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John Connolly Week: (1 of 10) A Look Back part 1 of 2
August 7, 2017 Uncategorizedmtc9393
To put the matter into proper context it is necessary to repost an article I wrote in August 2012 entitled: "Congressman Lynch's Lack of Enthusiasm in Holding the FBI Accountable. I've made some minor corrections to it. Here is what I wrote:
"FBI Agent John Connolly is well on the way to spending the rest of his life in jail. Connolly as we all know was the handler of Whitey Bulger and Stevie Flemmi. When this became known to the public, a general uproar occurred over the idea that these two top gangsters could be FBI informants. Everyone in the FBI from the top to the bottom, from the Director to the file clerks in the Boston office, knew Whitey was an informant. When the public demanded an answer for what appeared to be a horrendous decision of protecting two men engaged in many murders and unable to deny that it happened, the FBI went into overdrive to protect itself. It threw Connolly to the angry mob, in effect saying Connolly had become a rogue agent. The FBI vowed that this would never happen again. The FBI hoped that Connolly would be forgotten and that the public would forget it had made this huge error and it could return to business as usual, using top criminals as informants and protecting them.
Let's talk about a Mark Rossetti. If you want you can find an article in the Boston Globe on August 31, 1983 telling of Mark Rossetti being sentenced to 10 years for being in a masked armed robbery. In 2001 he was sentenced to a little over 4 years for being a felon in possession of a weapon. Or a December 5, 2003 article you can read about an affidavit filed in federal court that Mark Rossetti was a capo in the Boston Mafia. Or May 21 and 22, 2010 articles telling how he was charged with trafficking in heroin. In October of that year, Kevin Cullen of the Globe quoted Lt. Steve Johnson of the state police, who was instrumental in bringing down Whitey, as saying, "It's shocking. Shocking that a person of Rossetti's position in the LCN would be hands-on in the heroin business. But this is where these guys are now." Johnson was saying the Mafia had become a shell of itself when the top guys were handling the drugs themselves.
Rossetti's a Mafia capo in an outfit that pretty much has been destroyed. He's left to dealing heroin. Then in August 13, 2011, Shelley Murphy of the Globe reports that the state police picked up Rossetti on a wiretap and learned that he was an FBI informant. Look at Rossetti's background I just set out and tell me how the FBI could have gone back to business as usual using another Whitey Bulger-type as an informant.
The Boston Globe to its credit asked what was going on. The FBI, and the state police hierarchy ever the lackey to the FBI, responded, according to Shelley Murphy's article, "Specifically, the FBI employees responsible for handling this matter did not engage in any inappropriate activities and acted in accordance with the Department of Justice and FBI rules. They demonstrated a high level of integrity and professionalism."
Yogi would say "deja vu again." That's what they said about the [FBI] agents Morris and Connolly who handled Whitey. Former Colonel Tom Foley (the author) who we know was responsible for destroying Whitey and Stevie said, "After everything that we've been through with the Bulger case, nothing has been learned, nothing has changed."
On August 21, 2011, Kevin Cullen rightly asks where is the outrage of the FBI again using top gangsters for informants. Cullen indicated Rossetti has been an FBI informant for upwards of twenty years. To be a Mafia capo it is said you have to be a murderer. Rossetti is suspected of murdering 6 people. The FBI is protecting him. I urge you to read that column and a subsequent one on October 18, "Pants on Fire".
Then on August 17, 2011, the Globe, . . . . (let me digress a second. Believe me when I say this, if it wasn't for the media we'd be walking in the dark. My problem with the Globe is that it doesn't devote more resources to these things. During my days the Globe, the Herald and the Quincy Patriot Ledger had reporters in Norfolk Superior Court every day Now most things seem to go uncovered.) . . . inquired of Congressman Lynch who was on the Congressional Committee that grilled Billy Bulger. The Globe asked Lynch what was he doing about the Rossetti outrage. Lynch said he had demanded a briefing from the FBI on the matter which was being scheduled. The FBI and the US Attorney would not comment. (former post cont tomorrow)
← John Connolly Week:	John Connolly Week: (2 of 10) A Look Back part 2 of 2 →
10 thoughts on "John Connolly Week: (1 of 10) A Look Back part 1 of 2"
David Fishwick says:
Thanks for an interesting article on your blog.
You mention in the article that Rossetti is suspected in at least six murders was that when Salemme was the boss of the LCN?
Do you think that Bianco, Grasso were proteges of Patriarca Senior?
What is your understanding of Caruana and his ties to Bulger, Flemmi and the mob?
You take me far afield when you ask me about the Patriarca family. I can give you this though. Here is something on Junior Patriarca from Judge Wolf "Nevertheless, in 1983, his involvement with Salvatore Michael Caruana was such that other members of the LCN expected that the defendant would be indicted on drug charges with Caruana.
In the spring and summer of 1989, the Family was deeply divided between members, including Russo, Ferrara and Carrozza in Boston, who sought removal of Patriarca as Boss, and members who remained loyal to Patriarca." Trial Brief of United States, filed October 16, 1991, p. 216; see also Presentence Report, ¶¶ 57-61, pp. 24-25. As part of an effort to try to persuade Patriarca to abdicate his power and position, the Boston faction caused the Underboss, Billy Grasso, to be shot and killed in Connecticut. On the same day, as part of the same effort, they caused Patriarca ally Frank Salemme to be shot in Massachusetts. Salemme survived.
You may want to read: http://law.justia.com/cases/federal/district-courts/FSupp/807/165/1967939/
John King McDonald says:
State Trooper Billy Johnson who came to cross purposes with Jimmy and the indefatigable Weeks @ Logan Airport in the late eighties and later committed suicide for reasons that did involve persecution and disfavor from Massport flaks was a very decent guy. He was a good Trooper . No nonsense. But inhabiting a world where moral perspective was a matter of whose side you were on in a confusing fight where those who preached right were often as wrong as those who were wrong were occasionally right . He was off duty in East Boston in the early eighties and with his wife in car got into a traffic accident with Rossetti and his brother . All accounts were that he went down swinging like the tough bastard he was , but he did get a brutal beating as they teamed up on him . The Rossetti's knew who he was previous to this. Dates may be subject to revision, but the facts are right . Rossetti is a serious piece of work . But, of course , he was, and is ,not the only serious piece of work.
John:
I worked with Billy doing some wiretaps when he was with SSU. He was a tough guy: was in Vietnam with one of those tough units. I saw him a couple of times at the airport. He was sometimes a little outrageous but a good hearted guy who I always enjoyed.
BRUCE RAMBOLI says:
WHAT ABOUT PATRICK NEE?
Nee got a pass thanks to deal made with Murderman Martorano. He got a hard handclasp on a deal he only wld testify against Stevie or White or corrupt cops. Prosecutor gave everyone else a pass.
Jerome says:
Glad to see you writing about Boston, LCN, FBI, Informants, Connolly, and Bulger again. Look forward to a much needed break from Trump and the circus he runs like PT Barnum. Any word on Bulger health and whether Flemmi has been released?
Jerome:
Thanks. No news on either Whitey or Stevie. I'd guess Whitey close to the last roundup. He was in a wheelchair. I wrote to him asking him to let me visit him a while ago but got no response. Perhaps I'll try again. I'd guess Stevie is living it large in some western state keeping in touch with his angel Wyshak.
Connolly as a corrupt cop is the Big Lie. Rico as a corrupt cop was the Big Lie ( see Kerr-Wolfinger book). A Mafia disinformation campaign. The media-FBI combination is quite sinister. Hope Trump can end it.
Gok says:
My appetite for more on John C is now officially whetted


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the sounding off issue
he's not heavy, he's my brother
Keeping things in the family, Selena Forrest and her brother Robert get behind Zoë Ghertner's lens for the latest issue of i-D.
i-D Staff
the kids of mexico city, straight up
Amy Troost takes to the streets of Mexico City, to meet a generation of young Mexicans looking to change the world.
suburban dreams with luna b and imaan hammam
Shot by Oliver Hadlee Pearch and styled by Julia Sarr-Jamois, suburbia never looked so fashun.
the future sound of africa
We head to West Africa to explore the roots of Afrobeats and discover the singers, producers and activists pushing the sound forwards and into the pop charts.
Shannon Mahanty
jazz, but not as you know it
Across London a new generation of musicians are drawing on broken beat, house and grime to create a sound that reflects the diversity of the capital. We meet the stars of the scene.
Matthew Whitehouse
10 years of martine rose
As she celebrates a decade of her eponymous label, the birth of her second child and her return to the London catwalk, 2017 belongs to Martine Rose.
an interview with lil peep from september 2017
On 1st September, Gustav Åhr came to the i-D office for a cup of tea. We shot these portraits and he told us that he was in a good place with drugs, friends and his career.
Frankie Dunn
muna created their own safe space, and want you to join them there
Totally fearless LA band MUNA's debut album About U is utterly in its own lane. With the record splashed across a load of best of 2017 lists, get to know Josette, Katie and Naomi.
an A-Z guide to PRETTYMUCH
This generation has been crying out for an all-singing, all-dancing boy band and PRETTYMUCH are here to answer our prayers.
the experimental producer behind our favourite techno record this year
Chinese-born experimental producer Pan Daijing's debut album is the one of the most exciting and experimental techno records to have ever come out of Berlin.
Alexandra Bondi de Antoni
"so what if I like men? I can still rap" – jay boogie
The Dominican American MC is making spellbound rhythms with his tail feathers high.
starcrawler are bringing mystery and madness back to rock music
"The album is like being slapped by rock 'n' roll once again. You'll be like, 'What the fuck was that?'"

