text:
Tom Cleaver
53,574 karma
Kasserine Pass Group Build: Ltn Heinz-Edgar Berres, JG 77
in Aviation
1/48 Battle of the Kasserine Pass Group Build Bf 109 Eduard
JG 77 in North Africa:
From the entry of the Afrika Korps into combat in North Africa in May 1941 until August 1942, the only assigned fighter unit was JG 27. III/JG 53 moved to North Africa to reinforce the Afrika Geschwader at the end of July. In mid-October, in the face of increased RAF air opposition leading up to the Battle of El Alamein, I/JG 27 and I/JG 77 moved from Sicily where they had been engaged in the final campaign against Malta, while II/JG 53 and the Jabos of I/Sch.G 2 also flew in for reinforcement. In late October, a decision was made that war-weary JG 27 would be entirely replaced by JG 77, which was still operating II and III Gruppen on the southern Eastern Front under the leadership of famed experte Joachim Muncheberg. III/JG 77 duly arrived in North Africa on October 29, followed by II/JG 77 in early December. JG 27 departed North Africa for Italy in late November.
The Allied landings in French North Africa forced the Germans to face a new enemy and fight on two fronts. I and III/JG 53 crossed from Sicily to Tunisia the week after the Operation Torch landings. In January II/JG 51 arrived, followed by II.JG 2 which introduced the FW-190 to the theater.
Initially, the German pilots found the USAAF pilots overconfident and inexperienced. P-38 pilots were willing to try and dogfight the more maneuverable German fighters and their losses were such that the remaining two P-38 groups in the Eighth Air Force were sent as reinforcements, with the entire 82nd Fighter Group arriving in December; in January, the 78th FG was stripped of all pilots other than flight and squadron leaders and all P-38s, which were sent to North Africa to make up losses. Eventually, the overwhelming numerical superiority of the USAAF overcame German quality, as the Germans were unable to make up losses as the Americans could.
Joachim Muncheberg was killed in combat on March 23, 1943 when he collided with the Spitfire Vb of the 31st FG that would have been his 135th victory. He was replaced by Johannes "Macki" Steinhoff, a 150-victory experte who had commanded II/JG 52 in Russia. By May, the much-reduced three Gruppen of JG 77 were operating from the Cape Bon peninsula and could only offer slight resistance to the overwhelming USAAF and RAF units that opposed them. On May 7, 1943, Tunis and Bizerte fell and the last of the Jagdflieger fled to Sicily.
Leutnant Heinz-Edgar Berres:
Heinz-Edgar Berres is one of the lesser-known German experte, but a score of "only" 52 sets him above every allied ace in the RAF and USAAF. After joining the Luftwaffe in late 1939 and undergoing pre-war quality flight training, he was posted to 3.(J)./Lehrgeschwader 2 in the summer of 1941. The unit joined Operation Barbarossa in August and on November 29, 1941, he scored his first victory when he shot down a Tupolev SB-2. On 29 December 1941, he claimed his second victory, a Polikarpov I-15. On February 28, 1942 he claimed another I-15 and a Polikarpov R-5 on March 9, 1942. On March 24 he claimed an I-16.
Berres' Staffel became 3 staffel of 1/JG 77 when I(J)./Lehrgeschwader 2 was transferred to that unit on January 6, 1942. Berres adopted the insignia of I(J)/Lehrgeschwader 2 as his personal insignia on his airplanes. I/JG 77 was transferred to Romania in late March and on June 12, 1942, 13 B-24D Liberators of the "Halverson project" (HALPRO) attacked Ploesti. Berres' staffel was scrambled to intercept and he claimed one B-24D shot down.
At the end of June, I/JG 77 was transferred to Sicily for operations over Malta and Berres scored his eighth victory, a Spitfire of 603 Squadron. By the end of October, when the Luftwaffe campaign against Malta concluded, Berres had been victorious over 11 Spitfires. He was made Gruppe Adjutant at the conclusion of the campaign in recognition of his success.
I/JG 77 transferred to North Africa at the end of October. On November I, Berres claimed a Curtiss P-40 Kittyhawk over Bir-el-Abd, and other on November 3 northwest of Quotaifiya, and another over Marble Arch on November 11.On December 7, he shot down a Martin Baltimore from 60 Squadron SAAF west of El Haseiat. Berres' 25th and last victory of 1942 was a Spitfire over El Agheila on December 14.
In January 1943, I/JG 77 moved into southern Tunisia to confront the Americans. Berres claimed a US-flown Spitfire on January 8 and a B-25 Mitchell on January 14. He claimed two P-38s on February 4, 1943, then claimed two Lockheed P-38 Lightnings and a B-25 four days later, ending the month with claims for two P-40s on February 26. The Battle of the Mareth Line began in March and on March 7, Berres engaged Spitfires over the front line and claimed one shot down for his 33rd victory.
In March, Berres was placed in command of 1st Staffel. On March 10, he was one of the JG-77 pilots escorting 15 Ju 87s from StG 3. Intercepted by RAF Spitfires, the Stuka leader, Leutnant Heinz Üldemann was shot down and killed, but JG 77 claimed nine Spitfires destroyed, one of which was Berres' 34th victory. On March 24, the day after the loss of Joachim Müncheberg, Berres led 13 Bf 109s of I./JG 77 that intercepted 18 B-25 Mitchells of the 321st Bombardment Group, escorted by P-40s of the 57th and 58th Fighter Groups. Berres claimed a P-40, a B-25, and another P-40 in 11 minutes for his 37th, 38th and 39th victories. After claiming his 40th victory over a P-40 on April 2, Berres was shot down near Oudref but escaped back to German lines. He claimed his 44th victory over Cap Bon on May 5 before I/JG 77 escaped to Sicily.
Heinz-Edgar Berres was killed in combat with RAF Spitfires led by Wing Commander Colin Gray on July 25, 1943, when JG 77's 12 Bf-109s escorting 10 Ju-52s to Sicily were intercepted over the Straits of Messina. Four Bf-109s were shot down, with three of the pilots surviving. Berres Bf-109G-6 caught fire and exploded when it hit the water. He was posthumously promoted to Hauptmann and awarded the Knight's Cross of the Iron Cross in recognition of his 52 victories.
The model is an Eduard Bf-109G-4, and represents the airplane Berres was re-equipped with in January 1943. It has a fresh coat of field-applied RLM 79 with RLM 80 blotches. The winter weather (cold rain) was such in January and February that it didn't sun-bleach. The markings were pieced together from decals in the dungeon. Thank goodness I never threw away the Fujimi Bf-109 sheet, which has staffel, gruppe and geschwader insignia for every unit that flew the 109. 40 years old and the I(J)/Lehrgeschwader 2 ornate "L" superimposed over a map of Britain still worked.
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17 responses to Kasserine Pass Group Build: Ltn Heinz-Edgar Berres, JG 77
Morne Meyer
Morne Meyer said on April 7, 2018
SUPERB!! Thanks again for the very interesting and informative history lesson. As a history teacher I appreciate these articles Tom!! This is what attracted me to our hobby many years ago. Being able to research the history of the aircraft, pilot and conflict and then build a model of that aircraft is what makes this hobby so special!! Your model looks great as always!!
Tom Cleaver said on April 7, 2018
Models introduced me to history and now I write it.
…..and very GOOD at it!!!
Craig Abrahamson
Craig Abrahamson said on April 7, 2018
There are some entries posted here on iModeler that have that distinctive 'look' about 'em whereas I'm able to quite easily ascertain whose build it is just from seeing the headline photo. Yours is usually one of 'em. The presentation, the [now] clarity of the pictures and, as always, the addition of the comprehensive & informative narrative. This was no exception. Yet another fine job….kudos to your talent(s), my friend. Keep up the good work.
Thanks. Kudos to the VA for giving me the eyes I had at 40. 🙂
Yeah…now if I (we) could only regain other aspects of physiology we enjoyed at 40 I'd be a happy camper. 🙁
(Ed McMahon voice): You are correct, Sir! 🙂
Michel Verschuere
Michel Verschuere said on April 7, 2018
Tom, thanks very much for posting pictures and the historical background of your build!
Once again, your story illustrates how important the Tunisian "Proving ground" was for the Allied campaign in Europe, the major ground action having started right there. I'm no professional historian, but have always been a fan of historical background to any model built. To me it's one of these aspects that attracted me to this great hobby. Living here near the "Flanders fields" of WWII, I am confronted almost every day with the importance of teaching today's youngsters about the horrors of the past so that they will hopefully never be repeated!
Once again congrats for this fantastic job: I very much liked the paint scheme of a non-sun-bleached 109!!
That must be amazing, to be there. I was just reading that 100 people a year along the old Western Front are still killed running across the unexploded ordnance of a century before. And yes, North Africa was "basic training" to the American units that went on to win the war. "An Army At Dawn" is a good book on the subject.
Yes, the most intriguing relic in the area is the Caterpillar crater, found just due SouthWest of the Hill 60 memorial: https://en.wikipedia.org/wiki/Hill_60_(Ypres)
Today, you can sit by its side and read a book there as it is an oasis of silence. Quite a contrast with its violent genesis over 100 years ago… The Willow tree on the right seems to mourn those who fell in the mines war of 1917.
1 attached image. Click to enlarge.
No words. amazing.
paul teixeira
paul teixeira said on April 7, 2018
WOW! Another fantastic looking 109. Love it.
Robert Royes
Robert Royes said on April 7, 2018
Nice work and narrative.
Tom Rodgers
Tom Rodgers said on April 8, 2018
Another nice build and great narrative. Glad I also saved that Fujimi 109 decal sheet after the build a few years ago. A lot of hard to find markings. All it takes is Micro scale liquid decal film and patience.
There's a half-built Fujimi 109 kit with the full untouched decal sheet (probably 1/3 the age of my sheet) sitting at the LHS for a price that makes the decal sheet affordable. Next week. 🙂
Jeff Bailey said on April 8, 2018
As usual, Tom you've relayed another interesting small chapter of history to those of us who appreciate the finer points of the "story." While the equipment, times, places and tactics are important, it's the people who MAKE history. Your narratives always put a "face" on some of the most influential pieces of equipment used in these conflicts.
Great looking "Gustav!" The paint scheme preserved by the lack of sun is a great look to an iconic aircraft.
Greg Kittinger
Greg Kittinger said on April 9, 2018
another great model and post! Love those deep, rich colors on this scheme.
Keepin it movin!
jeff stewart
Northrop F-5N Tiger II
Joseph Fenech
Hasegawa's 1/48th A-7E Corsair II, VA-72 Desert Storm
Chuck A. Villanueva
P-39 Q crash, June 16,1943
Frank Cronin


