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The Management Committee
Media Release – National Indigenous Law Award Winners
The Indigenous Lawyers Association of Queensland is delighted to announce the winners of the 2017 Attorney-General's National Indigenous Legal Professional of the Year and National Indigenous Student of the Year.
Former ILAQ President, Joshua Creamer has been awarded the 2017 National Indigenous Legal Professional of the Year in recognition for his outstanding contribution in championing the rights of Aboriginal and Torres Strait Islander people.
Joshua is one of eight Aboriginal and Torres Strait Islander barristers practicing in Queensland.
Joshua's dedicated contribution to providing legal services to the Aboriginal and Torres Strait Islander community was recently demonstrated with landmark case of Wotton v State of Queensland (No 5) FCA 1457.
In 2017, Joshua was also appointed to the Board of Legal Aid Queensland.
Current ILAQ Student and Media Representative, Michelle Rabbidge has been awarded the 2017 National Indigenous Student of the Year.
Michelle is currently completing her final year of studies at the Queensland University of Technology.
Michelle has been instrumental in assisting ILAQ throughout the year, including the increase in ILAQ's social media presence, as well as volunteering her time to engage with our partners and stakeholders.
Despite large workloads required by ILAQ, Michelle remains dedicated to improving and delivering outcomes from the Management Committee. Michelle has also dedicated her time to assisting other Aboriginal and Torres Strait Islander law students, most recently at the Aboriginal and Torres Strait Islander Student's Moot competition.
Michelle also works at the Aboriginal and Torres Strait Islander Legal Service.
ILAQ congratulates Joshua and Michelle on their outstanding achievements.
ILAQ Media Release – NILA
© 2015 ILAQ | ABN: 89 772 933 621
Site by: Iscariot Media


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Bhumi Pednekar: I'm diehard supporter, lover of makeup
Bollywood actress and environmentalist Bhumi Pednekar has been named as India's first M.A.C global cosmetics brand ambassador due to her efforts towards climate conservation, sustainability and her body of work. Bhumi has professed her love for makeup in a quick chat with IANS. "I am a diehard believer, supporter and lover of makeup. I can't even remember how old I was when I delved into the world of beauty," she said. The actress added that she has been around women, who love the world of beauty as much as she did and "I guess it was their influence along with how positive, fun and creative makeup can be, that completely engulfed me and continues to do so till date. It actually is therapy for me." Being the first Indian personality who has been appointed as the face of a brand like M.A.C makes the 32-year-old actress feel extremely "honoured and proud". I've been a makeup lover since I was very young, so I feel extremely honoured and proud of myself. I was someone who would collect her pocket money to go buy her favourite M.A.C lipstick or foundation. And from that to actually becoming the face of the brand, it feels like an achievement and that life has come a full circle," she said. The actress says for her, the pillars of the brand are built on such as "inclusivity, diversity, community and social responsibility" are something that she personally really resonate with. To be recognized for a cause for the betterment of the world and being rewarded like this, must be a great validation? "Absolutely! I feel that anybody who is an influencer or in the place of power, needs to use their influence and power for the betterment of the society," she said. The actress added: "You have to be compassionate, and you have to understand that even if you influence one person into having a more responsible attitude, it's a big achievement. I am full of gratitude when I get the amount of love I do and I am going to continue my work on and off screen." Speaking about her upcoming slate of work, Bhumi will be seen in 'Badhaai Do' with Rajkummar Rao, 'Raksha Bandhan' starring Akshay Kumar and 'Mr Lele' alongside Vicky Kaushal.

redpajama_set_name: RedPajamaCommonCrawl


Hidden gem brings healthy food and great service to Victoria Quarter Leeds –Refuel while you shop !!
Filmore & Union is bringing a new kind of dining to Victoria Quarter #Leeds – good quality, pure and naturally healthy food with amazing customer service.
Filmore & Union isn't a typical health food restaurant, It's stylish and cosy and the food is light and refreshingly different – which is why it's such a hit with young people, ladies who lunch and the older generation who recognise quality and the appeal of healthy eating and it's so exciting that they are opening in the heart of the victoria quarter with an express bar where you can sit and refuel with one of their healthy fresh remedy juices all made fresh to order complete with health shots like acai and wheatgrass, an energizing salad or one of their signature tagines or for a more leisurely lunch relax in their stylish restaurant with a more extensive health inspired menu .
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( think jazz , Sunday papers and buckwheat pancakes with smoked salmon and a glass of prosecco ).


"Our guest rooms represent a progressive departure from other hotels in the region, with impeccable attention to detail that combines feelings of established hospitality, original touches and smart amenities to exude absolute comfort," said Borgata President Robert Boughner.
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Casino officials say the renovations are unrelated to the opening of Revel, Atlantic City's new luxury hotel and casino, which is scheduled for some time in April.


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Chris Shea in the Smithsonian
The Smithsonian American Art Museum acquired three furniture pieces in forged iron and cast glass for its permanent collection of notable American craft and decorative arts. The two Cafe Chairs and Arthropod Side Table by Maryland Artist-Blacksmith Chris Shea will be on exhibit at the Renwick Gallery in Washington, DC beginning October 1, 2011.
Smithsonian Curator Nicholas Bell commented, "Over the past 15 years, Chris Shea has developed a compelling design language that combines traditional furniture forms, muscular ironwork, and luminous cast glass in ways that are at once unexpected and oddly organic."
The Cafe Chairs have become a signature piece for Shea, with a form derived from traditional bentwood furniture but executed in hot-forged steel, with joinery details more common to large architectural ironwork than fine furniture. The seats are cast in thick contoured slabs of translucent green glass set directly into the iron. The table is of similar design, with the name "Arthropod" referring to the phylum of creatures (such as insects and crustaceans) known for their hard, segmented organic structures.
Chris Shea designs and creates furniture, sculpture, and architectural metalwork at his forge and studio outside Washington, DC. In addition to the Smithsonian American Art Museum's Renwick Galllery, his work has been shown at Wexler Gallery in Philadelphia, Woodson Art Museum, Houston Center for Contemporary Craft, the National Ornamental Metals Museum, and at SOFA Chicago with Maurine Littleton Gallery. A native of Marblehead, MA, Shea studied at the Appalachian Center for Craft in Tennessee and at Penland School. He holds a BA in English from Cornell University. Chris Shea's glass work is created in association with the Washington Glass Studio and it's damned amazing in my opinion.


