friends I made in town, and they didn't care that I was new to the city and knew absolutely no one. Linda was an immediate hero to me for what she created, but she was also the closest thing to a mother that I had nearby. Years later, long after all my bands had broken up, I stopped in to see her just to say hello and thank her. "You probably don't remember me," I said. Linda replied, "Of course I do. I remember all my kids."
BS: Thankfully, Linda finished her first book "A Beautiful Here" in 2016 to leave with us. It's a memoir of her experience with Nuçi through his battle with clinical depression and her grieving process after his death. The latter part of the book shares the inspiration for her creation of Nuçi's Space and mission to prevent suicide. Prior to her diagnosis of pancreatic cancer in late December 2019, Linda shared with me that she had started to write a second book. She never shared with me the subject matter but I'm confident her goal was to help others.
Dave Schools: I'm so proud of what Nuçi's Space has become. It's a testament to the love Linda had for her son, as well as the extraordinary strength of her vision for a place of coming together and healing… I wish every community had such a resource. Thank you, Linda, for sowing the seeds of healing from your tragic loss.
Jim White: At age 17 [my daughter] suffered a bonafide mental health crisis, and as is often the case with troubled teens, my daughter kept her struggles a secret. When I finally worked out what was going on behind the scenes, it was clear that a major intervention was needed to literally save her life. The first thing I did was call Nuçi's Space. And really, I feel fairly confident saying that this was the difference between life and death for my kid. She's survived long enough to learn how to shine, to find her stride as a human being, and I'm fairly sure that would not have happened but for Nuçi's Space…When I travel the world now, touring in countries far and wide, I often make mention of Nuçi's Space, and of Linda Phillips' courage and vision in creating it…I wish there was a Nuci's Space in every city in the world—that would be a fitting homage to the amazing, inspirational work Linda started.
BS: I was fortunate to have spent a few days with Linda and her family about a month prior to her passing. Although it was evident that cancer and its treatment had ravaged her body and slowed her incredible mind, her sweet smile and sense of humor were still intact. At one point during our visit, Linda held my hand and confessed, with regretful acceptance, that she wouldn't be able to finish her writing. Looking into my eyes, she said softly and confidently, "Darling, it'll be up to you to finish writing our story."
Often, I interpret those words more broadly, to include all of us who champion awareness and treatment of brain illness with kindness, empathy and care for our fellow human beings. That is the legacy of Linda Phillips, and it will be the responsibility of those who knew her and are inspired by her work to "finish writing the story." I was reminded by Virginia Roberts, a close friend of Linda's, who helped her scout a location for Nuçi's Space in 1999. She said, "When she doubted her vision, I remember we repeated 'If not now, when?' I added, 'If not you, then who?'"
Droney!
by	Tom Tomorrow	- Sep 29, 2021
Copycat Friend Stealing My Style
by	Bonita Applebum	- Sep 29, 2021


Xenophon's Hellenika Book I: The Return of Alcibiades
Book I of Xenophon's Hellenika lasts roughly from 411-406 BC and it begins "not very many days later" from the point at which Thucydides concluded his history, though there is a notable gap between the two texts. However, Xenophon's Hellenika begins en media res. It is a seemingly innocuous beginning to the text (it does not include a defense of his subject matter in the manner of Thucydides or Herodotus).The first person mentioned in Xenophon's Hellenika is Thymochares from Athens who loses a naval battle to the Spartans (Sparta is under the leadership of Agesandridas). The loss is a tragedy because Athens is widely renowned for its naval prowess whereas Sparta is praised for its superior infantry. Perhaps at the beginning Xenophon offers a clue into his book -instead of showcasing the downfall of Athens as we previously witnessed in Thucydides, Xenophon proceeds with an assumption of Athenian decline.
Very quickly in the text we are reintroduced to Alcibiades (1.1.5). He leads the Athenians in a series of skirmishes along the Hellespont, Thrace, and Byzantium (present-day Northern Turkey at the Dardanelles). We are offered contrasting views of generalship as the Syracusan generals are popular among the troops because the troops honor the victory of their leaders (1.1.28-29). In contrast the veteran soldiers of Athens who refuse to be marshaled under both Alcibiades and Thrasyllos's new troops unless they all win a collective battle together (1.2.17). We begin to see a picture of a fragmented Athenian empire. Economically, Athens has been importing grains from the Hellespont into the city via the Piraeius. It does not grow its own agriculture. Athens is in a state of decay and decline.
Enter Alcibiades. He is welcomed back among the Athenians when he sails into the Piraeus in 407 BC amidst a large crowd from both the port and the city. The people give many reasons for praising Alcibiades's return: they say he had been slandered unjustly, and that he had always sought to enrich Athens above all others. In essence the masses offer forgiveness to Alcibiades. However a few people still blame Alcibiades for past injustices (notably Xenophon's explication of the pro-Alcibiades camp is significantly longer passage than the anti-Alicibiades). Alcibiades waits to see his family in the crowd before strolling into Athens surrounded by armed guards (a sign of the uncertainty of his return) and the assembly promptly praises him and appoints Alcibiades Supreme General of Athens. The people hope Alcibiades can make Athens a great city again, by returning it to its former glory.
Meanwhile Sparta comes under the capable command of Lysander in the Hellespont. A surprising alliance is forged between Persia and Sparta, with Persia under Pharnabazus supporting Sparta in the Hellespont, and Persian funding increases compensation for the Spartan infantry. Previously Lysander had been persuaded by Alcibiades to encourage infighting among the Athenian cities. Meanwhile Athens wins a great victory at Arginousai (east of Lesbos) but the generals are unable to rescue their stranded triremes so the Assembly debates whether or not to try the generals for abandoning the soldiers. The only man to object is Socrates who says he will "do nothing except in accordance with the law" (1.7.15). Xenophon paints Socrates as a man who is isolated in his obedience to the law. One man, Euryptolemos, rises to offer a moderate path for the Athenians. He suggests trying the generals individually based on an ancient custom but when he is done speaking the assembly votes it down and promptly executes the six generals in attendance. Later they have a change of heart and instead punish the men they blame as the accusers. Book I concludes as we witness the cruelty of the people of Athens.
