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CULTURE CENTER OF ATHENSEVENTSMULTIMEDIAVISIT OR CONTACT US
THESSALONIKI CENTREHISTORY OF THE BUILDINGARCHITECTURE OF THE BUILDINGEVENTSMULTIMEDIAVISIT OR CONTACT USELIA THESSALONIKI
In 1912, following the incorporation of Thessaloniki into the Greek state, the villa served as the residence of Prince Nicholas, the first Military Governor of the city. In 1917, the Villa Kapantzis enjoyed its most glorious days as home of Prime Minister Eleftherios Venizelos, then head of a Provisional (revolutionary) Government, based in Thessaloniki, during a critical period in the history of Greece.
Between 1918 and 1922 the villa was the residence of the Kapantzis and Cohen families. Following the Greek defeat in Asia Minor (1922) and until 1928, refugee families were accommodated in its rooms.
In 1928 the building was acquired by the National Bank of Greece, as an exchangeable asset, and was used as the headquarters of the American Foundation Company, which carried out major land reclamation works in Central Macedonia.
Between 1938 and 1972, excepting the period of the Second World War, the villa housed the Fifth Boys High School. Thus, thousands of Thessalonikans have lived in the Villa Kapantzis, as pupils of one of the city's most prestigious secondary schools.
In 1940 the building was requisitioned by the Greek Army and was used as a military bakery. During the German Occupation (1941-1944), it was requisitioned by the German authorities. Following the liberation, it served as British Army headquarters until the summer of 1945, when it was returned to the Fifth Boys' High School, which remained there until 1972.
In that year the building was abandoned in dilapidated state and in need of serious repairs, following its long-term usage in different capacities. In response to public demand, the National Bank of Greece decided to restore the building and to use it for cultural purposes. The painstaking restoration process lasted from 1982 to 1988. The relevant study aimed at minimizing interventions that might alter the original character of the villa, whilst at the same time preserving its authentic features.
The building that houses the Cultural Centre of MIET in Thessaloniki is one of the few extant, late nineteenth-century mansions and one of the most important modern monuments in the city. It not only preserves a vivid picture of what was once the Exochon Quarter but is also a vital part of the city's recent history.


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garbage and recycle bin
recycling garbage containers lid
recycle garbage bin
Recyclable material
Every year, millions of tons of materials are being exploited from the earth's crust, and processed into consumer and capital goods. After decades to centuries, most of these materials are "lost". With the exception of some pieces of art or religious relics, they are no longer engaged in the consumption process. Where are they? Recycling is only an intermediate solution for such materials, although it does prolong the residence time in the anthroposphere. For thermodynamic reasons, however, recycling cannot prevent the final need for an ultimate sink.
In certain areas there is also a recycling service, often with one or more dedicated bins intended to receive items that can be recycled into new products. These bins are sometimes separated into different categories (usually represented by colours) which determine what materials can be inserted into the bin. The contents of the bins are taken to a recycling plant to be processed, and there are various systems for recycling-bin collection: single-bin-combined stream systems, multiple-bin systems, and cyclic collections with different materials collected on different days.
Many recycling bins are designed to be easily recognizable, and are marked with slogans promoting recycling on a blue or green background. Others are intentionally unobtrusive. Bins are sometimes different colors so that user may differentiate between the types of materials to be placed in them. While there is no universal standard, the color blue is commonly used to indicate a bin is for recycling in public settings.
The northwestern United States has difficulty finding markets for recycled newspaper, given the large number of pulp mills in the region as well as the proximity to Asian markets. In other areas of the U.S., however, demand for used newsprint has seen wide fluctuation.
Bins in outdoor locations or other busy public areas are usually mounted to the ground or floor. Recyclable material This discourages theft, and also reduces vandalism by making it harder for the bins to be physically moved or maneuvered.
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redpajama_set_name: RedPajamaCommonCrawl


Hidden inside is a Rose Quartz crystal that radiates vibes of unconditional love. Once your candle has burned retrieve your crystal and carry it with you, or place it in a special space to manifest feelings of love.
Hand-poured and made with 100% American farmed soy wax, the natural essential + fragrance oil blend features notes of fig and rose.


Coming from the rough and tumble outskirts of Baltimore, Maryland, Sasha is as tough as she is gorgeous. And this blonde beauty is using that toughness--along with her intellect and incredible good looks--to help steer herself and her main man, Brock Singleton, to the top of the Mid-Atlantic indy scene. Sasha is a former fitness trainer who is also a force to be reckoned with at ringside. Whether this stunning lady is out-thinking her opponents...or out-wrestling them...she always has the attention of the crowd. Watch for Sasha to quickly become one of the elite managers on the scene today.
Sasha could obviously model as well as manage!
The former fitness trainer shows-off her figure.
Sasha's in a playful mood during a shoot!
Weight: A lady NEVER tells!
Gimmick: Sasha is a "down to business" girl. I demand focus and quality wrestling from whomever I am managing. I started out as more of a physical trainer, but through time I have grown to love the attention I get from the crowd as well. I spend much of my time in the gym...knowing that guys appreciate a well-toned body. I do everything to keep my guy focused and if need be, I will get involved to help my man win...especially if it means countering a cheating opponent. Initially I mostly managed, but I have been stepping out a bit and competing in the ring more.
Outfit/Costume: I've been at ringside in anything from workout clothes to a slinky little dress.
Manager Of: Brock Singleton mainly, but also any independent work offered.
Have Managed: Matt Vandel; Tag team of Brock Singleton and Zubov; Tag team of Brock & Mason Hunter.
Biggest Allies: Brock Singleton, Zubov, Mason Hunter, Matt Vandel and anyone else that helps me when I need it.
Most-Hated Enemies: I don't have enemies...only opponents.
Career Highlight: Training with Dawn Marie (What an inspiration!); Working against Luna; A crowd stopping show that happened one night in Morgantown, WV.
Favorite Wrestlers: Any guy that is ripped and oiled up. The yummier the better! Of course, I like talent and skill in the ring also.
Wrestling Ambition: To go as far with wrestling as I can and to keep the injury list short. Thus far I have not done a good job with this as the list continues to grow. Oh well...you only live once, right?
At this point in my life, I have endured 22 years of formal education. Yep you got it: this bod and brains, too!.....I work out approximately five days a week and that is my favorite time of the day. I leave all else behind and get to focus on just me!....As far as my "Favorites List"...Movies: Silence Of The Lambs, Godfather Trilogy, Stir of Echoes, Red Dragon, Pretty Woman; Color: Blue or Black; Car: There is no substitute for my truck!; Food: Any! I am always hungry!.....I love wrestling and hope to continue for as long as I can.....I want to thank everybody that pushed me to start training and the support my family and friends continue to give me. Mainly thank you to the fans because without you, there is no wrestling or no Sasha. I love to hear from all of the wrestling fans out there! Feel free to drop me an email anytime at sashascorner@hotmail.com.


