TULSA, Okla. — Doctors say they will need to operate soon on Tulane safety Devon Walker, who is in stable condition after fracturing his spine in a head-to-head collision with a teammate during a weekend game in Tulsa.
Tulane University's athletics program said specialists treating Walker at a Tulsa hospital placed him in traction after Saturday's injury and are treating him for a lot of swelling to the neck.
"The current plan is for him to have surgery in the next one to two days," said the statement released late Saturday, hours after the New Orleans team opened the Conference USA portion of its schedule against Tulsa.
Tulane's team doctor, Greg Stewart, told The New Orleans Times-Picayune in a report published online Sunday that the player had some feeling in his arms and legs and that the possibility of paralysis was still unknown.
AP Photo/John Lew Tulane safety Devon Walker suffered a broken neck in a head-to-head collision with a teammate Saturday. Doctors will need to operate and said the possibility of paralysis was still unknown.
Stewart told the newspaper that doctors would need more time to determine the extent of his injury.
Stewart also said a tracheotomy was not performed on Walker on the field and he had not suffered a collapsed lung as Tulsa ABC affiliate KTUL-TV reported, citing a Tulane trainer. ESPN.com also reported Walker had undergone a tracheotomy and sustained a collapsed lung.
CPR was done as a precautionary measure, Stewart said.
"He did not drop a lung," Stewart said, according to the The Times-Picayune. "Was there CPR done? Did we do chest compressions? Yes. But it was one of those things where once we got him hooked up to the monitor, his blood pressure was low so it was hard to feel the blood pressure and we didn't have anything — he wasn't hooked up to an EKG, wasn't hooked up to an AED.
The injury occurred on the final play of the first half. Tulsa was leading 35-3 and facing a fourth-and-2 with the ball at the 33-yard line on Saturday when the Golden Hurricane called timeout. Tulane then called timeout.
When play resumed, Tulsa quarterback Cody Green tossed a short pass to Willie Carter, who caught it at about the 28, and turned upfield. He was tackled around the 17-yard line, with defensive tackle Julius Warmsley and Walker sandwiching him and apparently smashing their helmets into each other.
Medical personnel from both teams attended Walker as he lay on the field. Fox Sports reported a hush went over the crowd at H.A. Chapman Stadium as Walker was attended to, and that several coaches were in tears as he was taken away in an ambulance. Spectators bowed their heads as someone on the field led the stadium in prayer.
Dr. Buddy Savoie, another Tulane doctor, said during a postgame news conference that Walker was in stable condition and would need spinal surgery in the "the next day or two." He added that Walker never completely lost consciousness and was breathing on his own.
The game resumed at 1:20 p.m. Saturday.
Later Saturday, Tulane Athletics said in a statement that specialists have been treating Walker for the swelling to the neck, adding he remained stable and was in traction. It praised doctors attending to Walker at St. Francis Hospital in Tulsa for a "great job" with his care.
Tulane head coach Curtis Johnson said after the 45-10 loss that while Walker was on the field, Johnson told Walker that he was praying for him and that help was on the way.
He said the mood among players was somber, and called the day his most difficult ever.


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text:
namespace pbbs {

class particle {
public:
  point3d pt;
  double mass;
  vect3d force;
  particle(point3d p, double m) : pt(p),mass(m) {}
};

template <class intT>
void nbody(particle** particles, intT n);

}

#endif

redpajama_set_name: RedPajamaGithub


I have played this since it came out. Best putter I have ever used. This mallet has enough feel to be good for lag putting and that is rare for a mallet and is deadly accurate from inside 4 feet.
Gotta agree, its very accurate from within 4-6 feet. The extra site lines remind me of the old Zebra putters of old.
Whenever I begin to feel shaky about putting and my confidence goes, I'll take this out and get back to sinking more putts.
The one gripe I have is the aluminum face is fairly soft, and you gotta keep the headcover on, in order to prevent dings/nicks.
I've got the Futura Phantom 2 with the double bend shaft towards the heel of the putter.
I will not give this putter up, its a keeper. I may not use it as frequently, but it will always be in my possession.
Tried a phantom 2 center shaft once and found that the silver perimeter weight helped with my alignment a lot. The shape of the ring sort of mirrors the shape of the cup if you are close enough to the hole to see both at the same time. I found it very easy to line up and it was weighted well so it flowed back easily when starting the stroke. I would highly recommend this putter to anyone who wants a more solid, beefy putter than a typical answer-style blade but also does not want to look down at some sort of high-school science project with a shaft.
Anyone have a shop to recommend? I would like to buy noe of these putters. Let m eknow if you have a shop that will ship to Toronto, Canada thanks.
Ebay is your best bet. I just sold mine on ebay for $80.00 and would have been happy to send it to Canada.
This putter is forgiving, soft feeling and easy to line up. Distance control was very good with this putter and short putts were almost automatic. The only drawback with this putter is the soft aluminium does ding easily and the anodizing is prone to coming off on the corners.
Are the ones that are marked 34" on the bottom heavier than the ones that are marked 35"....like the Red X series were heavier the shorter they got?


text:
American Ballet Theatre
US Ballet Companies
ABT 2019 Met Season
By ABT Fan, July 23, 2018 in American Ballet Theatre
The program for the opening night gala is now listed on the website. They will perform Ratmansky's Serenade after Plato's Symposium and Ratmansky's new work, The Seasons. No casting info is available.
annaewgn
Spring Gala Casting is up:
SERENADE AFTER PLATO'S SYMPOSIUM: Cornejo, Hammoudi, Forster, Royal, Shayer, Simkin, Gorak, Teuscher
*SEASONS: Winter (Bell, Seo, Williams, Hurlin, Paris) Spring (Whiteside, Lane, Brandt) Summer (Boylston, Hoven, Scott, Maloney) Fall (Trenary, Royal)
The other cast for "Seasons" is:
May 21st & 22nd: Winter (Ahn, Teuscher, Fang, Giangeruso, McBride) Spring (Forster, Lane, Brandt) Summer (Abrera, Cornejo, Shayer, Klein) Fall (Hurlin, Hoven)
*This is also the casting for the May 23rd performances of "Seasons" in the Ratmansky Trio.
48 minutes ago, annaewgn said:
I'm very pleased Ratmansky decided to choreograph to the Glazunov score . . . and would love to see this! (Won't unfortunately--at least not this season.) Both casts look appealing--I am wondering about "Spring" though--there must be alternates for the two women listed (Lane and Brandt)...or perhaps it is supposed to be the two women alternating?
45 minutes ago, Drew said:
I think Brandt and Lane will perform their respective roles in every show. Perhaps Alexei only wanted Lane and Brandt for Spring, at least for this round of performances.
Well, I can't deny it's great casting--I envy everyone who gets to see this....and presumably Lane and Brandt have alternates who have learned the parts just in case....
9 hours ago, Drew said:
Oh definitely they likely have understudies. And/or dancers who learned the part now to possibly perform in the future.
ABT Fan
Nice to see Shayer back on the casting sheet, but, he's not been re-cast as The Boy in Whipped Cream. The two TBA's have now been filled by Klein (who just danced this on tour). I'm happy for Klein, though, as he's another corps dancer who deserves bigger opportunities. But, I'm curious why Shayer wasn't cast since he's obviously recovered from his injury. He stated on Instagram that he had torn his ACL dancing this part at the Met last season. Perhaps the part is deemed too taxing right after recovery. Hope he'll get a few Bluebirds.
Now if only they'd release the Tharp casting. And, there is still one Ali up for grabs. I'm always impatient for Purple Von Rothbart and secondary "principal" roles like Bluebird/Princess Florine to be released, but they always wait until the 11th hour for those.
15 minutes ago, ABT Fan said:
There isn't a single person left at ABT who I would go out of my way to see as Purple Rothbart. When Gomes was doing the role, even if I didn't care about the lead dancers I would buy a ticket to the performance to see Gomes do the role.
5 minutes ago, abatt said:
I would love to see Forster in the role.
That said, I would never go to see a full performance of Swan Lake just for the Purple Rothbart. Even if Gomes were to return for a one-off performance.
onxmyxtoes
7 hours ago, nanushka said:
What really??? I think a return performance from Gomes in that role is well worth it! HAHA
10 hours ago, onxmyxtoes said:
I would see Gomes in a return performance of anything. He got a hero's welcome during his appearances at the Joyce last summer with Sarasota Ballet.
Having seen him perform the part numerous times before, for four and a half more minutes of Gomes' dancing I personally would not pay for and sit through a Seo, Copeland or Boylston Swan Lake. The memories are plenty good enough for me.
Edited April 23, 2019 by nanushka
19 hours ago, nanushka said:
I would also love to see Forster in this. I think he'd be amazing, but I wouldn't buy a ticket only to see him if the leads didn't entice me. And, right now there's only one O/O that I want to see (but, not her partner).
19 hours ago, abatt said:
Lucky for us that Gomes' Purple Rothbart is on the ABT DVD of Swan Lake from 2005 -- one of the few recorded performances of his work available to the public:
https://www.amazon.com/Tchaikovsky-American-Ballet-Theatre-Corella/dp/B000AYEI9A/
canbelto
I decided a long time ago that I wasn't going to return to ABT's Swan Lake. Just find it a pretty awful production. And Purple Rothbart is one of the reasons why. A totally jarring, cheap (IMO) interruption in Act 3.
NinaFan
48 minutes ago, canbelto said:
While ABT's production is not a particularly good, there have been some very exciting O/O debuts in the last couple of years. Most notably Shevchenko and Teuscher. Both are great, but Shevchenko leaves me totally drained from screaming so much.
McKenzie has never given Lane an opportunity for a second chance in SL. One and done.
fondoffouettes
2 hours ago, canbelto said:
For me, the Rothbart role can be a guilty pleasure when performed well (which is the case less than half the time, I'd say). But I agree with your assessment of its artistic merits. The Russian music is fantastic, so slinky and seductive, but maybe it could be used for Odile in some way; wasn't there an article in the NYT a couple years ago stating that that music was original written for her?
One thing I do like about ABT's production is how Act III runs right into Act IV and omits all the extra music added by Petipa to Act IV, which I find does not fit the score at all and totally defuses the tension. If only ABT could find a way to do the scene change quickly enough to avoid that dreadful front-of-curtain choreography for the swans. I'd even be in favor of omitting the reconciliation pas de deux and just playing Act IV as written by Tchaikovsky; I think it's pure perfection as he wrote it, packing an emotional wallop. After Act III, I think it make sense to be brought quickly to the tragic finale, rather than inserting lots of extra corps dancing or even that relatively brief extra pas de deux for Odette and Siegfried. I argue for this not based on any sense of authenticity (the 1877 version is lost, after all); I just think it makes dramatic and musical sense.
1 hour ago, NinaFan said:
Both are great, but Shevchenko leaves me totally drained from screaming so much.
Yes, I think she's the most exciting O/O at ABT at the moment.
Edited April 23, 2019 by fondoffouettes
1 hour ago, abatt said:
Shame on him for wasting such wonderful talent, especially since she had such a lovely debut...hiccups and all. She certainly deserves a second chance. I especially loved her Odette. The longer he keeps her out of the role, the less likely she is to return to it.
This Met season is shaping up to be such a dud. Both programming and casting is uninspiring-- normally each year I see each ballet at least twice that week but this time around I can barely cobble together 3 programs that interest me for the entire season. I know he's supposed to be a genius, but too much Ratmansky!
9 hours ago, morningside said:
What a shame that you can't find anything that you like. I already have a stupid amount of performances and I'm trying to resist buying additional tickets until we get closer to performances (because of casting changes). So far, only one of my ballets is Ratmansky (Sleeping Beauty), but I'll probably add Harlequinade and/or Whipped Cream as the mood strikes me. Yes, I've seen them a bunch of times but this is the next to last eight week season for ABT, and I plan to get my fill. And of course part of the ABT season is wedged in with my NYCB performances, but I love ballet overload in the spring! Hope you can find something that you'll enjoy!
Golden Idol
If we won't be seeing Paquita at ABT (conspicuously missing from their repertoire for decades now), at least we'll be seeing the Mariinsky's reconstruction at the Kennedy Center in October.
37 minutes ago, Golden Idol said:
I know, why hasn't ABT performed it for so long? The audience always seems to enjoy it. It's unlikely I will make it to DC in October, but it is very tempting. At least I made it to two Mariinsky Corsaires a couple of weeks ago.
nysusan
12 hours ago, morningside said:
I agree with you 100%! I did renew my subscription so I will be going, but it was quite a challenge to find performances I wanted to go to. Almost everything was a compromise - a ballet I wasn't crazy about to see a specific dancer, one dancer I loved paired with another I dislike. And there is way too much Ratmansky. I like him but come on - Ratmansky trio, his Harlequinade, Whipped Cream and Sleeping Beauty. Four programs in an 8 week season? Its just too much.
And as to exciting debuts in Swan Lake - I haven't seen Shevchenko yet (hoping to see her this season, another compromise since she's dancing with Whiteside) but I would definitely not consider Teuscher's O/O exciting. I thought she showed a lot of promise in her debut but last year with Stearns she was just awful. Her Odette had a stiff back, low arabesques, unstretched and unheld positions and was boring, boring, boring!
I can sympathize with the feelings of Ratmansky overload in general, but Sleeping Beauty and Harlequinade, as reconstructions, seem to me Petipa ballets first and foremost, not Ratmansky ballets.
Are there ways in which those two seem significantly similar to, say, Whipped Cream or Ratmansky's Nutcracker or others of his, such that they contribute to the overall fatigue?