For this reading I used the impeccable Landmark edition of Xenophon's Hellenika by businessman-turned classical scholar Robert B. Strassler.
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The Conundrum of History
The Babe of Bethlehem, whose birth we celebrate, is the conundrum of history, a puzzle, a problem, a prince whose crib was a manger and whose genealogy was stained by men and women of unfit character and ill repute. As a child, He was teased by those questioning the legitimacy of His birth. As a youth He was taunted by brothers who doubted His mission. As a man He bore the scorn of those seeking His destruction. Yet the power of His presence astonished the masses, and they said of Him, "What manner of man is this?"
He was a working man, a ragged carpenter, with neither a roof above his head nor a pillow beneath it, sleeping under the stars or in borrowed beds, His robe a blanket, His moon a nightlight.
For thirty-six months, He drifted about doing good and telling stories. He never hurt a soul. He healed the sick, taught the masses, fed the hungry, walked across the seas, and preached the Good News. Wherever He went, the miraculous broke out—at weddings, at funerals, on the land and on the lake, on the mountainside and in the city streets. He became the help of the helpless and the hope of the hopeless. He turned water into wine, and with bread and fish He fed a multitude; yet He Himself was sometimes hungry, and in His death He cried in thirst.
He is mystery in every way: Obscure in birth, humble in youth, hardworking in life, flawless in character, gentle in spirit. Yet hated, rejected, beaten, and crucified—though His condemner said, "I find no fault in Him" and His executioner said, "Surely this was the Son of God."
He was buried in a donated mausoleum. Yet His tomb, guarded by the Roman soldiers, was opened by the heavenly agents—and found empty. And for two thousand years we can say that all the angels of heaven, all the demons of hell, all the stars in the sky, and all the men of the earth have never understood the influence of this soft child in swaddling clothes who was laid in a manger with no crib for a bed—Jesus Christ our Lord.
—Emma Snider's Pastor, from "Gabriel's Cry" by Rob Morgan, Christmas 2010


Thomas Crauford of Jordanhill
Biography of Thomas Crauford of Jordanhill
In 1576 Thomas Crawford (or Crauford) of Jordanhill (1530-1603) gave the University an annual rent of 16 bolls of oatmeal from the mill of Partick, for the maintenance of a bursar in Philosophy. The bursar was to be presented by him or by one of his successors or, failing them, by the Principal and Regents. Crawford was the first person to found a bursary at the University from his own means.
Crawford fought with the Scots army at the Battle of Pinkie in 1547, served as a soldier in France and in 1571 led the successful assault on Dumbarton Castle which captured it from the supporters of Mary, Queen of Scots. He acquired the lands of Jordanhill in 1562 and was Glasgow's Provost in 1577.
Died 3 January 1603.
University Link: Benefactor
Occupation categories: soldiers
Record last updated: 20th Jun 2007
Crawfurd's Bursary


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Bruce McMurray
Bruce McMurray, 76, Granville Summit, PA and formerly of Phoenix, AZ passed away at home very unexpectedly on Monday morning, December 12, 2016.
Born in Canton, PA, Bruce Andrew was a son of the late Percy Andrew and Neva Lou (Shedden) McMurray. He graduated from Troy High School in 1957. Bruce was employed as a heavy equipment and diesel mechanic until retiring in 2005. Later Bruce and his wife, the former Karen Moffat, relocated to the Windfall area. He was a member of the Canton Moose Lodge No. 429, a social member of the
Canton V.F.W. Post 714 and was a member of the International Union of Operating Engineers of Phoenix, AZ. Bruce was an avid outdoorsman and enjoyed times shared with family and friends. Favorite hobbies included hunting, fishing and planting trees. He also attended many tractor pulls and stockcar races.
Surviving is his wife Karen; children: Travis McMurray, Lori Stegemann and Janis Proffitt all of Phoenix and Brenda Fly, Houston, TX; mother-in-law, Phyllis Moffat, Elmira, NY; several grandchildren and great grandchildren; brothers; Cliff McMurray, Canton and Gene McMurray, Granville Summit; aunt and uncle; Norma Shedden, Troy and Leon Shedden, Granville Summit; many, a sister-in-law, Jo (Dennis) Carlson, Justin, TX, special nieces, nephews and cousins.
He was predeceased by his granddaughter, Brittany.
A memorial service to honor Bruce's life will be announced at a later date. Burial will be private.
In lieu of flowers consider a memorial to the Windfall United Methodist Church, 1204 Redington Ave. Troy, PA 16947. Pepper Funeral Home, 578 Springbrook Drive in Canton is in care of his arrangements. Share condolences at www.pepperfuneralhomes.com
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Interview Tips: How to Show Your Knowledge of Medical School
During your Med School interview, it's very likely you will be asked to explain why you applied there - but you can only answer this if you know enough detail about the university. These tips will help you to showcase your knowledge of the Medical School you're interviewing for.
At your Medical School interview, you'll need to show that you understand the course – and that you would be a good fit there. That's why knowledge of Medical School questions crop up so often. These tips will help you to breeze through those common interview questions.
Research The Medical School
There are many Medical Schools in the UK, so what compelled you to apply to the specific ones that you chose?
Medical Schools will want to know why you're interested in studying there, so it's important to have an answer! Try to steer clear of generic responses that involve talking about the Medical School's ranking or saying that your friends are applying there too.
Instead, take the time to research the Medical School – what makes it different from others? Are there any unique research or placement opportunities that excite you? Think about why this particular Medical School is a good fit for you.
Don't Miss Out On The Best Prep
MMI Circuits and Interview Courses Filling Up Fast
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Speak To A Medical Student At That University
What better way to gain insight than by talking to a Medical student at the university you're applying to? They can provide information about:
The course itself
Workload expectation and pressure
Clinical placement experiences
General advice about adapting to Medical School/university life
Perhaps you know someone who is studying at the Medical School where you've secured an interview and can reach out to them. If not, don't worry! Check out the UCAS website – it has the option to chat with students.
