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TRICARE Overseas Philippines
A site to discuss and learn about TRICARE Philippines Policies and Issues that are often times implemented in secret by the Defense Health Agency (DHA). Policies that result in payments at about 7.7% and 3.8% of what they should be or $328 per under 65 person instead of the expected $4,261 & $328 per over 65 person instead of the expected $8,650.
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What Constitutes a Semi-Private Room under the Demonstration?
Posted on June 25, 2013	by TRICARE Overseas Philippines
According to the TRICARE Management Activity (TMA) Demo patients are not entitled to use private rooms at Approved hospitals unless the hospital certifies that they have no Semi-Private Rooms.
A recent incident involving the wife of a retiree who was undergoing surgery brought this abomination to our attention when she was placed in a room with six beds and six cots for watchers. In addition these 12 people plus multiple family members shared two commodes and wash basins. For showers these patients shared 3 male and 3 female showers with 30 patients and 30 watchers as well as any staff that felt the need to shower and the showers were some 10 meters down the hall from the so called semi-private room.
Multiple attempts by the sponsor to address the issue with Global 24 only resulted in him being told his wife's accommodations met the standards for the Demo but he was welcome to pay for a private room if he wanted. Later Frewen from International SOS (ISOS) refused to allow discussion of what constitutes a semi-private bed under the Demo during a scheduled teleconference. See Ward Accommodations for our request and Denied for their response. In spite of his refusal to discuss what local hospitals feel constitute a Semi-Private Room, the representative from the RAO Manila still brought it up. And while he still refused to discuss the issue, Frewen did make a startling comment when he claimed that any room with six beds was a ward and not Semi-Private and in apparent direct contradiction to what TMA thinks. As you will see later he was overruled by both TMA and Makati Medical Center (MMC). But it does clearly show that even Frewen didn't buy into what MMC calls Semi-Private.
So what do you feel constitutes a Semi-Private Room? We found there are a number of definitions from around the world that tend to all agree. But we found a total absence of what Philippine hospitals define as Semi-Private on the web. The following definition pretty much matched what we did find.
As defined by The Free Dictionary; semiprivate – "Shared with usually one to three other hospital patients: a semiprivate room." They also reference their source as, The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2009.
After the teleconference we attempted to address the issue with TMA. In response they said 32 CFR, Part 199.4(b) (5)(i), which states "A semiprivate accommodation is a room containing at least two beds. Therefore, if a room publicly is designated by the institution as a semiprivate accommodation and contains multiple beds, it qualifies as semiprivate for the purpose of CHAMPUS." They further said if a beneficiary was unhappy with what TMA provides they are always free to pay for the difference in cost.
Before we continue with this discussion everyone should read and understand the following as it should have, for caring administrators, a significant effect on their decisions involving care under the Demo. However it seems the bureaucrats at TMA feel they can totally disregard this provision within their own manuals and make medical care decisions, as administrators, that can have significant adverse medical affects and result in increased hospital acquired infections for Demo patients.
TRICARE Policy Manual 6010.57-M, February 1, 2008 Chapter 12, Section 1.1 TRICARE Overseas Program (TOP) indicates the following will be considered when making decisions.
3.2 While "appropriate medical care" references the norm for medical practice in the U.S., TOP gives consideration to the significant cultural differences unique to foreign countries. The TOP contractor shall exercise reasonable judgment to accommodate cultural differences relevant to the practices and delivery of host nation health care services. Services and supplies which otherwise fall within the range of TRICARE benefits (including, but not limited to, clinical preventive services, prescription drugs, and durable medical equipment) may be eligible for coverage under TOP when the diagnosis or description of illness supports the reasonableness of the procedure, service, or supply and is commonly accepted practice in a host country or overseas region. Services and supplies which are specifically excluded from TRICARE coverage cannot be covered under TOP simply because of cultural differences. A specific waiver is required if the service or supply would not normally be considered a TRICARE benefit. Refer to Section 1.2 for a list of authorized benefit variations for TOP.
3.3 Cultural differences may apply to things like location of care (provider comes to the patient's home) or the manner in which care is provided (services commonly done by a provider class in the U.S. may be performed by a provider assistant or physician overseas, depending on the country). Cultural differences may also apply to the manner in which claims are submitted to TRICARE. For example, certain countries (e.g., Germany) may require a separate delineation of charges for health care delivery and administrative practices that are attendant to the delivery of health care. These charges may be payable under TRICARE if they are determined to be reasonable and customary for a particular overseas location. Also, due to cultural differences, host nation providers may, and frequently do submit claims containing narrative summaries in lieu of diagnostic and/or procedural codes. These claims may be payable under TRICARE; however, the TOP contractor shall establish processes to ensure that narrative claims are converted to codes that accurately describe the services rendered and billed by the host nation provider.
ISOS refused to discuss the issue and TMA quoted the first reference, above, to what they feel removes them from any responsibility for defining Semi-Private Rooms and in essence said that whatever any hospital anywhere in the world defines as a Semi-Private Room is, as far as they are concerned, good enough for them and TRICARE beneficiaries.
So if a local hospital claims a Nipa hut, in their back parking lot, like this one constitutes semi-private accommodations, the TMA bureaucrats will declare it meets the requirements of both references above. Don't laugh; based on their decision, this could easily be a reality. As anyone who has been here for awhile knows Filipinos often feel if they declare something to be true it is true. For example we know of an instance a few years back where a retiree was hospitalized at one of the currently Approved hospitals and was placed on an open ward. When he complained they placed him in a broom closet and declared he was in a private room. As soon as he was able he left the hospital but they charged him for a private room.
The case that initiated this issue and the resulting attempt to discuss it with TMA was when MMC declared a room with six beds and six watcher cots that shared two commodes with these 12 people and shared common showers 10 meters from the room with more than 60 individuals as a Semi-Private Room. This picture could easily represent MMC's room. Both ISOS and TMA supported their claim that this constituted a Semi-Private Room because MMC declared it to be so.
We didn't give up and still felt, if we dealt with TMA honestly and addressed the issue clearly and pointing out the reality of their decision they would reconsider. So we sent them a Request for Reconsideration through TRICARE Area Office-Pacific (TAO-P) that offered multiple examples of what hospitals around the world defined as Semi-Private and that matched the common definition as described above. Further we addressed the local issues of watchers and even others living 24/7 with patients and the requirement to share commodes and showers with more than 60 people. We related it to the actual example from MMC. We further related these types of accommodations and the increased incident of both hospital and community acquired infections that would result under these crowded conditions and cited multiple legitimate studies done by qualified medical personnel proving these increased infections. These studies came from the U.S., other countries and the World Health Organization and all drew the same conclusions.
However, as we usually find with interaction with these senior bureaucrats at TMA, they completely ignored the overwhelming evidence and disregarded their own policy guidance and declared and I quote, "32 CFR, Part 199.4(b) (5)(i) sets semiprivate accommodations as the TRICARE inpatient stay benefit. TAO-Pacific checked with TMA and received confirmation that semiprivate accommodation is defined as a room containing at least two beds and which is publicly designated by the institution as semiprivate accommodation. TMA indicated that in the instance of Makati Medical Center (MMC), if a 2 bed room is unavailable at MMC yet a 4 or 6 bed room is classified as semiprivate and available, that is the benefit payable by TRICARE. Of course, beneficiaries have the option of paying the difference in room charges if they wish to stay in a private room instead."
Remember those pictures above? Be prepared to endure something similar under the Demo as the senior bureaucrats at TMA have declared whatever an overseas hospital claims is Semi-Private, is Semi-Private and meets all U.S. standards of Semi-Private per the policy manual requirements for overseas standards and they have no concerns with the inevitable increases in hospital and community acquired infections Demo patients will find they are infected with. After all, why should they worry about these infections? Their civil service plans do not require them to use a Nipa hut or 6 bed, 6 watcher "Semi-Private" room with shared showers down the hall.
Anyone want to bet what would happen if a beneficiary in the U.S. found themselves in the same situation? Do you think TMA would be dancing to a different tune? But we are a small group that is isolated and therefore at the mercy of uncaring senior bureaucrats that dehumanized us long ago when they told congress and the service organizations that most of us are defrauding TMA and the taxpayer.
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10 Responses to What Constitutes a Semi-Private Room under the Demonstration?
I know for a fact that MMC has two bed semi-private rooms and that is what they are called. I don't know if those rooms were available at the time in question, but they certainly have them. I bet that MMC charges Tricare for the cost of a 2 bed room and not for a 6 bed room. Asian hospital also have rooms that contain more beds than a semi-private room. They call then semi-private WARDS, not semi-private rooms. As far as I know and my own experience with hospital stays here, I have always been given a private room whenever one was available at no extra charge. My doctor told me that the allowable charges by Tricare for semi-private more than covers the cost of a private room in most hospitals in the Philippines. I really suspect that ISOS, TMA and Gobal 24 advised MMC that they could charge the semi-private rate for a 6 bed room. This, like a lot of other things that were told to the providers, was to get them to sign up for the Demo project.
walter 2 says:
I have a photograph of what constitutes a "semi-private room" so far as the 'Failed Demolition project' is concerned, just a moment, right, here it is, they sent it to me with their prospectus "What to expect from Mick & Mark under the De-Monster-Ation rules." Oh, there must be some mistake. I have a duplicate photo here labeled "Jewish inmates of Dachau Concentration Camp, crowded into wooden shelves for bunks." No, no mistake, there are Mick and mark with their Swastika arm bands on the brochure cover! Here's another one of everybody going to take a shower. Actually and seriously, What a pair of pukes!
wgraue says:
I can't speak for anyone else involved in this effort, but Bobby's puppets, Ken and David Smith, (Gas Turbine 2500) don't scare me a bit. I pity all of them, they are in ill health, it seems mentally as well as medically. One thing is consistent, nothing new, just useless and unproductive nit picking. Their so-called 'group's' babblings are like a merry go round, it passes by, we hear the chin-music, but hardly any of the horses have a rider. I notice Smith's post doesn't specify just whom the demonstration is doing such a "Great Job" for. show me a list of names and I'll show you a pitifully small count of either disingenuously misguided retirees or pathological liars. I wonder what sort of reward This 'Snipe' is receiving to perpetuate this farce.
The article above "as written" along with any associated / related supporting documents should be forwarded to the Amred Services Committee.
TRICARE Overseas Philippines says:
We briefly addressed the issue in the last letters sent out just days ago. Maybe you could forward the article to them?
i'm at st lukes right now because my 4yr old has dengue. I'm authorized a semiprivate but paid an extra 1500php for private. The issue now is i'm sleeping on this thing they call a sofa and my wife is sharing a single w/ my 4 yr old. I tried increasing my authorization stating my son needs us there and we should be given beds to sleep on, but ISOS said we were 'escorts' and tricare would only cover the patient… this is turning out to be quite a vacation.
You are using a blanket waiver to use St Luke's under the Philippine Standard program. So you have to pay 100% of the costs and then become a medical coder so you can convert the profees to the complex US standard and then cost each procedure. Failure to do that will result in the profees portion of your claim being denied. The hospital portion should not be a problem being paid in full under the per diem rates if you submit the itemized hospital bill and a receipt. Consulting ISOS on anything dealing with TRICARE is generally a waste of time as it is not uncommon for them to provide wrong or incomplete information, if you can get any information from them at all.
St Luke's and their providers have past experience with non-payment of legitimate inpatient claims so want nothing to do with ISOS and their front Global 24 or TMA.
Post what happens with your claim under the "Post your personal experiences!".
Good luck with your child.
Regardless of the definition of a "Semi-private room", why is their a disparity with the local rates and the "Tricare rates" that the Philippines hospitals are claiming. I've recently had a surgery at Baypointe Subic and here are their rates (based on a Php 1 / $40 exchange rate):
TriCare Extra Tricare Cost Local Rate
Semi-private $30 (Php1,200) None $21.25 (Php850)
Private $30 $12 (total $42) $30 (Php1,200)
Suite $30 $23 (total $53) $37.50 (Php1,500)
This is just room and lodging rates. Same facility, same room, same food, but substandard compared to US hospitals for a Tricare beneficiary.
When we talk about professional fees, one doctor who is not a Tricare provider said my procedure will cost $750 (Php 30,000). My doctor who is a Tricare provider said initially $1,250 (Php 50,000) and it includes compensation for his colleagues at the operating room. However, upon discharge, he told me that they have to use "Tricare Rates" that cost me $1,936 (Php 77,440) and additional $921 (Php36,840). Whoa! What a big difference. I asked my doctor why such a humongous difference and he just said that rules have changed and he cannot his agreed upon local rate.
Consultation fee itself is at the local rate of Php500 ($12.50) for how many minutes it will take per session. The "Tricare Rate" is Php1,062.80 ($27.57) and it's only for the first increment of 15 minutes or less (expect to pay more each additional 15 minutes).
Even the small lab works have disparity. Just to mention a couple of work ups below:
Chest X-ray $20.40 (Php816) $12.50 (Php499)
ECG $12.20 (Php488) $8.93 (Php357)
All of the hospital staff including the doctors who are supposedly professionals have a twisted mentality to tell us that our share is only 25%. But I told them that there is a big difference between 25% of Php80,000 compared to 25% of Php220,000. They seemed to be seeing us as walking ATMs devaluing the sacrifices that we've been through to defend their freedom as any ally.
Brad S. says:
Off-topic….but our only approved provider in Angeles City (AUF) has a certified neurologist last named Enriquez who demanded I sign a statement promising I would NOT file a TRICARE claim for his services. I refused and he cancelled my consultation. I informed Global 24 about it.
Assuming G24 actually responded, what did they say they would do about this misfit?
International SOS Publicly Claims TRICARE Beneficiaries in the Philippines are Trying to Defraud Them
The Latest TRICARE Philippines Fiasco or Mercury Drug, Now You See Them, Now You Don't
Gordon in Olongapo
TRICARE Demonstration Project for the Philippines Update
TRICARE Overseas Philippines 2015 in blogging Annual Report
TRICARE Fleeced Again But There Are Differences
Follow-up on Possible ISOS Data Breach and Loss of Patient Information
ISOS Data Breach and Loss of Patient Information Waiting to Happen
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List of Secretly Removed Certified Providers
Philippine Certified Provider Directory
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RxPinoy: Find Doctors and Dentists
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U.S. Military Retirees of the Philippines Group Forum
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We offer our warmest congratulations to Margaret Willis who celebrated her 100th Birthday on Tuesday 5th May 2015.
Friends and relatives came together at the Baptist Church on Saturday 9th May for a Tea Party to mark the occasion and offer their best wishes.
Margaret was born in Caister-on-Sea in Norfolk on 5th May 1915, and trained as a nurse at St Mary Abbots Hospital in London.
She was a district nurse for many years and then became a sister at the Chalfont Colony for Epileptics, where she worked until her retirement.
Although she lost her husband 40 years ago, Margaret has lived very independently since that time, with the support of her family and friends.
Pictured with Margaret are son Keith and Daughter-in-law Stephanie.