redpajama_set_name: RedPajamaCommonCrawl


text:
Nelson Leafs
Nelson Vacation Guide 2017
West Kootenay Bride 2017
The Kerr fire
#1 The Kerr Block Burns
The new year was less than a week old when the year's biggest story broke.
Greg Nesteroff
In the early hours of January 6, fire began in the basement of the century-old Kerr Apartments, and quickly consumed the entire three-storey building.
Amazingly, no tenants were hurt, although several pets died. Firefighters spent all night dealing with a blaze that chief Simon Grypma called "extremely difficult."
"Both the temperature and the wind really hampered our firefighting attack because our visibility was pretty well zero," he said.
Two firefighters were treated for smoke inhalation and a third for hypertension.
The approximately 80 displaced residents, meanwhile, were evacuated to the Capitol Theatre overnight, then put up in local hotels, and finally moved to the Villa Motel while they searched for new accommodation.
"We just panicked," Carol Taylor, one of the victims, told the Star outside the New Grand Hotel, where she and her teenage children were staying.
"I grabbed my son's urn — it was all I could think of. He passed away two years ago at 17."
A committee was struck to help meet the former Kerr residents' needs, with the assistance of many agencies and social services, including the Red Cross, Salvation Army, City of Nelson, and Regional District of Central Kootenay.
Numerous fundraisers collectively raised over $70,000, while a massive one-day drive filled the old Movie Gallery location on Vernon Street with more household goods than residents could use.
Investigators, meanwhile, had their work cut out, as tons of rubble covered the fire's origin point. Once they finally gained access, they could only conclude it was not deliberately set. Officially, the cause went down as undetermined.
At that point, the building's fate was still an open question.
Although the Kerr was on the city's heritage register, that didn't afford it protection from demolition. While the stone walls looked solid at a glance, an engineer's report said preserving them as part of a rebuild wasn't feasible.
And so an excavator moved in one day in June and began knocking them down. The date stone and entrance arch were saved for possible inclusion in a future project.
The site remains a fenced-off pit, its prospects unknown.
In May, a tree was planted in Lakeside Park to recognize the groups and individuals who responded to the disaster.
Dave Sprague, the tenants' representative on the unmet needs committee, who devoted all his energies to helping his former neighbours find homes, said he was touched by the community response.
Mayor John Dooley echoed those sentiments.
"That's the Nelson I know and love and am honored and proud to be the mayor of," he said. "It's a community that meets the needs of those in desperate straits, not only at the time but going forward."
#4 A Sorry Cedar Saga
#2 Sheilah's Sacrifice
Lead found in Nelson, Creston and Salmo schools
Fourteen water fountains tested for higher than accepted lead content
Small, Little to represent Kootenays at mixed curling provincials
The pair won the regional playdowns last weekend in Trail
Nelson asks RDCK for clarity on recycling costs
City paid $216,217 to collect rural neighbours' recycling in 2019, wants to see the math
VIDEO: The Library Rock(s)
Friends and fans of the Nelson library packed the Capitol Theatre Friday to celebrate 100 years
Dog reunited with Tofino owner, months after being taken from beach
Shannon Boothman 'ecstatic' at pet's return after a tip leads to social media search
Nelson Leafs split weekend games in Princeton, Grand Forks
The Leafs lost to the Posse but routed the Border Bruins
Explore Nelson Star
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© 2020, Nelson Star and Black Press Group Ltd.


Navigating the nitty-gritty details of Canadian investment tax rules is not always an easy task. Here are some helpful websites to steer you in the right direction.
BDO Canada: The library section of this site is chock full of tax information ranging from tax facts and figures for each province to tax tips on a variety of tax and estate planning subjects.
Deloitte: Keep your eye open for tax alerts for up-to-date tax changes. You'll also find a handy automobile logbook to help you keep track of business kilometres for auto expense claims.
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If your question relates to your tax situation or you need general help, try the CRA's automated TIPS line (Tax Information Phone Service). Call 1-800-267-6999.
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Child Tax Benefit: Find out whether you're eligible to receive the benefit and when you can expect to receive a payment.
Goods and Services Tax/Harmonized Sales Tax (GST/HST) credit: See whether you're eligible to receive the credit and when you can expect to receive a payment.
RRSP deduction limit: Want to know your RRSP deduction contribution limit for the year? TIPS has your answer.
Tax refund: Find out the status of your refund.
TFSA contribution limit: TIPS will tell you your current contribution limit as well as some general information about using the TFSA.
Bulletin Board: Recent tax and benefit information.
Business Information: Tax and GST information for those who operate a business or are thinking of starting one up (for example, how to handle payroll tax, CPP, and EI deductions).
Info-Tax: General tax information on a number of tax topics.
The CRA offers a service through its website called My Account, where you can access information about your personal tax and benefits 7 days a week, 21 hours a day.
Sure beats trying to phone in the middle of tax season, when all you get is a busy signal! You can also use My Account to change your filed return, to change your address and/or phone number, and to dispute your Notice of Assessment.
To access My Account, you need to register for a Government of Canada epass. You can do this by going into My Account on the CRA website. After you've completed the registration process and chosen your password, CRA mails an activation code to you. Just key in the CRA activation code and your password to get full access to My Account for the first time. After that, you'll just need to enter your password.
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Agents are also available to answer your questions by phone, Monday to Friday (except holidays), 8:15 a.m. to 5:00 p.m. To accommodate the flood of calls during tax season, these hours are extended until 10:00 p.m. weekdays, and include weekends from 9:00 a.m. to 1:00 p.m. from mid-February to April 30 (excluding Easter). Contact the CRA by phone at 1-800-959-8281.
If your query is in regard to electronic services (NETFILE or My Account), call the e-service Helpdesk at 1-800-714-7257.
If you would like someone else to call the CRA on your behalf, be sure you've completed and mailed consent form T1013, "Authorizing or Cancelling a Representative." This form gives the CRA permission to discuss your tax affairs with someone other than you.
If you can't find the information you need on the website, through TIPS, or through My Account, try contacting your local Tax Services Office (TSO). (Note, though, that they really prefer you to call the toll-free number!) The TSOs are open Monday to Friday (except holidays, of course), 8:15 a.m. to 4:30 p.m. (sometimes 5:00 p.m.). To find the location of your nearest TSO, visit the CRA's website and click "Contact us" from the main menu. Service is by appointment only.


