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Beloved Artist-owned Space Area 405 Listed for Sale
Jonathan Monaghan, 2021 Sondheim Finalist
Taharka Brothers: It's a Teamwork Thing
New development in Station North making longtime residents and artists concerned about displacement and instability
Words: , Cara Ober
The Baltimore Business Journal reported earlier this week that Area 405, an artist-owned and -occupied community anchor of the Station North Arts and Entertainment District, has been listed for sale. The four-story, nearly 66,000 square foot industrial space located at 405-417 E. Oliver Street was put on the market by owners, according to the BBJ, and the listing names realtor Ari Azarbarzin of Cushman & Wakefield as the principal contact. The real estate listing, which became active on May 28, calls the place "Oliver Street Lofts," a name that has never previously been associated with Area 405. In the BBJ, Azarbarzin is quoted as saying, "The building is a great opportunity for any developer or real estate operator looking to capitalize on the growth of Penn Station and the greater regional connectivity along the Acela Corridor that will arise out of the redevelopment."
The owners of 405-417 E. Oliver Street, 3 Square Feet LLC, was formed in 2002 to purchase the building, and currently includes artists Stewart Watson and Jim Vose (who own a 27.16 percent share of the LLC), engineer and entrepreneur Steve Freel (27.16%), artist Monika Graves (17.7%), businessman and furniture maker Tom Witt (22.16%), and artist Daniel Sullivan (5.82%). Of the five owners, Stewart Watson has acted as the managing partner of the building, and for anyone who has interacted with Area 405 over the past fifteen years, Watson has been the main public- and community- facing member of the group.
As a studio tenant in Area 405 for two years, and after hosting events, covering Area 405 exhibitions and Alloverstreet gatherings for many years at BmoreArt, as well as curating several exhibitions there with Watson, this news was tragic–for me, and for Baltimore. However, it was even worse to learn about the sale via the BBJ, rather than directly from a representative of the building. Like the other 50 or so artists renting studios at Area 405, I still have not received any official notification from the property manager or any of the members of the 3 Square Feet LLC, and it is unclear what the plans are for the future. I reached out to all five members of the LLC and heard back from Graves and Sullivan, but they declined to answer my questions.
A phone call with Watson on June 17 revealed that she also was informed that the building was on the market through the BBJ article. Although Watson had been involved in discussions with the other members of the LLC over the past year about selling the building, including a lawsuit between members, she said that she and her husband, Jim Vose, have received no documentation from the realtor and have signed no paperwork authorizing the current listing.
The sale of the building is complicated because Watson and Vose relocated to the United Kingdom in 2019 for Vose's employment, although Watson hired a property manager to care for the gallery space and studios, a role she had previously filled. Travel restrictions prohibited her from returning to Baltimore during the pandemic, and although there were rumors of an impending sale and lawsuit between the members of the LLC, there has been no official communication between owners and tenants or with Watson and Vose. It appears that the majority of the owners have now decided to sell the building, which is their legal right.
An exhibition by Lu Zhang, an Area 405 studio artist, in the gallery, photo by Joe Hyde
The BBJ mentioned the $90 million Penn Station development project set to begin construction this summer, as well as a recent undisclosed sum from opportunity zone investor Blueprint Local as spurring development interest in the area, which is less than half a mile from the train station, with a prediction of $500 million in investments in the region.
Unmentioned was a string of recent commercial property purchases made by a Pennsylvania-based developer in the immediate vicinity of Area 405. Since December 2019, Bastogne Development Partners, a suburban Philadelphia-based firm that calls itself a "development and advisory company with extensive experience planning and delivering projects that deliver social impact, often in very challenging environments," has purchased 1801 Guilford Avenue ($1.05 million in December 2019), 325 East Oliver St. ($2.25 million in August 2020), and 401 E. Oliver Street ($1.6 million in January 2021). These purchases were confirmed at a Greenmount West community meeting on Zoom in January 2021, where a Bastogne representative said they didn't have immediate plans for redevelopment, though didn't share what plans they do have.
And that uncertainty weighs heavily on Area 405 studio tenants and Greenmount West residents who have put sweat equity into making this pocket of the Station North Arts and Entertainment District a community that now includes the Baltimore Design School, City Arts 1 and 2 apartments, the Station North Tool Library, Open Works, and a variety of smaller businesses and homes. In 2018, the Central Baltimore Partnership helped the owners secure grant funds of $200,000 to complete code upgrades in 2018, so the building has made a number of improvements for its tenants and, according to Watson, it was finally bringing in a modest monthly income.
Stewart Watson at Area 405, photo by Elena Volkova for BmoreArt Issue 01
Since December 2019, Bastogne Development Partners, a suburban Philadelphia-based firm has purchased 1801 Guilford Avenue ($1.05 million in December 2019), 325 East Oliver St. ($2.25 million in August 2020), and 401 E. Oliver Street ($1.6 million in January 2021).
Cara Ober
The Central Baltimore Partnership, an organization that promotes healthy growth and investment in specific Baltimore neighborhoods with the goal to avoid displacement, began working with Greenmount West community leaders and the owners of 405 for several months to stave off the sale of this property and, in their desire to keep Area 405 an artist-occupied space, the CBP talked to area developers, foundations, and lenders.
They ordered an appraisal of the building in spring of 2021 with Three Square Feet LLC and, for the first time in the organization's history, submitted a letter of intent to purchase the building on May 21, 2021 at the appraisal amount, which was $2.2 million. Executive director Ellen Janes says that she has not gotten any response from Three Square Feet LLC, but remains committed to their goals. By phone, Watson acknowledged that she had received the CBP offer, as did the other partners, but that no discussion of it had included her, if it occurred.
"We have worked to mobilize a team who could purchase the building and preserve the affordability of the arts studios; protect the Station North Tool Library; and attract new tenants to the first floor who would both maintain the current spirit of the building and bring new vitality to the street, neighborhood and Arts District," says Janes. In addition to facilitating ownership for artists and locals of properties in the region and securing grants for building improvements, the CBP has recently taken the Station North Arts & Entertainment District under the umbrella of their organization and plans more robust future engagement and advocacy in the district.
Given Area 405's vital role in helping build the Station North Arts & Entertainment District since its inception in 2002, it's not surprising that artists and Greenmount West residents now fear that multi-million-dollar development projects may displace a thriving arts community that calls it home.
According to Jackie Milad, a mixed media artist who has rented a space in the building since 2015, "Emailing your artist tenants before sending a press release would have been the right thing to do, a common courtesy." Milad says she will be moving out of 405 because the instability and lack of communication is adding too much stress to her life.
Milad said that she chose Area 405 for a studio because many artists she respects have studios there, the proximity to Amtrak is convenient, the rent is subsidized, and the ability to arrange studio visits to multiple artists with collectors and curators is unparalleled. On the decision to sell the building she said, "It is never simply about the artists–it is the continued and regular threat of whole-community displacement in our Black and brown city" that has become a common theme in gentrifying areas of Baltimore.
Phaan Howng, another artist who has rented a studio since 2017 and recently exhibited her work in a solo show at the Baltimore Museum of Art said the news of the sale was like "being broken up with via text message," since there has been no communication with tenants. She described her studio as "dear and amazing and affordable" and said that the building has been a great place to be, instrumental in creating giant works of art within a community that has been "one giant force."
Phaan Howng's dogs, Kiki and Ghosteye, photographed by Jill Fannon in her Area 405 Studio for BmoreArt Issue 11
Jackie Milad in her Area 405 Studio, photographed by Justin Tsucalas for BmoreArt Issue 05
As a black queer person living in Baltimore there aren't many spaces where I can do my multi-discplinary work as an artist, writer, and cultural worker to create an artistic sanctuary for collaboration... There are so few spaces like this, in Baltimore or across the country
Abdu Ali, 405 Studio Artist
Joan Mitchell award-winning sculptor Elliot Doughtie (whose 405 studio is featured on the cover of BmoreArt's most recent print journal, Issue 11), has rented a studio in the building since 2018, but says he wanted to be a "405 artist" since the first time he visited the studios in 2013. The MICA MFA graduate says, "I live in the neighborhood, so having a studio across the street is extremely beneficial for me. I also work in DC and the proximity to Penn station allows me to walk to the studio and work for an hour or two before going home, even with the lengthy commute."
Doughtie continues, "My studio set-up right now is ideal for my practice. I've made friendships with many of the artists in the building I would not have otherwise. I truly love being there and my work and career has benefited immensely because of it. I'm devastated to lose it and to have found out the way I did. It felt so cold and isolating after a relationship that was anything but for so long." Doughtie explains that the tenant-landlord relationship he had with Watson has been special, and that she helped him to find a space that truly fit his needs, at a price point that has allowed his practice to grow and achieve a national level of acclaim. "I wouldn't have been able to grow as I have without that," says Doughtie. "My time at 405 will always be a very pivotal time in my career. I don't know what I will do when I have to leave."
Abdu Ali, photo by Elliott Jerome Brown, Jr.
Abdu Ali, a 405 studio artist and a globally known and award-winning avant-garde electronic musician, writer, and multidisciplinary artist who has performed at MoMa Ps1, The Baltimore Museum of Art, and The Kennedy Center, says, "As a black queer person living in Baltimore there aren't many spaces where I can do my multi-discplinary work as an artist, writer, and cultural worker to create an artistic sanctuary for collaboration, especially in the As They Lay curatorial platform I founded… I had been looking for a studio space for years but was never able to find one that fit all the things that I do."
"I love Stewart so much because she gave me the perfect studio and it was affordable," says Ali, but that the announcement of the sale of the property without notifying the artists who rent there was a huge disrespect from the LLC who listed the property. "With this space possibly not being mine in the future, this creates so much anxiety. Artists are tired because we do everything, in addition to doing our actual artwork and we need Area 405, not just for the artists who work there, but for its ability to nurture talent in this city because there are so few spaces like this, in Baltimore or across the country." Ali says they feel that the future of their career and ability to make an income, as well as the future of the community, is looking unstable and unsustainable because of the sale of 405.
According to Ali, the collective success centered in the Greenmount West area is proof that artists are one of the city's most valuable assets, but that the entirety of the weight of this labor and economic insecurity falls upon artists. "We have these arts institutions and City Hall and they love to praise our work, but they are not doing enough to make sure artists in Baltimore are able to have careers that are thriving," says Ali. "We need resources and economic opportunities and affordable studios, which are scarce. This needs to be corrected, but not by the artists. We do too much of the work already and we are tired. If we are truly what makes Baltimore special, we deserve respect and support and investment."
Stewart Watson next to the Area 405 bar area in the gallery, photo by Elena Volkova for BmoreArt Issue 01
Artists do too much of the work already and we are tired. If we are truly what makes Baltimore special, we deserve respect and support and investment.
Abdu Ali
Greenmount West homeowner Amber Eve Anderson says that she suspected Area 405 might go on the market after learning that 325 Oliver Street sold for $2.1 million to Bastogne Development Partners earlier this year at a Greenmount West community association meeting. "The strength of both GWCA and the arts was a big draw for me to buy a house in this neighborhood, and I'm concerned that capital interests will ultimately outweigh community interests. I would love to see a local foundation invest in the property so that the Tool Library can continue to thrive."
Adam Kutcher, a Greenmount West resident and Chair of the Greenmount West Land Use Committee Association who is also a proud Tool Library member, expressed the huge and lasting significance of the space to community members saying, "Both physically and spiritually, 405 is the heart of the Oliver Street corridor of the Station North A&E in Greenmount West. It's where creative and makers are. It cannot be overstated how much the residents of 405, and what they have created, has added to the neighborhood and the city."
For Kutcher and others, especially young artists who rent studios and apartments in the area, Area 405 and the Cork Factory are aspirational examples of achievement for artists, and "an inspiration for how a current generation of artists would like to realize their future in Baltimore." Kutcher says he has been a part of many conversations with artists in the community, especially those living at the Copycat building, about how Area 405 and the Cork Factory, both artist-owned, came to exist as a product of collective ownership. "Owning your destiny in a changing city, and the creative freedom that comes from owning your own building is a model so many artists want to replicate," he says. "Losing 405 is not just a tactical loss for the community, it's a loss of inspiration for the next generation."
Area 405 Real Estate Flyer
It cannot be overstated how much the residents of 405, and what they have created, has added to the neighborhood and the city.
Adam Kutcher, Chair of the Greenmount West Land Use Committee Association
This community presence of artists living and working together to achieve a collective success has largely been the most valuable aspect of Baltimore's A&E districts, which are state-designated but offer few state or city funded financial incentives or support for artists to buy and own property in these regions. It's long been a cliche that artists are the first wave of gentrification, and after they invest their energy into an affordable and often challenged part of town, that real estate development follows, and then the artists are displaced. Until now, Baltimore has not fit this sad pattern because we have not had the influx of money to interrupt the slow, steady, organic growth pattern over the past two decades in Greenmount West, where occupancy rates have soared and maker spaces, schools, and even a brand new brewery (Guilford Hall) have been established.
However, in Baltimore's Station North A&E district as a whole, real estate developers have often brought blight to the district by purchasing vacant properties and leaving them empty, while artists have brought value to these regions through their vision, labor, and sweat equity which has brought stability and opportunity. In Baltimore, the power of uniting artists together in designated areas has proven to be powerful in building a creative community, but without strategic resources for artists, this is unstable, essentially a cultural interlude in the cycle of real estate neglect and investment.
For anyone not familiar with Area 405, it's difficult to explain the magnitude of its presence without considering its origin story. In 2015, when BmoreArt published its first print journal, Bret McCabe wrote about how 405 came into existence: "In 2002, Watson, Vose, and the Three Square Feet LLC, bought the 405 E. Oliver property, and began the long, hard journey of converting it into a mixed-use arts space." He explained that the Station North Arts & Entertainment District was established after they purchased the building, a happy coincidence.
Heading back even further, McCabe wrote, "sculptors Stewart Watson and James Vose had spent the better part of the 1990s living in warehouse spaces and being priced out of them. By 1998 they began looking for a place to buy where they could both live and work. They thought they found one in a large, old factory located at 405 East Oliver Street in the Greenmount West neighborhood, but bank after bank—12 in all—turned down their loan application. Yes, the loan officers would tell them, they financially qualify, but the bank wasn't going to lend them money to purchase this building in that neighborhood." Although redlining worked against them, Vose and Watson persevered and eventually got that loan and others to fix up the building, which they did for the first thirteen years of its existence with zero city, state, or federal grant support.
The Art of Caring, an annual benefit for CASA Baltimore hosted at Area 405
Airplane by Sarah Doherty, exhibited in CASA auction and fundraiser, 2016
In cities across the US, artists and others who invest early in struggling communities are displaced by higher wealth investors who are attracted to the vibrant areas the artists help create. This happens so frequently it is considered inevitable. But it is not inevitable. We have a chance to interrupt that pattern. We have what we need to do it: an active arts community, a strong neighborhood association, a concerned philanthropic and lending community, a city committed to equity, and flexible State resources.
Ellen Janes, Executive Director of the Central Baltimore Partnership
Before it was purchased by Three Square Feet LLC, the building at 405-407 E. Oliver Street sat vacant for nearly twelve years. The only reason Watson found the building was because she saw an old For Sale sign on it. "She asked her real estate agent about it, and he assured her she wouldn't want to see it," McCabe wrote. "It was enormous and full of junk. He'd never shown it to anybody. The only reason she even considered looking at a place so large was because she had no luck finding a smaller space. In the late 1990s, early 2000s, most 5,000-to-10,000 square feet buildings were being picked up by dot-com start-ups that didn't quite survive the decade." However, once Watson and Vose got inside, they knew this building was the one.
Fifteen years later, after hundreds of exhibitions, fundraisers, community events, dinners, Area 405 has been listed for sale, a decision made by four partners, with Watson and Vose a dissenting minority of the LLC. We don't know what will happen to the building, and the blithe, commercial language in the real estate listing completely negates the role and power that this building has played as an arts hub for the past fifteen years, how beloved this place is because hundreds, if not thousands of people, have been welcomed into a building that has offered freedom, hospitality, creativity, and an authenticity that is palpable. This role cannot be erased, as the understanding of the vital importance of this building is shared by thousands. Across the city and country, Area 405 is known as a beacon of hope for what artists are able to accomplish if they work together and it has been truly, genuinely, and generously available to anyone who needed it.
The Central Baltimore Partnership's message about the sale offers some hope to artists, community members, and potential real estate investors: "Now that the building is on the market, the CBP is ready to work with a potential buyer who shares this mission, or has another plan that the community supports." Janes said there are many equitable models they can follow and they're interested in any viable and sustainable plans and it would be ideal to preserve the current look and feel of the space, keeping the entire first floor "as a vibrant, diverse, and affordable hub for the arts that is done with minimal alterations to these spaces" and the upper floor studios would be maintained with "minimal disruption."
"To make this preservation sustainable would require that other areas of the building generate income that could sustain these uses and we are hoping to work with a new owner who can make that happen in a way that respects the legacy tenants, the building and the neighborhood," says Janes.
"In cities across the US, artists and others who invest early in struggling communities are displaced by higher wealth investors who are attracted to the vibrant areas the artists help create," says Janes. "This happens so frequently it is considered inevitable. But it is not inevitable. We have a chance to interrupt that pattern. We have what we need to do it: an active arts community, a strong neighborhood association, a concerned philanthropic and lending community, a city committed to equity, and flexible State resources." Currently, the CBP has an opportunity to create a new model that includes both artists and real estate investors respectfully and equitably, a model that doesn't exist anywhere else in the country.
In contrast, the sales description says nothing about equity or artists. Instead, "Future ownership has the rare and immediate opportunity to reposition the property as a live-work community greatly increasing the existing multifamily density, while preserving the property's artistic heritage and community presence," citing the growth and investment around Penn Station an obvious and easy investment to capitalize on.
In this instance it is easy to see the potential for investment in Baltimore's Greenmount West neighborhood, especially after two decades of investment from artists and designation as an arts and entertainment district. Baltimore needs so much investment. However, it is infinitely more difficult to make a visionary investment when a neighborhood is perceived as less than desirable, the way Watson and Vose and their Three Square Feet partners did back in 2002 when they had to apply a dozen times to get approved for a mortgage in a neighborhood that was home to the Copycat artist housing/studios and a lot of abandoned warehouses and unoccupied homes.
While the visionary action of Three Square Feet LLC has proven to be transformative in this neighborhood and helped to make Greenmount West into the active, desirable, and stable part of town it is today, the eventual economic success of the region, contingent upon the city's Penn Station investment, is actually making it difficult to maintain ownership of this important community building.
Back when he wrote about 405 in 2015, Bret McCabe could not have predicted the decision to sell this property, which is so much more than a piece of real estate to thousands of people whose lives it has touched. "Now, it's possible that anybody who walked into the place could've recognized its potential," he wrote. "The thing is, nobody else did. Two artists saw a possibility."
"From the moment they started looking for a space in the late 1990s they had ideas for wherever they landed, including some kind of public component," wrote McCabe. "The size of the building meant they had to think a little bigger—hence the ambitious scope of Area 405, the insistence to try to maintain affordable rents and safe spaces in the Oliver Street Studios, the attending neighborhood meetings and advocacy and advising on projects such as the City Arts buildings and the Baltimore Design School. Having affordable spaces to retain artists in Baltimore is one step. Building audiences and finding ways to support those artists is another. And that process takes open communication and careful nurturing."
In the case of listing Area 405 for sale, the communication part is clearly missing with the surrounding community and the artists who rent studios in the space, and the reason for this lack of communication is as unclear as the future of the building.
According to the Baltimore Neighoborhood Indicators Alliance, the city has more than 16,000 vacant buildings and 14,000 vacant lots for a total of around 30,000 vacant properties and more than 75% of all vacant properties in Baltimore City are privately owned. In some neighborhoods the vacancy rate is as high as 30%. Within this context, it would be an even greater tragedy for a developer to purchase Area 405, a fully occupied building in the heart of an arts district, a structure teeming with artists achieving success and bringing investment to the area, only to return it to a state of blight and disrepair.
There are already so many developer-owned vacant buildings in the Station North A&E, sitting fallow and waiting for eventual investment. What Baltimore needs are more artists who are willing to invest their ideas, time, and resources into buildings and the diverse, verdant, and generative communities that build our city into a unique and rich environment for creative people and more individuals like Janes and Kutcher, working as advocates for art communities in allocating the necessary resources to keep arts districts stable. What Baltimore City needs, as Abdu Ali says, is to properly invest in the artists who are making this city special and to put pressure on landlords of unoccupied buildings, especially in arts districts, to sell or renovate.
"In the larger context, Area 405 looms large for what happens on Oliver Street for the A&E district," says Kutcher. "There are great opportunities there and we know that large old industrial buildings need investment beyond what DIY groups can provide in order to really thrive. Recognizing that need and yet, there's a path that could be out there to both realize investment in the building as well as the preservation of what the building means to the A&E district and to Baltimore. I am hopeful for a solution that provides an influx of capital and preserves use."
BmoreArt's Picks: January 31 – February 6
The best weekly art openings, events, and calls for entry happening in Baltimore and surrounding areas.
This Week: Tahir Hemphill at UMBC CIRCA, Larry Poncho Brown and CJay Phillip in conversation at Motor House, Greedy Reads and Fadensonnen host HIDDEN PLACE at Fadensonnen, Lee Boot virtual artist talk presented by The Peale, Blackscope Cinema Series: Hargrave at Creative Alliance, and more!
, Rebecca Juliette — January 31, 2023