redpajama_set_name: RedPajamaCommonCrawl


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Art museums are the centrepiece of visual culture - local and international, past and present. More than ever, they are becoming the destination for 21st century culture-seeking pilgrims. We delve into the design of art museum architecture in a discussion with the progressive conservation architect and Purcell Partner Liz Smith. Liz has worked on many cultural buildings across the UK including the National Portrait Gallery and the Wallace Collection. With her experience, Liz shares her insight to some key questions about renovating art museums.
Over time, gallery collections have evolved into the world of the public art museum - a place to learn about history, creativity, humankind and ultimately experience art. Traditionally, a gallery was a private collection for the wealthy to share their own art with visitors. In the late 18th century, these were opened up for public display. Often these collections were bequeathed to countries or institutions, sometimes establishing new museums like Sir Hans Sloane's collection for the British Museum. So, how can art museums of today fit the demand for more art? How can they cater for a growing, and more inquisitive, population?
How far is museum architecture an artwork in its own right?
Many architects have designed elaborate visions to create their own architectural masterpiece for art collections. This is certainly the case for the National Portrait Gallery in London, says Liz Smith, the conservation architect for the new £35.5m renovation with Jamie Fobert Architects.
The architect Ewan Christian designed the building c.1890, inspired by European architecture. While obliged to match the Greek Classical style of the National Gallery to which it is adjoined, Christian introduced original design inspired by the Florentine Renaissance featuring various portrait busts of notable artistic figures in roundels.
The interior galleries were always intended as a backdrop for the ever-changing art collections. Over time, the galleries have changed in that spirit. This makes for a disjointed set of gallery spaces going through rooms from Victorian, to the 1930s, to 80s design.
A key part of the renovation is to quieten the interiors down to celebrate the Victorian detail whilst lending a fresh and coherent new architecture. There are always waves of trends in architecture, but they risk overshadowing the collection itself. One of the key points is that the project will create a continuous voice for the evolving collection of the future, to reflect the original architect's enduring vision.
What ways do conservation architects improve visitor attraction in public spaces?
Increasing visitor numbers is a positive thing. The aim is to improve popularity and access to the gallery. When museums were designed in the Victorian period, they were visited by a handful of bourgeoisies. Now several million people enter the constrained Victorian entrance of the National Portrait Gallery. Fortunately, progressive trusts and museums are accepting that change is necessary for the benefit of public access and for the heritage asset of the building. Improving façades, entrances and circulation can transform the visitor attraction and experience.
One key façade transformation was the Wolverhampton Art Gallery, a Victorian building with a lesser-known modern art collection. The museum needed to be extended to create more exhibition space and archive storage. Purcell Partner Niall Phillips worked closely with the client to map the experience, including replica size reproductions of the artwork to develop an innovative triangular gallery for a curated route. The new façade engaged the footfall of bypassers and reinforced the idea that it was the custodian of a modern art collection. It continued to evolve the building's life and attract a new audience.
In museums, there is a constant drive for more space. We often open up back-of-house spaces for collections to come out of storage and be on show. Adaptive reuse is not about expanding but making the best of the existing space. Gallery B in the National Gallery, worked on by Purcell Partner David Hills, is the first new gallery space in twenty years. By discovering and renovating untapped spaces, architects can solve the demand for more art on display.
Purcell has been working with the National Maritime Museum's team to transform former library and staff office in the Grade I listed National Maritime Museum into four new exhibition galleries. Purcell has carefully renovated the new gallery spaces working with the exhibition designers Casson Mann and museum curators who collaborated on the exhibition design. The scheme integrates technical requirements for floor loadings, conservation and environmental control for the artefacts, and narrative interpretative displays.
How does commerciality fit in?
All our art museum clients have wanted to hold events in galleries. Beautiful spaces should be accessible for more hours, whether passing through or eating dinner. We design the most effective way to protect the art, so managing environmental space for an event doesn't change much aesthetically.
Restaurants are also a key part of museum business plans. Museums want to be seen as a cultural landmark outside museum hours. We worked on the new entrance to the National Maritime Museum in Greenwich which included the creation of a brasserie on the terrace and a café connecting people to Greenwich Park. It acts as a place to enjoy a coffee and then invites them into the collection.
Could the retail of art on the walls be gently introduced into art museum refreshment areas? Could we walk around the gallery spaces with our paper cups of coffee? Could the curators have a 'curator's pick' label for their favourite thing in the shop? How much could the boundaries be blurred?
How is natural daylight a challenge for gallery space architecture?
The challenge for architects is often the increasing desire for natural daylight for art. A careful management of lux levels and hot spots is important to prevent any damage to artwork.
The Waddesdon Bequest in the British Museum was moved into the oldest room designed by the original architect Robert Smirke. The collection of objects needed visibility with high light levels without degrading the objects. With exhibition designers Stanton Williams, the angular cases allow one-to-one interaction with each object.
What's the museum's relationship with outside?
From sculpture gardens to rooftop terraces, outdoor spaces connect the visitor to the geographical and historical context. It's important to link the building to the public realm to a create a connection.
Purcell was employed to design and position a plinth to display the 'Nelson's Ship in a Bottle' artwork by Yinka Shonibare MBE. The sculpture is a scale replica of the HMS Victory in a bottle, with sails made of patterned textiles. It ties together the global history of trade over oceans and the complexity of Britain's trade and empire, made possible by Nelson's victories that created freedom of the seas. Located outside the new Sammy Ofer Wing at the National Maritime Museum in Greenwich, the artwork was re-sited from the Fourth Plinth at Trafalgar Square. It has a strong relevance to the museum in engaging the public in the history of ocean exploration.
How is technology instrumental for art museums?
More than ever, architects and curators are designing for an iconic photograph. With everyone having a camera on their mobile phone and the 21st century wave of photo sharing apps like Instagram, design is now responding to the increasing presence of digital life.
In some museums, multimedia guides feed audiences with information and a thematic route. Other museums focus on people discovering the collection and architecture by themselves.
TV programs about art, museums and architecture are a brilliant way to share and spark enthusiasm in the public realm.
Google Arts and Culture makes it possible to digitally explore museum architecture you may never be able to see.
There are endless ways that technology is impacting the design and experience of museums. Many institutions have varying audiences to cater for of all ages, interests and languages. Museums must continue to push boundaries to keep with the times.
How far does sustainable design come into account?
A consciousness about the planet and awareness for sustainable design is increasing. In the past, the notion of constant change and flexibility in new exhibition material meant that frequent exhibition changes caused much material waste. This has shifted and there is a call for a level of permanence in gallery design. A lighter touch offers more responsible material use.
Conditioning is another area for sustainability. All art museums in the UK must achieve, and maintain, onerous conditions according to the British standard BS5454 and GIS for art and archives.
We even worked on a new hydroscopic solution, clay plaster used in archive walls. It passively maintains the humidity by absorbing excess moisture and releasing slowly, managing the levels. It was commended by the National Archives as a 'highly innovative solution'.
How will art museum design progress in the future?
Architecture brings art out of the realm of the elite. It can make art more accessible to the public community. Art-led regeneration is an effective tool. Whether a new build or adaptive reuse, art museums are instrumental in making culture accessible. There is a constant strive for improved, inclusive access in funding streams and design. Inclusions of all people in society including disabilities besides wheelchair-users. How can it be a positive experience for blind and deaf people too?
Art exists for individuals to give a message to others of how they view the world. How can art inspire people to make a difference? The art museum works if one person can take away a message to make a change. Improving the architecture, design and display can unlock art to fuel social change.
Equally, we're living in an age that has lost sight of the benefit of making, creating and crafting. Art museums should inspire creativity for the next generation.
Architecture creates a connection between the person, the space and the art. Architects are custodians of the building and objects. Liz states, it's a pleasure to have the opportunity to share a chapter of a museum's history, and to make these important places relevant for years to come.


