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The ChiLLs
by Lazy Lane
© Copyright - LAZY LANE / LAZY LANE (783707741628)
A unique blend of indie, psychedelia, goth, and ghost-rock. Lazy Lane unveils a diary of demented fairytales that will take you on a trip through worlds of darkness and illusion.
Genre: Rock: Goth
Share Time Download
1. The Girl Upstairs
LAZY LANE
2. SleepviLLe Creepshow
3. Eraser
4. Nepenthe
5. Black Cat
6. Always Tomorrow
7. Waking Up Buttercup
8. Madame Ruby
9. Poltergeist
10. Soul Thief
11. Malaysian Dream DoLL
Please visit : www.THELAZYLANE.com for more information
Lurking in the underground music scene of Pittsburgh Pa, Lazy Lane's fresh visionary eyes are set for the groundbreaking of their very own brand new edge of music. The once unknown band slowly cooked up a myriad of dark, eerie, spellbinding songs that would haunt the airwaves of Internet radio and begin to snowball a devoted cult following around the world.
Quickly after posting their demos, Lazy Lane's streams and downloads totaling over 53,000 rocketed all of their tracks into Mp3.com's top 40 charts. Following the buzz, Barcelona, Spain's Butterfly Records released a limited edition 7" vinyl that debuted their first EP in June 2002. Their first full-length album "The ChiLLs" was released on the 4th of July 2003, followed by "Keepers of the Gloom" in December 2004.
Armed with Aaron Richardson on electric bass and Aaron Simmons on drums,
Lily Lane (vocalist/keyboardist) unveils a diary of demented fairytales and frightening synthesizer sounds. The accompaniment of the guitar mastermind Greg Ballato fused with Lily's haunting vocals and synths creates an aura that will seize the your mind and take you on a psychotic trip through worlds of darkness and illusion.
Masters of improvisation and psychedelic mayhem, Lazy Lane mesmerizes the audience and captivates the listener, while vintage guitars, turntables & synthesizers illustrate Lazy Lane has...no boundaries.
REVIEW by Valery Gore of Absolute Divas Independent Music:
With the creeping opening words and trance-like waltz of 'The Girl Upstairs", Lazy Lane shyly but candidly invites you into the creeking floorboards, rustling front yard oak trees, thunder and lightning evening surrounding this attic-like collection of songs. On the band's debut full length album "The Chills", it's as though the secret to every uncanny mystery you have pondered in your waking nightmares is about to be told through a dark-haired, dark-eyed young woman who carries the wisdom of an old soul.
Settled in Pittsburgh, PA, this murky ensemble creates a desperation and longing sound that is reminiscent of Mazzy Star. There's something to be said about the value of simplicity if it is presented in a dramatic way. For Lazy Lane the simplicity lies in the songs' lyrical dynamics, rhyming patterns and thematics. The very relevant is coated in the sultry and calming vocals and the complexity of the band's overall musicianship.
Once invited into this stratum of spooks, the track "Sleepyville Creepshow" takes you back to your high school dance, only now everyone's been in that "Car Accident Where The Road Bends" and have returned as zombies, shifting from one foot to the other. With methodic interludes and eerie Halloween synthesizer muses, this track definitely meets the expectations that track one sets.
"Eraser" is a catchy track with a sing-a-long hook and a memorable chorus. The vocal layers on the entire album are incredible, as though you are coming back from the world of amnesia. Such a traumatic experience would beg the Doors influenced track "Waking Up Buttercup" as theme music. The hospital room comes to light with Lily Lane, chirping birds, and a warm toned guitar, encouraging you to "Wake up". The clever assembling of the album leads you into the next track, lyrics venturing, "I open my eyes to the sky".
Creating a sound familiar yet original, Greg Ballato (guitars, turntables), Aaron Richardson (bass), Nathan Ballato (drums) and Lily Lane (also on synthesizers) branch out to many demographics. It is obvious that the same broadness goes for their influences.
In my favour, the second highlight of the album is the end track "Malaysian Dream Doll". The playful melodies and dreamy landscape would be the sound escaping the teary-eyed funeral of Mazzy Star's death. It is much like Hope Sandoval's "Suzanne" off Bavarian Fruit Bread, but I don't mind this time. It's simply the ears receiving more of a very good thing.
8/26/03 VENUSZINE
The ChiLLs (self-released)
by Andrea Benvenuto
Taking a stroll down Lazy Lane is like casually cutting through your friendly neighborhood cemetery. The landscaping is quietly pretty, the headstones are majestic yet sad, and oh yeah, you're just a little freaked out. Could it be that black cat lurking nearby? Their debut 7-inch was called Sea Witch and now, for its first full-length album, the Pittsburgh-based band gives us The ChiLLs. Literally.
Song titles like "Sleepyville Creepshow" and "Poltergeist" seal the deal -- the Lane is a spooky place to be. Even "Waking Up Buttercup" is a downer. Then again, the facetiously optimistic "Always Tomorrow" is one of their best tracks. And even at her most tragically heartbroken, singer Lily Lane's voice is so very lovely. Just try not to melt when she sings the chorus to "Eraser."
Lane sounds a lot like Hope Sandoval, but Mazzy Star hasn't had an album since 1996, and besides, Lazy Lane is more suitable for darker moods. Some of The ChiLLs is so somber and dreamy it sounds like it belongs on the Virgin Suicides soundtrack. Credit Lane's band mates with skillfully complementing her keyboards, vocals and lyrics. On the album's opener, she touts herself as "the girl upstairs/ inviting you into her lair." She's definitely not the girl next door. But you might find yourself with a new crush. And if you pay her a visit, she promises to get out her Ouija board. No joke.
Starvox Review:
"I am a total sucker for bands that take seemingly disparate genres and blend them together. In the case of Lazy Lane, a small indie group that lurks on the fringes of Pittsburgh's scene, the elements of psychedelia, folk, shoegaze, and Goth collide beautifully. This debut CD definitely stands out when compared to the stacks of promos I have received so far this year.
Lead by the smoky vocals of Lily Lane, her voice resembles that of Hope Sandoval (Mazzy Star) and Alison Shaw (Cranes). Her playful yet wry vocals elicit a slight waywardness and veiled sensuality. The lyrics read like stark, demented faerie tales, the mood further accentuated by the dreamlike voice that delivers them. This kind of nursery rhyme vibe usually turns me off (Switchblade Symphony springs to mind!) but the mood of Lazy Lane is a surreal and mature kind of dementia and I was easily drawn into their murky world of mischief.
The music is a seething blend of The Doors and The Bad Seeds; the Cranes and Mazzy Star. A nice variety of guitar work is used, ranging from strummed acoustics, watery leads, and swelling ebow wails. The bass lines are at times, under cut with a free form jazz technique as well as a straightforward post punk strum. The production is damn good for an independent band, and the entire disc is awash with a feverish and fuzzy reverb that only further enhances it's vintage feel.
"Waking Up Buttercup" is probably my favourite track, (Hah! You guessed it; it is the darkest one!), the song swirls around a brooding bass line, bluesy guitars, an ominous church organ drone, with Lily's pouty vocals capping it all off. Tribal drums and an eerie flute passage provide a stark break between the verses, and then back to the plodding gloom reminiscent of the darkest moments of The Doors and Syd Barret era Floyd. The only contemporary band I could even think of comparing these guys to are Babylonian Tiles, but even that is a bit of an injustice as Lazy Lane holds their own wonderfully.
Another track that stands out especially is the thoroughly amusing "Black Cat," with its swinging rhythmic strut and frisky vocals. Kind of like if "Love Cats" wasn't so overtly manic, this is like the Munster's Halloween psychedelic jazz party! Again, I am not too easily sold on this kind of tongue-in-cheek stuff, but this is just so irresistibly catchy, and it features an awesome explosion of guitar work worthy of Robby Krieger himself toward the end of the song. Perky Goths® will dig this immensely, but this particular gloomy Goth liked it just fine.
This is definitely a band to watch. Check out their Mp3 site at the link below, especially if you are a fan of stuff like Mazzy Star, Mojave 3, the Cranes, and other forms of dark psychedelia.
- Matthew - Starvox.net
Eric Jay Del Giacco
Lots of fun, but outshone by their subsequent CD.
Reviewing this CD after first hearing their second CD makes this a bit difficult. Lily Lane croons in her uniquely odd and gloomy voice and the modulations of the harmony provide a genuine 'creepy' air to it all. All that is good about this CD, however, is even better in their second CD. Perhaps this is due to a better studio or production process, but in the end, 'Bring on the Gloom' has clearer vocals, a richer blend of instruments and some amazing bass lines.
Mervat
This cd is very unique
This cd is great, it has a really original sound, and its very calming to listen too. The vocals in this cd also complment the music well.
Jack McCoy
Mazzy Star meets Garbage in Gothland.
Lazy Lane's talent shines in a deep, dark, undertoned world which is sometimes frightening, sometimes foot tapping, and sometimes completly mesmerizing.
crazychikk
if i was stuck on an island and could only bring a few things this cd would be o
i can listen to lazy lane any time no matter what mood i am in. It's a calming, talented, enduring work of art. i love it.
D.m
Hypnotic, Swirly - enjoyable!
Evokes mental images of a dark place, where dead leaves scrape over the earth and cats (black ones) observe the midnight happenings. Totally enjoyable and engrossing listen from 1st track to the last, Highly recommend giving this a listen.
Amy-Producer of Collected Sounds.com
Lazy Lane's debut recording gives the listener a lovely eerie feeling and I think that's the intent judging by the front page of their website. It shows skeletons sitting around a dinner table. The art is beautiful and so is the music.
Lily Lane has a gorgeous soft sultry voice that you want to just melt into. The music is a blend of electronica, goth, shoe-gazer, and psychedelic dream pop.
The cover says it all!
Spooky, beautiful and playful.
Very cool album
This is a really great album. The music is very original and has a spooky psychedelic quality while being melodic. The lyrics are haunting, and Lily has a very unique and pleasing voice. Each track is different while still retaining the "Lazy Lane sound". There are different melodic lines that unfold, and I hear a new nuance every time I listen. Great work!
This cd is one of the best i have heard from cd baby. this band should be famou
this cd is one of the best i have heard from cd baby. this band should be famous by now.
McFibb
Thank you Lazy Lane
Awesome collection of songs, I can't wait to hear them live.


