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Certificate in Collaborative Filmmaking at Maine Media College
Jody Michelle
Exclusive Interview with Ron Dexter, ASC: Camera Movement and Camera Effects
StudentFilmmakers Magazine conducts an exclusive interview with master cinematographer Ron Dexter, ASC. Mr. Dexter shares his experience building camera equipment and systems. He discusses camera movement, techniques and camera effects. Mr. Dexter also shares his advice and insights on cinematography and animation.
Could you talk with us a little bit about your experience building cranes and dollies, and what goes on during the creative process of building?
Ron Dexter, ASC: The first dolly I made for a US information agency, the USIA Film called Harvest for overseas propaganda. Carroll Ballard and I did the film. Carroll directed – he shot about half, and I shot about half as one-man crews. A lot of it was just scenic farms – we shot dawn and dusk all the time. A lot of it was a move, especially at almost ground level. It was just phenomenal to make a shot look 3-D.
So the first dolly I made, I copied from a design that came from RKO Fox. There was a cameraman I was working with in special effects in Hollywood, who had this design for special effects, and I just modified it – put a motor on it, ran on a camera battery, and I could, as a one-man crew, shoot dolly shots in the field.
And, I feel that especially scenics are just phenomenal. If there is a perspective change – you know, when you move side to side, the perspective change, and especially in video, it's just makes the shot so much better.
So that was the beginning of the dollies, and then, I went to model one that would take a Fisher dolly and Chapman dolly and so forth later. It fit a track size that I established. The record track was two-feet wide, the Elemack track. And for me, that wasn't very stable. But I went out to 30 inches, and used larger pipe, and used wooden ties which are easy to work with. And, it's called the Dexter dolly. There are all kinds of versions of Dexter dollies. I made a lot of different versions. But I was not the one who thought up using skate wheels. We're not sure exactly who came up with that. I used steel ball bearings and the same configuration. But somebody else thought up the skate wheel bearings. And now, that is pretty much standard.
Do you remember the first crane you built?
Ron Dexter, ASC: The first crane I made, I was working for a director, Joe Hanwright. Joe wanted a crane move. Well, I took a section of ladder, made up speed rails, figs, and so forth, and used a box for counterweight. I laid down on it, so I could start right at ground level, and then – hand held with an Arri, with a light bank, with a 200-foot magazine – could make crane moves.
That worked pretty well, operating laying down and so forth. I didn't tighten some of the joints, and it would shoot down and make it move – and someone would say – 'Yeah, but can't you do that faster!' Well, we made it a little faster, and it ducked me off the front end of it when a fend screw wouldn't tighten down.
Then I went into much larger cranes. Most of them you could ride, some of them, not.
One thing, the Germans in the 30's used to make moves up side buildings. Imagine an eight-frame ladder that a weight box would go on one side and a cable up a top to a pulley that went down the other side. We could make about an 18-foot move at a diagonal, and it's possible to take where you couldn't get a crane normally. You know, a courtyard, supposedly, where there just wasn't room. And then, we'd put that on track, sometimes circular track. And make moves that just weren't possible.
Now, today with remote cameras, cranes have gotten much simpler. Well, I wouldn't say simpler – they certainly got very big. And, with light cameras and so forth, you don't really need what was needed in those days when you had to have an operator and a pretty heavy camera, tripod head, and all that stuff. But things have changed.
The problems I find in cranes especially are learning how to use them. I found that people go, they buy one, they go out on jobs and expect to get good results. Well, it takes practice. True of everything. To learn to drive, you have to learn in a parking lot, you don't get on the freeway.
With cranes, to know where to put the post, you know, the center post is very crucial, and to know when to make a certain move – if it's going to work well, and when it doesn't. I've watched people just struggle with not practicing. Dollies are easier. But cranes, it takes a lot of practice.
What advice would you share with aspiring cinematographers who have a special interest in building their own jibs, cranes, rigs, and camera mounts?
Ron Dexter, ASC: Well, let's start with dollies. What I used to do is, I would make some cross ties, you know, the wooden cross ties, and ship them to locations, with screws and so forth, and buy or borrow pipe on location so I can make dolly track. Now, usually, you only find 10-foot sections which my standard was 20 to 25 feet, which not having joints makes life a lot easier. But that's what I would take on location, and I was always careful to order metal pipe, metal conduit – not plastic conduit, which will not work except on very flat floors. So, I don't recommend using plastic pipe except if you have a perfect floor, because otherwise, it's really difficult.
Then I would take just the truck, you know, the things that ride on the track; I'd just take four of those and get a piece of plywood on location, cut up and make a platform, and bolt the truck onto that – and there was your dolly. Off and overseas, I'd give the dollies to the crew. Usually it kind of blew them away. My budgets were good enough. I'd say, 'Hey, it's yours, do what you want with it.' The things that you also have to take are the couplings to join the track, which are a little bit tricky. So that's about dollies.
Cranes – I had shipped by air freight some of my cranes before, but it's pretty hard. One of the things that somebody just asked me, they wanted to shoot out in the desert in some sand. The problem with pushing dollies is they don't have much mass. They need some kind of dampening, something to keep the speed constant, because it's very difficult to push cameras when you're walking at a constant speed if it's not very heavy. If it's heavy, like a crab dolly on a stage, it makes nice starts and stops because they weigh so much. If you don't push all continuously at the same speed, they make a pretty smooth move. That's also true with the mass of the crane of itself, makes for smooth moves. It's a matter of physics.
I always ship my Dexter high hat. I manufactured those for a while, but I think there are some better ones out there now. A high hat on a board is just 1920s technology. It's awful. I started making six lengths on them and went to adjustable lengths on them and to work on a hillside or whatever.
How about rigs and camera mounts?
Ron Dexter, ASC: Rigs and camera mounts. I was not the one to start with speed rails. But I sure exploited them and used them a lot. We made up all kinds of stuff out of speed rail. Unfortunately, the standards around the world are all different. It's really difficult to take fitting somewhere that will be usable elsewhere. It's really rough when it comes to rigging.
Generally, I just ask the grips to do their own rigging and tell them what I want. I rarely took very many tools other than maybe chain pliers, which they don't often have overseas. And some racket straps for tightening things down. It matters what you're trying to do – if you're doing a window rig, almost everybody has a window rig. If you're trying to do a hood rig, people fairly often have those. One of the things that's crucial of rigging wherever, you've got to know a little bit about physics and a little bit about engineering. The first job I remember a rig on, they took a station wagon and put a high hat on top, and put a big O'Connor head on top of that, an Arri on top of a high hat on top of that. And they'd go out and chase racing cars, you know, on a figure-eight track. And I said, 'Guys, you're gonna have a problem with that.' And they did. Nobody understood the physics of something stacked up that high. Where if you go with a low base camera and spread out the untacked with whatever the surface is, it's pretty stable. You remember, Easy Rider, they just stuck the tripod on hard plates on the convertible, and they went out and shot all those really nice-looking scenics.
Rigging can be dangerous. And if people don't know what they're doing, people can get hurt. The best riggers are car builders, you know, rig car builders. They're phenomenal. They're the guys that know how heavy something should be, how strong something should be. Anyway, that's about location rigging.
You had mentioned the potential dangers. Are there any reasons why aspiring cinematographers should not go DIY on rigs, mounts, and camera equipment?
Ron Dexter, ASC: Unfortunately, today, most kids don't learn mechanics. They don't have a shop at home, and they don't learn some of this stuff. I've seen stuff which is laughably stupid. To find somebody who knows that stuff to make it safe is a problem. So often there's the – 'Oh, we've got to get the shot!' And you're scrambling to do something, and somebody tries something and so forth. And, hey, people can get hurt. People especially get hurt when they're trying to help you get the shot, and the sun's going down.
The closest things that I've been involved with where people were hurt was, people trying to help you get the shot because of other problems we had no control over. Got it to the point where guys violate their own safety rules to help get you the shot. So often, that is the problem. There's that, 'Well, you got the shot, didn't you?' Or, we were trying to get the shot when indeed somebody should've said, 'No, it's too dangerous… No, we don't have time to do it right.' And talent has to say, 'Sorry, you guys, we said we'd go out and do that, but you're pushing it, it's dangerous.'
One time somebody wanted to hang glide into a jeep. I turned the job down. And didn't know anything about until some time later – that they had killed one hang glider, and they just brought in another. …They were shooting it with a helicopter, and I said, 'It's too damn dangerous.'
It's pushing things beyond the rules and good sense. A lot of it is good sense. On my first 16mm job, the producer was driving the car, we were on a very well traveled road, with no permit. It's lucky we didn't have a head on crash. This guy, he wasn't a professional driver.
I always use professional drivers in anything where there's any concern, because anyone else – a director, a producer – or anybody else is distracted, and it's really dangerous.
Could you talk about the difference between a dolly shot and a pan with a long lens?
Ron Dexter, ASC: Often can look almost identical. You're following two people walking. Either you're pushing, you're right alongside of them, or you're working with a long lens, and you're panning with them. The longer the lens, the more difficult it is to make a really smooth pan following them. Well, it's also a difficult thing to dolly in sync with them, unless you've got somebody that's really good at that. If you're operator has a lot of experience panning with people, it's a much, much faster way to get the shot.
What are your thoughts on the dolly zoom in-house camera effect – when it should be used, and examples of how it's used to good effect?
Ron Dexter, ASC: There are a few classic movies that have used it. You see the cigarette smoke going backwards. You keep the people the same size, and you go from a telephoto to a wide angle, but the people in the frame are the same size.
I think it's a gimmick unless there's a really good strong story reason to use it. It's a very difficult shot to do. Because of the speed of zoom motors or pan zooms or anything else. It's really tough to do right. And it's the kind of thing that I think often doesn't add anything to the story and too often takes too much time when other stuff should've been done.
Could you share with us your most favorite experience using backpack dollies and cranes, and how that was used to good effect?
Ron Dexter, ASC: Well, those are for, first of all, very light-weight cameras. There's two thing you can do. What they are – to make the ability for somebody to carry the camera in a backpack, and some of the materials in the backpack, and then the crane part in your other two hands. And what it is, is a very light-weight system where you use a bag of rocks if you have to for counterweight. And you can make moves that just aren't possible otherwise.
The camera looks up when it's on the ground, and looks down when it gets up. It's a really neat move. Because when you're low, you wanna look up, and when you're high, you wanna look somewhat down.
It's especially for scenic shots, a reveal, when you come up over a hedge, you go by flowers, and you go and look at the, 'Wow, here we are overlooking the Caribbean' or whatever. Pretty spectacular.
Then also you can make pan shots. If you stand in one place and pan the camera, there's no perspective change. If you walk and have a little bit of an arc, or just even lean over a ways and pan, you'll see perspective change and things the relationship each other change. And it's an incredibly better move. And the dolly does the same thing except in a line.
So, that kind of shot can be so much more interesting, especially on small formats on video.
Often you can shoot a story with standard vision and so forth. But when it comes to your scenics, that's where a little dolly move or little crane move can be just phenomenal.
Could you talk a little bit about cinematography and animation?
Ron Dexter, ASC: Well, it's more in the vein that photography is photography. When you're shooting miniatures, depth of field is a problem. The smaller the format you shoot it on, the more depth of field you have. Now we're using digital still cameras, which is a bigger format, and 35mm film. But increasingly, they're not FLRs, they're digital cameras with very small chips that turn out pretty darn good images that make getting much more depth of field possible. The problem is, they don't have wide angle lenses on them, and you usually want to get kind of wide in there, so you have to put on an attachment. And, so far, I don't think anybody's making the exact camera that we would like to be using for that.