Not only will this give you more insight, it will also demonstrate to interviewers that you have taken initiative to learn more about the Medical School and therefore have a genuine interest in studying there.
Think About What You Can Offer The Medical School
Whilst it's crucial to consider why the Medical School is a good fit for you, thinking about what you can bring to the School is equally important. Interviewers want to know why they should select you above other applicants.
Here are some things to think about when considering why you are a good fit for a particular Medical School:
Strong qualities you possess in both academic and non-academic settings
How you could become an active contributor to the Medical School/university in general
Remember, it is a fine balance between being confident in yourself and being cocky. Use realistic and personalised examples, rather than making grand claims about what you will accomplish when you are at Medical School.
Do Not Underestimate Extracurricular Activities
This may seem like a strange one at first, but interviewers will likely be curious to know what extracurricular activities you plan to take part in whilst at Medical School.
The purpose of this question is to find out whether you are someone who can juggle the pressures of Medical School and also make time for non-academic commitments. Candidates who can do this demonstrate good time management, which is a key skill for Doctors to have.
If there are any new sports or activities you are keen to try, mention them! It's always a plus to show interviewers that you are open-minded and willing to try unfamiliar things.
Practise Tricky Questions
One of the best ways to prepare for your interview is to practise answering tricky questions.
Check out our guide to knowledge of Med School questions with top tips on how to answer them.
Understanding the difference between sympathy and empathy
Interview Tips: How to Demonstrate Your Interest in Medicine
Mock Medicine Interview


Tag Archives: liri gero
Fier Martyrs' Cemetery
More on Albania …..
Many of the Martyrs' Cemeteries throughout Albania are situated on hills, sometimes quite high hills, in the vicinity of the cities and towns. This is the case with the Fier Martyrs' Cemetery which, when it was constructed, would have been clearly seen from the centre of the town, the area around Sheshi Pavarësia (Independence Square) and the Bashkia (Town Hall). Up to the 1990s the buildings weren't that tall but subsequent construction of high-rise flats has meant that you don't really see the cemetery until you're almost upon it.
As you come to the cemetery from the northern side a residential road brings you to a small, now abandoned, white building – all fittings having been removed. This is too small to have been a museum that were normally situated near a cemetery (and anyway, there's a proper Historical Museum in the centre of town, in a good condition, looking as if it has only recently been refurbished and with many fine exhibits from the Socialist period). The building must have some connection to the cemetery (perhaps a place selling flowers on special occasions, but that's only speculation) as it wouldn't have served many other purposes.
From this building there are a series of steps taking you to the lapidar and statue at the highest point of the hill. The graves are laid out to the right of the steps, with the tombs on two levels. The whole area is relatively clean, the tombs are undamaged, and although the grass is growing between the stone tiles and a little untidy around the graves it is obviously cared for, at least on an occasional basis.
Probably when the cemetery was originally laid out there would just have been a lapidar, although not the one there now. If we go back to the late 1940s and early 50s the lapidar would have been a simple affair, sitting on the highest point, with a star somehow attached to the highest point facing the approach steps or perhaps surmounting the pillar.
The present lapidar sits on a large, raised plinth and must be, at least, the second reincarnation with the area being improved at the same time the statue was added. But what you see today is not what would have been seen at that time in the early seventies.
I'm almost certain the plinth and lapidar are from the 1970s but they have recently been restored following years of neglect and vandalism. The people and the Bashkia (local government) of Fier made a decision, anything up to ten years ago, to recover and recognise the past sacrifices of local people in the National Liberation War. It was in 2010 that the new (and awful) Liri Gero statue was unveiled and the monument to the 68 Girls was given a new plinth. It would make sense to think that the cemetery was restored at the same time.
The top face of the plinth is covered with marble tiles, is in a very good condition and are in three colours – red, white and brown – with a simple geometric pattern all the way around. The concrete below is unadorned, but clean and undamaged, and raises the plinth about a half a metre above the surrounding area.
The lapidar itself is a simple tall, rectangular pillar, wider at the bottom couple of metres or so, and then soaring vertically upwards. Whether the original marble facing was stolen or just fell off due to neglect I'm unsure. Now it is covered in white and greyish marble slabs from the top to the bottom. The highest limit of the widest part is indicated by a frieze of narrow, red tiles. However, there's been a bit of cost cutting as the tiles on the topmost part of the lapidar are only on the side facing the steps and half way on the right and left face giving the impression that the decoration is 'functional', that is, on those parts most people will see as they come up the steps.
There's also been a bit of cost cutting on the metal decoration on the main face. At the bottom there's a large laurel branch with nine leaves. This looks to be treated sheet steel but there are signs of rust appearing at the joins of the leaves and the branch. Higher up the words 'Lavdi Deshmoreve' ('Glory to the Martyrs) runs in large, golden letters vertically from the top down. From a distance this looks quite smart but once close up you can see that the letters have been made out of sheet steel, boxed, in three dimensions and then painted with gold paint. The elements are starting to take their toll and the paint is fading and rust is starting to show. At the top of the column, a few centimetres from the top, is a large, red, metal star – the symbol of Communism.
This is the first time, so far, that I've seen sheet steel used in the renovation of a lapidar. Whether the laurel branch would have been on the original I don't know but the words 'Lavdi Deshmoreve' almost certainly would have, it's universal on Albanian lapidars. But almost invariably the letters would have been made out of the more expensive bronze and it's possible the originals had been looted and melted down for scrap.
The other component of the Fier Cemetery lapidar is a large (about twice life-size) statue of a female partisan. Being Fier, which still celebrates the bravery and heroism of Liri Gero and the 68 Partisan Girls, it's not a surprise a female statue was chosen.
Fier Cemetery – Female Partisan
The figure stands on a solid block of concrete a couple of metres to the right of the monolith. Unusually, this statue has a name, 'Liria fitohet dhe mbrohet me pushke' meaning 'Freedom won and defended by the rifle'. This is the implied meaning of most of the statues in such circumstances, taking its lead from a the revolutionary slogan of the Party of Labour of Albania, 'To build Socialism holding a pickaxe in one hand and the rifle in the other' – what has been gained by the workers is never guaranteed unless they are prepared to fight to defend them from all attacks, whether internal or external.