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text:
Sun Metals Closes Acquistion of Lorraine Project
Canada NewsWire
VANCOUVER, BC, Nov. 26, 2020
VANCOUVER, BC , Nov. 26, 2020 /CNW/ - Sun Metals Corp. (TSXV: SUNM) ("Sun Metals" or "we" or the "Company") is pleased to announce the closing of the acquisition of Teck Resources Limited's ("Teck") 51% joint venture interest in the Lorraine copper-gold project. Sun Metals now owns 100% of the Lorraine project which is located in northcentral B.C., just 40 kilometres north of the Company's 100% owned Stardust project and 270 km northwest of the city of Prince George, B.C.
The Lorraine project is host to a precious metal enriched, alkalic porphyry copper system. Examples of deposits with this style of mineralization in British Columbia include Galore Creek, New Afton, and Mount Polley.
"Having full ownership of Lorraine is an important step forward as we build a quality portfolio of high-grade copper-gold exploration projects at Sun Metals. The Company now controls two high-grade copper-gold projects in the area, both with excellent exploration potential," stated Steve Robertson , Sun Metals' President and CEO.
Pursuant to the terms of the acquisition, Sun Metals has issued 4,633,440 common shares of the Company to Teck with a fair market value of $500,000 based on the Company's 20-day VWAP of $0.108 per share. The common shares are subject to a statutory four month and one day hold, expiring March 26 , 2021.
The common share issuance, together with the 13,039,546 common shares currently held by Teck, will result in Teck holding 17,672,986 common shares or approximately 10.29% of Sun Metals outstanding shares on a non-diluted basis. Teck may determine to increase or decrease its holdings in Sun Metals depending on market conditions and any other relevant factors. A copy of Teck's early warning report may be obtained from Chris Stannell at 604 699 4368.
Pursuant to the terms of the acquisition, Teck has also retained a 1.0% NSR royalty on all claims that are not already burdened by a royalty and a 0.25% NSR royalty on all claims that are subject to existing royalties. In addition, Sun Metals will make the following future payments to Teck in either cash or common shares of the Company as follows:
$500,000 payable on November 25, 2021 ; and
$500,000 payable on November 25, 2022 .
Sun Metals will also make milestone payments to Teck in either cash or common shares of the Company as follows:
$500,000 upon a Preliminary Economic Assessment;
$2,000,000 upon a Feasibility Study; and
$5,000,000 upon a construction decision.
If Sun Metals sells or options all or a portion of the property to a third party at any time during a 60-month period commencing from the date of the acquisition agreement, Sun Metals will pay to Teck 20% of the sale proceeds, net of exploration expenses incurred on the property by Sun Metals following closing.
Lorraine Project Overview
The Upper Main, Lower Main and Bishop zones at Lorraine were the subject of a 2012, National Instrument 43-101 – Standards of Disclosure for Mineral Projects ("NI 43-101") resource estimate published by Lorraine Copper Corp. titled "Summary Report on the Lorraine-Jajay Property Omineca Mining Division, B.C." 1 with an effective date of December 16, 2015 . In that report, Gary Giroux , P.Eng. a qualified person as defined under NI 43-101 provided the following estimate:
(g/t)
A qualified person as defined under NI 43-101 has not completed sufficient work to classify the above historical estimate as a current mineral resource. Sun Metals is not treating the historical estimate as a current mineral resource.
The property is underlain by the Hogem batholith within the Quesnel Trough. The Duckling Creek syenite occurs in the Lorraine area as a multiple-stage dyke swarm emplaced into the older Hogem calc-alkaline intrusive rocks and Takla volcanic rocks. Copper-gold mineralization at Lorraine is associated with the Duckling Creek alkaline magmatism.
The mineralization at Lorraine is typical of alkalic porphyry copper systems characterized by:
Strong gold +/- silver enrichment
Multiple zones
Some of the highlight results from past drilling at the Lorraine property include:
Table 1: Significant Historic Drill Results¹
Drill Hole
L96-43
Upper Main
L94-8
Lower Main
JTM06-07
1 See updated and amended NI 43-101 Technical Report entitled "Summary Report on the Lorraine-Jajay Property Omineca Mining Division, B.C." with an effective date of December 16, 2015, as amended July 22, 2016, which can be found on Lorraine Copper Corp.'s profile on SEDAR at www.sedar.com .
2 The cut-off grade used in the resource estimate was 0.2% copper (Cu).
Technical aspects of this news release have been reviewed, verified and approved by Ian Neill P.Geo ., Vice President Exploration of Sun Metals, who is a qualified person as defined by NI 43-101.
An updated interactive corporate presentation is available on Sun Metals' website at https://www.sunmetals.ca/investors/presentation/ .
Sun Metals is advancing its 100% owned flagship, high-grade Stardust Project located in northcentral British Columbia, Canada . Stardust is a high-grade polymetallic Carbonate Replacement Deposit with a rich history. Sun Metals also now owns the Lorraine copper-gold project, and the OK copper-molybdenum project.
The Canyon Creek copper-gold skarn zone at Stardust was the subject of a 2018, NI 43-101 resource estimate published by the Company titled "Stardust Project NI 43-101 Technical Report Omineca Mining Division, British Columbia " with an effective date of January 8, 2018 . In that report, GeoSim Services Inc. provided the following estimate. Stardust Project - Canyon Creek zone Mineral Resource Estimate 3 :
% CU EQ 3
All statements in this news release, other than statements of historical fact, are "forward-looking information" with respect to Sun Metals within the meaning of applicable securities laws, including, but not limited to statements with respect to mineralization at the Lorraine project; mineralization at the Stardust project; relative size of mineralization at the 421 zone, geophysical surveys, use of instrumentation data, and goals and expectations pertaining to metallurgical results; the 2020 program and the use of flow-through dollars; the potential quantity and/or grade of minerals; the growth potential of the Stardust project; planned mining methods and mineral processing; break-even cost for the Stardust project; British Columbia as a reliable jurisdiction for mining; proposed timing of exploration and development plans; potential conversion of inferred resources to measured and indicated resources; potential extension and expansion of mineral resources; the potential impact of the COVID-19 pandemic; and the focus of the Company in the coming months. Forward-looking information is often, but not always, identified by the use of words such as "seeks", "anticipates", "plans", "continues", "expects", "projects", "predicts", "potential", "targets", "intends", "believes", "potential", "budgets", "schedules", "estimates", "forecasts" and similar expressions (including the negative of such expressions), or describes a "goal", or variation of such words and phrases or state that certain actions, events or results "may", "should", "could", "would", "might" or "will" be taken, occur or be achieved. Forward-looking information is not a guarantee of future performance and is based upon a number of estimates and assumptions of management at the date the statements are made including, among others, assumptions about future prices of gold and other metal process; currency exchange rates and interest rates; favourable operating conditions; political stability; obtaining governmental approvals and financing on time; obtaining renewals of existing licences and permits and obtaining required licences and permits; labour stability; stability in market conditions; availability of equipment; accuracy of mineral resources; successful resolution of disputes and anticipated costs and expenditures. Management believes these estimates and assumptions are reasonable. In addition, many assumptions are based on factors and events that are not within the control of Sun Metals and there is no assurance they will prove to be correct.
Such forward-looking information, involves known and unknown risks, which may cause the actual results to be materially different from any future results expressed or implied by such forward-looking information, including, risks related to the speculative nature of the Company's business; the Company's formative stage of development; the Company's financial position; possible variations in mineralization; conclusions of future economic evaluations; business integration risks; changes in project parameters as plans continue to be refined; current economic conditions; future prices of commodities; fluctuations in the securities market; fluctuations in currency markets; change in national and local government, legislation, taxation, controls, regulation and political or economic development; inability to obtain adequate insurance to cover risks and hazards; possible variations in grade or recovery rates; the costs and timing of the development of new deposits; failure of equipment or processes to operate as anticipated; the failure of contracted parties to perform; the timing and success of exploration activities generally; delays in permitting; possible claims against the Company; the timing of future economic studies; labour and employee disputes and other risks of the mining industry; delays in obtaining governmental approvals, financing or the completion of exploration; relationships with and claims by local communities and First Nations; negotiations with the Takla First Nation; assumptions about the effect of the Covid-19 pandemic; and title to properties as well as those factors discussed in the Annual Information Form of the Company dated April 1, 2020 in the section entitled "Risk Factors", under Sun Metals' SEDAR profile at www.sedar.com .
Although Sun Metals has attempted to identify important factors that could cause actual actions, events or results to differ materially from those described in forward-looking information, there may be other factors that cause actions, events or results not to be as anticipated, estimated or intended. There can be no assurance that such information will prove to be accurate as actual results and future events could differ materially from those anticipated in such statements. Sun Metals disclaims any intention or obligation to update or revise any forward-looking information, whether as a result of new information, future events or otherwise unless required by law. Accordingly, readers should not place undue reliance on forward-looking information.
3 The cut-off grade used in the resource estimate was 1.5% copper equivalent (Cu Eq). Metal price assumptions for the Cu Eq calculation in this table were $3.00/lb Copper, $1.25/lb Zinc, $1,300/oz Gold and $18/oz Silver. Adjustment factors to account for differences in relative metallurgical recoveries of the constituents will depend upon completion of definitive metallurgical testing. The following equation was used to calculate copper equivalence: Cu Eq = Copper + (Zinc x 0.4167) + (Gold x 0.6319) + (Silver x 0.0087). A cut-off grade of 1.5% Cu Eq represents an in-situ metal value of approximately $100/tonne which is believed to represent a reasonable break-even cost for underground mining and processing. These are not mineral reserves and no work has been completed that demonstrates economic viability at the Project.
SOURCE Sun Metals
View original content to download multimedia: http://www.newswire.ca/en/releases/archive/November2020/26/c0967.html


Health care workers from our Rural Health Program in Bangladesh met with Rani and her family, including her husband, to explain the truth about leprosy and help them realize they had no reason to fear their daughter, sister and wife. She was not cursed, she simply had a disease that could be cured.
Thankfully, Rani was welcomed back into her home. But she recognizes the need for a community health care worker who can educate and monitor the people of her community. She and her husband now warn others of the symptoms of leprosy, and with your support, we reach this community with a health care worker specially trained in leprosy.
Poverty, lack of accessible healthcare and the deep myths of leprosy are barriers to ending this disease in Bangladesh. Our teams work with the Government of Bangladesh, partners and communities affected with leprosy to identify new cases and ensure they are treated.
Children are often forced to stay home from school because of the stigma around leprosy. Help make sure every child has an opportunity to go to school.