Here's something that's really important, I believe. When you're doing wider shots, especially exteriors, you want thing to look like they do by eye. You want everything as sharp as possible. When you're doing a close- up for something, then you can allow the background to be out of focus. But when you're trying to do a wide shot, you want to stop down as much as possible.
In Davey and Goliath, we did that. And, Gumby, the same thing. Davey and Goliath was shot on film. I made the motors and lens mounts and so forth. And for Gumby, we did shoot him with digital still cameras.
Could you describe the workflow and collaboration between a cinematographer and director on an animation or claymation?
Ron Dexter, ASC: I started directing Davey and Goliath because at the time we really didn't have anybody who had the mileage. Not that I had done a lot of stuff on animation. It became obvious that the art director who knew film inside-out, and slept three hours a day or four hours a day – working with him has been quite a joy – but he didn't understand everything about film, so he'd design a shot, and say, 'Hey, I don't see any way to do that.' We figured out a way to do it, or get the same effect. That's the key to being a good cinematographer, is being able to give the director the feel that they want.
When steadicam first came out, everybody wanted to use steadicam. There were instances where, hey, it would be fine. And there are other instances a dolly would really work a lot better. Every time we'd get a new piece of equipment, everybody would think that they'd get something really terrific if they use that special piece of new equipment. Well, not always true. The question is, what do you want to say, and what's the best way to do this? And, today, most steadicam shots, you don't know they're steadicam shots. But, the time they save in shooting is phenomenal. And they get you in places where it would be very difficult to lay track or whatever.
Could you share a little bit about shooting animation versus live action?
Ron Dexter, ASC: [Laughs] Six seconds a day. Seconds a day. That's one part.
You've got good animators, you tell them roughly what you want, and they give you a lot more than what you asked. Really good animators are guys and gals who don't just shoot the storyboard – and some of them don't even tell you until you see the shot. They gave you want you asked for, but they also gave you a bunch more stuff like that.
On Davey and Goliath, we were working with a twenty-three year old kid, who now is up in Portland at a big animation place. Incredibly inventive and easy to work with and so forth. The kid did really well. He worked on stuff before, but boy, did he blossom with us, and he's just phenomenal.
Because animation is so slow, it takes so much time – it gives you time to, if you could shoot somewhat sequences at least at sequence, it gives you time to improve things as it happens. To storyboard it out and go out and shoot the same thing, probably would be very good. And then these bigger budgets you hear, oh, they threw that whole sequence away because they didn't like it or they re-shot that whole sequence. When we did Davey and Goliath, we used about 99% of the film we shot. There was almost no re-shoot. And the reason why we didn't go digital at that time was I didn't feel comfortable yet. I was certainly comfortable with film, but didn't feel comfortable enough with digital.
The other thing is, we were doing exterior snow stuff with miniatures. And I think we did much better on the look of the film. Because film can handle the highlights a lot better.
What changes have you seen through the years in relation to animation and claymation?
Ron Dexter, ASC: Historically, lunch box made it incredibly easier because in the old days, you didn't even see what you were doing until the film came back. Those guys were really good. Then, the lunch box was a simple computer that showed you all the shots up to the one you're doing. And then it showed you the next one before you shoot it. And then you push button, and it played it in regular speed. So that you could see smooth, how whatever, whatever – or did you move too far or not far enough? It made life incredibly easier. Now, a laptop and Frame Thief or one of the other systems – you've got that solved. With digital cameras, you don't wait and see the film, you could see it right then and there, it's all recorded. You make backup copies of it, and it's done. And the quality is excellent. So that's one of the big changes.
I think that computer animation is kind of a different ball of wax. Say, Happy Feet. So incredibly well-done with moves that just knocked your socks off. I think some of those were real backgrounds. But anyway, just phenomenal stuff. And you really start to believe you're really in the location and there. And yet there's real cheap animation like The Simpsons, and there's one a lot even simplier than that. The story is so good, the characters are so good, the voices are so good that, who cares, it works. But some of it is a lot of potty humor that a lot of people continue to laugh at.
But we've been discussing for years the differences between clay and the other types of animation. And I have no answer on that, but some of the theories are, that clay looks not perfect. It's a little bit funky which might add to it. Something I'm pretty sure of is I think Gumby is so well known and liked by people into their adulthood is that most people were exposed to Gumby while they were still working with clay and painting in school. That connection in the brain, that 'I can do that, that's something that I could really relate to.'
But I do think that today that audiences do expect much more story content. Not just for the kids but also for the adults. To say, 'Wow, I remember when that happened to me when I was growing up.' It's the kind of stuff that taps into things in our brains that were put in there many, many years ago but are still there. And when you're reminded of those, you say, 'Ah, yeah, I know exactly what you're talking about. Dad was bugging me about that, and he still bugs me once in a while.' That's what makes magic I think in animation today.
If you could share a piece of advice for cinematographers around the world, what would it be?
Ron Dexter, ASC: First of all, cinematography is basic photography. The only difference is you're dealing with time and maybe the camera moves. There are incredible books out there on basic photography. I think that if people are going to be cinematographers, they should shoot, shoot, shoot all the time, all the time. Both with a video camera so they can perfect their moves, and with a digital still camera if necessary to learn how cameras respond to light.
And, what is difficult is for people to get their work judged. When I teach, I send three or four people out with one camera and one tripod, and they shoot still shots. They all have to approve the shot. Then we bring it in, we put it on the big screen, and then I have some rules to judge the shot to see if indeed there's stuff in the shot that belong and so forth. Then it's group responsibility instead of personal responsibility, and people can take criticism that way. If each person shows their own shot, it actually takes so more time, you know – 'You're telling me my baby's ugly.' Well, people don't like to hear that. But after a while then the other people in the class will start picking up on the same mistakes. And next time, they don't make those mistakes. When a person's working alone, I think it's very difficult to judge your own work.
Photography – it's all basic photography. I start people outside. Not on a stage with fancy equipment. Because outside lighting is difficult, and once you can master that, then you could start working inside with existing light and learning what to do to make it shootable. You have a light on at night, you have a light on a table, and it's way too bright there, and the rest of it is dark. Well, you gotta learn how much light you have to add to the rest of the room and how much to reduce from that. Once you get that down, then if you go get some hardware store lights, the stands are pretty bad, but I recommend highly that people get three grip stands, and learn how to start using soft lights like bounced off a white card or through some kind of fabric. And, a little bit of hard light. Keep shooting, and test and test and test. Learn an awful lot about it.
If you just read the books or listen to too many teachings about three point lighting, people are not lit with three point lighting normally. In maybe 1940's and 50's movies, but most the rest of the time, that's not the way natural and existing and realistic lighting is.
People can also study movies. Frame by frame, sound off. Just look at 10 seconds, 20 seconds at a time over and over and over. And see exactly how people did things. You start to learn, 'Geez, there must have been light from over here, and then, they go over there coming from the other side… Well, that's not proper, the light should be coming from…' You notice in movies, they jump all over the place at where the lights were in the last shot. Well, only some people will notice that. But if the next shot, you have to keep the key on the same side but it looks bad, that's not good. So studying movies is really very helpful for people to learn how other people do it.
Before Connie Hall [Conrad Hall, ASC] died I asked him what his lighting theory was. He said, 'Well, I lay in some base light and then I just put a little extra light on the things I wanna see on the frame that I wanna make a point of.' And American Beauty is quite a good example of that.
Could you share some advice in relation to special effects cinematography?
Ron Dexter, ASC: What you need to know in special effects, aside from the safety part of it – just the stuff you need to know is phenomenal. And I found in the business when I was just a cameraman working for other directors in different companies, they bring in a special effects wizard to do something. They'd show up in the morning, and they had worked all night. And they finally got it to work once, and they it never worked on the take where the talent was doing the right thing. So, special effects is something that takes a lot of time and testing and fine-tuning. I've had some of these people say, 'Well, you got the shot, didn't you?' And I'd say, 'Yeah, on a terrible take.' It only worked once. And they charge you a lot of money and all that.
So, what I did was start building my own stuff, and I had, for example, Bill Bennet and Jim Jackson. I had some people working with me who were really great mechanics, too. We did some pretty phenomenal stuff. But people need mileage to do good effects. Stuff might look simple on the screen, but it's not.
Interview conducted by Jody Michelle Solis. Associate Publisher for StudentFilmmakers Magazine (www.studentfilmmakers.com), HD Pro Guide Magazine (www.hdproguide.com), and Sports Video Tech Magazine (www.sportsvideotech.com). "Lifelines, not deadlines. Motion Arts. Fusion Everything."
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The Intersection of School Dress Code Policies and Title IX
By Aleks Ostojic Rushing, John W. Borkowski & Mackenzie Conway
School districts often have gender-based dress codes, outlining specific requirements for students such as mandating a particular skirt length for female students or prohibiting muscle shirts for male students. In late 2022, the U.S. Government Accountability Office (GAO) released a report on school dress codes that made multiple findings regarding the disproportionate impact of dress codes on girls and minorities.
GAO estimated that of the 93% of school districts with some kind of dress code or policy, more than 90% of them have rules that prohibit clothing worn by female students. Included in the GAO's report's recommendations was a directive that the U.S. Secretary of Education should provide resources to help districts and schools design equitable dress codes. Some school districts have already taken steps to address school dress code policies to make them more inclusive for all students by noting that students can wear clothing that conforms with their self-identified gender.
The Fourth Circuit also addressed the applicability of Title IX to school dress codes in its recent decision in Peltier v. Charter Day School (4th Cir. 2022). In that case, a public charter school's dress code required girls to wear skirts to school and male students to wear shorts or pants, among other requirements specific to male and female students respectively. A mother of a female kindergarten student challenged the skirt requirement. The Court in Peltier held that "Title IX unambiguously applies to sex-based dress codes." This case is illustrative of the challenges school districts could face with dress codes that have requirements specific to students' genders.
In June 2021, the U.S. Department of Education's Office for Civil Rights issued a Notice of Interpretation, explaining that Title IX's prohibition of discrimination on the basis of sex extends to discrimination based on gender identity and sexual orientation. The proposed Title IX regulations that the U.S. Department of Education released in June 2022 proposed to include discrimination based on gender identity and sexual orientation under the scope of Title IX sex discrimination. The proposed regulations potentially may require significant changes to many school dress codes.
School dress codes will undoubtedly continue to be a hot topic in education as schools navigate recent court decisions and the new Title IX regulations and update their policies to reflect the new requirements. If you are interested in learning more about Title IX and its applicability to school dress codes, please join Husch Blackwell attorneys for an all-day training on January 18, 2023. You may register here.
K-12 Legal Insights
Husch Blackwell LLP

