text:
Peter Hook
Jeff Clark
The Pleasure Principle:
Peter Hook Sees The Light
With a distinctive style that stands out to this day, those prominent, throbbing basslines sticking in your noggin for perpetuity, Peter Hook was one of the primary architects of the essential post-punk sound.
With the short-lived but tremendously influential group Joy Division, the interzone where his upfront pulse countered Bernard Sumner's sharp, targeted guitar tones and Stephen Morris' spare drumbeats propelled the despair of Ian Curtis' painful lyrics and intense delivery into a realm that's equally danceable and disturbing. Though many have attempted to replicate that sound, no one's ever come close to the unnerving, powerful effect Joy Division's music could ignite in the lost souls it touched. They were truly one of a kind.
That was all cut short when Curtis, only 23 years old, hanged himself on the eve of Joy Division's first tour of the United States in May 1980. Perhaps surprisingly, Hook, Sumner and Morris almost immediately decided to carry on. Not as Joy Division – they wisely recognized such a course was impossible. Nor did they attempt to continue down the exact same musical style, but instead embarked on a fresh direction that, in its own way, proved every bit as influential as Joy Division had been. Soon joined by Morris' girlfriend Gillian Gilbert (on keyboards, mainly), with Sumner now as singer and lyricist and, as always, Hooky's bass melodies boldly pronounced in the mix, New Order weaved electronic dance music with their post-punk instincts, creating a style that defined the music of the '80s in a major way.
By the mid-90s, New Order went through alternating periods of inactivity and rebirth before splitting up in 2007, supposedly for good. Sumner, Morris and Gilbert, however, subsequently reformed New Order in 2011, sans Hook, much to the bass player's dismay. For his part, Hook has formed a band called The Light, featuring his son Jack Bates on second bass as well as former members of Hook's '90s bands Revenge and Monaco. And they're doing something New Order never did – performing all of the classic Joy Division songs, as well as early New Order favorites, including full albums by both bands, to the delight of longtime fans and newcomers alike who never got to experience the authentic articles. And, like the fans, Hook seems to be thoroughly, unapologetically enjoying his modern day journey through the past…
As the story goes, you decided to start what became Joy Division after seeing the Sex Pistols, right?
"Right, June the 4th, 1976. And about 50 people at the gig. And I think about 40 of them went on to form Manchester groups. So, yeah, it was a hell of a night."
That must have been just an incredible time period during which to grow up in England and see all those bands and become a part of it.
"Yeah, I mean, as a musician, you know, I've been very lucky – in England, particularly – to see a lot of musical movements. From punk, right through acid house, to Madchester – New Order were included in that, so were Joy Division – and you know, it's amazing what an impact Manchester has had. On the world, really. Manchester's been more consistent over the past 30-odd years, musically, than either London or Liverpool. So obviously, we're very happy about that! (laughs)"
Why did you decide to pick up the bass over other instruments?
"It was quite simple – we were emulating the Sex Pistols. The Sex Pistols had two guitarists, a singer and a drummer, so we had to have two guitarists, a singer and a drummer. I didn't know the difference between a guitar and a bass. And because Bernard had a guitar already, I was elected to be bass. And I didn't know what it was!"
Your bass playing style is so unmistakable. Can you tell me a bit about how it came to be?
"It was simply because the guitar was so loud, I couldn't hear myself when I played low. So I switched to playing high, because it cut through. And when I did switch, Ian Curtis loved it, and every time we played, to record or jam, he would always encourage me to play high. And it developed from that."
Were there certain bass players, or musicians that inspired you more than others?
"There's only one, and that's Jean-Jacques Burnel. The Stranglers. When they started, he was a very identifiable bass player. Very, very unique. You know, the bass was very high in the mix, very upfront. A real big part of the song, you know, 'Peaches,' '5 Minutes,' songs like that. So he was definitely a big influence. I went to see him in Stratford, and I noticed he had a Vox speaker cabinet, and a Hi-Watt 100 watt head, and I came home and bought them! (laughs) Because I wanted to sound like him. But then his bass playing style changed as the Stranglers got softer, so I'd like to think I kept that particular flight flying, if you like. The Stranglers were an older band, actually. The Stranglers had been going, they weren't really classed as a punk band, because they were too old, in the same way that the 101'ers were. And then the Clash formed out of the 101'ers. So these old pub bands like the Stranglers, they weren't actually classed as punks at the time, yet they did have a hell of an impact."
Your stance when you play is also much more like a guitar player rather than a bass player, with it slung so low on your body. It looks badass. Did you realize at the time how intimidating a look it was.