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Women's Writing Circle
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The Evolution of the Women's Writing Circle
This past weekend the Women's Writing Circle held its first read around in our new home. Together we shared the spirit of the Circle, which is camaraderie and support of our writing journeys through a unique format known as the read around where we read aloud our work to the group.
This is our third 'home' since I started the Circle. The evolution of the Circle began with three women in an independent bookstore, Wellington Square, in November 2009. Over the years we have had as many as seventeen women attend read around, moved from the bookstore when we outgrew that space, to St. Andrew's Episcopal Church reading room. Saturday marked our first gathering, attended by fifteen writers, including myself, in our new location, the conservancy meeting room at the Hilton Garden Inn in Exton, featuring lovely amenities and easy access to the turnpike and surrounding communities.
I have tried to provide a forum for women to find their voices as writers. Over the years that mission often coincided with a healing journey through writing, including my own with my memoirs Again in a Heartbeat and Morning at Wellington Square.
The longer I held read arounds, critique and workshop sessions, the more I learned – and believed – writers needed and wanted a group whose emphasis was on developing and honing the craft of writing in a supportive environment. This marked our evolution into a true writing group.
I am a wordsmith, not a psychotherapist. Separating the psychological dynamics, the cries of anguish and grief from the actual writing was always difficult, if not impossible due to the highly personal nature of many of the stories read in the Circle. The courage it takes for many to share those deeply personal stories in the Circle is both uplifting and inspiring.
Still, I felt my role had to become more focused on the craft of writing and how a listening group of intelligent and discerning people could enhance the writing and help the writer understand the answer to that crucial question "What is my story about?"
At that same time, writers wanted "tips" on characterizations, details, description, narration and point of view, all writerly techniques. We also discussed the challenges inherent in finding the time to write, the nature of fear in writing and of overcoming other obstacles and challenges that led to developing confidence in our voices as writers.
While focusing on the individual writer, I try to make sure the group dynamics remain professional and educational, and not veer into a therapy session. As my own writing has evolved and I have written three books in five years, so has my interest in helping other writers through instruction and editing, and keeping the Circle thriving.
Our upcoming anthology, a joint endeavor with another writing group, Just Write, called Life Unexpected is also a great way to dip a toe into publishing and get out into the community with our stories. We learned a lot from our first anthology, Slants of Light: Stories and Poems From the Women's Writing Circle.
Over the years, I have watched writers come and go from the Circle. Many have left due to moving out of the area, losing interest in – say, writing a memoir, or just couldn't find the time to devote a Saturday morning to themselves with the pressures of work and family.
Others have left because the group has in some measure disappointed them or no longer fills a need. With some of the writers who I developed a close relationship, their decision to leave the group, often without explanation, was especially sad, but I have to accept that our journeys take different paths.
This is really the evolution of any worthy endeavor or undertaking in life – the mission forms over time and, hopefully, for the better.
This year I began offering memberships to the Women's Writing Circle. It had gotten tiresome for everyone to pass around the envelope and collect the money to participate; money which goes toward paying for the venue, for the time spent in organizing an undertaking of this complexity, and of giving the writer a sense of having some "skin in the game."
It was good to hear on Saturday how many writers like the concept of the yearly membership fee – they pay in full, can mark their calendars and be done with it. This is another change in the Circle. Payment is to be made in advance. This is clear on the website. Drop-ins are discouraged because I cannot gauge the number of writers if people simply show up on a given Saturday.
Memberships are almost completely sold out for the year. This forms a group of writers with continuity, but also leaves enough slots open in our classes for a couple new writers each session of the Circle. I encourage everyone to read the membership information and contact me if they have questions.
Together we offer what I feel has always made the Women's Writing Circle special – a place for women who are interested in writing to share in the love of the written word, explore their own writing journeys and meet new friends and network.
It is a space where we can gather and extend respect and caring – as well as develop our writing skills.
As one writer noted, "Despite the fact that we come with many different personalities, ability levels and emotional experiences, it has always felt to me like the space is big enough for all because of our agreement to support one another."
It has been an honor and a privilege to have created with you a space like the Women's Writing Circle, which embodies community in a very isolating world. None of this would be possible without each other and I look forward to our time together this year. ~ Susan
Posted by Susan G. Weidener at 9:55 AM
Labels: Again in a Heartbeat, Hilton Garden Inn, Morning at Wellington Square, reading aloud, women and writing, Women's Writing Circle
SUSAN G. WEIDENER
An experienced book editor, journalist and author, Susan received her BA in Literature from American University and her MS in Education from the University of Pennsylvania. Her memoirs, Again in a Heartbeat, and its sequel, Morning at Wellington Square, have received critical acclaim. Her novel, A Portrait of Love and Honor, is based on a true story. A former staff writer with The Philadelphia Inquirer, Susan started the Women's Writing Circle in suburban Philadelphia to empower women to write and find voice through memoir, fiction and poetry. The group offers critiques, read arounds, networking and book authorship opportunities. Susan also offers writing workshops and teaches memoir and fiction. She lives in Chester Springs, PA. She can be reached at sgweidener@comcast.net
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Microsoft and SSE Airtricity help solar schools soar with new green energy partnership
Microsoft Ireland and SSE Airtricity have today announced a new renewable energy project that enables schools to power classrooms using energy generated from their own roof, helping them to reduce their carbon footprint, and their costs.…
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Mens Short Hairstyles Thick Hair – Men short hairstyles can be applied for various types of hair including your thick hair. In fact, some men choose to cut it all the way as the simplest and best solution. But wait! It is not only the solution because you can add unique style only from your thick hair. Just take one of the references below and keep your short and thick hair attracting to see than before.
For those who want to make it shorter than the regular length, you may cut it clean along with modern touch. This is a solution if you are too busy and only have little time to maintain your hair. Precise line and shape as well as the length of the hair become the key of clean and modern hairstyle. If you have thick and straight hair, you may think to cut it clean and modern and it covers your formal occasions. It is also a great option for those who have thick beard. This hairstyle makes you looks neat, tidy, and fresh and you are ready to start your day.
If you like side part hairstyle but you want to make it a little bit modern, you may decide to take modern combover hairstyle. Your barber needs to use trimmer or razor and also comb or brush. The trim is used to cut the hair on the sides and back very short and clean. This is also used to create a strong line just like what you see in side part hairstyle. You also need to cut the thick hair on the top but don't need to do it too short. Maintain the thick hair on the top tidily with a comb or brush. You may hold the tidy hair by spraying hair spray. It is a great style for business owners or professionals. Just combine it with formal dress or formal suit and you look gorgeous!
It is also a unique hairstyle for men and considered as one of the coolest mens short hairstyles thick hair. Just imagine that you can maintain the thick hair on the top differently. You are not only about making it tidy but also creating strong texture. In specific, you are about to see the wavy texture on the top of your head. The uniqueness is not stopped there because you can also see the smooth fade from the top to the bottom of your head. The sides and the back are clean and very short until you see the skin of your head. To make the wavy texture, you can use hairspray or even salt spray. This is also a good option for those who want to look different in formal appearance.
The cutting style is the important key for creating young professional hairstyle. You can see the detail well from the very short hair on the side and the back. You don't need to lose the thick hair and maintain it just like side part hairstyle. It looks classic but worth it for modern professionals. This style is a good for any kind of hair including straight, curly, normal, medium, and of course thick hair. You may take it as one of favorite mens short hairstyles thick hair.