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Private school students excluded from rapid testing program
Why is the province treating this pandemic as though it is a public school health crisis rather than public health crisis, Deani Van Pelt asks.
By Deani Van Pelt
Fri., Dec. 3, 2021timer3 min. read
The Ontario government deserves credit for its efforts to keep students safe and to prevent the spread of COVID-19 after the Christmas break.
The recent announcement to make 11 million rapid antigen tests available in kits of five for students to take home over the December holidays will assist parents and schools to prevent outbreaks in early January — especially with the Omicron variant now in the province.
"The government has worked in partnership with the chief medical officer of health to ensure our schools remain open and safe," Education Minister Stephen Lecce said. "We'll continue to do whatever it takes to achieve that objective."
The minister said the right words, but the provincial government's actions haven't matched the rhetoric.
Around 93 per cent of Ontario students will be eligible to benefit from this program. But the other seven per cent of Ontario students, numbering more than 150,000, will be excluded.
Why? Because they don't attend the "right" schools. They attend schools that don't receive provincial government funding and therefore don't qualify to participate. So, when public health officials distribute the kits, 150,000 children will just get a lump of coal.
Why do our minister of education, minister of health and our premier continue to treat this pandemic as though it is a public school health crisis rather than public health crisis? The virus does not discriminate on school attended. Neither should this government.
Already, at least one nonpublicly funded school in Ontario has voluntarily gone to virtual learning for a short period because of COVID. With the holidays approaching and a new variant circulating, what risk is Ontario's government creating by leaving 150,000 kids without access to these testing kits?
What happens when they unwittingly pass on COVID to a family member, another child, or someone else over the holidays? Wouldn't everyone in Ontario be better off if these kids also had access to rapid COVID tests? Ontario's policy isn't just unfair, it creates gaps in public health measures, which could perpetuate the crisis.
The province also perpetuates a bizarre situation. Excluded schools must still report suspected and confirmed COVID cases to public health authorities and provide records to officials. Yet they will receive zero help in preventing infections and outbreaks as winter sets in.
Frankly, it is incomprehensible that this government would persist in supporting the health needs of 93 per cent of Ontario students and leave the remaining seven per cent of students to their own devices.
This discriminatory treatment appears to be based on the flawed assumption that any student that attends a school other than a public school or an Indigenous school is rich and thus able to take care of purchasing their own tests. Even if they all came from rich families — and the vast majority do not — rich kids in public schools and Indigenous schools are not being excluded from receiving the tests.
It is long overdue that this government stop the illogical, discriminatory health care treatment of students during this pandemic. All students in all schools — for the sake of the health of the entire province — should have access to the Rapid Antigen Holiday Testing Kits.
The government's stated goal for this testing is to "keep schools safe and open for in-person learning." It can start now to by actually making holiday testing kits available to all Ontario students. Surely it is in the best interest of all Ontarians if in-person learning stays open for all Ontario students — regardless of the school they attend.
Deani Van Pelt is a senior fellow with think tank Cardus and is certified as a teacher in Ontario.

redpajama_set_name: RedPajamaCommonCrawl


Jacob Hamacher's stock continues to rise.
The 19-year-old winger had a breakout season last year in the North American Hockey League (NAHL) with Wilkes-Barre/Scranton, and that success has translated to the Corona native making the jump this season to one of the premier franchises in the United States Hockey League (USHL), the Dubuque Fighting Saints.
"I think Jacob is a really gifted mind and is really creative in the way he plays," said Dubuque coach-GM Jason Lammers. "We were looking for a player like that – someone who can make plays and has good vision. He has really good hockey sense, and he does a good job of knowing where and when to move the puck.
The Fighting Saints – who have advanced to the USHL final three times in the past six seasons – had their eyes on Hamacher last season while he was in the midst of putting up 40 points in 46 games in Wilkes-Barre/Scranton and accepting an invitation to the NAHL Top Prospects Tournament. Dubuque then selected Hamacher in the fifth round of Phase II of the USHL Draft.
Prior to Dubuque, Hamacher spent two seasons in the NAHL, debuting as a 17-year-old in Wenatchee. After landing briefly with the Minnesota Wilderness to start last season, Hamacher was traded to Wilkes-Barre/Scranton, where he emerged as the team's leading scorer. In his youth days, Hamacher skated for the California Titans, LA Hockey Club and Wildcats Hockey Club.
"Playing in the NAHL was a great experience for me and it taught me a lot," said Hamacher. "The jump from 16U to the NAHL was huge, but jumping from the NAHL to the USHL is huge as well. I thought the pace in the NAHL was fast, but in the USHL it's even faster. I need to play my game to be successful here, and that means using my vision and my hockey sense.
Stepping into an organization that has championship aspirations is a challenge Hamacher welcomes, and he says he was quickly impressed with what Dubuque had to offer, and has high hopes for the Fighting Saints.
Meanwhile, the early part of the season brought Hamacher something else he had been yearning for – a Division I scholarship – as he committed to the Rochester Institute of Technology (Atlantic Hockey) in early October.
"I'm a very driven person," said Hamacher. "In the past, I've been cut from teams and passed over, and all that does is make me want it that much more. I control what I can control and for me right now, that means playing my game, putting up points and being an impact player, being a good teammate.