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The Devils Glen
The Devils Glen - 4 Things to Know Before Visiting
The Devils Glen, Ballymaghroe, Co. Wicklow, Ireland
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About The Devils Glen
Discover More Attractions in Wicklow
The Devil's Glen boasts a dramatic landscape that was fashioned at the end of the Ice Age when the melt waters of the ice sheet created the valley. The resultant gorge affords a swift decent for the Vartry River as it makes its way from the Vartry Reservoir to nearby Ashford village. The site hosts a mixture of broad leaf and conifer forest with fine stands of beech, Spanish chestnut and ash.
Attractions Near The Devils Glen
The Devil's Glen Waterfall1.39km from The Devils Glen
Devil's Glen waterfall is located in wicklow, Ireland. Usually an hour or less driving from Dublin. This place is an ideal one to have a day trip. The Devil's Glen boasts a dramatic landscape that was fashioned at the end of the Ice Age when the melt waters of the ice sheet created the valley. The site hosts a mixture of broad leaf and conifer forest with fine stands of beech, Spanish chestnut and ash.
Mount Usher Gardens3.28km from The Devils Glen
Mount Usher is recognised at home and abroad as one of the earliest and finest examples of a 'Robinsonian' garden. Extending to 22 acres, it combines a champion collection of trees and shrubs with inspirational floral planting schemes along both sides of the River Vartry. It feature water as an essential part of the scenery, with cascades and suspension bridge visible from many sections. Winding paths lead visitors on a journey through groves and glades and on to the river banks.
Victor's Way8.29km from The Devils Glen
Victor's Way, located near Roundwood, County Wicklow, Ireland, is a privately owned meditation garden notable for its black granite sculptures. Covering 22 acres, the park includes a series of dancing figures of Ganesh, Shiva, and other Hindu deities. Most of the park's statues are made of black granite, with some in bronze and range in height from 1.5m to 4.9m.
Trooperstown Hill8.68km from The Devils Glen
Trooperstown Hill is a summit in County Wicklow and has an elevation of 432 metres. Trooperstown Hill is situated east of Ballard, southeast of Paddock Hill. Its trail features beautiful wild flowers and is rated as moderate. The trail is primarily used for hiking and walking.
Wicklow Gaol8.93km from The Devils Glen
A former prison located in the town of Wicklow, County Wicklow, Ireland. The prison was closed down by 1900 but reopened to hold republican prisoners during the Irish War of Independence and Irish Civil War; the last prisoners left in 1924. It was now a museum claiming to be one of the world's most haunted buildings, due to the long history of suffering associated with it. The prison was featured on a 2009 episode of Ghost Hunters International.
Black Castle9.17km from The Devils Glen
On the eastern outskirts of Wicklow Town on a rock above the sea lies the ruin of Black Castle. Only a few fragments of the wall remain of the castle built by the Normans at the end of the 12th century. It stands on a rocky promontory over the sea, at the eastern side of the town. Following the arrival of the Norman's in 1169 Earl Strongbow was granted the lands along the East Coast. He in turn granted those lands to Baron Maurice Fitzgerald on condition that he build castles for protection.
Where is The Devils Glen
Discover More Attractions in Wicklow, Where The Devils Glen Is Located
County Wicklow is a county in Ireland. The last of the traditional 32 counties, having been formed as late as 1606, it is part of the Mid-East Region and the traditional province of Leinster. It is bordered by the Irish Sea to the east and the counties of Wexford to the south, Carlow to the southwest, Kildare to the west, and Dublin to the north.