The statue is made of concrete and is the work of Gjergji J Toska and Qiraku Dano and was inaugurated in 1972 (or perhaps 1973). Toska was from the region of Myzeqeja, which is just to the north of Fier, between Divjake and Lushnje. In an interview he has said that where he grew up had an influence on his sculptural works. The sculpture took about 18 months to create and it was one of a number that had been commissioned for other cemeteries in the country. During the period when these type of sculptures were being installed in Albania it was normal for final approval to be granted by a local approval commission, in the early 1970s none such existed in Fier so photos of his work were sent to Tirana, where the work was well received.
Again there are elements that appear as a recurring motif. The woman is striding out as if she were climbing in the mountains, representing Albania and the fact that the Partisans used the hills as their base to attack the invaders and soon controlling the countryside, leaving the occupation forces surrounded in the towns.
In her right hand she holds the top of the barrel of her rifle, the butt of which is resting on the hillside next to her right foot. Although her weapon is a good representation of a bolt-action rifle it is much bigger than it would have been in reality. It would have taken, indeed, a true Amazon to fire such a weapon. But a weapon of such a size was necessary to allow the pose the sculptors have chosen to represent.
Her legs are as far apart as possible and she is stretching up to hold the top of the gun. Her left hand is stretched out behind, and above, her head to hold the right, top edge of partisan flag (and later to be the national flag of the country) with its symbol of the double-headed eagle with the Communist star above the heads. The top left corner of the flag is being held taut by having a fixed bayonet used as a short and temporary flagpole and the material is scrunched up in her hand so we don't see the normal rectangle of the banner but more of a trapezoidal shape. The bottom right of the flag hangs down and partially covers her long hair, resting on her shoulder, a small triangle fluttering free. She has a determined look on her face and looks into the distance, to the left of her rifle.
Her limbs almost form an X, the right arm and left leg in a straight line, the other two limbs not doing so as her right leg is higher up the hill she is climbing. This gives the figure a sense of dynamism. She is moving forward as well as going up, going higher. Stretching she is pushing herself to achieve more. As a Partisan this is first and foremost victory in the National Liberation War against Fascism but in that war Communists were fighting to rid their country of the invaders but also in order to build a new society. And once the revolution is won it's not possible to rest on your laurels. It's difficult to make a revolution but it's even more difficult to build a new sort of society – which will be constantly under attack from the capitalists, both in the country and from without, and more the powerful imperialist nations. So the task of a Partisan changes after liberation but it doesn't get any easier – hence the title of the statue.
The Partisan is dressed in full uniform and has the red star on her cap and (what would have been) a red bandana around her neck. Around her waist she wears an ammunition belt.
Although it's not immediately obvious from the front on looking at the back of the statue we see that her long hair is being blown over her left shoulder, indicating that a strong wind is blowing into her face. Another indication of being in the high mountains and suggests more movement as the flag would be fluttering.
Freedom won and defended by the rifle
The statue looks to be in very good condition and has recently been painted, the paint showing few signs of wear but then I don't think that Fier gets particularly harsh weather conditions at any time of year. As with most of these concrete statues they would not have been originally painted at all, just the unadorned concrete, but this is a general approach to the cleaning and renovation of monuments now in different parts of the country.
The grave of Liri Gero will be in this cemetery, but I was amiss on my last visit and didn't identify exactly where it is. I will remedy that on my next visit.
Fier Martyrs' Wall of Honour
In some of the Martyrs' cemeteries there's a list of all those from the area who died in the war. However, this is not the case in Fier. On the first floor (which documents the period from pre-war years to 1990) of the Fier Historical Museum there's a wall of remembrance, listing those from the Fier district who gave their lives for National Liberation. Although a recent creation it has all the aspects you'd expect from the Socialist period. The background is the Communist red and in the centre there's a large black, double-headed eagle. Over the two heads is a golden star. At the very top are the words 'Deshmoret e luftes antifashiste nacionalçlirimtare' (Martyrs of the National Liberation War) in gold letters. And then, also in gold letters, are the names of 443 men and women from the Fier district – many more than are commemorated with a tomb in the cemetery.
Location of the Fier Martyrs' Cemetery.
It's best to arrive at the cemetery from the north, going up Rruga Skender Muskaj, from Rruga Jani Bakalli, and taking the first left along Rruga Koli Stamo – this brings you to the derelict building at the bottom of the steps.
40° 43′ 10.3476" N
19° 33′ 49.0465" E
Other lapidars in Fier.
So far I have been concentrating on the more elaborate monuments that come under the heading of 'lapidars' and which have been identified by the Albanian Lapidar Survey. To me that makes sense as the more ornate and complicated works of art have a story to tell and, although sometimes it has been difficult to find the information, it has been a pleasure trying to unravel what is before us. However, the vast majority of lapidars are more modest, but in their own way as important and significant a part of Albania's history as the grand works of sculpture. More importantly all these small lapidars commemorate men or women who died fighting Fascism. Sometimes only two or three but even though they may not have been honoured as 'Heroes of the People' they were fundamental in the victory of November 1944.
In a sense the condition and evolution of the three other lapidars in the centre of Fier encapsulate the problem that Albania has in dealing with its past. Revolutionary Socialism never has been, and never will be, a State of all the people. For many reasons, class background, ideological and religious convictions, simple greed and selfishness there will always be those who will resist and use every opportunity to sabotage or undermine any achievements in a Socialist society. To all these negative factors have to be added the mistakes that the revolutionaries make, either out of ignorance, excessive zeal or even those who have infiltrated the Party in order to undermine its work, that exacerbate an already difficult task. And that's before you have to take into account efforts by economically more powerful external forces to destroy a socialist society by whatever means possible.
This means that symbols of a past period are bound to be targets once the revolution loses support amongst a significant proportion of the population. In Albania the easiest target was the General Secretary of the Party of Labour for the majority of the time of Socialist construction, Enver Hoxha. As do all revolutionary Marxist-Leninists he believed in the 'dictatorship of the proletariat', a concept that developed from the concrete experience of workers in different parts of Europe seeking to build a society which was not based on exploitation and oppression. By presenting and arguing this ideological stance Hoxha was branded 'Dictator' by his enemies and detractors. It was to their advantage to try to make the concept, that has to involve the vast majority of a society to be successful, into a personal, individual matter.