"I think it was mainly about survival and self-protection. As my mother used to say, 'If you can't fight, wear a big hat.' So, it came really as a reaction to that. I went to see the Clash, and I was struck by how cool Paul Simonon looked. And it literally just came from that. I thought, 'Wow – he looked really cool. I'll emulate him!' So I'm glad I went to see the Clash and not Level 42!"
Joy Division's sound was groundbreaking because it was somewhat sparse but also really intense, and your bass carried the melody. It was often the lead instrument.
"Believe me, we didn't plan it. It was just something that happened, I suppose you'd have to say quite organically. It just developed. We were very, very lucky. I mean, if you listen to the drums, and the guitar, of Joy Division, they were a very distinctive style as well. It wasn't just me. Joy Division was very much a very balanced group, with each member bringing something different that came together to make something absolutely unique."
You've credited producer Martin Hannett with creating the Joy Division sound with his work on Unknown Pleasures. You didn't like the album when it was released, right?
"We didn't. We just wanted it to be punkier. And, you know, thank heavens we didn't get our own way. I mean, we were only 21. We were just young, we didn't realize the power and the beauty of what we had. And Martin did, thank God. I mean, it's one of those things you often think about. Those tracks, that sound is recognized all over the world. It shows no signs of abating, it's still very, very popular, still able to connect with young people. When I formed The Light, and we started playing Joy Division, I did think that the audience would be full of fat old blokes like me. But when you get there, you know, the audience is very mixed. There's some really young kids there. And you do have to take it as a fantastic compliment to the songwriting prowess of Joy Division, and Martin Hannett's production that enabled it to get across, all these years and years. Three decades. It's amazing."
Joy Division proved to be tremendously influential. At the time, did you have any thoughts that you were on to something so lasting?
"Ian Curtis… was always the leader, always the figurehead, always the guy that told us how good we were. I think that myself and Bernard were a little bit too humble, and Steve was too shy. I mean, there were occasions when you'd play, and you'd be blown away by the reaction, but you do have to remember that we were playing to…on one occasion, Joy Division played to no people. Nobody came. Another occasion, we played to one person. Another occasion, you'd do 50, a hundred… You know, a big audience for Joy Division was two or three hundred people."
How close were you with Ian? Was he someone that had close friendships? Or was he kind of distant?
"No, no, he was very normal. A very nice guy, really generous. He was one of those very rare musicians, actually, that took more delight in you doing your thing than he did [doing his]. And believe you me, there aren't many musicians like that. I'll tell you that for a fact. He was a very generous guy, both in character and in spirit. And he was a pleasure to work with. You know, when you contrast his way of working with how, say, when we got to New Order, you know, life became very difficult for us, because we didn't have Ian. He really was very, very good to work with. But he just couldn't cope with his illness, because of the way it was treated at the time. And that was an awful thing to witness, you know, you watch this guy, he was absolutely fantastic at what he did, the one that kept us all together, he was the glue that kept us all together, and kept us going when things got harder, or when the going got tough. So, it was hard to watch him suffer."
Was the decision to carry on as New Order a difficult one, or not? What was the gist of those discussions?
"Very easy – I didn't want to go back to work (laughs). I'd been working for five years in a normal job, and had, as we say in England, a sniff of the barmaid's apron, and I really did not want to go back to work. And you know, as a musician, I felt okay with myself, I felt like I still had something to give, where I could still enjoy it, even without Ian. You know, it was thrust upon us. We didn't have a choice. And I, for one, never thought for one moment that I'd give up being a musician, even then. And luckily for me, Bernard and Steven felt the same, and Rob Gretton, our manager, said rather than just play on, we were literally taking a huge chance. You know, to be in one band that changed the world of music is very fortunate. To then go on and form a second that changed the world of music in a completely different fashion, is amazing! I don't think you can even get odds on that, from bookmakers. And, again, I'm delighted. I mean, we got a lot of firsts in New Order. Especially with the club in Manchester and things like that. And even after we've split up, it's been a very unique situation (laughs). I've never seen band members sod each other off as much as we have after we've split up! I think we got a first there as well!"
Even though it was the same people, except for Ian, did the chemistry in the band change with New Order?