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Home / Hotel / Renaissance Bengaluru Race Course Hotel Installs EV Charging Station at the property for green travellers
Renaissance Bengaluru Race Course Hotel Installs EV Charging Station at the property for green travellers
National, November 2022: Electric charging stations have become an everyday reality in the land-scape of the roads. With our country continuing to transition to electric vehicles, we have all become aware of the environmental and
National, November 2022: Electric charging stations have become an everyday reality in the land-scape of the roads. With our country continuing to transition to electric vehicles, we have all become aware of the environmental and economic benefits of electric vehicles. Ministry of Heavy industries formulated the Faster Adoption and Manufacturing of Hybrid & Electric Vehicles in India (FAME IN-DIA) scheme in 2015 to promote the usage of EVs in India. With the current implementation of FAME-2, the scheme focuses on supporting the adoption of public and private Electric vehicles.
Marriott International recently partnered with CHARGE ZONE to deploy 100 EV charging stations across all its properties in India which will help in reducing carbon emissions.
Taking a step towards sustainability, Renaissance Bengaluru Race Course Hotel has installed an EV Charging station at the property this month and has initiated conversion towards an EV fleet as a part of the initiative by Marriott's commitment to sustainable operations and creating an Electric Vehicle (EV) charging infrastructure around their hotels. Renaissance Bengaluru Race Course Hotel aims to meet the fast-growing demand of EV users travelling to Bangalore. By providing this facility, hotels can attract more guests, appeal to desirable high spending customers and establish the brand as a sustainability leader which eventually helps in improving the bottom line.
CHARGE ZONE installed the Fast DC 60kW/120kW Charging Station with Dual Charging Guns that are designed to charge e-4w. The charging stations will be open to the public.
Earlier, such technologies costed a fortune, however times have changed and with more technologi-cal advancements, both cost and maintenance have been reduced. Running on clean energy source, these vehicles are eco-friendly and reduce carbon footprint thus positively affecting the economy. By embracing such technology, Marriott International and Renaissance Bengaluru Race Course Hotel only strives towards making this planet a cleaner and safer place to live.
"Sustainability is the core of all that we do at Renaissance Bengaluru and the market for electric vehicles has been increasing rapidly. We are witnessing a major paradigm shift across the world. Travellers are so well informed about going green and hotels practicing sustainability; we had to take this initiative of in-stalling EV Charging Station. Renaissance Bengaluru has achieved a new milestone by completing 5 years in the industry with determined devotion in-providing best in class experiences to their patrons and has successfully established the brand as a preferred Hotel for travelers as well as a preferred workplace for associates. The year 2022 has been a memorable journey with the installation of the EV Charging Stations and promising to deliver the best possible hospitality to its patron and through this initiative. We aim to move closer towards the goal of creating an Electric Vehicle (EV) charging infrastructure and revolutionize the country's transportation system."
Manisha Sharma, General Manager, Renaissance Bengaluru Race Course Hotel
About Renaissance Bengaluru Race Course Hotel:
Indulge in the unrivaled luxury of the 5-star ac-commodations at Renaissance Bengaluru Race Course Hotel by Marriott International. Nestled in Bengaluru's Central Business District, the Garden City hotel offers a wealth of amenities just 500 me-ters away from the iconic Bangalore Turf Club. The hotels' prime location is also situated near the Majestic, MG Road, the Indiranagar shopping/nightlife hub and the Bangalore Palace Grounds. After exploring local attractions, pamper yourself with the hotel's on-site spa services or exercise in the fitness center. In the evening, enjoy delicious cuisines in our on-site restaurants & chic bars before retreating to luxury hotel rooms or suites. Unwind with premium in-room amenities, plush bedding and complimentary high speed Wi-Fi. If visiting for event planning reasons, take advantage of the hotels' sophisticated venues with modern technology, expert catering services and professional planning services.
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The Swedish Association of the Visually Impaired, was one of the many DPOs that started the nonprofit project which later became Funka. Over the years we have had collaborations and projects at different levels, and in the autumn a long-term cooperation agreement on digital development work with focus on accessibility was signed.
Naturally, it is Funka's focus on accessibility that makes the association turn to us when they want to shift their digital communication into a higher gear.
We have found that most generalist suppliers of IT services rarely have consultants with a high level of accessibility knowledge. This can create problems for us when we require support for our specific needs, says Boris Samuelsson, Communications Manager at the Swedish Association of the Visually Impaired. Our hope is that Funka, whose body and soul lie in accessibility, will give us exactly the long-term stability of the digital development work that we need. Our strategy is to make sure our partner can deliver accessibility first hand, and that they rather take in additional skills on other subjects from other suppliers, if needed.
What happens in the collaboration right now is an upgrade of the main website and also to find efficient forms of cooperation for administration and further development of the website. One interesting challenge is to create an accessible publishing environment for the blind web editors who use screen readers in their everyday work.
It feels great to work with this association, says Johan Kling, Head of Quality and Consultancy at Funka. In this assignment we have got the privilege of solving extremely important issues for people with real needs.
An increased digital presence also raises a number of other accessibility issues, not least in terms of alternative formats. That is another area in which Funka has long experience of providing constructive solutions for many of our clients.
The biggest challenge regarding web accessibility for us is to be at the forefront and to take on new technological opportunities while at the same time being straight forward and educational for those who do not use all the new opportunities. A survey we recently conducted also shows that about 25% of our members do not use the internet. It raises the question of how much of our total information we can have only on the web for example, without simultaneously providing alternative ways to access that information, concludes Boris Samuelsson.