An amazing opportunity to live in the popular Highlands community! Your new condominium is a beautiful unit with natural light in every room, high ceilings, and hardwood floors. Your spacious living room will be the perfect place to relax, unwinding with your favorite shows playing on your easily mountable TV. Just off the living room is your cozy dining area, perfect for both quick bites on busy days or intimate meals with friends or family. Your kitchen includes gorgeous black countertops and a breakfast bar that would be a great serving station for hosted gatherings. Your full bath boasts a stained glass window, one of many throughout the elegant building. And your bedroom is perfectly isolated to guarantee peace and quiet. Includes additional storage, laundry, and 1 parking spot.


text:
José Mario Tranquillini (born 23 October 1962) is a Brazilian judoka. He competed in the men's heavyweight event at the 1992 Summer Olympics.

References

1962 births
Living people
Brazilian male judoka
Olympic judoka of Brazil
Judoka at the 1992 Summer Olympics
Place of birth missing (living people)
Pan American Games medalists in judo
Pan American Games gold medalists for Brazil
Judoka at the 1995 Pan American Games
21st-century Brazilian people
20th-century Brazilian people

redpajama_set_name: RedPajamaWikipedia


text:
The history of politicians going way beyond the facts to court fear
PBS NewsHour PBS NewsHour
https://www.pbs.org/newshour/show/the-history-of-politicians-going-way-beyond-the-facts-to-court-fear
Transcript Audio
Political candidates' rhetoric often gets heated, even inflammatory on the campaign trail. But when does it cross the line into the offensive or fear-mongering? Hari Sreenivasan gets a historical perspective from presidential historian Michael Beschloss and Beverly Gage of Yale University.
Read the Full Transcript
JOHN YANG:
Sticking with politics, we take a look at the intersection of inflammatory rhetoric and free speech.
Hari Sreenivasan has a historical perspective.
HARI SREENIVASAN:
Candidates' speeches on the campaign trail can at times get inflammatory with little regard for accuracy. That's not new. But this election season has been marked by divisive language that some find hateful.
So, what is the line to be looking for? And what lessons of the past can help guide us?
Joining me now to dissect the rhetoric on the campaign trail is presidential historian Michael Beschloss, and Beverly Gage, professor of American history at Yale.
Thank you both for joining us.
So, I want to ask. I guess the first question is, is, when free speech intersects with fear-mongering, Michael Beschloss, how much is too much? How do we figure out where that line is?
MICHAEL BESCHLOSS, Presidential Historian:
Well, I think the one certain line is when you have a presidential candidate, especially of a major party, criticizing groups within American society.
That has happened in history. You had, for instance, the candidate of the Know-Nothings, 1856, Millard Fillmore, a former president, who said if you allow people of Irish origin and others to run rampant in American society — he was also anti-Catholic — this will be a danger to America.
But I think most nominees of major parties through at least our modern history realize that this is a country that depends on all sorts of people living together under one umbrella, and they also realize that if you want to win, usually, that happens by not alienating groups, but by trying to bring them together.
Beverly Gage, is it easy to find that line?
BEVERLY GAGE, Yale University:
I think it's not always so easy to find it, but it's the sort of thing where people tend to know it when they see it.
And one basic measure is whether or not someone is telling the factual truth. We would like to think that that is sort of a baseline. People don't, of course, always adhere to that.
But I agree with Michael that one of the other lines that we are really talking about is vilifying whole swathes of people, creating a kind of conspiratorial language, a discourse that is about guilt by association. Those can be very, very dangerous things, but they have been around a long time.
Here is a sample clip from some of the things that at least presidential candidate Donald Trump has said that has a lot of folks concerned.
DONALD TRUMP (R), Presidential Candidate: I have had horrible rulings. I have been treated very unfairly by this judge.
Now, this judge is of Mexican heritage. I'm building a wall.
A total and complete shutdown of Muslims entering the United States, until our country's representative can figure out what the hell is going on.
Michael, you gave some good examples of how this kind of speech has happened in the past. Is there something different about this campaign? Is it just the times that we live in? Is it the technology that transfers this speech so quickly? What is changing things?
MICHAEL BESCHLOSS:
Sure. You have got Twitter, you have got the Internet. It's a lot easier to make charges like this and have people hear them very quickly.
But the other thing is that, earlier in history, you have had instances like this — Strom Thurmond in 1948 would talk about law and order, and what he was really referring to was what he thought was the danger, his word, to American society of integration of the races.
George Wallace slightly more muted than that in 1968. They were never able to get nominated by a major party. That's what makes Donald Trump's situation so interesting and novel.
Beverly Gage, one of the things that came up, at least historical, when we started doing searches for this, the daisy ad that was back in the LBJ campaign, it was one of the most striking one-minute-long ads that we have ever seen.
It's a little girl. She's picking petals. Everything seems to be going fine. There's no music, nothing. Then, all of a sudden, we sort of zoom, I guess when the camera zoom idea was new, zoom into her eyeball and see this atomic explosion, with the narrator coming up.
BEVERLY GAGE:
That was a Lyndon Johnson ad targeting Barry Goldwater. It was not broadcast very much, but it became one of the most dramatic and famous political ads in its moment because it basically suggested that, if you vote for Barry Goldwater, you were going to get a nuclear holocaust around the world, a pretty big leap.
At the same time, I think the 1964 election is interesting for the politics that surrounded Goldwater. The establishment wing of the party didn't like Goldwater at all. They thought he was an extremist, that he was using violent rhetoric, that he was taking the support of groups like the John Birch Society, which had a very kind of conspiratorial, anti-communist approach, and so it really divided the party.
And one of the things that was interesting then and that I think we are going to see playing out now is, just how much control does a party have over its own nominee?
Michael Beschloss, does selling fear work?
It sometimes does.
Wendell Willkie in 1940, he certainly was — never said anything remotely like what we are talking about in terms of defaming minority groups, but he did in the full campaign say essentially, if you elect Franklin Roosevelt, even though he is promising you that he will not involve the United States in a foreign war, you can be sure that, if he's elected, we are going to be at war probably within a few months.
He didn't believe that was true. It went way beyond the facts, but it caused Willkie to soar ahead in the polls to the point that, by November, he was almost within striking distance of winning the presidency.
Beverly Gage, as you pointed out, this is not one party or another. This is kind of as old as politics.
And just in the last cycle, a lot of people took Hillary Clinton to task for the 3:00 a.m. ad that she had against Barack Obama. It was just pictures of kids sleeping in their beds, and it was, it's 3:00 a.m., the red phone, so to speak, in the White House is ringing. Do you know who is going to answer that phone? Are you sure who you're going to vote for now is going to make that decision?
I guess in politics and almost in sales, it is almost a natural thing. I have to convince you that there is a problem and, B, that I am the solution. Right?
How do we figure out when we cross over that? And it's also pretty natural in politics to want to tear the other candidate down, but without necessarily going into this other space that we seem to be in today?
And fear is a good motivator often. And, sometimes, it's a very accurate thing. It is something that you want to mobilize in people. Sometimes, there are really concrete things to be afraid of.
I think the difference is when it crosses the line into conspiracy thinking and into this sort of, well, we have this one fact and therefore we are going to infer a whole set of other terrible things that might happen from that one fact.
It is a very hard line to draw. And I think the other thing that is interesting to think about, is the way that this kind of fear-based politics, which often comes up in campaigns, even if the candidate who is using that kind of fear-based politics loses, it can have pretty dramatic long-term consequences.
Beverly Gage, Michael Beschloss, thanks so much for your perspective, as always.
Thank you, Hari.
Thanks, Hari.
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PBS NewsHour from Jul 04, 2016
Writing is his redemption after spending his youth behind bars
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You are here: Home / SHRC's Reports / Daily reports / Daily Violations of Human Rights in Syria: 21/12/2013
Daily Violations of Human Rights in Syria: 21/12/2013
21-December-2013 By admin2
One hundred and twenty-nine were killed in Syria on 21/12/2013, among them ten women and 19 children.
The largest number killed were from Aleppo, in which 49 were killed, among them six that perished in shelling on Bayanoun (rural Aleppo) and four in al-Marja.
In Daraa, 22 were killed, among them 11 that died in shelling on a Palestinian Refugee Camp.
As for Al-Quneitra, 19 civilians were killed in a massacre in Naba' al-Sakhr when explosive barrels were released on the area by warplanes.
And in Idlib, three displaced children from Kafroma were killed in shelling on Karanbel in rural Idlib.
And among those killed were two from al-Neirab that died when a cluster bomb (left behind by the Syrian army) exploded in the village, a child from Homs that died due to lack of nutrition , milk and food, and a civilian from the Yarmouk Camp that was killed by sniper fire from regime forces.
Four from al-Salibiah (Latakkia) were killed under torture in Seidnaya Prison in Damascus.
List of provinces according to numbers killed:
Aleppo: 49 including 6 children and 5 women
Daraa: 22 including 3 children and 4 women
Al-Quneitra: 19
Damascus and its suburbs: 17
Homs: 8
Idlib: 7 including 3 children and a woman
Deir Azzour: 4
Hama: 3
Total: 129 Killed
(Names can be found in the Arabic Section)
Syrian Human Rights Comittee
Filed Under: Daily reports Tagged With: Aleppo, Cluster bombs, daily report, Damascus, daraa, death under torture, human rights, idlib, refugee camp, shelling, syria