text:
DOL issues FAQs on ACA's implementation
|In Health Care Reform, Saxon Blog
Originally posted January 23, 2014 by Ilyse Wolens Schuman on https://ebn.benefitnews.com
The Department of Labor's Employee Benefits Security Administration (EBSA) has issued the latest in its series of Frequently Asked Questions (FAQs) on the Affordable Care Act's (ACA) implementation. The latest guidance (Part XVIII) addresses questions on coverage of preventive services and limitation on cost-sharing requirements under the ACA. The FAQs also provide guidance on expatriate plans, wellness programs, fixed indemnity insurance and the Mental Health Parity and Addiction Equity Act of 2008 (MHPAEA).
With respect to preventive services, the ACA requires non-grandfathered group health plans and health insurance coverage offered in the individual or group market to provide benefits for, and prohibit the imposition of cost-sharing requirements with respect to, the following:
Evidenced-based items or services that have in effect a rating of "A" or "B" in the current recommendations of the United States Preventive Services Task Force (USPSTF) with respect to the individual involved, except for the recommendations of the USPSTF regarding breast cancer screening, mammography, and prevention issued on or around November 2009, which are not considered current;
Immunizations for routine use in children, adolescents, and adults that have in effect a recommendation from the Advisory Committee on Immunization Practices (ACIP) of the Centers for Disease Control and Prevention (CDC) with respect to the individual involved;
With respect to infants, children, and adolescents, evidence-informed preventive care and screenings provided for in the comprehensive guidelines supported by the Health Resources and Services Administration (HRSA); and
With respect to women, evidence-informed preventive care and screening provided for in comprehensive guidelines supported by HRSA, to the extent not already included in the current recommendations of the USPSTF.
On September 24, 2013, the USPSTF issued new recommendations with respect to breast cancer. Accordingly, the FAQ explains that for plan or policy years beginning one year after September 24, 2014, non-grandfathered group health plans and non-grandfathered health insurance coverage offered in the individual or group market will be required to cover such medications for applicable women without cost sharing subject to reasonable medical management.
Cost-Sharing Limitations
The FAQs include a number of questions about the application of the ACA's cost-sharing limitation. For plan years beginning in 2014, the annual limitation on out-of-pocket costs applicable to non-grandfathered group health plans and group health insurance coverage is $6,350 for self-only coverage and $12,700 for coverage other than self-only coverage. For subsequent plan years, the annual limitation on out-of-pocket costs will increase by the premium adjustment percentage described in the ACA. A previous FAQ provided guidance on out-of-pocket maximums for the first year of applicability where a group health plan or group health insurance issuer utilizes more than one service provider to administer benefits that are subject to the annual limitation on out-of-pocket costs. This latest guidance explains that for plan years beginning on or after January 1, 2015, non-grandfathered group health plans and group health insurance coverage must have an out-of-pocket maximum that limits overall out-of-pocket costs on all essential health benefits (EHB). In addition, plans and issuers are permitted to structure a benefit design using separate out-of-pocket limits, provided that the combined amount of any separate out-of-pocket limits applicable to all EHBs under the plan does not exceed the annual limitation on out-of-pocket maximums for that year. The FAQs clarify that a plan that includes a network of providers is not required to count an individual's out-of-pocket expenses for out-of-network items and services toward the plan's annual maximum out-of-pocket limit. A plan is not required to count an individual's out-of-pocket costs for non-covered items or services (such as cosmetic services) toward the plan's annual maximum out-of-pocket limit either.
Expatriate Plans
The FAQs include clarification of the temporary transitional relief exempting expatriate health coverage from certain ACA provision. For purposes of the transitional relief, an insured expatriate health plan is an insured group health plan for which enrollment is limited to primary insureds for whom there is a good faith expectation that such individuals will reside outside of their home country or outside of the United States for at least six months of a 12-month period and any covered dependents, and also with respect to group health insurance coverage offered in conjunction with the expatriate group health plan.
Final regulations regarding nondiscriminatory wellness programs in group health increased the maximum permissible reward under a health-contingent wellness program from 20% to 30% of the cost of coverage, and further increased the maximum permissible reward to 50% for wellness programs designed to prevent or reduce tobacco use. The DOL explains that the FAQs address several issues that have been raised since the publication of the final regulations.
If a participant is provided a reasonable opportunity to enroll in the tobacco cessation program at the beginning of the plan year and qualify for the reward (i.e., avoiding the tobacco premium surcharge) under the program, the plan is not required (but is permitted) to provide another opportunity to avoid the tobacco premium surcharge until renewal or reenrollment for coverage for the next plan year.
The FAQs describe a scenario in which a plan participant's doctor advises that an outcome-based wellness program's standard for obtaining a reward is medically inappropriate for the plan participant and the doctor suggests a weight reduction program (an activity-only program) instead. The FAQs explain that the plan does have a say with respect to how a weight reduction program is selected. The plan must provide a reasonable alternative standard that accommodates the recommendations of the individual's personal physician with regard to medical appropriateness. Many different weight reduction programs may be reasonable for this purpose, and a participant should discuss different options with the plan.
The final wellness regulations provided sample language that may be used to satisfy the requirement to provide notice of the availability of a reasonable alternative standard. The FAQs state that plans and issuers are permitted to modify this sample language to reflect the details of their wellness programs, provided that the notice includes all of the required content.
Mental Health Parity
With respect to mental health parity requirements, the guidance states that the ACA builds on the MHPAEA and provides that mental health and substance use disorder services are one of 10 EHB categories. Under the EHB rule, non-grandfathered health plans in the individual and small group markets are required to comply with the requirements of the parity regulations to satisfy the requirement to provide EHB.

redpajama_set_name: RedPajamaCommonCrawl


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text:
Pygocentrus è un genere di un pesci d'acqua dolce appartenente alla famiglia Characidae, sottofamiglia Serrasalminae.