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Forbes' Hip-Hop Cash Kings List is Off, Diddy's Alkaline Water Investment, Tekashi 6ix9ine and Clout Chasing
Hey! Happy Friday. As I mentioned yesterday, it's Flex Friday! It's time to hear your accomplishments this week. I'll start with two. Ernest Wilkins interviewed The Ringer's Shea Serrano on the Office Hours podcast. Sean Blanda hosted his fourth Pilcrow House event this week and had me as the guest speaker. Great times! Let's hear more from the rest of you in our Slack group.
Today's update covers the inaccuracies in the Forbes' Hip-Hop Cash Kings List, Diddy's investment in alkaline water company Aquahydrate, and the future of Tekashi 6ix9ine and clout-chasing in hip-hop.
Forbes' Hip-Hop Cash Kings List is Off
The annual Forbes Hip-Hop Cash Kings List is starting to feel like an award show nominees announcement. But instead of arguing about who got snubbed, we argue about whose numbers don't add up. The folks with the most questions are the "honorees" themselves.
Cardi B, Meek Mill, and Quality Control's CEO Pierre "Pee" Thomas have all publicly questioned this year's list. Kanye West is in this year's top spot at $150 million in pre-tax earnings from June 2018 to June 2019 (mostly from Yeezy sales). The Jesus is King rapper has nearly doubled his frenemies Jay Z and Drake who sit at #2 ($81 million) and #3 ($75 million) respectively.
Here's what I wrote about Forbes' numbers in June, shortly after Jay Z was declared a billionaire:
These numbers can be overstated:
– Data is often self-reported. Public figures have lied to Forbes and other outlets to boost their status, gain publicity, which leads to future business opportunities (e.g. Wilbur Ross, Donald Trump)
– Liabilities aren't always captured. Forbes applies conservative discounts to estimate, but there's a tendency to lead with assets and revenue, and look less heavily at liabilities and cost(e.g. In 2016, Kanye West claimed to be $53 million in personal debt. A) Was that verifiable beyond hearsay? B) If so, was that ever accounted for?)
Meanwhile, these numbers can also be understated:
– Some folks don't report all their assets or financial interests for various reasons (offshore accounts, businesses with moral/ethical conflicts, desire for anonymity)
– Numbers rely heavily on public knowledge. Anyone who's generated enough wealth to be considered a billionaire likely has business interests the public doesn't know about.
Let's use Cardi B as an example. Here's what she tweeted yesterday:
Where do Forbes be getting they numbers from cause they way off ?🧐
— iamcardib (@iamcardib) September 19, 2019
Forbes listed the Bronx rapper at $28 million (13th), conveniently behind her foe Nicki Minaj who is the 12 spot at $29 million.
In July, Cardi shared a since-deleted Instagram post of her guarantees from festival performances. She was slated to make over $11.6 million from 19 shows in two months:
But that's still less than half of the total shows she's done in that span. Here's what I wrote in July in Why Cardi B Doesn't Need to Go on Tour:
From December 2018 – October 2019, she will have performed in nearly 30 music festivals, 13 standalone / mini-tour shows, two Las Vegas residency shows, and counting.
It's a slightly different time frame, but there's enough overlap to estimate Cardi B's live performance revenue (including private events) at a conservative $30 million. This doesn't include her money earned from her Tom Ford lipstick deal, Reebok partnership, Pepsi partnership with the Super Bowl commercial, Fashion Nova collection, and her new Rap Snacks flavor. Those are just the public deals, so there's likely more. The $28 million number seems low.
I have the opposite perspective on Nicki Minaj. She did ~20 shows with JUICE WRLD in Europe, but she canceled her entire U.S. tour leg with Future. I have a hard time believing that she out-earned Cardi. But to Nicki's credit, she's been in the game for a minute. She has had several partnerships with existing brands. I am not sure what her terms are with Apple Music and Queen Radio.
But this is the challenge that Forbes faces. Despite Cardi B's transparency, it's still self-reported data. All her numbers seem justifiable, but if she added an extra $100,000 to every one of those performances, who would verify that? Her booking agents don't want that data to be public anyway, so it's in their best interest to let the story play out. I believe Cardi, but that's my subjectivity. I might not give another rapper that leeway, which makes harder to be consistent.
Forbes still deserves credit for assembling these lists, but the validity will only get questioned more and more over time.
Diddy's Alkaline Water Investment
Diddy's investment in alkaline water is starting to pay off. From Forbes:
Diddy became the face of [Aquahydrate] alongside Wahlberg shortly thereafter, and the pair invested $20 million in Aquahydrate over the years while billionaire Ron Burkle's Yucaipa added another $27 million. They aren't the only ones with lofty ambitions for the brand: last week the Alkaline Water Co., the publicly-traded purveyor of competitor Alkaline88, bought Aquahydrate in an all-stock deal that valued the latter at about $50 million.
For Diddy, who ranks No. 4 on our recently-released list of hip-hop's top earners and boasts a net worth of $740 million, alkaline water holdings are just a drop in his financial bucket. His Diageo-backed Ciroc vodka—and its myriad flavors, from Red Berry to Summer Watermelon—is responsible for the lion's share of his wealth. But it's clear he thinks alkaline water, flavored variants included, could swell his portfolio. So do his new partners.
Brands place high expectations on hip-hop moguls to strengthen a company's popularity. There have been dozens of turnaround success stories to justify the interest. Many dormant brands have found their footing on the back of hip-hop's biggest stars.
But many of those opportunities were low-hanging fruit. For years, companies were reluctant to collaborate with hip-hop. The early opportunities that surfaced, like Timbaland, Nike, and Reebok, were obvious moves. Their likelihood of success was much higher than the average brand partnership.
Diddy's Ciroc partnership is a great example of a "low-hanging fruit" partnership. Vodka has been the most popular hard liquor beverage for years. But brown liquor, like Crown Royal and Hennessy, was the beverage of choice for many black folks. Diddy identified the opportunity to revive a dormant brand and reposition a product to a consumer that he understood. While Ciroc's performance has dipped in recent years, Diddy still deserves credit for its initial rise.
Aquahydrate is quite the opposite. The alkaline water "sector" has grown considerably. International growth has hovered around 18% year-over-year. The sector itself gets more attention than the individual brands, which makes it harder for one particular brand to stand out from the pack. This makes Diddy's job harder.
Diddy's branding talents are strongest when he can bring his rockstar energy to companies in stable sectors. He did this with both Ciroc and Sean John. The clothing company was one of the first to market grown-folks clothing for the urban consumer.
Aquahydrate's parent company, Alkaline Water, has had growing revenue but a declining stock price. Alkaline Water is hoping that this new acquisition, and its connection to Diddy, will help steer things in the right direction. It's an understandable goal, but the likelihood of that happening is harder than it looks.
Tekashi 6ix9ine and Clout Chasing
For the entirety of his brief, meteoric career, the rapper known as Tekashi 69 (or 6ix9ine) fashioned himself as a recalcitrant hellion, intent on instigating conflict for its own sake. He baited law enforcement on social media with guns and money. He live-streamed himself in bed with other rappers' girlfriends.
But on Wednesday, in a federal courtroom in Manhattan, the 6ix9ine persona vanished. In its place was considerate, cordial Daniel Hernandez, the Dr. Jekyll to 6ix9ine's Mr. Hyde. He was there for a purpose his alter ego probably never foresaw: to testify against his former crew, the Nine Trey Gangsta Bloods.
Tekashi has been the leader of the clout-chasing movement. He and his peers intentionally stirred up drama to rise through the ranks. This is nothing new in hip-hop (see Why 50 Hasn't Been Canceled) but 6ix9ine brought this to another level.
His rise had many people questioning the integrity of where hip-hop was headed. In podcast interviews and casual conversations, I often get asked if rapping talent still matters. The question references the growth of the hip-hop ecosystem and opportunities to earn money outside album sales and touring. But the question also referenced the ability for someone like 69 to rise to fame purely on clout.
Amidst the hilarious memes of Tekashi's snitchin' in court this week, there's a proverbial exhale in hip-hop. His downfall has been positioned as a victory against the clout chasers.
Here's an article from Rolling Stone:
"6ix9ine's fall coincides with the crashing of the entire SoundCloud rap wave: XXXTentacion has been murdered; Lil Peep is dead of a drug overdose; Lil Xan recently went to rehab. Danny was the movement's defining face. His behavior was unforgivable, but his instincts as an influencer were immaculate, and that only made his critics hate him more, extending the cycle of popularity for as long as it could be sustained.
Instagram was Danny's MTV, and trap music was his grunge, but the ironic, media-savvy distance previous generations had maintained between themselves and their entertainment had for him collapsed. He was a confused child of the internet who'd pierced the realm of stardom, but failed to understand where the theatrics were supposed to end."
Tekashi's demise may stall this current form of clout clashing, which is good, but hip-hop is not in the clear. Shock value and virality are both core to hip-hop's identity. Artists will be forced to find creative ways to make a name for themselves. But hopefully, those methods will look less and less like what we've experienced the past two years with Tekashi 6ix9ine.