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NPR Arts & Life
'Seasons In Quincy' Offers A Fractured, Frustrating Portrait Of Critic John Berger
By Mark Jenkins
Published September 1, 2016 at 5:00 PM EDT
Writer and critic John Berger and friend Tilda Swinton in the new documentary The Seasons in Quincy.
The Seasons in Quincy: Four Portraits of John Berger is often lyrical and sometimes poignant. Yet the impressionistic documentary about the Marxist art critic and self-styled "storyteller" — novelist, screenwriter and more — doesn't quite deliver what its title promises.
We do see different seasons in Quincy, the French alpine hamlet where the London-born Berger has lived since the 1970s, but that natural cycle has little or no significance to most of the chapters. And the four renderings we get of Berger are sketches, not full portraits.
Each segment is different in style, and was directed by a different person or team. Yet two figures, aside from the subject himself, are prominent. Actress Tilda Swinton, a longtime Berger friend, is seen or heard in three of the chapters, and directed the last one. British critic and art-film producer Colin MacCabe (now a professor at the University of Pittsburgh) directed the first installment and co-directed the third, in which he also appears.
The wintry first episode is mostly a friendly chat between Berger and Swinton, who were born on the same day a generation apart. Berger's father served in World War I and Swinton's in its sequel, and neither man ever told his children what combat was like. But they couldn't let go of the experience, as Berger reveals with a story about his father's discreet obsession with maps of the Western Front trenches.
Director Christopher Roth asserts himself in the kaleidoscopic second part, which is largely devoted to humans' relationships with animals. The segment features footage of Quincy's pigs and cows, and musings drawn in part from Berger's essay, "Why Look at Animals?" But Roth, whose voiceover narration announces he's a vegetarian, also includes images of creatures in zoos, snippets of Derrida and Heidegger, and the theme from Flipper — a pop-culture touch that doesn't seem very Bergeresque.
Chapter three is the least satisfying. It's mostly a political colloquy among Berger and four others, punctuated with clips from the writer's 1960s career as a British TV pundit. This episode will exasperate viewers seeking a lucid account of Berger's ideology, as well as those skeptical of his onetime support for the Soviet Union and the New Left. (If he regrets any of that, The Seasons in Quincy doesn't mention it.)
The final episode is titled "Harvest," yet was clearly shot in summer. It spends less time with the movie's leading man than with Berger's son, Yves, and two teenage visitors to Quincy. The kids turn out to be Swinton's, and their stay in the French countryside is presented as a wordless, near-idyllic montage. Swinton even used a drone for sweeping shots of the mountain pastures where cows graze without any of the moral complications of Roth's section.
The film ends with Berger on a motorbike, one of many moments that charmingly display the 89-year-old's contagious enthusiasm and delight in everyday pleasures. What the four chapters don't offer are a coherent introduction to Berger's thought, or an analysis of how well it's held up.
The movie is mostly a love letter, designed for people who already know and appreciate Berger's work. That approach is fine for the biographical passages, but it discounts Berger's own vocation when the conversation turns to art and politics. For a study of a critic, The Seasons in Quincy is frustratingly uncritical.
Mark Jenkins
Mark Jenkins reviews movies for NPR.org, as well as for , which covers the Washington, D.C., film scene with an emphasis on art, foreign and repertory cinema.
See stories by Mark Jenkins


Important: Please refer to your reference number to ensure your payment is allocated to the correct property. Each Assessment Number has a different reference.
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The top portion of the notice should be retained as your record, no receipt will be issued.
Present your notice to the Adminstration Officer at the Shire of Dowerin, 13 Cottrell Street, Dowerin.
Office hours are Monday - Friday 8.30am to 4.00pm (excluding public holidays).
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Mississippi State Uncategorized
MSU vs Auburn game postponed
November 9, 2020 November 9, 2020 Myra Bean	0 Comments	Mississippi State Football; MSU Bulldog football
MSU news release
STARKVILLE – Saturday's matchup between Mississippi State and No. 20 Auburn has been postponed, in compliance with the Southeastern Conference's policies and parameters for football game cancellations, rescheduling of games and no-contest declarations for the 2020 season.
The SEC's COVID-19 management parameters developed by its Return to Activity and Medical Guidance Task Force includes a minimum threshold of at least 53 scholarship student-athletes available to participate in a game with a minimum number of scholarship players required for some positions. The requirements include one quarterback; seven offensive linemen, including one center; and four defensive linemen.
"Based on positive tests and those considered as close contacts, along with non-COVID injuries, we do not have the minimum number of scholarship student-athletes available for Saturday's game against Auburn," MSU Director of Athletics John Cohen said. "While we are disappointed that Saturday's game has been postponed, our priority is the health, safety and well-being of our student-athletes and staff. We will continue to follow all established protocols and evaluate the most responsible path to return to the field."
The game between the Bulldogs and Tigers will tentatively take place Dec. 12 and remain in Starkville. Kick time and television coverage for the rescheduled game will be released when available.
As additional information is released, it will be communicated to original ticket holders via email to the email address on file.
Ole Miss-Texas A&M Postponed
Mississippi State at Auburn Preview
2019 Mississippi State Football Preview
MSU-LSU Game Preview
← Mississippi State Football Shutting Down Team Operations Due to COVID
Jared's Guide To The 6A Playoffs (First Round): →


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Features a circus artiste tumbling across the plate, edged in 22kt hand applied gold.
The perfect plate for any occasion, it makes a delightful gift or romantic wedding present. Great on it's own or mix and match pieces from the Melody Rose collections to create a unique set.
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Sleep is essential for general health and wellbeing.
For an athlete, sleep is the ultimate form of recovery. It's like a big sponge that soaks up fatigue overnight. This sponge assists with the recovery process so we can adapt from and absorb hard training. The bigger the sponge (sleep duration), the more water (fatigue) it can soak up.
It's in the deep sleep phases (Stage 3 and 4 NREM) during the first half of the night that we do most of our physical recovery and repair.
The light sleep stages which make up approximately 50% of a total nights sleep (Stage 1 and 2) are also key to both physical and neural recharge overnight. If we don't spend enough time in these phases, we wake up feeling foggy.
It's in Stage 5 (REM) sleep where our brains recovery, learning and development occurs. We create new nerve pathways to consolidate and repair memories, skills and process information. Side note - it's also where we release testosterone (in both men and women). Research suggests that sleep deprivation delays the signals which travel along these pathways, decreasing our coordination and accuracy (2). So much so that inadequate sleep has been likened to being drunk! Williamson and Feyer (2000) demonstrated the longer the duration without sleep (up to 23 hours), performance in cognitive tasks, motor skills, speed and accuracy decreased to levels equivalent to a blood alcohol content of 0.1%. Twice the legal driving limit in Australia!
The duration of REM sleep increases as the night progresses, with the longest duration occurring just before waking. So get to bed early to ensure you get the beneficial effects on mental performance more REM sleep brings.
Decreased sleep has been associated with an increased risk of injury and illness. Inadequate sleep is immunosuppressive, increasing our risk of upper respiratory tract infections. In a study of 164 adults administered nasal drops containing rhinovirus, those who slept for less than 5hrs were 4.5 times more likely to develop an illness than those that slept for greater than 7hrs (4).
Being sick or injured reduces training availability and is obviously something we want to avoid. The underlying mechanism for increased injury with sleep loss is unclear but is likely due to cognitive impairment and decreased reaction time, along with higher levels of fatigue. All of which can increase an athletes risk of injury.
Striving to be fitter, faster and stronger doesn't just require physical effort, it also requires mental stamina. Feeling mentally drained will impact your mood and we all know that missing out on a good nights rest can alter how we think and feel. People who sleep for less than five hours are often sadder, angrier and more stressed (2) which is linked with low motivation and decreased sports performance (5).
Not a lot is known about sleep deprivation and its effect on short, sharp, anaerobic power type exercise, but a number of studies have shown decreased endurance performance (6, 7, 8, 9). Sleep loss clearly resulted in increasing 3km time trial duration in cyclists (7), decreased time to exhaustion in volleyball players (6) and decreased treadmill run distance covered in a 30 minutes self-paced test (9). This appears to be due to an increase in our perception of effort (how hard you feel you're working) (8). It may also be due to an alteration in substrate availability as pre-exercise muscle glycogen (our carbohydrate fuel tank) has been found to be decreased after sleep deprivation (10).
Multiple studies show the significant implications sleep deprivation has on performance. From impaired accuracy, coordination and reaction time, fatigue, inadequate recovery, to increased risk of injury and illness. So what can we do to improve our sleep efficiency - both duration and quality?
Get to bed earlier, aiming to get 7-9 hours of sleep every night.
Ensure all of your devises are set up with night mode so they switch to a more warm, orange hue after sunset.
Eat foods that assist with promoting sleep - more on this next time!
Next up - we take a look at food to boost sleep performance. Stay tuned!
2. Bird, S, P. (2013). Sleep, recovery, and athletic performance: a brief review and recommendations. Journal of Strength and Conditioning. 35:43-47.
3. Williamson, A., Feyer, A. (2001). Moderate sleep deprivation produces impairments in cognitive and motor performance equivalent to legally prescribed levels of alcohol intoxication. Occupational and Environmental Medicine, 57: 649-655.
4. Prather, A., Janicki-Deverts, D., Hall, M. and Cohen, S. (2015). Behaviuorally assessed sleep and susceptibility to the common cold. Sleep. 38: 1353-1359.
5. Totterdell, P., Reynolds, S., Parkinson, B., & Briner, R. (1994). Associations of Sleep with Everyday Mood, Minor Symptoms and Social Interaction Experience. Sleep, 17(5), 466-475.
6. Azboy, O, Kaygisiz Z. (2009). Effects of sleep deprivation on cardiorespiratory functions of the runners and volleyball players during rest and exercise. Acta Physiologica Hungarica. 96, 29-36.
8. Fullagar, H, H, Skorski S, Duffield R, et al. (2015). Sleep and athletic performance: the effects of sleep loss on exercise performance, and physiological and cognitive responses to exercise. Sports Med. 45, 161-86.
9. Oliver, S, Costa, R, Laing, S, et al. (2009). One night of sleep deprivation decreases treadmill endurance performance. European Journal of Applied Physiology. 107, 155-61.
10. Skein, M, Duffield, R, Edge, J., et al. (2011). Intermittent-sprint performance and muscle glycogen after 30 h of sleep deprivation. Medicine and Science in Sports & Exercise; 43: 1301-11.
11. Watson, A. (2017). Sleep and Athletic Performance. Current Sports Medicine Reports, 16(6), 413-418.