Distribuzione e habitat
I pesci del genere Pygocentrus sono diffusi in Sudamerica, nei bacini del Rio delle Amazzoni, dei fiumi Paraguay e Rio Paraná, Orinoco ed Essequibo.

Descrizione
Presentano un corpo massiccio e carnoso, con muso schiacciato e prognatismo mandibolare. Visti lateralmente hanno profilo ovaloide. Le mascelle sono provviste di forti denti triangolari. Le pinne sono ampie e carnose.
La livrea è tendenzialmente simile per tutte le specie, con fondo grigio-verde, iridescenze metalliche lungo i fianchi; gola e ventre sono rosso vivo. Le pinne sono grigie con chiazze nere, tranne le pettorali e le pinne ventrali, che sono rosse. A volte la pinna anale è orlata di rosso.
Le dimensioni variano dai 28 ai 50 cm, secondo la specie.

Comportamento
I giovani vivono in gruppo e, contrariamente agli altri piranha, continuano a farlo anche gli adulti. All'inizio della maturità sessuale avvengono numerosi combattimenti tra gli individui, che stabiliscono le gerarchie per l'età adulta. Non è raro osservare infatti combattimenti, che spesso portano al ferimento, anche grave, di uno dei due contendenti. Se stressati possono anche praticare il cannibalismo.

Riproduzione
Durante il corteggiamento i due riproduttori perdono la tipica colorazione assumendo un'insolita livrea nera. La femmina sembra essere più tozza.
La riproduzione avviene nella stagione invernale, tra novembre e aprile. Le uova, grandi e adesive, vengono incollate ad una radice sommersa e sono sorvegliate da entrambi i genitori fino alla schiusa, 9-10 giorni dopo.
Sembra che il successo riproduttivo sia in relazione all'inondazione delle praterie e delle foreste dell'anno precedente, ma occorrono ulteriori studi per meglio comprendere il meccanismo.

Alimentazione

Voraci predatori, i Pygocentrus hanno dieta carnivora, anche se qualche volta non disdegnano un apporto di materiale vegetale. Predano insetti, vermi, crostacei, pesci, mammiferi e uccelli (acquatici e non). Gli esemplari più giovani sono attivi durante il giorno, mentre gli adulti prediligono l'alba e il tramonto, fino a sera.
I denti, estremamente robusti, sono sostituiti uno ad uno in modo continuo, permettendo all'animale di alimentarsi sempre.
Cacciano in branchi, anche piuttosto numerosi, utilizzando una tecnica denominata fullblown: una volta scelta la preda, l'intero branco la circonda, sferrando robusti morsi che indeboliscono e fanno annegare la preda (se non è un pesce) mentre viene divorata.
Le leggende parlano di uomini o bovini spolpati vivi, ma è piuttosto raro che possano avvenire tali incidenti: tuttavia i branchi di piranha sono molto pericolosi per gli animali di grossa taglia se avvicinati durante la stagione secca, quando più gruppi si riuniscono per evitare di rimanere nelle secche.

Acquariofilia
Tra le Serrasalminae sono annoverati tra i più pericolosi. Pygocentrus nattereri è molto conosciuto tra gli acquariofili e non: è diffuso negli acquari privati quanto negli acquari pubblici.

Interazioni con l'uomo
Le popolazioni locali e quelle indigene pescano i pesci del genere Pygocentrus a scopo alimentare: le loro carni sono magre. Molto più diffusa è la pesca per l'acquariofilia. Queste specie possono causare gravi traumi se maneggiati con imperizia.

Specie
Pygocentrus cariba
Pygocentrus nattereri
Pygocentrus palometa
Pygocentrus piraya

Altri progetti

Collegamenti esterni

Serrasalminae

redpajama_set_name: RedPajamaWikipedia


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text:
EXEMPLARY DEPARTURES
By Gabrielle Wittkop
Translated, with an afterword, by Annette David
Exemplary Departures consists of five exquisitely wrought novellas depicting five "exemplary" deaths in various exotic locations around the globe: a gentleman spy disappears with his secrets into the Malaysian jungle; a young woman agonizes atop a ruined castle overlooking the Rhine; a writer succumbs to alcoholism in the streets of Baltimore; a salesman expires as a vagabond in the sewers of New York; and hermaphroditic twins are assassinated in a stagecoach. Drawing from the remnants of real-life anecdotes—from Edgar Allan Poe's final days to the agonizing tale of Idilia Dubb—these stories are imagined descents into the death's supreme indifference. A true modern inheritor of the legacy of the French Decadent writers, Wittkop spins these tales with her trademark macabre elegance and chilling humor, maneuvering in an uncertain space between dark Romanticism, Gothic Expressionism, and Sadistic cruelty. "Death is life's most important moment" Wittkop had claimed; Exemplary Departures offers five particularly important moments for the English reader's dubious delectation.
First published as a set of three novellas in 1995, this translation is of the 2012 edition of five novellas, which include the previously unpublished "Mr. T's Last Secret" and "Claude and Hippolyte."
Self-styled heir to the Marquis de Sade, Gabrielle Wittkop (1920–2002) was a French author of a remarkable series of novels and travelogues, all laced with sardonic humor and dark sexuality, with recurrent themes of death, decay, disease, and decrepitude. After meeting Justus Wittkop, a German deserter, in Paris under the Occupation, she hid him from the Nazis and then married him after the war, in what she described as an "intellectual alliance." He would commit suicide in 1986, with her approval, after being diagnosed with Parkinson's. Her first novel, The Necrophiliac, appeared in 1972, but a number of her books have only been made available since her own suicide in 2002, after she was diagnosed with lung cancer.
"Readers would be well advised to don a Hazmat suit before wading into the thrilling, pestilential world of French writer Gabrielle Wittkop."
—Matt Seidel, The Millions
"[T]he five stories collected in Exemplary Departures—all culminating in the deaths of their protagonists, '[drawn] from the remnants of real-life anecdotes'—are expansive in design, traversing disparate forms and styles, each itself illuminating differing perspectives on death, existence, and the material cosmos."
—Mark Molloy, Music & Literature
"Each of these lives is elegantly depicted in taut prose and then mercilessly withdrawn, in the narrative just as it was in history. Despite its stylistic refinement (credit is due to Annette David for so gracefully walking the tightrope of its prose), this book is also urgent. You can feel Wittkop piecing something together through these shattered vessels."
—Heather Cleary, Literary Hub
"A fine little collection of stylish, beautifully crafted morsels"
—M. A. Orthofer, The Complete Review


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text:
City to continue providing free menstrual products in washrooms
Sarnia will continue to provide free menstrual products in public washrooms on a permanent basis.
City council has endorsed the idea following a trial period at arenas and park.
Twenty-two dispensers were installed at nine facilities in January of 2020, and the pilot was extended a year because pandemic closures didn't result in numbers reflective of normal use.
As of November, 1,514 tampons and 1,144 pads had been dispensed, with more than half of them at the Centennial Park Agora.
Canatara Park, Clearwater Arena, City Hall, Sarnia Arena and Progressive Auto Sales Arena also had uptake.
Council voted 8-1 to make the trial permanent. The lone vote against was cast by Coun. Margaret Bird, the only woman on the nine-member council.
The cost of providing feminine hygiene products to the public was estimated at $1,000 a year.


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Power banks or batteries are placed inside of the camera at the rolling film location.
The film TLR camera shutter input for flash release can be used to trigger the sensor's digital imagine capture process.
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text:
Josef Marek (2. května 1913 Nové Město nad Metují – 29. prosince 1980 Náchod) byl český akademický sochař.

