text:
Nostradamus Anthology
The Prophecies of Michel Nostradamus accomplished and solved in all.
§861 350 years of the British Empire by colonization (1600-1947): X-100.
X-100 (§861):
The grand empire by England shall be,
The All-River of more than 300 years.
She shall dispatch grand troops by sea and land,
The Lusitans shall not be content with it.
(Le grand empire sera par Angleterre,
Le pempotam des ans plus de trois cens.
Grandes coppies passer par mer & terre,
Les Lusitains n'en seront pas contens.)
NOTES: Le grand empire sera par Angleterre, Le pempotam des ans plus de trois cens: The construction will be as follows: Le grand empire par Angleterre sera le pempotam des ans plus de trois cens = The grand empire by England shall be the All-River of more than 300 years.
The grand empire by England: = « the British Empire. Another name for England which has obtained territories abroad since the 16th century. Her territories in her prime attained one quarter of the globe.» (EH, VIII, p.1163); Her colonies (not always at a time): the West Indies, North America, Guyana, Ireland, India and its surroundings, the Southern, North-Eastern and South-Western Africa, Yemen, Australia, New Zealand, Malay, Borneo, New Guinea, the Falkland Islands and St. Helena (cf. EH, VIII, p.1163, Chart: Principal territories of the British Empire in 1775 and 1914); « British Empire. The colonies, protectorates, and territories brought under British sovereignty from as early as the sixteenth century. In the late nineteenth century, some in Britain still harboured dreams of expanding the Empire, such as Rhodes [Cecil John] and Milner [Alfred], who wanted to create a unified Cape-to-Cairo dominion in Africa. However, the South African (Boer) War (1899-1902) damaged Britain's confidence in its Empire. In many areas, control had never advanced beyond indirect rule… » (Palmowski, p.88-89).
Pempotam: A neologism of Nostradamus consisting of the Greek πᾶν (pān, all; N of pān becoming M before P, and PAN and PEM are identical in pronunciation in French) and ποταμός (potamos, river; POTAM is an apocope of POTAMOS), representing the British colonies all over the globe because of the existing rivers there. Though the Greek POTAMOS can signify also a SEA (cf. Bailly, s.v.; Leoni, 1982, p.442-443), a river always connotes the land where it runs, but a sea doesn't. And naturally, this neologism also implies « la suprématie des mers (supremacy of the seas) » (Fontbrune, 1939, p.257) or « le roi des mers (the king of the seas) » (Le Pelletier, I, p.162), through which England obtains many river-flowing lands abroad. This double meaning fits in very nicely with the third line: « She shall dispatch grand troops by sea and land ».
Most of our predecessors simply follow Le Pelletier who says that the word Pempotam is composed of the Greek πᾶν and the Latin potens = tout-puissant (omnipotent) (Le Pelletier, id.). But the text of Nostradamus has another example of the word Pempotam meaning the Great Britain* and at the same time another word PEMPOTANS (§699, VIII-97), which may exclude Le Pelletier's easy translation of PEMPOTAM into PANPOTENS.
* ... approchera de maison ce que paravant estoit & est grande cité comprenant le Pempotam la mesopotamie de l'Europe a quarante cinq, & autres de quaranteung, quarantedeux, & trentesept, & dans iceluy temps & en icelles contrees la puissance infernale mettra à l'encontre de l'eglise de Jesus Christ la puissance des adversaires de sa loy, qui sera le second antechrist, lequel persecutera icelle eglise & son vray vicaire par moyen de la puissance des Roys temporelz, (… what before was and is a grand city including the Pempotam and the Mesoptamia of Europe** [France's centre Paris' heart the island of Cité is between the two ramifications of the Seine] approaches a house in the years 37-45 [i.e., the political and military shrinking of the Great Britain and the Republic of France suffering from the Blitzkrieg of the Nazi Germany in the years immediately preceding the WWII and of the WWII], and in this time and in these districts the infernal power shall oppose against the Church of Jesus Christ the power of its law's adversaries, who shall be a second Antichrist*****, who shall persecute this Church and its true Vicar by means of the power of the temporal Kings, (№3, Adresse à Henri II, p.18).
** Cf. §273, VIII-70; §474, VII-22 and §820, III-99; Another usage of Nostradamus: « la cité libre, constituee & assize dans une autre exigue mezopotamie (the free city, constituted and situated in another tiny Mesopotamia)» (№3, Adresse à Henri II, p.12).
And, though the word PEMPOTANS (VIII-97) may be considered to be composed of pan + potent as Le Pelletier will pretend so, its component POTANS alludes in reality to POTENCE (potency) = BÉQUILLE (crutch, stand) = GIBET (scaffold) (Bloch & Wartburg, s.v. POTENCE). In fact, the quatrain VIII-97 has a theme of Paris Commune in 1871 (cf. Vignois, 1910, p.329), resulting in the instant firing of almost all the Communards (17,000 only in Paris) (« tous au gibet » "all to the scaffold" = Pempotans ) (cf. Seignobos, 1921b, p. 313).
The start of "more than 300 years": = 1600; « Elisabeth, on the throne in 1558, reigned in 1588, when the Invincible Armada of Philip II, king of Spain, was destroyed by Drake, Vice-Admiral of England. It is from this epoch that dates the maritime preponderance of England.» (Le Pelletier, id., p.161-162). This interpretation of Le Pelletier most popular among the Nostradamus researchers is evidently based upon that of the term "pempotam" as "the supremacy of the seas", but its original and true meaning is as it were a "global colonization", whose real inception by England was in 1600, when the English East India Company was established with patent; « English Colonization Activities. Henry VII [1485-1509], having denied his aid to Columbus' project, gave the patent to the Italian Cabot, father [1450-1498] and son [1477-1557], to make them explore the North-West passage [in 1497, 98], instigated by the discovery of Columbus. They discovered Nova Scotia and Labrador of the North America. Then, in the first half of the 16th century explorations by the North-East passage arrived in Russia to trade, but could not find the way to Asia. In the times of Elizabeth I, the English were accustomed to raid Spanish and Portuguese merchant fleets to plunder their cargoes. Hawkins [1532-1595] and Drake [c.1540-1596] represented these adventurous pirate-merchants, who founded the basis of the English marine preponderance. And in the later years of the Elizabethan reign, the English spread over every part of the world, Drake into the Pacific, Gilbert [Humphrey: 1539-1584] into the Northern Atlantic, some chasing Negroes in Africa and others travelling from the Russian steppes till Asia, trading with Turks and Greeks, working in this way up to the foundation of the East India Company and the North American colonies.» (Maekawa and Horikoshi, 1984, p.274).
« THE DISASTERS OF SIR HUMPHREY GILBERT While the queen and her adventurers were dazzled by the glittering prospects of mines of gold in the frozen regions of the remote north, Sir Humphrey Gilbert, with a sounder judgment and a better knowledge, watched the progress of the fisheries, and formed healthy plans for colonisation. It was not difficult for Gilbert to obtain a liberal patent (June 11th, 1578), formed according to the tenor of a previous precedent, and to be of perpetual efficacy, if a plantation should be established within six years. To the people who might belong to his colony, the rights of Englishmen were promised; to Gilbert, the possession for himself or his assigns of the soil which he might discover, and the sole jurisdiction, both civil and criminal, of the territory within two hundred leagues of his settlement, with supreme executive and legislative authority. Thus the attempts at colonisation, in which Cabot and Frobisher had failed, were renewed under a patent that conferred every immunity on the leader of the enterprise, and abandoned the colonists themselves to the mercy of an absolute proprietary. Under this patent, Gilbert began to collect a company of volunteer adventurers, contributing largely from his own fortune to the preparation. Jarrings and divisions ensued, before the voyage was begun; many abandoned what they had inconsiderately undertaken; the general and a few of his assured friends among them his step-brother, Walter Raleigh [in command of the Falcon] put to sea in 1579; one of his ships was lost; and misfortune compelled the remainder to return. The vagueness of the accounts of this expedition is ascribed to a conflict with a Spanish fleet, of which the issue was unfavourable to the little squadron of emigrants. Gilbert attempted to keep his patent alive by making grants of lands. None of his assigns succeeded in establishing a colony; and he was himself too much impoverished to renew his efforts. But the pupil of Coligny was possessed of an active genius, which delighted in hazardous adventure. To prosecute discoveries in the New World, lay the foundation of states, and acquire immense domains, appeared to the daring enterprise of Raleigh as easy designs, which would not interfere with the pursuit of favour and the career of glory in England. Before the limit of the charter had expired, Gilbert, assisted by his brother, equipped a new squadron. The fleet embarked under happy omens; the commander, on the eve of his departure, received from Elizabeth a golden anchor guided by a lady, a token of the queen's regard; a man of letters from Hungary accompanied the expedition; and some part of the United States would have then been colonised, had not the unhappy projector of the design been overwhelmed by a succession of disasters. Two days after leaving Plymouth (June 13th), the largest ship in the fleet, which had been furnished by Raleigh, who himself remained in England, deserted, under a pretence of infectious disease, and returned into harbour. Gilbert was incensed, but not intimidated. He sailed for Newfoundland; and, entering St. Johns, he summoned the Spaniards and Portuguese, and other strangers, to witness the feudal ceremonies by which he took possession of the country for his sovereign. A pillar, on which the arms of England were infixed, was raised as a monument; and lands were granted to the fishermen in fee, on condition of the payment of a quit-rent. The "mineral-man" of the expedition, an honest and religious Saxon, was especially diligent; it was generally agreed that " the mountains made a show of mineral substance"; as there were so many foreign vessels in the vicinity, the precious ore was carried on board the larger ship with such mystery that the dull Portuguese and Spaniards suspected nothing of the matter. The colony being thus apparently established, Sir Humphrey Gilbert embarked in his small frigate, the Squirrel, which was, in fact, a miserable bark of ten tons; and, taking with him two other ships, proceeded on a voyage of discovery to the southward. One of these vessels, the Delight, was soon after wrecked among the shoals near Sable Island; and of above one hundred men on board, only twelve escaped. Among those who perished were the historian and the mineralogist of the expedition; a circumstance which preyed upon the mind of Sir Humphrey, whose ardent temper fondly cherished the hope of fame and of inestimable riches. He now determined to return to England; but as his little frigate, as she is called, appeared wholly unfit to proceed on such a voyage, he was entreated not to venture in her, but to take his passage in the Golden Hinde. To these solicitations the gallant knight replied, " I will not forsake my little company going homeward, with whom I have passed so many storms and perils." When the two vessels had passed the Azores, Sir Humphrey's frigate was observed to be nearly overwhelmed by a great sea; she recovered, however, the stroke of the waves, and immediately afterwards the general was observed by those in the Hinde, sitting abaft with a book in his hand, and calling out, "Courage, my lads! we are as near heaven by sea as by land!" The same night this little bark, and all within her, were swallowed up in the sea, and never more heard of. Such was the unfortunate end of the brave Sir Humphrey Gilbert, who may be regarded as the father of western colonization, and who was one of the chief ornaments of the most chivalrous age of English history.» (HH, XXII, p.496-497).