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About The Court
Members of the Court
The Supreme Court Office
The Legal System
Constitution of Ireland updated in 2020
<< Members of the Court
Current Judges of the Supreme Court Former Judges of the Supreme Court
Former Judges of the Supreme Court
The Hon. Mr. Justice Charles Andrew O'Connor (1924-1925)
The Hon. Mr. Justice Gerald Fitzgibbon (1924-1938)
The Hon. Mr. Justice James Augustine Murnaghan (1925-1953)
The Hon. Mr. Justice James Creed Meredith (1936-1942)
The Hon. Mr. Justice James Geoghegan (1936-1950)
The Hon. Mr. Justice William John Johnston (1939-1940)
The Hon. Mr. Justice John O'Byrne (1940-1954)
The Hon. Mr. Justice William Black (1942-1951)
The Hon. Mr. Justice Cecil Lavery (1950-1966)
The Hon. Mr. Justice Theodore Conyngham Kingsmill Moore (1951-1966)
The Hon. Mr. Justice Cearbhall Ó Dálaigh
(appt. 1953, appt. Chief Justice December 1961)
The Hon. Mr. Justice Martin Cyril Maguire (1954-1961)
The Hon. Mr. Justice Kevin O'Hanrahan Haugh (1961-1969)
The jurisdiction of the courts established in 1924 was extinguished by section 7 of the Courts (Establishment and Constitution) Act 1961, which formally established the High Court and Supreme Court pursuant to Article 34 of the Constitution. Names from the above list may therefore be repeated in the list below.
The Hon. Mr. Justice Brian Walsh (1961-1990)
The Hon. Mr. Justice Andreas O'Keeffe
(appt. 1965, appt. President of the High Court October 1966)
The Hon. Mr. Justice Frederick Gardner Orford Budd (1966-1975)
The Hon. Mr. Justice William O'Brien FitzGerald
The Hon. Mr. Justice Richard McLoughlin (1969-1972)
The Hon. Mr. Justice Seamus Henchy (1972-1988)
The Hon. Mr. Justice Frank Griffin (1973-1991)
The Hon. Mr. Justice John Kenny (1975-1982)
The Hon. Mr. Justice Weldon Roycroft Cecil Parke (1976-1981)
The Hon. Mr. Justice Anthony James Hederman (1981-1993)
The Hon. Mr. Justice Niall McCarthy (1982-1992)
The Hon. Mr. Justice Hugh James O'Flaherty (1990-1999)
The Hon. Mr. Justice Seamus Francis Egan (1991-1995)
The Hon. Mr. Justice John Joseph Blayney (1992-1997)
The Hon. Mrs. Justice Susan Denham
(appt. 1992, appt. Chief Justice July 2011)
The Hon. Mr. Justice Donal Peter Michael Barrington (1996-2000)
The Hon. Mr. Justice Ronan Colman Keane
(appt. 1996, appt. Chief Justice January 2000)
The Hon. Mr. Justice Francis Dominick Murphy (1996-2002)
The Hon. Mr. Justice Kevin Lynch (1996-1999)
The Hon. Mr. Justice Henry Denis Barron (1997-2000)
The Hon. Mr. Justice John Loyola Murray
The Hon. Mrs. Justice Catherine McGuinness (2000-2006)
The Hon. Mr. Justice Brian McCracken (2002-2006)
The Hon. Mr. Justice Hugh Geoghegan (2000-2010)
The Hon. Mrs. Justice Fidelma Macken (2005-2012)
The Hon. Mr. Justice Joseph Finnegan (2006-2012)
The Hon. Mr. Justice Nial Fennelly (2000-2014)
The Hon. Mr. Justice John L. Murray (1999-2015)
The Hon. Mr. Justice Adrian Hardiman (2000-2016)
The Hon. Ms. Justice Mary Laffoy (2013-2017)
The Hon Ms. Justice Susan Denham (1992 – 2017)
The Hon. Ms. Justice Mary Geoghegan (2017 – 2019)
The Hon. Ms. Justice Mary Irvine (2019 – 2020)
Former Presidents of the High Court
The Hon. Mr. Justice Cahir Davitt (1951-1966)
(appt. 1966, appt. to European Court of Justice December 1974)
The Hon. Mr. Justice Thomas Aloysius Finlay
The Hon. Mr. Justice Liam Hamilton
The Hon. Mr. Justice Harold Anthony Whelehan
(appt. 15.11.1994; res. 17.11.1994)
The Hon. Mr. Justice Declan David Costello (1995-1998)
The Hon. Mr. Justice Frederick Reginald Morris (1998-2001)
The Hon. Mr. Justice Joseph Gerald Finnegan
(appt. 2001, appt. Supreme Court December 2006)
The Hon. Mr. Justice Richard Johnson (Dec.2006-Oct.2009)
The Hon. Mr. Justice Nicholas Kearns (2009-2015)
The Hon. Mr. Justice Peter Kelly (2015 – 2020)


Zero is a forthcoming bollywood Comedy, Love Story movie directed by Aanand Rai. Zero movie starring is Shah Rukh Khan, Anushka Sharma, Katrina Kaif, Tigmanshu Dhulia, Sushrii Shreya Mishraa, Salman Khan, Ganesh Acharya, R Madhavan, Sridevi, Karisma Kapoor, Kajol, Madhuri Dixit, Kareena Kapoor Khan, Alia Bhatt, Rani Mukerji. This movie will be released on 21 December, 2018.


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FACT CHECK: Trump Asked a Reporter If She Was Working For China… She Is.
by Raheem J. Kassam
President Trump asked a reporter at his April 6th press event if she was working for the government of China, following a hostile question.
She replied that her company – Phoenix Media – is "privately" owned.
She's lying.
The Hong Kong/Cayman Islands based Phoenix Media is actually owned in large part by the Chinese Communist Party (CCP) and by a former CCP propaganda officer.
As of 2018, Phoenix Satellite Holdings was owned by Liu Changle (37.1% of shares). Changle is a "former PLA propaganda official who is close to senior Chinese government leaders".
Changle previously worked as a propaganda officer for China National Radio (then known as the Central People's Broadcasting Station).
A further 20 percent of the company is owned by Extra Step Investments Limited, in turn owned by China Mobile Hong Kong, which itself is owned by the Chinese government-owned China Mobile.
Eight more percent of the company is owned by China Wise Investment Ltd, owned by the Bank of China.
This means at least 65 percent of the company is owned by the government of China.
For journalist Youyou Wang to claim she works for a private company is an outright lie.
The White House Correspondents Association must surely answer to why they are allowing a CCP propagandist a seat in the White House Press Briefing Room.
Raheem J. Kassam
Raheem Kassam is the Editor-in-Chief of the National Pulse, and former senior advisor to Brexit leader Nigel Farage. Kassam is the best-selling author of 'No Go Zones' and 'Enoch Was Right', a co-host at the War Room: Impeachment podcast, a Lincoln fellow at the Claremont Institute, and a fellow at the Bow Group think tank. Kassam is an academic advisory board member at the Institut des Sciences Sociales, Economiques et Politiques in Lyon, France. He resides in Washington, D.C.
The Chinese Communist Party is Still Buying Up American Land.


Actor Richard Thomas (John-Boy in TV's "The Waltons") talks about his role as Juror #8 in the courtroom drama "12 Angry Men," differences between the 1957 film and the touring play, and his lifelong involvement in New York theater.
Who are the Whirling Dervishes of Rumi? Why do they whirl, and who was Rumi? Hakan Yildiz, Executive Director of the Pittsburgh Dialogue Foundation, talks with Ted Sohier as the Whirling Dervishes return to Carnegie Music Hall, Oct. 23 at 8:00 pm.
Artistic Director Karla Boos explains why Quantum Theatre is staging a US premiere adaptation of Zola's Therese Raquin in the basement swimming pool of Braddock's Carnegie Library through Oct. 14.
QED 89.3 mid-day host and operatic soprano Anna Singer talks with Stephen Baum about her role as Marcellina in Opera Theater of Pittsburgh's English-language production of Mozart's "The Marriage of Figaro," September 24-30, 2007 at the Byham Theater.
Pianist Christopher O'Riley, host of NPR's "From the Top" and son of former QED 89.3 station manager Ceci Sommers, talks with Jim Cunningham about his current concerts, recordings and radio shows.
Pianist David Allen Wehr, Artistic Director of Duquesne University's "Brahms on the Bluff" series, talks about the "other" version of Brahms's "Haydn Variations," and America's "go-to" hornist for the Horn Trio, launching the series's "Final Four" season on Sunday, 9/23/2007 at 3:00 pm at PNC Recital Hall.
Theater historian Lynne Conner, author of "Pittsburgh in Stages: 200 Years of Theater" (University of Pittsburgh Press) talks about people, performances and places, from British officers' Shakespeare at Fort Pitt to the opening of the O'Reilly Theater.
Diana Jannetta reviews "Made in Pennsylvania: A Folk Art Tradition" at the Westmoreland Museum of American Art, which showcases almost 400 significant examples of fraktur, salt-glazed stoneware, tanware, textiles and painted furniture.
Nonpareil Wind Band co-founders Howard Hillyer and PSO Principal Bass Clarinet Richard Page talk with Jim Cunningham about the band's purpose and players. Hillyer recalls his PSO audition for William Steinberg, and talks about arrangements of The Star-Spangled Banner. Audiences chose the Nonpareil Wind Band for an encore appearance at 'First Fridays at the Frick,' Sep. 7, 2007 at 7:00 pm.
The Nonpareil Wind Band's Howard Hillyer and Richard Page talk with QED's Jim Cunningham about the repertoire for their free concert, Sept. 7, 2007 on the lawn of the Frick Art & Historical Center.


Our doctors, nurse practitioners and their team of health care professionals welcome you to the ExcelleMD Private medical clinic in Saint-Eustache. At the clinic, we offer quality health care and services to patients of all ages.
Would you like to receive care without long wait times? Do you want, above all, to avoid spending long hours in public hospital and clinic waiting rooms? The ExcelleMD clinic is the solution you have been looking for!
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We offer honest, caring services at competitive prices. Moreover, our philosophy ensures that our patients will not pay any fees to open a file with us. We want as many people as possible to benefit from our services so they can quickly regain their usual health and fitness.
Because of the skills and qualifications of our team of health care professionals, we are able to offer a complete range of care.
The ExcelleMD Private medical clinic provides family medicine services to help you and your loved ones stay healthy. Our doctors and their team have many years of experience and have treated hundreds of patients.
We offer many services including examinations and treatment for chronic illnesses such as high blood pressure, diabetes, and high cholesterol. We can also treat conditions such as asthma, allergies, eczema, hives, or urinary tract infections. Our team also treats many types of infections, including those of the throat, lungs, ears, and digestive system. We offer screening services for serious diseases such as cancer.
We also treat injuries and children's health problems. The ExcelleMD Private medical clinic is THE best place to go for your entire family to get the care needed to stay healthy.
There are many reasons why you might need to consult a doctor quickly. Lacerations, concussion, a fracture, or an abscess are all conditions that require prompt intervention by a health care professional. When you consult the ExcelleMD clinic, you will receive the prompt treatment you need to relieve your pain and avoid the risk of complications.
Our professionals can treat many types of injuries and infections.
Services provided by our doctors and their team include screening for and treating STBBIs (sexually transmitted and blood-borne infections). They can also treat problems such as ADHD (attention deficit hyperactivity disorder) and andropause (low testosterone).
We also offer many services specifically for women, for example, contraception and managing the symptoms of menopause.
When you use the services of the ExcelleMD clinic, you get the care you need without the wait. We provide our services at competitive prices so that your whole family can maintain optimal health.
Consult the Services section to learn more about the wide range of services the clinic offers. For efficient, attentive service, come see our team at the Saint-Eustache clinic.