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Q: Trigger Syntax Error With IF Statements I am working in PHPMyAdmin and I am trying to add a trigger. I'm having trouble getting the trigger to work because of the syntax error (listed underneath the trigger code).
delimiter $$
CREATE TRIGGER new_sub
AFTER INSERT ON subscriptions
FOR EACH ROW
BEGIN
IF NEW.cancelled = 0 THEN
IF NEW.plan = 'pro' THEN
  UPDATE statistics
    SET statistics.premier_today = statistics.premier_today +1,
        statistics.premier_this_week = statistics.premier_this_week+1,
        statistics.premier_this_month = statistics.premier_this_month+1,
        statistics.premier_all_time = statistics.premier_all_time+1,
        statistics.revenue_today = statistics.revenue_today + 8,
        statistics.revenue_this_week = statistics.revenue_this_week +8,
        statistics.revenue_this_month = statistics.revenue_this_month +8;
END IF;
IF NEW.plan = 'single-event' THEN
  UPDATE statistics
    SET statistics.single_event_today = statistics.single_event_today +1,
        statistics.single_even_this_week = statistics.single_event_this_week +1,
        statistics.single_event_this_month = statistics.single_event_this_month +1,
        statistics.single_event_all_time = statistics.single_event_all_time +1,
        statistics.revenue_today = statistics.revenue_today + 25,
        statistics.revenue_this_week = statistics.revenue_this_week +25,
        statistics.revenue_this_month = statistics.revenue_this_month +25,
        statistics.revenue_all_time = statistics.revenue_all_time +25;
END IF;
END IF;
END;$$

1064 - You have an error in your SQL syntax; check the manual that corresponds to your MySQL server version for the right syntax to use near '$$' at line 29

A: case is used in selects.  You would use if in a trigger.  Is this what you are looking for?
BEGIN
  IF NEW.cancelled = 0 THEN
    IF NEW.plan = 'pro' THEN
      UPDATE statistics
        SET statistics.premier_today = statistics.premier_today +1,
            statistics.premier_this_week = statistics.premier_this_week+1,
            statistics.premier_this_month = statistics.premier_this_month+1,
            statistics.premier_all_time = statistics.premier_all_time+1,
            statistics.revenue_today = statistics.revenue_today + 8,
            statistics.revenue_this_week = statistics.revenue_this_week +8,
            statistics.revenue_this_month = statistics.revenue_this_month +8;
    END IF;
    IF NEW.plan = 'single-event' THEN
      UPDATE statistics
        SET statistics.single_event_today = statistics.single_event_today +1,
            statistics.single_even_this_week = statistics.single_event_this_week +1,
            statistics.single_event_this_month = statistics.single_event_this_month +1,
            statistics.single_event_all_time = statistics.single_event_all_time +1,
            statistics.revenue_today = statistics.revenue_today + 25,
            statistics.revenue_this_week = statistics.revenue_this_week +25,
            statistics.revenue_this_month = statistics.revenue_this_month +25,
            statistics.revenue_all_time = statistics.revenue_all_time +25;
    END IF;
  END IF;
END

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Design and Technology is taught in 2 blocks throughout the school year and St-Pauls. One is in the Autumn Term and the second is in the Summer Term.
During the second half of the Autumn term the children of St. Paul's celebrated a DT week in which their design, making and evaluating skills were challenged to their full potential. The children had the opportunity to develop skills, knowledge and understanding of designing and making functional products. The second half of the Summer term the children will be using their design and making skills to work on the following projects.
Year R – Creating paper toys.


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The receiver in the CEP Ponzi scheme case has filed court papers to settle adversary proceedings against 14 participants who profited in the scam.
In court since July 2007, the case is not fully settled. Litigation against other participants is ongoing. Dozens of lawsuits were filed against CEP members.
Settlement terms for the group of 14 appear to be generous. Although each of the participants must hand over cash earned from the scheme, the proposed settlement amounts are only a percentage of what the receiver sought initially.
The receiver, forensic accountant William Perkins, has been working on the case since the beginning. CEP was accused by the Securities and Exchange Commission of running an autosurf Ponzi scheme that collected millions of dollars.
One CEP participant, for instance, will pay $18,400 to settle a claim of $57,806, under the terms of the proposed settlement. Another will pay $20,000 to settle a $45,736 claim.
Settlement amounts were reached after negotiations with individual participants. No universal formula was applied, meaning some participants will pay a higher percentage of their gains and some will pay a lower percentage. One person who received $140,612 from CEP, for example, will pay $10,000 under the settlement.
Liberally viewed, the proposed settlement amounts seem small. But some CEP participants have declared bankruptcy. Others have had to sell their homes to return ill-gotten gains. All of them were thrust into a prolonged court battle because of their CEP participation.
AdSurfDaily, itself an alleged Ponzi scheme, once advertised it accepted payments from CEP Trust, the failed payment processor operated by the principals in CEP, Trevor Reed and Clayton Kimbrell.
View the proposed CEP settlement.
Under the proposed settlement, any person who fails to pay the settlement amount will be subjected to a judgment in the amount of their ill-gotten gains from CEP. Perkins sued to recover "preferential and fraudulent transfers" — in other words, the "profit" participants received from the Ponzi scheme.
I'm outraged at at least two of the proposed settlements and almost want to file an Amicus curiae protesting the proposed settlements with Troy Winters and Shad Foss. Both are getting ready to walk away with very generous settlements and both are notorious ponzi fund promoters responsible for millions in losses to other people in various scams. 'Pastor' Tory Winters is local to me and the mischievous imp in me is half tempted to drop by church this Sunday and put a copy of the order under the wipers on every windshield in the parking lot. I have heard he pimps these scams in the sermon on Sunday, and if I had good proof of it I'd be bringing that to the attention of the IRS. (by the way, I certainly hope someone informs the IRS about the forgiven debts here, that's taxable income) Mr. Foss, on the other hand has a website where he brags about how much he makes in the various programs he pimps, and yet he's crying poverty to Mr. Perkins. I believe Foss was mentioned in relation to ASD as well as Oceanside Wealth among others. Have we sunk so far that the Federal Courts are giving breaks to people who openly brag about committing felonies online?
Glad to see some money going back, but all in all, these settlements sicken me for the lost opportunity they represent.
I couldn't agree with you more Gregg. From early reports it seemed they were going to take a hard line against these promoters. Now it seems that is not the case. I hope those who were in CEP promoting it, and also were promoting ASD get the book handed to them in the ASD case. Until someone has to pay, and pay dearly for these crimes, they will continue to proliferate unabated. Heck, almost all of the promoters in ASD were either in Megalido, joining AVG, AGW or BSD, or all of them.
Maybe we need to get some tough receiver's appointed in these cases and ones who will not settle for peanuts but real dollars.
"Ditto" to both of you.
It is an unfortunate thing that between the court system being bogged down to the point of untimely justice, if any is exacted at all,….and the receiver apparently not aggressively interested in "receiving",…if example is any lesson to learn from, another travesty is in the making – and about to leave tens-of-thousands in it's wake.
Personally, I do not find it surprising that a large majority of the "winners" have NOTHING to show for themselves. They pursued fast money and spent it with equal speed. They are not "business professionals" they just want to 'get-rich-quick'. Easy come, Easy go.
I am sure the reason behind the LOW settlement is not "complacency" as much as it is the old…"you can't get blood out of a turnip"..philosophy.
And, in all fairness, there ARE some "winners" in scams,..that didn't know THEY were part of a scam until it all fell apart. And they never intended to profit on the pain of others. They were also victims, but victims who benefited. Unfortunately, ignorance in such cases is not bliss, and does not absolve them from the consequences. Just as they embraced the benefit of winning – they must embrace the hardship of losing.
I agree with Gregg. Those settlements are far too low. I hope that the judge rejects the settlements and that those who have profited the most will be forced to pay back every penny in some way or another. If the money is not available, they should be made to do community service and/or should be deducted from any future wages.
Those settlements are hardly a disincentive to promote these fraudulent and criminal ponzi schemes. The likely hood of these ponzi pimps getting caught is low, and when they do get caught they only have to pay back a fraction of their illegal profits.
Gregg, the mischievous imp may want to consider writing a letter to the local press. A local paster promoting illegal activity and being mentioned in court documents could be just the local interest story that would appeal to the local press.
Well, as disappointing as this settlement is, at least in the ASD case the recovery fund is starting at $93 MM, if the government chooses that path. Other large winners are VERY publicly known, such as Mindy Bales in Des Moines, IA. The various forums also are good sources of information. I am pretty sure the government will have a pretty good handle on where to look. Gregg/Lynn, are there many known instances of the folks in CEP suing their uplines successfully? Will we see much of that in ASD? It seems like the government's approach thus far is strongly encouraging that tactic, while holding their criminal charges for later.
I'm a victim of asd. a simple family man that got taken. i'm searching the web for any inormation on how to recover my stolen, siezed, (or whatever anyone is calling it),money i have lost in this mess.nothing but witnessing "volley" with my money. does anyone know of where i can get help, or where/who to turn to that is on the "victims" side?
good lord i hope i'm wrong, and there are still some fair, honest people left in this world.
sorry to be so dark, but i really need some help, along with some 120,000 others, in how to handle this.
What about Fred Damron who received $443,484.00 profit from the scam? He isn't mentioned!


