text:
O. Reg. 643/05: CARRIAGE OF GOODS
under Highway Traffic Act, R.S.O. 1990, c. H.8
current January 1, 2006 – (e-Laws currency date)
December 9, 2005 – December 31, 2005
Highway Traffic Act
Consolidation Period: From January 1, 2006 to the e-Laws currency date.
No amendments.
This Regulation is made in English only.
Goods not covered by this Regulation
Liability insurance held by carriers
Information required in contract of carriage — general freight
Information required in contract of carriage — livestock or animal specialties
Information required in contract of carriage — household goods
Uniform conditions of carriage — general freight
Uniform conditions of carriage — livestock and animal specialties
Uniform conditions of carriage — household goods
"household goods" means,
(a) furniture, appliances and personal effects transported as part of the relocation of a household, and includes vehicles and boats moved as part of a household,
(b) uncrated furniture and equipment transported to, and to be furnishings in, an office, store, factory, commercial establishment, museum, hospital or public institution,
(c) stock-in-trade moved as part of the relocation of an office, store or commercial establishment, and
(d) objects of art, displays, exhibits, computers and electronic devices that require specialized handling;
"public truck" means a commercial motor vehicle or the combination of a commercial motor vehicle and trailer or trailers drawn by it, operated by a person to carry the goods of another person for compensation. O. Reg. 643/05, s. 1.
2. This Regulation does not apply to the carriage of the following goods:
1. Goods that are carried solely within a local municipality, excluding a municipality that had the status of a township on December 31, 2002 and, but for the enactment of the Municipal Act, 2001, would have had the status of a township on January 1, 2003.
2. Fresh fruit and fresh vegetables grown in continental United States of America or Mexico.
3. Goods used on farms that are carried in a commercial motor vehicle equipped with not more than three axles and that does not draw a trailer.
4. Field crops, fresh fruits, fresh tree nuts, fresh vegetables, horticultural specialities, livestock and animal specialities that are carried in a commercial motor vehicle equipped with not more than three axles and that does not draw a trailer.
5. Skim milk, cream or fresh, unprocessed bulk fluid milk carried on behalf of The Ontario Milk Marketing Board.
6. Milk carried by a co-operative corporation to which the Co-operative Corporations Act applies, of which one of the objects is to engage in the transportation of milk and of which more than three-quarters of the shareholders or members are producers supplying milk to one or more plants.
7. Wheat that is carried by a person appointed to act as agent for the Ontario Wheat Producers' Marketing Board from the agent's premises in a commercial vehicle registered in the agent's name.
8. Ready mixed concrete.
9. Primary forest or raw wood materials that are the products of the forest from which they are being carried.
10. Goods carried by an operator of a commercial vehicle if the goods have been sold, bought, produced, transformed or repaired by, or lent, borrowed, given or leased by, the operator as an integral part of the operator's primary business, which business is not the operation of public trucks.
11. Goods in a bus being operated under the authority of an operating licence issued under the Public Vehicles Act.
12. Goods carried by the Ontario Northland Transportation Commission. O. Reg. 643/05, s. 2.
3. (1) For each motor vehicle operated by a carrier for the carriage of goods for compensation, the carrier shall provide or effect and carry with an insurer licensed under the Insurance Act liability insurance for loss or damage to goods in an amount sufficient to cover the loss or damage of the goods carried. O. Reg. 643/05, s. 3 (1).
(2) Subsection (1) does not apply where the cargo is road-construction materials, iron, steel, coal, rough lumber or miscellaneous waste or scrap or materials of an indestructible or non-flammable nature. O. Reg. 643/05, s. 3 (2).
4. (1) A contract of carriage must contain,
(a) the name of the consignor;
(b) the name and address of the consignee;
(c) the originating point of the shipment;
(d) the destination of the shipment;
(e) the date of the shipment;
(f) the name of the originating carrier;
(g) the names of connecting carriers, if any;
(h) the particulars of the goods comprising the shipment;
(i) a space to show the declared valuation of the shipment, if any;
(j) information as to whether the charges are prepaid or collect;
(k) a space to show whether the C.O.D. fee is prepaid or collect;
(l) a space to show the amount to be collected by the carrier on a C.O.D. shipment;
(m) a space to note any special agreement between the consignor and carrier;
(n) a statement to indicate that the uniform conditions of carriage apply;
(o) an acknowledgment of receipt of the goods by the carrier or the intermediary indicating whether the goods were received in apparent good order and condition;
(p) an undertaking by the carrier or the intermediary to carry the goods for delivery to the consignee or the person entitled to receive the goods;
(q) the signed acceptance by or on behalf of the originating carrier or intermediary and the consignor of the conditions contained, or deemed to be contained, in the contract of carriage;
(r) a statement of the notice of claim requirements in the uniform conditions of carriage; and
(s) if applicable, a statement, in conspicuous form, that the carrier's liability is limited by a term or condition of another agreement. O. Reg. 643/05, s. 4 (1).
(2) The uniform conditions of carriage in Schedule 1 are deemed to be terms and conditions of every contract of carriage to which this section applies. O. Reg. 643/05, s. 4 (2).
(3) This section does not apply to a contract of carriage for,
(a) livestock;
(b) animal specialties;
(c) household goods;
(d) road construction materials, garbage, waste or scrap, sod, coal or lumber (rough or dressed); or
(e) a parcel, wrapped or unwrapped, that does not weigh more than 45 kilograms. O. Reg. 643/05, s. 4 (3).
5. (1) A contract of carriage for the carriage of livestock or animal specialties must contain,
(i) the gross weight of the shipment;
(j) a space to show the declared valuation of the shipment, if any;
(k) information as to whether the charges are prepaid or collect;
(m) if applicable, a statement, in conspicuous form, that the carrier's liability is limited by a term or condition of another agreement; and
(n) if applicable, the words "at owner's risk". O. Reg. 643/05, s. 5 (1).
6. (1) A contract of carriage for the carriage of household goods must contain,
(a) the name and address of the consignor;
(b) the name, address and telephone number of the consignee;
(f) in a conspicuous place, the name and telephone number of the originating carrier;
(g) in a conspicuous place, the name and telephone number of the destination agent;
(h) the names of connecting carriers, if any;
(i) the inventory of the goods comprising the shipment;
(j) a statement as to whether the goods were received by the carrier in apparent good order and condition, except as noted on the inventory;
(k) a space to show the declared valuation of the shipment;
(l) a space to show the amount of freight and all other charges to be collected by the carrier;
(m) a space to show the date or time period agreed upon for delivery;
(n) a space to note any special services or agreements between consignor and the originating carrier;
(o) a statement to indicate that the uniform conditions of carriage apply;
(p) if applicable, a statement, in conspicuous form, that the carrier's liability is limited by a term or condition of the contract of carriage; and
(q) a statement in conspicuous form that the signature of the consignee for the receipt of goods does not preclude future claim for loss or damage made within the time limits prescribed by the uniform conditions of carriage. O. Reg. 643/05, s. 6 (1).
7. Omitted (provides for coming into force of provisions of this Regulation). O. Reg. 643/05, s. 7.
1. Liability of Carrier
The carrier of the goods described in this contract is liable for any loss of or damage to goods accepted by the carrier or the carrier's agent except as provided in this Schedule.
2. Liability of Originating and Delivering Carriers
Where a shipment is accepted for carriage by more than one carrier, the originating carrier and the carrier who assumes responsibility for delivery to the consignee (called the delivering carrier in this Schedule), in addition to any other liability under this Schedule, are liable for any loss of or damage to the goods while they are in the custody of any other carrier to whom the goods are delivered and from which liability the other carrier is not relieved.
3. Recovery from Connecting Carriers
i. The originating carrier or the delivering carrier, as the case may be, is entitled to recover from any other carrier to whom the goods are delivered the amount that the originating carrier or delivering carrier, as the case may be, is required to pay for the loss of or damage to the goods while they were in the custody of such other carrier.
ii. If there is a concealed damage settlement and the goods were interlined between carriers so that it is not clear as to who had custody of the goods when they were damaged, the originating carrier or delivering carrier, as the case may be, is entitled to recover from each of the connecting carriers an amount prorated on the basis of each carrier's revenue for carriage of the damaged goods.
4. Remedy by Consignor or Consignee
Nothing in Article 2 or 3 deprives a consignor or consignee of any rights the consignor or consignee may have against any carrier.
5. Exceptions from Liability
The carrier shall not be liable for loss, damage or delay to any of the goods described in the contract of carriage caused by an act of God, the Queen's or public enemies, riots, strikes, a defect or inherent vice in the goods, an act or default of the consignor, owner or consignee, authority of law, quarantine or difference in weights of grain, seed or other commodities caused by natural shrinkage.
No carrier is bound to carry goods by any particular public truck or in time for any particular market or otherwise than with due dispatch, unless by agreement that is specifically endorsed in the contract of carriage and signed by the parties.
7. Routing by Carrier
If the carrier forwards the goods by a conveyance that is not a public truck, the liability of the carrier is the same as though the entire carriage were by public truck.
8. Stoppage in Transit
If goods are stopped and held in transit at the request of the party entitled to so request, the goods are held at the risk of that party.
9. Valuation
Subject to Article 10, the amount of any loss or damage for which the carrier is liable, whether or not the loss or damage results from negligence, shall be the lesser of,
i. the value of the goods at the place and time of shipment, including the freight and other charges if paid, and
ii. $4.41 per kilogram computed on the total weight of the shipment.
10. Declared Value
If the consignor has declared a value of the goods on the face of the contract of carriage, the amount of any loss or damage for which the carrier is liable shall not exceed the declared value.
11. Consignor's Risk
i. If it is agreed that the goods are carried at the risk of the consignor, that agreement covers only such risks as are necessarily incidental to the carriage and the agreement does not relieve the carrier from liability for any loss or damage or delay that results from the negligence of the carrier or the carrier's agents or employees.
ii. The burden of proving absence of negligence shall be on the carrier.
12. Notice of Claim
i. No carrier is liable for loss, damage or delay to any goods carried under the contract of carriage unless notice of the loss, damage or delay setting out particulars of the origin, destination and date of shipment of the goods and the estimated amount claimed in respect of such loss, damage or delay is given in writing to the originating carrier or the delivering carrier within 60 days after delivery of the goods or, in the case of failure to make delivery, within nine months after the date of shipment.
ii. The final statement of the claim must be filed within nine months after the date of shipment, together with a copy of the paid freight bill.
13. Articles of Extraordinary Value
i. No carrier is bound to carry any documents, specie or articles of extraordinary value unless by a special agreement to do so.
ii. If such goods are carried without a special agreement and the nature of the goods is not disclosed in the contract of carriage, the carrier shall not be liable for any loss or damage in excess of the maximum liability stipulated in Article 9.
14. Freight Charges
i. If required by the carrier, the freight and all other lawful charges accruing on the goods shall be paid before delivery.
ii. If upon inspection it is ascertained that the goods shipped are not those described in the contract of carriage, the freight charges must be paid upon the goods actually shipped with any additional charges lawfully payable on the freight charges.
iii. If a consignor does not indicate that a shipment is to move prepaid, or does not indicate how the shipment is to move, it will automatically move on a collect basis.
15. Dangerous Goods
Every person, whether as principal or agent, shipping dangerous goods without previous full disclosure to the carrier as required by law shall indemnify the carrier against all loss, damage or delay caused by the failure to disclose and such goods may be warehoused at the consignor's risk and expense.
16. Undelivered Goods
i. If, through no fault of the carrier, the goods cannot be delivered, the carrier shall immediately give notice to the consignor and consignee that delivery cannot be made and shall request disposal instructions.
ii. Pending receipt of disposal instructions,
A. the goods may be stored in the warehouse of the carrier, subject to a reasonable charge for storage, or
B. if the carrier has notified the consignor of this intention, the goods may be removed to and stored in a public or licensed warehouse at the expense of the consignor, without liability on the part of the carrier, and subject to a lien for all freight and other lawful charges, including a reasonable charge for storage.
17. Return of Goods
If a notice has been given by the carrier pursuant to paragraph i of Article 16, and no disposal instructions have been received within 10 days after the date of such notice, the carrier may return to the consignor, at the consignor's expense, all undelivered shipments for which such notice has been given.
18. Alterations
Subject to Article 19, any limitation in the contract of carriage on the carrier's liability and any alteration to the contract of carriage shall be signed or initialled by the consignor and the originating carrier or their agents and, unless signed and initialled, shall be without effect.
19. Weights
i. It shall be the responsibility of the consignor to show correct shipping weights of the shipment on the contract of carriage.
ii. If the actual weight of the shipment does not agree with the weight shown on the contract of carriage, the weight shown on the contract of carriage may be corrected by the carrier.
20. C.O.D. Shipments
i. The carrier shall not deliver a C.O.D. shipment unless payment is received in full.
ii. The charge for collecting and remitting the amount of C.O.D. bills for C.O.D. shipments must be collected from the consignee unless the consignor has instructed otherwise on the contract of carriage.
iii. The carrier shall keep all C.O.D. money in a trust fund or account separate from the other revenues and funds of the carrier's business.
iv. The carrier shall remit all C.O.D. money to the consignor, or person designated by the consignor, within 15 days after collection.
O. Reg. 643/05, Sched. 1.
The carrier of the goods is liable for any loss of or damage or injury to goods accepted by the carrier or the carrier's agent except as provided in this Schedule.
2. Liability of Originating Carrier
Where a shipment is accepted for carriage by more than one carrier, the originating carrier, in addition to any other liability under this Schedule, is liable for any loss of or damage or injury to the goods while they are in the custody of any other carrier to whom the goods are delivered and the onus of proving that the loss, damage or injury was not caused or did not result while the goods were in the custody of another carrier to whom the goods were delivered is upon the originating carrier.
The originating carrier or the carrier who assumes responsibility for delivery to the consignee (called the delivering carrier in this Schedule), as the case may be, is entitled to recover from any other carrier to whom the goods are delivered the amount that the originating carrier or delivering carrier, as the case may be, is required to pay for the loss of or damage or injury to the goods while they were in the custody of such other carrier.
The carrier shall not be liable for loss, damage, injury or delay to any of the goods described in the contract of carriage caused by an act of God, the Queen's or public enemies, riots, strikes, a defect in the goods, an act or default of the consignor, owner or consignee, authority of law, quarantine or difference in weights of livestock or animal specialties by natural shrinkage.
Subject to Article 10, the amount of any loss, injury or damage for which the carrier is liable, whether or not the loss, injury or damage results from negligence, shall be the lesser of,
i. the value of the goods at the place and time of shipment including the freight and other charges if paid, and
If the consignor has declared a value of the goods on the face of the contract of carriage, the amount of any loss, injury or damage for which the carrier is liable shall not exceed the declared value.
i. If it is agreed that the goods are carried at the risk of the consignor or owner of the goods, that agreement covers only such risks as are necessarily incidental to the carriage and the agreement does not relieve the carrier from liability for any loss or damage, injury or delay that results from the negligence of the carrier or the carrier's agents or employees.
No carrier is liable for loss, damage, injury or delay to any goods carried under the contract of carriage unless notice of the loss, damage, injury or delay setting out particulars of the origin, destination and date of shipment of the goods and the estimated amount claimed in respect of such loss, damage, injury or delay is given in writing to the originating carrier or the delivering carrier within 90 days after delivery of the goods or, in the case of failure to make delivery, within 90 days after a reasonable time for delivery has elapsed.
ii. If such goods are carried without a special agreement and the nature of the goods is not disclosed in the contract of carriage, the carrier shall not be liable for any loss, injury, damage or delay in excess of the maximum liability stipulated in Article 9.
B. if the carrier has notified the consignor in writing of this intention, the goods may be removed to and stored in a public or licensed warehouse at the expense of the consignor, without liability on the part of the carrier, and subject to a lien for all freight and other lawful charges, including a reasonable charge for storage.
Any limitation in the contract of carriage on the carrier's liability and any alteration to the contract of carriage shall be signed or initialled by the consignor and the originating carrier or their agents and, unless signed and initialled, shall be without effect.
i. The carrier shall clearly indicate, on the documents accompanying each C.O.D. shipment received and transported, the name and address of the consignor or other person designated as payee to whom the delivering carrier shall remit C.O.D. funds collected upon delivery of the shipment.
ii. The carrier shall keep all C.O.D. money in a trust fund or account separate from the other revenues and funds of the carrier's business.
iii. The carrier shall remit all C.O.D. money to the consignor or person designated by the consignor within 15 days after collection.
iv. If a C.O.D. shipment is not delivered within 10 days of its arrival at its destination, the carrier shall notify the consignor in writing giving reasons for the non-delivery and shall obtain instructions in writing for disposal of the shipment.
The carrier of the goods is liable for any loss of or damage to goods accepted by the carrier or the carrier's agent except as provided in this Schedule.
The originating carrier or the delivering carrier, as the case may be, is entitled to recover from any other carrier to whom the goods are delivered the amount that the originating carrier or delivering carrier, as the case may be, is required to pay for the loss of or damage to the goods while they were in the custody of such other carrier.
i. The carrier shall not be liable for loss, damage or delay to any of the goods described in the contract of carriage caused by an act of God, the Queen's or public enemies, riots, strikes, a defect in the goods, an act or default of the consignor, owner or consignee, authority of law or quarantine.
ii. Except as a result of the negligence of the carrier or the carrier's agents or employees, the carrier shall not be liable for,
A. damage to fragile articles that are not packed and unpacked by the contracting carrier or the contracting carrier's agent or employees,
B. damage to the mechanical, electronic, digital or other operations of radios, televisions, computers, clocks, cameras, audio and visual recording and playing equipment, appliances, musical instruments and other equipment, irrespective of who packed or unpacked such articles, unless servicing and preparation was performed by the contracting carrier or the carrier's agent or employees,
C. deterioration of or damage to perishable food, plants or pets, or
D. loss of contents of consignor-packed articles, unless the containers used are opened for the carrier's inspection and articles are listed in the contract of carriage and receipted for by the carrier,
iii. The carrier shall not be liable for,
A. damage to or loss of a complete set or unit when only part of such set is damaged or lost, in which event the carrier shall only be liable for repair or replacement of the lost or damaged piece or pieces,
B. damage to the goods at a place or places of pick-up at which the consignor or the consignor's agent is not in attendance, or
C. damage to the goods at a place or places of delivery at which the consignee or the consignee's agent is not in attendance and cannot give receipt for goods delivered.
iv. The burden of proving absence of negligence for the purpose of paragraph ii is on the carrier.
i. At the time of acceptance of the contract, the originating carrier shall provide the consignor with a date or time period within which delivery is to be made.
ii. Failure by the carrier to effect delivery within the time specified on the face of contract of carriage shall render the carrier liable for reasonable food and lodging expenses incurred by the consignee.
iii. Failure by the consignee to accept delivery when tendered within the time specified in the contract of carriage shall render the consignee liable for reasonable storage in transit, handling and redelivery charges incurred by the carrier.
Subject to Article 10, the amount of any loss or damage for which the carrier is liable, whether or not the loss or damage results from negligence of the carrier or the carrier's employees or agents, shall be the lesser of,
i. the value of the goods at the place and time of shipment, and
ii. the greater of,
A. the value of the goods as represented by the consignor on the face of the contract of carriage, and
B. $4.41 per kilogram computed on the total weight of the shipment.
10. Election
i. If the consignor so elects on the face of the contract of carriage, the maximum liability shall be based on $1.32 per kilogram per article lost or damaged.
ii. If the liability is calculated under Article 9, the consignor shall pay to the carrier any additional charges incurred by the carrier to provide insurance coverage in excess of $1.32 per kilogram per article.
ii. The final statement of the claim must be filed within nine months after the date of shipment.
iii. The originating carrier or the delivering carrier, as the case may be, shall acknowledge receipt of the claim within 30 days after receipt.
i. If required by the carrier, the freight and all other lawful charges accruing on the goods shall be paid before delivery but, if the total charges exceed the estimated charges by more than 10 per cent and if the excess charges are for additional or different goods or services from those to which the estimate applied, the consignee shall pay the difference between the estimated and total charges within 15 days, excluding Saturdays, Sundays and other holidays, after delivery.
ii. The 15-day extension in paragraph i does not apply if the carrier notifies the consignor of the total charges immediately after the goods are loaded or if the consignor signs a waiver of the extension.
iii. If upon inspection it is ascertained that the goods shipped are not those described in the contract of carriage, the freight charges must be paid upon the goods actually shipped with any additional charges lawfully payable on the freight charges.
iv. If a consignor does not indicate that a shipment is to move prepaid, or does not indicate how the shipment is to move, it will automatically move on a collect basis.
i. It shall be the responsibility of the originating carrier or such carrier's agent to show on the contract of carriage the correct tare and gross and net weights by use of a certified public scale and to attach the weigh scale ticket to such carrier's copy of the contract of carriage.
ii. If there is no certified public scale at the place of origin or within a radius of 16 kilometres of the place of origin, the gross weight shall be deemed to be 112 kilograms per cubic metre of properly loaded van space.