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The Case For And Against Banning Emrakul
Some players think banning Emrakul, the Promised End in Standard is the way to go. Others think it wouldn't do much or do even more harm. Who is right? Mark lays out both sides of the Promised End debate.
By Mark Nestico
One of the most hot-button topics being passed around Magic pundits is how detrimental Emrakul, the Promised End has been to Standard over the course of the last several months. Today we're going to examine how prudent a ban on Emrakul would be and if it is, in fact, inevitable.
At its core, the argument against Emrakul seems to be centered on the finality of deploying her: that once she enters the battlefield, the density of games won skyrockets due to her "Mindslaver" cast trigger. There are few things that are less fun than not being in control of your own turn, and even fewer in knowing that unless you topdeck an answer immediately, you will almost certainly lose.
The Eldritch Moon mythic has stirred the pot of controversy during December, but is she something we should truly consider banning? Today I want to examine several reasons why she should be removed from the Standard environment, but in order to maintain a proper perspective, I'm going to discuss why she shouldn't. In the end, hopefully we'll all have a more defined picture of what a format without Emrakul, the Promised End looks like, and if she's either the problem or just a symptom of other things.
Case For: Emrakul Is Almost Always Game Over.*
You'd be hard-pressed to see a game of Magic: The Gathering last long after an Emrakul is successfully cast. For as little as six mana (or sometimes free), which isn't extremely difficult given the nature of the decks that employ her, Emrakul will come down between turns 4 and 7. Are decks out there adequately capable of dealing with a 13/13 flying trample creature that isn't targetable with instants? The short answer is "hell no," whereas the long answer would be "oh hell no."
The two-turn clock of a resolved Emrakul is slightly overshadowed by how extreme a condition must be met in order to remove her from the battlefield. With your next turn being controlled, at worst Emrakul will allow you to kill their best creature in combat, as there is very little out there that successfully trades with her. At best, she will wreak havoc on your opponent's hand, casually three- or four-for-one'ing them and leaving their battlefield and hand in ruins. Their extra turn is immaterial most of the time, as they have no creatures that can stand up to Emrakul or any spells that can stop her once she's on the battlefield.
In terms of interactive Magic, one must first define what "interactive" truly means. With Emrakul, it almost always devolves into a game of "How badly can I destroy your battlefield state?" Experienced players usually find the rate of casting her to be vastly under her actual impact, which equates to winning on the spot.
Case Against: The "*" You See Above
The first time a player cast Emrakul, the Promised End against me, they saw that I had a Gideon, Ally of Zendikar in my hand. I also had one on the battlefield. The player proceeded to minus my Gideon to give me an emblem, cast the other one and minus it as well, and then ran one of my creatures into Emrakul… which was all they had on the battlefield.
Why was this bad for them?
Because I untapped and attacked them with the rest of my creatures, killing them.
Emrakul is a skill-testing card that requires the pilot utilizing her to understand what must be done to best win a game after she is cast, and this isn't a talent I've seen a lot of players use to its fullest potential. This isn't to say my opponent played poorly; a better play would be just casting one of the Gideons to legend-rule one of them, minusing the other, and eating one of my creatures. The double emblem, which on the surface looks like killing two Gideons for practically free, gave me enough damage to kill them on the spot.
Aside from not playing Emrakul correctly, the player using her cannot control the top of your deck. B/G Delirium decks packing Ruinous Path or Ob Nixilis Reignited may just draw either card, kill the Eldrazi, and move on. Aetherworks decks could topdeck a Woodweaver's Puzzleknot and Emrakul you back. Standard has a ton of powerful plays, so a single Emrakul may not end the game on the spot.
Case For: Emrakul Is Too Easy to Cast
I mentioned early that an Emrakul can be cast for six mana, which is true. In a dedicated Delirium deck, Vessel of Nascency can be a jump from zero to four or five types instantly. A minus from Liliana, the Last Hope can fill your graveyard, as can connecting Grim Flayers.
The most glaring strike comes in the form of Aetherworks Marvel. As someone who has done a lot of activating Marvel, I can honestly tell you it immediately becomes hopeless for the opponent who has to deal with Emrakul on your turn 4. Woodweaver's Puzzleknot is the equivalent of double Dark Ritual for energy, which makes accruing it entirely too easy. It's not the offender, of course, as the deck is revolving around powering out fast Eldrazis with Ulamog, the Ceaseless Hunger making appearances alongside his sister. Each creates mini-games where your opponent is faced with how to best deal with these game-ending threats, with an overarching theme of how to also stop you from continuously activating Aetherworks.
Is this indicative of bad design?
We saw at Pro Tour Kaladesh that it is possible to shut down Marvel decks with relative ease in the form of Torrential Gearhulk control, regardless of flavor. The fact that B/G Delirium naturally preys on control is what has kept it from making an appearance on a larger scale is troubling, because it makes up such a large portion of the metagame, thus making control variants a potential liability even if they can mutate to be better against their midrange foe.
In the current climate of Standard, it is clear that Emrakul can be searched, powered out, or naturally cast consistently and with game-ending consequences.
Case Against: Aether Revolt May Fill the Needed Gaps
The murmurs of banning Emrakul have all began and gained traction before Aether Revolt even started to reveal itself to the public. In the coming weeks it will become far more apparent if any action needs to be taken. Currently, Standard has failed its players by not providing any reactive or proactive answers to graveyards. Rest in Peace, Memory's Journey, Ground Seal, and more were tools once used to keep graveyard-based strategies held down. They didn't kill them, but they certainly made it more difficult for them to function.
We live in an environment where Emrakul as well as her Delirium-based Spider friend, Ishkanah, Grafwidow, essentially run free to do the most degenerate and oppressive things possible without consequence. Minusing your Liliana, cracking your Vessel, Grappling with the Past, or any other enabler gives you free rein to fire off the most ridiculous spells Standard has to offer. They work in concert together and very few decks are able to combat them regularly.
This is a fear that Wizards of the Coast is almost guaranteed to be paying attention to, and I would be shocked if they didn't provide, on some level, a way to profitably interact with graveyards or at least punish players for wantonly fueling Emrakul or Ishkanah. I don't suspect a reprint, but instead something that will be cheap and accessible for multiple players to employ. A spell like Disallow is a good start for blue mages, but ideally I believe it will be artifact-based and lean a little heavier on the B/G Delirium players out there looking to bolster their graveyard.
This doesn't stop the issue of Aetherworks Marvel, however. Currently most artifact removal is bulky and not strong enough to warrant any form of maindeck inclusion. Reclamation Sage would make the most sense to me, as it would also crew various Vehicles while also doing double duty to destroy Aetherworks. Yet placing it in green would be a no-go, since it would simply allow B/G Delirium a cheap and efficient way to stop Marvel decks, which are their only natural competition. Perhaps color-shifting it to white would do the most good.
In any event, one of the most potent arguments for not banning Emrakul is simply shelving it entirely until we have the entirety of Aether Revolt at our disposal. If Aether Revolt doesn't provide answers for Emrakul or other oppressive graveyard strategies, then we have a much bigger problem than simply having our turns controlled.
As much as I joke about cards or talk about banning them (especially in Modern), for the most part I like to live and let be. For years we lived in a Standard format where you'd lose games to a player discarding to Pack Rat, casting Sphinx's Revelation for six, or making a half-dozen Elemental tokens with a Master of Waves that you couldn't kill. That was a stale format.
Now we live in a world where there are approximately a dozen viable decks, but they all operate on the same axis of Emrakul, the Promised End; Ishkanah, Grafwidow; Gideon, Ally of Zendikar; and Aetherworks Marvel. Phil Jackson was wrong. It's not a triangle. It's a square. It's diverse without being diverse, literally the closest to stale on the spectrum that we can get with it looking good from the outside. I have played Magic for fifteen years. This is a bad format, unfortunately.
Does it have redeeming qualities? Of course! I love intricate games that come down to play skill, and in many instances this format has those, but for each one of those games, there are the ones where you'll lose to an Emrakul on turn 4 or 5, and that's not healthy in the slightest. You see, the decks doing these things aren't aggressive "all-in" builds that commit their forces to the battlefield and cross their fingers like you'd find in traditional formats. Instead, they are built for the short-, mid-, and long-game with tools to be successful at each stage. Being able to win on turns 4 and 15 through completely different yet oppressive avenues is very, very dangerous for player retention.
If Aether Revolt fails to provide a suitable answer for Emrakul, this will be the first time that I have advocated a Standard ban since Jace, the Mind Sculptor.
Simply put, Emrakul is too powerful to exist in a format that gives it little resistance by way of lack of graveyard hate and has a very cheap, widely played, and versatile card like Aetherworks Marvel to cheat it onto the battlefield. Having a card that can end the game without so much as a few turns passing is bad for Magic, bad for attendance, bad for viewership, and bad for the overall spirit of the game.
My caveat is the hope that Aether Revolt provides some much-needed reprieve, but without it, Emrakul should not be allowed to continue. My immediate fear is that WoTC will employ their laissez-faire method of waiting to see how the format plays out with a new pool of cards, but unless they are specifically designed to keep her in check, something must be done about Emrakul, and if that means a ban, then it will open up a larger amount of creative space in Standard. The decks that would take the biggest hit could still function with Ulamog, and B/G Delirium would still survive based off its engine alone.
In the end, perhaps Emrakul is too good for this world. It's possible she may need to join the ranks of Jace and Stoneforge Mystic as banned in Standard due to sheer power level alone. The sky certainly isn't falling on this one, but don't be shocked if your favorite flying spaghetti monster takes a trip into the moon come next year.
Previous Article The Death Of Interaction And Color Balance
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Dennis Koeckstadt (* 20. Oktober 1979 in Gütersloh) ist ein deutscher Jazz- und Bluesmusiker (Piano); Jürgen Wölfer zufolge gehört er zu den talentiertesten Boogie-Woogie-Spielern der jüngeren Generation.

Koeckstadt ist Schüler von Christian Rannenberg. Er spielte mit Rannenberg, Frank Muschalle, Vince Weber, Axel Zwingenberger, der Mojo Blues Band und der Kölner Boogie Woogie Company. Mit seinem Bruder Jan, der Schlagzeuger ist, und dem Pianisten Stefan Ulbricht spielte er 2003 das Album Shift It Up ein. Von 2003 gehörte er bis Anfang 2015 als Pianist zur Bluesband B. B. & The Blues Shacks; er verließ die Band aus familiären Gründen. Er ist Geschäftsführer der Rosenstock Productions, die Musikvideos und Commercial-Spots produziert.

Lexikalischer Eintrag
 Jürgen Wölfer: Jazz in Deutschland. Das Lexikon. Alle Musiker und Plattenfirmen von 1920 bis heute. Hannibal, Höfen 2008, ISBN 978-3-85445-274-4.

Weblinks
 Webpräsenz

Einzelnachweise

Jazz-Pianist
Blues-Musiker
Boogie-Woogie-Pianist
Deutscher
Geboren 1979
Mann

redpajama_set_name: RedPajamaWikipedia


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Tag Archives: Digital Play
Nigerian media heads to MipTV in force
March 15, 2018 NewsChichi Nwoko, Digital Play, Duncan Irvine, Hey What's On?, Lighthouse Television & Filmwork, MipFormats, MipTV, National Broadcasting Commission, Neil Oyenekan, Olasupo Odebiyi, Pixelator Multimedia, Rapid BlueGary
MipTV is set to hold another edition of its programme market in Cannes, France in April, this time with a big delegation of Nigerian TV executives in attendance.
The four-day event features masterclasses, screenings, exhibitions, panel discussions and workshops. At the MipFormats sidebar event, there will also be a panel session dedicated to the issues surrounding the development of TV formats in Nigeria.
To be held on April 8, the session will be titled The Producers Toolbox: Will Nigeria Host The Next Format Boom? Four speakers will address the topic, discussing the TV industry in Nigeria and the efforts to develop original TV formats and content for domestic and international markets.
The speakers will include Chichi Nwoko, CEO of Hey, What's On?; Olasupo Odebiyi, creative director of Pixelator Multimedia; Neil Oyenekan, CEO of Lighthouse Television & Filmwork; and Duncan Irvine, CEO of Rapid Blue.
More than 10,000 TV professionals will represent their companies and media organisations at the event. Some of the Nigeria companies that will be buying and selling include Digital Play, National Broadcasting Commission, Rapid Blue, StarTimes Media, Screenshot Media, Pixelator Multimedia and Lighthouse Television & Filmworks.
Chineye Nworah, chief operating officer and head of content at Screenshot, told Content Nigeria about the company's MipTV plans: "We attend various content markets annually. Content is what we are about, from feature films to reality TV shows, we aim to sell this content and distribute it. Though we would not be exhibiting at MipTV, we have meetings scheduled with other companies who have indicated their interest in our content."
MipFormats will take place in Cannes from April 7 to 8, while MipTV runs from April 9 to 12.
tagged in: Chichi Nwoko, Digital Play, Duncan Irvine, Hey What's On?, Lighthouse Television & Filmwork, MipFormats, MipTV, National Broadcasting Commission, Neil Oyenekan, Olasupo Odebiyi, Pixelator Multimedia, Rapid Blue
Subair: take back control of our TV
March 12, 2018 NewsDigital Play, DSO, HiTV, The Nation, Toyin SubairGary
Toyin Subair, exec chairman of media company Digital Play, has called out to the federal government to regain control of Nigeria's TV industry from foreign companies.
Toyin Subair
In a recent interview with newspaper The Nation, Subair said Nigeria has the biggest creative industry in Africa but is unable to monetise its content because of the invasion of foreign TV companies. These control the TV infrastructure and dictate what is broadcast, he claimed.
According to Subair, home-based infrastructure is what is needed to help the industry thrive. "We need to fight the infrastructural battle. We need to own the platforms. We need to get the right kind of funding," he said.
"We need to ensure that our stories are told the way we want them to be told and that they are not bastardised by the ones controlling it. Somebody else is deciding what goes on and what doesn't, when it should go out and how it shouldn't go out. You don't want that; you don't want people to take our creativity out of the country."
Subair, former CEO of now defunct Nigerian pay TV outfit HiTV, said the digital switch over (DSO) transition will be instrumental in the nation's control over its content, with the advent of set-top boxes ensuring content creators have access to more than 24 million TV households.
However, he pleaded with the Nigerian government to ensure that DSO is not taken over by foreign companies.
He also claimed that while DSO is lucrative it needs to be funded. "They say there is no money, but how can you say there is no money? The very essence of DSO is that you free up spectrum that people can use to go and sell data and make data cheaper via LT 4G 5G.
"So, 16 analogue TV channels find that if they move to digital, they will only need a fraction of it and then you can take the rest and sell it. With regards to the funding of DSO, we are sitting on it ourselves with no transaction being done properly to free it. It's like a chicken and egg situation.
"You are sitting on the money but you need to monetise it. You just need a few smart people in one room, create a model where it is used as security to fund the rest of DSO, and then once it is funded and you remove the people, you use the asset and sell it off to monetise the investment. Now, what I just said looks simple; we make it difficult for ourselves."
tagged in: Digital Play, DSO, HiTV, The Nation, Toyin Subair