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définition - David Kerr (Northern Irish politician)
David Kerr (Northern Irish politician)
For other people named David Kerr, see David Kerr (disambiguation).
David Kerr (born 1957[1]) is a politician from Northern Ireland who is the Chairman of the UK-wide Third Way, a liberal nationalist party which advocates direct democracy along the lines of Switzerland.[2] He was born in Belfast and lives in the city's Shankill Road area.[3]
1 National Front
2 Third Way
3 Ulster nationalism
4 2005 general election
5 Solidarity trade union
6 Miscellaneous
Kerr began his political career as a member of the National Front in 1986, siding with the Political Soldier wing of the party during what was a period of internal division. He was a candidate for the party in Newtownabbey Borough Council twice during this period.[3] As an NF member Kerr also chaired the North Belfast Independent Unionist Association, where he first developed his ideas on the independence of the region. As a regular columnist for Nationalism Today, the ideological journal of the Official National Front, Kerr frequently wrote on the topic of Ulster nationalism which became the policy of the ONF in relation to Northern Ireland (in contrast to previous NF policy, which was supportive of Ulster loyalism).
Third Way
Kerr voted with others to disband the NF in 1989. In 1990 he was one of the founder members of Third Way (UK), (which is now a think-tank). He is current party chairman of the offshoot National Liberal Party (NLP). Kerr is also the main force behind the Ulster Third Way, which acts as the Northern Ireland arm of the party whilst placing the main emphasis on the independence aspect.[4] In the United Kingdom general election, 2001 Kerr stood in the West Belfast constituency as a Third Way candidate but secured only 116 votes (a 0.3% share). He is also a regular writer for various party publications.
Ulster nationalism
As stated previously, Kerr has long been an advocate of an independent Northern Ireland and to this end he is the editor of Ulster Nation, the only current publication that advocates this position.[5] In electoral terms, Kerr had also stood as a candidate in the European elections of 1994 under the title of 'Independent Ulster'. Somewhat oddly, given the peripheral nature of the independence position, Kerr was one of three candidates advocating this stance (Rev. Hugh Ross and Robert Mooney being the other two) and, as a result, suffered from a split vote to capture only 578 votes in what was a single Province-wide constituency.[6] In the aftermath of this election a general meeting of pro-independence groups and individuals was organised by Rev Ross after overtures were sent out to Kerr, Mooney and the Ballymena-based Ulster Party. Mooney, who had run as Constitutional Independent Northern Ireland and later formed the short-lived Northern Ireland Party, did not turn up but Kerr and Agnes McLeister of the Ulster Party (another minute group that was also Ballymena-based) agreed to pool resources and join forces with Ross's movement.[citation needed] Kerr went on to appear on the candidate list for the Ulster Independence Movement in the 1996 Forum election and the 1998 election to the Northern Ireland Assembly, although he was not elected.[7]
Kerr is also the author of a book about one of the pioneers of Ulster nationalism, W. F. McCoy.[8]
Most recently, in the 2005 general election, Kerr stood in the East Antrim constituency as a candidate for the Vote For Yourself Party, gaining 147 votes (0.5%). Kerr, who remains a Third Way member despite his candidature, claimed to be standing for the party as he endorsed their support for the use of referendums to decide policy. In a post on the Slugger O'Toole blog he explained "Rainbow George contacted me and asked me to stand for the Vote For Yourself Rainbow Dream Ticket in a constituency outside Belfast in order to promote the ideas that Third Way and the Rainbow Dream Ticket share - Direct democracy".[3]
Solidarity trade union
David Kerr was elected for a five year period to the National Executive of Solidarity – The Union for British Workers in November 2007 and helped to launch the group in the province over the Twelfth in 2007.
He writes a regular column, 'Kerr's Corner', in the Carrickfergus and North Belfast editions of The Belfast Biz (formerly "The Wizard"), a local freesheet.[9] He is a keen cyclist in his spare time and is described on the Third Way's website as having a strong interest in environmental and housing issues.[10]
^ Obituary of Kerr's father
^ Electoral Commission profile
^ a b c Kerr's reply to Slugger O'Toole post
^ 'Jim Barbour exposes fascist candidate hiding in the Dream Ticket' from Socialist Party website
^ Ulster Nation
^ The 1994 European elections
^ The 1996 Forum Elections: Regional List of Candidates
^ The Real McCoy:W.F. McCoy - Prophet of Ulster Nationalism
^ Kerr's Corner
^ Profile on Third Way site
Ulster Nation
Kerr's Corner
Speech by Kerr on Ulster nationalism
Third Way think-tank
British Ulster Dominion Party
New Ulster Political Research Group
Official National Front
Ulster Clubs
Ulster Democratic Party
Ulster Independence Movement
Ulster Independence Party
Ulster Loyalist Central Co-ordinating Committee
Ulster Movement for Self-Determination
Ulster Third Way
Ulster Workers' Council
Willie Frazer
Kennedy Lindsay
Tommy Lyttle
W. F. McCoy
Jackie McDonald
Billy McFarland
John McKeague
John McMichael
Ray Smallwoods
Andy Tyrie
Repartition of Ireland
Ulster Workers' Council Strike
Name Kerr, David
Retrieved from "http://en.wikipedia.org/w/index.php?title=David_Kerr_(Northern_Irish_politician)&oldid=482527783"
National Front (United Kingdom) politicians
People of The Troubles (Northern Ireland)
Politicians from Northern Ireland
People from Belfast
Ulster Independence Movement politicians
Northern Irish far-right politicians
Toutes les traductions de David Kerr (Northern Irish politician)


Year after year, metal roofing has increased in popularity due to its modern and clean design, the array of color schemes available, and most importantly, its durability. Metal roofing is also energy efficient, environmentally friendly and versatile enough to match many different architectural styles!
Roof Repair Squad has the equipment to build your panels for you on site, in the style of your choosing. We are also more than happy to give you a no-obligation estimate and work with you to find the best option that best suits your budget.
When it comes to residential metal roofing, most homeowners pick from the two basic forms of metal roofing: sheet-like panels and shingle-style. While incredibly different in appearance, these forms are similarly energy efficient, durable, and environmentally friendly.
Sheet-like panels are known for the distinct commercial look, favored my architects for their clean and contemporary look. Metal shingle-style roofing is formed to imitate Spanish tile, wood shakes, or slate.
When it comes to metal roofing materials, the options are abundant. You can pick whichever material works best for you!
Extremely lightweight, aluminum roofing won't rust, but must be coated for the sake of its appearance. It also dents more easily than steel.
Heavier and sturdier than aluminum, steel is probably the most versatile material, as it can be highly customized by manufacturers.
While expensive, copper roofing has been used for centuries. It's beautiful when installed, and over time weathering gives it a distinct and attractive patina.
Alloy roofing is more expensive, but it's often formulated for strength, attractive weathering, and superior durability.
Stainless steel roofing won't rust or corrode and can be coated for a natural look. However, it is quite expensive.
Life Cycle Cost: Proven to be one of the most durable roofing systems out there, resulting in a low cost over the life of the roof.
Sustainability: Longer lasting than most of the other roofing systems and also 100% recyclable.
Superior Resistance: Extremely fire resistant and can be built to persevere through strong winds.
Energy Efficiency: On the leading edge of technology when it comes to helping you save energy.


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plan of action - July 21, 2017
Trump has recently stated his determination to override DACA recipients' protected status and toss them out of the country. Some hard-core Republican attorneys general from 10 states, under the leadership of Texas, are threatening to sue the president to precipitate the deportation of these young people.
To the rescue comes Senator Lindsey Graham (R-SC) and Senator Dick Durbin (D-IL) who are championing a bi-partisan measure to extend and formalize protection for Dreamers.
1. Contact Lindsey Graham and Dick Durbin and thank them for their efforts to protect Dreamers.
2. Contact the Attorney General of one or two (or more!) of the following states to express your shock and disappointment that they would attempt to pull the rug out from under law-abiding Dreamers. Ask them to back off from their threat of a law suit.
Texas (the ringleader) Louisiana
Alabama Nebraska
Arkansas South Carolina
Idaho Tennessee
Kansas West Virginia


Become a partner with Kitchener-Waterloo Oktoberfest and achieve your business goals. Kitchener-Waterloo Oktoberfest provides great opportunities to promote your brand, meet new clients, host your customers, network with other local businesses, market your new product with sampling opportunities, promote your services to the public or to a very specific audience, engage your employees and give back to your community!
Kitchener-Waterloo Oktoberfest doesn't have pre-packaged sponsorships. Each sponsorship opportunity is custom designed to suit the needs of your company, and your budget. Whether you are looking for business-to-business opportunities or a float in the parade, we have something to help you achieve your marketing and business development goals.