bpm32 replied to Shelby07's topic in Cigars Discussion Forum "the water hole"
Yeah, I remember when I was a kid in a museum in WA being shocked to see old pictures of street cars even in fairly suburban areas. In the 1980s/90s West Coast types wouldn't be caught dead on the bus. The underground sections of the bus lines in Seattle were free to get people to actually ride them.
I am not a car guy and I for one welcome autonomous vehicles and electric cars because I'm unbelievably lazy. If I can just plug my self-driving pod into the outlet and not have to make a trip to the gas station, that's fine with me. There will be amazing unintended consequences however. We are trading the evil we know for the evil we don't know. Pumping oil out of the ground subsidizes the modern world—I think most people would be shocked by what is made from petroleum products. It's like everything that isn't metal at this point. For the most part these are small fractions from oil refining, so it's not like we can still get them without pumping out all that oil. And I don't for a second think electric vehicles will be better for the environment. The power isn't being generated in the electric car or at the charging station. It's like moving the slaughterhouse further away so I don't have to see it.
Ah yes, the great Half-American statesman, Winston Churchill. The craziness is disproportionately passed on from the mother's side you know.
Wow, even Blanton's? I thought that was still pretty widely available. Seems like everything is disappearing due to demand. Hopefully production is up so we'll have some great booze in 5-10 years.
bpm32 replied to cfc1016's topic in Cigars Discussion Forum "the water hole"
I believe it—the human mind can play crazy tricks and cause symptoms for no medical reason.
bpm32 replied to JayJay's topic in Cigars Discussion Forum "the water hole"
Thanks! These had sold out in Sept. of last year pretty fast, but I had heard that there were more coming—just wondering if that was really the case.
Hey, if you don't mind saying, what are the box dates on these? Are they from the second batch?
bpm32 replied to Ryan's topic in Cigars Discussion Forum "the water hole"
I think there was so much crappy jazz-like music in the 1970s through the first half of the 1980s in TV, B-movies, and commercials that a lot of people that grew up in that era hate jazz. I don't know that younger people have the same visceral dislike for it. Most of the greats are long dead and certainly no musicians devoting their lives to jazz music now are doing it to get rich—far from it. Listening to A Love Supreme now—Resolution.
bpm32 posted a topic in Cigars Discussion Forum "the water hole"
RIP. Dude only really needed one string to rock out.
Possibility of Boeing 737 Max 8/9 being permanently grounded?
bpm32 replied to helix's topic in Cigars Discussion Forum "the water hole"
For as much as I complain about security, flying, etc., we really are in a golden age of air travel. Fatalities are way, way down since the 1970s--something like 50x--and costs are comparatively low as well. My grandfather paid $510 for a one way trip from SFO to Hong Kong in 1953 (to find himself a wife)--that would be nearly $5000 today.
bpm32 replied to bpm32's topic in Cigars Discussion Forum "the water hole"
I know myself--maybe it's my Asian-ness, but I'm particularly susceptible to marketing. Hell, if they put them in a nice box with nice bands they could charge me a lot more--I'd buy a cajon of them. And even if they tasted like crap I'd tell myself "just 30 more years and these'll be fantastic."
.....smoking a Norteño, and I came across the Punch Triunfos. I know it's a machine made and has been discontinued for 40 years, but something about that 109 head and a 42 gauge really does it for me. Even the name is fantastic. Random post, I know.
No doubt they'll correct the problem, but the aircraft may never recover from its initial reputation. I remember when I was a kid growing up in the Seattle area Boeing was terrified of a DC-10 type of incident with 777 (ie, engine falling off on the tarmac). In their minds, the DC-10 was a good aircraft that suffered a high profile mishap and never recovered. So for 777 they launched a massive media campaign to basically keep the public informed on every step of its development, and were honest—or at least appeared to be honest—when setbacks occurred. That way, if something bad happened, the flying public would be emotionally invested in 777 like the engineers were, and go, "well, these things happen when you push the envelop like Boeing is doing." At least, that was the idea.