« English Colonization Activities to East India. The activities toward Asia were submitted mainly to the East India Company established in 1600. It sent its first merchant fleet to Asia in 1601. But the trades with East Asia had been already nearly monopolized by the Portuguese and the Dutch, whom the English rivalled. In the end they featured the trades with the mainland of India, and gradually obtained their bases in the Western India (Surat), Persia (Hormuz) and the area about the Red Sea, and later in Madras (1640), Bombay (1661) and Calcutta (1686).» (Maekawa and Horikoshi, 1984, p.274).
« English Colonization Activities in North America. The activities in North America were performed by the enterprising companies with Royal patent, and in the beginning of the 17th century colonies were established in Newfoundland, Virginia (1607) and the Islands of Bermuda (1612). In particular many Puritans and Catholics immigrated into North America, fleeing from the Anglican coercion under the Stuarts in quest of freedom of faith. Above all, a group of Puritans called Pilgrim Fathers in the Mayflower landed on Plymouth in 1620 and established the colony of New England, and in 1630 a number of Puritans immigrated and built the colony of Massachusetts.» (Maekawa and Horikoshi, id.).
Of these first English colonizing enterprises and colonizations, the establishment of the East India Company in 1600 shall be the most remarkable opening of the English global colonization because the vast colonies of North America had become independent already in the second half of the 18th century, whereas the East India Company was succeeded by the British Crown itself through the India Act of 1858 after the Indian Mutiny (1857-8) and the independence of India ("known as the 'Jewel in the Crown' of the British Empire at the beginning of the twentieth century" [Palmowski, p.313]) in 1947 is considered to mark the real end of the British Empire. The time span 1600-1947 fits in just with the prediction of Nostradamus: more than 300 years of the pempotam, the concept of the term 'pempotam (= all-rivers = all the lands = the global colonization)' being different from that of the 'world hegemony', with which shall deal the quatrains X-98 (§862) and II-78 (§877).
The end of "more than 300 years": = 1937-1945. This epoch is discovered in the paragraph above cited telling the shrinking of the Pempotam: « ... approchera de maison ce que paravant estoit & est grande cité comprenant le Pempotam la mesopotamie de l'Europe a quarante cinq, & autres de quaranteung, quarantedeux, & trentesept, & dans iceluy temps & en icelles contrees…, (… what before was and is a grand city including the Pempotam and the Mesoptamia of Europe approaches a house in 45, others of 41, 42, and 37, and in this time and in these districts,..) » (№3, Adresse à Henri II, p.18), where the numbers 45, 41, 42 and 37 with a preposition « a » (à) [at, in] or « de » [of] « a quarante cinq, & autres de quaranteung, quarantedeux, & trentesept, » are considered to be designating the years because the next expression is clearly given as "in this time (dans iceluy temps)". And these years are evidently 1937-1945, the context describing the WWII.
And by the expression « a grand city … approaches a house » is meant precisely the British Empire reduced to her own HOMELAND in losing almost all the colonies after the WWII. This Decolonization, whose typical and greatest event is the independence of India in 1947, is the theme of the related quatrains (II-60, V-11 and X-99 [§874-§876]), whereas the quatrain X-98 (§862) treats the French hegemony and colonialism.
The Lusitans: = The colonialists in general, the Portuguese having been the first of them; « VOYAGES OF EXPLORATION. Christopher Columbus's voyage across the Atlantic in 1492 sparked an unprecedented opening-up of the world – first by the Portuguese and Spanish – then by the Dutch, English, and French. By 1700, European explorers and colonizers had established themselves globally.» (DKHistory, p.172); « … and the voyages of exploration soon became tidal waves of colonization, reaching most part of the globe… » (Parker, 2010, p.216).
The Lusitans shall not be content with it: The colonialists are avaricious in general; « European explorers were motivated by glory, Christian zeal, and – above all – gold, spices, and slaves. The goal was the East, source of legendary riches. "I and my companions suffer from a disease of the heart which can be cured only by gold." (Hernán Cortés, Spanish explorer, on his quest to defeat the Aztecs, 1519).» (DKHistory, id.).
V. Ionescu considers the line 4 as the beginning and the line 3 as the end of the British hegemony (Ionescu, 1987, p.73). But, the digital exhibition of the term of 'global colonization' ('more than 300 years') generously granted even with the proper name of 'the grand empire by England' by the Prophet needs, we think, no more additional information about its two boundaries, which is to be researched by the interpretative readers. Above all, his attribution of the phrase "Grandes coppies passer par mer & terre" to the USA entails a difficulty because the army of the UK was not defeated immediately by that of the USA (its factual event is probably the fall of Singapore in February 1942***, preceded by the sinking of Admiral Phillips' Force Z including the Prince of Wales and the Repulse****). From the viewpoint of the theme (the British world colonization) of the quatrain, the line 3 tells its effective means (military strength), and the line 4 its real motive (colonization).
*** « Singapore, fall of (World War II) (8-15 Feb. 1942) The largest British army and naval base in Asia and Australia with around 80,000 British, Australian, and Indian troops under A. E. Percival in 1941, Singapore was equipped with strong coastal defences. However, no fortifications had been built against attack from its Malayan hinterland, which was also under British control. After swiftly overrunning Malaya, Japanese forces under General Yamashita massed opposite the island of Singapore at the beginning of February 1942. During the night of 7/8 February armoured landing craft crossed the Strait of Johore, followed by many swimming Japanese troops, surprising the garrison of Australian troops opposite. The defenders blew up the single causeway connecting Singapore with its hinterland and retreated. The causeway was quickly repaired by the Japanese who, supported by the superiority of their air force, moved on to the island. On 15 February, Percival surrendered. The fall of Singapore, long perceived as an invincible fortress of the British Empire, symbolized more than any other event the real weakness of Britain's pretensions to defend and control her vast Empire. This provided an important stimulus to colonial independence movements after World war II, and foreshadowed the process of decolonization after 1945.» (Palmowski, p.619); « the Tridental taken (prins le Tridental) » (§805, V-62).
**** Cf. « Vessels sunk (Nefz parfondrées) » (§805, V-62); « A camp … gnats (Camp … cousins) » (§863, V-85).
***** Antichrist: « ANTÉCHRIST or rather ANTICHRIST. According to the Epistles of John, the Christians of the end of the 1st century did not wait for the return of the Christ before the arrival of an Anti-Christ [ἀντίχριστος], namely, following the Greek etymology, of a false replacement of the Christ. On the other hand, the second Epistle to the Thessalonians precedes Advent of the Christ by that of a "Man of lawlessness, Son of destruction" who shall be the instrument of Satan to provoke a general apostasy, ruin the religions and proclaim himself God (2Th 2, 3-9)... The Antichrist and the Man of lawlessness are not but a single figure upon which the posterior centuries have projected their successive fears.» (Monloubou, p.39-40); Un si faulx antechrist (§796, X-66): = « An Antechrist so deceitful and so unfaithful – Hitler.» (Ionescu, 1976, p.545); « Concerning our times, the Prophet considers three Antechrists: Stalin (quatrains VI-49 [§882], X-1 [§884] and X-65 [§883]), Hitler (X-66 [§796]) and Mao Tse-Tung (VIII-77 [§900]). These dictators have in common some distinctive traits: 1. They imposed a totalitarian regime with a great cruelty. 2. The number of their victims amounts to tens of millions (by wars, executions and prisons). 3. They made "cultural revolutions" in opposing the religion and the tradition of their country. 4. They provoked the hatred and the conflict among races and social classes. 5. They erected themselves as superhuman entities and encouraged the cult of their personality.» (Ionescu, 1987, p.451-452). There appears in the Dedication to Henry II (№3, pp.3-23; №10, pp.153-173) five examples of the word Antechrist/antechrist, whose two of the paragraphs 44-46 (following Le Pelletier's paragraphing) refer to Stalin because the passage includes the name 'Atila [Attila]' and the event of 'October Revolution', another two of the paragraphs 93-95 to Hitler because the region of Europe and the supposed years 37-45 [WWII] are told there, and the remaining one of the paragraph 107-109 also to Hitler, there being exposed the Roman occupation by 'the antechrist, the infernal prince' in the hottest battle in the Christian countries probably after Mussolini's fall.
© Koji Nihei Daijyo, 2019. All rights reserved.
§868 A nuclear weapon for the first time exploded in Aki district, Japan (1945.8.6): II-91.
§867 Nuclear weapons exploited by USA who employed them against Japan (1941-1945): VIII-10.
§866 The Allied forces approaching Okinawa in an island-hopping campaign; Irresolute Japan to surrender resulting in atomic disasters with Emperor's ending the war (1942 – 1945): I-30.
§865 The Independence of USA toward World Hegemony (1776.7.4-1945): I-50.
§864 WWII in Africa, Europe and Asia (1941-1945): VI-80.
§863 The triple alliance of Japan, Germany and Italy vs. the League of Nations (1933-1941): V-85:
§862 The world hegemony from France to England through the Second Hundred Years' War (1689–1815): X-98.
§860 Collapse of the Ottoman Empire; Independent countries in the Middle East (1920-1948): III-97.
§859 The superpowers' settlement of post-war nine countries; the Catholics persecuted in Eastern Europe (1943-1955): I-81.
§858 The death of Roosevelt; Soviet Machinations (1943-): IV-6.
§857 Hitler, Roosevelt and Stalin (1945): VI-15.
§856 Alfred Jodl at Reims; De Gaulle and Pétain in Paris (1945): VIII-90.
§855 De Gaulle in the end victorious of Hitler (1940-1945): III-100.
§854 The utmost disasters of WWII (1921-1945): II-75.
20th century :
Author:Koji Nihei Daijyo
We have covered 143 quatrains (§588-§730) concerning the World Events in the 19th century after Napoleonic ages [1821-1900] in the Prophecies of Nostradamus, and 218 in the 20th [1901-2000] (§731-§948).
§870 Atomic bombardment on Japan; Purge & expiation of the accused (1945.8.6-1948.12.23): II-70. (01/10)
§869 The Blast of an A-bomb devastating Hiroshima; Refugees streaming up Valleys (1945.8.6): VIII-16 (§869). (01/05)
§868 A nuclear weapon for the first time exploded in Aki district, Japan (1945.8.6): II-91. (12/24)
§867 Nuclear weapons exploited by USA who employed them against Japan (1941-1945): VIII-10. (12/15)
§866 The Allied forces approaching Okinawa in an island-hopping campaign; Irresolute Japan to surrender resulting in atomic disasters with Emperor's ending the war (1942 – 1945): I-30. (11/27)
19th century (§588-§730) (142)
Category: None (0)
Forewod (1)
Challenging 20th Century: Difficult Qautrains (11)
Table of Chronology (19th Century)
§1-§341 in French
French Revolution (in Japanese)
Heroica Napoleona (in French)
Eight parts of speech
Copyright © Nostradamus Anthology All Rights Reserved.