1st and 2nd place performers have earned their spot in front of the judges for the 2016 Fall Shootout $500.00 to win Grand Finale Wednesday night November 16th. 1st Collin Kiltrick and 2nd place Rachael and Ari. Be sure to join us. Get your spot or just come by and enjoy the excitement!


Aston Martin DBR1 got the crown to be the most expensive British car ever sold at auction with a mind-blowing sale price of $22.5 million, which is approximately £17.5m. The 1956 Aston Martin DBR1 has been sold at the Pebble Beach Concours d'Elegance last week.
The 1956 Aston Martin DBR1 is the firm's equivalent to the Ferrari 250 GTO and Mercedes-Benz 300 SLR. Just five cars were built between 1956 and 1958. This one sold is chassis number one - a purpose-built model developed by Ted Cutting, who is the racing design chief, Telegraph reported.
The 1956 Aston Martin DBR1 has been labeled the "most important" Aston Martin ever produced. RM Sotheby's had valued the Aston Martin - which is believed to be the first DBR1 to go under the hammer- at more than £15 million. The DBR1 joins a handful of other classic Aston vehicles like a 1959 DB4GT that sold for a $6.765 million, and a 2006 DBR9, which sold for $616,000.
1956 Aston Martin DBR1 is the first of a series of five racing cars, which won the 1959 24-Hours of Le Mans sports car race. This particular car has also won the Nurburgring 1000 kilometer race that same year. 1956 Aston Martin DBR1was subsequently sold, converted and made legal for street use in 1962. The 1956 Aston Martin DBR1's inline six-cylinder engine evolved from its debut in 1956 though its last race in 1959, ending up at 2,992cc and 268hp, according to Auto Express.
The Aston Martin and McLaren are owned by different people and both had been valued at around £15 million making them the two most valuable cars to ever to be sold at auction. Both, the Aston Martin and McLaren, broke the current record for the most expensive British car, which currently stands at $21.7m for the 1956 Le Mans-winning Jaguar D-Type.


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Fisheries (Kaimoana Customary Fishing) Notice (No. 1) 2008 (No. F428)
Pursuant to Regulation 10 of the Fisheries (Kaimoana Customary Fishing) Regulations 1998, the Programme Manager (Deed of Settlement Implementation Programme)
at the Ministry of Fisheries (acting pursuant to a delegated authority in accordance with section 41 of the State Sector Act 1988) gives the following notice.
N o t i c e
1.	Title and commencement—(1) This notice may be cited as the Fisheries (Kaimoana Customary Fishing) Notice (No. 1) 2008.
(2)	This notice shall come into effect the day after the date of its notification in the New Zealand Gazette.
2.	Interpretation—In this notice:
(a)	"customary food-gathering" has the same meaning as defined in Regulation 2 of the Fisheries (Kaimoana Customary Fishing) Regulations 1998.
(b)	"Tangata Kaitiaki" are local dialect words that have the same meaning as "Tangata Kaitiaki/Tiaki", a term that is defined in Regulation 2 of the Fisheries (Kaimoana Customary Fishing) Regulations 1998.
(c)	"Tangata Kaitiaki" means the person or persons appointed under Regulation 10 of the Fisheries (Kaimoana Customary Fishing) Regulations 1998 for the management of customary food-gathering within the area/rohe moana.
(d)	"area/rohe moana" means the area described by a line commencing at a point on the coastline at Wairakei (37°42.9'S; 176°20.2'E), then generally north-westerly following the coastline and Tauranga Harbour to a point on the coastline at Uretara (37°29.8'S; 175°57.6'E), then north-easterly by a line to a point on the coastline at Kura-a-Maia (37°27.9'S; 175°59.2'E), then generally north-easterly for 24 nautical miles to a point (37°10.3'S; 176°19.7'E), then south-easterly to a point (37°25.3'S; 176°40.7'E) then generally south-westerly for 24 nautical miles to the point of commencement. The geographical coordinates named are in terms
of the WGS84 datum.
3.	Request to cancel appointments—The Tauranga Moana Iwi Customary Fisheries Working Committee, on behalf of Ngaiterangi, Ngati Ranginui and Ngati Pukenga, being the tangata whenua who nominated Barbara Anderson, Wiripo Brown, Rangitaami Gear, Marshall Grey, Jock Hohepa Ellis, Eddie Rudolph, Janice Smith and Sarah Tangitu as Tangata Kaitiaki for the area/rohe moana, has requested in writing the cancellation of their appointments as Tangata Kaitiaki.
4.	Cancellation of appointments—On 18 December 2007, the Associate Minister of Fisheries confirmed the cancellation of the appointment of Barbara Anderson, Wiripo Brown, Rangitaami Gear, Marshall Grey, Jock Hohepa Ellis,
Eddie Rudolph, Janice Smith and Sarah Tangitu as Tangata Kaitiaki for managing customary food-gathering within the area/rohe moana.
5.	Nomination of Tangata Kaitiaki—The Tauranga Moana Iwi Customary Fisheries Working Committee, on behalf of Ngaiterangi, Ngati Ranginui and Ngati Pukenga, has nominated Dion Gear, Hayden Henry and Erica Rolleston as replacement Tangata Kaitiaki for managing customary food-gathering within the area/rohe moana.
6.	Appointment of Tangata Kaitiaki—On 18 December 2007, the Associate Minister of Fisheries confirmed the appointment of Dion Gear, Hayden Henry and Erica Rolleston as replacement Tangata Kaitiaki for managing customary food-gathering within the area/rohe moana.
7.	Power to authorise the taking of fisheries resources for customary food-gathering—A Tangata Kaitiaki may authorise any individual to take fisheries resources managed under the Fisheries Act 1996, other than those resources
that are taken in fresh water, for customary food-gathering purposes from within the whole or any part of the area/rohe moana. No customary food-gathering of fisheries resources may take place in the area/rohe moana without an authorisation from a Tangata Kaitiaki.
Dated at Nelson this 29th day of January 2008.
RAYMOND NECKLEN, Programme Manager (Deed
of Settlement Implementation Programme), Ministry of Fisheries.
Fisheries (Kaimoana Customary Fishing) Regulations Notices
2008-go685


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Professor Matt Duckham
Matt Duckham is an ARC Future Fellow and Professor in the School of Mathematical and Geospatial Sciences at the RMIT University. Matt was a Professor in the Department of Infrastructure Engineering, University of Melbourne before July 2015. Matt brings expertise in spatial computing and spatial visualization, with applications to environmental and emergency geosensor networks.
Associate Professor Allison Kealy
Allison Kealy is an Associate Professor in the Department of Infrastructure Engineering at the University of Melbourne. Allison's research centers on Global Navigation Satellite Systems, sensor fusion and wireless sensor networks, with application to disaster management and including extensive industry and government collaboration. Allison brings expertise in designing and deploying sensor networks, spatial data capture, and sensor fusion under uncertainty.
Professor Bill Moran
Bill Moran is a professor in the School of Engineering at the RMIT University. Before joining the RMIT University, he was the Scientific Director of the Defence Science Institute (DSI) at The University of Melbourne. Bill's research includes radar technology, theory and applications, information theory and applications, and sensor networks, including extensive collaboration with US and Australian defense agencies. Bill brings world-leading expertise in the foundations of sensor fusion, communication, and computation in sensor networks.
Associate Professor Kevin Tolhurst
Kevin Tolhurst is an Associate Professor in the Department of Forest and Ecosystem Science at The University of Melbourne. Kevin's research focuses on bushfire modeling, fire behavior, and fire suppression strategies, and the development of fire decision support systems. Kevin is a recognized authority on bushfires, and brings world-leading expertise in both bushfire science, and its application in practice and policy.
Dr Sarah Harris
Sarah Harris is a Research Fellow in the School of Geography and Environmental Science at Monash University. Sarah's research focuses on fire science and climatology, modeling, and remote sensing applications, including collaborative research initiatives with US and Australian government agencies and research institutes. Sarah brings expertise in fire science and the practical experience required to prioritize data and information requirements in bushfire emergencies.