"Assignment of muscarinic receptor subtypes mediating G-protein modulat" by Mark S. Shapiro, Michael D. Loose et al.
There are five known subtypes of muscarinic receptors (M1–M5). We have used knockout mice lacking the M1, M2, or M4 receptors to determine which subtypes mediate modulation of voltage-gated Ca2+ channels in mouse sympathetic neurons. Muscarinic agonists modulate N- and L-type Ca2+ channels in these neurons through two distinct G-protein-mediated mechanisms. One pathway is fast and membrane-delimited and inhibits N- and P/Q-type channels by shifting their activation to more depolarized potentials. The other is slow and voltage-independent and uses a diffusible cytoplasmic messenger to inhibit both Ca2+ channel types. Using patch-clamp methods on acutely dissociated sympathetic neurons, we isolated each pathway by pharmacological and kinetic means and found that each one is nearly absent in a particular knockout mouse. The fast and voltage-dependent pathway is lacking in the M2 receptor knockout mice; the slow and voltage-independent pathway is absent from the M1 receptor knockout mice; and neither pathway is affected in the M4 receptor knockout mice. The knockout effects are clean and are apparently not accompanied by compensatory changes in other muscarinic receptors.
Shapiro Mark S., Michael D. Loose, Susan E. Hamilton, et al. 1999. "Assignment of muscarinic receptor subtypes mediating G-protein modulation of Ca2+ channels by using knockout mice." Proceedings of the National Academy of Sciences 96(19): 10899-10904.


seem to be a export function in the program. Any ideas.
Is there a print function? Maybe you could try printing to a file.
There is a print option. But he wants to import it into a larger database and does not want to type in thousands of entries.
Once you print to a file, you need to write something to read the data from that file and transfer it into the new program. Being a DOS program the data is probably not stored in an SQL database. If it was, you might be able to use one of the database programs to import the data.
I'm thinking that getting it "printed" to a file would at least get the raw data available as plaintext. then you drag that file into a decent text editor and you can figure out a way to comma delimit the data with a search/replace function or macro to make it easier to import into a modern database.
It may be easier to post the program+data files somewhere where we can see it to offer better advice, assuming the data isn't private of course.


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text:
Review: Seven Flowers at City Recital Hall
By Priscilla Issa
Internationally acclaimed percussion ensemble, Taikoz, took listeners on a journey through Zeami Motokiyo's 15th Century treatise Fushikaden. This stunning production, Seven Flowers, explored the seven 'ages' of the artist, beginning with the First Flower at age 7 and concluding with the Seventh, "The place where nothing is done". Despite the historical nature of the text, Artistic Director Ian Cleworth captured the transcendental experiences of artists as they move through the various stages of creativity. Cleverly, Cleworth sought to feature Taikoz members as soloists if they represented a 'stage'; these artists were given a chance to express their experiences, ideas and passions.
The result was spectacularly executed rhythms, unbelievable control, wistful and languid melodies, complete and utter professionalism, and a raucous standing ovation. The production also involved impressive and seamless combinations of music and movement to highlight the artists' expressions and synchronicity. I have not, to date, attended a more near-perfect production!
The pulsating energy of the production began with Cleworth at the drum, exploring a range of cross-rhythms and brush strokes to foreshadow the intensity of the stages to come. The platform was then graced with the sweet tones of Sydney Children's Choir singer, Eva Ancher, who courageously filled the recital hall with the sound of innocence and wonder. Zara Luong and Taiki Kendrick followed with the vibrant and enthusiastic sounds of 12–18 year-old creative free-spirit. They commendably captured the descriptors, 'Flower f the moment' and 'Flower Lost'. A highlight was Claudia Wherry's and Hirotaka Ran's depiction of the 24-25 year-old artist. The explosive dynamism between the two was paramount; the precision and duet awareness, amidst the intricacies of the complex rhythmic groupings and constantly changing metres, was mind blowing to say the least. At this stage, an artist's voice has already improved, and their physique established. An artist begins to stand out in the eyes of others, and observers usually note the exceptional skill. Motokiyo calls this the "Two Blessings". The refinement and grace exuded during the Fifth and Sixth Flower performances, showcased the soloists' poise and mastery over their instruments. It was almost as though performers were exuding an effortlessness in their playing. It was no surprise that the audience reacted with utter bewilderment at the panache delivered on stage; this is a testament to hours of meticulous practise. There was a definite stillness and contemplation during Riley Lee's performance of the Seventh Flower. 'The place where nothing is done' signifies an artist's resolution that they have exhausted their creative passion, but that despite its wilting petals, the flower remains.
Seven Flowers featured an impressive production design put together by Bart Groen, Emma Hack and Sophie Pekbilimli. The design incorporated seven suspended drum skins and a double helix which reflected the various stages and the deeply humanistic experiences. The aural and visual artistry and overhead drops were enhanced by projections and non-traditional lighting techniques, indicative of the natural elements: fire, water, earth and wind.
This production is worthy of 5-stars. Taikoz stretched the imagination of audience members, young and old, in what can only be described as a spellbinding journey through time and place.
Image Supplied
Review: Humans 2.0 at Carriageworks (on Gadigal Land)
Review: Sunshine Super Girl at Sydney Town Hall
Review: The [Uncertain] Four Seasons at The Headland at Barangaroo Reserve (on Gadigal Land)


Tyler Nelin singled to center field.
CONSTANTINI, Austin singled to right field.
SORRELS, Peyton singled to left center; CONSTANTINI, Austin advanced to second.
Daniel Brooks singled to pitcher, advanced to third on an error by 3b.
Tyler Nelin doubled to left center.
Trevor Kelly reached first on a throwing error by 3b, advanced to second.
DUDECK, Brian singled to third base, advanced to second on a throwing error by 3b; FASO, Ben scored.
Frank Sturek singled to left field.
Frank Sturek advanced to second on a passed ball.
Tyler Nelin singled to left field, advanced to second on the throw, RBI; Frank Sturek scored.
Trevor Kelly reached first on an error by 3b, advanced to second on the throw.
Michael Smith tripled down the rf line, RBI; Trevor Kelly scored, unearned.
Daniel Brooks singled to pitcher, bunt, RBI; Michael Smith scored.
Alejandro Aponte singled through the left side; Daniel Brooks advanced to second.
Frank Sturek singled to right field, RBI; Alejandro Aponte advanced to third; Daniel Brooks scored.
JANSS, Erik to p for RAY, Jackson.
Tyler Nelin reached first on a fielding error by ss, RBI; Alejandro Aponte scored.
FASO, Ben singled to third base.
GUCKIN, Ryan singled up the middle; FASO, Ben advanced to second.
MCGOWAN, Kevin singled through the left side; GUCKIN, Ryan advanced to second; FASO, Ben advanced to third.
ARNOLD, Chase walked, RBI; MCGOWAN, Kevin advanced to second; GUCKIN, Ryan advanced to third; FASO, Ben scored.
Greg Popatak homered to left field, RBI.
Austin Cabone to p for Bryce Nightengale.
RIVERA, Yan Carlo singled through the left side.
Frank Sturek homered down the lf line, RBI.
Tyler Nelin hit by pitch.
SCANLON, Colin to p for JANSS, Erik.
MARTINEZ, Sebastian to p for SCANLON, Colin.
Trevor Kelly singled to right field.
Greg Popatak walked; Trevor Kelly advanced to second.
Daniel Brooks walked; Greg Popatak advanced to second.
Alejandro Aponte singled through the right side, RBI; Daniel Brooks advanced to second; Greg Popatak advanced to third; Trevor Kelly scored.
Frank Sturek walked, RBI; Alejandro Aponte advanced to second; Daniel Brooks advanced to third; Greg Popatak scored.
JENKINS, Niko to p for MARTINEZ, Sebastian.
ARNOLD, Chase doubled to left center.


Sandberg Powerbank 20000 for Laptop is a powerful backup battery for your laptop. Attach the included adapter suited for your laptop, and you are ready to charge your laptop from the powerbank. Depending on the power consumption of your laptop, the work hours on your laptop will be extended by up to 6 hours - without the need of a mains power socket. This Powerbank even features a USB port to charge your mobile USB device such as a smartphone, a tablet or a digital camera.
Backup power for your laptop.
NOTE: Make sure to check the power consumption of your laptop in advance of the purchase. If the power consumption of your laptop is higher than 3.5A for 19V and 20V / 4.2A for 12V and 16V, it won't be compatible with this powerbank.
List of supported laptop models.