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Once in a Lifetime – The 1980 World Puppetry Festival by Nancy Staub
Imagining and Creating a World-Class Puppetry Festival: How they did it
Photograph by Richard Howard
Of all American puppetry festivals since the very first, no festival has so far equalled or surpassed the 1980 World Puppetry Festival for scale, scope or boldness of vision.
For many puppeteers, it was a life-changing experience.
Jim Henson made it possible, but a team of organizers made it work. And the leader of the pack was Nancy Staub.
34 years later, Nancy shares with us the back story of all that had to be done to put that legendary festival together.
In 1980 the Puppeteers of America (PofA) hosted the 13th Congress of the international puppetry organization UNIMA (Union Internationale de la Marionnette), cosponsored by UNIMA-USA and Puppeteers of America. The international congress is held once every four years and PofA agreed to coordinate an international festival in conjunction with the Congress, the first to be held outside of Europe. I volunteered to organize it and proposed the site as Washington, D.C. PofA granted a cash advance of $3000, but the direct costs of the event reached over 1 million with indirect expenditures an additional million for a total of 2 million.
More than 1,400 registrants from 48 nations attended the congress. Over an eight-day period June 8-15, 1980 there were 50 performance events at 10 separate venues. About half the companies were from the USA. Visiting artists from 20 foreign countries performed. This is the only puppet festival in US history to present such a large number of foreign companies during a single festival.
Festival registrants had meals and lodging on the campus of Georgetown University. Each afternoon they were bussed to Kennedy Center or other locations in DC for afternoon shows, and then they returned to Georgetown University for evening shows
The festival exhibit, Puppets: Art & Entertainment, was attended by 72,000 people in three months and traveled to 10 additional venues across the country bringing the total attendance to nearly 3 million. The WQED one-hour documentary Here Come the Puppets, aired on PBS and around the world to an estimated 10 million viewers.
How did we do it without a huge deficit?
As President of UNIMA-USA, Jim Henson called a meeting in 1975, at the Detroit Institute of Arts of anyone interested in puppetry with the provision they leave their puppets at home. Audley Grossman and Mickey Minors organized it. I represented PofA at the meeting. Jim suggested we host the next congress of UNIMA. With no plans or funding other than Jim's promise of financial backing, UNIMA-USA authorized its council members, UNIMA-USA Secretary, Mollie Falkenstein, Mike Oznowicz, and Bil Baird, to make the invitation. Unbelievably, the 1976 Congress in Moscow accepted, based on their reputations.
Jim Henson and Kermit - Photo by Tommy Noonan
The international popularity and success of Sesame Street and The Muppet Show opened the doors. Jim's vision and financial backing, fully supported by Jane, his partner and wife, made the event possible.
After returning from the 1976 Moscow Congress, I took a course in grantsmanship back home in New Orleans. The leader encouraged me, predicting our project would be eminently fundable. Margo Rose recommended George Thorn, whom she knew at the Eugene O'Neill Theater Center in Connecticut, as a consultant. He proved to be indispensable. He recommended PofA should confer on me the title of Executive Director and pay me a salary to convey organizational stability for fundraising purposes. At the time, I was President. Vincent Anthony took up that position, and we worked as a team.
Jerry Hughes, Nancy Staub and George Thorn - Photo by Tommy Noonan
First, we needed to incorporate UNIMA-USA and obtain a 501-C 3 from the IRS, making it tax-exempt. Allelu Kurten led that process with Jim covering the legal costs. She structured it after the international UNIMA with an appointed General Secretary, and she volunteered for that position.
We decided to negotiate with Georgetown University (GU) for housing and to obtain as many other venues as possible for performances and exhibits. We hoped to produce a PBS Special for greater outreach. As commitments fell into place, the word spread about "the puppet thing," and people approached us to participate.
Kukla, Nancy Staub, Burr Tillstrom, Vince Anthony, Ollie, Allelu Kurten - Photo by Robert Judson
Doris and Don McBride and Bob and Judy Brown offered me lodging in their homes in the early planning stages. When GU officials signed a contract for hosting the festival, I looked for an apartment/office in D.C. at my own expense. I found a marvelous condo on Connecticut Ave. When we first moved in, a visit to the Chinese Embassy across the street by President Carter brought swat teams swarming onto the rooftops. I learned that in D.C. local news is international news, which made it perfect for a World Puppetry Festival.
I persuaded my friend and colleague, Meghan Kelly, to move to D.C. as my assistant. Without her support and innumerable skills, there could have been no festival. We could never have managed without Pat (Stephen P. Belcher, Jr.), a former United States Information Agency (USIA) employee. Though a volunteer, Pat came to the office every day. We gave him the title "diplomatic liaison." He kept all of us on the right path through his patience and dignity. His humorous staff notes made us smile. I treasure the one urging us not to use memo pads with the PofA logo in house because they were "precious," but he typed that on the PofA paper!
Due to the enormity of this project, I suffered considerable stress and a few panic attacks.
Gayle Schluter, Festival Manager, with Alan Cook, Exhibit Coordinator - Photo by Paul Eide (about 2002)
Rachel Redinger, PofA statutory agent, arranged a rare joint meeting with officers of the National Endowment for Humanities (NEH) and the National Endowment for the Arts (NEA). Rachel, Jim, Jane and I discussed potential funding with them. Enthusiastic for the project, they advised us as to which endowment program we should apply for various aspects. Since neither agency could fund a book about American Puppetry, they suggested an exhibit grant, which could include a catalog. That was a hard way to get a publication. Jim had Kermit in his hand luggage, but he did not need his help, only his reputation. We made successful grant applications to several NEA and NEH programs.
Governments, foundations and private corporations sponsored the travel expenses of many of the performing groups and delegates. The location of Washington, D.C. helped make that attractive. The Asian Cultural Council, JDR 3rd Foundation, and EXXON Corporation gave us crucial matching grants thanks to George Thorn's connections.
The Japan Foundation sponsored PUK Theater of Japan to perform at the Kennedy Center and on tour to other cities across the country and in Canada and Mexico.
Pat Belcher made appointments at embassies and consulates seeking travel expenses for performers and delegates. He carried my briefcase to important meetings so I would appear to be in charge. All the same, the Egyptian cultural attaché never looked me in the eye. He told Pat the younger man replacing him did not want folk art to represent modern Egypt. But he prevailed before he left his post, and a wonderful Aragouz hand puppeteer participated.
Of course, we planned for earned income from ticket sales and registrations to cover part of the costs. As an experienced Broadway production consultant, George Thorn told Jim and me that a projected budget that was within 10% of the actual expenditures was outstanding. In a million dollar budget that meant $100,000 either way! We spent a lot of time calculating and recalculating our spreadsheets.
Jim preferred not to donate up front, but Henson Associates handled all legal matters and design and printing of publicity including stationery, post cards and posters. I took Jim's guarantee to cover any deficit on faith, as we put nothing in writing.
UNIMA Meeting: L to R: Dezsö Szilagyi, Nancy Staub, Sergei Obratzsov, Jacques Felix, Henryk Jurkowski, Margareta Niculescu - Photo by Niklaus Strauss
The GU campus is picturesque, but somewhat antiquated. Some registrants, particularly non-Americans, were not too happy with roommates and communal dorm bathrooms. Henryk Jurkowski found a hole in wall of his student apartment, but never complained to me. At least as General Secretary of UNIMA, he was not in a dorm. Many other members of the executive committee had to stay in the dorms, but they were good sports in most cases. Festival Manager Gayle Schluter and her crew brilliantly handled assigning rooms and arbitrating complaints. A delegation arrived from France for which we had not received registration forms or fees. We never did collect from their travel agent! Along with other overflow attendees they stayed at George Washington University. I crashed in my apartment at home a few minutes away to avoid the mayhem. Meghan, Pat, George, Gayle and many others covered for me.
The GU cafeteria had gigantic windows and a veranda overlooking the Potomac. The cooks prepared and served an excellent menu affording dietary options for our foreign guests. Some delegates reported delight in seeing members of the executive committee and famous personalities, including Jim Henson and Sergei Obraztsov, standing in line carrying their own trays like everyone else. We requested a barbecue supper, and the weather cooperated. Some international guests found it memorable as typically American. The late night pub in the cafeteria with impromptu short shows, which PofA calls Pot Pourri, proved so popular the tradition continued at subsequent congresses.
John F. Kennedy Center
for the Performing Arts (KC)
There were several spaces at GU that could serve for performances. We booked Trinity Theater within walking distance of the campus. But we determined that the KC would serve best for public and critical attention. I tried going through the back door meeting with people who were supposed to have influence. I finally just asked for an appointment with the Executive Director, Martin Feinstein. It turned out he appreciated puppetry as adult entertainment. He had worked for Sol Hurok booking a successful tour of the Central State Puppet Theater of Moscow in America. He put us on the schedule for the Eisenhower and Terrace Theaters for the festival week, and the Concert Hall for the Gala opening night. His assistant told me I should keep checking periodically to be sure we had not been bumped.
Carole Huggins Sullivan, Director of The KC Theater for Young Audiences, agreed to hold an educational puppetry day in the KC the Saturday before the festival opening. The staff of Puppetry In Education (PIE) organized it. Carole proposed presenting extra shows by some of our performing groups as well.
The Kennedy Center - photo by Robert Judson