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text:
SNAP TV
alex@snap-tv.co.uk
About Snap
Snap News
Snap's Recent Work
Snap's Blog
Contact Snap TV
Snap TV was established by David Edgar and Alex Nikolic-Dunlop to produce stylish, engaging and popular documentaries, returnable series and drama.
Over the last 20 years, David and Alex have produced well over 200 hours of television for broadcasters around the world.
David Edgar
Before Snap TV, David spent 15 years as creative director at the multi-award winning Flashback Television where he had the opportunity to enjoy his passions for history, drama and food. He's motivated by ideas and enjoys developing both new talent and working with established presenters.
david@snap-tv.co.uk
Alex Nikolic-Dunlop
Alex is a multi-award winning producer and director, who for more than 15 years has made visually arresting and accessible films for broadcasters all over the world. He's excited by shaping new series and formats and telling powerful narratives with beautiful pictures.
ADOLF ISLAND coming to Smithsonian Channel this June.
Caroline Sturdy Colls, a world leader in the forensic investigation of Nazi crime scenes, is chasing clues to an unsolved case: a concentration camp that existed on the British island of Alderney. Witnesses and survivors claimed that thousands died there, but only 389 bodies have ever been found. Under heavy restrictions imposed by the local government, Colls must uncover the truth using revolutionary techniques and technologies.
ADOLF ISLAND premieres on Smithsonian Channel in the UK on June 18 at 9 p.m.
(Sky 195/889; Virgin 295; Freeview 99; Freesat 175) It premieres June 23 at 10 p.m. ET/PT in the U.S.
Watch a clip of the film on Smithsonian Channel's website
The Mail Online features ADOLF ISLAND
Realscreen features ADOLF ISLAND
Ainsley Harriott's Street Food / Ainsley Eats the Streets 10 X 50 mins
Channel 4 / NETFLIX
BBC features ADOLF ISLAND