text:
The great urban juggernaut
India's first 'private city' will do nothing to help the poor
Where next? Displaced children outside their temporary shelter.
Tarsh Thekaekara
'Lavasa: a beautiful hill city to the south of India's commercial capital, Mumbai. An answer to overcrowded and congested urban India, with its crumbling infrastructure…' That, at least, is the theory. Ajit Gulabchand, Chair of the Lavasa Corporation, estimates that India will need 400 new cities in the next 40 years to cope with rapid urbanization. And since the Government cannot cope, the private sector is stepping in with India's first 'private city'. In a new twist on poverty eradication, a handful of 'insignificant' villages are being razed to the ground to be replaced by a mirage of affluent urban India.
Lavasa is being built along 60 kilometres of lake front, in the pristine Western Ghats – a globally recognized biodiversity hotspot. It has won numerous awards for its 'new urbanism' design principles, and has attracted prestigious global partners including Accenture, Deloitte, Microsoft and Oxford University. It envisages a population of about 200,000 with housing – ranging from studio apartments to large villas – meant to be 'aspirational yet affordable for multiple socio-economic classes'.
The only people unhappy with these developments are the local farmers and adivasis (indigenous people). They allege that the whole project has been a 'land grab' by the company, with villagers being pressured into selling their land by Lavasa's intermediaries. One resident, Gyaneshwar Hegde, was given six cheques totalling 580,000 rupees (about $13,000) for his 45 acres of land. But they all bounced. Similar stories abound. Lavasa made many promises when the construction started, but none were kept. Now, with their land gone, people live a hand-to-mouth existence, depending on the company for erratic casual labour.
The Indian constitution supposedly gives special protection to indigenous people, especially in cases where their land is being threatened. It may be telling, then, that the daughter and son-in-law of agricultural minister Sharad Pawar had large stakes in the Lavasa project.
Building permission was obtained under the pretext of the city being both a tourism project and at an elevation of less than 1,000 metres above sea level, in order to be exempted from central government environmental clearances. Any project above 1,000 metres requires an environmental impact assessment to preserve the integrity of hill areas. But Lavasa is much more than a tourism project, and the entrance is at 1,055 metres. In addition, the lake acts as a catchment area for thousands of people, including marginal farmers living downstream, all of whom are going to be affected by the lower water flow after Lavasa have extracted all the water they need.
Senior environmentalists such as Ashish Kothari (founder of environmental organization Kalpavriksh and on the board of Greenpeace India) have raised concerns about the larger trends of development in the country. 'Is Lavasa, with its 200,000 population, really going to address the urbanization problem in a country of over a billion people?' queries Kothari. 'It's just not possible to build 400 new cities. The Government should focus on improving infrastructure in rural areas. The international trend of urbanization means a much higher ecological footprint, and is extremely worrying from an environmental perspective. Do homes ranging from "small studio apartments to large villas" really represent the "multiple socio-economic classes" of the country?'
Oxford University has now pulled out of the project, though it refuses to comment on whether this is due to the human rights issues. But the construction continues unabated, as the great Indian urban juggernaut implacably steamrolls every obstacle in its path. Money after all, makes the wheels go round.
This article is from the May 2010 issue of New Internationalist.
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The journalist talks to Charukesi Ramadurai about recording the stories of everyday people and his hopes for India's future.
What's holding back Britain's adoptions of foreign children?
In a country of over 65 million people, only 58 foreign children have been adopted in 2015. Henry Wilkins investigates the...
Taking on the sand mafia
Hired thugs won't stop S Mugilan. The South Indian activist talks to Sibi Arasu.
India's child trafficking and child beggars conundrum
An anti child trafficking campaign in India asks the public to photograph and share pictures child beggars, but it's not as easy...
When cash turns to ash: a look at India's demonetization drive
Some 50 days into India's efforts to funnel out black money, something seems not to have gone to plan, writes Nilanjana Bhomwick.
The Bird on the Wire has finally flown – sing Hallelujah
Leonard Cohen was iconic for rebellious teenagers growing up in 1970s India, writes Mari Marcel Thekaekara.
Contracted into precarity
Anibel Ferus-Comelo explains how a disposable workforce is bearing the brunt of Indian economic growth.
Pedalling Change
New forms of solidarity with India's poor have emerged, writes Mari Marcel Thekaekara.