FUTURMODA's latest editions have been joined by over 350 exhibitors spanning an exhibition area of over 12,000 square metres.
After only two days, the components exhibition had recorded over 6,000 visitors.
FUTURMODA is an exhibition that maintains a constant flow of industry professionals, as well as a reasonably positive environment for all exhibitors who, in general terms, are able to make new contacts after every edition".
93% of the visitors acknowledged Futurmoda as the essential industry exhibition and a must-attend event.
There is also an increase in the attendance of foreign visitors.
Both the institutions and exhibitors have a very positive opinion regarding their own participation.
It comprises a schedule with top level activities that are highly attractive for the industry.


The Pro Tram by Edge Technology makes the process of tramming your mill fast, easy and accurate. Tramming is the process of squaring the head of your milling machine to the table. The Pro Tram is sized to fit the bed of a 6" vise allowing you to tram directly to vise for increased accuracy. It can be used with a sine bar or sine plate to adjust the head to precise angles.
•	To use the Pro Tram simply lower unit to the table and adjust the head until both indicators read the same.
•	Sized perfectly to fit the bed of a 6" vise allowing the head to be trammed to the vise instead of the table.
•	Indicator graduations available in 0.001" and 0.0005".
•	Shank sizes available in 1/2" and 3/8".
•	Large 2.2" easy to read indicator face.


Ion Cucheran was born 1870 in Boian, Bukovina. He had only one sister who was left in the old country. In 1896 he married Ioana, daughter Toader A. Toma and Sanda .
In 1899 the young family emigrated to Canada with Ioana's parents and brothers and sisters. They homesteaded on N.E.Vi Sec. 4, 56, 14, W.4 and built their bordei in which they lived until a larger log house was constructed. Ion was a hard worker and he, too, went out working to earn money needed to purchase food and livestock. He was a great friend of Nazarie Yurko and the two helped each other immensely. Ion had purchased a horse and Nazarie had a cow so they paired them and ploughed land on both farms – at least enough for a large garden and some wheat for flour. When Nazarie's cow had a calf, Mrs. Yurko milked her and both families shared the milk till the Cucherans were able to buy a cow of their own. Domnica was the eldest. She was two years old when the family migrated to Canada. In 1915 she married John G. Hutzcal. Sarah, the second daughter, married Nick Schrimbit of Regina where they made their home for many years. They raised a family of six children, June, Danny, Harold, Doris, Sonny and Vicky. Sarah is now widowed, retired and living in Victoria, B.C.
George, the eldest son, married Mary N. Kelba and they farmed on the quarter directly west of the homestead. They raised a family of four girls and two boys, Kathleen, John, Doris, Helen, Gladys and Jimmy. After George passed away, Mary moved to Willingdon where she still resides.
Metro, the second son married Helen Dydik of Warwick and they lived on the home place for many years. They raised a family of six boys and two girls, Edward, Mary, George, Alex, June, Roy, Kenny and Roger. Helen passed away when the youngest boy was two years old. The younger children were brought up in Vegreville by their maternal grandmother Mrs. Dydik. The others had to fend for themselves at an early age.
Mary (Marghioala) married Steve Puscas of Regina where they made their home. They had one daughter and four sons, Georgina, Steve, Melvin, Albin and Alvin.
The Cucherans also raised a granddaughter, Pach- ija (Katie) who married Metro Toma. Katie was gifted with a beautiful soprano voice and she sang in the Romanian choir at Boian most of her life.
Ion Cucheran died of consumption in 1927 and Ioana was left to continue farming and to raise and marry off her children. One of her constant worries was to pay off the interest on the mortgage on her farm so that she would not be left homeless. She was a strong-minded woman with a fierce determination, worked hard all her life, often doing a man's work on the farm and managed to pay off most of her debts. She passed away in 1942 after suffering a severe stroke. Ioana lies buried in the Boian cemetery, resting place of so many of her relatives and friends.
I didn't found Ion's birth and marriage records. Also Ion and Ioana's childrens birth records. This mean that Ion Cuchurean attend greek-catolic church in Boian. At the time I haven't information where is the metrical books from that church.


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July 30, 2010 July 31, 2010 James Turner General
Tales of the Avro Lancaster
Bullets in Avro Lancaster rear turret
As a kid, I dreamed of, made models of and read about WWII aircraft. When we left South Africa, my all-too-distant-family gave me a book on the history of airplanes that I still have to this day.
One of my all-time favorites was the Avro Lancaster.
The different Lancaster models
One of two still-in-service-Lancasters is on display as I write this at Winnipeg's aviation museum. It's a rare treat because you can line up to get inside the historic aircraft and have a look-see.
On a trip there today, hundreds of people were snaked in a line around the museum's interior to do just that. I didn't have the time to wait, so I paid my $10 and got a chance to touch history.
People lined up in droves Friday to see — and feel — the historic plane
It was a dream come true for me. I took a few pictures, but you can see better on the Winnipeg Free Press website, which, to the FP's credit, is doing a full-court press on this short-term exhibit.
Even better, I got 20 minutes of face time with Frank Creamer, a London, Ont. police officer who's volunteering his time to talk with people who have come to see the plane.
I'll let officer Creamer, an RCAF brat whose knowledge of aviation was astounding, tell you two awesome stories of Lancaster heroics in his own voice.
The first story is about Lt. William Reid, who braved harrowing conditions to bring his Lancaster home in wartime. Runs: 5:14
Frank Creamer on William Reid
The second is about the use of a Lancaster in the search and rescue of a boy in Canada in 1950. Runs 2:17
Creamer on Canadian rescue mission
The third is just some general stuff from Creamer about why he feels this aircraft was so awesome. Runs 2:39
Creamer on Lancasters in general
Imagine having to shoot enemy aircraft down with these.
A few more pictures are also presented below, but you should really go and see it for yourself, or check the FP website. [PS- Tania Kohut is doing an awesome job for the Freepy in their new online reporter position].
[I have a feeling the museum is gonna make a mint off this one…]
The bombardier sat in the nose of the plane and opened the doors when ordered.
Looking down on targets
The Lancaster's specs
Tagged avro lancaster, frank creamer, james turner, william reid, winnipeg
Published by James Turner
View all posts by James Turner
From FP's editor's note:
What the public doesn't hear, week 2


text:
Motorsport Forums > Racing > Formula 1 > Dernie leaves Williams
View Full Version : Dernie leaves Williams
Giuseppe F1
http://www.autosport.com/news/report.php/id/56531
Dernie leaves Williams team
By Jonathan Noble Wednesday, January 31st 2007, 11:43 GMT
Engineer Frank Dernie will not continue working with Williams this year, autosport.com has learned, after it was agreed that his contract with the team would not be renewed.
Dernie, a former technical director at Lotus who also had spells at Ligier, Benetton, Arrows and Lola, originally returned to Williams in May 2003 as a contracted consultant to help boost technical knowledge at the team.
He was later assigned to help oversee Juan Pablo Montoya that year and played a role in the Colombian's challenge for the world championship.
Although staying on at the team as a Special Projects Engineer, a recent expansion of staff at Williams meant that some of his responsibilities were now being taken by full-time staff.
After reviewing the situation, Dernie and the team both agreed that he would not continue at the team. It is not clear whether Dernie will return to F1 with another outfit.
Dernie achieved his greatest success at Williams, where his aerodynamic input alongside then technical director Patrick Head helped the team win three world championships in the mid-1980s.