"It just became more difficult. I mean, you've gone down from four to three, which, obviously it's going to be more difficult, if you like. Ian was so supremely talented, so supremely confident with his vocals and his lyrics. Basically Bernard, Steven and I had to learn how to do that. And so we did learn. Bernard did become very, very good at it, in the same way that we all did. You did learn how to do it. But on top of the grief, it was just a difficult process."
What led to you leaving New Order? What caused the falling out with Bernard?
"I didn't leave New Order, mate – New Order split up. New Order split up in 2006. Bernard agreed, so did Steve. Me and Bernard found the band, and me and Bernard split the band."
Are you perturbed that he's carried on with other players? What are your feelings about that?
"Well my first feeling is that they aren't New Order. And please don't be fooled, any of you, into one minute thinking they are… It's sad. They decided to do it behind my back, without asking me and without even telling me, to be honest. They sent me a letter through the post. It's cowardly, it's chicken, it's just not the nice way of doing things. It just leaves a bad taste in your mouth, and yet I'm telling the truth when I say that they aren't New Order, and I hope the fans realize they aren't, and treat them accordingly. I don't call myself Joy Division, do I?"
With The Light, though, you've gone back to performing many of the old Joy Division and New Order classics, including entire albums. In fact, that's all the band performs. Is that something that you personally wanted to do, or is it more for the fans?
"To be honest with you, I was struggling for an idea of how to do it without pretending to be the group. You know, you get these groups that lose a couple of members, they come back and they pretend to be the group. They play a greatest hits set like the group. And I was struggling for the concept, to be honest. I stole the concept from Bobby Gillespie of Primal Scream, who were doing Screamadelica in full. I thought, 'Oh, that's a nice, arty way to do it.' And it did strike me that most people who'd heard Joy Division had heard them on record, and not live. So it became quite easy to champion the record. Because LPs, the way they've dropped from fashion, and the way that people concentrate on single tracks, I just think is a terrible shame. I was brought up my whole life with long-playing records, and I lost myself in them and built my whole life around them. And to celebrate them again is a wonderful, wonderful thing. I'm very happy about it. It's also more difficult, which I like. I get to play all the songs, which I like. New Order got very, very lazy. They wouldn't play any of the [deeper] tunes, all they liked to do was play the hits, it was really boring.,, So, yeah, it is a reaction. It's a reaction against New Order, who wouldn't play anything (laughs), so I'm gonna play everything! Bernard and Steve, they ignored all of the early material, and I used to say to them, it was the early material that got us the fans! But they didn't want to do it. I must admit, I was delighted when they did come back in 2011, pretending to be New Order, playing pretty much the same set that we were playing in 1997, when we came back! And then again in 2000, and again in 2004. You know, the guys, they're very consistent."
The Light's first gig was the opening night of your new club The Factory, in the old offices of Factory Records in Manchester.
"That's correct. I mean, the idea for doing it came about because of that. It was the 30th anniversary of Ian Curtis' [death] in 2010. And because we never celebrated anything to do with it in New Order, once New Order had split up and I was on the outside, I thought this seems a bit silly, not to celebrate anything. So I thought, alright, fuck it, I'm going to celebrate 30 years, and I've got my own club to do it in, and I've got my friends, and I've no contact with Bernard or Stephen, apart from our lawyers, so it just seemed right to go for it. And I must admit, the response I got, at first, was very negative. There was a really bad internet backlash on doing it, even before they'd heard it. Which was very sad. But, yeah, once we got into playing it, I got loads of offers to do it, and I must admit, The Light have been around the world playing it in some very unlikely places. And I do think that Ian would love that! The Light playing Joy Division in Mongolia, in Mexico, in all the places that Ian never got to, because of circumstances beyond his control. I think he'd be very happy about it."
Is the club still open? How is it doing?
"My partner is a very good businessman, and is helping me not make the same mistakes I made in the Hacienda. So yeah, we're doing very well with this one. It's quite interesting, it's not as radical, but, you know, it survives."
How hands on are you?
"I used to be at the start. To be honest with you, it's very young. Both me and my partner thought it would be an old clientele, that I fitted in. Whereas now, the clientele is 18 to 23, and basically I look like I'm looking for me daughter! So I don't think it's the best place for me to be. But, you know, we try and continue the ethic, and try and use the lessons, stylistically, we learned in the Hacienda. So, yeah, artistically, it's nice to have something that propagates music. I'm a musician, so it's nice to have a venue. We've played there a lot, as The Light. You know, we've premiered every LP there. It's nice to have, but I must admit, time moves on and it waits for no man, does it?"