With the dramatic love story "Tender are the Feet" (Ché Phawa daw nu nu) from 1972, director Maung Wunna offers an insight into the milieu of Burmese travelling theatre. Digitally restored by the Yangon Film School with the support of the Goethe-Institut, the film was screened in February 2014 at the Berlinale, presenting film art from Myanmar to the world.
In Tender are the Feet, Burmese director Maung Wunna tells a classic melodramatic love story. The male protagonist Sein Lin is a drummer with narrow-minded ideas about music, art and the way women's feet should move on stage when he sets the beat with his drum. He works in a night club, but turns his back on it to join a travelling theatre, when in his opinion the dancers dance against—not with—the beat.
Sein Lin would also like to impose his views in the musical theatre company. The beautiful dancer Khin San, in particular, is bothered with Sein Lin's teachings. Although they argue incessantly, they feel attracted to one another. But then Khin San leaves the theatre group to become a movie star, meets film producer Hla Tun and breaks Sein Lin's heart.
The story about the dancer and the drummer, however, is only one narrative in Tender are the Feet, integrated into portrayals of a travelling theatre milieu. Fiction becomes documentation, the main characters just two of many performers in front of, behind and on the stage, and for long sequences they remain in the background.
The travelling theatre is an art form that is almost extinct, so Maung Wunna's film is a valuable contribution to the archive of the cultural traditions of Myanmar. Accompanied by traditional Burmese songs and dances and Burmese pop hits from the 1970s, the black and white film from 1972 is evidence of Myanmar's film culture. Although it was filmed in the time of the military dictatorship, the narrative style is entertaining and the insight into the world of a travelling theatre troupe is sometimes funny, sometimes touching.
A further aspect makes the film Tender are the Feet valuable for the current film world. The film culture of Myanmar was once flourishing, and experimental, self-taught filmmakers developed their own unique styles. Most films from this time, however, have fallen victim to the indifference of the 50-year-long military regime and the difficult climatic conditions. And the remaining film prints, telecined material and newsreels stored in the archives of Myanmar are endangered due to the humid climate, financial aspects and inexperience in the field of film restoration.
The Yangon Film School, a non-profit association training a new generation of filmmakers in Myanmar since 2005, has therefore taken on the task with the support of the Goethe Institute of restoring these films and so preserving Myanmar's film heritage for posterity. The first result of this initiative is the digital restoration of Maung Wunna's Tender are the Feet. The international debut of the film was celebrated in the Forum section of the 64th Berlinale in February 2014, before an audience for whom it must have been largely unknown. And now Maung Wunna's name can finally be found in international film archives.