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Веселец () — село в Городокском районе Хмельницкой области Украины.

Население по переписи 2001 года составляло 470 человек. Почтовый индекс — 32015. Телефонный код — 3251. Занимает площадь 0,099 км². Код КОАТУУ — 6821281901.

Местный совет
32015, Хмельницкая обл., Городокский р-н, с. Веселец

Примечания

Ссылки
 Веселец на сайте Верховной рады Украины
 Административно-территориальное устройство Хмельницкой области

Населённые пункты Городокского района (Хмельницкая область)

redpajama_set_name: RedPajamaWikipedia


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The CEO Imperative: Will bold strategies fuel market-leading growth?
10 Jan 2022 CEO agenda
What to do in 2022
22 Dec 2021 Strategy by EY-Parthenon
18 Jan 2022 Assurance
HROnsite
Cybersecurity How the scale-up FEops optimized its cybersecurity
Andy Deprez
Strategy by EY-Parthenon Value creation is about more than digitalization
Marc Herlant
Welcome to EY Belgium (EN)
You are visiting EY Belgium (EN)
Insurers are dealing with many challenges due to regulation, a technological revolution and changed client behavior. However, this creates opportunities as well to excel and differentiate.
Kris Volkaerts
EY Belgium Financial Services Insurance leader
Dedicated to Insurance. Father of one son. Passionate cyclist.
Mobile: +32 2 774 9670
Areas of focus Financial Services Insurance
Office Diegem, BE
Kris is the Insurance Consulting leader of EY Belgium for financial services and a Partner in the Business Consulting practice.
He has more than 25 years of experience in the insurance sector and has acquired as such a deep knowledge of its processes, products and distribution. Over the last years he has led several programs on key themes in the insurance sector such as Solvency II, Claims management, Billing and Collections, Robotics and front-to-back implementations (e.g. Guidewire).
Besides program management he has performed many roles in projects, viz. Business consultancy, internal audit, Business Cases, Business (Requirements) Analysis, ERP and Process modelling.
He holds a master's degree in Commercial Engineering in IT from the Catholic University of Leuven.
How Kris is building a better working world
Insurance is one of the pillars of our society. It protects people and companies against adverse situations. For more than 25 years I have been committed to offering and building solutions for insurers and guiding them through their transformations.
My purpose is to support insurance companies to overcome the challenges they are facing, in order to better protect society. Because when people and companies feel safe they will dare to develop and grow for a better purpose.
Kris's latest thinking
Contact Kris
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Health reviews and articles that could help you keep healthy.
HGH Energizer Health Supplement provides nutrients for the body as it ages.
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1/02/2013 · Because they are both relatively easy to paint and play, The Space Marines are probably the most popular race. Also, the Space Marines can be painted any number of different ways, giving them a plethora of color schemes.... 1/07/2018 · SM Scouts are often the first troops chosen to get a battalion or brigade. They are cheaper than tacticals and intercessors whilst also having additional abilities.
Step into the armor of a relentless Space Marine and use a combination of lethal and deadly weapons to crush overwhelming alien forces. Immerse yourself in an intense and brutally violent world based on the richest science fiction fantasy ever created.... A game from the future where you'll be fighting against your extraterrestrial enemies.The best free games from all over the internet just for you.
6/06/2018 · SM Scouts are often the first troops chosen to get a battalion or brigade. They are cheaper than tacticals and intercessors whilst also having additional abilities. how to make edible mushroom decorations Today I thought I'd write out some points from a discussion I had with one of my regular gaming pals Dan. We had a 2000pt game of space wolves, versus Deathwing and Primaris Marines.
6/06/2018 · SM Scouts are often the first troops chosen to get a battalion or brigade. They are cheaper than tacticals and intercessors whilst also having additional abilities. how to play ice hockey for beginners 27/10/2013 · "The Blood Ravens are a Loyalist Space Marine Chapter of unknown origins and Founding. The origins of the Blood Ravens are shrouded in mystery and are belived to be tied to a dark truth related to the Horus Heresy.
30Kplus40K Primaris Marines Easy to Play?
20/09/2008 · 7. Smaller Space Marine Armies A newcomer should start playing smaller armies in order to get familiar with the game, strengths and weaknesses of Space Marine units, and rudimentary tactics.
Space shooter in which you protect the base from aliens. Your task is to survive as long as possible. You have a choice of three weapons, which you can later improve.
fluff wise it depends on the marine. stuff like his vetreancy or armor and how much plot armor he has comes into play. a regular mairne will definately kill a eldar warrior, ig guardsmen, tau fw, dark eldar warrior. he might have some troule with an ork with a 50/50 chance againet a chaos marine. he probaly wouldnt be able to beat a nec warrior.