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PM & Cabinet sworn-in before they took oaths as MPs; Siritunga Jayasuriya
13 Aug, 2020 | 5:35 pm
Written by Zulfick Farzan 13 Aug, 2020 | 5:35 pm
Colombo (News 1st); The swearing-in ceremony of the Prime Minister and Cabinet of Ministers is unconstitutional, says General Secretary of the United Socialist Party Siritunga Jayasuriya.
He said those who were sworn-in following the election victory are yet to take oaths as Members of Parliament, adding the Prime Minister and the Cabinet are those who are yet to be recognized as MPs.
Siritunga Jayasuriya said as per the 19th Amendment to the Constitution, the President cannot hold a Ministerial Portfolio, however, the President now holds the Ministry of Defence.
He said the situation at present appears like the one which aims to further strengthen the existing constitution to further increase the powers of the President to engage in a path of dictatorial governance.
" This government is like a road roller, which is attempting to move forward by crushing all other ideas," said the General Secretary of the United Socialists Party.


The beginning of VGL e-Sports was marked in 2014. Makis Toganidis, founder of VGL, created a facebook group that was targeted at the time only towards the greek FIFA audience. Even though the team was small, through consistent efforts and work, several tournaments were conducted, multiple matches were played, and countless thrilling moments were experienced.
After a few years, John Vidalis became the co-founder of VGL and is now a vital part of this project. After his acquisition, the VGL team has begun growing even bigger.
We now have a graphic/web design department. We are affiliated with the developer team that created Joomsport. We have article writers providing you with your daily news feed. And most importantly, all of us together are organizing and forming the competitive environment you deserve.
Include in our eSports platform all major video games of the sports genre and become the de facto virtual esports community worldwide.
"We conduct online professional esports leagues in a fully organized and highly competitive environment for video games of the sports genre."
Every member of our team excels in their respective field. We are determined to provide the best possible esports platform you can find on the web. We are active almost non-stop, we cycle our priorities as needed, and we make sure to maintain all of our playerbase satisfied and able to enjoy their matches.
Play and get rewarded daily!
The players of VGL eSports are now going to earn a virtual personal wage from the club they are playing for. The administration will set up a wage limit per season and whoever reaches the target, based on his performance and activity, will participate in huge giveaways and money prizes.
The player's wage is going to be written in detail in the contract he signs.
Joomsport is the best and most up-to-date statistics tool that provides players with all the data they need, creating Leaderboards, Tournaments, Championships as well as photos,venues and an in-depth player profile details.
Our team is always close to the player, if you need any assistance or a problem occurred in our website, we offer you live support and many other contact services to get in touch with our team members.
We offer 2 rewarding systems for our community, except the GCoin that is rewarding you based on your performance and you can exchange it for real value products, we also offer cash prizes for the champions in our leagues.


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All about Nantucket's Meghan Trainor
By James Sullivan Globe Correspondent,September 16, 2014, 5:17 p.m.
Amy Sussman/Invision/AP
All her Cape Cod friends were crowded together to take a picture when Meghan Trainor's brother noted she was the odd duck. Her crew looked classically preppy in their white pants and pastel-colored shirts. Trainor was wearing her customary black-on-black.
To make the photo work, he put her in the middle.
"More shine for me," Trainor recalls with a laugh.
Raised on Nantucket and Cape Cod, the 20-year-old Trainor has parlayed her independent shine into a surprise, chart-topping late entry in the "song of the summer" sweepstakes. The young songwriter has become an overnight sensation with her recording of "All About That Bass," a happy-making modernized doo-wop ditty that celebrates plus-size figures who have "all the right junk in all the right places." The song has become the top-selling digital single and hit No. 1 on Billboard's Hot 100.
The wry, candy-colored video for "All About That Bass," directed by choreographer Fatima Robinson (who worked on the film "Dreamgirls"), features Trainor in an uncharacteristic dress-up wardrobe — all pink sweaters and white knee socks.
"I pictured it as a cartoon I'm going to play for the day, and it's gonna be adorable," she explains on the phone from Nashville, where she recently moved to write songs for Rascal Flatts and other acts. Now that her own debut has blown up "bigger than anyone expected, it's like, crap, I have to kind of look like that now."
Trainor began her career as a songwriter-for-hire in part because she can write in many styles, from country, hip-hop, and reggae to Trinidadian soca, which her mom's brother-in-law introduced to the family band. She began performing at age 12 at Nantucket watering holes such as the Muse and the Chicken Box with Island Fusion, an all-purpose party band that also included her aunt, her younger brother, and her father, Gary, on keyboards.
But if she composes all kinds of music, Trainor also gravitated to song publishing because she wasn't sure she was ready to be a star herself.
"I'm really bad with fashion," she says in a kind of hip-hop drawl. "I'm still waiting for the day they take me shopping and say, 'Here's what you're wearing.' " Being in Nashville, she says, "I bought the cowboy boots, but I never really rock 'em. I just want to wear, like, a black hoodie and black leggings."
"She thought she was one of the chubby girls who would never be an artist," says Gary Trainor, who runs a jewelry store on Nantucket with his wife, Kelli. But besides Meghan's obvious talent for adapting and synthesizing all kinds of music, her knack for performance was apparent, too.
At Nauset Regional High School, where she transferred from the Nantucket school system, she once filled in for an ailing cheerleader.
"She learned all these routines," says her father. "You'd never know she wasn't a cheerleader."
She took guitar lessons from Johnny Spampinato, the former NRBQ guitarist who is based on Cape Cod. "He was the first dude to teach me chords on a guitar," says Trainor, who also plays bass, keyboards, trumpet, and ukulele. "I owe him a lot."
At a music conference in Nashville a few years ago she introduced herself to another former NRBQ member, Al Anderson, who is now a successful songwriter. She explained to him that one of his old bandmates, the late Bob LaPalm, was her mother's uncle.
After her showcase set, Anderson "took one of my CDs, and he was blown away, I guess," she recalls. The songwriter urged his publisher, Big Yellow Dog Music, to sign her.
It was Epic Records chairman L.A. Reid who recognized Trainor's star potential, convincing her to step out as a recording artist after hearing her demo version of "All About That Bass." With producer Kevin Kadish, she released an EP called "Title" this month, and a full-length album due later this year.
In the whirlwind of her new song's success, the record label has not tried to dictate Meghan's image or get her to undergo "media training," her father says.
"I think they like her because she's real honest," says Gary Trainor, a former full-time working musician who plays organ these days in a Methodist church. "They like her to be herself."
As the contagious "All About That Bass" attracts waves of new fans each day, the song has also gotten a bit of backlash. Some have complained that the song disparages skinny girls. In the lyrics, Trainor calls them a name beginning with the letter B and vows that she "won't be no stick-figure silicone Barbie doll."
"At first I was a little hurt," Trainor says about the criticism. "But there've been too many nice, supportive comments. Nowadays I laugh — all I did was write a three-minute song, and they want to write blogs about it."
The song, she says, was just intended for herself, for fun. The fact that she's "started a cultural conversation" about body image, says her father, "is kind of cool."
It's a good time to kick off her own career, the singer figures, since the songs she's writing now are "too young for Kesha and too old for Disney."
Like the songs on the EP, the album will focus on being "an awkward 19-, 20-year-old, when you're pretty sure you're an adult but you're not, yet. All the songs sound very similar — very personal, girl-power anthems. I think people are going to like them."
James Sullivan can be reached at jamesgsullivan@gmail.com. Follow him on Twitter @sullivanjames.


text:
Blodkärlsdemens är en demens som ofta kommer efter stroke eller andra störningar i blodflödet. Sjukdomen kan utvecklas successivt och förändringarna kan komma snabbt även om orsaken har funnits flera månader. Demensen är ett samspel mellan efterverkningarna av stroke och sår i hjärnans struktur som ger upphov till svårigheter för hjärnan att fungera korrekt.