redpajama_set_name: RedPajamaCommonCrawl


Each week we take a look around our pop culture world and try to find one moment that stood out as the most inspiring. It might be a celebrity who is doing charitable things; a TV shows that inspires us to be better. Here is this week's most inspiring pop culture moment.
Winning a big reality show like Top Chef doesn't look easy. But in a recent interview with culinary celebrity Wolfgang Puck, he said that after victory is when the hard work really begins. And yet, with a little bit of leadership and a lot of teamwork he explained that success was certainly achievable.
Tune in to Top Chef: Seattle on Wednesday nights at 10 p.m. EST/9 p.m. Central on Bravo.


It's won a clutch of Junior Design Awards over the years for its unparalleled children's fashion department.
Now Harrods is making the shopping experience for parents that bit extra special by launching a new Baby Layette, Nursery Furniture and Prams Department this autumn.
Located on the fourth floor, it will be the ultimate destination for baby gifts and accessories, stocking its bestselling baby brands like Kissy Kissy, Tartine et Chocolat, Bugaboo and Silver Cross.
Naturally, the space will look fabulous, with plush carpets, grey velvet sofas and woodland animals painted across the walls by illustrator Katy Frost.
There are four new luxurious feeding and changing rooms too, plus a bespoke hamper service with no minimum spend to create a personalised new baby gift.
Nice information. Thanks for sharing such a wonderful information.
Awesome list of top must-have baby buys. I also made a list of the 20 best proofreading and editing services http://top20writingservices.com/best-proofreading-and-editing-services/ please rate it.


In this edition of the Multi-Asset Perspective, our Senior Fund Manager Kelly Chung shares her latest thoughts on a number of key asset classes and why she thinks A-shares are going to stand out.
With the YTD rally, China/ Hong Kong equities are currently trading at a valuation slightly above its historical average. With lower price volatility and large trading volume, the positive sentiment should be maintainable. On the other hand, macro data and earnings continue to be suppressed although there are signs of the figures bottoming out. However, the rally seems to be running too fast and has shot ahead of fundamentals. We are cautiously optimistic on the asset class given that investor positioning is still not too high.
We are positive on the asset class given both strong foreign and domestic inflows, as evidenced by rising trading volume. The drop in overnight SHIBOR was also a positive factor. We expect a gradual rally as the regulators do not want to see a surge in margin financing.
We remain neutral on Asia ex-Japan equities due to the global economic slowdown and further earnings downgrades. However, strong Asian currencies and supportive monetary policies have been contributing to its strong momentum.
Momentum and sentiment in EM ex-Asia have weakened, as reflected by weaker industrial performance. Volatility has also jumped, which is why we prefer Asia over non-Asia EM.
Valuations in Japan are the most attractive within Asia. Rescinding global risk aversion has prompted the JPY to weaken, which is supportive of the asset class. However, the longer-lasting economic slowdown and no inflation environment do not bode well for equity performance.
The asset class is benefitting from expectations of a more dovish Fed. However, after the YTD rally, valuations are less attractive as the spread over U.S. investment grade bonds and Asian equity dividend yields have narrowed significantly.
The combination of a slower tightening of credit spreads and a defensive to cyclical sector rotation are not particularly positive developments for the asset class. However, with risk sentiment improving and demand for new issues getting stronger, we remain cautiously optimistic.
Macro conditions remain favorable for EM bonds due to lower yields and tighter EM credit spreads. However, implied volatility in EM ex-Asia is getting higher, with the CDS spreads of Brazil and Mexico widening, which calls for some caution in the asset class.
Gold remains a good hedge, especially in the political front. The flattening yield curve is also favorable for precious metals. However, the risk-on sentiment would cause outflows from gold to risky assets.
Multi-Assets offer lower volatility over a traditional single-asset or balanced portfolio. With monetary policies around the world becoming more supportive, Multi-Asset income strategies, which explore income streams from various sources, have become attractive as the low rate environment is likely to last longer.
The views expressed are the views of Value Partners Hong Kong Limited only and are subject to change based on market and other conditions. The information provided does not constitute investment advice and it should not be relied on as such. All materials have been obtained from sources believed to be reliable as of the date of presentation, but their accuracy is not guaranteed. This material contains certain statements that may be deemed forward-looking statements. Please note that any such statements are not guarantees of any future performance and actual results or developments may differ materially from those projected.
Investors should note that investment involves risk. The price of units may go down as well as up and past performance is not indicative of future results. Investors should read the explanatory memorandum for details and risk factors in particular those associated with investment in emerging markets. Investors should seek advice from a financial adviser before making any investment. In the event that you choose not to do so, you should consider whether the investment selected is suitable for you.
This commentary has not been reviewed by the Securities and Futures Commission of Hong Kong. Issuer: Value Partners Hong Kong Limited.