Život
Kamenosochařskému řemeslu se vyučil u svého otce. Ve věku dvaceti pěti let se na jeden rok stal hospitantem řezbářského oddělení školy bytového průmyslu v Praze, v letech 1939–1944 absolvoval pražskou Umělecko-průmyslovou školu. Po osvobození studoval v letech 1945–1947 sochařství na Akademii výtvarných umění v Praze u profesora Karla Pokorného.

Žil a pracoval v Novém Městě nad Metují.

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Externí odkazy

 Městské muzeum Nové Město nad Metují – Dílo Josefa Marka
 Osobnosti: Akademický sochař Josef Marek
 Výstava k nedožitým 95. narozeninám sochaře Josefa Marka

Čeští sochaři
Narození v roce 1913
Narození 2. května
Úmrtí v roce 1980
Úmrtí 29. prosince
Muži
Narození v Novém Městě nad Metují
Úmrtí v Náchodě
Umělci z Nového Města nad Metují


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Home > film > theartsdesk Q&A: Actor Toby Jones
theartsdesk Q&A: Actor Toby Jones | reviews, news & interviews
theartsdesk Q&A: Actor Toby Jones
The star character actor on playing Turner, Capote and Julia Roberts' stalker
by Jasper ReesSaturday, 15 January 2011
Toby Jones as artist JMW Turner: 'Character actors are technically not handsome'
Toby Jones's cameo in Notting Hill – he was cast as an over-eager fan of Julia Roberts - was deposited on the cutting-room floor. Most actors would have chalked it up as one of life's bum raps. Jones, who while on set for his short scene was also failing to rent a flat in Notting Hill, fashioned a drama out of a double crisis. To perform Missing Reel he obtained permission to show the suppressed material. Anyone attending the play, or listening to it on Radio 4, would have laid long odds against the actor once cast as a stalker of stars eventually landing the lead in a Hollywood film surrounded by Daniel Craig, Sandra Bullock, Gwyneth Paltrow and Sigourney Weaver. That is what happened with Infamous.
Not that Jones's run of poor luck was quite over. In Capote, Philip Seymour Hoffman had a simultaneous crack at the effete high-pitched author of In Cold Blood and won an Oscar for it. The producers decided to hold Infamous back for a year, but felt guilty enough about pressing the pause button on its star's career to circulate rushes to generate work for him. Jones (b 1966) has never looked back.
In that year of waiting he filmed The Painted Veil and Amazing Grace and played Robert Cecil to Helen Mirren's queen in Elizabeth I. In 2008 came three more films with Jones's crinkly features in the mix: he played Bill Murray's sidekick in sci-fi fable City of Embers, Karl Rove in Oliver Stone's Dubya biopic W., while in Frost/Nixon he donned the thick-framed specs of Hollywood super-agent Swifty Lazar. No more leads, in short, but the high-profile character roles started coming in droves. He has also voiced Dobby in the Harry Potter movies, and played a sadistic figure in Ian Dury's childhood in Sex & Drugs & Rock & Roll. Forthcoming films include The Rite, Tinker, Tailor, Soldier, Spy and a role as the dastardly Arnim Zola in Captain America. Plus something he can't talk about starring Robert De Niro.
The theatre performance that got Jones noticed was in The Play What I Wrote, the theatrical homage to Morecambe and Wise in which he starred with the Right Size comedy duo. The last couple of years have found Jones returning to the stage in lead roles – in Tom Stoppard's collaboration with Andre Previn, Every Good Boy Deserves Favour at the National, Jez Butterworth's Parlour Song at the Almeida.
Watch the trailer for Parlour Song
Now in The Painter Jones plays JMW Turner. Rebecca Lenkiewicz's play is a commission from the newly rebuilt Arcola Theatre in Dalston, north London, raised on the premises of a paint factory established in 1776 which Turner most probably visited to buy pigments. As he takes on the biggest theatrical role of his career, Toby Jones talks to theartsdesk.
JASPER REES: Let's start with The Painter. What lured you to a new play in a small theatre in north London?
TOBY JONES: The Painter is a play about painting, but specifically about JMW Turner on the precipice of success. It's dealing with his relationship with women, but more to do with the effect of his relationship with his mother who was mentally ill and at that time was confined first to St Luke's and then to Bedlam. And who lived with the Turner family when he was painting in that tiny house in Covent Garden. The relationship conjures up his relationship with mental illness: where do these paintings come from? Where does genius come from?
I knew Rebecca's writing, and then when I read it I found it incredibly moving. He's one of those people like Shakespeare who is unavoidable. His genius is unquestioned. Those strange skies seem to be years ahead of their time. I was interested in that and in Rebecca's take on it. Something happens in the climax of the play which moved me: his description of the act of conceiving a painting I found very, very moving. It's interesting how inarticulate people are when they are totally articulate in another way, and interesting to find a language which explains where that comes from.
Your theatre work has increasingly involved leading roles: Parlour Song at the Almeida and before that Every Good Boy Deserves Favour (pictured right).
Tom Morris [the director] commissioned me to write my one-man shows at BAC; he started me off. So it was fantastic to go and work with Tom whom I had known for a long time. It was odd because it was a return to movement-based theatre which I hadn't done for a long time. I was nervous about it. It was very physical. It's about as physical as a Stoppard play gets. But I did love doing it and the adrenalin one gets performing in and among an orchestra is unrepeatable.
Your father is the actor Freddie Jones. Is it your perception that he's proud of you?
I think he is in that way that a father has a tricky relationship with… As you get older and think why you're doing anything, and what you might be aiming for and what your real motivation is under your stated motivation for doing anything at all, you wonder what the role of your father is in that dynamic. Whether you're emulating or rejecting. I always remember that argument. Even if you're rejecting it you're actually acknowledging its impact on your life anyway.
It's very possible to succumb to the feeling of being a victim. And I've tried very, very forcefully to resist that temptation
You didn't reject acting, though.
No, but I did feel very strongly that I should reject it. In that classic way of the son wanting to do something different than join the family firm. Drama school got me really interested in it. At university I went to Manchester and it was an excellent course where the first thing you do is study critical perspectives on all forms of drama, and there was an underlying feeling that theatre is under threat throughout the whole of the course. "We will be looking at theatre but remember, it's under threat. It may not survive. It's spawning other forms but it's in jeopardy." I was relieved after public school to go somewhere where they were prepared to go, "What's the point of Shakespeare?" Not because they didn't see a point but they were just challenging the whole idea of canon. The way they talked about drama, there were many other fields that you might want to go into. Not just film and TV but the way theatre practices have fed into every area of life: psychoanalysis, training, people viewing themselves as heroes in their own drama.
Are you the hero of your own drama?
Well, I'm very aware of trying. Having grown up with an actor I have the advantage of watching an actor's life and how it's very possible to succumb to the feeling of being a victim. And I've tried very, very forcefully to resist that temptation. In that sense, yeah, I may be the hero of my own life because I'm trying not to be the victim of it.
How could you have been a victim?
The traditional acting model of sitting by the phone and being imprisoned by the way you look and people's perception of you and how in some way that stymies your life. Or that you can point fingers and go, "It's because of that that I'm not there." You can't argue with it. If you want to view your life like that you can, because there are certain inalienable truths. You are a prisoner of the way you look. And it's only very few actors who get to shift that in any way, shift their careers to become something other than being defined by the way you look.
When did you harness the way you look?
It's not that simple. [Jacques] Lecoq is one of the teachers of my life. The enjoyment of that school - it was a romantic impulse to go somewhere where people clearly didn't believe theatre was dying. He saw actors as writers rather than people who just got given writing. That actors improvise and make their own theatre. There are skills to learn and concrete ways to look at the world, and use what you see and all of the intuitive stuff that you feel as an actor, that actors who go to traditional drama schools are forced to keep to themselves. That was at the very centre of the training. There were skills you had to learn in order to implement them and create new kinds of theatre.
What age did you come out of the Lecoq school?
Twenty-two, 23, 24. I was there 1989 to 1991. I came out with a tremendous feeling of responsibility, that you are going to be responsible for your own theatre, that you're going to have to go out and make things happen and you don't need to get involved with the industry at all. Whether it meant going on the street, which is not what I did, or form companies and start doing shows - that's what you were meant to do.
Julia Roberts wasn't quite clear about the distinction between my fan costume - that I might be an actor
Your experience of being left on the cutting-room floor in Notting Hill fed into that.
We had to come up with another show – me, Edward Kemp and Jane Heather. We'd done about three shows. I was interested in making a show with a foley artist. I said I had this rather extraordinary experience where I felt I was very much at this crossroads in my life, moving house. There was a café and I was looking to rent a flat in Notting Hill which I couldn't afford, and I was going up for auditions in films including Notting Hill, and when we came to shoot we were shooting at the same crossroads - and in fact I was sitting there waiting to go on, with Julia Roberts and Hugh Grant in the café, where I was looking for somewhere to live and on the day I was going in. And Hugh Grant was very personable and realised I was an actor, and Julia Roberts wasn't quite clear about the distinction between my fan costume, that I might be an actor. I started talking about this whole series of coincidences and I realised there was a show there.
It's only latterly that someone has said, "It's like a revenge drama or something, you're seeing conspiracies where there just aren't any." I went, "I'm just piling on stuff which happened."
The other remarkable thing is that when I used to do it onstage, Richard Curtis gave me permission to show the footage of the scene onstage, and people would go, "So it was true?" And I'd go, "I think I'd make up a better story than that." The only reason to do it is that it's true. It's a rubbish story if it isn't true. Also I was really influenced by Ken Campbell. He really is captured by imagination. When I saw Pigspell it was the kind of theatre I really wanted to make. The idea of strolling onstage and spinning plates – I just remember laughing and being so intrigued. This whole idea of theatre as disorientation, which I love, the idea that you go in and you're properly disorientated by something - I get a lot of pleasure out of total disorientation.
Was that a metaphor for where you were as an actor?
It wasn't even a metaphor, it was the truth. I wish I could say it was, but it wasn't. I think I felt I'd make something creative out of something not massively disappointing. You didn't get to play a little part in a film, it's not the end of the world. The actor's life, no matter how successful you are, teeters.
Back then you were being cut out of a major British film. Some years later you were the lead in a Hollywood film, Infamous. It's an extraordinary change-around, though that's probably not your perception.
Why isn't it going to be my perception?
Because you'll probably say it was a gradual rise. That's not what it looks like from the outside.
I think it's more chaotic. I'm guessing, but I'm sure that when you're looking at an actor's life it appears to have a structure.
What made them think they could finance a film around you? Obviously you were surrounded by big stars (pictured left, Jones with Sandra Bullock).
I think that's key. I think Doug [McGrath] has said in interviews as soon as he saw me for the screen test - and I was only seen because a casting director had seen me in New York in The Play What I Wrote and wanted me to do a play about Truman Capote – he said, "Oh, my God, he looks a dead ringer for Truman Capote but can he act it?" Obviously they filmed it and took that away and they had a confident executive that day, that month, who just went ,"Yes, we'll take him."
Had you had any previous awareness of a resemblance?
None whatsoever. I had no knowledge of Truman Capote. Other than being one of those rather fantastic names that we don't get called in this country. I was aware that he appeared at Factory parties when I read about Andy Warhol. He was ubiquitous in that way.
I'm unaware of what happened in the genesis of The Play What I Wrote. Once the play was on, was it all generated by all of you?
I was friends with them because of the devised theatre world, and was a fan of theirs. They said it would be great one day to do a show. They said, "We'd really like you to do this next show, it's about Morecambe and Wise." I was in rehearsal for Missing Reel and I remember just going, "Why on earth would you want to do a show, no matter if it's in the West End, about Morecambe and Wise? People who like you compare you to them. It would seem to be like a poisoned chalice." They explained the basis that they were going to try and write a show about people one of whom was refusing to do that. Morecambe and Wise shows structurally are about their own fabrication. Like a lot of musical acts they're about, "Is the act going to work?" You can play that trick with it. Then they said, "We've got all these little parts we'd love you to play." I said, "Please don't say you've got loads of little parts. I want to play a part." They said, "Well, let's make it a part. A guy who has to play lots of parts. He's a stooge."
Absolutely ideal guest: Ralph Fiennes. The roof came off that night because he literally looked in the wrong place
They wrote the play and sent it to me and it was funny. It was long but it was funny. Then they said, "We've got Kenneth Branagh to direct it." And we arrived in the rehearsal room and what was fantastic about Kenneth Branagh is he is very straight-down-the-line theatrically practical. It was one of the most inspiring things that [producer] David Pugh did as a producer was go, "That Ken Branagh really understands about making things populist."