But the idea of the 'dictatorship of the proletariat' developed from the defeats that workers had undergone throughout history but especially from the late 19th century onwards. The thirty thousand men, women and children who were slaughtered in the last week of May 1871 at the end of the Paris Commune; the massacre of the Spartacists in Germany in 1919; the Civil War in Russia when the White forces were supported by 14 countries which only a few months before were sworn enemies; the interventions that Albania itself was subject to in the first years after liberation by the combined efforts of the British and the Americans all reinforced the truth that if the workers want to take real, and not just imagined, power (as is promised by Social Democracy and the ballot box) then they have to fight as much after the revolution as before it.
When we come back to the idea of the lapidars in Albania we see that Hoxha therefore become the easiest target. Public statues of him and the likes of the Memorial to the Berat Meeting of 1944, where he is a prominent figure amongst the fine sculpture where many tens of people were depicted (a sad loss), were destroyed in the early days of the counter-revolution. Now he is printed on mugs and pens in the souvenir shops of Gjirokaster or found as a small stone bust in small Albanian produce shops throughout the country – although a large bust of him is presently covered in a white tarpaulin in the 'Sculpture Park' behind the National Art Gallery in Tirana (or at least was in May of 2015).
The issue then becomes what to do with the other monuments, in the main commemorating those who died in the Anti-Fascist National Liberation War, in a country with such a small population that virtually every family would have had a relative amongst the country's martyrs, within a generation or two. This meant that the majority of the monuments weren't conscious targets of attack by reactionary forces but time, mindless and infantile vandalism and general neglect would play their part in erasing the country's past.
There are a lot of questions which address this issue of identity, relationship to the past and how culture in general is seen in Albania today but that will take some space so I'll return to that at a later date (or else this post will never end).
However, a part of that debate can be seen played out in the Fier lapidars.
Monument to the Three Martyrs
3 Martyrs – Fier
On the right hand side of the road, about 200m from Sheshi Europa Plaza (on the Fier ring-road) on the SH73 – the road to Berat – is a modest monument to three young men killed in the fight to liberate the city from the German Nazis. This is more typical of the lapidars around the country than those I have documented so far and if you didn't know it was there it would be very easy to miss. Unlike War Memorials in the UK it is not common for there to be some sort of railing around the monument, not now nor in the past.
More typical but also on the modest side of typical. Some of the lapidars seek to impress as they soar skywards, although there may not be a great deal of ornament or decoration, but this one is minimalist and only stands about 2 metres high. So we have a simple, concrete monolith and on each side of that column there are two 'wings' which extend to just below half way up. It's painted white (and fairly recently going by the condition) and the only other aspect of it is a marble plaque fixed to the top half of the facade. In most of these cases there would have been a red star but I could see no indication that something had been fixed just above the plaque (where you would expect to find one) so it's possible that one was attached at the very top, normally a painted iron star attached by short, narrow pieces of reinforced iron. Whatever the situation in the past there's no star there now.
Although it has been repainted there has been no attention paid to the plaque. The letters on the plaque had been cut out of the marble and then made more obvious by being painted in black. That has worn and it's now very difficult to make out the words, especially if you aren't good at the language and can't make assumptions of what the words should be. In different places I've seen fairly badly delineated letters, perhaps more good intentions than skill, so this is something that has to be taken as it comes.
The most important point I wish to make about this lapidar is the fact that, to all intents and purposes, to most Albanians it doesn't seem to exist. Obviously it exists as an entity but not for what it represents. On the day I visited this lapidar the area immediately around it was relatively clear. It sits at the side of a field where there is a small lay-by. When the ALS team visited it was holding up a moped and breeze blocks for some construction project were being stored right beside it.
3 Martyrs – Fier – photo by Marco Mazzi
Now, was this done consciously – that the people who were treating a war memorial as just a convenient post against which to lean their bike and therefore making apolitical statement – or unconsciously, not realising what it was and the bike and the breeze blocks had to go somewhere? Or are these small and unobtrusive lapidars just victims of their own simplicity, people don't see them unless they really look?
Carved into the marble plaque are the words:
Më 27-VII-1944 ranë në luftën për çlirimin e qytetit të Fierit dëshmorët e Luftës Nacional Çlirimtare Tomor Dizdari, Orman Zaloshnja, Vangjel Gjini.
This translates as:
On 27-VII-1944, in the fight to liberate the city of Fier during the National Liberation War, the martyrs Tomor Dizdar, Orman Zaloshnja, Gender Vangeli fell.
At that time this area would have been considered well out of the town centre so, this is presumably the location where they actually died. So far I've been unable to find any more information about the three martyrs.
40° 43′ 7.4641" N
Monument to the 11th Brigade
11th Brigade – Fier
This monument is right in the centre of town, not far from the Bashkia and at the junction of the street in which the Historical Museum can be found. This is a step up from the previous lapidar, displaying more architectural elements but without involving any sculptural elements. This particular lapidar also demonstrates the process, stated long ago and now again becoming a trend in parts of the country, of updating/upgrading/restoring/renovating the lapidars. Here the old has been demolished and a new created in the same location – and it's almost a replica. But not quite.
Both consist of a platform, which has three steps on the right hand side of the long edge which continue on the right hand narrow edge. On this platform a monolith rises up to a height of about eight. On the left hand side of this monolith there's a curved buttress at the bottom. It's here where there's a slight difference between the old and the new. On the old this right hand structure is joined by another rectangular slab of concrete which extends upwards about a metre over the first. On the new there is a space between these two components and the concrete in between is painted a deep red, which continues from under the curved buttress. On both the versions a concrete slab about 2 x 4 metres is placed at 90º to the lapidar.