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Cyperus viscidulus är en halvgräsart som beskrevs av Karen Louise Wilson. Cyperus viscidulus ingår i släktet papyrusar, och familjen halvgräs. Inga underarter finns listade i Catalogue of Life.

Källor

Papyrusar
viscidulus

redpajama_set_name: RedPajamaWikipedia


NOVEL MANAGEMENT OF ACUTE OR SECOUNDARY BILIARY LIVER CONDITIONS USING HEPATICALLY-DIFFERENTIATED HUMAN DENTAL-PULP CELLS.
Ishkitiev N, Yaegaki K, Imai T, Tanaka T, Fushimi N, Mitev V, Okada M, Tominaga N, Ono S, Ishikawa H. NOVEL MANAGEMENT OF ACUTE OR SECOUNDARY BILIARY LIVER CONDITIONS USING HEPATICALLY-DIFFERENTIATED HUMAN DENTAL-PULP CELLS. Tissue Eng Part A. 2014;.
The current definitive treatment for acute or chronic liver condition, i.e. cirrhosis, is liver transplantation from a limited number of donors who might cause complications after donation. Hence bone marrow stem cell transplantation is developed, but tumorigenicity is remains. We have recently developed a protocol for hepatic differentiation of CD117+ stem cells from human exfoliated deciduous teeth (SHED). In the present study we examine whether hepatically in vitro differentiated (hd) SHED could treat acute liver injury and secondary biliary cirrhosis. The CD117+ cell fraction was magnetically separated form SHED and then differentiated into hepatocyte-like cells in vitro. The cells were transplanted into rats with either ALI or induced secondary biliary cirrhosis. Engraftment of human liver cells was determined immunohistochemically and by in situ hybridization. Recovery of liver function was examined by means of histochemical and serological tests. Livers of transplanted animals were strongly positive for human immunohistochemical factors, and in situ hybridization confirmed engraftment of human hepatocytes. The tests for recovery of liver function confirmed the presence of human hepatic markers in the animals' blood serum, reduction of fibrosis and functional integration of transplanted human cells into livers. The risk of malignancy was not found. We show that in vitro hdSHED engraft morphologically and functionally into the livers of rats having acute injury or secondary biliary cirrhosis. SHED are readily-accessible adult stem cells, capable of proliferating in large numbers before differentiating in vitro. This makes SHED an appropriate and safe stem-cell source for regenerative medicine.


For a while, I've been envious of some of the project and file navigation features in emacs for browsing bigger projects/programs, things like imenu and tags have always seems awesome but given that I spend most of time editing restructured text and markdown files (I'm a technical writer), these tools have been distant and not a part of my day to day work.
It's not that it would be impossible to write interfaces for imenu or etags, for the formats I use regularly, but more that I've never gotten around to it until now.
We're still a ways away on the question of etags, but it turns out that when I wasn't looking rst mode got imenu support, and with the following little bit of elisp you can get imenu for markdown.
Pretty awesome! I hope it helps you make awesome things.


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All posts tagged "Canadian Radio Music Awards"
Home / Posts tagged "Canadian Radio Music Awards"
Interview with Dan Davidson
By Linda Heldman on March 18, 2018
Dan Davidson is a Canadian singer and songwriter who has been pursuing his solo Country music career since 2014. He is one of several Canadian...
Photo Review – CMW 2017 – Canadian Radio Music Awards
By Cassandra Popescu on April 25, 2017
The 20th Annual Canadian Radio Music Awards (CRMA) took place on April 19th during Canadian Music Week at the Sheraton Centre in Toronto. Alessia Cara...
The New Electric to tour with Courage My Love this April & release a new lyric video
By Nicole Wolfe on March 28, 2017
The New Electric has a lot to celebrate in the early stages of 2017! They have just announced a Canadian tour with Courage My Love in...
CRMA Winners Announced
By B Hartling on May 7, 2016
The 19th annual Canadian Radio Music Awards were handed out Friday at Toronto's Sheraton as a part of Canadian Music Week. Featuring performances by The...
Canadian Radio Music Awards Nominees and Performers
By B Hartling on April 29, 2016
Friday, May 6th the Sheraton Centre Toronto Hotel sees Canadian Music Week playing host to the 19th annual Canadian Radio Music Awards. Celebrating the best...


SoftPerfect RAM Disk is a straightforward tool that allows you to create virtual drives based entirely on your PCs memory.
These drives then look just like any other; they'll appear in Explorer, you can drag and drop files there, or use them to store temporary files created by Windows or your applications. But because RAM performs so much better than conventional hard drives, your RAM disk could be hundreds of times faster in some situations.
So why bother? You could use a RAM disk to hold an application's temporary files, for instance. If it makes heavy use of these then this could greatly improve its performance.
Beware, though, there's a potential problem. The RAM Disk uses your system memory, and if you don't have enough (and most people don't) then taking away more RAM to create a virtual disk will slow you down.
- All graphics and icons are now vector images and scale to any DPI on high-resolution displays.
- Added information when image file was last updated to the main view.


This year they have got not one, but two competitions – one for the professionals and one for the home bakers. The categories are the same for both competitions, with four to choose from. A winner will be announced for each category, and will then go forward to contend for the title of National Cupcake Champion.
Fifteen finalists will be shortlisted in each category. The shortlisted finalists will be revealed in September, with the finals taking place in association with Cake International, on 9 November its Birmingham show. A panel of top judges will put the cupcakes through their paces, with the individual category winners, and both professional and home-baking National Cupcake Champions announced the same day.
All shortlisted finalists will received one free pass to Cake International on 9 November, where the competition is being held.
A new category in 2012, it was so popular that we felt we must include it in this year's line-up. The recipe itself must be a classic flavour cupcake, such as vanilla, red velvet, chocolate or carrot cake. It can be decorated in any way, but it cannot fit into any of the other categories – for example it cannot be a free-from cupcake, Christmas cupcake or a cupcake containing alcohol.
Any theme will be considered, from seasonal cupcakes for Halloween, Valentine's Day or Christmas, to a birthday cupcake, wedding cupcake or fairytale-themed cupcake, for example. Presentation is key.
Whether it is wheat-, gluten-, dairy-, or nut-free, if it is free-from ingredient to suit a special dietary requirement, then it is suitable for this category.
Think cupcake cocktails. This category tests the skill of combining alcohol with cake to deliver a winning flavour.
Looking after the cupcakes – a noble occupation!


I am starting to plan an article based around the Sherman Firefly in in service Normandy '44. I have been fortunate enough recently to meet Ken Tout OBE, gunner in the 1st Northants Yeo. who has kindly agreed to look into a few gaps in my knowledge.
I also want to focus on the Sunshield/Houseboat attachement that was fitted to some Fireflys. I have seen some photos from an archive in Kew, though information is pretty patchy.
Anybody out there have any hidden gems of info that have so far remained untapped?


Book online or phone +1 905-354-7887 It is well known that the Canadian side of the Niagara Falls presents the best viewing points. The suites at the Hilton Fallsview offer panoramic views of this wonderful natural site and you will be able to watch a memorable sunset and sunrise. Highlights: Spectacular views Spacious suites Nearest Airport: Toronto Awards/Affiliations: Sloaney Suites accredited; Winner of Certificate of Excellence Trip Advisor "The floor-to-ceiling glass fronted Tower King Suite at the Hilton Fallsview is certainly .
Book online or phone +1 416-599-8800 Right in the heart of Toronto's Entertainment District, the Soho Metropolitan is where the film and television stars stay when recording Hollywood Blockbusters in the city. The SoHo Met's stunning three-storey penthouse is the top room in the hotel and it features a remarkable glass elevator. Highlights: Well located Luckee Restaurant and Wahlburgers are on the doorstep Nearest Airport: Toronto Awards/Affiliations: Sloaney Suites accredited; Member of Preferred Hotels "The Soho Metropolitan Hotel is really at .