Whereas the Right Size had come from the fringe where you get a bit more slack about meta-theatrical references, Branagh just excised all of that and said, "It's got to be funny from moment to moment to moment." That process of trying to work out what was really going to be funny about this idea to people who go to West End theatres became very collaborative, because there were four of us in the room. It was impossible to not contribute. Also the great thing about working on a show like that is it's changing day to day, guest by guest.
How early on were they introduced as an idea?
That was the impossible thing. David Pugh said, "I can get a guest star every night." And I went, "This isn't going to happen, this show, is it?" It was a ludicrous proposition. But it was always fundamental. Again Pugh's genius is that he saw that if you could do that you'd have fantastic marketing leverage.
At what point did your involvement in the whole guest phenomenon deepen?
When it became clear that I was going to have to imitate every single guest we ever had.
Was that your idea?
That was always in the play. And I think at that stage Daryl Hannah was in the West End. There was a big debate in the papers about Hollywood's impact on the West End. Daryl Hannah became a character in the first half. I was in it playing her every night in the first half and then I had to have an appalling attempt at playing…
Who was the most difficult?
It's a terrible barometer of people stardom. When they came on there were three broad categories. I'd be busy imitating somebody. The guest star comes on stage right. Fantastic theatrical frisson goes through the audience. "Jesus Christ, it's them!" Sometimes there'd be utter silence for about 30 seconds which was the moment for people to go, "That really is Roger Moore" (pictured taking a bow with the cast). The second level is "Oh, they've got them, how good, we knew they were getting a guest star, they've got that one." The third one was where we'd have to set up more and more within the material what they'd actually done.
Did they understand their celebrity was being measured?
Yes, I think they must have done.
If you were a celebrity in it, which category would you be in?
That's a challenge I would always reject. Listen, the third. I'm in no way a celebrity whatsoever. I don't view myself in any way. What really worked in that format was when it became clear, a bit like Morecambe and Wise, they were straight actors with some authority who'd shown up for a show that they clearly shouldn't have taken and were having the piss taken out of them. Absolutely ideal guest: Ralph Fiennes. The roof came off that night because he literally looked in the wrong place. I think I'd roughly look in the right sort of place: yeah, he needs the piss taken out of him!
Character actors are technically not handsome. They're technically characterful which is a euphemism for asymmetrical features
Did anyone react rather badly to the whole thing?
Yes. In America everyone volunteered. They saw the show and prepared. Holly Hunter was brilliant at it. She was one of the greatest people we could have met. I remember her describing to us how she prepared, reading The Piano when she got the script and what she then did to get the part. It was amazing to hear her level of engagement with the material.
What did you do with Capote?
I never really stopped working. I read everything I could read. That's all slightly adjacent, all that stuff. They key thing was trying to work out why the fuck would someone end up with a voice like that. In Cold Blood is an incredible book. I couldn't believe I hadn't read it. What I understood the argument of the film to be was that he never wrote anything nearly as powerful and he never wrote anything before or after like it. So it must have come from some experience. Which is why I think it became the locus of two films.
Watch the trailer for Infamous
How did you cope with the fact of the other film, which had more heat under it?
We always knew it was there. I then had far too much to think about because of the kind of actors I was going to work with to ever even think about the other film. Daniel [Craig] had auditioned for the other film so he told us the script. We went, "That sounds incredibly similar." He went, "Yeah, it is quite similar." No one seemed very worried about that. What was really hard was the hiatus before the release, the decision to hold it back for a year. Luckily I got a lot of very good jobs in that period that distracted me from it, on the basis, I might add, of incredible generosity from the producers who sent out rushes of Infamous to other directors and said, "You should see this guy."
The Painted Veil, Elizabeth, Amazing Grace (pictured below, Jones in Amazing Grace).
That was really hard. But I never thought for one second I would ever be a lead part. Everyone tells you that anything can happen when you're an actor. You wouldn't become an actor if you didn't have that dream. But then you also know the chances of being the lead actor in an American film are very, very, very small. And I was very aware that I was fucking lucky the film was even going to be released. In fact, if the other film had died our film probably wouldn't have been released.
Have you met Hoffman?
Never met him.
Seen the film?
No, still haven't seen it. Just haven't. There's no kind of like "I'll never see that".
What is a character actor?
I've no idea what a character actor is. Not now either, because even more so I think most of the films you want to be in have actors who are called character actors in the lead roles. The most interesting films. George Clooney in a way often positions himself as a character and he clearly isn't a character actor. Hoffman. They're technically not handsome. They're technically characterful which is a euphemism for asymmetrical features. I'm just showing you that I've got asymmetrical features.
You certainly have if you hold your hand diagonally across your face like that.
I tell you what I really think it is. I never thought I'd get the chance or the time that Daniel Day-Lewis had to totally transform yourself. As an actor there is a fantasy somewhere that you will be able to become someone else. When you read about actors being kept out of city walls in the 17th and 18th century you think it's probably because they were really good liars and really good at telling you things exist that don't. I'm romantic about that, in the sense that I feel, wouldn't that be great? Maybe that's what I got into with Ken Campbell. It was never quite clear what had happened to him but you wanted it to have happened as he said, but you weren't quite sure.
You hope that there is a director out there who says you can play anything
Was there a moment as a young actor when you realised you weren't going to be the juve lead?
Not a moment. Just through watching my father's career and the kind of roles that he got offered. I was also aware of the chance element. That's also to do with how as an actor you're using your real-life experiences, about where you sit in groups of people. Where do you position yourself? Are you someone who can lead a group of people at times or are you someone that refrains from doing that? How do people tell you that they see you in a group of people? To a certain extent that's what acting teachers are telling you. They're going, "You seem to be this kind of person. If you want to be that kind of person you probably need to start thinking about these things." But I think I was pretty aware of that growing up. A self-consciousness about where you sit with your peers or older kids or younger kids. Like all of us are. You hope that there is a director out there who says you can play anything. The parts you get excited about are the ones where you go, I never thought I'd…
I got cast as this soldier. My agent said, "Oliver Stone wants to cast for this Vietnam film," and the script came through and I was reading it going, "This is like the Vietnam films I watched, there doesn't seem to be any part in here for me - a British diplomat or a gay writer. There's nothing." I rang the agent and said, "Are you sure he wants to meet me for that part?" "Yeah, definitely." "I don't want to go in there and make a fool of myself." I walk in and literally there are all the guys who should be there and Oliver Stone goes, "Listen, man, whatever you want to play in this, we'd love you to be in it." He's seen Infamous and said, "I really love that film." I remember just going, "Yeah, you like the film so what the fuck?"
What did you really say?
I said, "Thank you very, very much."
I went out to rehearse for two weeks with Bruce Willis to play his colleague researching the My Lai massacre.
So you weren't up for a soldier?
That was just a compliment. He meant the part that I came in for, which was a soldier investigating with Bruce Willis what happened at the My Lai massacre. It was shelved because Bruce Willis pulled out of it.
I had a whole year of being asked what it was like to kiss Daniel Craig
Then Stone cast you in W. Did you have a sense of what Karl Rove looks like?
I like to think I look better-looking than Karl Rove (pictured right, Jones as Rove). He was, I think, probably in the Top Three most-hated people in the States. Certainly after Cheney, possibly after Bush. The famous book written about him is called The Brains Behind Bush, because he's the self-confessed nerd on metrics, this thing of studying political swing and where votes may be gained. He has an incredible memory for these figures and is a workaholic. He's revolutionary in the fact that he changed in a cynical but very effective way the way that people should lead campaigns, that they should attack the opposition not on their weaknesses but on their strengths. He basically refined Bush's message down to four key things: gay marriage, wartime leader, whatever else they were. So that whatever question Bush was asked he'd always answer on these four issues.
How did you play him?
You try and get footage of him, you try to hear how he sounds, you read the script again and again and again and see what his function in the drama is. And then how different he is from myself? That's effectively what you're doing. How different is this guy from me? I need to address myself to the things that are different. There's the voice, the way he moves. It's very hard to find because you normally get to see him from only here upwards. And also he goes through a time change. You see him right at the beginning when Bush is running for governor. You do whatever you can.
Listen to Toby Jones discussing his role as Karl Rove in W.
Actually I found him possibly the hardest character that I've ever had to work on because he seems to have more of a twinkle in his eye when people are slagging him off, there's this laughter in his eye like that kid in the playground. He doesn't seem to give anything away. And there's no literature about what he has for breakfast. It's not out there. and in fact he's known for his very invisibility. Whenever anything bad happened to the Democrats or a Republican candidate that the Republicans wanted to ditch they'd talk about the hand of Rove. The hand of Rove basically meant you couldn't detect Rove's participation in what must have been his plan.
How about Swifty Lazar (pictured, Jones as Swifty Lazar in Frost/Nixon)?
Again quite hard to find out much about him. A Hollywood legend. I listened to him dictating his showbiz memories and that was fascinating. Like Truman, a very short guy but flamboyant. You sense a meanness somewhere. It goes with the territory of haggling for years over more and more money. I don't know what to say other than a bit like Truman but more so - he's someone who doesn't see himself as absurd but who looks patently absurd, going, "I'm a macho guy, I totally belong in this world," a showbiz agent mixing with President Nixon and all of these high-flying political people.
I felt there was an odd blind spot seeing his own incongruity: that I shouldn't at any point suggest that I was a freak or eccentric even though I look like a freak and pretty eccentric. When I listened to his voice it was clear that this guy was raised in the Russian part of Brooklyn, a music agent, really tough guy going out for jazz bands in the gangster back streets and doing deals. He's a tough guy without being a tough guy. He's not physically tough but he's fucking tough. I've spoken to people who've known him and they'd go, "Swifty was really… quite a character." They wouldn't ever say, "What a great guy, funny guy." I don't think he was any of those things. I think he was a tough fucker.
Does success in film make it hard to come back to theatre?
The only plan is that rather boring actor's answer which is to do the best script that comes through.
Do you ever hanker for it?
I don't hanker after being in week seven of a nine-month run. Just to be in the theatre for month after month after month. There comes a point sometimes… you become an adrenalin junkie. It's very hard after a long run of a play to get that adrenalin.
Does a character actor ever get to kiss the girl?
In The Painted Veil I got to go away with a supermodel. James Bond, I got to kiss him. I had a whole year of being asked what it was like to kiss Daniel Craig.
Watch Truman Capote kiss James Bond (as it were):
Did Infamous make you more recognised on the street?
That was a surreal thing. To sit next to someone who's making the decision whether to watch your film. I was literally sitting next to someone on a plane. And they did. There was bit of BlackBerry going on during the film. A bit of scrolling. But then the engagement with the film. Then the meal comes, eats meal watching film. And then because it's such a unique thing to happen I literally tried to get his attention, because I thought, this is just too weird, he hasn't noticed. I remember going, "Could you pass me something?" that didn't need passing. He went, "Yup, sure." I went, "Did you enjoy the film?" "Sorry?" "Did you enjoy…?" And he went, "Jesus Christ almighty!" But it took him a little moment. And this is after surgery, remember.
Do you give thanks for your face?
No, I don't give thanks. I don't view it like that. I don't think about it very much.
What was your response to being asked to play Dobby (pictured right)?
Inappropriately financial. I had no knowledge of the books or anything. I didn't have kids at the time. When I told people who did have kids they went, "Fantastic."
You've got other films coming: Tinker, Tailor, Soldier, Spy, The Rite, Captain America. Do you have a sense of where you are, in terms of status or clout?
I don't really know where I am. It's quite hard to know. You guys decide where we are. I try to keep myself interested for as long as possible in a job where it's very easy to get stuck in a rut. That's the thing, to try and stay as engaged as one can. It's easy to say but for everything you do there are difficult decisions about jobs that you don't do. I never thought I would be in that position, to be honest. The next thing I'm doing after this is a film with Robert De Niro, and I can't quite believe I'll be acting with Robert De Niro but everyone tells me that that's what I'll be doing. You wouldn't dare to say, "Oh, it's going really, really well, I think I've cracked it."
You are a prisoner of the way you look. And it's only a very few actors who get to shift that in any way
The Painter, Arcola Theatre
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Permalink Submitted by Harry (not verified) on Sat, 15/01/2011 - 11:59
Top work JR