Beeline Design. News from the hive.
The premier issue of Easy Living, Spring Creek's eNewsletter was released to over 8,000 subscribers, had a 27.4% open rate, and received 136 additional views from social media exposure. The monthly electronic publication will feature all the latest happenings within the community as a source of information for residents, Spring Creek Golf Club members, and folks interested in learning more about life in Spring Creek.
24 full color pages highlight the latest Piedmont innovations and the partnerships we've fostered to create an unmatched product.
Shenandoah Independent Practice Association (SIPA) is pleased to announce the launch of their new interactive, highly user-friendly website. The group of community-based physicians comprised of more than 100 primary care and 200 specialty physicians required a website that offers a wealth of information, including a comprehensive listing of its physician members, office locations, hours of operation, insurances accepted, group membership information, and means of contact.
"We are very pleased with this new way to connect with the community through a web presence. It's a great opportunity to effectively communicate and partner with patients to offer the best in comprehensive, community-based health information," said Connie Heard, Executive Director of Shenandoah IPA.
Bank of Clarke County (BCC) developed their website over twelve years ago and acknowledged the need to develop a completely redesigned 44-page web campaign that would offer clean navigation and design with a good balance of white space. BCC wanted to incorporate several account matrices, online banking login on every page, an interactive banner featuring Bank of Clarke County customers, an interactive map highlighting BCC branch and ATM locations, and a Flash/PHP form on the Contact page.
Beeline worked closely with the senior board members at Commonwealth Emergency Physicians (CEP) to develop a new brand for their practice. CEP provides emergency medicine services for two emergency departments at Inova Loudoun Hospital in Landsdowne, Virginia and the Leesburg Emergency Campus on Cornwall Street. With a 91% increase in patient volume since 2001, CEP has successfully maintained a superior employee retention rate and received patient satisfaction scores exceeding the national average. CEP offers the opportunity to work and live in a thriving, energetic environment.
Shenandoah Independent Practice Association (SIPA) was formed in 1994 by a group of community-based physicians to offer an expanded level of benefits for our patients. By acting together as a group, SIPA members work more effectively with insurance companies, resulting in a more comprehensive level of patient care. The group decided after fourteen years of working without a corporate brand, they needed to develop a logo that their audience could identify and understand the organization's mission on their patients' behalf. The final logo incorporates a symbol representing the mountainous landscape of the regions SIPA supports.
Digital Media Enterprises (DME) is currently working on Phase II of the organization's web presence with an anticipated launch in early 2009.
Berryville Main Street was awarded the 2008 Award of Excellence from the Virginia Downtown Development Association (VDDA) in its Business Development, Promotion and Marketing category. According to VDDA, the award recognizes excellence in promoting and developing programs of revitalization organizations. Beeline Design Inc. worked closely with Kate Petranech and Jeanne Krohn, Berryville Main Street Board of Directors to deliver the new identity in the fall of 2006. The new branding includes a rooster, representing Berryville's rural heritage and emphasizes Berryville as the central gathering place in the rural community of Clarke County. "Now that we've gotten our identity established, we have more presence and visibility," Krohn explained. Beeline developed the stationery and newsletter design template for Berryville Main Street to maintain and update for upcoming issues.


NEW YORK, Sept. 21 -- President Obama extended his media blitzkrieg into late-night television Monday, becoming the first sitting commander in chief to appear on "Late Show With David Letterman." Obama was the only guest of the night.
-- "Something to do with that whole cash for clunkers deal."
-- "We told him Megan Fox would be here."
-- "Said yes, without thinking, like Bush did with Iraq."
But the No. 1 answer: "Wanted to congratulate Dave on the big Emmy win."
On Sunday, Letterman saw the Emmy for best variety, music or comedy series go -- for the seventh straight time -- to Jon Stewart's "Daily Show."
Obama's appearance was largely serious. Letterman asked about Afghanistan, the economy and health care.
Is it true, he asked Obama, that racism fuels the hatred against him? "First of all, I think it's important to realize that I was actually black before the election," Obama deadpanned.
"How long have you been a black man?" the host chimed in.
But the star might have been an audience member from Missouri named Mary Apple. Before Obama arrived, Letterman had made fun of Apple for bringing a heart-shaped potato -- the same wrinkly one she had brought to Letterman's show two years earlier.
"The main reason I'm here -- not any of those Top 10 lists -- I want to see that heart-shaped potato," Obama said when he came out.
Letterman motioned to the woman to throw him the potato, then gave it to Obama.
"Well, thank you so much for sharing," the president said.
"Yes, it's all yours, congratulations," Letterman said as Obama slid the potato into his pocket. "If only the job was this easy."


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Not suitable for vegetarians and vegans as contains fish oils.
Take 1 - 2 capsules per day with food or without food.
Do not use if suffering from epilepsy.


text:
#include <linux/slab.h>
#include <linux/mm.h>
#include <linux/vmalloc.h>
#include <sound/memalloc.h>

/* table entries are align to 32 */
#define SGBUF_TBL_ALIGN		32
#define sgbuf_align_table(tbl)	ALIGN((tbl), SGBUF_TBL_ALIGN)

int snd_free_sgbuf_pages(struct snd_dma_buffer *dmab)
{
	struct snd_sg_buf *sgbuf = dmab->private_data;
	struct snd_dma_buffer tmpb;
	int i;

	if (! sgbuf)
		return -EINVAL;

	tmpb.dev.type = SNDRV_DMA_TYPE_DEV;
	tmpb.dev.dev = sgbuf->dev;
	for (i = 0; i < sgbuf->pages; i++) {
		tmpb.area = sgbuf->table[i].buf;
		tmpb.addr = sgbuf->table[i].addr;
		tmpb.bytes = PAGE_SIZE;
		snd_dma_free_pages(&tmpb);
	}
	if (dmab->area)
		vunmap(dmab->area);
	dmab->area = NULL;

	kfree(sgbuf->table);
	kfree(sgbuf->page_table);
	kfree(sgbuf);
	dmab->private_data = NULL;

	return 0;
}

void *snd_malloc_sgbuf_pages(struct device *device,
			     size_t size, struct snd_dma_buffer *dmab,
			     size_t *res_size)
{
	struct snd_sg_buf *sgbuf;
	unsigned int i, pages;
	struct snd_dma_buffer tmpb;

	dmab->area = NULL;
	dmab->addr = 0;
	dmab->private_data = sgbuf = kzalloc(sizeof(*sgbuf), GFP_KERNEL);
	if (! sgbuf)
		return NULL;
	sgbuf->dev = device;
	pages = snd_sgbuf_aligned_pages(size);
	sgbuf->tblsize = sgbuf_align_table(pages);
	sgbuf->table = kcalloc(sgbuf->tblsize, sizeof(*sgbuf->table), GFP_KERNEL);
	if (! sgbuf->table)
		goto _failed;
	sgbuf->page_table = kcalloc(sgbuf->tblsize, sizeof(*sgbuf->page_table), GFP_KERNEL);
	if (! sgbuf->page_table)
		goto _failed;

	/* allocate each page */
	for (i = 0; i < pages; i++) {
		if (snd_dma_alloc_pages(SNDRV_DMA_TYPE_DEV, device, PAGE_SIZE, &tmpb) < 0) {
			if (res_size == NULL)
				goto _failed;
			*res_size = size = sgbuf->pages * PAGE_SIZE;
			break;
		}
		sgbuf->table[i].buf = tmpb.area;
		sgbuf->table[i].addr = tmpb.addr;
		sgbuf->page_table[i] = virt_to_page(tmpb.area);
		sgbuf->pages++;
	}

	sgbuf->size = size;
	dmab->area = vmap(sgbuf->page_table, sgbuf->pages, VM_MAP, PAGE_KERNEL);
	if (! dmab->area)
		goto _failed;
	return dmab->area;