Carole suggested I should get a written letter of intent from the KC. She composed one for me and managed to have it signed by Roger Stevens, Chairman of the Board. No sooner had I sent the actual contract to Al Gottesman at Henson Associates several months later, than Mr. Stevens called me into his office. I did not sleep well the night before the meeting thinking through my strategy. He informed me he needed the Eisenhower Theater during our festival dates. He offered the Opera House, but I countered due to capacity it would not be appropriate and would certainly have to be at the same price as the Eisenhower. I explained the contract was already in the hands of the Henson lawyers. I handed him a copy of the letter he signed. After looking it over, he stated, "I guess we're screwed." The good old girl network that really ran the center in those days spread the word that the festival was going forward, boosting our profile.
Unions were a concern at the KC. Due to the cold war, boycotts occurred, and some events were cancelled. I had some concern about our East European guests. A union rep at KC said "Lady, you pay us, we don't care where they come from." Puppeteers not used to union houses, particularly the University of Connecticut (UConn) students, did not realize how much union stagehands cost. Fortunately we found a great Production Coordinator, Martha Knight, for the KC venues, and she hurried companies along.
On a very snowy day George and I sought out the head of the local musicians' union. He terrified me when I heard him yelling at someone over the phone. When I described our festival he remarked, " I used to play for puppeteers in vaudeville, a little of this, a little of that. We couldn't play for you if we wanted to." We did hire an orchestra for the Gala and the last campus party, which helped sway him. We simply could not have afforded standby musicians. The KC would have been out of the question without this waiver from the union.
Performance Selection
We formed a performance selection committee to determine what kinds of performances to present. We set our goals, aside from quality, for geographic distribution and wide variety of types of shows, techniques of puppetry, and target audiences. We wanted to highlight the best of puppetry for adults at the KC. Peter Zapletal accepted the position of artistic coordinator, a monumental task. We had no cell phones in those days, only walkie-talkies. Amazing that he managed so well!
We decided to use about half of the program to showcase American talent and the other half to expose the American public to other cultures. The committee met at PofA festivals and in Washington D.C. and tackled the thankless task for no recompense. Many fine puppet artists were excluded due to their locations or types of show. Members reviewed as many shows as possible before the final selection. UNIMA Centers were consulted, but festivals in conjunction with UNIMA Congresses are autonomous and not required to accept center suggestions. Companies received free room and board and domestic transportation. Each had to raise its own travel costs. A small stipend was given to companies, which gave public performances at the KC in addition to festival presentations.
34 performing groups from 20 nations took part, excluding the gala and cabaret shows. The majority of registrants forgot to send their ticket orders, which caused utter pandemonium. John Guerin, a New Orleans friend who used to perform in my Puppet Playhouse and had become a theater box office manager in New Orleans, agreed to coordinate tickets. Volunteers, especially Bob Baker and Alton Wood, gave untold hours to helping him distribute and exchange them.
Kukla, Burr Tillstrom and Ollie Photo provided by artist
Gala Opening at the KC
We wanted American television celebrities to create a special invitation-only gala to open the festival for registrants and various funders and D.C. VIP's. This would draw attention to the event and boost the status of the art of puppetry. We planned a matinee for the general public to help pay for it, and it sold out.
Henson Associates offered a specially staged live show as the finale. This promise opened doors to other stars. They all appeared just for expenses. Burr Tillstrom gracefully accepted the role of emcee. He did some Kukla and Ollie numbers and sang a wonderful song from Side by Side by Sondheim with Kukla. His incomparable "Berlin Wall "done with bare hands was a highlight of the evening. Bil Baird agreed to do some of his signature numbers. He stayed the whole week and gave performances at GU as well.
Shari Lewis and Fred Astaire Puppet - Photo Copyright Niklaus stauss
I was very nervous when Shari Lewis agreed to meet with me for breakfast at her home in L.A. I had never met her, and I was afraid she might refuse. She appeared in a running suit, exuding energy. It boosted my confidence that I could appreciate some of her art collection identifying some Sepik River masks. She expressed enthusiasm for the Gala. She relayed our discussion to a recorder including her conditions for a specific orchestra. She impressed me enough to make sure all her demands were met! Her fabulous dance turn with a life-sized manikin of Fred Astaire made a big hit and was featured on the PBS Special.
Bil Baird and Rod Puppet - Photo provided by Baird Puppets
In one of my favorite moments in the Gala featured on the PBS documentary, Frank Oz and Jim Henson did a brilliant bit making jokes about puppeteers. Kermit was horrified when Fozzie persuaded him to look down to see he was being manipulated. Carroll Spinney did his roller skating feat as Big Bird carrying Oscar the Grouch. Ralph Rinzler, Director of the Smithsonian Folklife Program and Vice-Chairman of the US Commission for UNESCO, handled the introduction to the World Puppetry Festival very well, along with PofA President, Vince Anthony.
Martin Stevens performing "The Toymaker" - Photo by Stevens Puppets
I always loved Martin Stevens' Toymaker. He once described it as his one-man show, assisted by his wife. He filmed it starring Rufus Rose. The U.S. State Department purchased foreign rights , translating it into 17 languages. I felt the theme of non-violence was perfect for an international festival so I asked him to do it the opening night at the Corcoran in its charming intimate theatre. Henryk Jurkowski admired The Toymaker so much he translated it into Polish for production in his country.
Among shows in most demand were Bruce D, Schwartz and Figurentheater Triangel. We placed them in an appropriately small house, one after the other. They gallantly performed to full houses every night missing most other shows.
Bruce Schwartz performing "The Rat of Huge Proportions & Other Works" Photos by Niklaus Stauss
FigurentheaterTriangel (Netherlands) - Photo provided by artist
Gustaf and His Ensemble, by Albrecht Roser Photo by Tommy Noonan
We presented Albrecht Roser the final evening and did not anticipate the demand for seating as we assumed most puppeteers had already seen Gustaf and His Ensemble. I relinquished my ticket to a disappointed Japanese puppeteer. Albrecht probably could have filled the Terrace Theatre for a week.
Sergei Obratszov - Photo by Tommy Noonan
I took stage plans of the Eisenhower Theatre to Sergei Obraztsov in Moscow to invite him to present Don Juan there during the festival. He offered me a video of it but I told him to his surprise that I had seen it live. When I explained that one of his designers helped me negotiate admission to a sold out performance with a tough ticket taker at the 1976 Congress, he pretended to be shocked. Bil Baird really saved me embarrassment as he beckoned me to sit next to him when an usher demanded to look at my non-existent ticket. Whoever held the seat did not ask me to move. Sergei managed a booking at a festival in Mexico and could have performed in D.C. if we paid transportation back. By the time this happened, it was too late to change. He did perform his Solo Recital, accompanied by his wife at the piano, for which he is duly famous.
Drak production of "Sleeping Beauty" - Photo by Tommy Noonan
In Cirkus Unikum, the Drak Theatre of Czechoslovakia alluded not too subtly to the oppression of the communist regime. We met apprehensively with Czech cultural exchange officers in Prague, and happily they agreed to Drak's participation. I think they were politically supportive, not lacking perspective. Drak also performed its innovative version of the ballet Sleeping Beauty at the KC.
Teatr Loh's "Way of Snow" - Photo provided by artist
Julie Taymor walked into the office and told us we should book her Teatr Loh's Way of Snow for the festival. She had an aura about her not to be denied. Her photos and videotapes blew us away. The cross-cultural basis made it particularly desirable for an international festival. The crew had a hard time adapting to the Gaston Hall stage at GU, but they succeeded. Everyone loved it and many tried to book it overseas.
Bread and Puppet's Uncle Fatso - Photo by Richard Howard
Bread and Puppet's parade - Photo by Tommy Noonan
The Bulgarian Embassy proposed sponsoring the Sofia Theater although we had not even issued an invitation. I quickly found a space for them and put them in the budget. They asked for cash in lieu of food!
The esteemed dalang, Pandam Gurito of Java, offered to perform at his own expense, so we gladly added him to the program. Larry Reed had already accepted our invitation to perform a Balinese wayang kulit show, so this gave attendees the opportunity to compare.
Bread and Puppet Theater staged an impromptu parade one night featuring Uncle Fatso, a political parody of Uncle Sam. The campus police intervened but fortunately the parade was just about over anyway. We did not need a confrontation. Bread and Puppet recruited registrants and members of the community to parade around the mall to the Corcoran Gallery to publicize the exhibition there. The white birds made a spectacular sight waving in the wind alongside furling American flags at the Washington Monument, a perfect setting for an anti-war message.
Smithsonian Folklife Festival of Puppetry
The Smithsonian Folklife Program had been holding annual festivals on the mall since 1967 I noticed that some puppetry groups took part including a kuruma ningyo (rolling stool puppet) company of Japan. I made an appointment with the Director, Ralph Rinzler, to explore possible cooperation. I'll never forget the wonderful collection of rocking chairs that served as his office furniture. He immediately assigned Jeffrey LaRiche and Frank Proschan to help plan a folk puppetry component for our festival. It was Jeffrey who suggested Pat Belcher, our "diplomatic liaison," might join us. The Program had funds that could pay for performing groups as well as research in Egypt, Guinea, and India.
Percy Press II, Punch and Judy - Photo provided by artist
Because the budget would not cover a tent rental, we looked for performing spaces in the various museums around the mall. They were spread out, and some were simply too large. One day Jeffrey called to tell me a tent had magically appeared exactly where we needed it. Erected for the celebration of Belgium Today, the King of Belgium agreed to leave it up an extra week for our festival. The Renwick Museum featured performances and an exhibition of traditional marionettes from Liege as their contribution to the event, and it ran during our festival. I actually shook the hand of the King at the opening party.