Two million. That's how many tires are dumped at 11150 Applewhite Road on the South Side of San Antonio, within 1 mile of Spicewood Park Elementary, Texas A&M-San Antonio and Palo Alto College.
Originally, there were more than 4.5 million tires at the Applewhite dump. They were ordered removed in 2002 — and eventually, about half were removed and recycled until the owner abandoned the site in 2005. The property was sold in 2009, and clean-up efforts never resumed.
For years afterward, no progress was made cleaning up the site. When sued, the new owners failed to appear in court. When ruled against in court, they ignored the judgment and only corresponded through their attorney. Meanwhile, they continued to rack up fines and back taxes.
This month, Copart Inc. committed to buy the Applewhite tire dump and finally clean up the property. I worked with Copart and other stakeholders to make this sale happen, and if they hadn't stepped up, it's likely the tires would still be on the South Side in the future as the owners continued to ignore orders from the state.
Several other tire dumps still exist in Houston and El Paso. Clearly, Texas does not have all the tools it needs to address this problem.
Last legislative session, I co-authored Senate Bill 570 with Rep. Armando Walle to increase the Texas Commission on Environmental Quality's regulatory power over illegal tire dumping. Tire dumps are a huge problem across the state, especially as suburban development sprawls into previously industrial areas. Tires can and should be recycled.
Unfortunately, SB 570 was vetoed by Gov. Greg Abbott in June. While the governor's concerns about over-regulation are noted, the problem of the Applewhite tire dump shows how difficult it can be to clean up millions of old tires even with the backing of TCEQ, the attorney general and the courts.
I'm thankful that a local business, Copart, has stepped up to clean the dump. However, in the future, entities that illegally dump tires shouldn't be able to discharge their obligation to clean up their messes onto others. Next legislative session, I plan on working with the governor and my colleagues to find compromise on the issue of old tires.
We need to get these tires out of our cities and into recycling plants before they become a public health emergency.
Democratic state Rep. Tomas Uresti serves District 118.