The Light recorded a previously unfinished Joy Division song in 2011 called 'Pictures in My Mind."
"What happened was, we had some tapes stolen from our manager, and the kid who stole them put them up on the internet. And a friend of mine, an American friend, actually, he sends me this sample of this song, and said, 'Have you heard this?' And I hadn't heard it for years. And when I heard it, I thought, 'My God, it's nearly finished. It doesn't need much to finish it off,' and Ian Curtis was always a great one for finishing everything. So I thought, for him, I'll finish it. Which is what we did."
Are there any other unfinished or unreleased songs by the band that you know of?
"Yeah, I found a lot, actually. I found one called 'In the City at Night,' which is very tempting to finish off (laughs). I found another one called 'She Has a Gun' on some old tapes. So yeah, I've found a few that I'd completely forgotten about. It's just figuring out what to do with them. The lyrics are on them. When I heard them, which is like for the first time in thirty-odd years, I was like, 'Wow!' I couldn't believe we didn't finish them. But I think it was the, uh, the takes I have are from a particular period of Warsaw going into Joy Division, so I think basically we were so prolific in writing so many songs, so many great songs, that these were in the same sort of style as 'Pictures in My Mind,' so they were just shelved. And we literally didn't have no money, so you were using cassette tapes and recording over them. So we probably lost a lot of ideas on those cassette tapes that we recorded over. It's just that I salvaged these from the end of the tapes. I'll tell you, it's really, really odd. I'm just itching to finish them."
Photo by Mark McNulty.
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text:
June 8, 2019 By Karan Sen Views : 1097
The last time when England faced off against Bangladesh in a World Cup encounter, things were looking bleak for English cricket, especially when it came to their philosophy in ODI cricket. The match in Adelaide at the 2015 World Cup in Australia, ended in an embarrassing defeat for the English, knocking them out of the World Cup. But the loss also turned out to be a cathartic experience for the management and all of a sudden, Nirvana was attained.
The loss led to complete overhaul in the structure of the English ODI setup and the first step towards that was admitting that they were too outdated and behind-the-times in their thought process. Four years later, being the No.1 ranked team in the world and the undisputed favourites to lift the trophy, life comes full circle for English cricket in the encounter against Bangladesh.
England vs Bangladesh, 12th Match
Sophia Gardens, Cardiff (3:00 pm IST)
Played – 20
England wins – 16
Bangladesh wins – 4
In the World Cup, Bangladesh hold an overall edge, winning 2 matches compared to England's 1, including famous victories during the 2011 and 2015 editions.
Team Tactics
Score, score and score more runs. With the strength and depth which they have in their batting department, England always back themselves to bat the opposition out of the match. Be it setting up a big score or chasing a total down, the English batting department over the past couple of years has been more or less impeccable. Though they could not complete the task against Pakistan at Trent Bridge, England will be confident that it was just a one-off and will look to get back on track against Bangladesh.
Bangladesh have been the surprise of the tournament so far, beating South Africa in their opener and then running New Zealand close in a tight defeat. They will have to up their game to a much higher gear if they want to be competitive against the tournament favourites. They will aim for more discipline in the field, as well as more flair with the bat in order to have a chance in the match against England.
Jofra Archer (England): After an under-par performance against Pakistan, where he took some punishment from the batters, Jofra Archer will be rearing to go in the match against Bangladesh. The pitch in Cardiff has a fair amount of grass covering and assists the seamers and Archer with his pace and bounce could terrify the Bangladeshi batters.
Shakib Al Hasan (Bangladesh): Shakib Al Hasan has used all his experience to be Bangladesh's star performer during the tournament. He performed exceptionally well with both the bat and the ball in both the matches against South Africa and New Zealand. Tasked with batting at the crucial No.3 position and keeping things in check during the middle overs with the ball, the all-rounder will have to come up with one of the best performances of his career in order to give his side a chance.
Probable XI
England: Jason Roy, Jonny Bairstow, Joe Root, Eoin Morgan(c), Ben Stokes, Jos Buttler(wk), Moeen Ali, Chris Woakes, Jofra Archer, Adil Rashid, Mark Wood.
Bangladesh: Tamim Iqbal, Soumya Sarkar, Shakib Al Hasan, Mushfiqur Rahim(wk), Mohammad Mithun, Mahmudullah, Mossadek Hossain, Mehidy Hasan, Mohammad Saifuddin, Mashrafe Mortaza(c), Mustafizur Rahman.
TAGS : Bangladesh england World Cup World Cup 2019
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redpajama_set_name: RedPajamaCommonCrawl