The Irwin infrared thermometer is a compact unit which allows the user to measure the temperature of objects from a distance. It is also useful for measuring the temperature of solid objects, where a standard liquid in glass thermometer would be unsuitable.
The thermometer has a laser target pointer which indicates the measurement area and has an illuminated LCD display with data hold function. The unit automatically switches off after 7 seconds of non-use.


Hi there! My last name can be hard to pronounce, so some members call me "Dr. J" or just "Doc." I'm delighted to share a bit of my background so you can get a sense of who I am before we meet for the first time and start building our relationship.
I grew up in Northern California, where my family still lives, but moved to Southern California to attend UC Irvine for college and fell in love with the weather, culture, and people, so I stuck around. I had the opportunity of traveling around the country for medical school rotations and ended up back in Santa Barbara for my residency. I moved to Minnesota to do my infectious diseases specialty training at the Mayo Clinic and then moved right back home to California to work for Kaiser Permanente when I graduated. Moving around so much allowed me to meet many people of different backgrounds and upbringings and offered me a profound sense of gratitude and appreciation for being able to treat people from all walks of life. I chose Kaiser Permanente because of its vision and mission to create healthy communities. I have a huge extended family scattered all around the state and now have a small, but growing, family of my own with a young daughter and dog that always keep the house exciting! I like to participate in the annual AIDS walk in LA and the sickle cell run/walk in Bakersfield, where some family lives. I chose medicine as a career because as someone who considers himself a people person, I really feel that it's a privilege to meet and connect with new people every day. Also, many infections are curable or can be well controlled with the proper management, and watching sick members improve is very gratifying.
My personal belief is that leading a healthy lifestyle and taking care of yourself physically and mentally are the best ways to continue to live well. That being said, as humans we get sick and sometimes have habits that are difficult to break no matter how hard we try, and we run into medical issues that were unexpected. Whether you're in good health and would like to maintain or prevent future issues, or you're feeling unwell and want to get better, I would be honored to be your partner in health. I like members to feel like we're part of a team that makes decisions together. I also have been on the other side of the exam room and remember what it felt like to not know what my physician was talking about. I am a strong believer in explaining what is going on and why we're doing what we're doing. I think that it's very important that members are well informed so they can make decisions that are suitable for them. I am an infectious diseases specialist with a particular interest in HIV infection, hepatitis C, and orthopedic infections.
Maintaining a clear mind, a strong body, and a level head is what allows me to live well. I love to get out with my dog for quiet evening walks and early weekend hikes and to go running on my own. I've taken up weight lifting recently and have been really enjoying working my way around the gym. I also love to go to the park with my wife and daughter and be a kid with them. I didn't always put my health first, especially through medical school. As I've grown older, however, I've learned to make myself and my health a priority, and it's been such a positive change for me and my family. My hobbies also include cooking, reading, and finding new music. I love listening to a good audiobook and make it a habit to do that every day. I'm not a chef by any means, but I can cook a pretty decent family meal and love to watch my daughter and wife (and sometimes my sneaky dog) enjoy the food I put on their plates. Finally, when I get a chance, I love diving deep into music I've never heard before to find new and exciting sounds to add to my ever-growing playlist.


text:
Pambasso-Diédou est une ancienne localité du nord-est de la Côte d'Ivoire. Elle est située dans la sous-préfécture de Transua, département de Transua, région du Gontougo, district du Zanzan. La localité de Pambasso-Diédou est un chef-lieu de commune.

En 2012, plus d'un millier de communes sont supprimées dont Pambasso-Diédou qui devient deux localités distinctes : Pambasso et Diédou.

Au recensement de 2014, Pambasso et Diédou comptent respectivement  et .

Notes et références

Commune dans la région du Gontougo

redpajama_set_name: RedPajamaWikipedia


Plastic Salt: What's Really Hiding in Your Salt?
Sustainable Corporate Gifts that will Surprise and Delight!
The Conscious Scoop: Banana Leaf Packaging, a Disappearing Dairy Industry and H&M's Conscious Collection?
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Liv Lo on Wellbeing, Sustainability and Launching FitSphere in Kuala Lumpur!


text:
Haematopota abacis är en tvåvingeart som först beskrevs av Philip 1960.  Haematopota abacis ingår i släktet Haematopota och familjen bromsar. Inga underarter finns listade i Catalogue of Life.

Källor

Bromsar
abacis


text:
Teams battle heat, storms in practice
Teams battle heat, storms while trying to practice
Teams battle heat, storms in practice Teams battle heat, storms while trying to practice Check out this story on jacksonsun.com: http://www.jacksonsun.com/story/sports/high-school/football/2016/07/26/teams-battle-heat-storms-trying-practice/87600594/
Brandon Shields, bjshields@jacksonsun.com Published 9:54 p.m. CT July 26, 2016 | Updated 9:59 p.m. CT July 26, 2016
The South Gibson football team practiced inside after rain fell Tuesday afternoon.(Photo: BRANDON SHIELDS/The Jackson Sun)Buy Photo
MEDINA – The TSSAA has regulations regarding practice in the heat for all sports, mandating no work shall be done outside if the heat index is more than 104 degrees.
There are also rules regarding storms. While football typically doesn't have rain delays, lightning in the local area forces teams off the field for 30 minutes as long as there's no more lightning seen in the area.
Both of those circumstances have affected local football teams this week.
"We got on the field for about an hour-and-a-half [Tuesday] and a little less than two hours [Monday]," said South Gibson head coach Scott Stidham.
Teams have different ways to combat the heat. Some get on the field early in the morning and come off before it gets too hot to work outside. The Hornets were on the field Monday at 5:30 a.m.
A lot of teams this year have decided to go later and begin work as the sun is going down and the temperature is dropping because that's when the bulk of practice will happen during the season and also because most local school systems return to class next week, which means teachers are doing in-service work this week.
Coaches are occupied in the day preparing for the upcoming school year with the rest of the faculty.
Chester County's coaching staff is in that situation.
"We're in the school until 3 p.m. getting stuff done, and when we're done, it's too hot to get the kids out there," said Chester County head coach Michael Hodum. "So our plan this week is to get them at the fieldhouse at 5 and get them on the field, but we haven't been able to do that so far this week."
The heat index dropped below 105 at 5:40, allowing the Eagles to get on the field, but a storm quickly moved into Henderson with a lot of lightning and forced the Eagles back into the fieldhouse at 6:05.
"We got 25 minutes of work on the field before we had to come back in," Hodum said. "And we don't have a huge fieldhouse.
"We split the guys up and had some in the team room watching film, another group in the locker room doing chalk talk and another group in the weight room lifting. None of the rooms in our fieldhouse are big enough for our entire team to meet, so our plans changed drastically."
Rain falls over South Gibson County High School on Tuesday afternoon. (Photo: BRANDON SHIELDS/The Jackson Sun)
Because the heat index was low enough in Medina for the Hornets to go out, South Gibson got most of its work in before the storm hit about 6 p.m.
"[Assistant coach Jim Fischel] saw some lightning, and we don't play around with it," Stidham said. "Lightning has an undefeated record, so that's not something we want to deal with if we can help it."
The Hornets went into the school's gyms for the team's conditioning.
"It's not what we prefer to do, but I'm glad it's an option for us," Stidham said. "This was a good teaching opportunity too.
"I told the guys that winning in football sometimes takes being able to change your game plan. We changed our game plan today, and we still did what we wanted to do."
Brandon Shields, 425-9751
Who was the boys athlete of the week for Week 22?
Who was the girls athlete of the week for Week 22?
Top Jackson area high school basketball games during Week 9
Peabody re-enters the boys basketball rankings
TCA star Lee keeps family's strong basketball tradition going
Carroll Academy knows how a 100-point loss feels