The NEA Folklife Program offered us a grant for American performers. The Manteo Sicilian Marionettes and Steve Hansen's Punch and Judy qualified. Mr. Punch from the UK and Canada, Rajasthani marionettes, a story-scroll and Karnataka shadows from India, and an Aragouz hand puppet show from Egypt completed the schedule.
Ralph Rinzler and Nancy Staub with the Rajasthani puppeteers from India - Photo by Robert Judson
Puppets: Art & Entertainment
We decided the Corcoran Gallery would be the best venue for an exhibit of the history of American Puppetry. Focusing on its functions in American Society would make it eligible for NEH funding. At first we approached a board member who advised us that an exhibit of puppets would not be appropriate at the Corcoran. I then met with the curator Ed Nygren and he loved the idea. I immediately enlisted the avid puppet collector and historian, Alan Cook, to identify objects for the grant proposal. It required measurements of each object, but Alan did not always find time so I made educated guesses. When I confessed at a design meeting, Ed laughed, "Shame on you." We did receive NEH funding.
Click the above image to view the Exhibition Book. When viewing click the 1:1 button to view as actual size.
We needed to match the NEH funds to qualify. George Thorn had connections at Exxon. The director of funding came to meet with the Corcoran staff and then go to our "office." We had locked up the cat and hid the TV to eliminate evidence of living there but he was so satisfied with the enthusiasm at the Corcoran he just flew right back to NY. His successor visited once and was annoyed at the size of the competition's logo, but we already had the grant.
I sought out the designers, Bob Staples and Barbara Charles. (Staples & Charles Ltd). They accepted the project and proposed the title Puppets: Art & Entertainment. The firm designed a flexible portable exhibition and all the graphics. Michael Malkin agreed to write the catalog essay. We recruited a former Corcoran intern, Myriam Springuel, to work with us. With her museum training she could coordinate documentation of the objects recommended and located by Alan Cook. Alan toured with the exhibit to care for and pose the puppets. Once I was escorting some VIPs and heard a giggle from inside a display case. It was Alan amused by the misinformation I gave out. Alan is a walking encyclopedia of American Puppetry.
Margo Rose recommended a young man, Gordon Linge she met in Iowa at the Baird exhibit. He took over management of the installation and later became tour manager.
Judy and Bob Brown designed and built a show of the art of puppetry for the exhibit, which John McAniston performed several times every day. We estimate he did nearly 4000 shows, which were largely responsible for the record attendance. Jim Gamble arranged to do a video demo of trick marionette manipulation using antique puppets from DIA that would be included in the exhibit. It's available in the POA AV Library.
We tried to find other venues for the exhibit when it was scheduled to close at the Corcoran. Conover Hunt-Jones, the curator of the Dallas Historical Society, called me every week begging for more time to find funding. We put the exhibit in storage risking further financial loss rather than disassemble it. When Mrs. Meadows, a major Dallas patron, learned the exhibit included the Muppets, she said she'd write the check because she loved Kermit the Frog. The record-breaking attendance there lead to 9 more bookings: Chicago Historical Society, Indianapolis Children's Museum, Cooper-Hewitt Museum in NYC, Southern Ohio Museum in Portsmouth, Science Museum of Minnesota, Detroit Institute of Arts, Colorado Historical Society in Denver, Oakland Museum, and Museum of History and Industry in Seattle. Exxon's NY PR firm rejected our poster design. I did not like their attitude or the new graphic they placed on NY buses. I was delirious when their skepticism about the draw of puppetry was proven wrong by crowds in line all the way around the block at the Cooper-Hewitt, breaking attendance records there, too. Another highlight of the tour was a joint venue with Art of the Muppets at the Detroit Institute of Arts, home of the Paul McPharlin Collection. A last minute cancellation gave the museum the space to mount them at the same time. Approximately 700,000 persons saw the exhibit on tour.
Since UNIMA had been accepted as a class C member organization of UNESCO, we petitioned to put UNESCO on the logo for the poster, post cards, and program as we felt that was very prestigious. Peter Small & Associates Inc. handled our publicity. The Muppets created some public service TV promos for us that gave us a big boost. Concerned over sales, KC financial officers called me into their office to suggest we pay for additional ads. I did not feel I could justify more paid publicity. Actually, we more than broke even at the Terrace theatre. The Gala matinee in the Concert Hall sold out and public performances at the Eisenhower had a reasonable attendance. Some surplus tickets made available at Georgetown performances, were in demand.
I lost some sleep worrying about US immigration and customs. When I told the district supervisor we were doing a puppet festival he exclaimed "Puppet Festival? My wife does puppets at her church. No problem." Pat Belcher composed an official notice to all US Embassies and Consulates urging facilitation of visas. Peter Waschinsky of East Germany got one at the last minute in Paris.
An FBI agent arrived unannounced one day early on. He asked me why I visited the Czech Embassy. After learning more about puppetry than he ever wanted to know and taking one swig of my strong New Orleans coffee with chicory, he made a hurried exit. We never had another investigation.
By 1979, we had an impressive schedule to take to UNIMA meetings in Budapest and Moscow. The entire staff helped prepare packets of papers for delegates. The Hungarian customs confiscated the papers, but they released them in time for me to take them to Moscow and distribute them to the delegates!
Paranoia prevailed about visitors from the Soviet Union. One mini-festival host remarked her favorite stagehands were KGB. They seemed to have no practical function. I imagine they were bureaucrats getting freebie trips. Troublemaking journalists falsely implied that Russians might be blocked from performing. Actually, Sergei Obraztsov not only performed at GU, but he appeared on the PBS Special, Here Come the Puppets, wishing peace between our countries and throughout the world.
Here Come the Puppets
After an unsuccessful proposal to work with the DC PBS station, Jim recommended we work with WQED in Pittsburgh with whom he had a past relationship. Head of Production Dale Bell jumped at the opportunity. We met with a Corporation for Public Broadcasting official to obtain financial support for the special. She was thrilled to meet Kermit the Frog, but we did not receive much from that source. WQED did find matching funds for us from Alcoa. Jerry Hughes served as Producer/Director.
Jim Henson and Albrecht Roser during WQED taping of "Here Come the Puppets" - Photo by Robert Judson
Part of the deal with WQED was to record entire shows whenever set up for a vignette. We placed copies of the over 35 hours of tape in Lincoln Center Library of Performing Arts, UNIMA/USA headquarters at CPA, and in the PofA Audio-Visual Library. The edited WQED one-hour documentary of the festival, Here Come the Puppets, aired on PBS and around the world to an estimated 10 million viewers. Clips from the opening night gala were included in documentaries on Jim Henson, which can be seen on YouTube.
Final Financial Report
When George Thorn and I received the first estimated report of a $100,000 deficit, we went out to a gourmet Italian restaurant for our "last supper." The deficit turned out to be only $30,000, reimbursed to POA by Jim Henson as promised, and the traveling exhibit Puppets Art & Entertainment, earned more than that! Jim did not ask for a refund. Don Schluter kept track, volunteering his time and expertise.
I believe we achieved one of the primary objectives of the event showing the American public high quality, roots and diversity of puppetry arts. Official recognition by the NEA of puppetry as a unique art form, listed in their funding guidelines, rewarded our efforts. Benefits of increased visibility of puppetry included funding for UNIMA-USA and Puppeteers of America in addition to companies and solo puppeteers.
A major recipient of grant support was the Center for Puppetry Arts in Atlanta where UNIMA-USA maintains its offices. The Center's Executive Director, Vincent Anthony, served on the influential performing arts overview panel as well as the theater panel for several years. I served one year and then became a site reviewer with assignments across the country.
We intended to make a TV series from the festival footage. The idea stayed with Jim. He produced the series Jim Henson Presents the World of Puppetry expanding video documentation of puppetry. A proliferation of puppetry exhibits, conferences and publications happened in part due to the exposure from the 1980 World Puppetry Festival.
I am gratified when from time to time I hear of people who were deeply affected by the event. Bob and Elise Nathanson testified it inspired them to become full time puppeteers. Mexican puppeteers attending have said the festival inspired the creation of UNIMA-Mexico. After USA and Canadian puppeteers were showcased in Washington, at the next festival in Dresden 1984, seven North American puppet companies performed. In his forward to his book about puppetry in India, Living Dolls, author Jiwan Pani wrote that the festival changed his life. At parties sometimes people told me about that marvelous PBS special or wonderful exhibit when I mentioned, "I'm a puppeteer," not realizing my involvement. Thanks to the Hensons as artists and benefactors and to hundreds of puppeteers, presenters and unsung heroes, our profession has become widely recognized and appreciated in America.
Just 2 years after the festival Jim and Jane Henson created a foundation to promote puppetry in America, for which I served as a consultant. I used to tell Jim, "Your money, my time." In 1992, the Jim Henson Foundation held an International Puppetry Festival at The Public Theater in NYC, which I helped organize. Every year since 1980, I had suggested that would be a way to reach New York theater critics and audiences with sophisticated puppetry arts. Cheryl Henson, President of the Henson Foundation, and Leslee Asch directed five festivals 1992-2000 with great success. The NY theater critics now regularly cover puppet productions.
•••Thanks to Steve Abrams for editing this article for The Puppetry Journal.
Nancy Staub's full article documents many more aspects of this spectacular event. The full text can found here.
You will find information about:
•How arrangements were made for several foreign companies to tour the USA
•Notes about the meeting of the UNIMA Congress
•Notes on assembling 2 academic conferences including "Puppet Theatre as Cultural Heritage"
•How Seven of the Smithsonian Museums were persuaded to offer puppetry related exhibits as well as Organization of American States, and George Mason University in Virginia
•Thank you's to unsung heroes including Carl Harms. Archie Elliot, Bart Roccoberton Jr, and Alan Stevens