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Sync for Expenses
Sync for Commerce
Sync for Banking
B2B payments
Everything you need to integrate
Sit down with Richard Sanderson-Pope, Principal Engineer
Disrupting B2B payments & driving purchasing efficiencies for SMBs
Codat expands to ANZ to simplify business data sharing, buoyed by Judo Bank partnership
Visit Codat Blog
The democratization of data
Data Wed 30 Jun 2021
Giving SMBs control of their data will help them to not only grow, but to thrive.
There are few things currently more valuable than data – in the business world, it's the newest form of capital. Data hasn't traditionally been controlled by consumers and businesses, however, the introduction of regulations like GDPR and PSD2 have helped to rectify that, with data now being given back into the hands of its owners. We call this new era the democratization of data.
What does the democratization of data mean?
The official definition of the democratization of data is "the ability for information in a digital format to be accessible to the average end user". Codat's definition isn't much different. The average business now uses upwards of 100 software apps, and each platform – from their accounting software to their online payment system – provides a unique yet siloed view of their financial health just waiting to be unlocked. To us, it seems only fair that businesses of all sectors and sizes should be given the opportunity to harness their data for their own benefit.
How can data empower SMBs?
By utilizing as much of their data as possible, SMBs can lower the barrier to entry for financial products and services, no longer having to spend hours compiling documents and reconciling accounts by hand.
By automating tasks like bookkeeping, inventory, and reconciliation, small businesses are therefore eliminating time-consuming tasks and manual data entry errors instantly. They can also access more niche products and services, like flexible insurance for seasonal businesses, for example. Most importantly, they'll benefit from clear insights into their performance with crucial tools like accurate cash flow management, which will help them navigate their current financial position and prepare for whatever the future holds.
We understand the importance of taking care of small businesses – and not just because it's the right thing to do. Small and medium sized businesses benefit the economy as a whole. Generating more than half of the country's turnover, our 5.9 million SMBs (those with fewer than 250 employees) comprise 99.9% of all companies in the UK. When they do well, we all do well.
What kind of data can be utilized?
At Codat, we believe all business data holds real value. Our accounting integrations offer the ability to access highly contextual and rich data such as invoices, bills, financial statements, and much more. All of this data can provide insight into an SMB's profitability. It can even be used to identify key fraud and risk indicators, such as abnormal invoice activity and increasing credit pressure.
Banking data, direct from source, can be used to corroborate the financials of a business as this data is immutable. Our new Insights product range, for example, enables financial service providers to verify the integrity of their business customers' bookkeeping by cross-referencing their bank and accounting data.
Commerce data is also a highly valuable source of unique information that can be used to provide actionable insights into a business's order history, income, inventory, and more.
The amalgamation of these data sources offers a multidimensional, contextual, and trustworthy view of a business's performance that far exceeds the information available from credit bureaus.
There is a vast treasure trove of data out there waiting to help SMBs reach their full potential. And as data-driven organizations are growing at an average of more than 30% annually, financial service providers who act now to harness the endless possibilities of data will come out on top in the next generation of financial technology.
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While La La Land is set in the present, its soul is set in a long-gone era. That being the era when movie musicals were always to be found in theaters. Writer/director Damien Chazelle who did the same double-duty on Whiplash and wrote Grand Piano may not create a revival of the genre, but this is the best musical film of this century thus far. It is the story of two dreamers whose pursuit of those dreams bring them together in Los Angeles.
"Mia" (Emma Stone) left college and moved to Southern California to pursue her life-long passion of acting. She puts a roof over her head by working as a barista in a cafe on the Warner Brothers studio lot. "Sebastian" (Ryan Gosling) is a pianist whose love for jazz music borders on obsession. His dream is to open his own nightspot where jazz musicians can play whatever they wish to play before adoring aficionados of that type of music.
Opening with a powerful song/dance number set on a very crowded freeway interchange, La La Land brings its dreamers together for the first time with a unique "meet-cute." At that moment, Sebastian isn't interested in dating or much of anything other than finding a gig where he can play the music he wants to play. J. K. Simmons, who won an Oscar for Best Supporting Actor in Chazelle's Whiplash, give Sebastian another chance to play muzak-like piano to entertain diners in his restaurant, which brings the couple together again through unusual circumstance.
Once the pair are actually a couple, things start to change. Mia decides to write and put on her own one-woman play. Sebastian decides to give "Keith" (John Legend) another chance in spite of their past, and joins Keith's music group. They play jazz but with a decidedly modern twist. When Sebastian goes on the road to tour the group's album, things between the lovers are strained. While it is clear that the dreamers will realize their individual dreams, will they reach those goals as a couple, or as individuals?
Chazelle's choices are near-perfection in everything. From the incredible vistas in the hills that overlook the city, through use of the famed Griffith Observatory as a backdrop, to the songs and their singers; everything and anything you see and hear is like candy long-denied to a diabetic audience. Ryan Gosling and Emma Stone have an interesting dynamic as a duo. They may not be traditional Broadway song and dance folk but they do well in their joint and separate numbers. The music sets the tone throughout, as the lovers ride the roller-coaster that love can be, especially between those chasing long-held desires.
The final act contains a look at their futures from two perspectives, the reality and what might have been that brings about a fitting ending to a film about lovers and dreamers. I can't wait to see this again.
Plot: A jazz pianist falls for an aspiring actress in Los Angeles.


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CILIC AND GOFFIN CONTINUE LONDON QUEST, THIEM STILL AT RISK FOLLOWING PARIS LOSS TO SOCK BY RICKY DIMON
Written by: Staff on 2nd November 2016
epa05613881 David Goffin of Belgium returns the ball to Nicolas Mahut of France during their second round match for the BNP Paribas 2016 Masters tennis tournament in Paris, France, 02 November 2016. EPA/IAN LANGSDON |
David Goffin of Belgium returns the ball to Nicolas Mahut of France during their second round match for the BNP Paribas 2016 Masters tennis tournament in Paris, France, 02 November 2016. EPA/IAN LANGSDON
Marin Cilic maintained his fine form with a 7-6(7), 6-2 victory over Ivo Karlovic in the second round of the BNP Paribas Masters on Wednesday afternoon. Cilic held all 10 of his service games to prevail in one hour and 33 minutes. With the win, the 10th-ranked Croat took another giant step toward qualifying for the Barclays ATP World Tour Finals.
Croatia's Marin Cilic in action during his final match against Japan's Kei Nishikori at the Swiss Indoors tennis tournament at the St. Jakobshalle in Basel, Switzerland, 30 October 2016. EPA/ALEXANDRA WEY
Cilic's season reached a high point with a title at the Cincinnati Masters and he moved into an all-import top eight spot in the race just last week by triumphing at the Swiss Indoors Basel. With one more victory this week, Cilic would clinch a spot in London unless Jo-Wilfried Tsonga or Roberto Bautista Agut wins the title and Tomas Berdych finishes runner-up. He would also pass Dominic Thiem for seventh place because Thiem lost to Jack Sock 6-2, 6-4.
"I'm really excited and satisfied with my form, especially these past few months," Cili commented. "I've been trying for a long time to find that consistency at the big tournaments. That was a goal of mine at the beginning of the season, so I'm just hoping to continue with good tennis here and make it to London."
A showdown with huge London implications is now on tap for Cilic, as he will go up against David Goffin on Thursday. Goffin kept his chances alive by taking care of Nicolas Mahut 7-6(5), 6-3 during second-round action on Wednesday.
"I'm just focused on what I have to do and I'll play match by match," Goffin explained. "I can feel that it's the end of the season and it's never easy when you feel a little bit tired. But it's a big tournament and my goal is to finish the season without any regrets. I'm just going to give everything until the end."
Goffin not only must win this match but he also has to reach at least the final and may even have to win the title depending on other results. The Belgian is actually a significant reason why Cilic has not already mathematically secured a spot in the year-end championship. Goffin is 3-0 lifetime against Cilic and all three wins have come in 2016, including two with major points on the line. Goffin, who also defeated Cilic in a Davis Cup opening-round tie, got the job done 7-6(4), 6-2 in the Indian Wells quarterfinals and 7-5, 6-4 earlier this fall in the Tokyo semifinals.
"David has been playing very well this season," Cilic assured. "We just played in Tokyo and it was a tough match. It's a battle now between me, him, Berdych, and Tsonga. I'm just hoping to continue with my good tennis and find a good way to play him this time."
Ricky contributes to 10sballs.com and also maintains his own tennis website, The Grandstand.
Printable Draws
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Topics: 10sballs.com, Atp World Tour, Bnp Paribas Masters, David Goffin, Dominic Thiem, Ivo Karlovic, Marin Cilic, Paris, Ricky Dimon, Tennis News


AFP advanced food products llc is proud to produce excellence at three locations, strategically placed in the Eastern, Midwest, and Southwest regions of the U.S. Multiple plants give us continuity—we maintain multiple suppliers for critical purchased raw materials and coordinate plant purchasing, ensuring uninterrupted flow of our products.
Our New Holland headquarters—located not far from Lancaster, Pennsylvania—produces AFP's pudding, cheese sauce, and many of our ingredient products.
Our Wisconsin base is in the town of Clear Lake, just an hour east of Minnesota's twin cities, and is responsible for producing cheese sauce and pudding, as well as AFP dips.
Our third location, in Visalia, California, is located near the exact center of the state, serving as the Andersen's soup production plant, and also manufacturing AFP cheese sauce and pudding.
Together, the plants employ over 400 team members and produce more than 160,000 metric tons of carefully created, expertly packaged food.


Alibaba-affiliate Cainiao, currently handles more than 70% of China's e-commerce logistics.
Last Thursday, SF Express' daily parcel volumes reportedly fell by one million units after a spat with Alibaba-affiliated Cainiao resulted in SF becoming temporarily de-listed as a service provider option within Cainiao's logistics platform. This time around, the operational disruptions were short-lived. Following mediation by China's Postal Bureau, the two companies resumed business as normal by 12:00 pm the following Saturday. Perhaps more importantly, the incident highlights some of the potential complications associated with big data ownership in asset-free, data-driven models like Cainiao's platform.
Considering SF Express is currently considered one of the more reliable carriers for high-value goods, it's likely that many of the one-million packages it ships each day for Alibaba customers move by air, on its growing 38-unit freighter fleet. At present, SF's airfreight capacity and air network exceeds that of its closest competitor, YTO Express which operates six freighters. Both YTO and SF are adding aircraft as fast as the CAAC will allow, but Cainiao's ability to swiftly divert such large volumes in an instant must weigh heavily on local couriers.
In its 1Q17 earnings release, Cainiao reported that it handled logistics for 81% of all orders placed by Chinese customers across Alibaba's e-commerce shopping portals (Taobao, T-mall, etc.) during the month of March, a staggering y-o-y increase from 60% the year prior. Considering 42 million packages move through Cainiao's network each day, choosing not to integrate with Cainao is almost a non-option for Chinese couriers and logistics providers. Linking to Cainiao's platform can instantly connect massive volumes with available courier capacity, much like a freight forwarder.
Even though Cainiao does not directly operate any of the aircraft or delivery vans moving packages through its network, it collects massive amounts of data on every aspect of each shipment. In return, Cainiao has helped identify areas where its partners can add capacity, optimize routes, and increase delivery efficiency. The transparency and visibility of parcels moving through the supply chain also boosts customer confidence by stemming counterfeiting, and the substitution of genuine goods with fake knock-offs.
The confrontation with SF Express appears not to have arisen from data sharing in general, but rather data from non-Cainiao shipments, perhaps originating from competing e-tailers like JD.com. Specifically, SF claimed Cainaio demanded data from its last-mile drop-off lockers whereby it delivers parcels to centrally located lockers, rather than to residential units. How to truncate data, and where to draw the line when it comes to sharing will surely be a hot topic moving when it comes to e-commerce and express logistics.