Existing loading protocols for quasi-static cyclic testing of structures are based on recordings from regions of high seismicity. For regions of low to moderate seismicity they overestimate imposed cumulative damage demands. Since structural capacities are a function of demand, existing loading protocols applied to specimens representative of structures in low to moderate seismicity regions might underestimate structural strength and deformation capacity. To overcome this problem, this paper deals with the development of cyclic loading protocols for European regions of low to moderate seismicity. Cumulative damage demands imposed by a set of 60 ground motion records are evaluated for a wide variety of SDOF systems that reflect the fundamental properties of a large portion of the existing building stock. The ground motions are representative of the seismic hazard level corresponding to a 2% probability of exceedance in 50 years in a European moderate seismicity region. To meet the calculated cumulative damage demands, loading protocols for different structural types and vibration periods are developed. For comparison, cumulative seismic demands are also calculated for existing protocols and a set of records that was used in a previous study on loading protocols for regions of high seismicity. The median cumulative demands for regions of low to moderate seismicity are significantly less than those of existing protocols and records of high seismicity regions. For regions of low to moderate seismicity the new protocols might therefore result in larger strength and deformation capacities and hence in more cost-effective structural configurations or less expensive retrofit measures.


Multiple positions will be filled with this announcement. Responsible for residential real estate property appraisal, i.e. the determination of value for assessment of Fairfax County properties. Makes appraisals of residential classes of real estate (single family detached houses, condominiums, attached and townhouse dwellings). Appraises noncomplex vacant residential sites and subdivisions, as well as special purposes properties such as churches and schools. Performs office research on and inspects real property to gather data required for appraisals. Defends assessments in the administrative appeal process and at the Board of Equalization level. Meets with taxpayers, property tax representatives, attorneys and County officials to explain the assessment process. Prepares special reports and analyses of economic data.
Positions may be underfilled as an Assistant Real Estate Appraiser (S20); the Underfill Requirements are stated below in the Employment Standards section.
Employment Standards MINIMUM QUALIFICATIONS:Any combination of education, experience, and training equivalent to the following: graduation from an accredited four-year college or university with a bachelor's degree; plus two years field experience in the appraisal of real property.
The appointee to this position will be required to complete a criminal background investigation, a credit check and a driving record check to the satisfaction of the employer.
This position may be filled by a less experienced person at the level of Assistant Real Estate Appraiser (Grade S20). The employment standards for the Assistant Real Estate Appraiser are: any combination of education, experience, and training equivalent to the following: graduation from an accredited four-year college or university with a bachelor's degree. Formal appraisal training will be required and may be provided by various real estate appraisal organizations (e.g., International Association of Assessing Officers and the Appraisal Institute). Incumbents are either promoted to the class of Real Estate Appraiser upon successful completion of their training or are separated. Click here to view the complete details and KSAs for the Assistant Real Estate Appraiser. Upon completion of an underfill agreement (which will require that the employee meet the employment standards stated above in addition to obtaining competencies defined by the hiring agency) the employee will be elevated to the level of Real Estate Appraiser.
Experience in mass appraisal for assessment purposes and a residential appraisal license.
Must be physically able to field measure new residential property construction, including houses, decks, additions, etc. with or without reasonable accommodations.


I remember something from my childhood you could in Myst. One is there a way to turn off the jail in the mechanical age and there is note behind there telling how to unlock this second part. Second if you mess with light the red yellow and green shapes it unlocks a journal in the bottom of it. Plus I forget how you do this but in the journal it tells you how to raise an island. It raise up the island where the pirates sunk the ship, you cant explore there but I saw done once when I was little. Is this true or am i confusing another adventure game with this one?
Since I still pick up new details from the games, I could never consider myself a complete expert on the series. But, I am fairly certain I have seen and done all you can in the original Myst (and realMyst). What you describe does not line up with my knowledge base, so I am very eager to learn if anyone else knows more about this.
By "jail", I assume you are referring to the electrified cage in Achenar's secret area. I do not recall there being any more to it other than a sign that Achenar was not above torturing inhabitants to get his way. Even in realMyst, you could never enter the structure.
The green, yellow and red colored shapes, I presumed, were a control scheme for alerting folks to potential danger. The telescope in Sirrus' room offered a lookout, depending on the rotation of the structure. In fact, when the structure is rotated a particular way, you can use the telescope to see a skeleton hanging on a mast in the distance. In realMyst, it is animated slightly.
In all my exploration, I never found any combination for the shapes, so I wrote it off as either an abandoned puzzle or simply a pretty "toy". Myst, after all, has a lot of toys with no specific gameplay value--for example, the rose/skull morphing hologram in Achenar's quarters in Stoneship and Sirrus' peculiar sculpture, also in Stoneship, with a sphere perched atop a tall block which can deform when touched. I have assumed these were products of experimentation with various technologies that were given a home to help decorate the space.
Well, I remember their being a secret combination for the cyscals too but I've allays thought that was a dream I had(since I have only found it once). Oddly I can't find anything on Google about it, it would be cool if someone figured out the combination.
If you look closely at the the interview with Rand Miller when the 10 year old collection came out for when windows xp. He talking about Myst and you see someone with the shapes that light but and they don't go out and go left to right so there is a puzzle. As for the jail you never went in it. The letter was hidden beside the cage. If any one can find this it would be great.


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Old Timey Medicine From The Early 1900s
From advancements to abominations, medicine in the early 1900s was a mixed bag. On one hand, achievements like the commercialization of aspirin and the introduction of penicillin was the dawn of a bright future for public health. On the other hand, the unregulated nature of the medical community led to a flood of "snake oil" treatments that were useless at best and downright dangerous at worst. Indeed, it was the heyday for the charlatan and his quack concoctions. Still, legitimate and effective treatments hit store shelves as scientific advancements abounded. Let's take a look at all the treatments from the early 1900s that medicine got right—and spectacularly wrong.
Advancements In Medicine
Though we probably can't imagine a life without it, aspirin was only introduced over a century ago in 1899 by the German company Bayer. Never before had a pain-relieving drug been so safe, effective, and widely available. Bayer first sold a powdered version to hospitals and clinics until offering a tablet version in 1915, which was available over the counter without a prescription. It is widely considered the first modern, synthetic, mass-marketed medicine ever and has become a household name across the world. It was as ubiquitous on the battlefields of World War I as it is in households today.
When The Bayer Co. lost its patent to the term "aspirin" after the Great War, many other medical brands released their own aspirin products and variations. You can find some of these collectible aspirin tins available in our store, from long-gone brands like Spartan and Cloverine to old Bayer products like Lakerol Pastilles.
Before the invention of penicillin, there was no reliable way to treat infectious diseases. As a result, infections were the leading cause of death in 1900. Grave afflictions like pneumonia and tuberculosis filled hospitals and morgues. Still, small cuts and scratches could be as deadly, as minor infections often turned into blood poisoning.
Luckily, in 1928 an English doctor named Alexander Fleming discovered penicillin, which proved effective against bacteria. This discovery heralded the beginning of the antibiotic age and is one of the most important discoveries in medicine. Penicillin wasn't mass produced until World War II, where it saved countless lives on and off the battlefield.
Drug Store Remedies And Treatments—The Good, The Bad, And The Useless
The early 1900s was an era in which revolutionized manufacturing allowed treatments to become widely available to the everyday person. With this commercialization came useful products like aspirin, ointments for achy muscles, and laxatives. Unfortunately, a lack of regulation meant manufacturers could add just about anything to their medications and make unverified claims without penalty. As a result, dangerous concoctions were sold over the counter next to the benign with little oversight. Here's a look at some of the medicines you might find at your local drug store in the early 20th century:
Codeine, Chloroform, and Formaldehyde Cough Syrups and Tablets
Thanks to the ubiquity of tuberculosis and pneumonia during the early 20th century, cough suppressants were a sought after and necessary drug. Unfortunately the main ingredient used to quell these coughs were highly addictive opioids like codeine, morphine, and heroin, as well as the sedative chloroform. They would even use stuff that would make your issues significantly worse like formaldehyde. While these ingredients quieted a cough, they led to an addiction epidemic that caused many deaths and broken homes throughout the country—not unlike today. Popular brands included Bayer's One Night Cough Syrup and Kimball White Pine and Tar Cough Syrup, which remained on the shelves until such products were banned in 1924.
Laudanum for a Teething Baby
Another opioid-containing ingredient called laudanum, which was primarily used as anaesthetic during surgeries, could also be found in remedies to help teething babies. Mrs. Winslow's Soothing Syrup, for example, was used to treat everything from teething pain and colic to dysentery in infants—and unfortunately resulted in many deaths.
Soothing Ointments
Brands like Williams' Anti-Pain Ointment, Flood's Ointment, and In-Step foot balm were used on everything from cuts, burns, and scrapes to achy muscles. Topical analgesics like Williams' Anti-Pain Ointment boasted effectiveness against "headache, neuralgia, toothache, earache, backache, sore throat, rheumatism, sprains, bruises and sores." However, these ointments rarely lived up to their bold claims. On the other hand, the same Vaseline we know today was already a household name back then and used during both World Wars to treat minor cuts.
Cure-Alls
Medicine shows touting concoctions that could "cure all" ailments were a mainstay during this time. So-called "doctors" touted these fake cures at traveling shows like carnival barkers. From cocaine to add pep and alcohol to soothe, and just about every ingredient in between, these mixtures were not only useless, but often dangerous. Also called "patent medicines," these brands had colorful names like Dr. Flint's Quaker Bitters, Dr. Bonkers Celebrated Egyptian Oil, Make-Man Tablets, Antimorbific Liver and Kidney Medicine, and Fatoff Obesity Cream. These cure-alls were not only useless, but they also posed such a danger to the American Public that Congress finally passed the 1906 Pure Food and Drug Act, requiring companies to disclose their products' ingredients. Believe it or not, it turns out Stanley's Snake Oil did not contain one ounce of oil from snakes!
Old Timey Medicine As Collectors' Items
Luckily we've moved past the wild west that was early 1900s medicine, but the legacy of this period lives on in the form of highly collectible medicine tins and bottles from the era. From aspirins and laxatives to the more dubious cure-alls, you can find a wide variety of similar antiques from this time in our store. And if you enjoy rare antiques, be sure to check out our entire collection of vintage goods for that perfect gift for yourself or someone you know.