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Related topics: Manufacturing, Virginia
VA: Service Center Metals to Invest $45.2M in Prince George County, Hire 58
Governor Terry McAuliffe announced Service Center Metals (SCM), a manufacturer of aluminum extrusions, will invest $45.2 million to expand manufacturing capabilities at its headquarters operation in the SouthPoint Business Park in Prince George County. Virginia successfully competed against Indiana for the project, which will create 58 new jobs. Today's announcement brings the announced economic development project investment total for the McAuliffe Administration to more than $20 billion, the most ever during a governor's four-year term, with more than 1,103 projects.
"As a homegrown Virginia company, Service Center Metals is now one of the fastest-growing manufacturers in the Commonwealth and a prime example of the success entrepreneurs can achieve here," said Governor McAuliffe, announcing this project during his final State of the Commonwealth address. "Despite facing challenges during the recession, SCM has rebounded and demonstrated resilience and commitment to its 200 employees and the region time and again. We are honored that this corporate partner has again chosen to reinvest in Prince George County and the Commonwealth, and I am proud to have a hand in bringing a record $20 billion in capital investment to the Commonwealth during my term working to diversify and build the new Virginia economy."
Service Center Metals was founded in 2002 by Scott Kelley (CEO), Randy Weis and Chip Dollins, three former Reynolds Metals Co. executives, and started operations in July 2003 in Prince George, Virginia. Unlike bigger competitors, the company deals exclusively with service centers, which resell the products to manufacturers. In 2013, the company celebrated both 10 years of production and over 600 million pounds of customer shipments. In 2014, SCM started down the path of vertical integration with the start-up of the first phase of its Compact Remelt Plant. Phase 2 of the Compact Remelt Plant began production in early 2017, producing all of its own billet needs and providing a new revenue stream for the company through billet sales to other extruders. Today, SCM employs 200 employees and has an annual revenue in excess of $145 million, shipping products to U.S. and Canadian markets. SCM remains a privately-held company, with both of its plants located in Prince George, Virginia, and has been ISO-9001 certified since 2005.
"This is an exciting win for Prince George County and Virginia, and we congratulate Service Center Metals on another impressive expansion," said Secretary of Commerce and Trade Todd Haymore. "The advanced manufacturing sector continues to gain momentum in the Commonwealth, thanks to major industry players like SCM, and every day we are adding to the roster of nearly 6,000 manufacturers and over 242,000 workers. I'm grateful for the company's investment and confidence in Virginia."
"We're delighted to be expanding our business for the fourth time in our 16-year history here in the Commonwealth of Virginia," said Scott Kelley, SCM's President & CEO. "While we seriously considered building this expansion in Indiana, the incentive package offered by the Commonwealth and Prince George County convinced us to say 'yes' to Virginia once again. Here at Service Center Metals, our company motto is 'Can Do.' It exemplifies SCM's culture—one where anything is possible with focus, hard work and determination. In our view, when it comes to helping entrepreneurs start and grow and their companies, our state and local governments clearly have a strong pro-business, 'Can Do' approach as well."
The Virginia Economic Development Partnership worked with Prince George County and Virginia's Gateway Region to secure the project for Virginia. Governor McAuliffe approved a $200,000 Commonwealth's Opportunity Fund to assist the county with the project. The Governor also approved a $400,000 performance-based grant from the Virginia Investment Partnership program, an incentive available to existing companies. Service Center Metals is eligible to receive state benefits from the Virginia Enterprise Zone Program, administered by the Virginia Department of Housing and Community Development. Funding services to support the company's employee training activities will be provided through the Virginia Jobs Investment Program.
Alan R. Carmichael, chairman, Prince George County Board of Supervisors stated, "I am proud to announce another expansion to one of our most successful and homegrown companies, Service Center Metals. This investment will provide 58 new jobs for our community. The expansion also confirms that Prince George County has created the environment for new and existing businesses to thrive and prosper."
"The expansion of Service Center Metals in Prince George County has not only provided a steady boost for economic growth in our region, but proves to be a strong employer in our area that supports our communities' hard working families," said Senator Roslyn Dance. "I look forward to the continued success of the company and the development of our manufacturing opportunities in Prince George County."
"The investment by Service Center Metals highlights the diverse resources that Prince George County has to offer to both new and growing businesses. These advanced manufacturing jobs are a testament to the future economic success of the County and the Commonwealth" said Delegate Emily Brewer. "I wish Service Center Metals continued success in the many years to come in Prince George County."
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50 Pianos for 50 Schools
admin2:05 pmSeptember 11th, 2018
18 August 2018 – Press Release
50 Pianos for 50 Schools: 50 Schools Receive Full Ownership of Sing50 Pianos to Keep Singapore's Music Heritage Alive
Singapore, August 18, 2018 – This August, 50 schools will become owners of baby grand pianos that were previously on long term loan to them from a local private sector initiated fund.
The Sing50 Fund will be gifting the 50 Steinway designed Lang Lang baby grand pianos under its Adopt-a-Piano programme to the schools which the Fund had loaned the piano to. The fund and programme were set up to continue the efforts to preserve and showcase Singapore's music and songs in Singapore's jubilee celebration in 2015. All 50 pianos were featured at mega Sing50 concert organised by The Straits Times and The Business Times.
The Blue Charity Gala in aid of BT BAF & SPD
Fast-rising Local Music Talents Unite
ChildAid Inspires Young Talents
Christmas at the Fort
10th Edition of Children for Children 2018


One of the images most associated with Italy is that of the Venetian Gondola. Originally, the Venetian Lagoon was navigated by over 40 different types of boats including: Batela, Batelon, Bragosso, Caorlina, Cofanop, Gondola, Gondolino, Mascareta, Peata, Puparin, Sandalo, Sanpierota, S'ciopon, Topa, and Topo. Although some of these boats appear in the 'Regata Storica' in Venice each year, it is the Gondola that has outlived them all.
It is thought that the first Gondolas appeared around 1,500 years ago, and by the 17th century, it was estimated that there were 10,000 Gondolas in Venice. The Gondola has undergone a continuous evolution in design throughout its history. During the 13th century, it was rowed by 12 oars; by the 15th century it was smaller but had gained a cabin, called a felze, and by the 16th century, wealthy owners had created such elaborate, garish designs for thier boats that the authorities issued a special law banning ostentation of any kind.
Ever since then, Gondolas have been painted black, and carry only three decorations, the distinctive 'Ferro' on the bow, the decorated Risso at the stern and the 'Forcola', the complicated structure used to support the oar during the various movements necessary to navigate the canals of Venice.
By the 18th century, the recognised design of the Gondola was almost established, although in the paintings of Canaletto, the Gondola is shown with a lower prow and being operated by two oarsmen. The modern day design was created in the 19th century by the boat-builder Tramontin, whose family-run boatyard still produces Gondolas today. Some further modifications were added in the 20th century but then all further modifications were banned by the Venetian city council.
The modern Gondola weighs around 350 kilos and is 10.85 metres long and 1.4 metres wide. Its distinctive, assymetrical shape is created by the left side being 24cm longer than the right. It is made from 280, interlocking pieces, using eight different kinds of wood: Oak, Fir, Cherry, Larch, Linden, Walnut, Elm and Mahogany.
The decorative shape at the bow is called the 'Ferro' and is extremely symbolic. The six prongs facing forwards are said to represent the six districts of Venice, the 'sestieri'. The additional prong facing backwards is said to represent the island of Giudecca, and the broad blade at the top is said to represent the 'Rialto Bridge'.
The 'Risso' at the stern, is highly decorated and based on the shape of a seahorse.
The Gongola is operated by a Gondolier, who stands near the back of the boat and propels and steers the Gondola using a single oar, or 'Rèmo'. This oar is supported in an oar lock or 'Forcola'. The complicated shape of the forcola allows the Gondolier to use the oar in different positions for slow forward rowing, powerful forward rowing, turning, slowing down, rowing backwards, and stopping.
There are now just over 400 Gondolas in Venice, mainly used as taxis or for tourist trips. A Gondolier is a highly skilled job and all Gondoliers have to be licensed by the authorities in Venice. After an extensive period of training and apprenticeship, they must pass an exam which tests their knowledge of Venetian history and landmarks, foreign language skills, and practical skills in handling the gondola, not an easy task in the tortuously narrow labyrinth of the Venetian canals. The first female Gondolier was licensed in 2010.