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CONSTRUCTED SITUATIONS, JOYCE AND BEUYS
Blog — 27 Aug 2015 — Christa-Maria Lerm Hayes
The Stedelijk Museum regularly invites guestbloggers to share their experiences and thoughts. In this blog Christa-Maria Lerm Hayes, professor in art history at the University of Amsterdam, compares Tino Sehgal's constructed situations to novels of Joyce and Beuys.
Tino Sehgal's likes and dislikes have been written about quite extensively. Today I will focus on one of the things he says he is not so interested in, novels,[1] – and also a little on what he told me he was very taken by during our thus far one and only conversation. That exchange – at a recent party – was surprising: Sehgal is at pains to avoid the tag performance art for what he does. Speaking of Joseph Beuys then, the subject of my PhD, may have been foolhardy. However, I managed to say that "my" Beuys is the one who did not arrive with a large sculpture in Northern Ireland, but came at one of the most difficult times of the "Troubles" (in 1974) to make friends. He did bring drawings to have a starting point for the museum to host him and for people to attend what would become a 3 ½ hour public lecture and discussion. As the most enduring of his contributions, however, he identified artists who were working in important ways in that context, kept his friendships with them alive, invited them to contribute to a migration workshop at documenta 6, 1977, even asked them along to his retrospective at the Guggenheim Museum, New York, and eventually paid the initial rent for their performance and exhibition space. What emerged, the Art and Research Exchange, can be viewed as a branch of the Free International University for Interdisciplinary Research, which Beuys set up around that time. This legacy of artists' self-organised initiatives in an environment that still has no commercial contemporary art galleries is alive in Northern Ireland today. Sehgal was excited to hear all this: "The first time that Beuys appeals to me", he said.
Indeed, the centrality and longevity of impact of (strategically constructed) ephemeral human exchange in the art context was not so easy in Beuys' time to isolate as art. There are many other aspects of Beuys' practice that are far less subtle – and he did speak and act in rather authoritarian ways when he was in the heart of power (e.g. when speaking at the Tate Gallery in London),[2] but his approach to a fragile, beleaguered and downright dangerous situation for artists, as he found it in Belfast, demanded different approaches, and Beuys rose to that challenge. I found it curious to work in that context when Nicholas Bourriaud's Relational Aesthetics book was discussed in the early 2000s. In it, Beuys is mentioned once and very little space is given to strong historical precedent. Contrary to what Bourriaud wrote, a relational focus wasn't new in the 1990's and he also didn't account for the subtleties of the kind of practice that emerged following Beuys' engagement in Northern Ireland.[3] Today, largely probably owing to how Tino Sehgal has employed and privileged encounters in art, we may see differently the human investment that Beuys made in that situation – and recognise it as a central part of his expanded concept of art.[4]
Rather than finding a new / old art history for Sehgal and therefore recoup him for performance art, I would like to go outside – or stay outside – of the art field proper (Sehgal studied choreography and economics) and make something else that was close to Beuys' heart function as an approach to Sehgal's practice. That something is the work of James Joyce. Joseph Beuys underwent a depressive crisis in the mid 1950s and claimed then in his CV and in the last multiple he made before his death that reading Joyce had had the effect of a "dynamic medicine for me".[5] Joyce (beside megalithic sites and Heinrich Boell's Irish Diary) was a motivation for Beuys to go to Ireland and invest in friendships there. Joyce's work itself is about small kindnesses in everyday life.
Joyce's Ulysses, published in 1922, contains 18 episodes in 18 different styles, all set on one city, Dublin, and on one day, 16 June 1904. The most intricate, and the most difficult to write, according to the author,[6] was Oxen of the Sun. Here the two male protagonists meet in Holles Street Maternity Hospital, where Minna Purefoy gives birth to a baby. The episode is narrated as the birth of the English language from literal translations of Latinate poetry via Chaucer, Shakespeare, Milton etc. to early 20th century Dublin slang. One could say that this episode of Ulysses, the towering literary accomplishment of Modernism, is a "museum" of literature and therefore belongs into the museum. Beuys responded to the contraction of time (and stretching of time in other chapters of Ulysses) with durational performance. In fact many artists have thought that Joyce's work contained much that could be used in contemporary art practice, and I have brought such work together in an exhibition and book under the heading of Joyce in Art.[7] But that is not the point here.
Tino Sehgal's pièce de résistance as a dancer was Twenty Minutes for the Twentieth Century, 1999, where he performed naked and in chronological succession the birth and history of modern dance. Jens Hoffman, the curator and his friend, told him that this work amounted to a museum of dance and hence belonged into the museum context – or so goes the anecdote of this founding moment of Sehgal's turn to visual art.
The museum (if one can generalise) has certainly changed a great deal since the times of chronological arrangements of artworks, the pearls on a string. What it can today give to Sehgal's practice is the availability of attentive people, open to encounter, individuals that move and perform themselves.[8] That earliest piece that motivated the move into art, however, did not as yet need such an audience. It's a traditional, stage-bound dance piece that nevertheless opened up possibilities that are in nuce present in Twenty Minutes for the Twentieth Century.
If Sehgal went where he would find arrangements of viewers, interpreters as he calls them, Joyce built his audience around his interpreters, as Oxen of the Sun in particular can show: the literary historical references are so dense, the prose is so accomplished that it is a need and a pleasure to be the interpreter, the exegete, the person who appreciates the in-jokes. Joyce's dictum that he put so many enigmas into his work, because he wished to keep the professors busy for centuries and that this was the only way of ensuing his immortality implies the academic context. That is true for Ulysses.
However, in Finnegans Wake, published in 1939, Joyce could no longer take for granted an educated, linguistically rooted audience. The work abounds with references to popular culture and uses around 40 languages. It is a work made for the context of emigration, where a World War – and a looming second one – had already torn readers out of standard education and was moving individuals around space, apart and together, willing to contribute their experiences and idiosyncratic knowledge, while longing for others to share the rewarding experience of an always partial construction of meaning: always trying to understand and always simultaneously reminding one another or the impossibility of fixed meaning. The Finnegans Wake reading group was born – and it lives e.g. in art, in the work of Dora Garcia, whose practice is rather close to Sehgal's in her focus on human encounters. She is less museum-bound, however, and the ambiguities between art and life are even more developed.
Garcia has filmed the Zurich Joyce Foundation's Finnegans Wake reading group – and extended a Joycean reading into the gallery, where Lacan's lectures on Joyce are read by one performer, while one or more others perform gestures from modern dance.[9] She has thus understood that Finnegans Wake is also a choreographic work. Even apart from bringing people together in an addictive, communal reading and interpreting experience (the language has to be read aloud), the body plays a leading role (as it had in Ulysses in fact, as the "epic of the body"). Joyce's daughter Lucia was a modern dancer. Carol Loeb-Shloss has investigated the debt of the father to the passion of his gifted but disturbed, multi-lingual, migrant daughter.[10]
Joyce and Sehgal share the move from traditional dance audience and academic interpretation respectively to unpredictable diversity of perspectives and knowledge: a privileging and valuing of people coming together, one by one or in relatively small groups.
Joyce's intervening in his readers' lives did not just begin with Finnegans Wake reading groups, however. His earliest literary invention was the epiphany: a snippet of a conversation or gesture picked up in everyday life, collected and made useable in the more constructed situation of his prose, such as A Portrait of the Artist as a Young Man.
Stephen Dedalus, Joyce's alter ego in that book, does not practice a particular art form, but he has developed a habit of looking differently at the world, consciously and reflectively moving in it, growing (as the language matures with him) as the book progresses, and provoking unusual conversations with those he encounters.
Sehgal was, we are told in the literature,[11] a skateboarder, who traversed the city and looked at it, used it differently. The museum is one such place in a city where using all that is around one (space, visitors, administration, prices, books) is encouraged to be used in ways that take nothing for granted. And as a writer, Joyce did not pretend that he was creating a different world: he was intervening in the existing one, using the specificities of the city of Dublin, brand names and – disturbingly – people's characters and stories to turn what he wrote into just another thing that the life of Dublin (as a microcosm) has experienced. That is how these always incompletely narrated occurrences (open for our own puzzling together and further expansion) became urban myths. This is how the need for reading in situ and "re-enactment" arose: to celebrate 16 June as Bloomsday became an institution, where Ulysses acquires new life, is continuously performed, but also changes beyond recognition.
Sehgal's work is conceived to be continuously performed, whenever exhibited, and it has been considered to have the quality of urban myths. Lauren Collins writes:
Sehgal's pieces are the rare public events that can yield unscripted possibilities. This makes them seem new, even in comparison with earlier performance art, whose creators tended to perform it themselves, insuring fidelity to their vision. Sehgal's pieces are like urban legends. They can change, become embellished, acquire patina.[12]
Like attending a Joyce reading group, Sehgal's works can ideally resemble an encounter of friends: here, a hiatus in the relationship eventually does not matter so much, as one can always take it up on again at the next meeting – and every encounter will be different from the last: the framework stands, but the interpretations vary. This is what Diana Taylor[13] calls a repertoire and not an archive. A repertoire of human situations: I don't think Joyce would have complained to have Ulysses described as such.
It is clear then that the difference cannot be that Joyce wrote everything down and Sehgal is against scripts. Joyce's embodied knowledge of his home city made it possible for him to write Ulysses in the first place. The focus lies on what we do with the concepts that are presented to us. In that sense, it is important to stress that with both Joyce and Sehgal form is content. The Oxen of the Sun episode pioneered such a clear identification of the two and through the multiplicity of styles in Ulysses and in that episode already states that there are many different formulations possible of this underlying principle. As far as Finnegans Wake is concerned, Samuel Beckett formulated concisely: "Here form is content, content is form … [Joyce's] writing is not about something; it is that something itself".[14]
Twenty Minutes for the Twentieth Century shares these same qualities already – and is expanded into the museum setting in Sehgal's work for the Guggenheim Museum, New York, This Progress, 2012, where a child greets the visitor and asks about his or her views on progress. An inventory (or better again repertory) of life is created when older and older interlocutors continue the conversation the higher one reaches in Frank Lloyd Wright's spiral building – like in A Portrait of the Artist. That same building Joseph Beuys had incidentally in 1979 used in a similarly autobiographical arrangement of works (complete with clandestine inclusions of works by his Northern Irish friends).[15] One does, indeed, feel time pass as one progresses up the spiral, however, a teleological or aim-focused, linear history is not what was meant by either artist. Beuys had already, earlier in the 1970s shown an autobiographical work, a kind of catalogue raisonné under the title Arena. Glass frames, mostly with photographs of works, were arranged around a room in a circle. The Guggenheim spiral then is also not a straight line and one has to return: it suggests repetition with a difference.
Sehgal's current Amsterdam project of a retrospective exhibition, changing month-by-month and presenting sometimes more than one work, does not need to proceed chronologically. The two central chronological works in Sehgal's oeuvre, Twenty Minutes and This Progress, in fact build a frame around such an endeavour that let it appear as a working out of that frame: different situations, "constructed situations" Sehgal would say in reference to Guy Debord, i.e. elements of peoples' lives such as music and rhythm (This Variation, documenta 13, 2012) or popular academic discussions about the economy (This Situation, 2007). The retrospective thus has the capacity to bring together what in my tentative analogy between Joyce's and Sehgal's practices one would call the multi-stylistic diversity of approaches of Ulysses. May one loosely align the Sirens episode and This Variation? Aeolus and This Situation, or another work where newspaper headlines are read? It is work that encompasses the world and partakes in it.
One striking quality of Sehgal's works, however, is the focus on the present. There is the danger, of course, in being all too contemporary to the exclusion of slower human encounters. This Is So Contemporary, 2005, then, I'm inclined to view as an ironic intervention, a critique of the fetishization of the latest thing in art and elsewhere. I think it cannot but be so, as repetitions with a difference and slower movements, more careful, meaningful encounters otherwise prevail. But there can also of course be contradictions when a diversity of situations is distilled out of the course of people's lives – as I am attempting to show for both the episodes in Ulysses and Sehgal's individual works.
The Kiss e.g. was shown in an empty gallery room in April and is now present in the dark in May. The moment of intimacy in the notional scheme here proposed makes me think of the Penelope episode in Ulysses, which censors in many countries found pornographic at the time. It has an important, the decisive place in that book, as human intimacy, thoughts about one another and past encounters are part of our lives. Whether this belongs into the daylight or the dark, Ulysses as the daybook or Finnegans Wake as the one of the night, the museum or the live shows a few hundred meters up the road is not a matter to be decided in a general way, but depends on situations. A retrospective such as Sehgal's in Amsterdam and a work as diverse as Ulysses may encompass all.
The focus on the present is attempting diversity while siting us in the here and now. This is particularly noticeable in the seemingly simple, descriptive demonstrative "This", which many of Sehgal's titles share: This Progress, This Variation, This Situation, These Associations etc. As our interpreting is at the centre of the work, what I am encountering is only ever my (possibly repeated) situation. In repetition, however, circumstances, co-interpreters etc. change. One literally does not step into the same river twice. In that way, the "This" may just become the point when the spiral turns and we repeat again differently, as – rather similarly – James Joyce used the most inconspicuous word of the English language, the definite article "the" as that point where the end of Finnegans Wake, where the female protagonist, Anna Livia, aka the river Liffey, flows into the sea and where this end joins with the beginning anew, the re-circling and re-cycling:
Far calls. Coming, far! End here. Us then. Finn, again! Take. Bussoftlhee, mememormee! Till thousendsthee. Lps. The keys to. Given! A way a lone a last a loved a long the […] riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs.[16]
Joyce and Sehgal seem to share a certain outlook, a belief in the importance of choreographed situations that can (but may not) provide epiphanies for others, insight into important facts about life, key moments in a person's development etc. Just as Joyce and Constantin Brancusi had shared their dislike of the speed of modern means of transport (fast trains then, aeroplanes now: Sehgal doesn't fly). There is a certain ego to be noted, as well as a "problem with things": Joyce's initial poverty and ambulatory lifestyle didn't allow for a great many possessions to be amassed, but waiters were tipped – in good times – as if he was royalty.
The writer, who had socialist leanings and stylized himself as an anarchist in the attic in a brief, unhappy period living in Rome, anticipated with Finnegans Wake's "recycling" theme (structurally, but also in relation to the use of sources) a sentiment that suits Sehgal rather well. Brought up in Böblingen near Stuttgart, he claims as a motivation to follow art not politics witnessing the weaselling of politicians in pursuit of popularity and votes when it came to an infrastructure project.[17] An overblown, vanity investment in public transport was exactly what a few years ago led to surprising and large-scale activist upsurges among the otherwise conservative middle class of Stuttgart and environs. Sehgal, who had moved to that environment as a child, seems to have understood the instability of that supposedly most solid and static of societies, where both building one's own house and recycling are near-religions. The outsider sees more, and that may even be valid in relation to the visual art world and its institutions.
As museum pieces, many of Sehgal's works do not strike me as particularly politically activist and the famous oral sales agreements are also not so unprecedented, while they do of course stretch museum processes. They would not stretch the imagination of drug dealers or others working in the black economy. Personally, I was relatively untouched by This Variation at documenta 13 (probably just not the right moment) and thought that the choice to focus on the economy in the contribution to the Turner Prize exhibition in Derry, Northern Ireland, 2013 did not quite take account of local specificities: Northern Ireland has for many decades had a false economy propped up by the London government as payment for past inadequacy and ransom for avoiding future violence.
On the other hand, This Situation, shown in Dublin in 2013, came just right to consider – with the help of the historically situated (dated) quotations spoken by the interpreters – the death of the Celtic tiger and art's implication in these larger economic cycles. It is also a work that required thinking individuals as interpreters, ideally ones with principles: college graduates and artists. They are those who had invested much in their education to become critically thinking individuals and often found themselves unemployed following the IMF's rescue of the countries' banks, to be paid for (of course) by the general population.
The large sums spent on exhibiting Sehga's works may very well for some be part of the "bigger and better" cultural economy of vanity. When it comes down to it, however, maybe Sehgal is redistributing funds in a way that (in order to be provided) has to play to those who fund, appreciate numbers and adore celebrity. Possibly under false pretences then, those who in art one may call the "right ones" are for once the winners: those who are so uncharacteristically paid to hold philosophical conversations in a gallery. Few places for such overtly "output"-less endeavour remain when the traditional sphere for this – and for Joyce interpretation – the university, is turning itself towards utilitarian economic concerns. We know about those things in Amsterdam.
Beuys appeared in a Japanese Whiskey ad in order to be able to afford the large-scale, ecological art project of 7000 Oaks, Kassel 1982-87, and Joyce certainly didn't protest at having his image adorn The Time Magazine cover. What friendships were sustained, who received help to pursue principled and unpaid art or thinking work we will likely not know. That doesn't mean, though, that if one can't count of touch it that it's all going to be without impact in every case.
If I can claim for Ulysses that it is not a novel, but instead a series of constructed or choreographed situations, I think I'm quite content to let Tino Sehgal continue not liking novels so much, but instead being interested in how Beuys made friends.
[1] Lauren Collins. 'The Question Artist.' The New Yorker, Vol. 88, No. 23. New York: The Condé Nast Publications, Aug. 6, 2012. p. 34: 'One day, [Sehgal] mentioned that he'd like to know more about novels, which he normally is ''not that interested in.'''
[2] See: Barbara Lange. "'Questions? You have questions?' Die künstlerische Selbstdarstellung von Joseph Beuys im Fat Transformation Piece / Four Blackboards (1972)". Joseph Beuys Symposium Kranenburg 1995. Inge Lorenz (ed). Basel, Moyland: Wiese Verlag, Förderverein Museum Schloss Moyland 1986, p. 164-171.
[3] See: Christa-Maria Lerm Hayes, Victoria Walters (eds). Beuysian Legacies in Ireland and Beyond: Art, Culture and Politics. Series: European Culture and Politics. Münster, Hamburg, Berlin, Vienna, London: LIT 2011.
[4] For a reflection upon the (changing) definition of performance, see: Agnieszka Gratza. 'Expanding Performance.' PAJ: A Journal of Performance and Art, Vol. 35, No. 3. Cambridge, Massachusetts: MIT Press, Sept. 2013. pp. 41-48. Gratza uses Seghal as an example of 'expanding performance'.
[5] The text of the multiple Joyce with Sled, 1985.
[6] Richard Ellmann. James Joyce. New York: Oxford University Press 1982, p. 475.
[7] Christa-Maria Lerm Hayes. Joyce in Art: Visual Art Inspired by James Joyce. Foreword: Fritz Senn, envoi: James Elkins, design: Ecke Bonk. The Lilliput Press Dublin 2004. The exhibition of the same title was shown at the Royal Hibernian Academy Dublin June-August 2004. I curated smaller follow-up exhibitions at the Tolstoy Estate, Yasnaya Polyana, Russia (2010), the Museum of Art, Seoul National University, Seoul, South Korea (2011) and Dublin's city space including Dublin City Gallery The Hugh Lane (2012).
[8] Irit Rogoff. "Looking Away: Participations in Visual Culture". Gavin Butt (ed.) After Criticism: New Responses to Art and Performance. Malden, Oxford: Blackwell 2005, pp. 117-134.
[9] This performance first took place in 2013/14 at Kunsthaus Bregenz; in 2014 also at the Ellen de Bruijne Gallery, Amsterdam. It is a part of Garcia's project The Sinthome Score, 2013.
[10] Carol Loeb Shloss. Lucia Joyce: To Dance in the Wake. New York: Farrar, Straus and Giroux 2003.
[11] Collins, Lauren. 'The Question Artist.' The New Yorker, Vol. 88, No. 23. New York: The Condé Nast Publications, Aug. 6, 2012. p. 34. Tino Sehgal "became a skateboarder – Airwalks and baggy pants. The landscape began to morph. 'I think a lot of Tino's stuff comes from skateboarders looking at railings and concrete, and thinking, How can I use that in a different way?' Asad Raza, Sehgal's producer, said."
[13] Diana Taylor. The Archive and the Repertoire – Performing Cultural Memory in the Americas. Durham and London: Duke University Press 2003.
[14] Samuel Beckett. ''Dante… Bruno. Vico… Joyce.'' in Sylvia Beach (ed.) Our Exagmination round his Factification of Work in Progress. London: Faber & Faber, 1929, p.14.
[15] Tony Hill's contribution to the symposium "Beuys' Legacy: Unity in Diversity" Goethe-Institut Dublin, 2006. Convened by Christa-Maria Lerm Hayes.
[16] Joyce, James. Finnegans Wake. London: Faber & Faber, 1939, pp. 628, line 3.
[17] Collins, p. 34. "At sixteen, Sehgal spoke in favor of a public-transportation project at a city-council meeting in Stuttgart. 'I remember seeing the minister of transportation dive and dodge,' he told Arthur Lubow, of the Times Magazine. 'All he could do was administer what the public opinion was, or else he would be voted out in the next election.' Sehgal recalls this moment as an epiphany. He would register his rebuke through culture rather than politics."
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Hudson has been at Kuruka for almost a year now, with his intense training in Dressage he was going to be Angela new dressage mount! But we found out Hudson also loves to jump! So Hudson has been used in our riding school for our experienced riders and so far everyone describes him as " so much FUN". Hudson is looking for someone who will take him into the Trillium ring in 2019 in either the hunters over fences or even the hack division which he would also excel in due to his training as a dressage horse! Hudson is in puppy dog in your pocket type of horse, hes always curious to see what everyone is doing and wants to be involved in anyway he can.
Fun Fact about Hudson… He only has one eye! So his cuteness level just went up!