Amanda LaPera - "The End"
Vince and Jake had been life partners for over fifteen years. Now, Jake lie beneath a maze of tubes as Vince squeezes the man's cold hand. Tearful, Vince turns to the doctor and asks, "Are you sure?" The heart monitor injects a rhythmic impulse to the room.
Vince stares out the dark window. His reflection is superimposed over the glittering city lights from several stories below. There is no moon tonight. "That's what you said last week," says Vince, wondering why Dr. Dearheart doesn't have an idea how much longer the waiting will be prolonged.
"I understand." The doctor closes the metal cover on the medical chart.
"Can you leave us alone for awhile?" Vince can't look the doctor in the eyes.
Dearheart hesitates before replying, "All right." He steps out of the room and pulls the door closed.
Vince kisses Jake's hand. "I love you," he says as he pulls an orange pill bottle out of his coat pocket and empties the contents into his palm. With a gulp of water from the bedside table, Vince swallows. Relaxing onto the bed, he snuggles up alongside Jake and wraps his arms around his frail body. The end won't be long now. On his final breath, he whispers to Jake, "You can let go now. I'm coming too." Then his head buries itself against Jake's neck.
Not long after, alarms on the monitors activate.


text:
Canon for Performing Arts
How to determine and document the performing arts of our time? How to present a performing arts canon – something that, in principle, is an impossible task? Perhaps we shouldn't try? However, every time we came close to giving up, we found that there is something more important than the impossibility of the task. Namely, we refuse to miss out on the chance to pass on experiences within performing arts that mean so much. We want to get the message out: Performing arts can do so much as an art form! Try it! We cannot live without it. Nor do we think that others should either!
They are a result of collaboration with theatre influences from all over the world. Such as when Aladdin brings the Middle East to Dyrehaven, when Bournonville brings La Sylphide to Paris, when Dirch Passer perhaps borrows a little from Las Vegas for his routine, and when Sort Sol are heavily inspired by the German underground
The Committee for Performing Arts
The most fundamental challenge we have faced is to demarcate what the scope of performing arts actually is, and how we can document and present this art form. This is complicated by the fact that the public and actors must be present at the same time, and the work disappears from the real world at the same moment the curtain falls. And by the fact that a performance is never the same from one evening to another.
Of course, there are theatre plays that exist in written form; however, these are often merely a starting point, and are later further arranged both linguistically and dramatically. Think of everything that needs to be added to a script or a choreography in order to bring it to life: interpretation from the director, visual input from the set designer in the form of space, colours, decoration and costumes, input from actors and dancers, make-up, light installation, sound design and musical suggestion.
Finally, the special aspects of performing arts should also be taken into consideration: that it constantly challenges, interprets and brings our cultural heritage to life. The repertoire presented each season is indeed mostly based on existing works. In other arts, this would be somewhat like as if the drawings for the Sydney Opera House were interpreted by new builders every year; as if the film Hunger were re-shot for each new season, and The Fall of the King were rewritten year after year.
In the Canon Committee for Performing Arts we have read, listened, seen and heard, discussed and evaluated. We have argued self-evident, major, peculiar, irritating, surprising and exceptional works against one another. Despite the huge challenges with the nature of performing arts in relation to the task, we quite quickly established some solid preconceptions as to what makes a stage work worthy of a canon. For some premises that we initially were convinced would apply, we quickly found that it was necessary to apply some exceptions. These criteria for a canon work are:
The work must represent an innovation and tell a gripping, common human story, that goes beyond its time. It must challenge the public and theatre folk of today and must have proved itself durable in the real world and represent a unique creation. It must be able to be performed today and impart some meaning to those who wish to tell the story, but first and foremost to the audience who will receive, take it away and use it. However, most importantly, the work must have that special quality that almost screams to be staged and comes particularly alive in its meeting with the public.
In defining an era, we have elected to refrain from choosing works from the last decade, because these newer works have not yet shown their durability. Also – and more importantly – because current extremely able dramatists and choreographers, in our opinion, have not yet created their greatest works. We believe this is worth waiting for! If this means that modern dance and new breakthroughs in performing arts are not included in the canon and that, for example Line Knutzon, Katrine Wiedemann and Tim Rushton are conspicuous in their absence, then that's the way it has to be. We are convinced that they will take their place in a few years when a new performing arts canon is created.
Udvalgskriterier
Værkerne i kanonen er:
• er fra før 1990
• repræsenterer et nydbrud
• repræsenterer helt unikt håndværk
• udfordrer publikum og teaterfolk af i dag
• skriger på at blive iscenesat
As we began to apply our canon criteria to reality, the problems began to make themselves clearly known. Our criteria harmonised well with drama that has literary qualities. But what about performance theatre and all of the new, visual technological multimedia theatre pieces? What about pure comedies, revues, musicals and popular theatre? All of these live for the moment. Much of the theatre that characterises the state of current theatre is impossible to document and argue for in relation to perception of traditional works and canon concept. At the same time, it is crucial to maintain diversity and multiplicity.
Ultimately, we decided that we had to make some important exceptions and highlight certain works that cannot be performed again; works that were typical of their time and are gone. How do we give experiences that no longer exist to coming generations? And why select these types of works at all?
Because they represent a form of performing arts that has just as much importance as the beloved classics. And because they represent landmarks for an aspect of performing arts that is still very much alive and developing today. The selection is therefore a challenge to go out and meet the magical performing arts works that cannot be seen from velour seats and theatre boxes, but have other forms, types of expression and places.
We would like to have had even more of these special performing arts experiences included: if, for example, Hotel Pro Forma's 'Operation: Orfeo' and Cantabile 2's 'Helvede' are not found on the list, this is only due to the extremely strict prioritisation of the 12 places!
We want to showcase the unbelievable experience potential in all of the vigour, power and diversity that is found in performing arts. We also want to underline that while the works are indeed Danish, they do not exist in a vacuum. They are a result of collaboration with theatre influences from all over the world. Such as when Aladdin brings the Middle East to Dyrehaven, when Bournonville brings La Sylphide to Paris, when Dirch Passer perhaps borrows a little from Las Vegas for his routine, and when Sort Sol are heavily inspired by the German underground. However, perhaps most of all, the many universal human stories that are told in performing arts fundamentally contain the same depth, love and pain, regardless of whether they are performed in Copenhagen or Verona.
We hope that those who use the canon will see this and find fertile ground to discuss ingrained perceptions and, in this way, contribute to a broadly founded debate on what performing arts are and what they can be used for in the year 2006.
We do not imagine that this canon for performing arts presented here will last to the end of the century. Rather the opposite. Theatre constantly challenges us, interprets and brings to life our cultural heritage and represents a dynamic performing arts canon every single season when a repertoire is planned and tickets are sold.
Performing arts are only found on the stage, where they only exist in the moment and in their encounter with you, the audience. Be there when it happens!
The Committee for Performing Arts (2005-06)
From the left:
Karen-Maria Bille (1956-) Dramaturg
Jokum Rohde (1970-) Writer and dramatist
Sonja Richter (1974-) Actor
Erik Aschengreen (1935-) Writer, Associate Professor and bellet critic
Flemming Enevold (formand)(1952-) Actor, director and Theater director
Read more about Performing Arts
Do you want to know more