Published: Oct. 22, 2013 at 01:41 p.m.
Updated: Oct. 22, 2013 at 10:30 p.m.
Brandon Meriweather has a well-earned reputation as a head-hunter in the Washington Redskins' secondary. His unwillingness (or inability) to change his playing style has taken him off the field.
will re-air the Washington Redskins' 45-41 win over the Chicago Bears from Week 7 on Wednesday, Oct. 23 at 9 p.m. ET.
The NFL announced Monday that Meriweather has been suspended without pay for two games for repeat violations this season of NFL safety rules prohibiting hits to the head and neck area of defenseless players.
NFL Media Insider Ian Rapoport reported Tuesday that Meriweather appealed the suspension, according to a league source. The hearing will be held Wednesday, Rapoport added, per a league source.
If the ban is upheld, Meriweather may not practice during the suspension and would be unavailable for games against the Denver Broncos and the San Diego Chargers. Meriweather would be reinstated Nov. 4.
Meriweather was flagged twice for illegal hits in Sunday's 45-41 win over the Bears. After the game, Chicago receiver Brandon Marshall -- the recipient of one of those hits -- railed against Meriweather's playing style, saying the safety should be suspended or kicked out of the game entirely.
"Guys like that really don't understand that there is life after football," Marshall said, via the Chicago Tribune.
The two-game suspension would cost Meriweather $141,176 in game checks. The NFL fined Meriweather $42,000 last month for a helmet-to-helmet hit.
"I feel like every hit that I took was a legit hit," he said, via the Washington Post. "I wasn't trying to be dirty. I wasn't trying to hurt nobody. I didn't launch with my head. I used my shoulder like they told me to do. Everything I did was a pointer from them (league officials). ... You've just got to play. There ain't nothing I can do about it. I just go out there and play."
The NFL has sent its loudest message yet to Meriweather. We'll see if this one gets through.
The latest "Around The League Podcast" recapped every Week 7 game.


OCTOBER 13, 1997: Howie Mandel is trading in his rubber glove for a coffee mug.
After nearly 20 years on the stand-up circuit, Mandel is joining the ranks of Regis and Kathie Lee and Leeza Gibbons with his own morning talk show.
"This is your last chance to see me for a while," says Mandel of his October 9th Sheraton Casino appearance. "It [the talk show] gives me the capability to do everything I've ever wanted to do. I'll have a live audience, get to meet everyone I want to meet and talk to them about things that I am interested in. I'm performing in all different venues, but in one arena," Mandel says of this new venture, which begins production in January and is set to air in June.
Although a morning talk show is new to Mandel, television certainly is not. Mandel spent six years as Dr. Wayne Fiscus on NBC's award-winning drama St. Elsewhere. "St. Elsewhere was a great opportunity for me. It is something that I am proud to have been a part of," he says. "Last year I did the season premiere of The Outer Limits, so I still get my dramatic acting jollies from time to time." In addition to his dramatic work, Mandel is the creator of two animated shows for children, Bobby's World and Ernest.
Besides providing the voices of Bobby, Bobby's father, and other characters, Mandel is involved in every facet of Bobby's World as its executive producer, and he says that the show works because the story lines are drawn from real life.
"Everything that happens on the show is something that happened in my life or in the other writers' lives. My kids are sorely disappointed when they watch the show and don't recognize the plot," he says. Not to take all the credit, Mandel says his children are handsomely rewarded for their creative efforts in room and board.
The success of Bobby's World, which is in its eighth season on Fox and appears in syndication six days a week in 65 countries, prompted Mandel to begin yet another animated series called Ernest.
Like Bobby, Ernest is also a character brought to life from Mandel's stand-up routine. Ernest is one of Santa's elves in search of gainful employment in the "off-season." Together with two of his friends, Ernest finds himself in one sticky situation after another.
"It's my homage to the Three Stooges," says Mandel. "Here's three totally inept guys running around trying to be plumbers or whatever, and failing miserably."
Mandel's series of educational CD-Roms has also done well. The discs are distributed by 7th Level, and include Lil' Howie's Great Math Adventure and Tuneland, just to name two. The series has won 36 awards and critical acclaim.
"We took the national curriculum on reading, writing, and math, and then came up with games and scripts that intertwined with the mandated curriculum. The kids are being entertained while subliminally learning the lessons," he explains.
In addition to his animated shows, HBO specials, and CD-Roms, Mandel still has found time to perform approximately 200 dates a year, making him one of the most successful, if not busiest, comedy stars today.
Mandel brings his "One Woman Show" to the Sheraton Casino Thursday night at 7:30 p.m. and 9:30 p.m.
What can audience members expect from Mandel this time around? Even he doesn't know.
"I have no idea what to expect because each show is different," he explains. Although improvisation can be a risky venture, Mandel says his show wouldn't work any other way.
"It's a lot scarier for me to try and do a set show 200 times," Mandel says. "Of course, I know from experience what tends to work with an audience, but if I did the same thing every time I would get bored, and that would be reflected in my performance."
Will he miss the stand-up shows once his tour is completed in January? Well, yes and no.
"There's no bigger thrill in the world than to be standing on stage and see all the people out there. My attitude toward it is `Hey, it's the world's biggest party, and I'm the center of attention!' The thrill of performing is the greatest part of my job."
But, then again, he says, "I have been on the road for a long time. I have a wife and three children, and the talk show will be a wonderful opportunity for me to stay in one place and be with them."