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August 06, 2008 Arts » Arts Etc.
Splinters of Mexico
I first saw the landmark exhibition, Mexico: Splendors of Thirty Centuries, in New York, where I was living at the time. My second encounter with that sprawling survey was during a brief return visit to San Antonio, where it was installed at the San Antonio Museum of Art. Same show (mostly), different contexts, different responses. I remember thinking how familiar, yet imposing, the show felt here on Jones Avenue, where it had felt dwarfed by the encyclopedic scope of the Metropolitan Museum.
I thought about those experiences during a visit to Museo Alameda's two small-scale exhibitions of art from Mexico, shows that ultimately will be most satisfying to visitors who possess enough knowledge of Mexican history, art, and culture — knowledge that will allow them to fill in numerous gaps created by curatorial choices, as well as space constraints.
The Museo's first floor is the venue for an exhibition of works from the Museo Soumaya de México, which showcases the collection of Carlos Slim, who, according to some sources, has surpassed Bill Gates to claim the title of "world's richest man." It's important to bear this in mind as you make your way through this miniature gem of a show, which is arranged both chronologically and thematically. The selections on view reflect one individual's point of view, i.e., Slim's version of Mexican art history. Caveat aside, the exhibition affords San Antonio a look at some stunning examples of artistic production from South Texas's other half.
The exhibition announces Slim's apparent nationalist pride by opening not with a religious painting, or a pre-Columbian artifact (none of those in evidence here), or a canvas by one of Mexico's famous S.R.O. troika (Siqueiros, Rivera, and Orozco, a.k.a. "los tres grandes"), but with an allegorical 1946 painting by Jorge González Camarena titled "Beautiful Mexico." Painted in a style highly reminiscent of the chromolithography familiar to us here as calendar and tourism-poster art, González depicts light-skinned maidens, who represent the country's various regions, and impossibly perfect fruits that spill to the canvas's lower edges. (Read through a less aestheticized, more politicized contemporary lens, the work takes on an entirely different meaning if we understand that the fruit of Madre México — her most abundant export today — is cheap labor.)
The exhibition is a compressed survey; it is as if the vast sweep of Mexican art history has been truncated, then miniaturized and squeezed into one brief, but luscious issue of Reader's Digest, the one you'll save long after you've donated stacks of them to Goodwill. For example, six works — lovely, but not dazzling — make up the "Mexican Landscape" section, too few to do full justice to the genre.
If we accept the exhibition's limitations and view the show on its own terms, the curators and Museo administration must meet us halfway by giving us access to as much interpretive and contextualizing information as possible. Here's the most glaring reason: The few paintings and objects that comprise the section devoted to Baroque art include an abstract painting, "La capilla del Rosario" / "The Rosary Chapel," dated 1960, by Juan Soriano. (Because it is one of several paintings by the Tapatío artist in the show, we can assume he is a favorite of el patrón.) Yes, there is an exuberance of rhythm and color in the Soriano, which resonates nicely with the Baroque aesthetic. However, what is strikingly, even playfully obvious to the trained eye is a source of nagging confusion to the casual viewer.
Three examples of Mexican casta (caste) paintings from the mid- to late-18th century, when taken together with the show's religious-themed works, create a potent historical statement that speaks volumes about Mexico's past — and her present. But again, that's a connection the visitor must make on her own. The show's interpretive wall text does not exactly encourage that sort of curiosity or exploration.
Among the show's several jewels are masterworks by Siqueiros (who must be another Slim fave), Tamayo, O'Higgins, Bustos, Dr. Atl, and Rivera. Yes, the machos are much in evidence here, so much so that las mujeres (Frida who?) are conspicuous by their absence.
The theme of abundance, so lushly underscored by González Camarena's paintings in the Slim exhibition (read that as you will), gives way to an angst-ridden, whirring, tongue-in-cheek guiding ethos in the Museo's second-floor exhibition, Escultura Social: A New Generation of Art from Mexico City, that challenges and shakes up definitions of sculpture and public space. The show was organized by Chicago's Museum of Contemporary Art, whose gallery space is ginormous compared to Museo Alameda's.
María Alós's videos, "Welcome" and "Farewell," play on a continuous loop near the entrance and exit to the exhibition. Read from a script, Alós's work is a stinging comment on our media-saturated culture, where the noise of daily life drones on endlessly — to the point of being rendered meaningless. It also alludes to our consumerist impulses ("Hello! Welcome to Wal-Mart!"). Last week, at the show's opening, several local actors gave live performances of Alós's videos, forcing a few unwitting guests to become part of the satiric "performance." Perhaps if the performers (the paid ones) had been directed to play up the automaton aspect, it might have gotten the point across more bitingly. On Thursday night, the compulsory interactive performance left in its wake a few energized visitors and a few who felt as if one had been put over on them.
We know we've left the hours of splendor that is the downstairs exhibition as soon as we reach Yoshua Okón's video installation. Here the jargony text label reads: "Okón's works mediate and record ordinary people's lives" (emphasis mine), as if taking its cue from artist Joseph Beuys, whose views loom large over this show (he is quoted extensively in the exhibition's introductory wall label). But as with the downstairs survey, the concept-heavy upstairs exhibition leaves much unsaid; it requires large doses of critical, far-ranging thinking if we're to be fully engaged — the artists' commonly, though not always clearly stated goal. One of the major, largely unspoken themes here is Mexico's bête noire, its enduring class distinctions. (Remember those caste paintings downstairs?)
While all of the works in this genuinely terrific, if somewhat predictable show (There's the requisite video! The elegant text-based installation! The provocative juxtaposition!) are, to some degree, focused on issues of global concern, Pablo Helguera's photo documentary of a 120-day journey through the hemisphere is an often poignant reminder of how easily cultures and languages — markers of diversity, in other words — fall victim to hegemonic steamrolling. The series of 36 digital prints opens with an image of Helguera's "nomadic think-tank," titled "The School of Panamerican Unrest" (2006), visiting Chief Marie Smith Jones, the last native speaker of Eyak, an Alaskan aboriginal language. During the visit, Jones, who died earlier this year, told Helguera an Eyak myth: a blind man, aided by an animal, is given sight, only to regret being able to see the bad things of the world. The moral resonates strongly through these contemporary works. Helguera's series comes full circle: It concludes with an image that documents the School's visit with Cristina Calderón (known simply as "la Abuela" in her tiny Chilean village), the last native speaker of Yaghan. If we take to heart Beuys' philosophy that "social sculpture," an evolutionary process, compels us to acknowledge "the creative potential in everyone," the loss of Jones and Calderón, and other tradition-bearers like them, is a painful one. Helguera's work, seen in that light, takes on a deeply elegiac tone.