SVOG 2019 Annual Meeting of the Board of Directors and Operational Officers.
Cross Streets: Between Sunnyvale-Saratoga Rd. and Cezanne Dr.
This is a two part meeting; part one is the Board of Directors Annual Meeting and part two is the monthly Operational Officers Meeting.
During the Board of Directors Annual Meeting such business as is necessary and appropriate for Board actions will take place, including approval of the 2019 operating budget and election of new officers for the 2019 term.
During the Operational Officers Meeting general topics relating to the operations and current status of SVOG will be addressed.
Note that these are business related meetings and trading is not discussed.


What are the best fantasy football team names for Washington Redskins fans in 2018? Look no further. Whether you're looking for great, funny, clever, old, new or stupid fantasy football team names to match your favorite team — the Washington Redskins — we've got it right here.
The best fantasy football team names are often created by looking at the team's top players. For the Redskins, that is quarterback Alex Smith, (now injured) running back Derrius Guice, wide receiver Josh Doctson, and tight end Jordan Reed. You can also include offensive lineman Brandon Scherff and linebacker Ryan Kerrigan into your team name.


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Q: How to properly bend a plane around axis in Unity Shader Graph? I'm pretty new to shader graph and shaders in general. I tried to bend a mesh with shader graph and after a lot of trying, I got this:
Shader Graph example
Plane in scene, high BendAmount
Plane in scene, low BendAmount
I was pretty happy at first but BendAmount of 0 makes the plane invisible. I need the mesh to smoothly transition from no bending (showing normal plane) to fully bended.
I tried multiplying the result:
'Fix' in Shader Graph
'Fix' in scene, high BendAmount
'Fix' in scene, low BendAmount
But this gave me a water drop shape. How can I get rid of this and get my nice circle shape back?

redpajama_set_name: RedPajamaStackExchange


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The Law Office of John R. Colvin has successfully handled numerous claims for disabled and injured individuals in Whitwell, Tennessee. The claims handled by my office have included those of car accidents, premises liability, slip and fall, nursing home negligence, defective products and construction accidents. As with all personal injury claims, most cases are handled on a contingency fee basis which means my office does not charge you a fee until and unless we make are recovery for you. If you or a loved one is in need of legal help or representation due to a disability, illness or injury, please do not hesitate to contact the Law Office of John R. Colvin for initial consultation that is both free and confidential.
Please remember that with any claim, there is a time limit which to file formal action to preserve your rights under the law. Therefore, that is why I encourage you to contact my office for a free and confidential consultation regarding your rights and how my office can effectively represent you in preserving those rights and securing you the compensation that you deserve.
In addition to personal injury claims, my office also handles injuries related to work related accidents, on the job injuries and/or claims for worker compensation benefits pursuant to the Tennessee Worker Compensation Act. In recent years, Tennessee law has changed and evolved in regards to the rights of workers under the Tennessee Workers' Compensation Act. Currently, Tennessee law requires that administrative claims and requests for assistance be filed prior to instituting a court action. Furthermore, an administrative claim must be filed with the Tennessee Department of Labor within a certain time period or the claim could be forever barred. Many of the new laws were enacted in order to protect insurance companies, large corporations and manufacturing interests within the State of Tennessee all at the peril of the injured worker. Due to the complexity of the Workers' Compensation Laws that require the filing of an administrative claim with the Tennessee Department of Labor for either a benefit review conference or a request for assistance pursuant to the facts of each case is why you should contact an attorney who routinely handles Tennessee Workers' Compensation claims. Therefore, please do not hesitate to contact my office if you are in need of assistance for your work related injuries.
Are you disabled and unable to work? The Law Office of John R. Colvin also handles both adult disability claims and child disability claims for individuals living in Marion County and Whitwell, Tennessee. Therefore, if you have been denied adult disability or your child has been denied their claim for child's disability by the Social Security Administration, please do not hesitate to contact my office for legal assistance. The Office of John R. Colvin can provide legal representation at the initial determination level, at the reconsideration level, and at the hearing level. If you reside in Marion County, Tennessee your hearing will most likely take place before an administrative law judge at the Office of Disability Adjudication Review located at 6840 Carothers Parkway, Suite 350, Franklin, Tennessee. If necessary, I also handle Social Security disability claims beyond the hearing level and against the Social Security Administration at the Federal District Court level in the Eastern District of Tennessee. As with most claims for benefits, there is a time limit from which you must file an appeal or lose certain rights and remedies under the law. Therefore, if you have been denied benefits or if you are applying for Social Security Disability benefits, please do not hesitate to contact my office for an initial consultation that is both free and confidential.
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IMSA drivers elated at return to 'old school' Canadian Tire Motorsports Park
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Cross-border logistics: Moving the IMSA circus
The transporters rolling into Canadian Tire Motorsports Park for this weekend's Chevrolet Grand Prix for the IMSA WeatherTech SportsCar Championship may have departed Watkins Glen earlier this week, but they began their journey months ago.…
BMW Announces 2023 Colors and Model Updates
BMW released initial details on its 2023 model lineup, including new colors and minor updates. BMW also announced the base MSRP for most of its models, though that information is rather moot, as it also announced additional packages which…
Study finds EV powertrains aren't especially trouble-prone, but all the other tech is
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Tesla's run of record deliveries may be reaching end of the road
SAN FRANCISCO — Tesla Inc is expected to end its nearly two-year-long run of record quarterly deliveries as a prolonged COVID-related shutdown in Shanghai hit its production and supply chain, highlighting the risks of its reliance on China.…
2022 Toyota Tundra recalled for potential axle separation
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You are here: Home > County News Releases > Sea-Level Rise Board Game
County of Marin - News Releases - Sea-Level Rise Board Game
County's Sea-Level Rise Board Game Wins Award
State planning association recognizes creativity of 'Game of Floods'
San Rafael, CA – A unique board game that challenges players to address the effects of sea-level rise has earned the County of Marin staff a statewide award for public outreach.
Professionals at a statewide sea-level rise conference in San Francisco play the Game of Floods.
The Marin County Community Development Agency (CDA) and Department of Public Works (DPW) were the recipients of the American Planning Association California Chapter's 2016 Public Outreach Award for Excellence for the Game of Floods, a board game created by the staff members from CDA's Long-Range Community Planning team and DPW flood control specialists. The game was inspired by a local mapping activity developed for Supervisor Kate Sears' Southern Marin sea-level rise project by DPW engineer Roger Leventhal and CMG landscape architects.
"We're thrilled about this," said Jack Liebster, the CDA group's manager. "We had fun with the creative challenge to get people involved with the tough issues of sea level in a way that is accessible, engaging and thought provoking."
The Game of Floods was developed as a public education activity about sea-level rise vulnerability and adaptation. Staff introduced the game in May 2015, early in the planning process, because educating citizens is critical to successful planning and implementation of potential solutions.
The game has been played with enthusiasm by participants at community meetings, and has been featured at local, state and national conferences. It was especially well-received by the more than 300 students in local high schools who played it, something Liebster said is important to the County sea-level rise program because "the younger generation and the ones coming after theirs will be most affected by sea-level rise."
The game was intended to be "open source" from the very outset, available for other communities to adapt and use. "We are very aware that sea-level rise presents a whole new set of problems for vulnerable areas all around the country," Liebster said. "We will all need to share and learn from one another, and we hope the Game of Floods gives planners and officials a useful new tool."
The game board, game pieces, instructions and other supporting materials as designed by CDA and DPW staff are available on the www.MarinSLR.org website. The total cost for printing Game of Floods boards and materials is typically less than $500, including lamination of game boards for multiple rounds of play.
County staff members credited by American Planning Association's California Chapter were Liebster, Bridgit Van Belleghem, Alex Westhoff and Lauren Armstrong from CDA, and Leventhal and Chris Choo from Public Works.
Marin County ranks second among nine Bay Area counties for projected risk of impacts from sea level rise flooding and storms, with potential losses of $8.5 billion worth of buildings and contents on the bay shoreline. Flooding associated with high tides and storms already impacts infrastructure and disrupts people's lives on a recurring basis. These impacts are expected to increase in frequency and severity as sea-level rise accelerates. Vulnerable communities in San Rafael and Marin City will be disproportionately impacted because flooding will increasingly cut off access to homes, jobs and daily essentials for many immigrants and low-income residents.
Many view sea-level rise as a far-off problem, and as an issue that only affects people living directly on the coast. However, even people living on high ground will be affected if roads to their communities are flooded, or if they can't flush their toilets because a wastewater treatment plant is flooded.
The County of Marin is preparing for sea-level rise by identifying vulnerable assets, such as homes, schools, hospitals, roads, electrical stations, wastewater treatment facilities, beaches, and marshes. Through the C-SMART program in West Marin (along the Pacific coast) and BayWAVE in bayside Marin, the County is bringing city governments, asset managers and residents together in a shared understanding of the threat, and to develop a pathway forward.
County staff members have been invited to attend the American Planning Association's state conference in Pasadena in October to receive the award.
Jack Liebster
Planning Manager
Email: Jack Liebster
Community Development website