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Women In Uniform By Gilad Atzmon
October 03, 2009 by Gilad Atzmon in identity
Now the Iraqis are truly liberated..... Some of them have been lucky enough to practice the most advanced forms of western bondage practice. Those Iraqis could never even dream of the possibility before the blessed American came and opened their minds. This is what liberation is all about. Toppling Sadam was just an excuse. From its very beginning, it was all about introducing the Arab people to the advance and beauty of American female domination and general S&M.
As matter of fact I am pretty confused and not just because of these images. I have seen worse. I do find it pathetic that no one has yet come up publicly, to confront us all with the obvious fact that, at the centre of images of torture of Iraqi detainees, we find young females in uniform. The image of a giggling female soldier pointing at the pines of naked hooded prisoners is, no doubt, a novelty. In our western wars, women in uniform always had kept the most precious position. They were providing the fighting men with care, love, mercy and calmness. In their white nursing uniforms they were often described as an instance of sanity and humanity in the midst of a masculine flesh-mincing machine. Not anymore, under the command of Mr Donald Rumsfeld, Private Lindy England and her comrade, Specialist Sabrina Harman are serving as angels of death. Women in the American army have a new role, they are providing the enemies of America with sexual humiliation. They are providing all of us with the ultimate pornographic image of war.
Let's face it, Private England didn't invent the notion of sexual abuse. Abuse has been here since time began. More than one victorious army celebrated its triumphant moment raping the defeated nation. Usually it was women who were the first to pay the price. We all know about Nazi platoons who brutally raped Soviet women all the way to Stalingrad. Soviet soldiers were not different when arriving on German soil. American GIs did it in Nam, Serbs did it in Kosovo. Apparently war is a horny event. The confrontation with death and blood leads the active participants towards a vivid and extreme realisation of the notion of life. More than a few London grannies would enthusiastically share their hot juicy blitz tales. Apparently, the engagement with young fireman in action, as well as young off duty American pilots, turned WW2 Britain into an explosive libidinal setting. War, as it appears, has some positive erotic connotations.
But yet, 'strategic sexual humiliation' is very new to us all. Moreover, it seems to be a 'well orchestrated' new American doctrine. The Americans have always proved to be innovative in introducing evil strategies and destructive weapons. If they do something they do it big. But yet, it is hard to realise how they got so far this time. Thinking about the subject in military terms leaves me pretty puzzled. The story of 20th century wars does not provide us with any sort of historical background relating to tactical sexual humiliation. I cannot recollect images of naked Soviet soldiers sexually abused, neither by sporadic female SS officers nor by male Panzer platoons. We can neither remember any form of such abuse conducted by any Allied soldiers. True, Jews where stripped of their clothes before they where pushed into gas chambers but again those scenes had nothing sexual, erotic or pornographic in them, just a devastating practice.
No doubt, these new American images are a complete revelation; and yet no one points out that we might be confronting an unprecedented, new image. No one points out that it is a female soldier at its very centre. No one dare say that the notion of femininity might have gone through a serious metamorphosis. We might confront here a newly devastating feminine role and yet hardly anyone stops to reflect about it loudly. This is probably the beauty of political correctness. Willingly, we are becoming slightly blind; imposing on ourselves a form of foolishness. It is a cheerfulness that is coupled with stupidity. This very idiocy is the ultimate condition of the post colonial western democracy. We would politely blame Blair and Bush for dragging us into wars; we will democratically protest in the centres of our big cities; we would raise questions about WMD; but we will turn a blind eye to the evident fact that the women around us, the core of our innermost libidinal desires, might change their spots. Somehow, they appear to be far more cruel than we have ever pretended to acknowledge.
It took more than a while for Women's Groups to generate enough pressure to persuade orthodox Generals to allow their young sisters to become combatant soldiers. Those resistant orthodox Generals were always repeating the same laconic silly argument. A female soldier, they used to say, would confront some severe risks of sexual abuse when falling into enemy hands. In fact, they where completely wrong, it is very much the other way around. It is the male POWs who find themselves bare, naked, confronting relentless humiliation in the hands of those young enthusiastic armed ladies who entertain the joy of power beyond any recognised measure.
Using those orthodox General's arguments, it would make sense to argue that men should be left out of the battlefield just to save them from the chance that they would fall in the hands of devoted female combatants. As it appears, both Private England and Specialist Harman enjoy the colour of war to the very limit. It might be that those Women's Groups were right all the way through. Women are far more qualified for the battlefield. Men tend to complain all the time, some of them prove to be cowards when asked to kill. It is more than likely that we should leave wars for women, for sure the food in the front lines will improve a lot.
But the issue is slightly more complicated. Since, one should agree, that the sudden appearance of sexual humiliation in military life is a real novelty, we should ask ourselves what really went wrong?
I can think of two possible answers:
1. That American society is going through a severe process of moral and intellectual regression. Sexual humiliation of Iraqi detainees is just a single symptom.
2. The introduction and presence of the female combatant in the firing zone turned the battlefield into a theatre of erotic domination.
The former is pretty obvious; America is going through a rapid process of moral and intellectual deterioration. The fact that America is the last country on earth to back Israel is enough to prove that something has gone dramatically wrong on the other side of the Atlantic. But again, leaving the Zionists aside, it is clear that the war in Iraq is involved with more than one immoral aspect. Actually, it is pretty impossible to find anything moral about it. For more than a while we are facing an endless stream of pornographic images. To start with real-time images of mass destruction and murder of innocent civilians - and to end with explicit images of brutal sexual abuse. The Internet is flowing with images of Iraqi women being raped by American GIs. Many of those images have now been found to be forged. They were commercially made just to satisfy the thirsty American market demands. The brutal rape of a defeated nation is transformed in Bush's America into hard-on-cash. This is no doubt a new form of a collective masturbation.
But we do not have to go that far. The genuine photos of abused Iraqi POWs that where shown repeatedly all over the American media say it all. While most American commentators appear to express deep disgust, we have a good reason to suspect their honesty. Dr. Susan Block, the American sex therapist says in an article about the subject that many of her clients "will say something to disgust them at first, only to confess a few sessions later that it really turns them on" (Bush's POW Porn, Dr. Susan Block , Counterpunch 14.5.04). While Block was referring in her article solely to Bush, I would suggest we attribute her diagnosis to the entire, allegedly devastated American media, and the political world. America is full of contrasts: on the one hand, an extremely conservative society and deeply sexually oppressed, but on the other hand, it has the biggest porn industry and by far the wildest one. In that very sense America, a place conceived on opposites, these images serves as a snap shot of some very devastating reality. I would say, a glimpse into the Lacanian 'Real'. A gaze at the reality of brutally deteriorating society. An explosive image of volatile sexual domination. This reality is so terrifying and hard to acknowledge, that most of us, both men and women, cannot even articulate it verbally.
The later option is leading towards even further complications. The fact that females, when protected with power, expose a completely new form of sexual domination and abusive practice is rather alerting. First, we have to ask ourselves whether we were mislead all those years, assuming that our beloved women are caring and loving. If this is the case, if women are in fact wild, brutal creatures, we must believe that the female peaceful image we were so used to was just a camouflage, or might even be a conspiracy. If women are brutal and monstrous we must assume that the very attractive image of them, soft and caring, is a direct outcome of the male patriarchal society. Now that women are liberated we can see what they really are. While a confrontation with the odd militant separatist feminist might support such a wild assumption, being surrounded with men-loving women makes it hard to take such an option seriously. As a matter of fact, here I want to declare: women are generally great, we love them all, in every shape and colour. Also, it appears, I am failing to produce an argument. True, but then, after seeing Private England in action I prefer to be on the safe side. The last thing I need is to have the feminist women coming up against me and cutting off my testicles in the middle of the night.
Another way around the loophole raised by Private England et al. is to assume that there is something pretty particular about those strange women who join the armed forces in the first place. I think that many would agree that there is something unique about those women who want to be 'man'. I myself find it bizarre, mainly because 'man' is a pretty vague concept. Most men do not have a clue what being man means, they simply can't be bothered. All we know about ourselves is that we like cars and computers. By the time we know how to entertain women our biology turns against us. From that stage, more or less, we are just running down the slope. We usually enjoy the down-hill journey, mainly because our female counterparts become sexually frustrated. Women are very amusing when defeated by their desires. By the time our women buy their first pair of stockings we are too tired to keep our eyes open after ten o'clock news. It is great fun being in the centre of the desire of the other without being able to do anything about it. Giving our pathetic condition, thinking of all those young women who want to be us, is really ridiculous. I assume that those poor militants, tom boys probably, hold a rigorous, deloused, picture of what man is all about. Mistakenly they endorse an awkward vision of man as a brutal and violent creature while in fact, we are deeply romantic.
As we know, in most cases the impersonated version is far more extreme than the real McCoy. Those kind of tragic amplified misinterpretations can easily lead towards an radical strengthening of evilness. It is typical for marginal political movements to fall into this very trap. Zionism exceeded, far beyond most political movements of its time, in its interpretation of the notion of Nationalism. The result is devastating. A notorious bloodthirsty nationalistic society entirely occupied with daily murder of Palestinian civilians. Militant separatist feminists are no different at all. Like the Zionist they went too far in their demand for rights and equality. Unlike Zionist they are yet to assassinate their opponents. When one is stressing the importance of equality, the image of equality is often replaced with a claim for supremacy and even an appetite for hegemony.
In general most marginal political movements fail on this very particular issue. In the long run those opposing tendencies leads towards a clear intensification of unbearably vulgar behaviour. I assume that Private England fail right there. She tried to be a man, but found herself exercising a brutal amplified version of her original prototype. We must admit that we have never seen a photographic image of a male soldier standing staring at a naked hooded woman, ridiculing the shape of her clitoris. It might be the right time for women to ask whether being man-like is a very clever choice. But yet, we should give some justice to Private England and Specialist Harman. We should mention that they were not acting alone; as a matter of fact they were surrounded by perplexed men, who very much like these two women tried to pretend to be men. Not that hard to understand, since it is almost impossible for one to impersonate oneself. In a social environment, where women are supposed to be "as man", men tend to forget what "man" ought to be.
So now the Iraqis are truly liberated. They all know what America stands for. But then who is going to liberate the American people? Who is going to sustain those women who want to be men? Who is going to save the man who wants to be a man?
Private England is probably sorted, we shouldn't worry about her, for the type of services she gave in Iraq for free she can make a fortune in down town Manhattan. In the end of the day America is all about money.
God save America. Because if it is down to the Americans they don't have much time left.
October 03, 2009 /Gilad Atzmon