Each week I attempt to read an academic article or book chapter in one of our learning centers, modelling to our students that I am also learning and working rather than hiding in an office. This week, I read Beliner's 2004 paper on the development of expert teachers and, whilst there are limitations to the work, this has resulted in reflections on my own journey from novice teacher to being proficient. The diagram below describes the heuristic model of teacher development.
This reading led me to reflect on how I used to do things and how I do them now. This is the first in what I hope will be a series of posts that describe how my practice has changed. I should add that I've always tended to ignore any directive to teach in a certain way.
This post will focus upon modelling, a key aspect of a teacher's toolbox and something that I have always done. Shaun Allison gives some eloquent reasoning behind why we should model and it is undoubtedly important. Indeed, from working with trainee and new teachers, it's clear that modelling is one aspect of practice that is either absent or not done effectively. In this example, I use a recent geography lesson within the curriculum context of economic development where we revisited and developed the skill of identifying and describing patterns. This was followed by retrieving knowledge in order to explain the patterns, although that part of the lesson is not described here.
The activity above was given to students and they had 5 minutes in which to write a response.
What I used to do: After the time is up: Provide a pre-typed, model response on a PowerPoint slide. I spent some time discussing and then moved on after giving a mnemonic (such as GCSE or PEE).
I don't share my work straight away but then work through my thinking. The curse of knowledge means that it's easy for me to assume that spotting patterns, rather than giving a list, is easy.
I therefore draw on the resource, modelling using the key and classifying the countries. I add in the lines of latitude (demonstrating how to approximately position them). Then, through targeted Q&A I ask the class to revise their own answers at this point.
2. I then write the two paragraphs needed, using a visulaiser. This is important as legible handwriting is vital for written examinations and, no matter what we think or feel, a student who is unable to legibly and coherently share their knowledge and demonstrate skills isn't going to do very well come exam time.
It's important to note that I don't share a scaffold or sentence starters here. This is because the group is in Year 10 and I would expect them to be able to write these, having encountered many similar problems in the past.
Students often start to explain the pattern. This is in the follow up question and not part of this question. This is a key part of exam literacy.
Students often simply list countries or continents and fail to describe the overall pattern.
To gain full marks, data must be used and the question covered in full.
It should be noted that the style of response will vary according to some examination boards.
3. Students look at their own answers and self assess then peer assess. This is part of a routine. They have the opportunity to change their answer and then, stick a copy of their map next to their answer.
4. Most importantly, I follow this up with an opportunity to practice on similar problems both within the lesson and at home. I then follow up with a similar, unseen example at a later date.
5. We then move on to looking at the reasons behind the pattern, an aspect where this particular class are strong at. In the past I would not have taken in to account the class context when planning this particular sequence of learning. I won;t consider this skill mastered until each individual demonstrates this on several separate occasions.
This approach does take more time but it does mean that a crucial geographical skills is well developed and understood. This particular skill can account for almost 10% of the final GCSE mark and, from my knowledge of the class, needed attention. In a similar Year 11 lesson, we worked on how to refer to place specific detail in an essay answer, again through modelling in a similar way.
How has your own teaching developed over the years?
Wow – what a mission!