Thanks for a great website. Here's a tip for travelers to downtown Sacramento. If you get a stay at the Hyatt Downtown, Citizen, or Sheraton Grand on the weekend (after 4 p.m on Friday, must leave before 6 a.m Monday), you can park a few blocks away at: https://www.cityofsacramento.org/~/media/Corporate/Files/Public-Works/Publications/Parking/EastEnd-FAQ.pdf The price is $2. You will have to drop your bags at the hotel in advance or drag them a few blocks. This is a parking lot for State employees but opens to the public on the weekends. I used to work here so that's why I know about it. I feel it's safe and have left my car overnight but park at your own risk. Please check the latest information before your trip as I can't guarantee it will always allow overnight parking. You get a token upon entry that you use on exit. You can't beat the price!
Originally bid on name your price for $100. Was countered at $136 but knew Express had a 4 star at a better price. Amenities listed: Pet Friendly Outdoor Pool Non-Smoking Gym Restaurant Handicap Accessible Business Center $124 plus $36.97 tax and fees for $160.97.
Thank you for the suggestion on calling the resort and Hotwire. I did find out that the room I purchased was at the Lodge. I also found out I would not be charged the resort fee. Then I called Hotwire. I got nowhere with the customer service representative. She basically told me I should go to the resort and after staying there, I would have an opportunity to fill out a survey if I was dissatisfied. I told her I didn't need to stay there to know I would be dissatisfied with a room equivalent to a one star motel. My husband pointed out even Motel 6 has air conditioning. I finally asked to speak to her supervisor since I could tell I would get nowhere with her. After long holds while the Hotwire supervisor straightened things out with the hotel, I was informed I could either cancel the reservations, including the insurance I purchased, or pay an extra $34.20 at check in and get a deluxe room, which are the remodeled rooms. I opted to pay the extra $34.20. I don't know if I have to pay the resort fee on top of that. I guess I'll find out at check in. I'm very satisfied with how Hotwire handled the situation. Thanks again for your suggestion. I think the bottom line here is buyer beware when booking a room in Mammoth at a 3.5 star resort. I would recommend paying a little more and booking at a 4 star resort to avoid getting the Sierra Nevada Resort Lodge rooms.
My reservation says Sierra Nevada Resort and Spa. If you look at the ratings for this resort, they are all over the place. It appears to me it is a timeshare selling off their excess rooms during the non-peak time. Those who get the timeshare portion of the resort, love their stay and give it rave reviews. Those who get the Lodge, complain. I don't know for a fact that we will get a Lodge room. I am basing it on other reviews I've read from people who have booked from a third party vendor. Two in particular mention Priceline. Here's a link to a couple reviews (there are many more but you get the picture): https://www.dropbox.com/s/4xg8v7dly4yc1nu/SierraNevadaResort.docx?dl=0 I really appreciate your suggestion and will definitely take you up on it by calling the resort. Had I known there was a possibility of getting a substandard room, I would have paid $50 more to get a "real" 4 star resort. That is why I love your website. We can share our experiences -- good or bad (I've never had a bad experience and have gotten some incredible deals!) Thanks again for a great website! P.S. I ALWAYS start my bid from the link on your website (even if I don't always report my wins -- slap my hand!) and hope others do as well!
Upon further research, I believe what is happening is the Hotwire reservation is with the Lodge at Sierra Nevada Resort, which is a little misleading. The rooms at the Lodge from what I've read are older and not renovated. Some posts say they smell (like mildew or previous smoking rooms) and are dirty. They don't even have air conditioning. How can Hotwire (and Priceline) rate the resort 3.5 stars and have rooms that are more in line with a 1 or 2 star room? On top of that, there is a $25 resort fee that was not revealed on Hotwire but it was on Priceline. I booked on Hotwire because I thought they didn't have the extra resort fee. I think buyers need to be aware of these misleading points. Go to the Sierra Nevada Resort website and look at their Lodge rooms before bidding. Had I known, I would have booked elsewhere but I'm stuck now. Here's what it says for amenities. Even if you stay at the Lodge section of the resort, you will have access to these amenities but you will pay $25 per night whether you use them or not. FULL AMENITIES: Shuttle, Restaurant, Pool, Fitness, Smoke Free, Free Internet, Hi-Speed Internet, Laundry, Golf, Spa, Childrens Activities, Free Parking, Pet Friendly, Steam Room, Sauna, Ski Rentals, Gift Shop. I can update the post once we have stayed to let folks know what to expect. I love your website and appreciate all the information, which is why I'm adding this new information that I've discovered since learning which hotel we got.
This was my first bid. There is currently only one known 4 star hotel in Rancho Cordova on Price.line so it was easy to know what I would get. I placed the bid late Friday night on 3/21/14. Priceline was showing the normal price as $89 for the same night. Tax is $16.24 for a total of $76.24.


They used to be called Airmiles, Avios is just the new(ish) name for them. They are a travel reward point that you can redeem for flights, upgrades, hotels and more. But how to collect Avios? First of all, you need to sign up for a British Airways Executive Club account and an Avios account. Don't worry, they are both free. Just click on the blue links, it'll only take a couple of minutes. I'll see you back here in a bit.
Ah, it's yourself, you're back. I told you it wouldn't take long. In general, Avios can be collected on you everyday shopping as well as earned on flights and hotel bookings among other things.
Be that as it may, it's a broad-ranging statement with very little substance.
To demonstrate, let me take you through how I earn Avios!
The above screenshot is Avios earning from a Flight from Auckland to Doha with Qatar Airways. As you can see, I earned a shade over 9,000 Avios for the standard flight and a Cabin bonus of over 2000 because I was travelling in Business Class. As Qatar Airways is a member of The 'One World' Alliance you can choose to have your Avios credited to your British Airways account. You choose this option when you book the flight. Now let's have a look at earning on a British Airways flight.
Above is a screenshot of an Avios statement for a Genoa to Gatwick flight. It's similar to the Qatar one with the standard flight earning and cabin bonus. You will also notice on this one a Tier Bonus. Because I am a Member of the British Airways Executive Club I get a bonus. And because I am a Gold member I get a bigger bonus. For more on BA membership, see here.
How else can I collect?
Okay, you collect Avios on flights, but what if you don't fly that often? There are other ways. Topcashback earnings can be transferred to Avios. What's Topcashback? Basically, you get money back for everyday purchases.
Additionally, you can convert your Tesco Clubcard points to Avios. In the Clubcard section on the Tesco website, you have the choice to send them to your British Airways Executive Club account or your standard Avios account.
The sharp-eyed amongst you would have noticed a 'Finance Card AMEX BA spend' on the last picture. British Airways have their own American Express Card. For what you spend on it, you receive points.
While you are at Avios.com, see their ways to collect. There is a huge list of shops and businesses you can collect Avios with.
There are some specialist websites that contain a lot more info on collecting Avios. I recommend Head for Points not just for Avios information but deals and flight sales as well.


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West Bromwich was first mentioned as Bromwic ('broom village') in the Domesday Book of 1086. It is believed that it may have originally been part of the Handsworth parish. A Benedictine priory existed in West Bromwich from the 12th century around which the settlement of Broomwich Heath grew
The town is divided into two constituencies; West Bromwich East and West Bromwich West. West Bromwich East is served by Tom Watson of Labour who was initially elected in 2001. Tom has been re-elected twice since, despite having a reduced majority at the 2010 general election. Preceding him was Peter Snape, also of Labour, who had been MP since the 1974 general election.


Marvelous Mango Paleo Granola - I Can't Eat What?
It's mango season and I'm going crazy with the mango recipes!!! Here's our new granola perfect for those on a vegan, paleo, gluten free or dairy free diet. It also has no added sugar! That's how we roll! And if you like mangoes, Marvelous is an understatement!!! Enjoy this amazing recipe for breakfast with dairy free milk, yoghurt or as a healthy snack on the go!
1. In a blender puree the mangoes until smooth and set aside.
3. Add the coconut oil first and stir thoroughly.
4. Add the mangoes and vanilla and mix well.
5. In a lightly greased 8" x 8" baking pan spread the mixture evenly.
6. Bake at 275 for 90 minutes, stirring every 18 minutes to prevent burning. Serve warm or room temperature and store in an airtight container.


You and your daughter are going to have such a great time at Walt Disney World. I would suggest that you stay on site at a Disney property. There are so many reasons for this. Great transportation to the parks and resorts, access to extra magic hours and so much more. I love taking the monorail and the boats to the parks. It's totally neat. I think that your plan for visiting the Magic Kingdom and Epcot is a great idea. At the Magic Kingdom make sure you say hello to Mickey Mouse at the Town Square Theater on Manin Street U.S.A. It is a great way to make some quality memories. Both Magic Kingdom and Epcot are classic parks that you both will enjoy. At Epcot I would make a point of visiting the World Showcase Pavilion. My family spent an entire day just exploring the countries. Make a point of seeing the visual sensation at night that is Illuminations. On the water at night it is a must see. As for the other park, I think your child would love Disney's Animal Kingdom. I was just there in April and it was so much fun. Between the awesome animals everywhere, to the amazing attractions like Expedition Everest, to the spectacular shows, this is a great place for adventure. I would make a point of watching the Festival of the Lion King. It is totally audience interactive and I think the both of you will come out amazed and smiling. It really is that cool. I hope this provides you some insight on how to have a fantastic vacation. Feel free to ask me for more tips. I hope to see you at the parks soon.


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Bafoussam I est l'une des trois communes de la communauté urbaine de Bafoussam, département de la Mifi dans la région de l'Ouest au Cameroun. Elle a pour chef-lieu Bafoussam.

Géographie
La commune s'étend sur la partie sud-ouest de la communauté urbaine de Bafoussam. Elle est drainée par la rivière Toungwen qui marque la limite avec Pète-Bandjoun au sud. A l'est la commune atteint la rive droite de la rivière Noun qui la sépare de Foumbot.

Histoire
La commune de Bafoussam  est créée en avril 2007.

Population
Le recensement de 2005 relève une population de , dont 83 % en zone urbaine et 17 % en zone rurale.

Administration
Les maires se succèdent depuis 2007.