redpajama_set_name: RedPajamaCommonCrawl


text:
What was it about the Lower East Side that attracted so much talent and crime in the last 40 years? Since my early days of punk back in the summer of 1977 I've been exposed to some of the best music and the worst crime. Everything from Max's Kansas City to the Alphabet City Butcher Daniel Rakowitz who lived right above me and killed his girlfriend, chopped her up and fed her to the homeless in Tompkins Square Park. I was also in that park when the riot of 19S9 kicked off and I played one of the last shows at CBGB's. Most people walking around on the Lower East Side today with its trendy boutiques and coffee shops have no idea of its history, the great music and violence that has always co-existed side by side down here.I'll take you to the punk clubs, gang hangouts and drug spots where some of the craziest things went down. It's a first hand account from someone who was immersed in the danger having myself grown up on the streets of NYC since the age of 14.1 guarantee you it will be a true punk rock & crime history lesson from someone who was there way back then and is still here.
We will drop by the famous CBGB's location where The Ramones and so many other legendary punk bands started. We'll walk by Great Gildersleeves where the Hells Angels regularly ran people over on their motorcycles. Stroll down memory lane at Saint Marks Place passing Trash and Vaudeville (punk store), the Electric Circus where the likes of Bad Brains, Crass, and so many others jammed. All the while telling you my anecdotes and fanny stories of the crazy shit I've seen go down. Then Tompkins Sq Park, giving fast hand knowledge of the area's events. We'll even hit MANITOBAS for Bob Omen's famous Punk Rock photo exhibit before we go by the Ritz (now Webster Hall) and Irving Plaza where so many great bands like Black Flag, Bad Brains, Circle Jerks, Motorhead (fast US gig), The Damned, Buzzcocks played and where the late punk-rocker John Belushi slam danced his nights away. Finally our last stop on the tour will be Max's Kansas City where we end in Union Sq Park discussing the area and what is what it was like. Drugs, hookers, violence, the Palladium where The Clash's London Calling album cover was shot and many great bands played. Ever heard of Julien's Pool Hall? The porno theaters where I'd sleep in the dead of winter for 50 cents a night and the Gramercy Park Boxing Gym (now PC Richard's) where my old man and many World Champions boxed. The bottom line is, whether you're a seasoned New Yorker or someone visiting the city on vacation, this tour is not to be missed. I can guarantee that it will be a memorable experience.
Strolling the streets of the East Village and the Lower East Side, its easy to pass by a piece of History and not even realize it Come discover how the addresses of many current and former bars, clubs, eateries, apartment buildings, shops, and even churches were the sites of some the most brutal crimes and home to some of the most notorious gangsters and criminals in American history. Learn about the actual individuals and events that inspired the characters and storylines in HBO's Boardwalk Empire, BBC America's Copper, The Great Gatsby, Once Upon A Time In America, The Gangs Of New York and more. Learn how immigration, class struggles, politics, and die assimilation of yesteryear inspired criminal activity of turn of die century New York City, and molded what we know as modem day New York.
Some of the featured Sites visited on die tour are:
* The former grounds of MCGURK'S SUICIDE HALL
* Jean Basquiat's home
* The Tammany Hall Budding
* Lucky Luciano's Palm Casino
* The Blue Bird Cafe - Monk Eastman's murder site
* The whole Foods of Union Square, which was housed in the same location where one of the most notorious gangsters the world over was killed in 1920.
Plus, many more locations. Individuals/gangsters of note mentioned on the tour include Arnold Rothstein, Meyer Lansky, Lucky Luciano, Tim Sullivan, Monk Eastman, Paul Kelly, Big Jack Zelig, Doris Rachnis, and many, many more.
NBC New York
>CLICK HERE FOR MORE PRESS<
Type of Walking Tour
THE HISTORY OF ART, CRIME, DRUGS and PUNK ROCK ON THE LOWER EAST SIDE
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Showcase your product innovations to scientists and leaders in the global green chemistry community!
The ACS Green Chemistry Institute invites participation in the 2nd GC&E Product Showcase. Submit your abstract starting November 19th.
Integrated into our popular GC&E Poster Session & Reception, the Showcase will feature companies who are using the design principles of green chemistry and engineering to create or contribute to innovative products. Participating companies will present a "hands-on" display of the product and describe the product's greener technical innovations.
The abstract submission portal is open through January 14, 2019.
You do not to be an ACS Member to submit an abstract, but you will be asked to login with your ACS ID. Instructions to create one if you don't have one are on the page.
Once logged in, you will be on the Welcome Page. Click on the Submission tab and "Create New Submission" to get started.
How does the product improve the health, safety and/or environmental impact compared to existing products? Please include metrics, third-party testing, certification, and description of chemistry when possible.
What are the scientific or process innovations that went into this product?
Upload a picture of your product if possible. If not, please include a link in the abstract body.
On the next page, please select "poster only" for your presentation type and "Product Showcase: Delivering Green Chemistry to the Market" for your symposium.
The rest should be self-explanatory but if you have any questions, please email Christiana Briddell.
What kind of products can be submitted?
We are inviting submissions from start-ups & early-stage companies through established B2B and B2C brands.
The product should be market-ready, if not already on the market, and product samples should be displayed as appropriate.
Submissions need to specifically demonstrate a green chemistry and/or engineering approach; it is not sufficient to have a sustainable product.
Please remember that green chemistry is not environmental chemistry. The focus should be on the design of the product.
You must provide sufficient justification of why it is greener (e.g., metrics,third-party testing, certifications, etc.) with an overview of the chemistry when possible.
We would like B2B companies to bring an example(s) of the end consumer product. For example, if you create biobased plastics, bring an example of its application. The product showcase should be "hands on".
The Poster Session & Reception is a popular and well-attended by all conference goers—there are no other competing events scheduled at this time. The Conference attracts a cross section of scientific leaders from industry and academia as well as students, government scientists and others. We expect a more international audience for this year's special double conference with over 650 people in attendance.
The GC&E Product Showcase will be held as part of the Poster Session and Reception of the 23rd Annual Green Chemistry & Engineering Conference/ 9th International Conference on Green and Sustainable Chemistry. This two-hour event will take place 4:35-6:45 p.m on Wednesday, June 12, 2019 at the Hyatt Regency Reston in Reston, Virginia.
All submissions will be reviewed by the Product Showcase session chairs, whom will evaluate them based on the submission criteria. Acceptance notifications will go out February 24, 2019.
There is no cost to submit your abstract/product for the product showcase. If you abstract/product is selected, you must register for the GC&E Conference. You may elect to attend the full conference, just the day of the event (Wednesday), or, if you are only coming to present at the Product Showcase, a special registration rate of $100 will be available ($195 off one-day rate). See gcande.org/register for more information. We encourage companies to also consider sponsorship or exhibitor opportunities. If you have any questions or concerns, please contact us.
Product Showcase presenters will have the option to use a provided poster display board, table, or can bring their own tablet.
I'd like to know more. Who do I talk to?
Contact Christiana Briddell, ACS GCI Communications Manager, at c_briddell@acs.org or by phone at 202-872-6103.