What is a Local Director of Teams?
Inspired by Jesus and the call of the Church to proclaim the Good News to all people, Local Directors bring the New Evangelization to their own regions. They enthusiastically engage in street evangelization and work to inspire, train, and help local Catholics to spread the Gospel. This is done through through partnerships with local team leaders, lay leaders, pastors, diocesan staff, and bishops. There is an urgent need for effective and passionate Catholics laboring in our local communities who will spearhead the work of the new evangelization, galvanize the Catholic community, and teach and train ordinary people to do the extraordinary work of proclaiming the Gospel. Local directors work first and foremost with local teams in giving support, encouragement, and practical help in bringing the Good News to their area. In addition, Local Directors engage Catholic groups, parishes, and diocese and offer practical tools, training, and talks to prepare Catholics to become missionary disciples.
A Local Director of Evangelization Teams is first of all rooted in prayer, then according to personal charisms, he or she will support current street evangelization teams, plant new teams, offer free talks on evangelization, train new evangelists, collaborate with local Catholic leaders and organizations, actively engage in local street evangelization. promote and advertise SPEI to advance the New Evangelization, read and study Sacred Scripture, Church documents, the writings of the popes and saints, and materials from our National Office to enrich spiritual development and growth, and work closely with the National Office and help with projects as needed.
Local Directors work at home, wherever that is. It can be in a city or town almost anywhere. Local Directors use the networks and relationships they already have, reach out and build additional networks and relationships, and work with teams and team members to spread the Gospel and help build an evangelizing community. Typically, Local Directors live near a major city. Local Directors can work from a home office or a local venue like a library that has the space and area available to work. Local Directors work under the supervision of Adam Janke, VP of Programs & Operations at our National Office.


Café De Blonde Pater has often won various national and international awards such as: The Barista Championships, The tastiest sandwich of the Netherlands, The Nijmegen Terrace Award and last September a first position in the Misset Coffee Top 100. Both its cosy, informal character and its quality guarantee a full café, every day. Besides, the café intends to further expand, to the wonderful neighbouring building.
"Quality can be measured in various ways", Nicky explains. "Important factors are: speed, employees, used materials and finally the product itself. It's a search for the best quality at an attractive price". Café De Blonde Pater is constantly improving and renewing. For this reason Café De Blonde Pater decided to use Sit & Heat instead of traditional terrace heating. All heaters have been removed. The café saves approximately €3000 per year!
"Usually, our café is filled with people. The terrace is a logical extension, yet requires good heating in winter. Our heaters used to warm up and attract people. An enormous waste of energy". Nowadays, only are guests are heated, not the entire room. "The reactions of our guests so far are fantastic, of course. When I told a guest about a hot bottom the other day, she immediately reacted; Seriously? COOOOL! People love this luxury feature, of course".


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Previous ArticleBack as Himself
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CHOS
HA VU discusses Thassilo Weber's debut short film that deals with psychosis through a Freudian lens.
Flick of the fingers; cigarette lit. Turn of the head – a rustle. Chos, Thassilo Weber's debut short film, is peppered with brusque moments that interrupt its flow and calm exterior. Chos — a deliberately cryptic abbreviation of psychosis — follows the mental deterioration of protagonist Theo, reflected through his interactions with housemaid Ida and gardener Milton. Weber's few characters personify the id, ego, and superego of Freud's model of the psyche. With supernatural undertones, Chos slowly replaces Theo's reality with the inescapable nightmare that is his own mind.
Returning to a sun-flooded house filled with well-worn books and silver frames, Theo instead makes a beeline for its darkroom. Negatives and photographs piled high, he develops the films left behind by his late grandmother. The bare-boned piano soundtrack lures the audience into a sense of security that becomes more and more fragile as Chos progresses. When a dark-cloaked figure is caught in the corner of his eye, disappearing as quickly as it came, Theo's sanity goes into freefall. Venturing into the yellow-hued woods and rummaging around the darkroom chaos, Theo desperately searches an explanation for his visions: was it a trick of the light? Or was it something more? It is impossible to know where reality ends and the nightmare starts; the audience, like Theo himself, begin doubting what we see – we cannot know for sure if our eyes are seeing truth.
Still from 'Chos.' Image courtesy of youtube.com
Chos's intelligently changing mise en scène mirrors Theo's unhinged state of mind. His bedroom, once a retreat, now imprisons him in paranoia. The bookshelf, the chessboard, the lamp – all have fallen out of place and are flung every which way. Worried about Theo's irrational obsession, gardener Milton offers the simplest of explanations: 'Sometimes our minds can play tricks on us'. The id and superego are caught in a power struggle, with Milton desperately trying (and failing) to drag Theo back to his 'ideal self'. Weber's use of props is meticulous and subtle, illustrated through the strategic placement of an otherwise inconsequential doll. A metaphor for the extent of his psychosis, the doll, first seen in a corner amongst the books, now sits atop the shelf as if to dictate his every thought.
Chos' incredible projection of mood owes much to Benedict Gong's soundtrack. Soothing piano pieces envelop listeners in a warm sense of safety through familiarity. These are interspersed and contrasted with strings segments, at once jarring and perturbing. Plucked and played to psychotic precision, Gong's composition lends the film much of its power to relax, or unsettle, or build a tension more horrific than the nightmarish vision itself. Psychological thriller is a subgenre so thoroughly explored that tropes and clichés are almost inevitable; Gong's music is vital in steering Chos away from that. More effective still is the sound editing. Sound producer Luis Felipe Gonçalves' attention to the minutiae of everyday sounds removes the disconnect between audience and screen. Tick of the clock, click of the heel – these nuanced hums are amplified without being melodramatic.
Drawing inspiration from Christopher Nolan's filmography, Weber explores the malleable nature of memory and identity. Theo's behaviour is poorly regulated because he cannot differentiate dreams from reality. By ignoring Milton's prohibiting advice that functions as the superego, Theo's persistent search for the shadow is but a wild goose chase. Entangled in the mystery, Theo is stripped of his sense of self. A surreal montage features not least a dead grandmother caked in blood. Its sheer absurdity is a breakaway from the intimate, drawn-out shots from Mateus Cabral's handheld camera. Even as Chos comes to an end, the reveal is entirely frustrating. In the same vein as Scorsese's Shutter Island, Chos may well be a mere visualisation of Theo's psychosis.
Weber's heavy involvement in the film as director, screenwriter, and lead allows him to edit ruthlessly; Chos avoids the trap of being self-indulgent. However, having distance from the film would help to evaluate it as a coherent entity. In a film with stylised set designs, music and cinematography, dialogue needed a smaller role. Examples of it here are slightly clumsy expositions that weigh down the film. Yet, given that Chos is not only a short but also a first venture into filmmaking, Weber has the confidence that allows self-criticism and production at the same time. An ambitious start, Chos paves the way for many projects to come.
'Chos' was the September 'Film of the Month' at the Oasis Short Film Festival Screening Series, and preselected for Cinema London and Cinema Los Angeles.
November 3, 2017 Film, Ha Vu, Our Journal