Chefferies traditionnelles
La commune compte 41 chefferies de  degré et une chefferie de  degré :
 Chefferie de Bafoussam

Quartiers et villages
Le ressort territorial de l'arrondissement identique à celui de la commune.

Zone urbaine
La zone urbaine est constituée de 22 villages : Bamendzi, Banengo, Djeleng, Djemoun, Famla, Ndiangdam II, Quartier Administratif, Tamdja.

Bafoussam Rural
La zone rurale est constituée de 19 villages : Badiembou Melam I, Badiembou Melam II, Bamendzi II, Banefo, Banengo Village III, Batoukop, Demsiem, Famcep, Houkaha, Houkama, Kouekong, Mvoutsaha, Ndiembou Medjo I, Ndiembou Medjo II, Ndiengso I, Ndiengso II, Njeugah I, Njeugah II, Tcho, Tomdjo, Ndiendam I,

Enseignement

Primaire et écoles maternelles
Les écoles maternelles sont au nombre de 37 écoles publiques, 32 écoles privées et 8 écoles maternelles confessionnelles. L'enseignement primaire est assuré par 50 écoles publiques, 31 écoles privées laïques et 9 confessionnelles. Soit au total 167 écoles maternelles et primaires.

Secondaire

L'enseignement secondaire public est assuré par seize établissements :
 deux lycées francophones d'enseignement Général : Lycée classique de Bafoussam et le lycée de Batoukop ;
 deux lycées techniques : lycée technique de Tayim et le lycée technique de Banengo ;
 deux lycées bilingues : lycées bilingue de Ndiengdam et lycée Bilingue de Bafoussam.
 10 collèges privés

Santé
La commune compte un hôpital de district, huit centres de santé publics, 15 établissements de soins privés.

Économie

La commune compte 7 marchés : marché de Tayim (Njingah 1), marché de Banefo, marché de Famcep ; marché de Kam, (Ndiembou), marché de Koudous (Mvouts'a), marché de Tougniet (Tomdjo), marché de Tchouessem, marché de Ndiengdam II.
L'abattoir municipal est localisé au quartier Banengo Ville.

Culture et traditions
Le festival biannuel Nyang-nyang se déroule lors de la période des récoltes, sur la place du palais royal de Bafoussam, le Nyang-nyang est le cri des corbeaux qui assistent les femmes aux champs pendant les récoltes.

Transports
La gare routière est située au quartier Ndiengso 2.

Sports
La commune compte trois stades : le stade omnisports de Kouekong inauguré en 2016 a une capacité de  places et son stade annexe, le Stade municipal de Bamendzi a une capacité de  places.

Notes et références

Bafoussam
Commune dans la région de l'Ouest (Cameroun)


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Analysis of "There Was A Father", 01:12:00 – 01:17:59
Posted by Murderous Ink on February 16, 2011	 December 16, 2017 JAPANESE FILMS
Home JAPANESE FILMS Analysis of "There Was A Father", 01:12:00 – 01:17:59
Analysis of "There Was A Father", 01:18:00 – End
There Was A Father, Scene 4614
The climax of the film is staged at the father's house. The separation of the father and the son, the loss of their own house and the long arc of their sojourn finally land on the domestic scene however temporary. Through most of their lives, privacy has been a luxury. Here, they have the space of their own where they can discuss their private matters in more joyous note. But, alas, it's only for a brief moment.
Among the indoor settings in this film, there are three instances of "upstairs". Earlier instances are meetings of the father and the son, one in the restaurant (Ryotei) and the other in the lodging in the hot spring resort. Both cases are the borrowed spaces, as if two lovers meet in secrecy. The last appearance of the room upstairs is in this section. The son has a conversation with his father, and goes upstairs to start his carefree day-off.
"The room upstairs" has played a symbolic role in Japanese dwelling since late 19th century. "The upstairs" frequently provided a space for a young single male, usually a grownup son, a collage student or an artist-to-be. The following is the analysis by Ai Maeda on the role of two-level structure of a traditional Japanese house in modern Japanese literature.
"In a traditional Japanese house plan, the staircase (to upstairs) is usually concealed in the corner of rooms or the hallway. The rooms upstairs, connected to the main floor through such a staircase, tend to have the air of secret hideaway. … The upstairs in a Japanese house is a lonely secret hideaway similar to an attic in a Western house, but at the same time it is anchored to the world downstairs intimately. The resident upstairs cannot be wholly free from the dense air of people populate downstairs, while the world downstairs is not allowed to be unaware of the presence of the upstairs."
This analysis also applies to the treatment of such structures in Japanese cinema. The most evident in Ozu cinema is the early scene in "The Brothers and Sisters of Toda Family", where we find Shojiro in his room upstairs. Whole family is getting ready for the photo session in the garden, but Shojiro is in his room as if he is oblivious of the family gathering. But the truth is, he knows the session is getting ready, he is aware of being late. The very fact he is not apologetic nor surprised tells us silent admission of his knowledge. Moreover, though his sister and nephew come up to hurry him up, he takes time to change his clothes leisurely. When his nephew tells him the old man is getting angry, Shojiro takes it half seriously, "Don't make me sweat". This exchange reveals his handling of delicate balance between accepted indulgence and eyebrow-raising laziness. He cannot be free from his family downstairs, but he indulges himself in this little space, enjoying reclusiveness. Inversely, Shinichiro, the eldest son and the downstairs-dweller, is fully aware of his responsibility and power as an adult male in the family and dutifully exercise them.
Brothers and Sisters of Toda Family
Another example is Noriko's room upstairs in "Late Spring". This is her private, emotional sanctum. Here, she entertains her friend, can express her negative feelings and retreats back into her black hole when she wants to. This place is only allowed for a unmarried woman, as she leaves the place behind on the morning of her wedding. It is probably very fascinating to note that smaller children, pre-schoolers and elementary school students, have their space downstairs with their parents(I Was Born But,…, Tokyo Story, Ohayo, etc.).
Back to "There Was A Father". I found it very peculiar to see the son in the room upstairs. Significance is that this is the first time the adult Ryouhei has his own space and privacy. It is only temporary, since he will have to go back to his teaching in a few days, but his room "upstairs" is finally here. The relationship to his father/downstairs is straightforward as we can easily imagine Ryouhei will come down immediately when "downstairs" calls for him. Shojiro in "Toda Family" has much more "matured" relationship to his downstairs. It is a complex compound of acceptance, dependence, reluctance, indulgence, irritation and comfort and many more, feelings and attitudes of parents and sons who have spent their time together for a long time. Shojiro has everything Ryouhei longed for and much more.
But "upstairs"? How do we know it is upstairs? There is no indication of the staircase, as in the cases of Toda Family and Late Spring. Not even the sound of footsteps when the maid comes up to call Ryouhei for help. The only indication is the window in the room, which has railings typically found in second-level rooms. It can be the ground-level room, belonging to the world of "downstairs". The staircases in Toda Family and Late Spring create the distance, the tunnel through which the downstairs dwellers have to go to reach the privacy of Shojiro or Noriko. Ryouhei in "There Was A Father" does not have this tunnel.
Ryouhei's relationship with the father just ended before it even started.
IMAGE ANALYSIS / YASUJIRO OZU


Chennai, 23rd July, 2015: NAC Jewellers, a trusted jewellery brand in India, today unveiled its Rewind Collections in its refurbished Antique Lounge across its showrooms. The range will showcase carefully curated original antique masterpieces from across South India. The collection comprises of a great variety of finest and exquisite Chettinad ornaments. The jewellery range dating back to anywhere between 75 to 100 years was unveiled by the brand ambassador, Actress Ms. Trisha Krishnan at the Mylapore store.
Each piece of jewellery from the collection boasts of fine, intricate designs crafted in gold. The jewellery line up consists of Moppu, thalai billa, thalai set, Pendant, earrings, neck pieces and many more. Crafted with fine Rubies from the mines of Burma, each of these pieces have been manufactured predominantly by the artisans from Nagarkoil and Karaikudi.
To coincide with this occasion, an exclusive, instructive coffee table book on antique collections was handed over to Ms. Trisha by Mr. N. Anantha Padmanabhan, Managing director, NAC Jewellers Pvt. Ltd. The book besides empowering ardent antique jewellery buyers showcases chronicle of select, precious jewellery piece from the collection and narrates the history and story associated with them.
The collection comes with a niche, intricately carved jewel box, which will house the grand antique pieces. Additionally, a complete how-to-maintain kit will be will be provided with every purchase.
An experiential antique lounge will transport customers to past eras, the collection itself is displayed amidst laser cut golden arches, Jamawar silk and Chettinad style windows displaying the radiant masterpieces. This refurbished section of the store is sure to provide customers a royal shopping experience.