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text:
Bronte, Charlotte
Moore, Pamela
Coulehan, Jack
Date of entry: Jul-11-2005
Last revised: Aug-29-2006
Young Jane Eyre was orphaned and sent to live with her uncle, who dies shortly after her arrival. Her step-aunt despises her and sends her to Lowood School so that she can become a governess. She wins the friendship of everyone there, but her life is difficult because conditions are poor at the school. Not until typhus kills many of the students do conditions improve.
Jane completes her education there and obtains a position as governess at a house called Thornfield. Jane's student is Adele Varens, a petulant but loving ward of the master of the house, Edward Rochester (and possibly his illegitimate child). Rochester is rarely at home and Jane spends most of her time with Adele and the housekeeper, Mrs. Fairfax. When Rochester does come home, he is often moody and imposing.
One night, Jane wakes to strange noises and the smell of smoke. She finds Rochester unconscious in his bed, which is on fire. Other odd things happen in the house: Jane often hears strange laughter and thuds. Jane has meanwhile realized that she loves Rochester but in her pride refuses to confess it.
When Rochester invites a group of friends to the house, including Blanche Ingram whom he is expected to marry, Jane is treated like a servant by the guests. One of the guests, Mr. Mason, is mysteriously injured. Jane is also troubled when her former guardian, Mrs. Reed, calls her to her death bed and admits that several years earlier she had received a letter from one of Jane's distant relatives, John Eyre, a wealthy man who lives in Madeira. Mr. Eyre had offered to adopt Jane, but Mrs. Reed maliciously told him that Jane had died in the typhus epidemic.
When Jane returns from this visit, Rochester asks her to marry him and Jane joyfully assents. Two nights before their wedding, she wakes to find someone in her room, wearing her wedding veil. She faints in fear, but Rochester convinces her it is her imagination. At the wedding, a man interrupts the service, saying Rochester is already married. Rochester admits it and takes the wedding party to the attic. His wife is a Creole, Bertha Mason, who went mad immediately after their wedding fifteen years before. Now she is imprisoned in the attic.
Jane decides she must run away. Penniless, she becomes a beggar until Reverend St. John Rivers and his two sisters generously take her in. She lives with them under an assumed name, and it is only by accident that she learns simultaneously that John Eyre has died and left her his fortune and that the Rivers are her cousins. They share the fortune. Rivers presses her to marry him and join him as a missionary. He admits that he does not love her, but he thinks Jane smart and useful. Jane feels she must do her duty, but she does not want to marry Rivers.
One night, Jane hears Rochester's voice calling to her. She returns to Thornfield and finds the house burned to the ground. Bertha had set fire to it and Rochester became blinded in his unsuccessful attempt to save her life. Jane and Rochester marry. It is intimated that Rivers will die gloriously for his cause.
Jane is one of Victorian literature's rebellious heroines. Critics of the period found her unwomanly, albeit more interesting than the common angel in the house. Bertha illustrates mid-19th century attitudes toward madness. It was primarily considered an untreatable congenital disease.
Bertha's role is complicated by her ethnicity. She is the product of British imperialism, at its height at the time the novel was published. Feminists have also considered Bertha to be Bronte's alter ego. Like many Victorian women, Bertha is literally trapped in her home.
Unlike most women, she retaliates, trying to kill Rochester and ruining his home and name. The section on Lowood shows how medical and social conditions are tightly tied. As a whole, the novel tries to balance reason and passion. Too much passion and one ends up like Bertha or Rochester, too little and one becomes like St. John Rivers. Jane Eyre is a thrilling read that goes over well with modern audiences.
First published: 1847


The more food tours I do the more I am convinced that there is no better way to learn about where you are and who the locals are then to eat what they eat. Whether it is a scorpion or a dumpling, the kind of food people eat is representative of their culture, their surroundings and a lot of times their economic beginnings.
It is no different in Bangkok.
The chaos of Bangkok can, no doubt, be overwhelming. Not to mention it is a huge city that can take time to navigate.
My evening street food tour was by tuk, tuk. I don't care how many times I ride in a tuk tuk, it is always novel to me. Although I probably should have been walking in order to work off all that food I would be consuming it was nice to not have to worry about how I was getting to my next destination.
It doesn't matter what time of the day it is the food markets are always buzzing and I happened to be in Thailand during the Vegetarian festival so the streets were filled with vendors selling meatless options.
Asia is a great place for any vegetarian. Their food always has a vegetarian option they make a lot of things with tofu making it easy to avoid meat.
The tour did not just have food but incorporated history and local atmosphere.
I had been to Wat Pho, home of the largest reclining Buddha, during the day earlier in the week but Buffalo tours took us back at night. The temples were even more overwhelming at night. The buildings illuminated in small spotlights made the colors on them more vibrant then in the sunlight.
Wat Pho might be one of my favorite temples I have ever seen. The colors are bright blues, greens and golds that seem to shine from every angle.
We also walked thru the flower market. It was nearly 10 pm but the streets were a buzz with people buying flowers for the next day and loading more onto the sidewalks.
They were all gorgeous, colorful bouquets of various flowers. I don't think I have ever seen so many flowers in one place.
Well I am a sucker for Pad Thai. Being the most well known Thai dish I guess it is a bit basic but it does not taste basic. There is a very famous restaurant that sells ONLY Pad Thai : Thipsamai. Earlier in the week I had passed it in a cab, there was a line around the block, and the driver said people wait sometimes over an hour because it is the best Pad Thai you will ever have. He was not wrong. I dream of that Pad Thai sometimes.
I also loved the soft shell crab. You ate the shell and all. Yes that's right you just bit into it and ate the entire thing.
I have done quite a few food tours at this point and I really enjoyed this one because it incorporated not only food but history, local flare and tuk tuks! Instead of just walking around eating things and talking about food ( don't get me wrong that is my favorite thing to do) they made it so much more.
I would like to thank Buffalo Tours for hosting me and TBEX Thailand for the opportunities they provided.
If you are interested in going on a tour with Buffalo Tours here is their website. They offer tours all over Asia. May a recommend a food tour!


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text:
Richard Overy, född den 23 december 1947, är en brittisk historiker som publicerat en lång rad böcker om andra världskriget och Tredje riket.

Pris

Fellow of the Royal Historical Society (1977)
Fellow of the British Academy (2000)
Fellow of King's College (2003)
Samuel Elliot Morrison Prize of the Society for Military History (2001) - For his contribution to the history of warfare.
Wolfson History Prize (2004) for his book The Dictators: Hitler's Germany; Stalin's Russia

Bibliografi

William Morris, Viscount Nuffield (1976),
The Air War, 1939-1945 (1980; paperback ed. 2005),
All Our Working Lives (with Peter Pagnamenta, 1984),
Goering: The "Iron Man" (1984; paperback ed. 2000),
The Origins of the Second World War (1987; 2nd ed. 1998), .
co-written with Timothy Mason "Debate: Germany, "Domestic Crisis" and War in 1939" pages 200-240 from Past and Present, Number 122, *February 1989 reprinted as "Debate: Germany, `domestic crisis' and the War in 1939" from The Origins of The Second World War edited by *Patrick Finney, Edward Arnold: London, United Kingdom, 1997, .
The Road To War (with Andrew Wheatcroft, 1989; 2nd ed. 1999),
The Nazi Economic Recovery, 1932-1938 (1982; 2nd ed. 1996),
The Inter-War Crisis, 1919-1939 (1994),
War and Economy in the Third Reich (1994),
Why the Allies Won (1995),
The Penguin Historical Atlas of the Third Reich (1996),
The Times Atlas of the Twentieth Century (ed., 1996),
Bomber Command, 1939-45 (1997),
Russia's War: Blood upon the Snow (1997),
The Times History of the 20th Century (ed., 1999; new ed. 2003),
The Battle (2000),  (republished as The Battle of Britain: The Myth and the Reality)
Interrogations: The Nazi Elite in Allied Hands, 1945 (2001),  (republished as Interrogations: Inside the Minds of the *Nazi Elite)
Germany: A New Social and Economic History. Vol. 3: Since 1800 (ed. with Sheilagh Ogilvie, 2003),
The Times Complete History of the World (6th ed., 2004),
The Dictators: Hitler's Germany and Stalin's Russia (2004),
Collins Atlas of Twentieth Century History (2005),
Imperial War Museum's Second World War Experience Volume 1: Blitzkrieg (2008),
Imperial War Museum's Second World War Experience Volume 2: Axis Ascendant (2008),
The Morbid Age: Britain Between the Wars (2009),