Referenser
 1177 om Blodkärlsdemens

Demenssjukdomar
Organiska psykiska störningar

redpajama_set_name: RedPajamaWikipedia


text:
Mystery - Thrillers
Death Comes as the End
Death Comes as the End quantity
SKU: 9780008196325 Categories: Books, English Books, Literature & Fiction, Mystery - Thrillers
(2017) A novel of anger, jealousy, betrayal and murder in 2000 BC
It is Egypt, 2000 BC, where death gives meaning to life. At the foot of a cliff lies the broken, twisted body of Nofret, concubine to a Ka-priest. Young, beautiful and venomous, most agree that she deserved to die like a snake.
Yet Renisenb, the priest's daughter, believes that the woman's death was not fate, but murder. Increasingly, she becomes convinced that the source of evil lurks within her own father's household.
As the wife of an eminent archaeologist, Agatha Christie took part in several expeditions to the Middle East. Drawing upon this experience and exhaustive research, she wrote this serial killer mystery laid in Egypt 4000 years ago.
Harper Collins UK
Charlotte Bronte EGP95.00 Add to cart
Kiera Cass EGP220.00 Read more


text:
Q: Font Face Weight Render Issue I'm in the process of migrating a website from an existing CMS over to WordPress. They use font-face for their primary type on the site. I've copied over the font files and replicated the CSS file but it appears that the font on the dev site is not rendering the same that it did on the initial site (dev site has lighter weighted font).
Anyone have an idea why this may be?
Dev Site: http://gldev.staging.wpengine.com
Original Site: http://growingleaders.com

A: Your dev site has a lighter font appearance because it uses
 -webkit-font-smoothing: antialiased;

which makes fonts appear lighter. This is done quite often for exactly this purpose, though doing so is somewhat problematic
The rule is applied on line 19 of your compiled CSS file, applied to all elements.

A: There are several differences on the Dev page compared to the original. If you look at the CSS file called screen.css it is a quite different file on the two sites, that is one of the reasons the fonts differ. Furthermore there are 13 CSS files linked to the original page and 15 to the Dev page. Also the scripts differ, so I wouldn't be surprised if there are even bigger discrepancies than the font rendering.
Copying a WP site can sometimes be more tricky than just copying files. I would suggest you use a good migrating tool. There are some out there.

A: I found the solution.
Apparently having text-rendering:optimizeLegibility; in your code causes webkit to render the font thinner than FireFox. Once that was removed from the HTML & body CSS, the font renders the same weight cross-broswer.

redpajama_set_name: RedPajamaStackExchange


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Digital Intent's Innovation Framework
Joe DwyerPartner at DI and Founder Equity. Kellogg professor. Investor, technologist, serial entrepreneur.
Digital Intent uses a specific definition of innovation that we believe provides utility for innovators. But our definition is still pretty broad. Given the work we do, certain types of innovation are more meaningful than others.
We propose a framework for distinguishing innovation based on four levels of increasing complexity. This approach is neither the only framework — there are many — nor necessarily the best for every purpose. But we do believe that it is the best framework for understanding how to pursue different types of innovation most effectively.
Existing Innovation Frameworks
Consultants and academics often codify their experience into frameworks, designed to abstract experience into principles that can be broadly applied to a variety of situations. By operating within frameworks, they're able to quickly navigate complex problems and arrive at novel solutions.
Many experts have described ways to distinguish between different types of innovation. What vectors of differentiation do they tend to use?
Our goal is to identify a consistent way to differentiate between various types of innovation that will inform us about when it's appropriate to change our process and decision-making.
Extent of innovation
Some distinguish innovation based on the extent of novelty, complexity, or change involved. The OECD describes four different types of innovation, one of which is incremental innovation:
"Incremental innovation: innovation that builds closely on technological antecedents and does not involve much technological improvement upon them."
"Incremental" and "sustaining" are two words commonly used for modest or low risk innovation. In a corporate context we often talk of "exploitation" (versus exploration) as well. The other end of the spectrum is described with a variety of words, each of which incorporates some nuances or variations of meaning. Examples include:
Disruptive innovation
Breakthrough innovation — generally used to describe significant, complex, and particularly meaningful innovation
Radical innovation — similar to breakthrough, but more likely to emphasize the novelty or risk associated with the process
Disruptive innovation is a term coined by Clayton Christensen in the mid 1990's to describe a specific form of creative destruction which is rooted in Joseph Shumpeter's concept of creative destruction.
Steve Blank called out Christensen (and Shumpeter's) theories in a 2014 speech:
"Disruptive innovation – this is the innovation we associate with startups. This type of innovation creates new products or new services that did not exist before. It's the automobile in the 1910's, radio in the 1920's, television in the 1950's, the integrated circuit in the 1960's, the fax machine in the 1970's, personal computers in the 1980's, the Internet in the 1990's, and the Smartphone, human genome sequencing, and even fracking in this decade. These innovations are exactly what Schumpeter and Christensen were talking about. They create new industries and destroy existing ones. And interestingly, in spite of all their resources, large companies are responsible for very, very few disruptive innovations."
The term has become very popular, but has also been critiqued. Christensen defended his theory in 2015 by re-emphasizing the narrow scope of what he considered disruptive.
Specifically, Christensen's term described innovation by upstarts targeting unmet needs in "low-end footholds" that the incumbents had ignored or been unaware of. He also clarified that for something to be disruptive (according to his definition at least), the existing market had to consider it undesirable at first. He went on to argue based on these tests that Uber is not a disruptor. Commence head scratching.
It appears, by the way, that Steve Blank probably understood disruption to be a broader concept than Christensen intended. After all, automobiles, television, and the fax machine are hard to fit into the notion of a low-end foothold.
Christensen has since walked back from his position that Uber is not disruptive, but the fundamental fact remains that the term he popularized—to him at least—is quite narrow, and rooted primarily in Joseph Shumpeter's original concept of creative destruction.
The concept of creative destruction, while useful, is still largely a theoretical construct. Christensen inarguably contributed to economic theory with his notion of disruptive innovation, but it's not clear to us due to its narrowness that it offers a particularly useful rubric for understanding innovation.
When most people use the word disruptive innovation, they probably mean the broader notion of innovation that disrupts an industry. That's the meaning we assign to it at Digital Intent unless we specifically invoke Christensen.
In this broader conceptual vein, using the extent of innovation to distinguish types of innovation seems useful. If you're doing something incremental, it seems more likely that traditional management orthodoxy would be appropriate. If you're doing something disruptive, it seems much more likely that you would need to adopt new strategies to accommodate. But still, the terms we're discussing feel like blunt instruments that don't offer enough utility for our purposes. Let's keep looking.
What you're trying to improve
Another way to think of innovation involves what you're trying to improve. For example, the same OECD report mentioned above describes product, process, marketing, and organizational innovation. Each of these appears to distinguish between the types of resources or capabilities an organization is trying to improve. An example:
"Product innovation: development of new products representing discrete improvements over existing ones."
A different approach has been written about by Doblin in its Ten Types of Innovation. They focus on the ten different innovation targets, including: profit model, network, structure, process, product performance, product system, service, channel, brand, and customer engagement.
It's definitely a worthwhile read. Jay Doblin, the cofounder, was an iconic designer with expertise in systems thinking and design theory. As a result, their approach tends to be derived from a product design perspective, and may not be as useful when it comes to the broader context, and specifically in the context of technology and business model innovation.
Steve Blank also talks about process innovation, but his version is different and would probably be labeled incremental or sustaining innovation by most:
"Car companies introduce new models each year, running shoes grow ever lighter and more flexible, Coca-Cola offers a new version of Coke. Smart companies are always looking to make their current products better – and there are many ways to do this. For example they can reduce component cost, introduce a line extension or create new versions of the existing product. These innovations do not require change in a company's existing business model."
In fact, today this sort of innovation seems a lot more like everyday execution than innovation.
Steve also talked about business model innovation, which probably falls under the "what you're trying to improve" umbrella.
What's a business model? That has been described many different ways, much like the definition of innovation. And similar to innovation, we have a preferred definition, specifically Blank's:
"A business model describes how your organization creates, delivers, and captures value."
Business model innovation and disruption often go hand-in-hand; successfully creating new ways of creating, delivering, and capturing value is often disruptive. (By the way, around Digital Intent you'll hear us use the term "value creation model" frequently in place of business model. That's a nod to the fact that commercial value creation isn't the only game in town.)
Is defining innovation based on what you're trying to improve the best approach for our purposes? Probably not.
Innovating a product or process, for example, probably has a lot of similarities from the perspective of team, organization, and the path it takes—and as a result aren't as useful for our clients trying to take a strategic approach to innovation.
It's probably more important to understand how radical the change is than what's being changed. The exception might be business model innovation due to its likely implication of breakthrough or disruptive innovation (when successful).
Time horizon
Ralph-Christian outlines a concept he calls "Dual Corporate Innovation Management" that involves a balance between exploitation-oriented and exploration-oriented initiatives.
He identifies three (time) horizons for innovation based on balancing exploitation ("enhancing existing business models or technological capabilities") and exploration ("novel, and often disruptive, business models or technological capabilities") for establishing organizations. He advocates an innovation management system based on a portfolio approach driven by a gap analysis. Importantly, he points out that exploitation and exploration require different approaches to achieve success. In the end, he describes three horizons of innovation: core, growth, and future. His approach is useful from a corporate strategy perspective, and is rooted in traditional management orthodoxy. But it's not really aimed at distinguishing different types of innovation.
McKinsey also describes three horizons of growth:
Horizon 1 — maintain and defend core business
Horizon 2 — nurture emerging business
Horizon 3 — create genuinely new business
As they say, "Time, as noted on the x-axis, should not be interpreted as a prompt for when to pay attention—now, later, or much later. Companies must manage businesses along all three horizons concurrently."
This seems like a sort of GTD (Getting Things Done) for corporations (Inbox, Today, Someday). It's useful as a tool for allocating time and energy, but not as useful for understanding the nature of the innovation you're undertaking, and not particularly informative about how you organize, lead, and manage the team that's involved. It's also not particularly useful outside of the context of an existing corporation.
Greg Satell's 4 types of innovation
Greg Satell describes a matrix-style approach he describes as the "4 Types of Innovation." His model incorporates the notions of domain and problem, asking the following questions:
How well is the problem defined?
And how well is the domain defined?
From that, he outlines a four-part matrix that includes:
Breakthrough innovation
Sustaining innovation
A key insight he offers is that when the marketplace shifts, often "innovating your products won't help—you have to innovate your business model." We find his approach to be insightful and interesting. But we believe his emphasis on problem as one of the vectors misses an opportunity. Whereas clarifying a problem is very important, particularly early on, we don't believe it's as useful to focus on that vector.
Digital Intent's 4 levels of innovation
Digital Intent borrows from Greg Satell's approach, but replaces the system (e.g., the value creation model) for the problem. Our two vectors:
System is the value creation model (e.g., business model)
Domain is the combination of resources and context, including underlying technology, geography, and other components to the system of value creation.
We also change the nature of the questions asked. Instead of asking how well the vectors are defined, we ask "how familiar is it?" The answer ranges along a spectrum from familiar (to the team), to unfamiliar (to the team), to novel (to the world):
Known to me — New to me — New to the world
This enables our framework to view the vectors more simply and objectively. It also more explicitly accounts for both the novelty and the relationship between the novelty and the organization involved.
We believe this new approach changes the model significantly, making the framework more useful. For example, this model makes it more natural to recognize tiered levels of innovation, which we found to be useful when we first looked at distinguishing innovation based on extent (above). It also recognizes that innovation can be experienced differently for different organizations.
Digital Intent's four different levels of innovation:
Level 1 — Optimization: Familiar system and domain.
This is a known system of value creation using known resources and technology. These sorts of innovation tend to have clear proxies, and offer predictable timing, budget, and resource requirements. It's easy to measure and manage risk, and it's reasonable to expect a steady upward progress. It's arguable this isn't even really innovation, although we think it's fair to use the term here as long as we're careful to differentiate from other types of innovation.
Level 2 — Change: Unfamiliar system and / or domain.
There's nothing truly novel (to the world) here, but something is unfamiliar to the team. Perhaps it's the implementation of new (to you) technology or a new (to you) revenue model. This sort of innovation still offers a relatively predictable path, but it's riskier and harder to predict than level 1. These innovations tend to take longer than level 2 innovations.
Level 3 — Transformation: Somewhat novel system and / or domain.
Level 3 innovation often involves new technologies and business models, albeit not radically so. Usually there are somewhat close proxies or partially understood or known technology. It starts to become hard to predict path, timing, budget, and required resources. Risks are very hard to assess. Often the complexity is in the combination. This sort of innovation tends to take a longer time.
Level 4 — Breakthrough: Truly novel system and / or domain.
Breakthrough innovation is the process of bringing to market a truly novel business model or domain. Either or both of the system or domain is new to the world. These sorts of innovations tend to take a very long time and are fraught with risk and uncertainty. They also tend to create significant value when they're successful.
The Benefits of Innovation Frameworks
This approach to distinguishing types of innovation has the benefit of simplicity, with only two factors to consider. Each of the levels also has natural implications for key factors such as level of uncertainty and risk, volatility, predictability, typical timelines, etc. That's useful because these are the factors that typically force changes in strategy, organization, and process to maximize the odds of success. By tying them naturally to the levels of innovation, we are increasing the usefulness of the framework.
The framework also works both in the context of a corporation, and for startups. And it recognizes that what might be transformative for one organization might be mostly change or optimization for another.
It has some weaknesses as well. The rating of the vectors is subjective. The model also may miss nuances (or perhaps substance) in the differences between innovation based on system vs. domain. After all, core technology innovation likely has meaningful differences from business model innovation.
Overall, however, we have found it a useful approach to differentiating innovation for the purposes of understanding how best to drive efficient value creation for our clients.
We host regular workshops and produce a monthly digest on innovation. Join the conversation.