text:
Cinekambiya Int'l Gains Breakthrough
in Society — by Musa Saidykhan —	March 18, 2016
THE GAMBIA'S CINEKAMBIYA INTERNATIONAL FILM FESTIVAL GETS THE SUPPORT OF GERMANY'S FILMINITIATIV KOELN
The Gambia's premier international professional film festival has earned a breakthrough on the global stage by winning the support of FILMINITIATIV KÖLN, one of the most respected cultural development organizations in Germany.
In a letter of intent addressed to CINEKAMBIYA Founder Prince Bubacarr Aminata Sankanu, the President of FILMINITIATIV KÖLN Karl Roessel, says "we are very excited about the launching of the CINEKAMBIYA INTERNATIONAL FILM FESTIVAL (CIFF) in The Gambia in December 2015. As organisers of Germany's oldest AFRICA FILM FESTIVAL we hope, that the festival CIFF will have a long and bright future. It is very important that films by African filmmakers first of all reach their African audiences and CIFF is an important contribution in achieving this aim."
Karl confirms that "FILMINITIATIV KÖLN therefore is prepared to support the founder of CIFF in the preparation of future editions of this film festivals in The Gambia. We had the pleasure to get to know Prince Bubacarr Aminata Sankanu, when he studied at Cologne's film school. He also assisted as volunteer in the organisation of our AFRICA FILM FESTIVAL. In reverse we are eager to assist in the organisation of CIFF providing contacts to filmmakers, producers and distributors of films around Africa and in the African diaspora."
Since 1992 FILMINITIATIV KÖLN has presented the "OUT OF EUROPE" AFRICAN FILM FESTIVAL in Cologne, Germany. Initially being held at irregular intervals, the festival has taken place every two years since 1996. The 14th edition will be held from September 15th to 25th presenting about 70 films from 20 African countries and 30 guests.
During the last two decades more than 650 films from 40 African countries have been screened in Cologne, and 130 filmmakers have been invited to present their works and hold discussions with the general public. Today Cologne's Africa film festival presents the most comprehensive range of contemporary African cinema to be found anywhere in Germany. (See: www.films-from-africa.com)
"FILMINITIATIV KÖLN hereby gladly confirms its partnership with the CINEKAMBIYA INTERNATIONAL FILM FESTIVAL (CIFF). Long live African cinema and the partnership of the Africa film festivals in The Gambia and Germany" Karl Rössel concludes.
It can be recalled that prominent Gambian international filmmaker and scholar, Prince Bubacarr Aminata Sankanu pioneered the first ever annual domestic film festival to secure The Gambia on the global film map. The maiden edition of the CINEKAMBIYA INTERNATIONAL FILM FESTIVAL (CIFF)l took place between the 26 December 2015 and 03 January 2016 at the Global Hands Development Hub in Manduar village, West Coast Region under the theme of African Cinema and Gender Valuation" Dr. Isatou Touray of GAMCOTRAP served the grand patron of the 2015 edition. The second edition of CIFF 2016 themed "The Youth Factor" will have the Pan African Screen Awards (PASA) as part of its key highlights.
http://www.cinekambiyainternationalfilmfestival.org/


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Q: What's wrong with this simple android listView? I'm trying to make a simple listview that contains a list of different foods you've eaten throughout the day. I created a simple foodItem class which just holds a string and a calorie counter, and I created a FoodItemAdapter class, which overrides the ArrayAdapter class. For some reason I crash when I try to launch the app, and it appears that the textViews haven't been loaded properly. This is the error:
05-17 14:20:20.528  21314-21314/com.example.jake.caloriecounter E/AndroidRuntime﹕ FATAL EXCEPTION: main
    Process: com.example.jake.caloriecounter, PID: 21314
    android.content.res.Resources$NotFoundException: String resource ID #0x64
            at android.content.res.Resources.getText(Resources.java:286)
            at android.widget.TextView.setText(TextView.java:4148)
            at com.example.jake.caloriecounter.FoodItemAdapter.getView(FoodItemAdapter.java:38)

This is the code for the food item adapter
public class FoodItemAdapter extends ArrayAdapter<FoodItem> {
    Context context;
    String TAG = "FoodItemAdapter";
    public FoodItemAdapter(Context context, int resourceId, ArrayList<FoodItem> foodList) {
        super(context,resourceId,foodList);
        this.context = context;
    }
    @Override public View getView(int position, View convertView, ViewGroup parent) {
        //Inflate if needed
        if(convertView == null) {
           //Need to create a new view
           Log.d(TAG,"Creating new view.....");
            LayoutInflater inflater = (LayoutInflater) getContext().getSystemService(Context.LAYOUT_INFLATER_SERVICE);
            convertView = inflater.inflate(R.layout.layout_food_item, null);
        } else {
            Log.d(TAG,"Using old convertView.....");
        }

        FoodItem item = getItem(position); //Gets data assosciated with this position from the data
        if(item != null) {
            //Get views so we can set them to the correct data
            TextView foodTextView = (TextView) convertView.findViewById(R.id.foodName);
            TextView calorieTextView = (TextView) convertView.findViewById(R.id.calorieCount);
            //Set the views based on the data
            foodTextView.setText(item.getName());
            calorieTextView.setText(item.getCalorieCount());
        }

        return convertView;
    }

}

And this is the code for the fragment which contains the list view:
public class DayListFragment extends Fragment {
    private static final String TAG = "DayListFragment";
    // TODO: Rename parameter arguments, choose names that match
    // the fragment initialization parameters, e.g. ARG_ITEM_NUMBER
    private static final String ARG_PARAM1 = "param1";
    private static final String ARG_PARAM2 = "param2";

    // TODO: Rename and change types of parameters
    private String mParam1;
    private String mParam2;

    /**
     * Use this factory method to create a new instance of
     * this fragment using the provided parameters.
     *
     * @param param1 Parameter 1.
     * @param param2 Parameter 2.
     * @return A new instance of fragment DayListFragment.
     */
    // TODO: Rename and change types and number of parameters
    public static DayListFragment newInstance(String param1, String param2) {
        DayListFragment fragment = new DayListFragment();
        Bundle args = new Bundle();
        args.putString(ARG_PARAM1, param1);
        args.putString(ARG_PARAM2, param2);
        fragment.setArguments(args);
        return fragment;
    }
    public DayListFragment() {
        // Required empty public constructor
    }

    @Override
    public View onCreateView(LayoutInflater inflater, ViewGroup container,
                             Bundle savedInstanceState) {
        // Inflate the layout for this fragment
        Log.d(TAG,"Inflating....");
        View view = inflater.inflate(R.layout.fragment_day_list, container, false);

        return view;
    }

    @Override
    public void onStart() {
        super.onStart();
        Log.d(TAG,"Starting....");
        //Setup data source (temporary)
        ArrayList<FoodItem> foodArray = new ArrayList<FoodItem>();
        foodArray.add(new FoodItem("HotDog",100));
        foodArray.add(new FoodItem("Cake",500));
        //Set up the adapter & hook it up to the listView
        FoodItemAdapter foodAdapter = new FoodItemAdapter(getActivity(),R.layout.layout_food_item,foodArray);
        ListView listView = (ListView) getActivity().findViewById(R.id.listViewMain);
        listView.setAdapter(foodAdapter);

        //These few lines work fine on their own, so I know that findViewById works here
        TextView temp = (TextView) getActivity().findViewById(R.id.tempText);
        temp.setText("Test Text");

    }
}

I've tried a few different solutions, but I haven't gotten things to work. I feel like there's a problem with the getView methods, like it's not inflating properly. Am I missing something?

A: FoodItem's calorieCount property is of type int, right? In that case on this line:
calorieTextView.setText(item.getCalorieCount());

TextView will think that you're trying to reference a String resource by its int id - because of how Java works. Try converting that value into a String, e.g.:
calorieTextView.setText(String.valueOf(item.getCalorieCount()));

A: I'm guessing that you're creating the adapter too soon.
Make sure that you wait until onActivityCreated()
You can read more about the Fragment lifecycle at http://developer.android.com/guide/components/fragments.html