Externa länkar

Biography of Richard Overy, University of Exeter

Brittiska militärhistoriker
Födda 1947
Levande personer
Män

redpajama_set_name: RedPajamaWikipedia


text:
SPCA ups rewards for arrests in swan, turtle cruelty cases
By Vera Chinese
The reward for information leading to the capture of whomever shot an arrow through a swan found in Riverhead last week has swelled from $1,000 to $11,000, authorities said.
The Suffolk Society for the Prevention of Cruelty to Animals has also increased the kitty in the probe of a box turtle found with a nail through its shell in Sag Harbor July 5 to $12,500.
The previous award amounts for the turtle award was $1,500.
"Due to public outrage, donations have poured in," SPCA officials said in a press release Tuesday. The surge in donations allowed the agency to up the reward amounts.
The swan was found by a kayaker near Indian Island County Park on Friday, July 22. It is recovering at the Evelyn Alexander Wildlife Rescue Center in Hampton Bays.
That center also holds a box turtle found in East Hampton last week with a nail hammered through its shell.
The hunting arrow was removed, but the bird is unable walk due to possible nerve damage, said Suffolk SPCA Chief Roy Gross.
"It was not a toy by any means," he said of the weapon.
He called the attack "very disturbing. This was somebody going out of their way to hurt and animal. And it's been proven that people who hurt animals hurt people."
Chief Gross said the SPCA will pursue charges against whomever shot the swan, and added that animal cruelty is a misdemeanor punishable by up to a year in jail. The reward money will be given to anyone who provides information that leads to an arrest and conviction.
Call the Suffolk County SPCA at 631-382-7722. All calls will be kept confidential.
Vera Chinese has been the editor of northforker.com and northforker magazines since May 2014. Prior to that she spent two and a half years as a staff reporter for the New York Daily News. She joined the Riverhead News-Review as a staff writer in January 2010 and was named Associate Web Editor nine months later. She previously worked for the Southampton Press Western Edition and was named the third place 2008 Rookie Reporter of the Year by the New York Press Association. She graduated from Wagner College in 2006 where she received a bachelor's degree in English. She earned a master's degree in English education from New York University in 2007. She is a 2002 graduate of Eastport High School and has lived on the East End for more than 20 years.
Email Vera Chinese Email Created with Sketch. Email Vera Chinese
Suffolk SPCA
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Call Your Senator: Tell them to support the John L...
Call Your Senator: Tell them to support the John Lewis Voting Rights Advancement Act
The John Lewis Voting Rights Advancement Act is a voting rights bill that was passed by Congress on August 24 2021. It is now before the Senate. The bill would be instrumental in identifying and dismantling voting barriers that discriminate against voters of color. Specifically, it would restore parts of the Voting Rights Act of 1965 that were struck down by SCOTUS in 2013 following the historic 2008 and 2012 presidential elections. The 2013 decision has made it possible for numerous states to engage in voter suppression tactics such as voter purges, and limitations on voter registration and absentee voting, among others.
Find your US Senators' name here.
When you have your Senators' names available, use the "Click to Call" button to be connected to the US Capitol Switchboard. Feel free to refer to the sample call script below.
Be sure to Rev this post after your call and encourage others to do the same.
Hello, my name is [your name]. I am a constituent from [state, city, zip code]. May I speak with Senator [your senator's name]?
After you reach a staff member or voicemail from your senator's office:
Hello, my name is [your name] and I am calling as a concerned constituent. I am calling about The John Lewis Voting Rights Advancement Act and would like to urge [your senator's name] to support this critical piece of legislation to protect our right to vote and safeguard against discrimination. Now that the House has passed this landmark bill, the Senate must take swift action to protect the rights of Americans and implement important voting protections. Doing so represents a vital step towards a national guarantee of free and fair elections without voter suppression and discrimination and deserves urgent attention. Can I count on [your senator's name] to support this critical piece of legislation? Thank you for your time.
This action guide previously included a call script to reach US representatives. As of August 25, 2021 following the House's vote to pass the bill, this guide has been updated to include a call script to contact US Senators and demand their support for this historic legislation.
Call Scripts
Voters of Color
Only takes a few moments and is such an urgent piece of legislation!!
Check out this podcast episode about voting rights if you want to learn more and get an update https://podcasts.apple.com/us/podcast/lady-dont-take-no/id1507469180?i=1000550806775
White Violence: A Response To Black Advancement in Read + Write 09-13-2021
Call Your Senator: Tell them to support the John Lewis Voting Rights Advancement Act in Take Action 07-17-2021
Call Your Senators: Tell them to support The For the People Act in Take Action 06-19-2021
Donate: Texas State Conference of NAACP Units in Take Action 06-19-2021
Call Your Senators: Tell them to support The George Floyd Justice in Policing Act in Take Action 06-01-2021
The Révolutionnaire Allyship Pledge
Donate: Assistance Program For Victims of Anti-Muslim Hate Crimes
Donate: London Community United Against Hate


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AOA is all set to make their comeback in May or June!
According to some reports, the girls are gearing up for their comeback and have already finalized the title track of their new album. It was also reported that the music video shoot for the title track has already been fixed and will commence as soon as the girls return from Japan.
Confirming AOA's comeback, their agency FNC entertainment stated that they plan to drop AOA's comeback album in May or June, however, they cannot say the exact date yet.
The girls are currently in Japan, promoting their latest Japanese single "Give Me The Love" which got released on April 20th.
Meanwhile, it can be mentioned that AOA got huge success with their comeback in June last year with their third mini-album "Heart Attack".
AOA impresses us with their music, good looks and amazing dance steps everytime they make their comeback and we expect the same this time too! Are you as excited as we are for AOA's comeback? Do let us know!
Previous article2NE1's Park Bom has Returned to SNS!


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« JUST ANNOUNCED…Underworld: Rise of the Lycans
Mall Cop Arrests Blu-ray on May 19th »
Batman: 20 Years in the Making on Blu-ray
March 16th, 2009 by Blu-ray Brian
Word on the street today is of a new Batman Blu-ray brewing behind the scenes. Warner HomeVideo has announced that they will bring Batman: The Movie 20th Anniversary to Blu-ray on May 19th as part of their exclusive digibook series. From what we have learned this Blu-ray release appars to be identical to the first disc of the Batman: The Motion Picture Anthology Blu-ray set. We will see a 1080P VC-1 presentation with a 5.1 Dolby True HD surround track to boot. The list of special features are as follows.
The bleow list is courtesy of the published story over at www.blu-ray.com.
Commentary by director Tim Burton
On the set with Bob Kane
Legends of the DARK KNIGHT: The History of BATMAN – The BATMAN Comic Book Saga as reinvented and reinterpreted over nearly seven decades
Shadows of the Bat: The Cinematic Saga of the DARK KNIGHT Parts 1-3:
The Road to GOTHAM
The Legend Reborn
Beyond BATMAN (Documentary Gallery):
Visualizing GOTHAM: The production design of BATMAN
Building the BATMOBILE
Those Wonderful Toys: The Props and Gadgets of BATMAN
Designing the BAT-SUIT
From Jack to THE JOKER
Nocturnal Overtures: The Music of BATMAN
Music Videos – Three Music Videos by Prince
BATMAN: The Heroes (Profile Galleries)
ALEXANDER KNOX
Batman: The Villains (Profile Galleries)
BOB THE GOON
BATMAN: The Complete ROBIN Storyboard Sequence
Blu-ray Brian
ONE HECK OF A PROMOTER!!! Also a Dreamer, Producer, Agent of Love, Film Lover, Writer of Screenplays and a Devoted Apostle to all things Ford Mustangs (the real ones with V8's!). Some of my favorite films include FIGHT CLUB, MOULIN ROUGE, THE DARK KNIGHT, STAR WARS alongside television shows such as SEINFELD, 24, SANFORD & SON and even the often loathed in the geek community BIG BANG THEORY. Outside of my three lives I live I also enjoy spending time with my girlfriend and our three girls (of the furry kind).
This entry is filed under News . You can follow any responses to this entry through RSS 2.0 . Both comments and pings are currently closed.