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Home & Living>Lifestyle
Sweet Guide to All the Vegan '90s British Candy
There has been a huge growth in the vegan and organic sweet treat market in the last few years, especially since plant-based eating has become increasingly popular. Last year, a report noted that the vegan chocolate sector is set for dramatic growth. But what about those who prefer sweets as opposed to chocolate?
Much like cheese, sugar is known to be a hugely addictive substance, so which brands can conscious consumers turn to for their fix of sweet treats? It turns out more childhood favorites are vegan-friendly than you'd think!
1. Starburst
Originally known as Opal Fruits, these juicy square sweets are a staple for UK children (and adults!) Unlike in the U.S., Starburst in the UK do not contain animal gelatine. They are clearly labeled as "vegetarian-friendly," and an investigation of the ingredients reveals they are also vegan-friendly.
When they were first released in 1960 the main flavors were Orange, Lime, Lemon, and Strawberry. Since then, owners Wrigley, have released several ranges, including Starburst Minis, which are also vegan-friendly. Made with fruit juices, the sweets are also flavored with natural colorings, including sweet potato and beetroot.
2. Jelly Tots
Jelly Tots were officially certified as vegan-friendly this year, in a move celebrated by kids-at heart all over the UK. Although the sweets do not contain animal-derived products, such as gelatin, they weren't previously labeled as vegan-friendly.
The new labels are important, helping non-vegan and vegan consumers alike. According to Tod Bradbury of Animal Aid — which ran a campaign encouraging brands to clearly mark products as vegan –, "it enables those of us who avoid animal products entirely to easily find which products are vegan. Secondly, it also helps non-vegans realise how many delicious vegan options there truly are to choose from."
What many of today's children won't know is that Jelly Tots were originally part of a "Tots" family, accompanied by Candy Tots, Tiger Tots, and Teddy Tots. Sadly these three lines were discontinued by Rowntree's in around 1990, but Jelly Tots are still popular with many today!
3. Skittles
Sharing a parent company with Starburst, Skittles are owned by Mars Inc. The brand's famous slogan "Taste The Rainbow" was created in 1994 and is now one of the world's most recognized.
Similar to most brightly colored fruit sweets, red skittles used to use Cochineal Red — a coloring made from crushed beetles — to achieve their vibrant hue. Thankfully Mars Inc. has stopped using this coloring in most of its sweets now, including in Skittles. According to The Fact Site, in 2009 the brand also replaced the gelatine with a vegan alternative. The classic sweets are now labeled clearly as vegetarian-friendly.
However, it is worth checking the labels on their limited edition ranges, as the Blue "Once in a Blue Moon" edition is not vegan, according to Vegan Womble.
4. Love Hearts
As pointed out by The Vegan Punk, "Love hearts have to be vegan as veganism is all about love!"
No self-respecting British child will have missed out on giving a love heart to their crush when they were younger, with options including "Be Mine" or "All Yours." Nowadays you can find messages such as "Text Me," as the sweets have been frequently updated since they were initially launched in 1954.
It's also possible to customize your love hearts, which was done for the first time to commemorate Princess Diana's wedding to Prince Charles in 1981. And for those looking for a refreshing treat on a Summer's day, Swizzles Love Hearts are available as ice lollies!
5. Polos
Originally created in 1939, the release of Polos was delayed until 1948 by World War II. The sweet is arguably a staple on British shelves and celebrated its 70th birthday last year.
To celebrate, the brand launched its very own Instagram and Facebook accounts, where fans of the sweet can learn new facts about how they are made. For example, "the compression force [used] to press a polo mint is the equivalent of 2 female elephants sitting on [a human being]."
Currently, the only polo varieties that are vegan-friendly are Original, Spearmint, Fruit and Sugar-Free.
6. Sherbet Fountain
Creator of the Sherbet Fountain, Barratt, was founded in 1848. It became a huge success when owner George Osborne Barratt left toffee to boil for too long, accidentally creating "lockjaw toffee." The launch of the Sherbet fountain nearly 75 years later, in 1925, cemented Barratt's place as one of the biggest sweet manufacturers of its time.
Originally the licorice stick poked out of the paper wrapping and could be used as a straw to suck up the sherbet by biting the end off. However, in 2009, the hollow tube was replaced with a solid stick of licorice and now has to be used as a dip instead.
7. Dip Dab
Similar to the Sherbet Fountain, Dip Dabs are based around a packet of sherbet. Dip Dabs are the perfect choice for those looking for the classic fizz on the tongue but who don't like licorice. The original version features lemon sherbet and a strawberry lollipop.
Not to be confused with Double Dips, which are made by rival sweet manufacturer Swizzels Matlow, Barratt's classic sweet is also available in Sour Apple flavor. This version was released in 2018, and contains a sour sherbet dip as well as an apple lollipop that will turn your tongue green!
8. Millions
You get exactly what it says on the packet with Millions – the Millions slogan is "tasty tiny chewy sweets." There are few things more addictive than pouring out a mouthful of millions and cracking the hard outer layer on each tiny drop until you have a giant wad that glues your jaw together.
There are nine flavors listed on the Millions website to choose from in the original range, from strawberry to Vimto flavor, all of which are approved by the Vegetarian Society and suitable for vegans.
Originally packaged in tube-shaped bags, the ranges have now extended to shakers, jars, and mini-packets. According to the Millions website, the Strawberry, Bubblegum, Raspberry, Apple, Blackcurrant and Cola are also all Kosher approved.
9. Rainbow Drops
Vegan-friendly before the term veganism existed (no really, the sweets were released before World War II and the word "vegan" was coined in 1944), these puffed maize and rice treats have gained status as retro sweets.
According to the Swizzels website, Rainbow Drops were "initially created in a sealed vessel and fired out of a large cannon", and the company makes enough of them each year to fill 25 Olympic swimming pools!
10. Flying Saucers
Though Flying Saucers are usually classed a British retro sweet, their origins are actually in Belgium, where they are also still hugely popular today.
They were created by an Antwerp-based communion wafer producer, in response to a drop in demand for its staple product. Now owned by Astra sweets, the disc-shaped sherbet filled treats are still made to the original recipe, using all natural colorings for the outer shells, according to the Astra website.
11. Refreshers
According to Swizzels, Refreshers and Drumsticks Choos are now vegan-friendly! These are an ultimate childhood favorite, and for many, the first taste takes them right back to the 1990s. Choose from lemon, apple, raspberry, strawberry, or pineapple for your nostalgic sweetie fix.
Amy Percival


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You are here: Home>Topics>Arts>Theatre>The Wivenhoe Youth Theatre>Wivenhoe Youth Theatre [1994 - 2010]
Wivenhoe Youth Theatre [1994 - 2010]
Wivenhoe Youth Theatre - Pictures and memories of two summer weeks of problem-solving, theatre-making, learning and fun for 16 years. Pictures and memories.
Sheila Foster
The cast of "Bed" in 2007
photo by Jan Ward
Wivenhoe Youth Theatre ran each summer from 1994 to 2009. The members were aged between 11 and 22 years old. They worked together for two weeks at the end of each school summer holiday to produce a play. Bar one or two exceptions, the members directed the plays, and crewed them. Each person took a production role as well as acting.
In the early years we also met on Sunday afternoons during term time for workshops, readings and to rehearse one-act plays for local festivals.
Essec County Council Youth Services kindly supported this organisation by allowing us use of the Wivenhoe Centre in Philip Road where we had dressing rooms, rehearsal rooms, the hall for performances, and the coffee bar for a green room.
The organisation was run by volunteers, who were delighted to watch several generations grow in self-confidence and creativity.
SUMMER PRODUCTIONS
1994 -The Royal Pardon
1995 – Noah's Flood
1996 – Unman, Wittering and Zigo
1997 – The Secret Diary of Adrian Mole (Aged 13 3/4)
1998 – Wyrd Sisters
1999 – A Midsummer Night's Dream
2000 – The Hollow
2001 – Killing Games
2002 – Mort
2003 – Surprise Package
2004 – Blood Wedding
2005 – Chips With Everything
2006 – Alice in Wonderland and through the Looking Glass
2007 – Bed
2008 – Treasure Island
2009 – Bang, Bang, You're Dead!
One Act Festivals
Youth Theatre in action ..https://www.youtube.com/watch?v=VY_UrWwEKCM
By Fiona Emms (25/10/2016)
Thanks for adding this link Fiona.
By Peter Hill (26/10/2016)
The Wivenhoe Youth Theatre
Wivenhoe Youth Theatre - A Midsummer Night's Dream
Wivenhoe Youth Theatre - The Royal Pardon
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Wivenhoe Youth Theatre


Rhydon is a Drill Pokémon and is better known as a dual-type Ground/Rock Pokémon that has its introduction in Generation 1. This bipedal Pokémon resembles both a dinosaur as well as a rhinoceros. Its body is big and gray in color and has a horn on its snout that is cream colored. The males have larger horns than females. Other protrusions include a gray spike from the center of its head, triangular points on the side of his head that look like ears, ridges on its cheeks, and crests under its ears. A couple of fangs can be seen from its upper jaw and its eyes are red in color. There are also spikes on his back that run down to where the thick tail begins.
Rhydon's abilities are similar to that of Rhyhorn. These abilities include Lightning Rod or Rock Head. They also possess the same hidden ability – Reckless.
The best Rhydon's moveset includes Mud-Slap and Rock Smash. Rhydon's best sets and Rhydon's best tactics are Stone Edge, Earthquake and Surf.
Dragon Rush Dragon 141 5 Wait Less Stone, Whack-Whack Stone, Scattershot Stone The user flies into enemies a short distance from itself with great intensity, damaging them.
Rock Polish Rock 0 The user polishes its body to reduce drag, raising its movement speed for a while.
Looking for and finding Rhydon Pokémon requires a special Rhydon's recipe put together with special ingredients like 2 Apricorn and 3 Fossil. This recipe is called Stone Soup. However, there is another recipe called Mud Pie which contains 3 Honey and 2 Rock that is used to catch a Rhyhorn and can also be created showing you how to get Rhydon.
How to evolve this Pokemon? Into what type of Pokemon does it evolve, at which level, under what circumstances/conditions.
Rhydon's evolution level starts at level 42 when Rhyhorn evolves into Rhydon using 50 Candy. It further evolves into Rhyperior when Rhyhorn is traded while holding a Protector.