redpajama_set_name: RedPajamaStackExchange


text:
ODI World Cup in NZ: Chance for India eves to change fortunes
CricketMelbourneNew Delhi
By Sports Halchal Published on Jan 1, 2022
New Delhi : The year 2022 presents a golden opportunity to the Mithali Raj-led Indian women's cricket team to leave behind the narrative of 'yet so close yet so far' and script a memorable and historic tale of success with a title win in the ICC Womens ODI World Cup, to be held in New Zealand from March 4 to April 3.Having tasted defeat by just nine runs in the final of the 2017 World Cup against England, India went on to reach the T20 World Cup decider in 2020. However, once again they faltered at the last hurdle, losing to a strong Australian side at the iconic Melbourne Cricket Ground (MCG) by 85 runs.In 2022, the Women in Blue will be looking to go one step further and claim their first ICC trophy.The year gone by wasn't the kindest for the women's cricket team as they lost ODI series to South Africa (1-4), England (1-2) and Australia (1-2) the latter two as part of the multi-format series. However, what's clear is that at their best, India are good enough to beat anyone, having ended Australia's four-year and 26-match winning streak in the ODI series in their backyard last year.The upcoming 50-over World Cup could also be the 'swansong' for veterans Mithali Raj and Jhulan Goswami, who have been giving their services to Indian cricket for over two decades now. And they will definitely try to finish their respective careers on a high.
While skipper Mithali and seamer Jhulan will be key to India's success at the World Cup in New Zealand, the veteran duo will need plenty of support from India's rising stars like Shafali Verma, Yastika Bhatia, Richa Ghosh and Sneh Rana, among others.On the other hand, the likes of Smriti Mandhana, Harmanpreet Kaur, Shikha Pandey, Punam Raut, Deepti Sharma, Rajeshwari Gaekwad and Jemimah Rodrigues also have enough experience of international cricket, which will be crucial in the challenging conditions of New Zealand. The team will also play five ODIs against hosts New Zealand in February, which will be an ideal preparation for the mega event.Overall, India have a good mix of youth and experience, and when they open their World Cup campaign against Pakistan on March 6 at Tauranga, they will be one of the title contenders in the quadrennial event.England and Australia have been India's nemesis in the ICC events, but as they say, "If it doesn't challenge you it doesn't change you," and the Mitali Raj-led side will look to change their fate and grab their first ICC silverware.Meanwhile, 2022 could also bring a much-awaited good news for women's cricket in India, i.e, a women's IPL. There has been a growing chorus for organising a full-fledged women's IPL and talking about the same, BCCI Secretary Jay Shah recently stated that the board is working on a plan to organise the event in the near future."The women's T20 Challenge has drawn huge interest among the fans which is an encouraging sign. We all want a league like IPL for our women cricketers, but it is not just about putting together three or four teams and announcing the launch of a women's IPL," Shah said."There are a lot of factors that come into play like a dedicated window, availability of international stars and bilateral commitments of member boards, to name a few. We are exploring all our options and working towards organising a similar league for our female players in future," he added.A World Cup title in New Zealand and the women's IPL could be the icing on the cake for women's cricket in India in 2022.
BatwosmanBowlerCricketCricketerMithali RajODI World CupPlayerSports News
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text:
Dr. Josiah Charles Trent Collection Artifacts, approximately 1650-late 19th century4
Wesley Family Series, 1700-1996 and undated4
Anonymous Collection Artifacts1
Beyer Family Collection Artifacts, 18th century-circa 19351
Correspondence Series, 1726-1862 and undated1
1730 to 1739 [remove] 62
1730 to 1730 52
manuscripts (document genre)38
Sūdānī (script form)30
Islamic bindings (Binding)29
maps (documents)5
Manuscripts, Arabic.32
Methodists--Biography5
Maps-Early works to 18004
Methodism--History4
Greek, Modern (1453-)4
Hārer (Ethiopia)30
Africa, North1
Barcelona (Spain)1
Arnold, Richard, approximately 1667-17451
Furlanetto, Lodovico, printer1
Hermogenes, active 2nd century.1
Ughi, Lodovico, cartographer1
Early Manuscripts collection38
Broadsides and Ephemera Collection9
History of Medicine Artifacts8
Frank Baker Collection of Wesleyana and British Methodism, 1536-1996 and undated4
Duke University Libraries Maps1
1. [Sticherarion].
brass clasps (binding)
https://idn.duke.edu/ark:/87924/r4fn10v83
2. Juz' 22 of the Qur'ān in Arabic and Persian.
1700 to 1799?
naskhī
nastaʻliq
lacquered bindings (binding)
https://idn.duke.edu/ark:/87924/r40c4vj4t
3. Qur'ān.
Sūdānī (script form)
Islamic bindings (Binding)
https://idn.duke.edu/ark:/87924/r46d5r852
https://idn.duke.edu/ark:/87924/r41836125
https://idn.duke.edu/ark:/87924/r41n80k8f
https://idn.duke.edu/ark:/87924/r4nk38351
https://idn.duke.edu/ark:/87924/r4fb4zk27
8. North African commonplace book in Arabic.
Maghribī (script form)
https://idn.duke.edu/ark:/87924/r43n22c21
https://idn.duke.edu/ark:/87924/r4td9q73b
10. Qur'ān.
https://idn.duke.edu/ark:/87924/r4vd6r30p
https://idn.duke.edu/ark:/87924/r43777t92
https://idn.duke.edu/ark:/87924/r45q4tj5w
https://idn.duke.edu/ark:/87924/r44748q0z
https://idn.duke.edu/ark:/87924/r4zs2nc83
https://idn.duke.edu/ark:/87924/r4h12x59k
https://idn.duke.edu/ark:/87924/r4pc2w684
https://idn.duke.edu/ark:/87924/r46t0jt6g
https://idn.duke.edu/ark:/87924/r4d797860
https://idn.duke.edu/ark:/87924/r47s7kr54
https://idn.duke.edu/ark:/87924/r4m32q816
https://idn.duke.edu/ark:/87924/r4s758j9b
https://idn.duke.edu/ark:/87924/r4c826d2t
https://idn.duke.edu/ark:/87924/r4bg2k78s
https://idn.duke.edu/ark:/87924/r4mp4xm7p
https://idn.duke.edu/ark:/87924/r40k2896x
https://idn.duke.edu/ark:/87924/r4ff3nx72
https://idn.duke.edu/ark:/87924/r4hm54h1p
https://idn.duke.edu/ark:/87924/r43f4nm2w
https://idn.duke.edu/ark:/87924/r49p2z53s
https://idn.duke.edu/ark:/87924/r4vm44v9r
32. Hercules II, Esten Ferrariæ Dux IIII
engravings (prints)
https://idn.duke.edu/ark:/87924/r4h991h3t
Broadsides and Ephemera Collection
33. Rudolphe I, Comte de Hapsbourg, fils d'Albert le fage & d'Hedwine de Kybourg....
https://idn.duke.edu/ark:/87924/r45x27h1s
34. Richard Arnold will and book of religious writings
Arnold, Richard, approximately 1667-1745
writings (documents)
https://idn.duke.edu/ark:/87924/r4zp3zt42
Richard Arnold will and book of religious writings
35. Colossus Monarchic Statua Danielis
maps (documents)
https://idn.duke.edu/ark:/87924/r4np1zn67
36. Statua Regum Europaeorum P.C.N. Nomina Continens
https://idn.duke.edu/ark:/87924/r4qn61f90
37. Icon Synoptica Sac. Rom. Imp. (Sacri Romani Imperii)
https://idn.duke.edu/ark:/87924/r4sf2pg2z
38. Pontificum Romanorum Series Chronologica
https://idn.duke.edu/ark:/87924/r45b01535
39. Don Guillermo de Melun, Marqués de Risbourcq, Grande de España de Primera Classe, Cavallero del Insigne Orden del Toyson de Oro...
https://idn.duke.edu/ark:/87924/r4ms3n56q
40. [John Wesley], Oxon, to Bishop Potter (?), 1734/5 Mar. 4 [contemporary copy?]
https://idn.duke.edu/ark:/87924/r4qv3f092
Wesley family papers, 1726-1889 and undated
41. Prid[eau]x, Selby, London, to the Rev'd Mr. [John] Westly, Oxon, 1734 Apr. 9
https://idn.duke.edu/ark:/87924/r4k64cn1g
Frank Baker Collection of Wesleyana and British Methodism, 1536-1996 and undated
42. Philip II, King of Spain, Naples, Sicilie &c. &c. &c
https://idn.duke.edu/ark:/87924/r4js9kc0b
43. [Sentence of deposition against Parthenius IV Mogilalos and the Nomocanon].
https://idn.duke.edu/ark:/87924/r3416t35b
44. Whitefield, George, Gloucester, to John Wesley, Oxford, 1735 July 11
https://idn.duke.edu/ark:/87924/r4t72996b
45. Wesley, John, on board the Simmonds, to [Sir John Phillips], 1735/6 Jan. 20
January 20, 1735?
https://idn.duke.edu/ark:/87924/r4ht2j640
46. Undated, manuscript poem ascribed to Samuel Wesley, To The Right Honourable the Earl of Oxford, (1736) mounted on paper stock
https://idn.duke.edu/ark:/87924/r4m61dj5n
47. Iconografica rappresentatione della inclita città di Venezia : consacrata al Reggio serenissimo dominio veneto
Ughi, Lodovico, cartographer
Furlanetto, Lodovico, printer
early maps
https://idn.duke.edu/ark:/87924/r43x8749c
Duke University Libraries Maps
48. The third edition of a new and correct list of members of the House of Commons.....
https://idn.duke.edu/ark:/87924/r40c4vp91
49. Three-blade folding fleam with brass shield, 18th or 19th century
https://idn.duke.edu/ark:/87924/r46q1ss49
50. Various cupping jars, 18th-19th centuries
cupping glasses


Why is it that people can't be taught how to drive properly? I see daily older people or even young scared people coming onto and departing a highway, not going the highway speed. You want to know why traffic jams occur? Because 1 person who is exiting decides to go 20 km/h slower while still on the exit. Then people behind need to slow to avoid hitting them and next thing you know tons of cars are going 20 km/h slower. From there cause and effect, others try to get into the faster lanes to avoid the slow lane but by doing so slow the other 2 or even 3 lanes! Why can't the Transport department give good regulations that the driving schools need to teach and even see in a student learner. If the teacher sees that the student is afraid to get going onto a highway, then maybe that student shouldn't be allowed to go onto P licence until fear is gone. Like wise while exiting the teacher should teach that you stay the speed limit until near the end of the exit, then hit harder on the brakes to go off. None of this slow down too 60 km/h on 100 km/h zone, 100 meters till exit, then turn off highway!
About older generations. If they are too afraid of highway speeds or can't see properly, Get Off The Road! You don't need to fear 100km/h, Your car can handle it, even in the wet. Just don't go tail gating people and follow the 2 second rule and you won't crash at those speeds! I can understand 120 or 140 like in other country's but common! 100 km/h on Aussie highways and even 80 km/h is nothing! Use your cruse control or buy a new car, you've lived your life, spend a little money on a new aged car that can handle 100km/h!
Anyway's just wanted to get that off my back and check out this website and it's responses. Thanks!


2.5 years of conflict have pushed Yemen to the brink of famine, resulting in the world's largest hunger crisis. On Monday, four cranes arrived in Hodeidah Port, which handles around 70 percent of Yemen's imports. The cranes will allow for faster delivery of urgently needed humanitarian supplies for Yemeni families.