text:
APA Nashville Signs Bluegrass Superstar Duo Dailey & Vincent
published by BMNN on Tue, 05/21/2013 - 01:47
Nashville, TN -- APA Nashville has signed Bluegrass superstar duo Dailey & Vincent to their roster, it was announced today by APA's Cass Scripps. The duo, celebrating its five-year anniversary, has earned two Grammy nominations, three consecutive IBMA (International Bluegrass Music Association) Awards for "Entertainer of the Year" and three awards for "Vocal Group of the Year," respectively, and over 40 other awards and honors. They have multiple #1's and currently have two albums in the Top 10 on the Billboard charts.
"I am thrilled to have the opportunity to represent the award-winning and multi-talented Dailey & Vincent. Adding them to our roster will open many exciting doors of opportunity in the future," comments Scripps.
Dailey & Vincent's current single, "Steel Drivin' Man," was the #1 most-played song on Bluegrass Today's monthly chart in April and marked Jamie Dailey's first #1 as a songwriter. The video premiered on CMT Pure and remains an ongoing top-trending clip. Their new CD, BROTHERS OF THE HIGHWAY, is currently #2 on the Billboard Bluegrass Albums Chart. In addition, THE GOSPEL SIDE OF DAILEY & VINCENT is currently sitting at #7 in its 69th week of activity on the Billboard Gospel Albums.
Notes Dailey, "We are excited to be working with some of Nashville's finest and hardest-working agents." While Vincent adds, "We are looking forward to a great future with a fantastic group of folks at APA Nashville."
Dailey & Vincent are also represented by Zac Koffler / APEX Entertainment Management, attorney David Crow of Milom, Horsnell, Crow, Rose, Kelley, PLC. and Rounder Records.
APA Nashville
Artist Management


Cuban Grandmaster Lazaro Bruzon walked through the Copa Latinoamericana de Ajedrez 2014 to convincingly win the main tournament and the top prize of 3000 USD.
The Copa Latinoamericana de Ajedrez 2014 took place on 26-31st December at CEAR (Duran) in Guayaquil, Ecuador.
The organizers were Ecuador Chess Federation, FIDE America and FIDE Commission for Women's Chess (WOM). The event was sponsored by FIDE President Kirsan Ilyumzhinov.
The main section was open to all players from Latin America chess federations. Lazaro Bruzon finished on 8,0/9 points, a full point ahead of the nearest followers.
Concurrently with the main tournament there was U14 Copa Latinoamericana (for players born 2000 or later) with 85 participants. Local star CM Carlos David Mendoza Criollo took a clear first place with 7,5/9 points. Full standings below.
Chairman of the Organizing Committee was IM Emilio Bastidas, President of Ecuador Chess Federation. Honorary Chairman was Jorge Vega, President of FIDE America. Tournament Director was WGM Martha Fierro, FIDE Vice President.


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Looks like all you folks with houston.rr.com email addresses are SOL.
[W]hen Comcast announced last year it was taking over the Time Warner cable franchise in Houston, its broadband Internet customers started to get nervous. A change of Internet providers usually means a change of e-mail addresses, which means having to alert anyone who has the old address that it's changing.
Sure enough, Comcast has confirmed that the houston.rr.com e-mail domain will go away by the end of this year, in a process that will begin in July. All Houston Road Runner subscribers will be given comcast.net e-mail addresses.


text:
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text:
Q: Inner Join problems PHP I have three tables: bound, station and time
Bound has 2 columns: boundID and boundName
Station has 3 columns: stationID stationName boundID
Time has 4 columns: timeID departureTime tramID stationID
I am wanting to display the startStation and endStation the user enters into the form and display the time if the stations entered by the user in the textfields have the same boundID. Currently, this is all I have managed to do and can't seem to get a result. Any help would be greatly appreciated!
    //display tram times from one station to another
    ELSE if($startStation != '' && $endStation !='' && $DepartureTime =='' && $DepartureTime2 =='')
    $query ="SELECT b.boundName, s.stationName, t.departureTime
    FROM Station s, Time t, Bound b
    INNER JOIN Bound b
    ON S.boundID=B.boundID
    WHERE s.stationName = '$startStation'AND'$endStation'";

I get this message when I try this: "Not unique table/alias: 'b'"
This is an example of the data I have:
stationID       stationName   boundID
5       |        CitySquare    |  2 ________________________________________________________________________________
boundID   boundName
2  |     South-Southbound ________________________________________________________________________________
timeID  departureTime   tramID  stationID
1      |    07:18:00  |    1        |    5
The expected result is the user is able to insert a startStartion and an endStation and obtain the departure time, if the boundID are the same.
This is the result I want to output
Bound Name       |       Start Station      |    End Station       |    Departure Time
South-SouthBound     |       Stourton         |     CitySquare             |  09:49:00

A: Change the below portion of code
INNER JOIN Bound b

with
INNER JOIN Bound c

and change the alias names of the columns too. There are too same alias assignment found in your query
It will make confusion while compile the query. Mysql cound not understand which table you are referring to.
Edit:
Try with the below code. I am not sure which table have the "boundID" field
 $query ="SELECT b.boundName, s.stationName, t.departureTime
FROM Station s, Time t, Bound b
INNER JOIN Bound c
ON s.boundID=b.boundID
WHERE s.stationName = '$startStation'AND'$endStation'";

A: Try changing your query to something like below:
SELECT b.boundName as bond_name, s.stationName as station_name, t.departureTime as departure_time
FROM Station as s, Time as t, Bound as b
INNER JOIN Bound as b
ON s.boundID = b.boundID
WHERE s.stationName = '$startStation' AND s.stationName = '$endStation'

A: Your DB schema is a bit weird to me. From my point of view you are missing a lot of necessary data columns in your tables.
But just to get your expected result you can try this query:
http://sqlfiddle.com/#!9/e5ef0/1
SELECT
   b.boundName `Bound Name`,
   s.stationName  `Start Station`,
   e.stationName `End Station`,
   t.departureTime `Departure Time`
FROM station s
INNER JOIN station e
ON e.boundId = s.boundId
  AND e.stationName='$endStation'
INNER JOIN bound b
ON b.boundId=s.boundId
INNER JOIN `time` t
ON t.stationId=s.stationId
WHERE s.stationName = '$startStation'

redpajama_set_name: RedPajamaStackExchange


UniKL came within minutes of putting a big dent on the hopes of Maybank to win the TNB Malaysian Hockey League title. But the Tigers are fast earning the tage of escape artists as they managed to find the equaliser.
In the end it was points shared as the two teams played out to a 2-2 draw at the USM Stadium in Penang.
It was a heated match, as the Maybank players were obviously affected by the umpiring decisions. But to be fair, there was not much wrong with what umpires Norhisham Shaari and M. Thayalan did.
There was one questionable decision though when Thayalan awarded Maybank a penalty stroke in the 64th minute as Shakeel Abbasi was adjudged to have been unfairly brought down by the UniKL keeper.
However Thayalan changed his decison after consulting Norhisham and it was the right thing to do as the UniKL keeper had played the ball with his stick and the Pakistani fell over dramatically. But Thayalan ought to have told Maybank that he was reversing his decision instead of allowing the match to start.
In reality Maybank have only themselves to blame for dropping two points in their pursuit for the league title as they played well below their ability and allowed the pressure get to them.
The Tigers took the lead in the 31st minute through Waqas but uniKL scored in the 49th minute through Mohd Noor Faeez Ibrahim to make it all square. And Faeez scored again in the 66th minute to put UniKL 2-1 ahead as Maybank players started losing their heads.
Waqas scored the equaliser in very next minute and escaped punishment as the match ended tamely with no further incidents.


The Climate Tagger API is a cost-free tagging tool part of the "Climate Tagger Suite" for those publishing online resources in the climate area.
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