Widespread appropriation is on view as well, often to great effect, as in Dr. Lakra's tattooed vintage pin-ups, which feature Maori-inspired markings on a Vargas va-va-voom babe, among others. Rather than paint graffiti on walls, Lakra's "canvas" is the human body, or, more precisely, an idealized representation of the body. The pin-up calendar girls of the Slim collection have here been endowed with specifically grounded cultural pride. Soy indígena, and don't you forget it! Lakra's subjects seem to say. Like Rivera and his triumvirate, the cause of the underclass is taken up by several artists — never mind that they themselves are part of Mexico's cultural elite and have benefited enormously from that status, which affords them ready access to the international contemporary-art circuit. This strain of "Chardonnay socialism," as an Australian friend calls it, becomes a source of complicated loyalties and realities.
There are more conventional examples of sculpture, among them Abraham Cruzvillegas' "Rond point," which appears to break up the gallery space if one stands in the right spot, playing with the viewer's spatial perspective. (The work's title refers to a French method of language acquisition.)
Even seemingly light, humorous works, such as the video "Sixteen" by Los Súper Elegantes, contain mordant subtexts. Bouncy music accompanies this comment on the telenovela and music-video phenomena. The "Juliet" in the "Romeo and Juliet" variation stuffs herself into a garbage can to be "collected" and rescued from her domineering, shotgun-toting mother. Woman as cultural detritus? ¡Ay, madre! (Like "Sixteen," Mexico-Argentina collaborations are well-represented here. This is not surprising, considering that the two countries are juggernauts of Latin American contemporary art — or the facets of that art which circulate internationally.)
Be sure to allow time for viewing Carlos Amorales's animation video, "Useless Wonder" (2006), with soundtrack by Julián Lede, an Argentine. The video is based on Edgar Allan Poe's only full-length novel, The Narrative of Arthur Gordon Pym of Nantucket. Amorales's coolly elegant evocation of Poe is arresting — its constant, untethered motion is braided with avian creepiness, pace Hitchcock.
As I walked toward the downstairs exit, a guard was announcing a guided tour of the Slim exhibit. The galleries were filled with gente: abuelas, baby carriages, and señoras in their Sunday best — a demographic not seen regularly at the city's other art museums. An elderly visitor asked the guard, "In English or in Spanish?" "English only," was the curt response. ¡Carajo!
I stopped at Siqueiros's dark "Portrait of a Living Girl, a Dead Girl" (1931) and thought about the grinding, but entirely appropriate juxtaposition of these two exhibitions. Siqueiros's painting could serve as a haunting, caustic — and more accurate — allegory of Mexico than its cheerier counterpart at the entrance. •
Tags: Arts Etc., The Arts, Section Cover, Visual Arts
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text:
Merrick L. Gross
P : 305.530.4046
F : 305.530.0055
Professional & Community Involvement
Rick Gross has more than 30 years of legal experience serving a variety of business clients. His multifaceted commercial litigation practice includes aspects of banking, real estate, securities, business torts, and creditors' rights, including bankruptcy. Rick litigates cases involving such claims in federal and state courts in Florida and throughout the United States. Rick also handles commercial loan workouts and foreclosures involving all types of real property including raw land, retail, office, multifamily, and condominiums throughout the country.
Rick is a former president of the Dade County Bar Association, former chair of The Florida Bar Business Law Section, and a former chair of The Florida Bar Constitutional Judiciary Committee. He also is a former and current chair of a number of ABA Section of Litigation and ABA Business Law Section Committees, and a former member of the Council of the ABA Section of Litigation. He currently serves as co-chair of the firm's Business Litigation Practice.
Are Bank Regulators "Mellowing Out" on Cannabis?
Is Cannabis Banking Safe Yet? It's a Definite, Maybe
Government Law & Consulting
Protecting Against Illegal Rentals in Miami Beach
Rick has been involved in numerous litigation matters throughout his career. Matters handled since 2000 include:
Branch Banking & Tr. Co. v. FTP Inv. Corp. & Bart Seidler, No. 12-18634-CA-15 (Fla. Cir. Ct.). Acted as lead trial counsel for plaintiff (who acquired the loan at issue from BB&T after suit was filed) in a commercial foreclosure action, which resulted in the entry of a money judgment in favor of client in an amount in excess of $5.6 million.
MUNB Loan Holdings, LLC v. Ponce Trust, LLC, No. 10-63470-CA-15 (Fla. Cir. Ct.); In re Ponce Trust, LLC, No. 12-14247 (Bankr. S.D. Fla.). Acted as lead trial counsel in a commercial foreclosure action filed in Florida state court involving a condominium development in Coral Gables, Florida, which resulted in the entry of a foreclosure judgment in favor of client in an amount in excess of $38.1 million. On the eve of a foreclosure sale borrower filed a Chapter 11 bankruptcy proceeding and client became the largest secured creditor in the case. The Chapter 11 proceeding confirmed a plan of reorganization which included all of the protections requested by the client and pays the client 100 percent on its secured claim. The plan also allows the client to retain its lien on the property until paid in full.
Ellipsis, Inc. v. Color Works, Inc., No. 2:03-cv-02939, 2006 WL 1207589 (W.D. Tenn. May 4, 2006). Obtained summary judgment in favor of client resulting in dismissal with prejudice of all of plaintiff's claims in case in which $54 million in damages was sought.
Ellipsis, Inc. v. Color Works, Inc., 428 F. Supp. 2d 752(W.D. Tenn. 2006). Had plaintiff's expert witnesses stricken with prejudice based upon failure of plaintiff's proposed expert testimony to comply with Federal Rule of Evidence 702 and Daubert.
Ellipsis, Inc. v. Color Works, Inc., 227 F.R.D. 496 (W.D. Tenn. 2005). Obtained order from court that defendant was entitled to depose attorney from opposing law firm, who was not plaintiff's trial counsel, and whose deposition would not expose plaintiff's trial strategy.
Rodriguez v. Amstar Ins. Co., 888 So. 3d 760 (Fla. 3d DCA 2004). Obtained dismissal with prejudice of claims against insurance company client in class action suit asserting that process of taking betterment deductions when processing claims was improper.
In re United Container, LLC, 284 B.R. 162 (Bankr. S.D. Fla. 2002). Obtained remand of case from bankruptcy court to state court, a more favorable forum for client to present defenses.
Information Tech. & Eng'g Corp. v. Reno, 813 So. 2d 1053 (Fla. 4th DCA 2002).
CFI Sales & Mktg., Ltd. v. Fla. Marlins Baseball, Ltd., 837 So. 2d 423 (Fla. 3d DCA 2002).
Temple v. Gorman, 201 F. Supp. 2d 1238 (S.D. Fla. 2002). Obtained dismissal with prejudice of claims against individual client in multi-party suit asserting federal and state securities law violation claims arising from investments in a startup dot-com entity.
Warner v. Wireless Broad. Sys. of Am., Inc., No. 8:96-cv-02214 (M.D. Fla. 2000), aff'd, F.3d (11th Cir. 2001). Obtained summary judgment for client in a breach of contract/Florida Securities Investors Protection Act case, which was upheld by the Eleventh Circuit Court of Appeals, resulting in an award of attorneys' fees to defendant client.
Molenda v. Hoechst Celanese Corp., 60 F. Supp. 2d 1294 (S.D. Fla. 1999), aff'd, 212 F.3d 600 (11th Cir. 2000). Obtained summary judgment and directed verdict for client in a breach of contract/defamation/Florida Whistleblower Act/ADEA case, which was upheld by the Eleventh Circuit Court of Appeals, resulting in an award of attorneys' fees to defendant client.
Senate Follows House Seeking to Make Cannabis Banking "S.A.F.E."
Is Cannabis Banking "SAFE"? Marijuana and Its Secure and Fair Enforcement
Considerations Regarding Attorney-Client Privilege in the Joint Representation of Multiple Clients
New Road Map for Proceedings Supplementary in Florida
The New Roadmap for Proceedings Supplementary in Florida
Use of Prior Servicer's Records at Trial Depends on Proper Foundation
Confusion of Source
Fifty State Survey of the Standards Governing the Admissibility of Expert Scientific Evidence
Florida Constitution Protects Homestead Property From Creditors Even if Purchased With Non-Exempt Funds With Intent to Defraud Creditors