text:
The Hands Down Project Are Bringing Creative Women Together To Address Domestic Violence
Not Our Gang: Investigating Instagram's Cultural Interlopers
Pet Shop Girls And Dress Up Dream Team
Shit You Should Know: How to Gut and Clean Squid
Family Fostering a Junkfood Habit
Recipe Exchange: Warm Chicken Salad
For Homeless Women and Trans Men, Periods Are More Than a Pain
Can We Stop Talking About 'Trying' And Talk About Fucking?
INTRODUCING THE GOOD GOOD SESSIONS: WORDS
The Happy Street Cats of Turkey
Maria Angelico's New Show Will Make You Laugh and Move
The Unquestioned Culture of Sexual Violence Among Sharpies
A Special Message (And Mix) From Book Club!
Million Dollar Pony Club's Sunday
The Return of Angie
OCD Is the Devil I Know
Unlearning to Say 'Anorexia'
The Silent Ranking System Eating Disorders
Lessons 07/11/2015
This Is an Article About My Anxiety
For as long as I can remember, I've felt anxious. Except I didn't always call it that. I used to feel nervous. Before that I felt bad. And before that, when I was a really little kid and not yet even naming my feelings, I just felt sick. I didn't always understand what it was, the feeling in my stomach like a jagged apple seed, but I always knew it was there. It followed me around to school, play, to bed. It sat by me in my dreams and sometimes made my dinner taste bad. When I was a kid it made me sure my friends didn't like me, or worry I wasn't good. It was like an awful twin, shadowing me and reminding me to keep quiet.
By the time I was a teen it hadn't abated, but it had changed and shifted with my broadening hips and softer belly. Now it was about my body and my face. It washed over me as a bitter shiver of self loathing and made me want to peel back my skin. A few years ago I found an old diary, and the simmering hate I felt for myself stung my fingers. I remember seeing older women walking down the street and wondered if they felt like me. It seemed impossible anyone could ever feel any other way.
But slowly things did begin to feel different. And I stopped thinking of my bones and skin. But the feeling never went away, it shifted and reordered, and sometimes lay dormant. When it does come back now it's about my mind. It's the fear that I'm dumb, doing a bad job, or am letting down the ones I love. I used to equate my appearance to my worth, now I collate value from good ideals and the broad smiles and laughs I can draw from those around me. The one constant was the feeling, the fear, of being bad.
Once during one of my turns, where I was convinced I was evil and fundamentally marked and brought bad things to everyone in my life, my mum pointed out bad people don't worry about being bad. It was one of a few shards of clear truth that could ring through a bad moment, although none of them ever really alleviated them.
The funny thing was, considering how long I spent with these feelings I never really understood them. I understood what depression was. I understood feeling sad, and I understood I would feel better eventually. I even understood, or thought I did, my friends whose depression wasn't fleeting like mind, brought on and cast out by events and not all consuming.
Even there I knew what the words for it were, and I felt I understood how to talk about it. After all, people spoke about it. Yes, in hushed voices and only with close friends, but there were books and movies and albums about feeling sad. Feeling so nervous and terrified you want to puke, that wasn't something I could find so purposely filed away in the public lexicon.
Earlier this year, it all began to move inside me again. After years of being dormant, I could feel it creeking. The last time I had struggled with it I was in my early 20s, I was constantly heartbroken, poor, occasionally semi-homeless, and constantly hopeless.
Now I was 27. I was in love and happy. I had a job that I smugly liked answering questions about, and for the first time in a long time felt settled and not terrified by that notion. I thought I was better.
But obviously you're never really better. Although this time something was different, I was older, and in the years in between episodes I'd learned how to listen and notice other people more. Suddenly in my haze I found myself noticing things in friends I hadn't previously, I heard between words and picked up on parts of stories I usually missed. I heard the voices in other people's heads.
My own narrative of self doubt was played on so many of my friend's faces, and this secret sickening part of myself was so clearly part of others too.
As soon as I realised how common anxiety was, I felt how quiet I had been. Not just about my own struggles, but in naming this presence that was haunting the people I loved. When I felt bad, I wanted someone to say I wasn't bad, I was just one of many people who feels like this sometimes. I wanted to hear someone say something about it, so now I'm saying something about it.
In 2015 my anxiety has been an issue. I don't know if that statement will bring me relief, if it'll be like slipping off shoes that are too small or drive away feelings I've harboured as an emotional parasite since childhood. But since I've begun to ask my friends more specifically how they feel, and try to let them know I see them and I want them to see me, I do feel better.
I know my anxiety won't go away. It will change, just like I have over the years. And as I feel it ebbing away from me, I know it will return one day and it will feel different. And this post and these conversations will hold the same muted comfort my mum's words did when I was a child. It will move around my body, haunting different parts of myself. But it won't silence me anymore.
I can't tell anyone else what to do because I don't know how yours feels, but if we talk about it I'm sure we'll feel a little less alone, and that's the first step to not feeling so scared.
Words by Wendy Syfret
anxietyemotionsFriendsGrowing upmental healthRelationships
Wendywends
Is The Quest To Be The Best Damaging Feminism?
Meet the New Femme Fatale
Exploring James Franco's "Queer Tourism"
You Should Masturbate, But Not to Celebrity Phone Photos
Since I was a teenager I've had it pointed out by men of all ages that I have nice breasts. I'm not nude every…
Made by Good Good Girls.


Mirazon is a company that aims to improve service delivery and customer experience for cloud and virtualization services supported with fiber Internet.
They wanted to upgrade their Internet service to take advantage of the growing opportunity to offer remote security and managed solutions to a diverse range of customers.
Mirazon chose to implement Spectrum Enterprise Fiber Internet Access. Learn about the benefits they've experience since switching to Spectrum in this case study.


text:
Q: If $A$ is an integral domain and $k \subset K$ is an algebraic field extension, is $A \otimes_k K$ a free $A$-module? I am curious if the question in the title is true. For reference I was thinking about exercise 11.1.G in Vakil's FOAG. He claims such a result is true. I can neither think of how to prove it nor think of a counterexample. However, in the context of the question, all we need is that $A \otimes_k K$ is flat and hence torsion free over $A$, which is a weaker condition.

A: Yes, it's true if $A$ is a $k$-algebra: since $K$ is free over $k$, hence $K\simeq k^{(I)}$ for some set $I$, and as tensor product commutes with direct sums
$$A\otimes_k K\simeq A\otimes_k k^{(I)}\simeq(A\otimes_k k)^{(I)}\simeq A^{(I)}.$$

A: I assume that $A$ is a $k$-algebra, since otherwise the tensor product does not make sense to me. Now $K$ is free over $k$, hence $K\cong k^{\oplus I}$ as $k$-modules for some index set $I$.  Right exactness of the tensor product then yields $A\otimes_k K \cong A^{\oplus I}$ as $A$- modules, whence the claim follows.


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We have been busy doing lots of writing! After lunch most days, Room 8 does penspiration. We get inspired by a photo or video, write for about 10 minutes and then share what we have come up with. Check out these amazing penspirations that describe a shipwreck.
The ship was brown and rusty. The water was beautiful. The water flowed into the ship. The water was shimmering and shining! The water was green and blue. There were holes.
The ship is old and a bit rusty. The ship is brown too and the sea is shimmering and rainbow. It has been washed away to the beach. It is old and the water is blue.


text:
Mini Game Park
Addo Elephant Park - 40km - 0 km
Port Elizabeth - 70km - 0 km
Grahamstown - 70km - 0 km
Sunshine Coast - on it - 0 km
Deep Sea Fishing - 150km - 0 km
Canoeing - 50km - 0 km
Hopewell Lodge
South Africa, Eastern Cape, Western & Coastal, Kenton on Sea,
Safari Lodge Accommodation in Kenton on Sea
Price Per Person Per Night from R1750 to R3950
{type} Accommodation in Kenton on Sea
Hopewell Lodge Description
Hopewell Lodge is an exclusive luxury hideaway on a private African game reserve in South Africa's beautiful Eastern Cape. The luxurious lodge nestled in the hillside hosts up to 6 guests and overlooks the wildlife reserve, a reclaimed Eden in a once remote wilderness. Hopewell is situated 40 minutes drive from Port Elizabeth airport, in malaria free coastal valley bushveld. It is the ideal destination for those seeking privacy, exclusivity, both tranquillity and adventure. Hopewell hosts up to six guests ensuring a tailor made experience that exceeds your expectation of an unforgettable stay. Guests enjoy the exclusivity of the 8000-acre authentic African- bush nature reserve. The secluded, spacious lodge, overlooking a panoramic landscape is open aired and light, with thatch insulating against the African summer heat. The interior designed living area is comfortably furnished in a classic safari style combined with a contemporary feel, with a fire place strategically positioned which warms against the winter chill. The stylish lounge and dining room leads to a wooden deck with spectacular views of a water hole and lush valleys in the distance. Upstairs hosts an intimate recreation area and our three elegant bedrooms are all equipped with en-suite bathrooms all with views of the bush. A short walk from the main lodge is a secluded plunge pool overlooking the unspoiled verdant indigenous fores for those hot summer dayst. Hopewell Private Game reserve is home to an abundance of flora and fauna including over 285 species of birds, a herd of elephant, rhino, hippo, giraffe, zebra, cheetah, a variety of antelope and other indigenous species, all this is consistent with a balanced eco-system. A visit to Hopewell will leave you relaxed, rejuvenated and ready to book your return visit. "I am a person who loves words and loves to write and Hopewell has filled me with silence and peace and left me speechless." Barbara Geary
Hopewell Lodge Directions
From Port Elizabeth Airport (70 km) •Leave the airport and turn left at the traffic circle •Continue over the railway line to Heugh Rd and turn right at the traffic lights. •Continue straight until you get to the last set of traffic lights at the bottom of the hill. This is a T-junction. •Turn left and follow the N2 towards Grahamstown for about 53 km •Turn onto the R72 signposted to Port Alfred. •Continue for 17 km and turn right at the Hopewell sign By air: From Johannesburg and Cape town International Airports, daily connections fly to Port Elizabeth regional airport. Transfers to and from the lodge can be arranged.


Waterloo: Tank Assault is a 2D tank warfare game for the iPad, HP Touchpad, and now on the Mac store! This military artillery game plays homage to the classic Scorched Earth / Dome Wars / Cannon Fodder style of artillery game. The object is to destroy the enemy tank before YOU get destroyed. Match your trajectory and aiming skills with up to 4 Human players, or choose up to 3 AI opponents. Each winning round gives the ability to purchase weapons, fuel, and defense items for future battles. High Scores are saved to the Internet for prosperity, and a settings page allows you to change the game physics. Each map is dynamically created with four different locations to play though. Guaranteed to make this a repeat hit!
We plan to continue to provide updates, which will include weapons, shields, and terrain upgrades. As always please email us with any bugs or feature requests.
One of 4 scenes you can play in. This is the beach.
One of the many weapons in the store.
Some settings you can tweak.
A handy help file is included!