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Axios Cities: The other housing crisis — Rise of niche cities — Amazon's housing crunch
The epicenter of Amazon's Virginia housing crunch
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The other housing crisis: Abandoned homes
The new cities to watch
Track the 2020 Democrats' Q2 fundraising
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Disruption and scandal set backdrop to auto talks
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The past and potential of replacing coal-fired power, heating with gas
News Shapers: Foreign Policy
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Axios Autonomous Vehicles: AVs take backseat — Labor talks — Soldiers on hoverboards
Stef W. Kight Aug 27, 2018
Top official overseeing student loans resigns, blames White House
Director of the Office of Management and Budget Mick Mulvaney. Photo: Mark Wilson/Getty Images
Seth Frotman, the Consumer Financial Protection Bureau official in charge of overseeing the $1.5 trillion student loan market, has stepped down, saying the White House has made it difficult to protect the millions of students who have taken out loans for their higher education, the AP reports.
Key quote: "You have used the bureau to serve the wishes of the most powerful financial companies in America. The damage you have done to the bureau betrays these families and sacrifices the financial futures of millions of Americans in communities across the country," Frotman wrote in a letter to the Trump's budget director, Mick Mulvaney, who took over the CFPB in November.
The big picture: The CFPB has been at the center of lawsuits targeting student loan scams and fraudulent universities — such as the for-profit Corinthian Colleges, which were shut down in 201.
CFPB is currently suing Navient, a large student loan servicer. But Betsy Devos's Department of Education, however, has not been cooperative with the lawsuit, according to the AP.


Catholic League boys and girls basketball teams are making one final push for the CHSL playoffs, which will begin Feb. 9 and Feb. 16 for the boys and girls, respectively.
It's crunch time in the Catholic High School League's basketball wars.
Unless, you're wearing the colors of Detroit U-D Jesuit and Bloomfield Hills Marian.
Both are in the upper stratosphere of state-ranked teams: U-D No. 1 in Division 1 boys, Marian No. 5 in Division 1 girls.
Both have secured their respective Central Division titles with a week left to play for the boys and two weeks for the girls. They won't have to deal that much with what the rest of the league's mere mortals will be undergoing: the hectic, weeklong CHSL playoffs starting Feb. 9 for the boys and Feb. 16 for the girls.
At stake will be the A-B Division and C-D Division championships to be determined Feb. 16 for the boys and Feb. 23 for the girls, both staged at the University of Detroit Mercy's Calihan Hall.
Nerves are their most raw in the boys Inter-Section I Division. Three teams are vying for the division crown and the No. 1 seed in the playoffs.
"We're excited," says Steve Graf, athletic director at Bloomfield Hills Cranbrook Kingswood, the defending C-D champion.
The Cranes started the season with a sizzling 9-1 record, only to fall into a funk losing the next three games by a total of five points, two on buzzer-beater baskets.
Their last victory had come three weeks earlier over Madison Heights Bishop Foley, their opponent last Friday. Here was a chance to get back in the win column.
Coach Shane Finney urged his team to "Push!" at every timeout. Pressing relentlessly from start to finish, Kingswood scored the first six points in the game, led 30-14 at the half, and won going away 46-24 to raise their overall record to 10-4, 5-3 in the league.
The Ventures (4-8, 3-5) simply could not keep up with the frenetic pace, committing several turnovers and shooting, perhaps, their worst of the season. Center Mike Maten could only score six points and top scorer, Steve Siepker, was limited to four.
Guards Torrell Williams (12 points) and Cameron Garner (9) scored 21 points between them while directing the offense. Jordan Benson grabbed a basket full of rebounds, and Danny Files – listed at 6-feet-4 and 305 pounds – plugged the middle.
Their next two games will be against their chief rivals, Jan. 29 at Ann Arbor Greenhills (12-1, 6-1) and Royal Oak Shrine (10-4, 7-1) Feb. 2 at home.
Shrine had won its first seven league games before bumping up against Greenhills, hoping to erase the memory of a last-second loss earlier to the Knights.
Much in Cranbrook's run-and-gun style, the Gryphons effectively sealed the deal in the opening eight minutes with a 12-0 run to take a 20-9 lead. They won 65-51. Shrine got no closer than four points the rest of the way.
Shrine can take the division title by winning one of their two remaining games, Jan. 29 against Bishop Foley and Feb. 2 against Greenhills.
The only way to prevent U-D Jesuit (12-2, 6-0) from winning its seventh straight CHSL A-B championship is by not letting them out of the locker room. Seriously, Novi Detroit Catholic Central has the best chance to make it to the playoff finale at Calihan Hall and face the Cubs for a third time. The Shamrocks lost by a point to U-D when it was without two starters, and then by a dozen points when coach Pat Donnelly had all hands on deck.
Over the weekend, U-D Jesuit slipped past Flint Beecher (No. 1, Division 3), 70-69.
Detroit Loyola (9-4, 4-0) and Dearborn Divine Child (11-3, 3-1) will decide who wins this division when they clash Feb. 1 on the Falcons' floor. Loyola topped Divine Child 64-58 in overtime a month ago.
Riverview Gabriel Richard (11-2, 9-1) has handily won this title. Marine City Cardinal Mooney (7-5, 5-3), Detroit Cristo Rey (6-9, 5-5) and Clarkston Everest (5-6, 3-5) are on the bubble to make the playoffs.
Marian – the only undefeated team in the CHSL with an overall 11-0 record, 6-0 league – is favored to defend its CHSL A-B championship. Their strongest opponent could be their archrival, Farmington Hills Mercy (8-3, 4-2), who has lost twice to coach Mary Cicerone's crew.
Shrine (7-3, 4-0) – the reigning CHSL C-D champion – leads Wixom St. Catherine (9-2, 3-1) by beating the Stars 45-35 a month ago. The two meet Jan. 29 to settle the division title.
Waterford Our Lady of the Lakes (7-4, 4-0) and Madison Heights Bishop Foley (7-3. 4-1) have a date Feb. 4 to decide this division. The Lakers won a meeting two weeks earlier, 49-36.
This might be the playoff's sentimental choice. Chesterfield Austin is 4-0 right now with two games to play. Winning both would qualify them, a remarkable achievement for this 8-person squad from an 84- school enrollment.
Friday, Feb. 1, wrestling at Novi Detroit Catholic Central. The Shamrocks have won the event 24 years in a row.
Monday, Feb. 4, boys and girls skiing at Mt. Brighton. Cranbrook Kingswood is defending champ for both boys and girls.


It's our job to make life easy.
Stafford Suites Senior Assisted Living Apartments in Kent, Washington, is truly the place "Where the Living is Easy." It is here that you will enjoy the privacy and independence of your own spacious apartment, while experiencing the security of knowing that help is available if and when you need it.
You will appreciate the brightness and warmth of our beautifully decorated dining room, lounges, lobby and library. Our Recreation Director offers many new activities and projects, or perhaps you will choose to enjoy outdoor strolls in the park or the sprawling lawns nearby.
The outdoor patio areas are a beautiful place to relax.
You can rest assured that we are here to serve you, and that you are respected and genuinely cared for. Here, you will enjoy the freedom, comfort and security you deserve.
Stafford Suites offers round-the-clock staff who are always ready to lend a hand should the need arise. In addition to our standard amenities, we offer compassionate care for those who may need assistance with daily tasks. You'll be safe and secure at Stafford Suites.
Our ice cream parlor is a popular hang out.
The residents enjoy playing bingo and cards.
The library is a favorite place to curl up and read a book.
Rooms are private and spacious with helpful staff to lend a hand.
We feature frequent musical guests and other performances.
The full-service beauty parlor is open to all residents.


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The UX Experts We'll share the magic and best practices for how to introduce your users to online verification and how to minimize the friction associated with robust identity verification.
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