text:
State investigates 31 facilities in Brown County as COVID-19 cases exceed 1,700, with 12th death
Haley BeMiller Doug Schneider
GREEN BAY - Thirty-one facilities in Brown County are under investigation by the state after at least one case of the coronavirus emerged within their walls, newly released numbers show.
The state Department of Health Services is looking into 14 long-term care facilities and 14 other workplaces in Brown County as the virus continues to spread at a dramatic rate, with nearly 70 new cases reported Thursday and a 12th death in the county. Officials are also investigating cases at three group housing facilities, which include prisons, homeless shelters and dormitories.
Among Wisconsin's 72 counties, only Milwaukee County has more facilities under investigation than Brown County. A state health department spokeswoman did not immediately respond to a request for details about the investigations.
The probes come as cases of COVID-19, the disease caused by the coronavirus, rapidly approach 2,000. County health officials on Thursday reported 1,704 confirmed cases and the death of an 86-year-old man in the Pulaski area. Cases in the Oneida Nation increased by three from the day before, totaling 17.
Forty-four people were hospitalized in the county.
LIVE UPDATES: The latest on coronavirus in Wisconsin
DAILY DIGEST: What you need to know about coronavirus in Wisconsin
Nearly 40% of the county's cases are tied to meatpacking plants, which have come under scrutiny nationwide as workers fall ill amid conditions that allow the virus to thrive. Health officials have confirmed outbreaks at JBS Packerland and American Foods Group in Green Bay and Salm Partners in Denmark.
The Green Bay Press-Gazette has also identified cases at two long-term care facilities: Country Villa Assisted Living in Pulaski and Woodside Manor in Ashwaubenon. Managers at each facility have declined to disclose the number of residents and employees who are sick.
State officials initiate investigations at long-term care facilities when one case emerges. Two or more cases must be confirmed to launch a probe into other facilities.
Also Thursday, county health officials reported:
» Another 450 people were tested for the coronavirus Wednesday at county-run sites at Casa ALBA Melanie in downtown Green Bay and the Resch Center in Ashwaubenon.
People who live or work in the county should schedule a free test at one of the facilities if they are exhibiting at least one symptom of coronavirus, or have been ordered by their employer to be tested. To schedule a test, go online to StayHealthyBC.com or call 2-1-1. Instructions are available on the website in English, Spanish and Somali.
The symptoms: a fever of 100.4 degrees or more; feeling unusually warm to the touch, or experiencing sensations similar to previous experiences of fever; cough; shortness of breath or difficulty breathing; sore throat; headache; chills or rigors (repetitive shaking chills); muscle aches; new loss of taste or smell.
In all, the county has conducted 2,329 tests since the Resch site opened April 30.
» Results from tests conducted at those sites will be available five to seven days after a person has been tested. Individuals will be contacted directly, using information that they provided to the county.
» The number of people released from isolation grew by nine, to 259.
Contact Haley BeMiller and Doug Schneider at hbemiller@gannett.com and dschneid@gannett.com. Follow them on Twitter at @haleybemiller and @PGDougSchneider.


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Showers early, then cloudy in the afternoon. High 54F. Winds light and variable. Chance of rain 40%..
Cloudy skies early, followed by partial clearing. Low 36F. Winds light and variable.
Christine Flowers
Christine Flowers: Don't force your sons to see 'Little Women'
Daily Citizen-News
On Christmas day, Greta Gerwig's updated version of the young adult classic "Little Women" opened in theaters to great acclaim, fantastic reviews and strong box office numbers.
And yet, some women found fault with the fact that not enough men were flocking to see it.
In a piece for the New York Times, writer Kristy Eldredge observed that the film hadn't garnered a lot of award nominations from the Screen Actors Guild (zero) and the Golden Globes (two,) and mentioned that the audiences seemed to be overwhelmingly filled with women. Film producer Amy Pascal agrees, arguing in Vanity Fair that many male awards-season voters are skipping Gerwig's adaptation because they think it's not for guys.
Eldredge seemed to blame men for not appreciating female-centric stories and framed it as some sort of character flaw that society needed to address: "If many men haven't wanted to give it a chance because they don't think it's meant for them, we still have a way to go in considering all kinds of narratives about women to be deserving of thoughtful attention."
It's not surprising that a story about the relationship between four Civil War-era sisters written more than 150 years ago and with absolutely no battlefield scenes is not a favorite with the Xbox set. While there has always been some cross-gender interest in young adult literature like "A Separate Peace" and "Catcher in the Rye" which have strong male characters, there is a universality of message in those books. In other words, Holden Caulfield's existential angst and the rough contours of Gene and Phinny's tragic friendship have resonance beyond their masculinity. You could imagine a female Holden, or an equally traumatic betrayal between two young women at an all-girls school.
But "Little Women" is really just a movie about females, and their dreams and aspirations and disappointments, and that's perfectly OK. In fact, it's sublime. The book and the movies adapted from it are some of the most touching examples of female bonding in literary and cinematic history. As a Bryn Mawr graduate — like Katharine Hepburn — I am partial to the 1933 film, but Gerwig's adaptation is exceptional and deserving of all the accolades it will earn, despite the naysayers.
But it is a bit ridiculous for women to be complaining that men are not interested in a book and movie called, for lord's sake, "Little WOMEN." This preoccupation with "gender parity" has become cult-like.
I know a bunch of boys around the age of 11 or 12 who love dinosaurs and Jedis. They also love "Harry Potter," "The Lord of the Rings," R.L. Stine, and any number of things that girls the same age might also enjoy. These are clearly things that bridge a gender divide because they are not specifically "male" or "female."
But when I was growing up, there were toys you gave to boys and toys you gave to girls, and it was not considered a hate crime to insist that your daughter not be given a G.I. Joe doll or that your son put down the Barbie. It was OK to recognize that there were stereotypes for a reason, namely, that boys and girls had different interests.
I don't share the angst over a presumed lack of interest on the part of men about the destinies of Meg, Jo, Amy and Beth March.
Ironically, Louisa May Alcott herself wasn't thrilled with the idea of writing what she called a "girls' story." She wrote in her diary: "I plod away, though I don't enjoy this sort of thing. Never liked girls or knew many, except my sisters; but our queer plays and experiences may prove interesting, though I doubt it."
If even the writer of this wonderful girls' story doesn't expect boys to like it, why in the world should we?
Christine Flowers is an attorney and a columnist for the Philadelphia Inquirer. She can be reached at cflowers1961@gmail.com.
Kristy Eldredge
NFL player Mack's high school jersey to be retired Friday night at Northwest