Survey of State Class Action Law
Carlton Fields' Rick Gross and Robert Simpson Appointed to ABA Section of Litigation Leadership Positions
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Carlton Fields' Rick Gross Named Chair-Elect of CREFC High Yield Distressed Realty Assets Forum
Carlton Fields' Rick Gross Appointed to ABA Section of Litigation Task Force on Efficient Justice
Carlton Fields' Rick Gross Featured in ABA Cannabis Law Roundtable
Carlton Fields' Rick Gross Re-Appointed as Co-Chair of ABA Section of Litigation Business Torts and Unfair Competition Litigation Committee
Carlton Fields' Rick Gross Appointed to ABA Section of Litigation Membership and Marketing Committee
Renowned Litigator Lee Stapleton Joins Carlton Fields in Miami
Carlton Fields Attorneys Co-Author ABA Business Torts Journal Article on Attorney-Client Privilege
Carlton Fields' Rick Gross Featured on ABA Business Law Panel
Carlton Fields' Rick Gross Appointed to New Florida Bar Task Force
Super Lawyers Honors 81 Carlton Fields Attorneys on 2018 Florida "Super Lawyers" and "Rising Stars"
Carlton Fields' Rick Gross Re-Appointed to Florida Bar Constitutional Judiciary Committee
Carlton Fields' Rick Gross Re-Appointed to Florida Bar Civil Procedure Rules Committee
Rick Gross Appointed to Bar Leadership Roles
Merrick L "Rick" Gross Speaks at Trigild Lenders Conference
78 Carlton Fields Attorneys Named "Best Lawyers in America"
Florida Super Lawyers Ranks 92 Carlton Fields Attorneys as 2017 "Super Lawyers" and "Rising Stars"
Rick Gross Chosen to Serve in ABA Leadership Positions
Carlton Fields Attorneys Named to the 2017 "South Florida Legal Guide"
The Best Lawyers in America, Commercial Litigation, Litigation – Real Estate (2010–2020)
Florida Super Lawyers, Super Lawyers Magazine (2006–2019)
Florida Legal Elite, Florida Trend Magazine (2006–2014)
Top Lawyers, South Florida Legal Guide (2014–2015)
Section Member of the Year Award, The Florida Bar Business Law Section (2002–2003)
Committee Chair Exceptional Service Award, Dade County Bar Association (1999–2005)
Outstanding Subcommittee Chair Award, American Bar Association Section of Litigation (2004–2005)
Leadership Development Coordinator
Task Force on Efficient Justice Committee
Membership and Marketing Committee
Co-Chair, Torts and Unfair Competition Litigation Committee
Council of the ABA Section of Litigation (2016)
Co-Chair, Membership and Marketing Committee (2016)
Co-Director, Division of Substantive Law (2012–present)
Co-Director, Division of Public Services (2011–2012)
Co-Chair, Section Annual Conference (2009–2011)
Co-Chair, Trial Evidence Committee (2008–2009)
Vice Chair, Business Torts Committee (2006–2008)
Co-Chair, Corporate Counsel CLE Meeting (2007–2008)
Co-Chair, Business Torts Committee Books Subcommittee (2005–2007)
Co-Chair, Business Torts Committee Programming Subcommittee (2001–2006)
Chair, Business Torts Committee 11th Circuit Subcommittee (1999–2002)
Commercial and Business Litigation Committee
Appellate Litigation Committee
Committee on Class Actions and Derivative Suits
Co-Chair, Judge Initiative Committee (2011–present)
Chair, Business and Corporate Litigation Committee Business Courts Subcommittee (2005–2011)
Vice Chair, Business and Corporate Litigation Committee Business Courts Subcommittee (2004–2005)
Fellow (2010–present)
Judicial Administration and Evaluation Committee (2016)
Chair, Constitutional Judiciary Committee (2012–2013)
Business Courts Task Force
Civil Procedure Rules Committee
Constitutional Judiciary Committee
Immediate Past Chair (2008–2009)
Chair (2007–2008)
Chair-Elect (2006–2007)
Treasurer/Secretary (2005–2006)
Executive Council (1997–present)
Long Range Planning Committee (2009–present)
Chair, Business Litigation Committee (1998–1999)
Co-Chair, Business Courts Committee (1999–2004)
Chair, Legislative Committee (2004–2005)
Co-Chair, Section Annual Retreat Committee (2002–2005)
Co-Chair, MJP Committee (2003–2005)
Florida Bar Foundation
Dade County Bar Association
President (2006–2007)
President-Elect (2005–2006)
Vice President (2004–2005)
Director (1997–2000, 2001–2004)
Chairman, Civil Litigation Committee (2000–2002)
Chairman, Banking and Corporate Litigation Committee (1998–2000, 2002–2003)
Chairman, Federal Courts Committee (2003–2005)
Ad Hoc Rules Committee (2003–2007)
Eleventh Judicial Circuit Business Courts Committee (2005–present)
Eleventh Circuit Historical Society (2006–present)
Florida Supreme Court Task Force on Management of Cases Involving Complex Litigation, appointed by Chief Justice R. Fred Lewis (2006–2008)
Emory College Alumni Board (2013–present)
Peter T. Fay American Inn of Court
Temple Beth Ahm Israel Board of Trustees
Trustee (2002–2004, 2011–2012)
Rick is frequently asked to speak on various aspects of the law, and has recently been involved in the following speaking engagements and educational events:
"Up in Smoke: Cannabis Law Roundtable," ABA Section of Litigation (January 31, 2019)
"Sharing the Attorney-Client Privilege –Too Much of a Good Thing," ABA Business Law Section Annual Meeting, Austin, TX (September 14, 2018)
"That's a Wrap: The Good, the Bad, and the Reversible in Closing Argument," ABA Annual Meeting, San Francisco, CA (2016)
"The Real World: Case History of Resolutions by Special Servicers," Trigild Fall Lender Conference (2013)
"Business Court Judges Roundtable," The Florida Bar Business Law Section Annual Retreat (2013)
"Workout Case Study," CREFC West Coast High Yield Debt Forum Summit (2013)
"Monetizing Recourse Obligations," Trigild Spring Conference (2013)
"Issues in the Enforcement of Foreclosure Rights," CREFC High Yield Debt Forum Distressed Debt Summit (2013)
"Current Issues Specific to Special Servicers: Part 2," Trigild Fall Lender Conference (2012)
"How to Get the Resolution That Lenders Want – Direct Lender Track Panel," Trigild Lenders Conference (2011)
"Receivership Updates," Trigild Fall Lender Conference (2010)
"How to Make and Respond to Objections at Trial – Observe It in Real Time," ABA Annual Meeting (2009)
"Complex Litigation Tactics," Florida College of Advanced Judicial Studies (2009)
"Business Courts Around the World," ABA Business Law Section Spring Meeting (2009)
"Expert Witnesses from A to Z – How to Choose Them and Use Them," ABA Section of Litigation Annual Conference (2009)
"Business Courts in the United States – What Works Best and Why" and "Business Courts – The Case for and Status of Throughout the U.S.," ABA Business Law Section Business Bar Leaders Conference (2008–2009)
"An Introduction to Business Courts and Complex Litigation Courts – What Works Best and Why," ABA Annual Meeting (August 2007)
"An Introduction to Business Courts and Complex Litigation Courts – What Works Best and Why," ABA BLT Live Teleconference (April 9, 2008)
"2006 Review of Recent Developments in Business and Corporate Litigation," ABA Business Law Section Annual Spring Meeting (April 2006)
"Will the Court Allow My Damages Expert to Testify: How to Survive a Daubert Challenge – A Live Demonstration," ABA Annual Meeting (August 2005)
Boston University School of Law (J.D., 1987)
Emory University (B.A., summa cum laude, 1984)
U.S. Court of Appeals, Eleventh Circuit
U.S. District Court, Northern District of Florida
U.S. District Court, Middle District of Florida
U.S. District Court, Southern District of Florida
Florida State Courts
Of Counsel and Shareholder, Akerman Senterfitt, Miami, FL (1995–2008)
Of Counsel, Siemon, Larson & Marsh, Boca Raton, FL (1994–1995)
Associate, Stroock & Stroock & Lavan, Miami, FL (1990–1994)
Associate, Hornsby & Whisenand, P.A., Miami, FL (1987–1990)
Distressed Asset and Workout
Distressed Health Care
Litigation and Trials
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text:
Q: How do I compile Boost into a static library? I am new to C++ and would like to use the boost networking libraries on my Ubuntu laptop. I downloaded the Boost library tar.gz file and opened it up. The boost library had a bunch of .hpp files in the boost folder and in the libs folder. I tried running the command: g++ file.cpp -o file -I ~/Desktop/boost/lib but gcc wouldn't compile it. I then got the idea to compile the library into a static .a file but I don't know where to start. How would I go about doing this with the ar rcs command?