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Jihad Vs McWorld
Benjamin R Barber
JIHAD VS. MCWORLD is an essential text for anyone who wants to understand the challenges facing us after the tragic events of September 11, 2001 and in light of the current conflict in the Middle East. In a groundbreaking work, political scientist Benjamin R. Barber offers a penetrating analysis of the central conflict of our times: consumerist capitalism versus religious and tribal fundamentalism. These diametrically opposed but intertwined forces are tearing apart - and bringing together - the world as we know it, undermining democracy and the nation-state on which it depends. On the one hand, capitalism on the global level is rapidly dissolving the social and economic barriers between nations, transforming the world's diverse populations into a blandly uniform market. On the other hand, ethnic, religious, and racial hatreds are fragmenting the political landscape into smaller and smaller tribal units. JIHAD VS. MCWORLD is the term that Barber has coined to describe the powerful and paradoxical interdependence of these forces. In this important book, now more timely than ever before, he explores the alarming repercussions of this potent dialectic and in his new introduction sketches a democratic response to terrorism.
"'Written with an exceptional combination of erudition, intelligence and empathy... [Jihad vs. McWorld] may help to illuminate the present in a time of dizzying transformations'"
"'Jihad vs. McWorld is that rare phenomenon - a book that is immensely readable, yet with a serious theme'"
Government & Opposition
"'Challenging and instructive'"
"'Stimulating, tartly written'"
"'A bold invitation to debate the broad contours and future of society'"
Benjamin R. Barber is the Whitman Professor of Political Science at Rutgers University and the director of the Walt Whitman Center for the Culture and Politics of Democracy. He is the author of numerous books, including the political classic Strong Democracy as well as An Aristocracy of Everyone. With Patrick Watson, Barber also created and wrote the prizewinning television series and book The Struggle for Democracy. He writes regularly for Harper's, the Atlantic Monthly, and many other publications. He is married to the dancer and choreographer Leah Kreutzer.


Both bright. Full of happiness and amazing ideas. The place of the outdoor photography session which they've chosen after the wedding reflects the best their charackters: it was taken in Bieszczady Mountains. At the same time they were very classical and precise. They prepared together their own beautiful film as a part of thank-you gift for their parents and they were really involved in the whole preparations. Classic and precision in every inch. The wedding reception took place in a palace near Warsaw.


text:
En el ámbito militar se conoce como cordería o cordelería al conjunto de cuerdas y cables que se usan en artillería.

Comprenden las siguientes:

Beta
Braga
Cejadores
Cordel de azote
Cuerda estopa
Cuerda de trazar
Cuerda mecha
Cuerda de agarrar
Cuerda de esparto
Maroma
Marometa
Sirga
Tirantes
Estrenque o estrinque (que es lo mismo que maroma pero de esparto)
Traílla de esparto

Los ingenieros, tomándolo de los marinos, llaman cabulería a lo referente a cabos y cuerdas utilizados en el servicio y manejo de puentes militares.

Referencias

Cuerdas
Artillería


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CinaChat allows you to sell memberships to allow for membership access. You can allow for free or fee based access - it's up to you!
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text:
Doylestown council honors Bucks judge, volunteers helping people in recovery
Peg Quann Staff writer
Bucks County Judge Rea Boylan is urging businesses to take a chance and give a job to someone recovering from drug or alcohol addiction.
Give them a fresh start, she said.
Boylan spoke Monday at the Doylestown Council meeting as Mayor Ron Strouse proclaimed the borough would celebrate September as National Recovery Month and honor those recovering from drug or alcohol addiction or mental disorders.
Boylan, who handles many drug cases that come before the Bucks County Court of Common Pleas, was honored by the borough along with several other volunteers who work with those in recovery. She said the Doylestown area has a reputation of helping those in recovery, but more could be done. No one, she said, chooses to have an addiction.
"We have businesses that are willing to take a chance on people ... to give people a chance and the support they need in recovery. If we don't do that — not only engage in prevention — if we don't support people in recovery, we will not be able to move forward as a society in this area," Boylan said.
Both Strouse and Doylestown Councilwoman Noni West thanked Boylan and other volunteers who work with people in recovery.
"National Recovery Month 2015 works to improve the lives of those suffering from addiction and mental health disorders by raising awareness, combating stigma, shaping public policy and educating communities about prevention, treatment and recovery support," Strouse said.
Among those honored Monday night were: Bev Haberle, executive director, Council of Southeast Pennsylvania, Inc., which aids those with addictions and mental disorders; Diane Rosati, executive director, Bucks County Drug and Alcohol Commission; Fred Stanczak, a member of the board of directors of Lenape Foundation; Dr. Donna Toro, director of clinical services, Foundations Behavioral Health; Joyce Beeman, transition house coordinator, Aldie; and Steve Calderbank, Bucks County community mobilizer for PRO-ACT.
Strouse also honored Councilwoman West, saying she "plays an important leadership role" in efforts to assist those in recovery. West has been involved with PRO-ACT Recovery Walks for several years. She said the first walk in Philadelphia attracted hundreds of participants. This year, more than 20,000 people are expected to join in the fundraising walk Sept. 19 through historic sections of the city. A Phillies baseball game to honor those in recovery will take place Sept. 12.
For more information on the walk, visit the PRO-ACT website at https://www.recoverywalks.org.
Peg Quann: 215-345-3179; email: pquann@calkins.com; Twitter: @pegquann