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Women, Power and Politics
Marie Jones, Moira Buffini, Rebecca Lenkiewicz, Lucy Kirkwood, Joy Wilkinson, Zinnie Harris, Bola Agbaje, Sam Holcroft, Sue Townsend
Tricycle Theatre, Kilburn
To 17 July 2010
Following the overwhelming success of The Great Game: Afghanistan a year ago (returning on 23 July), Nicolas Kent has obviously got the taste for cycles of short plays. For this new series, he has asked his collaborator from that project, Indhu Rubasingham, to direct all nine plays, which must have been a real challenge. Pleasingly, with the assistance of her versatile cast, she seems well up to the task of bringing such a wide range of theatre to her audience.
The subject matter of Women, Power and Politics is summed up nicely by the title. For 6½ hours, including a 75-minute dinner interval, nine female playwrights plus verbatim specialist Gillian Slovo explore every aspect of the subject from the sacred to the explicitly profane.
To set the scene, designer Rosa Maggiora has painted the floor of the playing space with an image of Britannia backed by the union flag. The patriotic imagery is then repeated on the partly hidden proscenium arch.
The first part of the programme, subtitled "Then" is historical, ranging from the period of the first Elizabeth to middle years of the second, while the five plays contained in "Now" need no further explanation.
Between each play, Miss Slovo provides carefully edited extract of interviews with some of the most powerful women in British politics over the last 30 years. Between them, the likes of Shirley Williams, Ann Widdecombe and Jacqui Smith explore a variety of issues of the period from the deeply serious to the blatantly frivolous - everything from positive discrimination in selecting parliamentary candidates to the political consequences of low-cut blouses.
The Milliner and the Weaver by Marie Jones
The mini marathon gets off to a powerful start, as two suffragettes meet in Belfast in 1914. Niamh Cusack plays Henrietta, a hard-working widow with six children who has been inspired by the upper class milliner, Stella Gonet's Elspeth.
After court appearances and a rift, the two friends are reunited to talk over the past and future of their movement but also the efforts of Sir Edward Carson to fire up Ulster Protestants and foment war against the imminent prospect of Home Rule for Ireland.
Marie Jones is an experienced playwright who knows exactly what can be done in half an hour or so, turning both of her characters into highly believable people and exploring deep issues of politics, sectarianism and feminism in considerable depth.
Handbagged by Moira Buffini
After a brief Verbatim interlude from a self-important Edwina Currie, Moira Buffini creates what might be many people's worst nightmare, a play with not only the Queen portrayed simultaneously by two actresses but also a double dose of Margaret Thatcher.
With the assistance of Tom Mannion's absolutely convincing Ronald Reagan, a quartet of actresses gently explore the sometimes strained relationship between the most powerful woman in the United Kingdom and her closest competitor. It seems safest to leave readers to decide which is which.
The Lioness by Rebecca Lenkiewicz
What could have been an overly serious topic is viewed lightly by Rebecca Lenkiewicz. With the assistance of a carefully drilled Niamh Cusack, she paints an affectionate portrait of the life and extraordinary times of Queen Elizabeth I, The Lioness of the title.
This is achieved in a number of brief episodes, as the Queen first comes up against Simon Chandler playing her nosy and embarrassingly intrusive doctor, then Mannion as the heavily bearded, puritanical Scot John Knox, before falling in and out of love with Oliver Chris' smug but doomed Earl of Essex.
Throughout this short play, we get the opportunity to see a surprisingly mischievous monarch toying with her subjects, while always aware of her Majesty and personal achievements.
Bloody Wimmin by Lucy Kirkwood
It is quite an achievement to write quite such a varied if uneven play with a running time of around 30 minutes. Overall, Lucy Kirkwood has created a work that is both politically incisive and humorous.
It starts with an overly clichéd set of "Wimmin" protesting outside the Greenham Common American Air Force base. They are lesbian, boring, and wear bad clothes, to match up to the traditional image.
Bloody Wimmin only really takes off when one of the women Helen, played by Claire Cox, comes home to face her dull husband Bob (Oliver Chris). He is so unsympathetic to her cause that the pregnant protester triumphantly returns to the air base to have a child and bring him up within the mutually self-supporting community.
Where Miss Kirkwood really scores is then taking the play on a generation so that that former foetus, John Hollingworth as James, has become a grown man protesting about climate change in Blackheath. There, he is forced to face up to his own fears when sexy Sophie (Lara Rossi) grabs his limelight before making a man of him and then completing the circle by interviewing her secretly radical grandmother.
Acting Leader by Joy Wilkinson
Following the dinner break, the first play in the "Now" series attempts to explore the experiences of Margaret Beckett, the deputy leader of the Labour Party at the time that John Smith died in harness.
While Niamh Cusack (wo)manfully portrays the ultimately disappointed contender for the Labour Party leadership, Lara Rossi does a fine job of playing every other part, both male (including Prescott, Blair and a strangely silent Mandelson) and female, with the real highlight Clare Short.
The Panel by Zinnie Harris
Zinnie Harris would seem to have lost the plot, in that her play not only ignores politics in the normal sense of the word but has a cast of five, every one of whom is male.
We need not have worried, since the subject matter is very much feminist, as a tedious board room full of self-important male bores tries to select someone to fill an executive post from an all woman shortlist.
In a kind of playwriting exercise, they ring every variation of positive and negative comment on the performance and appearance of the women that they have seen.
Playing the Game by Bola Agbaje
Bola Agbaje has taken a rather different and much breezier view of politics, looking at the student variety through the eyes of a trio of young women.
The opening looks like a cross between an exercise video and a mildly pornographic music equivalent, as Amy Loughton's Akousa, "a low maintenance girl", is put through her paces by the kind of gold digging friends that nobody needs, Charlene and Jenny, respectively played by Claire Cox and Lara Rossi.
We eventually discover that Akousa is standing for president of her student union, while her friends hope to cash in if she is successful.
The comedy in the piece comes from the means that politicians (or more particularly their spin doctors) are willing to use to achieve their goals. At various times, the prospective president finds herself promoted as "a slut" and "a lesbian" before finally proving to be a canny, political opportunist who has the kind of ruthlessness that promises a successful career in parliament.
Pink by Sam Holcroft
The most enjoyable play in the sequence is a lovely political fantasia that brings together a female Prime Minister and a porn star turned successful businesswoman.
Heather Craney is all too believable as Kim, a celebrity who is proud of her dark past and about to launch her latest line of sex products on a TV chat show.
Her secret connection to the Prime Minister Bridget, played by Stella Gonet, is eventually revealed, at which point the steely-hearted politician resorts to what can only be described as blackmail to get her own way.
In doing so, the pair form an unholy and most unlikely alliance to promote the female cause through blue movies.
Pink works on two levels. It is a light-hearted comedy that pokes equal quantities of fun at politicians and porn stars but, underlying the humour, some serious messages come across about the nature of celebrity, gender relations, the claiming of expenses and the burden that spouses can put on their already overworked husbands and wives.
You, Me and Wii by Sue Townsend
The final play in the sequence brings the local Labour MP, Claire Cox as Selina, into a deprived Leicester household comprising four equally terrifying and depressing generations.
Grandma Sheila (Kika Markham) is the matriarch, ruling a roost that must receive incredible amounts in welfare with a family that includes her daughter Kerry, granddaughter Courtney (Amy Loughton playing a single mother of 14) and grandson Vincent (Felix Scott in the role of a soldier suffering from post-traumatic stress syndrome and reduced to videogames as a life-support), not to mention the rather plastic baby.
The day does however end on a hopeful note, as with the help of Selina, the family begins to recover at least a modicum of pride, although there must be doubts about whether this can last beyond the end of her visit.
Playing until 17 July


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Чесак — фамилия. Известные носители:

 Чесак, Валерий Алькорович (род. 1969) — советский и украинский легкоатлет.
 Чесак, Григорий Сергеевич (1922—1987) — Герой Советского Союза.