 _failed:
	snd_free_sgbuf_pages(dmab); /* free the table */
	return NULL;
}

redpajama_set_name: RedPajamaGithub


text:
COMMONWEALTH vs. BRIAN BONNER.
Present: KASS, FINE, & GILLERMAN, JJ.
At the jury-waived trial of a defendant charged with indecent assault and battery on a child under the age of fourteen, the judge acted within his discretion in denying the defendant's motion for sequestration of witnesses, thereby permitting the mother and father of the victim, who was fourteen years of age at the time of trial, to remain in the courtroom with him. [473-476]
At the jury-waived trial of a criminal case, no prejudice was shown to have resulted from the judge's allowing certain inadmissible testimony. [476-477]
COMPLAINT received and sworn to in the Westfield Division of the District Court Department on April 23, 1990.
The case was heard by Philip A. Contant, J.
Thomas Lesser for the defendant.
Ellen Berger, Assistant District Attorney, for the Commonwealth.
GILLERMAN, J. Following a jury-waived trial, Brian Bonner was found guilty of indecent assault and battery upon a child under the age of fourteen years in violation of G. L. c. 265, Section 13B. He appeals, claiming error in the judge's denial of his motion to sequester the witnesses for the Commonwealth. We affirm.
The Commonwealth produced evidence of the following facts. On the night of March 3, 1990, Brian Bonner was a chaperone at a dance at the high school at which he taught. He brought his twelve year old son to the dance with him, along with his nephew, the thirteen year old victim
(Jimmy). [Note 1] After the dance, at around 11:30 P.M. to 12:00 midnight, the defendant returned the two boys to his house, [Note 2] set out a blanket in front of the downstairs television for them to sleep, and left them to meet friends for a few drinks. Jimmy awoke around 1:00 A.M. to find that his uncle had his hand inside his shorts and underwear. He pretended to be asleep and tossed and turned, as if he were having a bad dream, to make the defendant stop. The defendant did stop, at which point Jimmy lay still. A few minutes later, the defendant tried to pull down Jimmy's shorts and underwear. At this point Jimmy sat upright and told the defendant he was having a nightmare and wanted to go home. The defendant tried to convince Jimmy to stay, telling him he could sleep upstairs. He led Jimmy upstairs to his bedroom and told him to take his shorts off. Jimmy asked again to be taken home and defendant acquiesced. Once the defendant had left Jimmy's house, Jimmy immediately told his mother (Mary) what had happened. Jimmy and Mary were the only witnesses for the prosecution. The defendant, his son and two colleagues of the defendant were the only witnesses for the defense.
Before the start of the trial, the Commonwealth sought without objection by the defendant, and the judge permitted, the defense witnesses to be sequestered. The defense then moved that the prosecution witnesses be sequestered. The Commonwealth, objecting, argued that "because of the nature of the allegations and the age of the victim" the mother and father should be allowed to remain in the courtroom. The court denied the defendant's motion to sequester, stating only that "there's an exception to be made for a . . . minor." We conclude there was no error.
The defendant, while recognizing that Mass.R.Crim.P. 21, 378 Mass. 892 (1979), gives a judge discretion to order any witnesses, other than the defendant, to be excluded from the courtroom, asks us to "construe" rule 21 so that the failure to a allow a motion to sequester is presumed to be prejudicial,
and therefore an abuse of discretion, unless the absence of prejudice is plain from the record. In this case, argues the defendant, the victim was fourteen at the time of the trial, and his father, who was not to be a witness, was in the courtroom to support the victim; thus the presence of Mary, who was to testify as a fresh complaint witness, was unnecessary, and the denial of the defendant's motion was, on its face, prejudicial to the defendant and therefore error.
We decline to modify the settled practice in Massachusetts which was codified in rule 21. "Under the [r]ule and case law it is within the discretion of the trial judge to allow sequestration of the witnesses." Smith, Criminal Practice and Procedure Section 1755 (2d ed. 1983). "It is within the discretion of the judge to sequestrate witnesses or to refuse to do so." Liacos, Massachusetts Evidence 82-83 (5th ed. 1981). "The refusal to separate the witnesses until they had testified was within the discretion of the presiding justice." Commonwealth v. Thompson, 159 Mass. 56 , 58 (1893) (Holmes, J.). "Both the sequestration of witnesses and the remedy for violating a sequestration order lie within the sound discretion of the trial judge [citations omitted]." Commonwealth v. Pope, 392 Mass. 493 , 506 (1984). "The decision to sequester witnesses is within the trial judge's discretion." Commonwealth v. Gogan, 389 Mass. 255 , 261 (1983); Commonwealth v. Blackburn, 354 Mass. 200 , 205 (1968) (denial of motion to sequester witnesses was within the judge's discretion). See Reporters' Notes to Mass.R.Crim.P. 21, Mass. Ann. Laws., Rules of Crim.P. at 409-410 (Law. Co-op, 1979), and cases cited. The appellate courts have preserved the judge's discretion, even while suggesting that some practices may not be proper. See Commonwealth v. Vanderpool, 367 Mass. 743 , 748-749 (1975) (no error in refusal of judge to sequester witnesses although the better practice in capital cases is to allow the procedure); Commonwealth v. Watkins, 373 Mass. 849 , 850-851 (1977) (the better practice in capital cases is to allow sequestration, and a "usual practice" of denying motions to sequester in such a case may be questionable); Commonwealth v. Sevieri, 21 Mass. App. Ct. 745 , 757 (1986) (to
deny a sequestration motion as a matter of practice rather than for reasons related to the particular case presents unnecessary problems on appeal. [Note 3]
Numerous cases have upheld a judge's decision denying sequestration, but no appellate decision, so far as we know, has reversed an order denying sequestration. Even where the denial may have been an abuse of discretion, no resulting prejudice to the defendant has been found. See, e.g., Commonwealth v. Watkins, supra at 851 (no prejudice because the "witnesses testified to different events, from different vantage points, and their accounts were not entirely consistent with each other"). Commonwealth v. Jackson, 384 Mass. 572 , 582 (1981) (no resulting prejudice from judge's refusal to sequester expert witness and police officer whose testimony was "brief, cumulative, and directed only at a technical link in the chain of custody").
We see no reason in this case to conclude that the judge abused his discretion. The witness was, at trial, a fourteen year old boy who claimed he was the victim of a sexual battery by his uncle -- the husband of his father's sister. His father was in the courtroom. The victim's parents had been divorced for four years, and the victim lived with his mother. It was his mother, not his father, to whom the boy told the story of the assault. Plainly the situation was complex, painful, and difficult. Massachusetts courts are "acutely aware of the plight of child sexual assault victims and traditionally ha[ve] been sensitive toward meeting the needs of these young witnesses." Commonwealth v. Bergstrom, 402 Mass. 534 , 552 (1988). "Judges have considerable latitude in devising procedures and modifying the usual rules of trial to accommodate child and other witnesses with special needs, so long as the defendant's fair trial rights are not violated." Opinion of the Justices, 406 Mass. 1201 , 1218-1219 (1989), quoting from Commonwealth v. Brusgulis, 398 Mass. 325 ,
332 (1986). The trial judge's comments in this case, however brief, indicate that he took into account these very concerns.
Moreover, we do not perceive any prejudice to the defendant; Mary's testimony was not a mere echo of her son's testimony. Her recollection of what Jimmy told her differed from the sequence of events to which Jimmy had just testified. Jimmy testified that while he was in front of the downstairs television the defendant tried to pull down his pants; Mary made no mention of this. Jimmy testified that the defendant led him upstairs and brought him into his bedroom, and that once there the defendant said, "[W]hy don't you lie down . . . [and] take off your shorts; you're probably hot." Mary's testimony does not mention that Jimmy said he went upstairs with the defendant; she only testified that the defendant suggested doing so. Despite these inconsistencies, the defendant's trial counsel did not cross-examine Mary on any of these factual issues. The claim of prejudice does not ring true when obvious inconsistencies were not the subject of cross-examination.
Inconsistencies aside, Mary did not merely repeat her son's testimony when it would have been simple to do so. For example, even though Jimmy had just testified that on the night of the occurrence he was wearing shorts, jockey underwear and a tee-shirt, when Mary was asked by defense counsel four times in a row what her son was wearing she answered that she couldn't remember.
Other jurisdictions have concluded that when the alleged victim is a minor, he or she should have the benefit of a support figure in the courtroom. In Government of the V. I. v. Edinborough, 625 F.2d 472 (3d Cir. 1980), a case with very similar facts, the court concluded that there was no error under rule 615 of the Federal Rules of Evidence, [Note 4] a stricter
rule than Mass.R.Crim.P. 21, to allow the mother of a thirteen year old to remain in the courtroom during the daughter's testimony. "Persons unfamiliar with judicial proceedings often find that the necessity of testifying produces anxiety. It follows that children, particularly those who must testify about sexual molestation, will find the judicial experience even more frightening. . . ." Id. at 475. The court also found unconvincing the claim that the mother's testimony would be influenced by the child's testimony. "[T]he mother and child continued to live together before, during and after the trial. There would have been ample opportunity for the mother and child to have fabricated the story prior to the trial. . . ." Id. at 474. See also Commonwealth v. Berry, 355 Pa. Super. 243, 253-254 (1986) (no abuse of discretion in allowing the fifteen year old victim's mother, who was also testifying, to remain in the courtroom despite the fact that there was a rape counselor there to provide support).
There was no showing that Mary's testimony was perjured or that her testimony was influenced by the testimony of her son. See Commonwealth v. Jackson, 384 Mass. 572 , 582 (1981) (no substantial danger of perjury). See also State v. Posten, 302 N.W. 2d 638, 640 (Minn. 1981) (denial of an order to sequester six year old's sexual abuse victim's father and foster mother even though they were both testifying at trial was not an abuse of discretion, because of concern that the complaint might otherwise not be able to testify).
Based on our review of the record, we conclude that the defendant was not prejudiced by the denial of his sequestration motion, and that the judge acted well within his discretion. Contrast State v. Roberts, 612 P.2d 1055, 1057-1058 (Ariz. 1980) (father's story changed at time of trial and court found it was possible that changes were due to hearing other witness's testimony at trial).
Finally, the defendant argues that the trial judge admitted, over the defendant's objection, testimony by Mary describing her reaction to her son's account of the evening. The Commonwealth offers no theory of admissibility, and we know of none. Nevertheless, the defendant was not
prejudiced, see Chapman v. California, 386 U.S. 18 (1967). This was a jury-waived trial and "where the fact finder is a judge, not a jury, . . . [a] departure from usual procedure is not likely to be prejudicial." Commonwealth v. Holman, 27 Mass. App. Ct. 830 , 833 (1989).
[Note 1] The names of the victim and his mother are fictitious.
[Note 2] The defendant's wife and daughter were away for the night.
[Note 3] Our decision should not be taken as approving a practice to grant the Commonwealth's sequestration motion while denying the defendant's motion. Here, as noted, the defendant did not object to the Commonwealth's motion.
[Note 4] Federal Rule of Evidence 615 requires the court to sequester a witness when a party makes a request for sequestration. However, it exempts from this rule "a person whose presence is shown by a party to be essential to the presentation of his cause." In the Edinborough case the court found that this exception allowed the trial judge to use his discretion and deny the defendant's request to sequester the mother of the thirteen year old victim.


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Di-Meh, de son vrai nom Mehdi Belkaïd, né le  à Genève, est un rappeur suisse d'origine algéro-marocaine. , en compagnie de ses acolytes au sein du collectif genevois Superwak Clique : Makala, Slimka et Varnish la Piscine.

Il a l'habitude de sortir ses projets le 10 mai en homophonie avec  son nom de scène mais cette habitude sera bousculée lors de la sortie de son premier album, Mektoub, le 14 mai 2021.

Biographie
Son père, arrive d'Algérie à Genève en 1987, et tente sa chance dans le football avant de se lancer dans la restauration, tandis que sa mère, d'origine marocaine, travaillait dans l'hôtellerie. Grand passionné de skateboard depuis son enfance, il passe beaucoup de temps au skatepark de Plainpalais à Genève et y fait de nombreuses références dans ses textes. C'est notamment grâce au skate qu'il découvre la culture rap. Adolescent, il voyage à Paris et y rencontre des artistes de la capitale comme les membres de la 75ème Session, de 1995, du Panama Bende ou même certains artistes belges de la nouvelle vague, qui l'aident à réaliser ses premiers projets et se voit invité à des featurings. En parallèle de la sortie de cinq EPs entre 2013 et 2016, Di-Meh fonde en 2014 le collectif Superwak Clique avec de nombreux artistes hip-hop genevois comme Makala, Slimka, DeWolph, Varnish La Piscine et Rico TK.