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Editor's note: The following is reprinted with permission of the author and mirrored from its source at: http://www.monthlyreview.org/1199petr.htm
The CIA and the Cultural Cold War Revisited
by James Petras
Frances Stonor Saunders, Who Paid the Piper: The CIA and the Cultural Cold War (London: Granta Books), £20.
This book provides a detailed account of the ways in which the CIA penetrated and influenced a vast array of cultural organizations, through its front groups and via friendly philanthropic organizations like the Ford and Rockefeller Foundations. The author, Frances Stonor Saunders, details how and why the CIA ran cultural congresses, mounted exhibits, and organized concerts. The CIA also published and translated well-known authors who toed the Washington line, sponsored abstract art to counteract art with any social content and, throughout the world, subsidized journals that criticized Marxism, communism, and revolutionary politics and apologized for, or ignored, violent and destructive imperialist U.S. policies. The CIA was able to harness some of the most vocal exponents of intellectual freedom in the West in service of these policies, to the extent that some intellectuals were directly on the CIA payroll. Many were knowingly involved with CIA "projects," and others drifted in and out of its orbit, claiming ignorance of the CIA connection after their CIA sponsors were publicly exposed during the late 1960s and the Vietnam war, after the turn of the political tide to the left.
U.S. and European anticommunist publications receiving direct or indirect funding included Partisan Review, Kenyon Review, New Leader, Encounter and many others. Among the intellectuals who were funded and promoted by the CIA were Irving Kristol, Melvin Lasky, Isaiah Berlin, Stephen Spender, Sidney Hook, Daniel Bell, Dwight MacDonald, Robert Lowell, Hannah Arendt, Mary McCarthy, and numerous others in the United States and Europe. In Europe, the CIA was particularly interested in and promoted the "Democratic Left" and ex-leftists, including Ignacio Silone, Stephen Spender, Arthur Koestler, Raymond Aron, Anthony Crosland, Michael Josselson, and George Orwell.
The CIA, under the prodding of Sidney Hook and Melvin Lasky, was instrumental in funding the Congress for Cultural Freedom, a kind of cultural NATO that grouped together all sorts of "anti-Stalinist" leftists and rightists. They were completely free to defend Western cultural and political values, attack "Stalinist totalitarianism" and to tiptoe gently around U.S. racism and imperialism. Occasionally, a piece marginally critical of U.S. mass society was printed in the CIA-subsidized journals.
What was particularly bizarre about this collection of CIA-funded intellectuals was not only their political partisanship, but their pretense that they were disinterested seekers of truth, iconoclastic humanists, freespirited intellectuals, or artists for art's sake, who counterposed themselves to the corrupted "committed" house "hacks" of the Stalinist apparatus.
It is impossible to believe their claims of ignorance of CIA ties. How could they ignore the absence in the journals of any basic criticism of the numerous lynchings throughout the southern United States during the whole period? How could they ignore the absence, during their cultural congresses, of criticism of U.S. imperialist intervention in Guatemala, Iran, Greece, and Korea that led to millions of deaths? How could they ignore the gross apologies of every imperialist crime of their day in the journals in which they wrote? They were all soldiers: some glib, vitriolic, crude, and polemical, like Hook and Lasky; others elegant essayists like Stephen Spender or self-righteous informers like George Orwell. Saunders portrays the WASP Ivy League elite at the CIA holding the strings, and the vitriolic Jewish ex-leftists snarling at leftist dissidents. When the truth came out in the late 1960s and New York, Paris, and London "intellectuals" feigned indignation at having been used, the CIA retaliated. Tom Braden, who directed the International Organizations Branch of the CIA, blew their cover by detailing how they all had to have known who paid their salaries and stipends (397-404).
According to Braden, the CIA financed their "literary froth," as CIA hardliner Cord Meyer called the anti-Stalinist intellectual exercises of Hook, Kristol, and Lasky. Regarding the most prestigious and best-known publications of the self-styled "Democratic Left" (Encounter, New Leader, Partisan Review), Braden wrote that the money for them came from the CIA and that "an agent became the editor of Encounter" (398). By 1953, Braden wrote, "we were operating or influencing international organizations in every field" (398).
Saunders' book provides useful information about several important questions regarding the ways in which CIA intellectual operatives defended U.S. imperialist interests on cultural fronts. It also initiates an important discussion of the long-term consequences of the ideological and artistic positions defended by CIA intellectuals.
Saunders refutes the claims (made by Hook, Kristol, and Lasky) that the CIA and its friendly foundations provided aid with no strings attached. She demonstrates that "the individuals and institutions subsidized by the CIA were expected to perform as part ... of a propaganda war." The most effective propaganda was defined by the CIA as the kind where "the subject moves in the direction you desire for reasons which he believes to be his own." While the CIA allowed their assets on the "Democratic Left" to prattle occasionally about social reform, it was the "anti-Stalinist" polemics and literary diatribes against Western Marxists and Soviet writers and artists that they were most interested in, funded most generously, and promoted with the greatest visibility. Braden referred to this as the "convergence" between the CIA and the European "Democratic Left" in the fight against communism. The collaboration between the "Democratic Left" and the CIA included strike-breaking in France, informing on Stalinists (Orwell and Hook), and covert smear campaigns to prevent leftist artists from receiving recognition (including Pablo Neruda's bid for a Nobel Prize in 1964 [351]).
The CIA, as the arm of the U.S. government most concerned with fighting the cultural Cold War, focused on Europe in the period immediately following the Second World War. Having experienced almost two decades of capitalist war, depression, and postwar occupation, the overwhelming majority of European intellectuals and trade unionists were anticapitalist and particularly critical of the hegemonic pretensions of the United States. To counter the appeal of communism and the growth of the European Communist Parties (particularly in France and Italy), the CIA devised a two-tier program. On the one hand, as Saunders argues, certain European authors were promoted as part of an explicitly "anticommunist program." The CIA cultural commissar's criteria for "suitable texts" included "whatever critiques of Soviet foreign policy and Communism as a form of government we find to be objective (sic) and convincingly written and timely." The CIA was especially keen on publishing disillusioned ex-communists like Silone, Koestler, and Gide. The CIA promoted anticommunist writers by funding lavish conferences in Paris, Berlin, and Bellagio (overlooking Lake Como), where objective social scientists and philosophers like Isaiah Berlin, Daniel Bell, and Czeslow Milosz preached their values (and the virtues of Western freedom and intellectual independence, within the anticommunist and pro-Washington parameters defined by their CIA paymasters). None of these prestigious intellectuals dared to raise any doubts or questions regarding U.S. support of the mass killing in colonial Indochina and Algeria, the witch hunt of U.S. intellectuals or the paramilitary (Ku Klux Klan) lynchings in the southern United States. Such banal concerns would only "play into the hands of the Communists," according to Sidney Hook, Melvin Lasky, and the Partisan Review crowd, who eagerly sought funds for their quasi-bankrupt literary operation. Many of the so-called prestigious anticommunist literary and political journals would long have gone out of business were it not for CIA subsidies, which bought thousands of copies that it later distributed free.
The second cultural track on which the CIA operated was much more subtle. Here, it promoted symphonies, art exhibits, ballet, theater groups, and well-known jazz and opera performers with the explicit aim of neutralizing anti-imperialist sentiment in Europe and creating an appreciation of U.S. culture and government. The idea behind this policy was to showcase U.S. culture, in order to gain cultural hegemony to support its military-economic empire. The CIA was especially keen on sending black artists to Europe -- particularly singers (like Marion Anderson), writers, and musicians (such as Louis Armstrong) -- to neutralize European hostility toward Washington's racist domestic policies. If black intellectuals didn't stick to the U.S. artistic script and wandered into explicit criticism, they were banished from the list, as was the case with writer Richard Wright.
The degree of CIA political control over the intellectual agenda of these seemingly nonpolitical artistic activities was clearly demonstrated by the reaction of the editors of Encounter (Lasky and Kristol, among others) with regard to an article submitted by Dwight MacDonald. MacDonald, a maverick anarchist intellectual, was a long-time collaborator with the CIA-run Congress for Cultural Freedom and Encounter. In 1958, he wrote an article for Encounter entitled "America America," in which he expressed his revulsion for U.S. mass culture, its crude materialism, and lack of civility. It was a rebuttal of the American values that were prime propaganda material in the CIA's and Encounter's cultural war against communism. MacDonald's attack of the "decadent American imperium" was too much for the CIA and its intellectual operatives in Encounter. As Braden, in his guidelines to the intellectuals, stated "organizations receiving CIA funds should not be required to support every aspect of U.S. policy," but invariably there was a cut-off point -- particularly where U.S. foreign policy was concerned (314). Despite the fact that MacDonald was a former editor of Encounter, the article was rejected. The pious claims of Cold War writers like Nicola Chiaromonte, writing in the second issue of Encounter, that "[t]he duty that no intellectual can shirk without degrading himself is the duty to expose fictions and to refuse to call `useful lies,' truths," certainly did not apply to Encounter and its distinguished list of contributors when it came to dealing with the `useful lies' of the West.
One of the most important and fascinating discussions in Saunders' book is about the fact that CIA and its allies in the Museum of Modern Art (MOMA) poured vast sums of money into promoting Abstract Expressionist (AE) painting and painters as an antidote to art with a social content. In promoting AE, the CIA fought off the right-wing in Congress. What the CIA saw in AE was an "anti-Communist ideology, the ideology of freedom, of free enterprise. Non-figurative and politically silent it was the very antithesis of socialist realism" (254). They viewed AE as the true expression of the national will. To bypass right-wing criticism, the CIA turned to the private sector (namely MOMA and its co-founder, Nelson Rockefeller, who referred to AE as "free enterprise painting.") Many directors at MOMA had longstanding links to the CIA and were more than willing to lend a hand in promoting AE as a weapon in the cultural Cold War. Heavily funded exhibits of AE were organized all over Europe; art critics were mobilized, and art magazines churned out articles full of lavish praise. The combined economic resources of MOMA and the CIA-run Fairfield Foundation ensured the collaboration of Europe's most prestigious galleries which, in turn, were able to influence aesthetics across Europe.
AE as "free art" ideology (George Kennan, 272) was used to attack politically committed artists in Europe. The Congress for Cultural Freedom (the CIA front) threw its weight behind abstract painting, over representational or realist aesthetics, in an explicit political act. Commenting on the political role of AE, Saunders points out: "One of the extraordinary features of the role that American painting played in the cultural Cold War is not the fact that it became part of the enterprise, but that a movement which so deliberately declared itself to be apolitical could become so intensely politicized" (275). The CIA associated apolitical artists and art with freedom. This was directed toward neutralizing the artists on the European left. The irony, of course, was that the apolitical posturing was only for left-wing consumption.
Nevertheless, the CIA and its cultural organizations were able to profoundly shape the postwar view of art. Many prestigious writers, poets, artists, and musicians proclaimed their independence from politics and declared their belief in art for art's sake. The dogma of the free artist or intellectual, as someone disconnected from political engagement, gained ascendancy and is pervasive to this day.
While Saunders has presented a superbly detailed account of the links between the CIA and Western artists and intellectuals, she leaves unexplored the structural reasons for the necessity of CIA deception and control over dissent. Her discussion is framed largely in the context of political competition and conflict with Soviet communism. There is no serious attempt to locate the CIA's cultural Cold War in the context of class warfare, indigenous third world revolutions, and independent Marxist challenges to U.S. imperialist economic domination. This leads Saunders to selectively praise some CIA ventures at the expense of others, some operatives over others. Rather than see the CIA's cultural war as part of an imperialist system, Saunders tends to be critical of its deceptive and distinct reactive nature. The U.S.-NATO cultural conquest of Eastern Europe and the ex-USSR should quickly dispel any notion that the cultural war was a defensive action.
The very origins of the cultural Cold War were rooted in class warfare. Early on, the CIA and its U.S. AFL-CIO operatives Irving Brown and Jay Lovestone (ex-communists) poured millions of dollars into subverting militant trade unions and breaking strikes through the funding of social democratic unions (94). The Congress for Cultural Freedom and its enlightened intellectuals were funded by the same CIA operatives who hired Marseilles gangsters to break the dockworkers' strikes in 1948.
After the Second World War, with the discrediting in Western Europe of the old right (compromised by its links to the fascists and a weak capitalist system), the CIA realized that, in order to undermine the anti-NATO trade unionists and intellectuals, it needed to find (or invent) a Democratic Left to engage in ideological warfare. A special sector of the CIA was set up to circumvent right-wing Congressional objections. The Democratic Left was essentially used to combat the radical left and to provide an ideological gloss on U.S. hegemony in Europe. At no point were the ideological pugilists of the democratic left in any position to shape the strategic policies and interests of the United States. Their job was not to question or demand, but to serve the empire in the name of "Western democratic values." Only when massive opposition to the Vietnam War surfaced in the United States and Europe, and their CIA covers were blown, did many of the CIA-promoted and -financed intellectuals jump ship and begin to criticize U.S. foreign policy. For example, after spending most of his career on the CIA payroll, Stephen Spender became a critic of U.S. Vietnam policy, as did some of the editors of Partisan Review. They all claimed innocence, but few critics believed that a love affair with so many journals and convention junkets, so long and deeply involved, could transpire without some degree of knowledge.
The CIA's involvement in the cultural life of the United States, Europe, and elsewhere had important long-term consequences. Many intellectuals were rewarded with prestige, public recognition, and research funds precisely for operating within the ideological blinders set by the Agency. Some of the biggest names in philosophy, political ethics, sociology, and art, who gained visibility from CIA-funded conferences and journals, went on to establish the norms and standards for promotion of the new generation, based on the political parameters established by the CIA. Not merit nor skill, but politics -- the Washington line -- defined "truth" and "excellence" and future chairs in prestigious academic settings, foundations, and museums.
The U.S. and European Democratic Left's anti-Stalinist rhetorical ejaculations, and their proclamations of faith in democratic values and freedom, were a useful ideological cover for the heinous crimes of the West. Once again, in NATO's recent war against Yugoslavia, many Democratic Left intellectuals have lined up with the West and the KLA in its bloody purge of tens of thousands of Serbs and the murder of scores of innocent civilians. If anti-Stalinism was the opium of the Democratic Left during the Cold War, human rights interventionism has the same narcotizing effect today, and deludes contemporary Democratic Leftists.
The CIA's cultural campaigns created the prototype for today's seemingly apolitical intellectuals, academics, and artists who are divorced from popular struggles and whose worth rises with their distance from the working classes and their proximity to prestigious foundations. The CIA role model of the successful professional is the ideological gatekeeper, excluding critical intellectuals who write about class struggle, class exploitation and U.S. imperialism -- "ideological" not "objective" categories, or so they are told.
The singular lasting, damaging influence of the CIA's Congress of Cultural Freedom crowd was not their specific defenses of U.S. imperialist policies, but their success in imposing on subsequent generations of intellectuals the idea of excluding any sustained discussion of U.S. imperialism from the influential cultural and political media. The issue is not that today's intellectuals or artists may or may not take a progressive position on this or that issue. The problem is the pervasive belief among writers and artists that anti-imperialist social and political expressions should not appear in their music, paintings, and serious writing if they want their work to be considered of substantial artistic merit. The enduring political victory of the CIA was to convince intellectuals that serious and sustained political engagement on the left is incompatible with serious art and scholarship. Today at the opera, theater, and art galleries, as well as in the professional meetings of academics, the Cold War values of the CIA are visible and pervasive: who dares to undress the emperor?
© 1999 Monthly Review
Reprinted for Fair Use Only.
James Petras is a Bartle Professor (Emeritus) of Sociology at Binghampton University, New York. He received his B.A. from Boston University and Ph.D. from the University of California at Berkeley. He is the author of 68 books published in 29 languages, and over 560 articles in professional journals, including the American Sociological Review, British Journal of Sociology, Social Research, Journal of Contemporary Asia, and Journal of Peasant Studies. He has published over 2000 articles in nonprofessional journals such as the New York Times, the Guardian, the Nation, Christian Science Monitor, Foreign Policy, New Left Review, Partisan Review, Temps Moderne, and Le Monde Diplomatique. A subset of his books includes:
The End of the Republic and the Delusion of Empire, (Clarity Press, 2016),
Power and Resistance: US Imperialism in Latin America, (Brill Academic Pub, 2015),
The Politics of Empire. The US, Israel and the Middle East, (Clarity Press, 2014),
The New Extractivism. A Post-Neoliberal Development Model or Imperialism of the Twenty-First Century?, with Veronica Albuja, Norma Giarracca, Henry Veltmeyer, and Pablo Davalos (Zed Books, 2014)
Imperialism and Capitalism in the Twenty-First Century, A System In Crisis, with Henry Veltmeyer, Raúl Delgado Wise, and Humberto Márques (Ashgate Pub, 2013)
The Arab Revolt and the Imperialist Counterattack (Clarity Press, 2012)
War Crimes in Gaza and the Zionist Fifth Column in America, (Clarity Press, 2010)
Global Depression and Regional Wars (Clarity Press, 2009)
Zionism, Militarism and the Decline of US Power (Clarity Press, 2008)
Rulers and Ruled in the US Empire: Bankers, Zionists, Militants (Clarity Preee, 2007)
The Power of Israel in the United States (Clarity Press, 2006)
Globalization Unmasked: Imperialism in the 21st Century with Henry Veltmeyer (Zed Books, 2001),
The Dynamics of Social Change in Latin America with Henry Veltmeyer (McMillan, 2000),
Empire or Republic: Global Power or Domestic Decay in the US with Morris Morley (Routledge, 1995),
Latin America in the Time of Cholera: Electoral Politics, Market Economics, and Permanent Crisis with Morris Morley (Routledge, 1992),
Latin America: Bankers, Generals and the Struggle for Social Justice (Rowman & Littlefield, 1986),
Class, State, and Power in the Third World, With Case Studies on Class Conflict in Latin America (Rowman & Littlefield, 1981)
The Nationalization of Venezuelan Oil (Holt Rinehart & Winston, 1978),
The United States and Chile: Imperialism and the Overthrow of the Allende Government (Monthly Review Press, 1975),
Latin America: From Dependence to Revolution (John Wiley & Sons, 1973),
Peasants in Revolt; A Chilean Case Study, 1965-1971 (Univ of Texas, 1973),
How Allende fell: a study in U.S.-Chilean relations (Spokesman Books),
Cultivating revolution; the United States and agrarian reform in Latin America (Random House, 1971)
Politics and Social Forces in Chilean Development (University of California Press, 1969).