Although there's a possibility that the old has been renovated I don't think this is possible, at least not for all of the structure. The platform has been faced on the lower part by false brick tiles, as have the steps. The top of the platform has also been covered with marble tiles. This would cover all the wear and tear of over 40 years on the concrete so that part might be part of the original. I don't think this is the case with the rest of the lapidar.
11th Brigade – Fier – photos by Marco Mazzi
Apart from the separation of the two slabs of concrete it all looks a lot smarter, the edges are sharper and I don't think that can be achieved with a repair job (and would you put new, modern concrete on a crumbling forty-year old base? Also the slab that contains the letters appears wider than the original. Another difference is the red star on the facade that faces to the left. On the old this is larger and has greater depth whereas on the new it's smaller and flatter.
The wording on the two versions is also slightly different. On the old the letters are just stencilled, in red paint, onto a white background – these were probably not the original but a later 'restoration'. They are:
1 Nentor 1944 Brigada E XI-S
1 November 1944 S Brigade XI
S is for Sulmuese. This can be translated as assault, shock or guerrilla group. Units of the Albanian Partisan Army were not designed for mass, set battles. They could move fast and therefore weren't as heavily armed as the Fascist opposition which ultimately secured them victory. It is one of those contradictions of war that the better equipped force can actually find that what appears an advantage on paper, in crucial circumstances, becomes a hindrance and bogs them down in a way that makes them vulnerable. The E? This is a grammatical device which seems somewhat redundant.
There are indications that there might have been more text or an image of some kind (on the edge close to the column) but there's no way to work out what might have been.
The letters are almost the same, but not exactly, on the new. They are inlaid on a large rectangle of marble (a much more sophisticated presentation than the previous version) and read:
1 Nentor 1944 U formua brigada XI Sulmuese
1 November 1944 – the XIth Assault Brigade was formed
This is confusing to me. I believe that the 1st November 1944 is the date when Fier was liberated from the Nazis. The 11th Brigade would have been formed long before that as the whole of the country was liberated on 29th November of that year.
Monument to Petro Sota and the 1943 Nazi Massacre
Petro Sota and 1943 Massacre – Fier
The third lapidar in Fier is different again. It's a simple monolith, which is made grander by being placed on a plinth, and is in the public park in the centre of the town. On the side facing the centre of the park there's a marble plaque with an inscription. The park is now considerably smaller than it would have been when the lapidar was first installed as a huge chunk of it has been taken up by a large mosque. Considering that all the other lapidars in the town have been cleaned recently this one is showing signs of wear, although structurally sound, and the inscription – black paint in the carved marble – is showing signs of wear it's still quite easy to read the words.
What makes this lapidar unusual is that it actually commemorates a person and an event. So far I haven't come across monuments where the space is shared.
The first is recognition of another of Fier's sons in the National Liberation War, Petro Sota. He became a Communist before the Italian Fascists invaded the country in 1939 and once the town was occupied he worked as a courier of information, news and materials for the liberation cause. He was a driver and had a certain amount of freedom to move around and with different ruses got around the roadblocks and checkpoints the Fascists imposed or order to maintain control of the town.
On one occasion he used a child sized coffin to bring in the Party newspaper and on another caused the Italian soldiers to follow him, allowing free passage for those who were bringing in contraband. He is remembered as when, in July 1943, things went wrong on a mission he was able to destroy sensitive Resistance material before being killed.
He is recognised in the top half of the inscription:
Petro Sota, vrarë më 13 korrik 1943 nga fashistët italianë duke kryer detyrën e ngarkuar nga njësiti gueril.
Which translates as:
Petro Sota, killed on 13 July 1943 by the Italian Fascists, carrying out tasks entrusted to him by the guerrilla unit.
The second half of the inscription asks more questions than it answers. This is:
Po këtu më 10 shtator 1943 nazistët gjermanë masakruan 45 qytetarë të pafajshëm
But here on September 10, 1943 the German Nazis massacred 45 innocent civilians
So far I don't have the information that explains exactly what happened and why. This was just after the Nazis replaced the Italian Fascists, who had by this time effectively withdrawn from the war on all fronts. It's possible the Germans wanted to stamp their mark on the country, knowing already the sort of fierce opposition they would face from the Communist Partisans. Also, exactly at this time the German forces were being defeated outside the village of Drashovice (in the Selenice valley close to Vlora) so it could have been a massacre caused by the Nazis' frustration.
Whatever the reason 45 is a lot of people at one time and what surprises me the most is there wasn't a more substantial monument to the event, as there is in Borovë and Uznovë. The names are not even listed, the event only meriting a couple of lines on a very modest memorial – and shared at that. Something to investigate.
The tally of Nazi five atrocities, in effect war crimes, in Albania that I have identified, so far, make the decision to establish a memorial to the German dead during their invasion of the country even more of a mystery, apart from establishing the fascist credentials (or at least forelock-tugging attitude) of past, post-1990 governments in Albania.
Petro Sota
The reason for the lack of a memorial to those 45 people becomes even more confounding when we look at a statue of Petro Sota that was unveiled in 2014. I have the utmost respect for what Petro might have done during the Liberation War and I have no problem with the placing a bust of him in the town of his birth – but aren't we forgetting priorities here? Another question for which there is, as yet, no answer.
This new stature is the work of Fatos Shuli (a sculptor I have not come across before and about who I know nothing) seems to capture the individual that was Petro Sota. His picture in Flasin Heronj të Luftës Nacional Çlirimtare (Heroes of the National Liberation War Speak for themselves) gives the impression that he was a dapper dresser before the serious work of ridding his country of the invaders got in the way. This idea of style is captured in the new bust but, I must admit, I question the priorities of the Fier Bashkia.
More on Albania …….
Posted in Albania, History, Monuments and Memorials, Socialist Realism, Travel	| Tagged 68 girls, albanian lapidar survey, als 306, als 307, als 308, als 309, cemetery, dono, fier, liri gero, massacre, partisan, petro sota, toska	| 3 Replies
National Art Gallery 'Sculpture Park' – Tirana
Posted on 23rd October 2014 by Michael
Uncle Joe – Art Gallery 'Sculpture Park'
More on Albania ……
Each time I've been to Tirana I've made it a point to visit the impromptu 'sculpture park' that has been created behind the National Art Gallery, just down from the main Skanderbreu Square in the centre of Tirana.