En janvier 2017, il sort le morceau Focus qui va lui permettre de se faire connaître sur la scène suisse romande. Ce morceau est le premier extrait de sa mixtape Focus, Vol. 1, qui sort en mai 2017, produite par le label genevois Colors Records. Cette mixtape atteint la 40ème place du Schweizer Hitparade lors de sa première semaine d'exploitation. En 2018, il sort Focus, Vol. 2, suite de son précédent projet. Le succès sera au rendez-vous puisque la mixtape se place dans le top 200 français. L'année suivante, il sort la mixtape Fake Love, porté par la chanson éponyme. En mars 2019, il est sujet à un polype sur ses cordes vocales et déclare : .

Le 14 mai 2021, comme confirmé dans l'épisode de Rap Jeu animé par Mehdi Maïzi, il sortira son premier album nommé "Mektoub". Pour approfondir ses inspirations, il a pendant ces 2 ans sans sortir de projet musical eu le temps de se ressourcer sur les traces de ses ancêtres. "Mektoub" est un hommage au restaurant de son père et de son oncle, là où il a écouté pour la première fois de la musique et où il a pu voir l'amour que ses parents lui portaient. Le teasing de ce nouvel album a commencé le 8 avril avec la sortie du single "4x4 diplomatique" accompagné d'un clip réalisé par Leon Santana, fidèle compagnon de route de Di-Meh pour ses visuels, publiés sur YouTube. La suite du teasing est suivie par le dévoilement de la tracklist le 15 avril, qui contient des featurings avec Lefa, Vladimir Cauchemar ou encore le beatmaker Klench Poko. 16 titres pour 43 minutes. La promotion de cet album sera accompagnée d'une interview sur le sujet du skate chez Konbini ou encore d'un épisode de Rap Jeu comme dit précédemment.

Discographie

Albums

EPs

Mixtapes

Singles
 2018 : Depeche Mode (avec Makala & Slimka)
 2018 : Personnel
 2019 : Fake Love
 2019 : Jeunesse
 2019 : Big Foot (feat. Daejmiy)
2020 : Denzel
2021 : 4x4 Diplomatique

Apparitions
 2016 : Amor (sur la mixtape Mercy de Laylow)
 2016 : Freestyle All Shart 2 (feat. Seven, Roméo Elvis, JeanJass, Caballero, etc., sur la mixtape Trois fois rien de Senamo, Seyté & Mani Deïz)
 2017 : Seven Up (feat. Slimka, sur l'album Ego de Danitsa)
 2018 : XPO (sur la mixtape No Bad, Vol. 2 de Slimka)
 2018: AA+ (feat. Miles Singleton, sur la mixtape To Be Continued de Yungloon Taliboon)
 2018 : Confusion (sur la mixtape Oz Life de Ozdaya)
 2018 : Guestlist (feat. Slimka, sur l'album Boulangerie française, Vol. 2 de DJ Weedim)
 2018 : KTM (feat. Slimka & Harry Fraud, sur la compilation Brooklyn / Paris)
 2018 : Racks (feat. Slimka & Loveni, sur l'album Bisous mortels de Myth Syzer)
 2018 : A Plus, A Ciao (single de Slimka)
 2018 : Next level (feat. Sawmal & Tefladef, sur la mixtape Free gouap 5 de Gouap)
 2018 : Wait A Minute (sur la mixtape Dead Inside de Kid Tha 6)
 2018 : Talk About (sur l'EP Peep Show de DeWolph)
 2018 : H/H (feat. Slimka, sur l'album Roze de Tortoz)
 2019 : Mamacita (sur l'album Hijo de Almeria)
 2019 : Make It (feat. Némir & Gracy Hopkins, sur l'album Hijo de Almeria)
 2019 : Pourquoi tu m'parles (feat. Slimka, sur l'album Blackbird de DJ Elite)
 2019 : Maluco (sur la mixtape Baile de Rua de MC Buzzz)
 2019 : Pas Le Seul (sur la mixtape Un de 3010)
 2020 : Ennemis, pt. 2 (sur l'album Adios Bahamas de Népal)
 2020 : MTM (feat. Cinco, sur la mixtape Temporada de Tengo John)
 2020 : Bushido Massaï (sur l'EP Tunnel Vision Prelude de Slimka)
 2021 : Double Penthouse (sur l'album Tunnel Vision de Slimka)
 2022: Big Buckets (sur l'album ZZCCMXTP de ZZCCMXTP, Pandrezz, Kronomuzik et Ronare)
 2022: Flow externe (sur l'album ZZCCMXTP de ZZCCMXTP, Pandrezz, Kronomuzik et Ronare)

Notes et références

Chanteur des années 2010
Rappeur suisse
Naissance en juin 1995
Naissance à Genève
Nom de scène
Musicien genevois

redpajama_set_name: RedPajamaWikipedia


We had a major snow storm overnight in New York, and I got stuck at home today. Besides the obvious great workout of shoveling your driveway – I was inspired to come up with a workout you can do at home – without any special equipment, just using your own body weight. It's amazing what you can do with some imagination, and I guarantee this will make you sweat! No gym membership required! If you don't know what an exercise is, google works! 🙂 Work at your own level if it's too hard, do what you can and if it's too easy, add more reps/sets… it's about pushing yourself, you'll be glad you did!!
Finish strong with 100 Jumping Jacks or if you have space in your house, 100 walking lunges!
And now you've deserved a treat – a gooey chocolate fondant like cupcake which gives you about 235 calories, 35g of protein, 18g of carbs and 3.5g of fat. Perfect for after your workout!
Love creativity takes no excuses poster!
As always, thank so much for your blogs Sunny!


When I was visiting my folks in Florida a few weeks ago, it was cold. Not just, like, cold enough for silly Floridians (which I can say since I used to be one) to pull out their puffy jackets from former ski vacations while still wearing flip-flops, but truly cold. My father, luckily, had prepared for a few cozy dinners and pulled a French onion soup that he'd made from his freezer. What he placed in front of us, however, was so much more delicious than any French onion soup I'd ever had– the broth was thick and flavorful with chunks of tender beef and a pool of deeply caramelized onions. He'd made up the recipe after fussing with a variety of recipes featuring traditional preparations, and I absolutely feel he found something almost divine in its simplicity. His advice that he wishes I pass along to you is to, whatever you do, watch the onions quite carefully so as not to burn them. He considers it the secret to this wonderful recipe. What can I say, I've made it, and father does really know best!
Toss meat in a medium bowl with flour; season with salt and pepper. Heat 2 Tbsp. olive oil in a Dutch oven over high; brown meat, turning occasionally, 4 minutes (working in batches if necessary). Transfer browned meat to a bowl; let cool and refrigerate. Reserve pot and juices.
Reduce heat to medium; add butter and remaining oil to pot. Add onion to pot; cover and cook 30 minutes or until softened. Uncover pot; cook onions, stirring and checking often, 45 minutes or until onions are golden brown.
Pour about 1 cup of wine into pan; cook, stirring and checking often, about 10 minutes. Continue to add wine and cook about 45 minutes or until onions are a deep golden brown and half the wine has been used. Add broth, bay leaves and reserved beef to pot; bring to a boil. Cover and transfer to a preheated 300° oven for 2 ½ to 3 hours or until meat falls apart. Serve with Gruyere toasts.


Hello friends! A good friend of mine asked me to make her a baby shower card for a pregnant friend of hers. I was already coming up with different ideas when she told me she needed it in two days… boo, I was hoping I would have an excuse to order some supplies (who am I kidding? I don't need an excuse).
Well… it turns out I wasn't done playing with felt.
I came home and came up with this sweet card and was able to give it to her just in time! It was so easy for me to cut out the pears from felt on my last card that I decided to use it again for this card. Even though the letters are a lot smaller, I had no trouble die-cutting them. Also, I am so impressed with Tombow Mono Multi Liquid glue, the felt completely stays in place. Definitely a great purchase.
I used a cover plate die from Papertrey Ink, and these dies are so awesome because there's so many ways to use them. I used the same die for a birthday card I made last year. I did more of a rainbow effect instead of using the coordinating stamp set.
I love the birthday card and I'm very happy with how the baby shower card came out. My friend loved the card and I hope the recipient does as well!