Today is a day to celebrate and pay tribute to this musical genius. Teachers, students, lovers of music, everyone, can take a journey back in time and meet Tchaikovsky in a way that will captivate all.
Is the iPad the Correct Tool to Aid Learning in Education?


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Home > Reviews	> THE BLACK HOLE – John Barry
THE BLACK HOLE – John Barry
September 11, 2011 Leave a comment Go to comments
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
The Black Hole was to be Disney's effort to take the successful disaster movie genre into outer space. Conceived in 1975 as a "Poseidon Adventure in Space", the film was never able to germinate until the Star Wars phenomenon served to catalyze a resurgence of the space epic genre. Gary Nelson was hired to direct with Jeb Rosebrook given the task of adapting the earlier disaster in space script to a more epic adventure tale involving a monstrous black hole. The movie had a stellar cast that included Ernest Borgnine, Yvette Mimieux, Anthony Perkins and Maximillian Schell, as well as Roddy McDowall who provided the voice of the robot VINCENT. Set in the year 2130 C.E. aboard the USS Palomino, the story details the discovery of the lost USS Cygnus, which is seen apparently derelict, orbiting a massive black hole just beyond its event horizon. An investigation into the mystery that was the Cygnus leads to a grim discovery that threatens to end the lives of all involved. Although Disney conceived the film as an epic much in the mold of 2001: A Space Odyssey and provided a story replete with symbolic references to Dante's Inferno, uninspired directing and a truly poor script resulted in critical failure. The film was nevertheless a commercial success due to its amazing special effects and myriad of robots that won the hearts of the audience.
In the late seventies John Barry was enjoying amazing success in Hollywood. He was fresh coming off two sci-fi efforts, Starcrash and The James Bond thriller Moonraker, when he was tapped to score The Black Hole. He chose to write two primary themes that captured the adventure of the tale as well as the mystery that was the black hole. Barry stated that "the concept of this bottomless three-quarters swirling thing, the black hole, was the film's central image to me and the thought behind the movement of the main theme." Significant was the fact that this was that this was to be the first digital recording of a film score, and as such Barry was provided with a 94 piece orchestra to make it memorable. His score was nominated for a Saturn Award for Best Music, but did not win. Also noteworthy was the contribution of Craig Huxley's blaster beam, a unique instrument that consisted of an aluminum beam, strung with metallic wires, mounted horizontally in the manner of a xylophone that is struck, plucked or hammered to create a metallic resonance. Barry used its sound to evoke a sense of other-worldliness in the score.
The "Overture" opens the CD, and features what can only be described as a retrograde inversion of John Williams' Star Wars main title theme. Of interest is the fact that Williams' theme arose from George Lucas' love of Erich Wolfgang Korngold's Kings Row main title! I must say that Barry's approach is a clever twist and perfectly conceived. The music is a classic march that opens with a heroic fanfare stated first in the upper register and then repeated mid-range over militaristic timpani. At 0:29 strings and tubas usher in the B Phrase of the theme that is accented with trilling woodwinds which Barry also repeats and then alternates with the theme's A Phrase. This is a fun and bravado opening that succeeds on all counts.
The "Main Title" is a stunning piece in that it's powerful and complex theme animates the entire score. It plays over the opening credits, which are sequentially sucked into the vortex of the black hole. The cue opens with a prelude of ethereal violins that render an up-tempo reference to Holst's "Saturn" from the "The Planets". At 0:11 Barry introduces the multi phrase Black Hole Theme, which includes a Gravity Well Motif rendered by synthesizer as a swirling ostinato meant to convey the all consuming vortex currents of the black hole. This motif effect is brilliantly conceived. The A phrase of the theme presents as a dark and portentous march that features trombones playing over timpani in counterpoint to the swirling synthesizer ostinato. As is Barry's custom, he repeats the A phrase before introducing the B phrase at 0:55. The music continues over the Gravity Well Motif with trombones that gain in intensity as they struggle in their minor mode to break free and emote a sense of heroism. Instead of climaxing they surrender to a closing restatement of the A phrase.
"That's It" provides the soundscape for the Palomino crew's first look at the all-consuming black hole. The cue opens ominously with a powerful blaster beam chord over which violins descend in their scale and yield to dark bassoons. A repeat of this line ushers in the A phrase of the Black Hole Theme that plays at a heavy Grave tempo. "Closer Look" underscores the approach of the Palomino as in moves in for a close examination of the Cygnus. The cue opens with the Gravity Well Motif rendered by piano, harp and woodwinds. At 0:20 the Black Hole Theme unfolds as a dirge and continues thematically from the previous cue to evoke a sense of mystery and trepidation. A sharp strike of the blaster beam that is attenuated closes the cue.
"Zero Gravity" is a cue of great complexity and a score highlight, which features a parade of themes that play against the Gravity Well Motif. As we see the Palomino scanning the hull of the Cygnus with searchlights we hear again the Main Title prelude of ethereal violins set against contrabass. At 0:12 a full statement of the Black Hole Theme returns in force and plays over the Gravity Well Motif. At 1:20 a lyrical string line emerges with blaster beam accents and the orchestra rendering the Gravity Well Motif to underscore the embarkation of the crew in zero gravity as they set-off to board the Cygnus. At 2:32 we shift gears again as militaristic timpani and French horns accompany VINCENT as he begins his trek to repair the Palomino's exterior. After a bridge interlude of the A Phrase of the Black Hole Theme, trumpets at 3:33 signal telepathic contact between the Kate character and the yet-unseen robot aboard the Cygnus. Barry reprises his ethereal string motif to underscore this mind meld. The cue proceeds with an extended passage that features the A phrase of the Black Hole Theme powerfully embellished with portentous horns that sound over low register piano chords and contrabass. After a bridge interlude we segue into the B phrase of the theme playing over the monstrous rendering of the Gravity Well Motif. The cue concludes with a fragment of the A phrase and a sustained horn chord. This is really Barry at his audacious best!
"Cygnus Floating" is a lyrical cue that continues to evoke the uncertainty and mystery that is the Cygnus. Violins play a repeating lyrical line over bass chords until a crescendo sounds as the Cygnus's lights come on. Portentous string chords and French horns build drama to the moment until 1:04 where mysterioso strings flow over twinkling piano atop ominous low register chords to underscore telepathic contact between Kate and crew on the Cygnus. The cue ends with a dark and ominous coda. In "The Door Opens" we see the crew's entry into the Cygnus. Contrabass chords set the tone and violins build tension at 0:48 as the crew proceed to explore the ship. An orchestral crescendo at 1:05 highlights the entry of the crew into the massive and cavernous interior of the Cygnus. Barry slowly transitions to a slow march with snare drums and muted trumpets to herald the crew's first encounter with the disconcerting sentry robots that guard the ship. From here Barry uses sustained bass chords, violins and metallic twinkling to emote trepidation. At 2:16 he evokes both awe and wonder with a grand, majestic and lyrical orchestral statement from which echoes of Moonraker are heard. Contrabass reintroduce and support the dark march of the sentry robots as the cue concludes with a powerful crescendo. This cue is a score highlight, which both unsettles and awes me; it is an amazing moment in the score!
In "Pretty Busy" Barry introduces a flowing string progression motif that he will use throughout the score to emote the mystery of the hooded worker drones that man the ship. With "Six Robots" ominous contrabass set to lyrical celli and violin continue to evoke a sense that all is not well aboard the Cygnus. Dark low register piano chords, contrabass and tolling bells accompany a funeral of one of the drones, which ends with a dramatic horn crescendo. In "Can You Speak?" we continue with mysterioso violins that play atop contrabass as Captain Holland attempts to question one of the drones. Completing this trio of thematic cues is "Poor Creatures" which opens with muted trombone fanfare that ushers in a mysterioso passage of violins, harp, piano and contrabass, which serves as the soundscape for the eerie repair room. With these three cues Barry succeeds in evoking trepidation, mystery and a rising recognition that all is not right on the Cygnus.
In "Ready to Embark" Reinhardt orders the Cygnus into the black hole and Barry introduces a simple, repeating and somber contrabass motif that will animate the following two cues to underscore the disillusionment and tragic end of Dr. Durant's hero-worship of Dr. Reinhardt. "Start the Countdown" opens ominously with the contrabass motif and features a repeating interplay between it and a counter motif of blaster beam and low register piano. At 1:49 the ethereal string motif leads to a transfer of the contrabass motif to full orchestra, which adds a gravitas to the scene before returning the motif once again to contrabass with woodwind accents. From here we slowly build to a powerful orchestral crescendo that climaxes as Dr. Durant unmasks a drone and is killed instantly by robot Maximillian. We conclude this extended passage with another score highlight, the powerhouse "Durant Is Dead". As we see the Cygnus proceed towards the black hole, terror is aroused in the Palomino crew as they recognize that Dr. Reinhardt is mad, and seek to flee the doomed ship. The cue begins darkly with powerful repeating low register chords, which proceed into an accelerando to usher in a dark march rendering of the contrabass motif now carried by timpani and horns. The march continues to play as the Cygnus proceeds to her doom in a growing image of the all-devouring vortex of the black hole.
With "Laser" Barry introduces the A phrase of his Hero Theme, a celebratory power anthem which he fashioned into the "Overture" heard at the beginning of the CD at Disney Studio's request. This rousing, horn laden and major modal theme supports the amazing laser battle that unfolds between the fleeing crew and Maximillian's corp of robots. In "Kate's O.K." we see her rescued from brainwashing, which would have turned her into a drone. The cue opens ominously with deep low register chords and timpani that are soon joined by the horns. We segue into a repeating line by stark contrabass which ushers in at 0:52 a full and resplendent statement of the Hero Theme which heralds Kate's rescue. These two cues provide a wonderful major modal contrast to what is for the most part a very dark minor mode score. I cannot help but smile whenever I hear this incongruous Barry power anthem. What a treat!
The following three underscore cues are kindred in that they feature repeating motifs instead of thematic statements. In "Hot and Heavy" Pfizer deputizes Booth to aid in the effort to rescue the crew. We hear dark and suspenseful music return in the form of a non-descript repeating line motif of low register piano, pizzicato strings and harp. "Meteorites" is classic underscore, which features a repeating line of violins supported with a percussive cadence that plays as the Cygnus is being struck by meteorites. "Hotter and Heavier" provides the soundscape for Maximillian in hot pursuit of VINCENT. Barry opens the cue dramatically with a orchestral burst which he repeats four times before segueing at 0:45 into the repeating line motif of low register piano, pizzicato strings and harp first heard in "Hot and Heavy".
We now move to the final three cues of the film. The sad and poignant "Bob and VINCENT" is an elegy for the death of the robot Bob. One should note that despite the comic appearance of these two little robots, Barry scores this moving scene with a classic and sincere reverence. "Into the Hole" is the climatic scene of everyone's descent into the black hole. We first see Reinhardt and Maximillian fused into a single entity condemned forever to a fiery inferno. This imagery is juxtaposed to the Palomino crew's journey through a bright cathedral like passage of light replete with angels as they safely pass through and exit the black hole. The cue is just sensational and in my view another score highlight. We open with a repeating seven-note string line that plays as the crew inside the Palomino probe and the Cygnus descend into the vortex of the singularity. At 0:38 powerful horns and dissonant strings sound in a tortured melodic line that is buffeted by eerie synthesizer as we see Reinhardt condemned to a terrible fate as he is fused with Maximillian. At 1:31 Barry imparts a distinctly ethereal tenor to the passage that provides a potent synergy to the film's imagery. Violins with contrabass counter play against ethereal synthesizer as the Palomino crew in the probe ship journey to an uncertain fate. Carried by strings and synthesizer we flow in a lyrical current infused with trumpet calls. At 2:59 violins usher in a new melodic line underpinned by contrabass and replete with harp glissandi. As the crew experiences a wondrous passage to a new life, the orchestra ascends gloriously to a grand climax and concludes with a joyous flourish. This cue is just breath taking, bravo! In the "End Title" Barry concludes his score as he began it with an extended full statement of his Black Hole Theme.
The bonus track "In, Through… and Beyond!" is a concept track where several layers of analog synthesizers were used to augment the Black Hole Theme. My counsel is to listen to indulge your curiosity since I find the final product inferior to the End Title track.
Until his final days Barry was vexed by his inability to get a commercial release on CD of this score. All I can say is that it is about damn time Disney came to their senses! This is a triumph for film score collectors and I offer my heartfelt thanks to Douglass Fake for pulling off this coup! This is an amazing reissue that offers every note of Barry's score that includes over 20 minutes of never-before released material, all newly mastered in true digital audio, and playing in picture sequence! Frankly, I find Barry's approach to this score audacious and a refreshing and authentic contrast to the classical approach employed by John Williams in Star Wars. His soundscape and two main themes are perfectly conceived and applied. The creative use of synthesizer and the legendary blaster beam complimented the orchestra and provided a potent synergy to the score. I highly recommend this long sought after score to both Barry enthusiasts as well as general collectors.
Buy the Black Hole soundtrack from the Movie Music UK Store
Overture (2:28)
Main Title (1:49)
That's It (1:43)
Closer Look (2:02)
Zero Gravity (5:48)
Cygnus Floating (2:06)
The Door Opens (4:09)
Pretty Busy (0:48)
Six Robots (1:57)
Can You Speak? (1:19)
Poor Creatures (1:41)
Ready to Embark (0:44)
Start the Countdown (3:47)
Durant Is Dead (2:31)
Laser (1:01)
Kate's O.K. (2:49)
Hot and Heavy (2:43)
Meteorites (1:31)
Raging Inferno (0:54)
Hotter and Heavier (1:59)
Bob and VINCENT (0:54)
Into the Hole (4:56)
End Title (2:34)
In, Through… and Beyond! [BONUS] (2:47)
Walt Disney Records/Intrada INTD001383402 (1979/2011)
Music composed and conducted by John Barry. Orchestrations by John Barry and Al Woodbury. Special musical performances by Craig Huxley. Recorded and mixed by Dan Wallin. Edited by Evelyn Kennedy. Album produced by Randy Thornton and Douglass Fake.
Categories: Reviews Tags: Film Score, John Barry, MMUK Classics, Reviews, The Black Hole
I was 10 years old when I first saw this movie and the haunting soundtrack has stayed with me ever since. Excellent review and couldn't agree more concerning the need for Disney to re-release a proper digitally remastered recording.
FRIGHT NIGHT – Ramin Djawadi GAME OF THRONES – Ramin Djawadi