Der Artikel Roderick Elms (geb. 1951): Festive Frolic - Weihnachtslieder-Arrangements wurde in den Warenkorb gelegt.
Roderick Elms' Christmas music ranges from charming and witty arrangements of well-loved traditional carols to new settings and festive orchestral pieces written for this very special season. The charm and immediate appeal of his music has been captivating audiences across the country for many years and this selection represents some of his most popular works, together with a few new ones such as the spectacular suite Wassail Down the Wind for organ and orchestra.


text:
Lovranska Draga je naselje u Hrvatskoj u općini Lovranu. Nalazi se u Primorsko-goranskoj županiji.

Zemljopis
Istočno je Tuliševica, sjeveroistočno je Liganj, jugoistočno je Medveja, zapadno je Lovranska Draga, sjeverozapadno je park prirode Učka.

Stanovništvo

Spomenici i znamenitosti
 Umjetnička instalacija "Puli Mȁlina" (kod mlina) - na renoviranim ostacima starog mlina uz planinarsku stazu u Lovranskoj Dragi izgrađen je site-specific umjetnički paviljon "Puli Mȁlina" umjetnika Davora Sanvincentija. Paviljon je izrađen od prirodnih materijala iz neposredne okoline – kestenova drva (maruna) te kamena. Koncept paviljona temelji se na ideji stvaranja prostora koji, procesima integracije u već postojeći okoliš Lovranske Drage, postaje mjesto susreta i odmora, odnosno prirodni zaklon te mjesto učenja o posebnostima ovoga kraja. Na datume godišnjih ekvinocija – zbog specifičnoga položaja južnoga prozora – posjetitelj ima priliku doživjeti susret i igru sunčevih zraka i vode.

Izvori

Mrežna sjedišta

Naselja u Primorsko-goranskoj županiji


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Susan C. Schnabel is the Co-Founder and Managing Partner of aPriori Capital Partners, an independent leveraged buyout fund advisor created in connection with the spin-off of DLJ Merchant Banking Partners ("DLJMBP") from Credit Suisse ("CS") in 2014.
Prior to forming aPriori Capital, Ms. Schnabel worked at Credit Suisse as a Managing Director in the Asset Management Division and Co-Head of DLJ Merchant Banking Partners. She was responsible for originating new investments and monitoring existing investments and served on its Investment Committee.
Ms. Schnabel joined Credit Suisse in November 2000 through the merger with Donaldson, Lufkin & Jenrette (DLJ), where she was a Managing Director. Prior to the merger with Credit Suisse, Ms. Schnabel spent three years at DLJ Merchant Banking Partners, and was responsible for directing DLJ's principal investing activities in the Los Angeles office. Prior to that Ms. Schnabel served as Chief Financial Officer of PETsMART (PETM). Previously, Ms. Schnabel worked at DLJ starting in 1990 and has held various positions in their investment banking operations, specializing in public and private high yield debt and equity financings and mergers and acquisitions advisory for a variety of industries including retail and consumer, energy, telecommunications and technology. Prior to that, she worked at Drexel Burnham Lambert, Beverly Hills, in 1988 as an associate.
Ms. Schnabel serves on the Harvard Business School Alumni Advisory Board, the Cornell University Council and the Board of Directors of the Los Angeles Music Center Foundation. Susan is a member of the Leadership Council of International Medical Corporation (IMC), US Olympic & Paralympic Foundation Trustee Council, C200 and The Pacific Council.
Ms. Schnabel holds a B.S. in Chemical Engineering from Cornell University and an M.B.A. from Harvard Business School.


'Nocturnal Emissions' is. Yab-Yum's long awaited debut album.
With a more mature, smoother and funkier sound, it is the stunning outcome of the hard studio work, live experience and enduring friendship of two multi-talented space cadets!


October has ended and we want to keep you updated.
The month of October brought new horizons for College Vybz. Our focus has been aimed at getting you more entertaining content. We add a few features, some you know from last year's collaborations and brand new faces and voices for you to savour.
As most of you know College Vybz is a University-based organization and as such we aim to showcase talented youths within the community. We featured upcoming artiste Alex Brown, stage name Sub Zero. He is not new to music and has been performing at local campus events and other productions. His music is very versatile and while it centres on wooing the females, he is well equipped to deliver a "gangster" vibe. We believe Sub Zero has the potential to become one of Jamaica's biggest artiste, and we look forward to all he has to offer.
From the dancehall to reggae, Irie Souljah is another recording artiste recently featured on our series "Vybing With" available on our YouTube channel. Irie Souljah is a spiritual and humble individual whose music heals and relaxes the soul. College Vybz became aware of his talents through our own, Koro Fyah the very first artiste featured on the series.
We intend to use our "Vybing With" platform to showcase great music and other artistic creations.
It's the season of preparation for Work and Travel next year. Most sponsors have already closed off, but there might still be a chance for you to sign up. If it is to be your first time and you are still a bit apprehensive about the experience, you can visit our website for more information on the Summer Work and Travel Programme.
As the name suggests, Mid-term Exams means that you are almost done with another semester. It also means you are at that point where you need to ensure that you are on the path to acing your classes. Revision is key, as it familiarises you with the information you might not have grasped in the classroom. Even though you might be fatigued by assignments and other personal problems just remember that you got this, it's almost over. HANG IN THERE!


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Research and Knowledge Exchange
Research and Knowledge Exchange home
Research centres highlights
The College is home to over 70 research centres and institutes.
In the College of Arts, Humanities and Social Sciences, many research centres/institutes have been crucial catalysts in developing new collaborations within and across Schools. This has resulted in significant research income and increases in numbers of staff and students in our research community. They have been especially helpful in facilitating interdisciplinary work which has attracted important research council support and also as focal points for philanthropic donations.
Some centres have attracted significant external funding from the UK research councils and other sources.
CAHSS Guide for setting up a research centre, reporting and reviewing (EASE login required)
This section highlights the work of some of the Research Centres and Institutes within the College.
Centre of African Studies
Staff from the Centre of African Studies
The University of Edinburgh has important and long historical connections with Africa. The Centre was founded in 1962 as one of the original African Studies Centres in the UK established by the Hayter Commission and today is of the world's leading hubs for the study of the African continent. The Centre of African Studies acts as a focal point for postgraduate teaching and supervision on Africa and a hub for research programmes that span all three of the University's colleges. Our range of postgraduate degrees has expanded recently and we offer both on-campus and e-learning programmes. The Centre regularly appears at the top of Good University Guides, hosts a vibrant, cutting edge research community and delivers a range of high quality masters and doctoral programmes. Our students prepare for careers in academia and beyond: two former students featured in a recent 'top 50 influential Scots' newspaper feature, and many other of our graduates have pursued successful academic, non-profit and government careers. Our researchers are internationally recognised. We currently host over a dozen research projects, including several large, international collaborative projects, and engage in multidisciplinary research that seeks to shed new light on Africa's past, its politics, its development and its future. We act as a cultural hub for Africa in Scotland and in the UK. We support the highly successful Africa in Motion annual film festival, the Edinburgh International Book Festival, we have close working relationships with the Scottish Parliament and Government and with local and African NGOs, we engage with African communities in Scotland and we seek to forge closer relationships between Scotland, the UK, Europe and Africa. The Centre in June 2019 will host in Edinburgh the European Conferences on African Studies (crf. 1,500 participants).
Visit the Centre of African Studies website to learn more.
The Princess Dashkova Russian Centre
Edinburgh Makar Christine de Luca reads her translation of a Russian poem by Marina Boroditskaya at the Sonnets Exchange event hosted by the Princess Dashkova Russian Centre in collaboration with the British Council Scotland.
Founded in 2010, the Princess Dashkova Russian Centre advances knowledge in the field of Russian language studies and fosters a broader understanding of Russia through
research, academic training and knowledge exchange. Named after Princess Ekaterina Dashkova, the first woman Director of Russian Academy of Science who lived in Edinburgh from 1776 to 1782, the Centre builds on 250 years history of academic contacts and exchange of ideas between Scotland and Russia.
The Dashkova Centre provides a hub for intellectual exchange and debate by hosting international research fellows and organising open research seminars, conferences, workshops and lectures, including the prominent Honorary Dashkova lecture and Honorary John Erickson Lecture hosted by the Principal. In order to foster interdisciplinary work in the broader field of Russian Studies the Centre has incorporated a Russian Cross-Disciplinary Research Group spanning seven University Schools.
In addition, the Dashkova Centre serves as a platform for showcasing Russian culture in Scotland and cultural diplomacy, successfully outreaching to experts and the wider community. Among the most popular cultural events hosted by the Centre are 'The Russian Word in Scotland' series of events with Russian writers and Russian Film Festivals. The Centre enjoys numerous academic and cultural collaborations with partners in the UK and across the world.
Visit the Princess Dashkova Russian Centre website to learn more.
Find out about previously highlighted research centres
This article was published on 14 May, 2019


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