This gorgeous animal print swim brief has a design based on the well known Speedo swimwear and is made using high quality swimwear material. The cut of this swim brief has been produced by our swimwear designer, adding a modern twist whilst maintaining the Speedo brief appeal in an eye catching leopard print.
Our Leopard print swimming brief has a built in draw cord for waist adjustment, to stop slippage while you swim or dive. The leopard print material clings nicely to the skin while you swim. The modern narrow sides, finishing at 5cm add a European look to this Speedo swimwear. The slim cut offered by these swim briefs will expose more of you to the sun, giving you more of a tan.
Animal print swimwear continues to be popular the world over and this leopard print swimming brief is no exception. Many swimming pools in France will not allow men to wear anything other than swim briefs. Some of our Australian cousins refer to this type of swimwear as budgie smugglers.
If you want to look gorgeous on the beech and prefer to wear Speedo briefs and like to show off in leopard print, then buy a pair of our men's leopard print swimming briefs today.
If this leopard swim brief is not what you are looking for, take a look at some more swim briefs in our range of men's swimming briefs.


text:
HomeQ&A SceneQ&A Scene: Mikelangelo
Q&A Scene: Mikelangelo
October 19, 2016 Mandy Hall
I'm touring CAVE-WAITS-COHEN, a solo show in which I sing a great collection of songs by these heavyweights. Nick, Tom and Leonard helped me find own songwriting voice in my late teens. It's a pleasure to return to their songs and sing them in my own way – once you hear the Ship Song as a sea shanty played on accordion, you won't look back…
Click to see the full gallery
Dark chocolate and red wine – organic of course, most likely a Merlot, though veering towards Pinot Noir at times
Which of your songs resonate most strongly and why?
While I love playing my original tunes with the various bands I work with, I've also learnt alot touring this show. My acapella gospel version of Waits' Hang On St. Christopher goes down a treat, with me stomping and the audience clapping along. I was apprehensive to take on Hallelujah, as its been so covered. But then I relaxed and found my own truth in the song and its a treat for the audience and for me. As well as the poetry of the song, there's some very funny and sexy lines in there.
Tell us a quick, on the road, anecdote.
Beware buying quality NZ wines on tour and flying with them lest you end up with a suitcase full of wine soaked clothes and broken glass.
Where do you draw inspiration from?
[pullquote]At the moment, I get a great deal of inspiration walking through the hills around my new home in the Monaro high country, near the Snowy Mountains.[/pullquote] Well in the case of this show, its pretty obvious, but it doesn't stop there…when it comes to rock'n'roll I go for The Stooges, The Ramones, Elvis and Johnny Cash. Plus my friends, there are so many super talented Australian artists that populate my top ten, from King Curly to Konrad Lenz, to Jane Hendry and Kelly Day from Broads and many many more. I also get alot of ideas from film and from visual arts, I just saw the Frida Kahlo exhibition at the Art Gallery of NSW, she's such an amazing creative force, still so vibrant today, over 60 years after her death. At the moment, I get a great deal of inspiration walking through the hills around my new home in the Monaro high country, near the Snowy Mountains.
I'm going to say Cohen's Tower of Song, such a great way to reflect on his own place the great continuum of art throughout the ages, recasting the tower of babel, as something more compelling and ultimately more creative, rather than destructive. And Leonard kicks the truth in the teeth as only he only can: "I tell you one thing, of this you can be sure, the rich have got their channels in the bedrooms of the poor, and there's a mighty judgement comin', but I may be wrong"
I've just started a new band called the Spectres Of Love, very excited to be working on some rock songs again. I love performing in acoustic mode in CAVE-WAITS-COHEN and with my other band The Black Sea Gentlemen, but there's nothing like plugging in the electric guitar and feeling the mysterious power of the drums and electric bass kick in. I just recorded some demos with the Spectres Of Love, so look out for some live shows before end of the year.
These days I'm a country boy. I love walking the fields and hills and breathing in the clean air, makes me feel alive!
About Mikelangelo
On the back of a hugely successful national tour, Melbourne's favourite Croatian-Australian crooner Mikelangelo comes to the Satellite Lounge on Sat 22nd October and The Flying Saucer Club on Sun 23rd October with CAVE-WAITS-COHEN, his triumphant one-man show that takes on three of the great poets of popular music – Nick Cave, Tom Waits and Leonard Cohen.
Only a powerhouse like Mikelangelo could pull off this iconic trifecta. Nick, Tom and Leonard stole his heart and soul as a young man, and now he delivers a stirring homage to these men who set him on his own musical path.
A highly entertaining and engaging personality on stage and off, Mikelangelo brings together a brilliant collection of songs, stripping them back to reveal the genius of the words and melodies, and delivering them in his own inimitable style.
Mikelangelo is renowned for putting his all in during his live gigs and it is an experience punters don't forget in a hurry. Beat Magazine aptly describes him as "Traversing genres and decades, the dapper crooner went from the serious to the sublime with Cave's hymn-like Into My Arms, Cohen's Hallelujah and a foot-stamping, acapella version of Tom Waits' Hang on St Christopher. Mikelangelo is something of a superhero…". Mikelangelo's shows are a must see experience.
Having toured the world to great acclaim from the Sydney Opera House to London's West End, Mikelangelo is one of Australia's rising stars. He has appeared on our TV screens on
ABCTV's RocKwiz and The Project (Channel 10)and has featured on ABC Radio's Conversations with Richard Fidler and Philip Adams Late Night Live on the Radio National airwaves.
In 2014 he released his live album of Cave, Waits and Co-hen songs entitled, Some Velvet Evening, which is available at the shows as well as his website www.mikelangelo.net.au
Don't miss Mikelangelo entertain the crowd with his mesmerizing charm, swagger, and talent as he hits the stage to deliver his very spe-
cial show Mikelangelo Sings Cave-Waits-Cohen at Satellite Lounge in Wheelers Hill for an evening performance at 8.40pm. Tickets are $22 + booking fee via the venue website, or $25 on the door if avail-
able. He also performs on Sunday 23rd October at Flying Saucer Club in Elsternwick for a 3.30pm matinee show. Tickets are $23 + booking free via the venue website or $25 on the door if available.
"A dream scenario, with the velvet-voiced Mikelangelo taking the reins it was like a gig divinely arranged." THE BRAG
Mikelangelo Sings Cave-Waits-Cohen
Saturday 22nd October
Satellite Lounge
Cnr Ferntree Gully & Jells Rd, Wheelers Hill
Pre-sales : $22 + BF via venue website
or $25 on door if available
Doors: 7pm, show 8.40pm
Sunday 23rd October
Flying Saucer Club
4 St Georges Rd, Elsternwick
Pre-sales : $23 + BF via venue website or $25 on door if available
Doors : 2.30pm, show 3.30pm
Mikelangelo
About Mandy Hall 802 Articles
Mandy is a music photographer & writer. She runs Mandy Hall Media, which includes Photography, Social Media marketing, PR & Graphic Design for the music industry. She is also a web developer - she created and supports this website.
Q&A Scene: Spectres Of Love
December 5, 2016 Mandy Hall
Snap Scene: Mikelangelo Cave-Waits-Cohen, Thornbury Theatre 9th August 2015
August 17, 2015 Mandy Hall
Scene News: Spectres Of Love – Spotted Mallard, Melbourne- Friday 23rd December
December 1, 2016 Scene News


The MREX-AR was developed after the SCAR MREX. At first glance it may look similar to the other AR rails on the market, but like the MREX developed for the SCAR, there was purpose in its design. The MREX-AR is ergonomically set up to be more like a hand-guard (like the FAL or G3) instead of a tube. The profile allows the user a very comfortable C-Grip on the weapon, and allows those accessories to be mounted as though they are integral to the weapon. The flat bottom of the rail system is ideal for shooting off of support. The MREX-AR is a free float design, and extremely simple to install.
Modular system: Magpul M-LOK at the 3, 6, 9 o'clock positions. M-LOK also for specific KDG accessories at the 2 & 10 o'clock positions.


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At Mortons we are constantly expanding and looking to recruit new talent.
Mortons of Horncastle Media Group Ltd is an equal opportunities employer, and holds the IIP certificate (Investors In People).
Below is a list of our current job vacancies, along with the appropriate contact information and the Job reference.
Fancy joining one of the UK's leading national motorcycling magazine publishers?
Based in Horncastle, although occasional travel within the working day may be required for client visits and event attendance.
You'll join our friendly, vibrant and enthusiastic team and be assigned a media brand and customer base managing our clients' print and digital media requirements.
Media sales or face to face retail sales experience is desirable but not essential, full training will be given.
To find out more about a position, please see each job advert.
Apply in writing, quoting the appropriate reference number, telling us why you are the person we are looking for (plus anything additional as per job ad). Please include a full CV and the names of two referees - one of whom must be your current or most recent employer.
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text:
Celebrating Italy: Letter from the Publisher
By Dylan Garret
The grape, that tiny sphere of sun-sweetened fruit, is a great storyteller of nations. Nowhere is its narrative more compelling than Italy, a country whose people, history, and culture has been grafted to the vine since the first stirrings of civilization.
Italy's grape biodiversity and genetic patrimony is unmatched. Spanning the 45th to the 38th parallels, the elongated peninsula occupies a position of prime agricultural potential. The ancients saw it as a giant nursery conveniently located on Mediterranean trade routes and referred to it as enotria, or "land of wine." Because they propagated by seed, not stem cutting, isolated pockets were soon populated by new grapes.
Italy today counts 350 commercially cultivated varieties and 3,000 indigenous grapes still waiting to be catalogued. Latin author Pliny the Elder once remarked that Italy has more kinds of wine grapes than there are grains of sand on a beach.
True magic lies in the fact that Italian wine is so closely connected to the country's culture. Whether you indulge in a particularly delicious regional dish, visit a romantic hilltop vista or join in a spontaneous trattoria-sing along, wine is always a part of the experience.
Wine Enthusiast's Italian coverage aspires to more than wine critique. Our mission is to transmit Italy's creativity, enviable lifestyle, passionate people and physical beauty through the narrative of the grape. This special edition represents our most ambitious effort yet in achieving this goal: It is our biography of the berry that defines a nation we adore.
The Italy issue of Wine Enthusiast is the first in a series of upcoming publications on the world's most important wine regions. However, the fact we started with this remarkable country is by no means coincidental.
We are firmly committed to the idea that Italian wine is entering a Golden Age. Its impressive momentum is driven by the immediate emotional connection vino italiano makes with consumers many thousands of miles away. Sure, other countries boast more coherent or mainstream wine styles. But Italian wine radiates personality, and this is by far its biggest competitive advantage.
This special issue is dedicated to the Italian wine community that trusts us to review thousands of wines each year and that has so graciously showed us its vineyards and cellars. We are extremely proud to be the only American wine publication with a bureau and a full-time correspondent in Italy. Special thanks goes to the 130 producers of the Comitato Grandi Cru d'Italia for providing most of the delicious recipes you will find in these pages. Most of all, we wish you happy reading.
Un sincero grazie a tutti voi,
Adam Strum, Editor & Publisher
Dylan Garret
Also featured
Piedmont Pairing Challenge
Southern Italy Hit List
Wining and Dining in the Dolomites
Fast Cars in the Slow Lane