On behalf of the 5,000 member businesses and organizations — employing 140,000 people — the Greater Lehigh Valley Chamber of Commerce recognizes the economic benefits and opportunity for energy independence that shale gas formations can bring to Pennsylvania's businesses, commerce and communities.
What does the Marcellus Shale industry mean to the Lehigh Valley and all of Pennsylvania?
Aside from a handful of groups that rely on permanent crisis for support, people in this state realize the importance of this new energy resource. The natural gas being extracted from the shale two miles underneath us is providing jobs, energy independence and, to the surprise of many, tax revenues — $1.4 billion in state and local taxes during 2009-10 alone.
Some critics talk about how Gov. Tom Corbett should make the drillers "pay their fair share." But what does this term, "fair share," mean?
Is it the more than $76 billion that shale gas contributed to the gross domestic product in 2010 that is expected to increase to $231 billion in 2035?
Or the 600,000 jobs the industry supported in 2010 — expected to grow to more than 1.6 million by 2035?
Or is it the spinoffs that have created a boom in support industries, ranging from engineering to environmental services to pipe manufacturing to residential and commercial construction?
When critics say "fair share," they mean they want dollars from the prosperous gas industry to pay or subsidize other industries and projects. Some critics are falsely saying the state is providing billions in subsidies to the fossil fuels industry. Some are saying to focus subsidies on expensive renewable sources of energy. But what about the impact on commonwealth families?
Philadelphians are already enjoying lower energy bills. In the Lehigh Valley, engineering firms and support businesses are expanding because of jobs in the Marcellus fields — while reducing carbon emissions. With record low prices and home heating bills that have dropped by 40 percent this winter, some folks still think another tax will solve our problems.
On behalf of the 5,000 member businesses and organizations — employing 140,000 people — the Greater Lehigh Valley Chamber of Commerce recognizes the economic benefits and opportunity for energy independence that shale gas formations can bring to Pennsylvania's businesses, commerce and communities. We also understand the need to protect our environment, natural resources and infrastructure from adverse consequences from developing and extracting shale gas.
What "fair share" should mean is a per-well impact fee — precisely the approach the Corbett administration and the Legislature have been discussing — not an additional tax. The impact fee would focus money on the towns and counties that actually host the drilling sites, ensuring repairs for wear and tear on the area and underwriting increased environmental enforcement.
This fee should be used solely to address direct and indirect impacts, both present and future, associated with natural gas extraction. This includes, but is not limited to, remediation of environmental contamination, infrastructure repair and maintenance, public safety issues, and increased regulatory agency costs associated with properly overseeing the associated industries, and a reasonable fund to address non-recoverable and unexpected costs that are not otherwise covered by responsible parties.
This fee should be imposed, collected and managed at the state level so that all impacts, including those that may occur "downstream" from well locations, may be addressed in an equitable and consistent manner.
Funds raised through this assessment should not be added to the state's general fund nor be available for any other purpose, but instead should be set aside in a trust fund and used solely for purposes outlined above.
Slowly, everybody's catching on. In Pennsylvania, we got this one right. The Chamber encourages its current and future members to explore the business opportunities Marcellus Shale presents to Pennsylvania.
The members of the Greater Lehigh Valley Chamber of Commerce are committed to working with Gov. Corbett's administration, our public officials and the gas industry to ensure all Pennsylvanians prosper and grow for generations to come.
T. Anthony Iannelli is president and CEO of the Greater Lehigh Valley Chamber of Commerce.