The science of mammalian animal agriculture. Related information: Where should I submit my website about animals? Or, where will I find the animal topic I am looking for?
Temple Grandin's Web Page - Livestock behaviour, design of facilities and humane slaughter. NCSU: Animal Science - Extension Animal Husbandry - North Carolina State University information resources on animal nutrition and other aspects of animal husbandry for livestock animals. The Department of Animal Sciences, Colorado State University - Provides research, education and extension expertise related to animal production, beef cattle, sheep, meat sciences and horses. American Society of Animal Science - Information on membership, meetings and events, and publications plus animal science news. International Textile Center: Fiber and Biopolymer Research Institute - Research and development of natural fibers: wool, cotton, cashmere and mohair. Texas Tech University. Production Medicine International - Bruce M. OLCOTT, DVM is a consultant dedicated to helping agricultural producers in developing countries. Programs undertaken include swine, dairy, goat, sheep and water buffalo projects. Dead Animal Disposal Laws in Missouri - Summary of contents of the Missouri Dead Animal Disposal Statute, which was passed by the 86th General Assembly and became law on August 28, 1992.


Evangeline Hotel is located in Lafayette County, Louisiana certified as a historic location on Thursday March 17, 1994. This location is a protected historic place because of historical significance relating to Domestic, more specifically a Hotel. Evangeline Hotel was nominated by as a historic location by State Government based on Architecture/Engineering and its significance in Architecture.


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December 4, 2021 December 18, 2021 Admin_	0 Comments
House of the Dragon 2022 While the first House of the Dragon trailer includes a number of locations and symbols that will probably be familiar to Game of Thrones fans, the series will be largely unrelated to its HBO predecessor. This is because, as its predecessor states, the events of the House of the Dragon Game of Thrones take place almost two centuries ago.
The story of House Targaryen is told. The prequel to House of the Dragon, Game of Thrones is coming to HBO and HBO Max. Here is everything you need to know so far. Based on George R. R. Martin's "Fire and Blood", the series is set 200 years before the events of Game of Thrones and tells the story of House Targaryen. On his personal blog, George R. R. Martin said, "I hope to join [the House of the Dragons] to some extent … and who knows, if things go well, I might as well write some episodes." , As I did during the first four seasons of Game of Thrones. Winter is just around the corner, and WINDS is still my priority, as much as I like 'I'd love to write an episode of HOUSE.
Miguel Sapochnik signed an overall agreement with HBO shortly after completing his directing duties in Season 8 of Game of Thrones (2011). Making one of the prequels to Game of Thrones is under discussion, but Arrived as director and co-host of The House of the Dragon (2022), which appears to have been kept secret, or in an agreement reached just weeks before the announcement of the House of the Dragon (2022).
House of the Dragon 2022 Release date announced
In the trailer, HBO confirms that all ten episodes of the show will debut sometime in 2022. Since filming only started last spring, it looks like we'll see the release date in the second half of 2022. This is a bad thing. It's time to dump her and move on. Production in the UK has already come to a halt after a positive Covid 19 test between the teams. So a solid debut is unlikely. Confirmed soon.
While several prequels have grown and died in the three years since Game of Thrones reached an unfortunate conclusion. Only one long night of pre-production by the co-creators of HBO: House of the Dragon I'm alive R. R. Martin and Ryan Condall. (Miguel Sapuchink, who has directed several episodes of Game of Thrones. Including the fan favorite "The Battle of the Bastards", will act as the show runner with Kundal.)
Productions began filming in Penzance, Cornwall, England last spring, and as it neared its official launch. The network released a one-minute teaser for the series. And now, a new interview sheds light on the "different accents" the show intends to use on its predecessors.
Keep up to date on what we know about the show.
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Viscount Hill, of Hawkstone and of Hardwicke in the County of Salop, is a title in the Peerage of the United Kingdom. It was created in 1842 for General Rowland Hill. He had already been created Baron Hill, of Almaraz and of Hawkstone in the County of Salop, in 1814, with remainder to the heirs male of his body, and Baron Hill, of Almarez and of Hawkestone and Hardwicke in the County of Salop, in 1816, with remainder to the heirs male of his elder brother John Hill. The viscountcy was created with the same special remainder. On the first Viscount's death in 1842, the barony of 1814 became extinct as he had no male issue, while he was succeeded in the barony of 1816 and the Viscountcy according to the special remainders by his nephew Sir Rowland Hill, 4th Baronet. His son, the 3rd Viscount, sat as a Conservative Member of Parliament for Shropshire North. In 1875, he assumed by Royal licence the additional surname of Clegg, which was that of his maternal grandfather. He inherited financial problems from his father which led to the breakup and sale of the family estates.

The Hill, later Clegg-Hill Baronetcy, of Hawkestone in the County of Shropshire, was created in the Baronetage of Great Britain in 1727 for the first Viscount's grandfather Rowland Hill, with remainder to his cousins Samuel Hill, of Shenstone, Thomas Hill, of Tern (whose eldest son Noel Hill was created Baron Berwick in 1784) and Rowland Hill, brother of Thomas. The Baronetcy was created in honour of Rowland Hill's uncle, the diplomat and statesman the Rev. and Hon. Richard Hill of Hawkstone (1655–1727). Sir Rowland Hill later represented Lichfield in Parliament. His son, Sir Richard Hill, 2nd Baronet, represented Shropshire. He was succeeded by his younger brother, the third Baronet. He sat as a Member of Parliament for Shrewsbury. His grandson, the fourth Baronet, represented Shropshire and Shropshire North as a Tory, before he succeeded his uncle in the Barony and Viscountcy of Hill. He later served as Lord Lieutenant of Shropshire. He married Anne Clegg heiress of Peplow Hall in 1831.

A boarding house at Wellington College, Berkshire was named after the first Viscount around the time of the school's construction in the 1850s.

The family seat was Hawkstone Hall, near Market Drayton, Shropshire.

Hill, later Clegg-Hill baronets of Hawkestone (1727)

Sir Rowland Hill, 1st Baronet (1705–1783)
Sir Richard Hill, 2nd Baronet (1733–1808)
Sir John Hill, 3rd Baronet (1740–1824)
Sir Rowland Hill, 4th Baronet (1800–1875) (succeeded as 2nd Viscount Hill in 1842)

Baron Hill, First Creation (1814)

Rowland Hill, 1st Baron Hill (1772–1842)

Viscount Hill (1842) and Baron Hill, Second Creation (1816)

Rowland Hill, 1st Viscount Hill (1772–1842)
Rowland Hill, 2nd Viscount Hill (1800–1875)
Rowland Clegg-Hill, 3rd Viscount Hill (1833–1895)
Rowland Richard Clegg-Hill, 4th Viscount Hill (1863–1923)
Francis William Clegg-Hill, 5th Viscount Hill (1866–1924)
Charles Rowland Clegg-Hill, 6th Viscount Hill (1876–1957)
Gerald Rowland Clegg-Hill, 7th Viscount Hill (1904–1974)
Antony Rowland Clegg-Hill, 8th Viscount Hill (1931–2003)
(Peter) David Raymond Charles Clegg-Hill, 9th Viscount Hill (b. 1945)

The heir apparent is the present holder's son Hon. Michael Charles David Clegg-Hill (b. 1988).

See also
Baron Berwick
Hawkstone Park
Rowland Hill (preacher)
Rowland Hill (postal reformer)

References

Work cited

External links

Viscountcies in the Peerage of the United Kingdom
Noble titles created in 1842
Noble titles created for UK MPs
Peerages created with special remainders
1842 establishments in the United Kingdom
1727 establishments in Great Britain

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