Professional on-site and off-site translation and interpretation services are vital for M&A attorneys and law firms. With the economic crisis spreading across the globe, mergers and acquisitions have slowed considerably over the past two quarters of 2009. Although there are signs that mergers and acquisitions are beginning to once again pick up, overall the numbers remain low.
One of the main reasons for the slowdown of global mergers and acquisitions is the ongoing decline in international stock markets and the lack of available credit. Since cash is the preferred payment method for acquiring a business, when cash becomes a scarce resource the ability to acquire a new business decreases.
tightened – making it more difficult to do business. For example, in Europe due diligence often requires a review of the target company's contractual obligations, including leases, loan agreements, bond indentures and liabilities. If a public company is involved, filings are reviewed. Of course, to do this, a foreign language translation of all documents is required.


Frisco, Tex. – Dallas Stars General Manager Joe Nieuwendyk announced today that the hockey club has signed forward Krystofer Barch to a two-year contract extension worth $1.675 million ($825,000 first; $850,000 second). This extension puts Barch under contract through the 2011-12 season.
Barch, 30, played in 63 games for Dallas last season, collecting 6 assists and 130 penalty minutes. He has played 209 NHL games over the past four seasons, all with the Stars, recording eight goals and 15 assists with 475 penalty minutes. The Hamilton, Ontario, native was originally signed as a free agent by Dallas on July 18, 2006.


I needed a new driveway and a work colleague recommended Neil at Hudson Plant and Excavation Ltd to me. I called Neil and he promptly came round and gave me a competitive quote. The work started and finished on time and the price was exactly what was quoted, little details that some companies forget these days. The new drive looks great and I am delighted with the result.
I am very pleased with the finished work and happy with the very competitive price, I will be using Hudson Plant and Excavation Ltd in the very near future on new projects.
I am really happy with the completed work, you came to give me a quote within a couple of days, contact was always prompt and the work was carried out quickly and finished to a high standard.


text:
Vancouver rejects citywide parking levy
Darpan News Desk The Canadian Press, 07 Oct, 2021 09:45 AM
VANCOUVER - City councillors in Vancouver have narrowly rejected a proposal for citywide parking permits and a levy on certain vehicles, with Mayor Kennedy Stewart questioning the fairness of the plan and casting the tiebreaking vote.
Council heard Wednesday night from more than two dozen speakers both for and against the proposal to set a $45 annual fee for overnight street parking anywhere in Vancouver.
Today we heard from staff and dozens of residents on the proposed city-wide permit parking system that would see new fees for overnight street parking and up to $1000 in special levies on all but the most efficient 2023 & newer vehicles.
I decided to vote against this proposal.
— Kennedy Stewart (@kennedystewart) October 7, 2021
Unfortunately, the proposed permit parking system did not meet this test. It would have asked those renting basement suites or working in vehicle-dependent jobs to pay more while asking homeowners with private parking to pay nothing.
If it had passed, a few years from now a landscaper living in a basement suite who buys a used 2023 pickup truck for work would pay over $1000 a year while their landlord would pay nothing – even if the homeowner drives a Ferrari.
That's just not fair.
The plan, titled the Climate Emergency Parking Program, also called for levies of up to $1,000 on all but the most fuel-efficient vehicles purchased after 2023.
Stewart issued a written statement saying he believes in urgent climate action but voted against the proposal because it asked "those renting basement suites or working in vehicle-dependent jobs to pay more while asking homeowners with private parking to pay nothing."
An effective climate action plan must be just. I've asked staff to find a better way forward and I am confident they will.
But it's not just about new fees in Vancouver, our partnerships with the governments of BC & Canada are also a key source of investments in climate action.
A social media post from Green Party Coun. Pete Fry says the outcome is disappointing but expected, because the "modest 13-cent per day" fee was branded as climate emergency parking.
Disappointing outcome tonight -but not surprised.
Warned hyperbole of branding modest ($0.13/day) curbside management fee as "Climate Emergency Parking" would get push back as "greenwashing."
It was.🐢
Tonight's result, despite previous vote & commitments to #ClimateAction🌎🔥 https://t.co/qsnebh7AWU pic.twitter.com/JzKHPaSwlw
— Pete Fry (@PtFry) October 7, 2021
The parking fee and vehicle levy had the potential to raise up to $70 million annually for climate projects.
Stewart says he has asked staff to find a better way forward.
There are 5,945 active cases of COVID-19 in the province and 182,786 people who tested positive have recovered. Of the active cases, 350 individuals are in hospital and 136 are in intensive care. The remaining people are recovering at home in self-isolation.
PM blasts military over general's appointment
Speaking at a news conference where he was announcing mandatory vaccine rules for federal public servants as well as train and plane passengers, Trudeau said he was "stunned and dismayed" at recent revelations about Maj.-Gen. Peter Dawe.
Documents detail BoC's impact on debt strategy
The low rates have been a key economic rationale for why the government can afford the elevated spending and deep deficits needed to put a financial floor under businesses and workers impacted by COVID-19.
'Be honest' about COVID-19's toll: CMA president
Dr. Katharine Smart says there's a feeling of hopelessness among health-care workers in the country that their governments are not listening to them as they try to manage the pandemic and feel there's no end in sight.
Seniors in B.C. care face high COVID-19 death risk
Isobel Mackenzie's figures come from a report released today that recommends expanding paid sick-leave provisions for staff, hiring more registered nurses, eliminating shared rooms and increasing the scope and frequency of COVID-19 testing.
B.C. program aids skills, safety of new truckers
The Ministry of Transportation says in a written statement that beginning next Monday, anyone applying for a B.C. Class 1 driver's licence must successfully complete the training program before attempting a road test.