text:
Q: Paint method is not working I'm trying to make a 2D game that should draw a character to the screen. But when I run it, I just get a black screen.
The important bits:
public class StartingClass extends Applet implements Runnable, KeyListener {

    private static final long serialVersionUID = 1L;
    private Walrus walrus;
    private Image image, character;
    private Graphics second;
    private URL base;

    @Override
    public void init() {

        setSize(800, 480);
        setBackground(Color.BLACK);
        setFocusable(true);
        addKeyListener(this);

        Frame frame = (Frame) this.getParent().getParent();
        frame.setTitle("Applet");
        try {
            base = getDocumentBase();
        } catch (Exception e) {
            // TODO: handle exception
        }

        // Image Setups
        character = getImage(base, "src/data/walrus_right.png");

    }

    @Override
    public void start() {
        walrus = new Walrus();

        Thread thread = new Thread(this);
        thread.start();
    }

    @Override
    public void stop() {
        // TODO Auto-generated method stub
    }

    @Override
    public void destroy() {
        // TODO Auto-generated method stub
    }

    @Override
    public void run() {
        while (true) {
            walrus.update();
            repaint();

            try {
                Thread.sleep(17);
            } catch (InterruptedException e) {
                e.printStackTrace();
            }
        }
    }

    @Override
    public void update(Graphics g) {
        if (image == null) {
            image = createImage(this.getWidth(), this.getHeight());
            second = image.getGraphics();
        }

        second.setColor(getBackground());
        second.fillRect(0, 0, getWidth(), getHeight());
        second.setColor(getForeground());
        paint(second);

        g.drawImage(image, 0, 0, this);
    }

    @Override
    public void paint(Graphics g) {
        g.drawImage(character, walrus.getCenterX() - 61, walrus.getCenterY() - 63, this);

    }
}

Also, here's my other class:
public class Walrus {

private int centerX = 100;
private int centerY = 382;
private boolean jumped = false;

private int speedX = 0;
private int speedY = 1;

public void update() {

    // Moves Character or Scrolls Background accordingly.
    if (speedX < 0) {
        centerX += speedX;
    } else if (speedX == 0) {
        System.out.println("Do not scroll the background.");

    } else {
        if (centerX <= 150) {
            centerX += speedX;
        } else {
            System.out.println("Scroll Background Here");
        }
    }

    // Updates Y Position

    if (centerY + speedY >= 382) {
        centerY = 382;
    }else{
                    centerY += speedY;
            }

    // Handles Jumping
    if (jumped == true) {
        speedY += 1;

        if (centerY + speedY >= 382) {
            centerY = 382;
            speedY = 0;
            jumped = false;
        }

    }

    // Prevents going beyond X coordinate of 0
    if (centerX + speedX <= 60) {
        centerX = 61;
    }
}

public void moveRight() {
    speedX = 6;
}

public void moveLeft() {
    speedX = -6;
}

public void stop() {
    speedX = 0;
}

public void jump() {
    if (jumped == false) {
        speedY = -15;
        jumped = true;
    }

}

public int getCenterX() {
    return centerX;
}

public int getCenterY() {
    return centerY;
}

public boolean isJumped() {
    return jumped;
}

public int getSpeedX() {
    return speedX;
}

public int getSpeedY() {
    return speedY;
}

public void setCenterX(int centerX) {
    this.centerX = centerX;
}

public void setCenterY(int centerY) {
    this.centerY = centerY;
}

public void setJumped(boolean jumped) {
    this.jumped = jumped;
}

public void setSpeedX(int speedX) {
    this.speedX = speedX;
}

public void setSpeedY(int speedY) {
    this.speedY = speedY;
}

}
I haven't gotten any errors at this point, but it's not working right.

A: The problem is that your image is not loaded. The line
getImage(base, "src/data/walrus_right.png");

tries to read the image for a deployed applet and will fail quietly (not throw errors), which is what caused the confusion. Try to replace it with
ImageIO.read(new File(getClass().getResource("relative/path.png").getPath()));

where you should replace the path as specified under getResource API.
Edit:
Break the call into several calls:
Class<? extends StartingClass> clas = getClass();
URL url = clas.getResource("relative/path.png");
String path = url.getPath();
File file = new File(path);
try {
    Image image = ImageIO.read(file);
} catch (IOException e) {
    e.printStackTrace();
}

and move with the debugger step by step to see which line throws the error. My guess is that the file is not located in the right place, which causes getResource to return null, which causes new File(path) to throw NullPointerException.