text:
S-3.4 - Fire Safety Act
42. The authority responsible for a service that has expressly accepted, required or requisitioned a person's assistance or property under subparagraph 7 or 8 of the second paragraph of section 40 is bound, within three months from the date a claim is filed with the authority by that person in the 12 months following the end of the event, to grant to the person compensation determined on the basis of the current rates for the hiring of that type of service or property as they stood immediately before the occurrence of the event.
The authority responsible for the service must also assume the representation or defence of such a person in a coroner's inquest or a fire investigation commissioner's inquiry into the event during which the person intervened or in a proceeding concerning an act in the performance of the tasks entrusted to the person during the emergency and referred to a court, a tribunal or a body exercising adjudicative functions.
The authority may, rather than assuming a person's representation or defence, agree with the person on the reimbursement of reasonable costs incurred by the person or the person's representative. However, the authority is dispensed from that obligation where
(1) the person specifically consents thereto in writing ;
(2) the authority is the plaintiff in the proceeding ;
(3) the act in question amounts to a gross or intentional fault ; or
(4) the person is convicted of an offence or indictable offence and had no reasonable grounds to believe that his or her conduct was in conformity with the law.
2000, c. 20, s. 42; 2001, c. 76, s. 175.
42. The authority responsible for a service that has expressly accepted, required or requisitioned a person's assistance or property under subparagraph 7 or 8 of the second paragraph of section 40 is bound, within one month from the date a claim is filed with the authority by that person in the year following the emergency, to grant to the person compensation determined on the basis of the current rates for the hiring of that type of service or property.
The authority responsible for the service must also assume the representation or defence of such a person in a coroner's inquest or a fire investigation commissioner's inquiry or in a proceeding concerning an act in the performance of the tasks entrusted to the person during the emergency and referred to a court, a tribunal or a body exercising adjudicative functions.
2000, c. 20, s. 42.


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