The Art Gallery itself has only a very few actual sculptures on display inside the building, the emphasis being on paintings, especially those from the period from 1945 to 1990, where the dominant style was that of Socialist Realism.
But the area behind the gallery was constructed not for the display of works of art but as a service access to the building. And as the gallery is a public building this area shows the lack of care and investment in maintenance that is the general fate of public spaces in the whole of Albania, not just the capital of Tirana.
The statues that are now there would have previously held pride of place in some public square in different parts of Tirana but there is no indication of their provenance. Some have been damaged, either by accident or design, the statue of the great Marxist and first Soviet leader, Vladimir Ilyich Lenin (the work of Kristina Hoshi, the original of which was created in 1954 in cement) in bronze, missing his right arm from the elbow. This once stood proud close to its present position, in the park across the road.
Many of the statues of individuals from the socialist era take on the pose of some famous meeting and the stance that Lenin takes in this statue can be seen on a number of photos from his relatively short time as leader of the first socialist state (his life no doubt being cut short as a consequence of an assassin's attempt in 1918 which failed in its aim but which meant that a fragment of the bullet could not be removed from Lenin's brain).
VI Lenin in Tirana – 1970
When it comes to the great Marxist leaders they are always (at least here in Albania) depicted with their right arm making some sort of gesture or greeting whilst slightly behind their bodies, in their left hand, they hold a roll of paper as if they are about to make an important proclamation.
Although this damage is unfortunate at least it allows an insight to the form of construction of these statues. They are not made of solid bronze, as many would think, but of a hollow bronze that's only about a couple of centimetres thick. This relatively cheap construction technique explains why so many statues were erected in virtually every town in the country (it also explains why it was so easy to topple these statues in the counter-revolution).
Although few in number this small group provides quite a deep insight into the thinking of the Party of Labour of Albania during the 45 years it was the dominant political force within the country and attempting to construct a socialist society.
Uncle Joe – in happier times in Tirana
Socialist Albania gave women a role in society and assigned them an importance that has never been surpassed, either in the Soviet Union which proceeded the victory of Socialism in Albania or any other country that has attempted to construct socialism since. This is not the role of women in the higher echelons of society, the breaking of the so-called 'glass ceiling', the breaking of which only benefits a minuscule percentage of women in any society yet which gets most coverage in the capitalist media.
In Albania it was the women from the working class and peasantry whose lives were changed beyond recognition. In a patriarchal society where women were oppressed by virtual feudal social and economic conditions, as well as by the stultifying traditions of the church (of various trends) by the taking up of the gun during the war for national liberation against the Italian and German Fascist invaders they stated unequivocally that they would no longer 'live in the old way'.
In many of the extent monuments to the struggles of the past a woman takes a central position and virtually always with a weapon in hand. Albanian women weren't prepared to have 'freedom' given to them, they would fight for it themselves, freedom that would have real meaning. The clearest example of this idea can be seen in the huge mosaic on the façade of the National Historical Museum in Skanderbreu Square in the centre of Tirana.
The young woman depicted in the dirty shambles of the rear of the Art Gallery (in bronze) is of Liri Gero and exudes confidence in her own ability, looks the viewer straight in the eye (not looking down as 'traditional' society would have her do), has a gun strapped to her back and clutches a small bunch of flowers in her left hand. Communists fight for bread but for roses too!
Female Liberation Fighter clutching flowers
The smallest of the collection depicts a male fighter (also in bronze) from one of the ethnic groups from the mountains of Albania demonstrating that the fight for freedom is not restricted to the 'sophisticated' city dwellers or a self-selected intellectual elite but should involve everyone from all sectors and strata of society.
Liberation Fighter
Another of the statues is a physical representation of one of the fundamentals of Albanian Socialist society, the Pickaxe and Rifle (Hector Dule, 1966, Bronze). Here we have a male holding a rifle, the butt resting on the ground, in his left hand whilst in his right he holds high a pickaxe. These two items are the equivalent of the Soviet Hammer and Sickle. Whereas in the Soviet Union the symbol represented the unity of the industrial worker and the peasant the Albanian Pickaxe and Rifle declares that the successful construction of a Socialist society depends upon physical labour protected by the determination of the population to defend any gains by force of arms.
Pick Axe and Rifle
The fact that far too many Albanians forgot this necessity during the counter-revolution of the early 1990s (and then seemed to lose all common sense in the chaotic years that followed, basically throwing out the baby with the bath water) doesn't detract from the validity of this revolutionary concept.
JV Stalin – Skenderberg Square, Tirana
Finally we have the statues of JV Stalin and VI Lenin, the great Marxist Russian leaders so admired by the Albanian leader Enver Hoxha. I've already mentioned the damaged statue of Lenin. This statue, along with one of Uncle Joe, was covered by a tarpaulin just prior to the 100th anniversary of Albanian 'independence' in November 2012 – true independence for Albania (if only for 46 years) was achieved on November 29th, 1944. They have now been released from their dark penance but they have been joined by another new comrade who is, presently, covered with a white tarpaulin. I have been told this is a damaged bust of Enver Hoxha.
The hidden stranger
I was pleasantly surprised on my visit in October 2014 to find that there had been a new arrival to the small, select group. This was another, but somewhat larger, statue of Stalin. The 'new' arrival is in a less formal stance, without cap and is depicted as if greeting the viewer with his right arm stretched out. This is made out of bronze and as far as I can tell it used to stand in the square in front of the Bashkia (Town Hall) in the town of Kombinat – to the south-west of Tirana, on the old road to Durres.It's at this point you would get off the bus if you wished to visit the grave of Enver Hoxha in its present location in the main city cemetery after being ousted from the National Martyrs' Cemetery.
On one side of this square was the main entrance to the huge textile factory that gave the town its name (Kombinat means factory in Albanian). This has been derelict for many years and the ruins have slowly disappeared as the land has been cleared for other uses. The only noticeable remains of the factory is the main gate itself – with interesting decoration over the arches. You can get an ideas of how things used to look from a small painting called Voluntary work at the 'Stalin' textile factory by Abdurrahmin Buza and painted in 1948 which is on permanent exhibition in the Art Gallery itself.