redpajama_set_name: RedPajamaStackExchange


text:
New building of Museum of History and Local Lore opens in Sharur district
QalereyaEN
A new building of the Museum of History and Local Lore has been launched in Sharur district, Nakhchivan Autonomous Republic.
Chairman of the Supreme Assembly of Nakhchivan Autonomous Republic Vasif Talibov cut the ribbon symbolizing the opening of the museum.
Addressing the ceremony, Vasif Talibov congratulated the event participants on the opening of the new building of the museum.
The chairman of the Supreme Assembly then viewed the museum which features more than 7,000 exhibits.
Apartments and cars given out to persons in need of social care
Apartments have been given out to people with disabilities, two participants of the Azerbaijan Patriotic War, one person who participated in the elimination of the accident at the Chernobyl nuclear power plant, and a person who became disabled while performing his military duties, while a NAZ Lifan 320 was presented to a Chernobyl disabled in Sharur district.
Chairman of the Supreme Assembly of the Nakhchivan Autonomous Republic Vasif Talibov congratulated those who received the apartments and cars.
Akademik Ziya Bünyadovun həyat və fəaliyyəti zəngin yaradıcılıq və qəhrəmanlıq yolunu əks etdirir
Avropa İttifaqı iddialı ekoloji plan hazırlayıb
Nakhchivan news - VİDEO
New military-household complexes commissioned in Garmachatag and Buzgov villages,…
Ninth session of fifth convocation of Supreme Assembly of Nakhchivan Autonomous…
Georgian prime minister phoned President Ilham Aliyev


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Склад збірної Росії на чемпіонаті Європи 2004

Докладніше...Чемпіонат Європи з футболу 2004
Росія 2004

redpajama_set_name: RedPajamaWikipedia


ISO 45001:2018 is the first global occupational health and safety management system standard and was developed by experts from over 60 countries over the past 5 years. It will revoke and replace OHSAS 18001:2007 over the next three years and because of its structure and content will complement other management system standards such as ISO 9001:2015, ISO 14001:2015, ISO 27001:2013 and ISO 22301:2012.
A number of significant changes have been introduced by ISO 45001, not least of which is the introduction of the Annex SL format and terminology. Annex SL was developed in order to ensure that all future ISO management system standards share a common format irrespective of the specific discipline to which they relate.
ISO 45001:2018 takes the majority of what is required by OHSAS 18001:2007 but has added a number of additional requirements that were not explicitly documented in the OHSAS standard, such as the need to contextualise the company's operations and impose greater control on procurement and contractor activities. What we in Antaris are enthused by in the standard is the fact that ISO 45001 is a framework that enabled us to embed occupational health and safety best practice into our overall business processes. In addition, ISO 45001:2018 being a risk-based standard, allowed us to design and develop a management system that fits our own unique set of circumstances and takes into account the particular risks we face as an organisation. Interestingly, the new standard puts a greater emphasis on health than OHSAS 18001 did, reflecting the fact that occupational health issues can now be more problematic for service organisations' such as ourselves, rather than safety which we can manage relatively well. Implementation of ISO 45001 allowed us to adopt a more holistic approach to occupational health and safety by integrating health and safety into our business processes, thereby promoting a positive health and safety culture throughout the organisation. In addition, greater participation of company personnel is encouraged at every level as required by clause 5.4 of the standard on consultation and participation of workers.
We have been certified to OHSAS 18001 since January 2004. We started the transition from OHSAS 18001 to ISO 45001 when the DIS version of the standard was published in 2017 by undertaking a gap analysis which allowed us to identify gaps and areas in need of improvement. We did this by checking each of the requirements of ISO 45001 against our current processes and procedures and then reviewed these for adequacy, suitability, effectiveness and conformity to the standard. Fairly quickly it became evident what areas required additional work.
One of the first observations that we made was that the ISO 45001 requirements are less prescriptive than those in OHSAS 18001:2007 and are based on continual improvement of performance, rather than on specifying how organisations should do things.
Other changes include a move from prescriptive requirements for specific 'documents' and 'records' towards the more inclusive term 'documented information'. This allowed us to customise our occupational health and safety documentation to better reflect our unique circumstances. I will review the major changes that we have made to our occupational health and safety management system in subsequent blogs but the early effort we put into the transition enabled us to be the first company in the country to be certified to ISO 45001:2018.