This DVD deals with the question: Riding Instruction, Sport or Art? Based on the concepts introduced in the book Twisted Truths of Modern Dressage. The DVD has participants openly discussing without mincing words, their viewpoints. Practical examples of riders form part of this DVD as well as meeting footage.


text:
© 1991 Star Partners III Ltd. − All right reserved.
Drama, Thriller, Crime, Adventure
Whilst on a short weekend getaway, Louise shoots a man who had tried to rape Thelma. Due to the incriminating circumstances, they make a run for it and thus a cross country chase ensues for the two fugitives. Along the way, both women rediscover the strength of their friendship and surprising aspects of their personalities and self-strengths in the trying times.
Director Ridley Scott
Release Date 24 May 1991
Starring: Geena Davis, Susan Sarandon, Harvey Keitel, Michael Madsen, Christopher McDonald, Brad Pitt, Stephen Tobolowsky, Timothy Carhart, Lucinda Jenney, Jason Beghe, Sonny Carl Davis, Ken Swofford, Shelly Desai, Carol Mansell, Stephen Polk, Rob Roy Fitzgerald, Jack Lindine, Michael Delman, Kristel L. Rose, Noel L. Walcott III, Marco St. John, Gregory J. Barnett, Robert 'Bobby Z' Zajonc, Charlie Sexton
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The Twin Flame Reality Cover Reveal!
And here is the lovely shiny new cover!
The book is the 7th in the Earth Angel Series, if you haven't read the others yet, they are all available in paperback and on Kindle and other eReaders.
I suddenly realised today that I didn't make any announcement on here about what happened to my mini non-fiction book -Choose Your Own Reality. I decided that rather than having it as a separate book, I would add it to the end of The Doorway to PAM. So when you buy the print or kindle version, you get Choose Your Own Reality as a bonus at the back.
The Elphite only $1.99 on Kindle!
Just wanted to let all of my American readers know that they can get a copy of The Elphite on Kindle for just $1.99. It's for a limited amount of time though, so grab your copy now!


Chinese Premier Li Keqiang, a frequent visitor to Europe, will start his tour to Bulgaria and Germany Thursday. Li has visited Europe nine times since becoming premier in 2013.
Chinese Premier Li Keqiang is set to embark on an official visit to Europe. It presents a good chance for the two sides, both staunch supporters of global free trade, to cement cooperation and enlarge their consensus on defending the rules-based multilateral trading system.


text:
Brian Worth (30 July 1914 – 25 August 1978) was an English actor, known for Scrooge (1951), The Man in the White Suit (1951) and An Inspector Calls (1954).
He died on 25 August 1978 aged 64.

Educated in Britain and America, he learnt the technical side of commercial advertising films before deciding to turn to acting.
During the Second World War he served in the armed forces (1941–1946)He was an officer in the SOE and worked out of Algeria and then Seville,based at the British embassy, escorting  agents over the Pyrenees into France ,and exfiltrating agents and escaped airmen  back to "neutral"Spain.

 Between 1946 and 1947 he acted on stage.

During the first half of the 1950s, Worth had prominent supporting roles in over a dozen films, including playing the progressive teacher Mr Judd in Tom Brown's Schooldays (1951). From 1956, his roles grew smaller, although his later film appearances did include four for noted director Michael Powell as well as a small role in a Bond movie, On Her Majesty's Secret Service (1969).
He and his Spanish wife Tere ran a popular Spanish restaurant in a basement in Draycott Avenue Chelsea in the 60s and 70s.The family lived in York Mansions Battersea in the 60s and Addison Road, Holland Park in the 70s.

Filmography

Television
He played the part of Peter Corrio in The Saint in the 4th Episode of the 4th Season (1965) The Smart Detective. In The Prisoner TV series (1967-68) episode Many Happy Returns he played an RAF Group Captain.

References

External links

English male film actors
English male television actors
English male stage actors
1914 births
1978 deaths
20th-century English male actors


No well-edited wardrobe is complete without a classic blouse. The Bianca Pocket Blouse is constructed using a fluid fabrication with soft handle. Cut for a relaxed fit, it drapes elegantly over your silhouette. Wear yours out with denim or tucked into your smart casual pieces.


As with most software, Apple release periodic updates for their iOS (the software the iPad uses), please find the steps below to apply an update to the iOS.
Plug your device in to power and ensuring the wifi is connected.
Tap on the iPads 'Settings' icon.
Navigate to 'General' and tap on 'Software Update'.
Tap 'Install Now' below the iOS version to apply the update.
*Please note, if a message asks to temporarily remove apps because iOS needs more space for the update, tap 'Continue' or 'Cancel'. Later, iOS will reinstall apps that it removed. If you tap 'Cancel', learn what to do next.
*If you do not wish to apply the update immediately, you can tap 'Later' and choose 'Install Tonight' or 'Remind Me Later'. If you tap 'Install Tonight', just plug your iOS device in to power before you go to sleep. Overnight, your device will update automatically.
*If you are unsure what the Apple ID password might be, please find Apple's support article to find out how to retrieve this information.


text:
Editorial: CSX shipping hub needs to get back on track
It sounded like such a great idea, a CSX intermodal shipping hub in Johnston County that would employ 300 and could spark 1,500 jobs across the state.
A news release by Gov. Pat McCrory said the $272 million hub on 450 acres off Interstate 95 near Smithfield would "link the North Carolina State Port at Wilmington with businesses from the Piedmont to the coast, transporting shipping containers over the nationwide rail network."
But before the plan could get rolling, the wheels had already begun to come off.
Now, the project — at least on the original site — appears to have been derailed.
Johnston County landowners quickly made it clear that they were opposed to selling their land for the project.
Trent Lassiter, who owns a music and events venue called The Farm, started a Facebook group called "Fight for The Farm," according to the Raleigh News & Observer.
The Johnston County Board of Commissioners, under withering pressure from social media, called for CSX to find another location.
CSX didn't contact the affected landowners until the day it announced the plan, the N&O reported. That's when the landowners heard a knock on the door and received an offer to buy.
Johnston County's economic development director, Chris Johnson, had known of CSX's plans since July, but was prevented from even telling the commissioners about it until December. Nobody told the landowners until Jan. 14.
State law would allow CSX to use eminent domain to take the land and pay a price for it set by a court. A CSX official has said that's a long way off.
The company, which had taken three years to settle on the site, has said it might look elsewhere, even out of state.
Officials in Wayne County, home of Goldsboro, say they'd be happy to find a home for the shipping hub.
However it plays out, this was not handled well by the railroad company.
We're reminded of similar unpleasant surprises in the past. In the early 1990s, we learned that a company called ThermalKEM planned to build a hazardous waste incinerator in Pender County. They had enlisted the support of several county officials who had kept the plans secret. ThermalKEM eventually withdrew its plan.
A rail hub may not be as unattractive as a hazardous waste burner, but it's likely to be opposed by the Not In My Back Yard crowd no matter where it lands.
Eminent domain can be a useful tool when used judiciously, but public persuasion and more-than-fair cash offers for land may be a more effective route.
We'd still like to see it built in Johnston or Wayne counties, mostly rural areas that could use the jobs. It would offer tremendous benefits for the community where it's located and for much of the state.
A more transparent and less imperious process would be a good way to start. CSX and county officials might consider enlisting the help of residents to find a site, rather than keeping people in the dark.
A version of this editorial originally appeared in the Wilmington Star News, a Halifax Media Group newspaper.