It's exactly the same as a statue that was placed in the oil and industrial town of Qender Stalin (now renamed Korcova, not that far from Berat) but there the statue was made from concrete and unlikely to have survived the chaos of the 1990s.
The original design was by Odhise Paskali whose other works number the statue of Skanderbreu on the horse in the square to which he gives his name in the centre of Tirana, as well as another of the national hero in the National Museum, this time not being a burden to a poor animal but standing on his own two feet. Paskali was also the artist for; the staue of The Partisan in the square behind the National Library; the group Shokët (Comrades) in Përmet Martyrs' Cemetery; the standing Partisan on the monument to the Congress of Përmet in the town itself; a double bust of the Two Heroines of Gjirokaster; and a bust of Vojo Kushi, now in a small square on Rruga Dibres to the north of the city centre.
Perhaps one down side of a new Joe arriving is that the statue of the female Partisan, Liri Gero, has been moved to make way for the Man of Steel and is now facing the other statues, with her back to the Art Gallery. Is this yet another example of the return of a patriarchal society or is it, the reverse, that the female fighter is going to give a lesson to the men?
If I will ever be able to find out more details of these statues, i.e., who was the sculptor, where they originally stood, how they survived the counter-revolution and why they ended up in the shadows of the National Art Gallery remains to be seen.
One slight difficulty that has arisen since my last visit a couple of years ago is the presence of a 'security' guard who has to be circumvented in order to get a close view of the statues. Why he is so conscientious in this I don't understand. If the authorities don't want anyone to see them why place them out in the open? However, he can only be in one place at a time and when he is watching the world go by at the southern end of the gallery grounds, just creep towards the north.
Posted in Albania, Monuments and Memorials, Socialist Realism, Travel	| Tagged lenin, liri gero, national art gallery, pickaxe and rifle, sculpture, socialist realism, stalin, tirana	| 7 Replies
German Fascist Memorial in Tirana, Albania
Posted on 16th April 2013 by Michael
German War Memorial, Tirana Park, Albania
A German fascist memorial in a country where more than 30,000 died in the struggle to liberate themselves from the scourge that was devastating Europe.
In an earlier post I wrote about the English Cemetery in Tirana. This has had a long and complicated history, mainly due to the extreme antagonism the imperialist British state had towards the young Albanian Republic. Even after the establishment of the cemetery there remains controversy as the memorial stone was looted from the original grave of the Albanian Communist leader, Enver Hoxha. He was disinterred from his place of honour next to Mother Albania in the Martyr's Cemetery, overlooking Tirana, and reburied in the municipal cemetery in a western suburb of the city.
But however anti-communist the British forces sent to Albania might have been, however much they tried to find pro-British, monarchist forces that were not tainted with the stigma of fascist collaboration (unsuccessfully) and however reluctant they were to give arms to the only viable force prepared to risk everything to defeat the fascist invader (i.e., the Partisans under the leadership of the Communist Party) at least they were on the same side (if only for the duration of hostilities).
Between them first the Italian and then the German Fascists were responsible for the deaths of more than 30,000 Albanians – exact figures are difficult to know due to the very backward nature of the country at the time and the lack of any reliable pre-1939 census statistics. This was out of (again estimated) population of just slightly over a million. Thousands of houses were destroyed, the economy shattered and an immense task had to be taken on by the new People's Republic without receiving anything in the form of reparations from the aggressors and without even their own gold reserves (which were stolen by the fascists, 'liberated' from them by the British who then refused to return the bullion to the new socialist state, the rightful owners, on a pretext it was held as ransom for reparations that Albania owed to Britain for the damage done to British war ships in the so-called 'Corfu Incident').
So what does the government, that has swept away virtually all of the gains made in the period from 1944 to 1990, do in response to this history of death and destruction? Give space for a memorial to something like 2,200 German soldiers who died in reaping this devastation on the small Balkan country.
Altar and Engraved Stones, German War Memorial, Tirana Park, Albania
Now that might not necessarily be due to their fascist sympathies (although the manner in which the remains of the self-proclaimed king, feudal landowner and tyrant Zogu was returned to Albania last November indicates such). What is certain is that they want to curry favour with the present day German government as Albania seeks membership of the European Community.
Engraved stone, German War Memorial, Tirana, Albania
One time when I went by this memorial/cemetery (there are the remains of 60 soldiers buried there) someone was cutting the grass and generally making the location look tidy. This was galling as having travelled quite extensively throughout the country I had witnessed how many memorials to the Albanian dead have been neglected and even looted of some of the valuable stone.
What's also annoying is that the Albanian people are forgetting their own history and the struggles carried out by those who fought against the very fascists who have a well tended memorial in Tirana Park.
A statue of Liri Gero (a young communist from the town of Fier, who joined the partisans along with 67 other young women from the town on 14th September 1943, and who was later, on 6th October 1944, captured (wounded) by the fascists who then burnt her alive) – who was posthumously declared a People's Hero of Albania – now stands behind the National Art Gallery in Tirana, abandoned and out of site and not in a place of honour which her sacrifice demands. Her name Liri means Freedom in Albanian.
Present day Albanians prefer subservience to freedom and celebrate their oppressors in place of those who fought for National Liberation.
What's even more annoying is that in the same park, just the other side of the English cemetery, about 100 metres up the path, there's a modest memorial to a group of children who established an anti-fascist underground organisation in 1942 under the guise of a debating society. This has not been as badly vandalised as some monuments I've seen but it's certainly neglected and if you either don't know of its existence or not looking for it will be easy to miss. Notice in the picture the star (painted red originally) HAS been vandalised.
N41º 18.845′
E19º 49.348′
Memorial to Anti-fascist Children's group, Tirana Park, Albania
It's a sad reflection on the present that so many in Albania don't seem to care about the past and the sacrifice so many made to liberate their country from fascism.
Posted in Albania, History, Travel	| Tagged albania, als 9, fascist memorial, german, liri gero, tirana	| 8 Replies