From the album "The Better Life".
Featuring Katy Perry. From the album "Want"
From the album "For Your Entertainment"
From the album "The Alesha Show"
From the album "Songs in A Minor".
November. From the album "Studio 1".
October. From the album "Back to Black". She came up with it while walking down the street chatting to her producer Mark Ronson.
Incidentally, Amy has a tattoo of Betty Boop on her bottom.
Reached No 4 in Australia, and No 15 in the UK.
June (US). From the album "Autobiography".
Same as the album name.
April. The 1st single from her debut album "Let Go".
First single from "The Best Damn Thing".
From the album "The Best Damn Thing"
Featuring Jay-ZJay-Z bought Beyoncé a 1959 Rolls Royce convertible worth $1 million for her 25th birthday.
From her third solo album " I Am… Sasha Fierce"
2000, released on the band's third album "Enema of the State"; peaked at #1 on the Modern Rock Tracks chart; #6 on the Billboard Hot 100 and #2 in the U.K.
Featuring Luciana. Bodyrox is the name for English house music DJ Jon Pearn's solo work.
Second single from the samenamed album "Circus"
The 2nd single in the UK from the album "Everytime We Touch".
Featuring guest rapper Krayzie Bone.
From the album "Christina Aguilera".
First single from the album "X & Y"
Lead single from his compilation album "Greatest Hits"
Australian Irish born winner of Australian Idol 2006. Debut single on winning.
October. From the album "The Best Of, Volume 1".
Third single from "Destiny Fulfilled".
From the album "The Writing's on the Wall".
First single from "Destiny Fulfilled".
Second single from "Destiny Fulfilled", feauturin Lil' Wayne.
From the album "Curtain Call: The Hits".
December. From the album "Fallen".
The second single released from her album "Breathe".
3rd single released from the album "Infinity on High".
October (US). From the album "Dutchess".
Featuring T-PainSountrack for the movie "Step Up 2"
January. From the album "Good Morning Revival".
December. From the album "Closer to the Sun".
January (North America). Featuring Akon.
From the album "Extreme Behavior". Hinder are an Oklahoma City hard rock band.
From the album "Back to Bedlam".
Lead single from the album "In My Head"
From the album "Get Born".
From the album "Shine On".
From the album "Heavier Things".
American blues-rock singer songwriter. Born 1977.
July (US). From the album "FutureSex/LoveSounds".
2nd single released from the album "Graduation".
Second single from the album "One Of The Boys"
Lead single from her debut album "Animal". reached number one in eleven countries and set the weekly records for digital downloads of a female artist. The song also became the first Billboard Hot 100 number one of the decade and the longest running number one debut single by a female artist since 1977.
August. From the album "Thankful".
Kelly once had a job as a Red Bull promoter - possibly this song was a reference to that?
Featuring Lil Wayne. First single from his debut album "In The City"
From the album "Only By The Night"
The song was chosen as Coca-Cola's promotional anthem for the 2010 FIFA World Cup, hosted by South Africa. The English version was released as "Wavin' Flag (The Celebration Mix)" by K'naan and many other bilingual and country-specific versions have been released.
Second single from the album "Ultimate Kylie".
First single from the album "Ultimate Kylie".
Fifth released single from the album "Fame"
Debut single from the album "Fame"
Third single from the album "Fame"
Second single of her debut album "Fame"
Featuring Justin TibmerlakeFirst single from Madonna's new album "Hard Candy"
August. From the album "Music".
Featuring Jermaine Dupri"The Emancipation Of Mimi"
October. From the album "Motion in the Ocean".
From the album "Crazy Love"
Second single from her debut album "Breakout"
Australian. From the album "On a Clear Night".
September (Radio). From the album "The Black Parade".
Featuring Kelly Rowland from Destiny's Child.
From the album "Ocean Eyes"
Features Nicole Scherzinger, lead vocalist of The Pussycat Dolls.
Second single from her fifth studio album "Funhouse"
From the debut album "Can't Take Me Home".
November. From the album "Rudebox". Song originally written and performed by Lewis Taylor for his 2003 album Stoned, Pt. 1.
From the album "Here Come the Drums".
October (UK) by Viking Legacy Records (re-released May 2006 by Sony's RCA Records label).
Featuring Rob Thomas of Matchbox 20.
Australian. From the album "Affirmation".
December (Aust.) Released as part of the charity album "Home: Songs of Hope & Journey" for the depression organisation BeyondBlue.
From the album "Young Modern".
October. From the album "Grace".
First single from the album "Taller In More Ways"
First video with their new member.
Second single from "Taller In More Ways"
The band was formed in 1995 in Los Angeles, California. All four members are of Armenian descent.
"200 km/h in the Wrong Lane"


text:
UsMAGANews.com
Make America Great Again – News about Trump the Most Awesome President Ever!
Strong American Borders
Chuck Schumer claims he and Pelosi were denied request to speak with Pence about 25th Amendment
ByMichelle
Senate Minority Leader Chuck Schumer, D-N.Y., said on Thursday that he and House Speaker Nancy Pelosi, D-Calif., tried but were unsuccessful in reaching Vice President Pence to discuss exercising the Constitutional provision for removing the president from office.
Schumer discussed the issue during a press conference in which he argued cabinet members should use the 25th Amendment in response to Wednesday's riots at the U.S. Capitol.
"If the vice president and the Cabinet won't invoke the 25th [Amendment], Congress should come back in session immediately and impeach the president," he said at a press conference in New York City. "Oh, and Speaker Pelosi and I tried to call the vice president this morning to tell him to do this. They kept us on hold for 25 minutes and then said the vice president wouldn't come on the phone — so we are making this call public."
WHAT IS THE 25TH AMENDMENT AND HOW DOES IT WORK?
Pelosi appeared to allude to the call during her weekly press briefing. She said "the new majority leader of the Senate and I have made our interest in this known."
Pelosi's, Pence's, and Schumer's office did not immediately respond to Fox News' requests for comment.
While it's unclear how Pence will act, the Democrats' call came amid apparent division within the executive branch. After Pence rejected the president's request to challenge the election results in the Senate, Trump accused him of lacking courage.
Sen. Jim Inhofe, R-Okla., told Tulsa World that Pence was angry in the face of the president's backlash.
ANDREW MCCARTHY: DON'T USE 25TH AMENDMENT TO OUST TRUMP — THAT WOULD BE UNCONSTITUTIONAL
"I've known Mike Pence forever," Inhofe said. "I've never seen Pence as angry as he was today."
Inhofe added that he had a long conversation with Pence in which the vice president complained about Trump's treatment of him.
"He said, 'After all the things I've done for (Trump),'" Inhofe added.
As of Thursday afternoon, several top advisers had resigned from the administration, including Transportation Secretary Elaine Chao and the first lady's chief of staff.
Mick Mulvaney, who previously served in multiple positions in the administration, told CNBC he had to leave.
"I called [Secretary of State] Mike Pompeo last night to let him know I was resigning from that," he said of his position as special envoy to Northern Ireland. "I can't do it. I can't stay."
Leaving is a difficult choice.
"Those who choose to stay, and I have talked with some of them, are choosing to stay because they're worried the president might put someone worse in."
Source: FoxNews
Rep. Kinzinger explains call to invoke 25th Amendment, says other Republicans agree with him
Capitol riots: Prince Albert of Monaco says Trump 'has to be held accountable'
Trump rebuts NY Times '1619 Project' with '1776 Report' urging schools to reject 'ideological …
Jan 18, 2021 Michelle
Twitter official says it will have a 'global approach' when tackling 'misleading' info, leaked …
Homan: Biden's words will cause 'a surge at the border that we've never seen before'
Alveda King urges AOC to 'take a page out of Martin Luther King Jr.'s book'


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text:
The Weather Inside is the second album by Helen Watson released in 1989. Produced by Glyn Johns, the record was recorded at A&M Studios in Los Angeles and AIR Studios in London. All songs were written by Helen Watson and Martin McGroarty, except "Dangerous Daybreak" (Stead / Ellis / Trundle / Watson / McGroarty).

The album employs a stellar cast of session musicians including Andy Fairweather-Low, Richie Hayward, George Hawkins, Michael Landau, Ethan Johns, Bill Payne, Bernie Leadon and Albert Lee. The sessions for this and Watson's debut album Blue Slipper were the first time members of Little Feat had worked together since Lowell George died in 1979.

The album spawned the single, "Hanging Out the Washing (In a Small Backyard)", a duet with Andy Fairweather-Low. The CD single features a song recorded at the same sessions but not released on the album, "Heaven Suits You".

The Weather Inside was Watson's final album for EMI before a move to RCA for her third album, Companion Gal.

Track listing
 "I Wish That Love Was Simple"
 "You're So Hard to Get Hold Of"
 "The Road That Ends in Tears"
 "The Weather Inside"
 "Your Face"
 "Hanging Out the Washing (In a Small Backyard)"
 "A Thrill Enough to Know"
 "Dangerous Daybreak"
 "Now We'll Move the River"
 "Ready to Fly"
 "Letters of Introduction"

External links
 Helen Watson website
 J.A.D.'s Helen Watson Webpage

1989 albums
Helen Watson (singer-songwriter) albums
Albums produced by Glyn Johns
EMI Columbia Records albums


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