A: Boost is already packaged on Ubuntu. Try:
sudo apt-get install libboost-all-dev

redpajama_set_name: RedPajamaStackExchange


One hundred years ago Albert Mansbridge (1876-1952) founded the Workers' Educational Association. The WEA was the result of his attempts to involve the University Extension Service with the Co-operative and Trade Union Movements to provide education for adults once their formal education had ceased. Some 132,000 students now follow classes organised by more than 600 Branches. The Kings Langley Branch is probably the one nearest to you.
Courses will start in September and so perhaps now is the time to start thinking beyond the summer. There are also social events for all members, including theatre trips and cultural visits with coach transport . Full details of the courses and leaflets on how to join them will be available from WEA displays in the libraries at Bovingdon, Kings Langley, Abbots Langley and Hemel Hempstead in August or early September. In case you miss those, you could put your name on the "interested list" with Mrs Anne Hoar, 60 Gravel Hill Terrace, Boxmoor, HP1 1RJ (tel 01442 253403), or with Mr Joe Graham on 01923 265426 so that you can receive advance information.
There are course fees which are used to secure the services of recognised and approachable experts to lead the classes. Concessions are available to unemployed people and those retired and over 60.
Comment on "The W.e.a. – A Way Of Learning"


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A completely definitive ranking of the Planet of the Apes.
Spoiler warning This article gives away the plots; The astonishing ending of Planet of the Apes (1968), with Charlton Heston screaming in despair as the camera lingers on the shattered remains of the Statue of Liberty, is unremitting in its bleakness. And even watching it 50 years later, we can hardly rest easy. Premiering on 8 February 1968 before US release in April (the same week as that.
First there was Pierre Boulle 's novel, Monkey Planet, then Franklin Schaffner's 1968 movie, the 70s TV series and then Tim Burton's 2001 're-imagining'. For the original 1968 film, the arid planet, run by apes, is the desert around Page, Glen Canyon and Lake Powell, in northern Arizona. The ape village sets were built on the Fox Ranch in Malibu Creek State Park, Las Virgenes Road off.
Planet of the Apes - Movies In Order.
Mo-cap master Andy Serkis plays ape leader Caesar in 20th Century Fox's acclaimed rebooted Planet of the Apes prequel series. The third film of the franchise, War for the Planet of the Apes, is.The 1970 sequel to producer Arthur P. Jacobssss' groundbreaking sci-fi allegory Planet of the Apes picks up directly after the first film ends, with astronaut George Taylor (Charlton Heston) exploring the lifeless Forbidden Zone of a planet where apes evolved from men. But Taylor soon disappears in a terrifying illusion, leaving Nova (Linda Harrison) and another human explorer newly landed on.A New Planet of the Apes. Wes Ball, who directed The Maze Runner movies, is working on the next Apes film for 20th Century Fox (owned by Diseny). Since it's a movie heavy on CGI, Ball and Fox could get started on making the movie sooner than later. Here's the latest update on the Apes sequel from Ball (Source: Discussing Film).
The film that's considered the main inspiration for the 2011 preboot Rise of the Planet of the Apes. Conquest of the Planet of the Apes is not only arguably the best sequel to the original film (although Escape is also a solid contender for the title), but also the darkest and most violent entry in the original series. Paul Dehn once again returns for screenplay duties after having worked on.The new "Rise of the Planet of the Apes" isn't connected in any concrete way to the original five film series that ran from 1968 to 1973 or Tim Burton's reboot from 2001. But even though "Rise" establishes its own, new continuity (of the apes), it still contains a ton of references, shout-outs and easter eggs to its old school brethren (or simian, in this case).
Granted, only the original Planet Of The Apes is a masterpiece. The other four are flawed to varying degrees—in some cases significantly. But despite rotating creative teams and increasingly smaller budgets, each Apes movie between 1970 to 1973 at least attempts to meet the challenge of the original's depth and punch. The series never.
View credits, reviews, tracks and shop for the 2019 CD release of Planet Of The Apes (Original Film Series Soundtrack Collection) on Discogs.
The Planet of the Apes has been awing generations for nearly 50 years now. This shocking film reverses the dominate roll that humans currently play on planet earth, giving all of the power to our primate cousins. Many people remember the final scene in the 1968 movie where George Taylor looks on at a buried statue of liberty and realizes that civilization is doomed. Ever since that dramatic.
For those that might need a refresher course, the original 1968 film was based on a novel by Pierre Boulle and centered on three astronauts who are marooned on a futuristic planet where apes rule.
Much like this new trilogy that started with Rise of the Planet of the Apes, the original 1968 film was a sci-fi parable that took on the issue of race relations and social superiority.In the case.
Rise of the Planet of the Apes is a 2011 American science fiction action film directed by Rupert Wyatt and starring Andy Serkis, James Franco, Freida Pinto, John Lithgow, Brian Cox, Tom Felton, and David Oyelowo.Written by Rick Jaffa and Amanda Silver, it is 20th Century Fox's reboot of the Planet of the Apes series, intended to act as an origin story for a new series of films.
In late 1966, soundtrack composer Jerry Goldsmith was asked to write the score for a new movie being developed by APJAC Productions through 20th Century Fox. The movie, based on a French novel, concerned an astronaut stranded on a planet where a native human species was unintelligent, and was dominated by a species of articulate apes. In adapting the novel for film, screenwriter Rod Serling.
Planetoftheapes.com is the official Planet of the Apes franchise fan hub. Discover the 50th anniversary of Planet of the Apes, and pre-order today.
The original 1968 'Planet of the Apes' film was based on a novel by French writer Pierre Boulle and starred Charlton Heston. There have been a number of remakes over the years, with Tim Burton's.
RISE OF THE PLANET OF THE APES is a prequel to the original science-fiction film series, showing how primates gained intelligence and rose up against the captivity imposed on them by humans. The film was classified '12' for scenes of intense threat and some moderate violence. There are a number of sequences in which apes go on the rampage, against captivity generally and humans specifically.
The original 1968 PLANET OF THE APES album presentation is also included, upgraded sonically by way of this restoration. Four jewel cases, containing 5 discs total (one score on each disc), are housed, along with a separate overview booklet, in a handsome hardcover slipcase. The exclusive, in-depth notes by co-producer Matessino and writer Jeff Bond, take you within, and behind-the-scenes of.
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Tim Burton attempted to reboot the story in 2001. Then the series got another reboot in 2011 with Rise of the Planet of the Apes, the first of the Serkis films.That was directed by Rupert Wyatt.
Planet of the Apes ends famously. And since it's now been 50 years since the April 1968 wide release of the original Planet of the Apes, it's a spoiler that can be discussed openly.But more.


Interested in Program in Community Health Promotion? Admissions officers are waiting to hear from you!
University of Arkansas / Program in Community Health Promotion is located in Fayetteville, AR, in an urban setting.


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402 Giant Panda Duo Water Bottle
Giant Panda Duo 14 oz lightweight single wall stainless steel water bottle with carabiner and keychain ring. Water bottle is lighter due to being non-insulated and is perfect for everyday hydration when at work or on the trail.
Original artwork © 2006 Samara E. King & TwoBee, LLC rendered in color pencil for the Smithsonian National Zoological Park.
Giant Pandas (Ailuropoda melanoleuca) live mainly in temperate forests high in the mountains of southwest China, where they eat almost nothing but bamboo. They have to eat a lot because bamboo isn't very nutritious! As a result of farming, deforestation, and other developments, giant pandas have been driven out of the lowland areas where they once lived. The Sichuan Giant Panda Sanctuaries, located in the southwest province of Sichuan and covering seven natural reserves, constitute the largest remaining contiguous habitat of giant pandas and were added to the World Heritage List in 2006. Learn more about the giant panda at: https://nationalzoo.si.edu/animals/giant-panda and Sichuan Sanctuaries at: https://whc.unesco.org/en/list/1213/
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Virtually no one can take away the prominence of Desktops from the world of computers. And we can fairly say that desktops are not going to die away anytime soon. Right now, we will not get into the whys and what's of the importance of desktops. But what we intend to look into is how to deal with the desktop repair and what kind of breakdowns are likely to happen and where to approach for desktop repair in Dubai.
When to go for Desktop Repair?
When your computer is freezing on you too often, it could be that the fan is not working properly and needs to be changed, or your desktop computer shutting down out of the blue. Or your computer has become slow indicating that your desktop needs servicing.
Where to approach for desktop repair in Dubai?
For all kinds of computer repair, Techno Edge Systems LLC is a certified repair center in Dubai, which has the reputation for least turnaround time for desktop repairs and all kinds of computer repairs for that matter.
We are renowned for least turnaround time for computer repair in the area.
We provide both on-site and remote support whenever quick fixes are required.
We have the spare parts available at all times to provide you with the quickest possible service.
All spare parts come with a warranty period.
We deploy on highest quality spare parts for par excellence in our services.
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We undertake software installations to support for all kinds of operating systems and all brands of desktop support.
Contact Techno Edge Systems for all sorts of desktop repairs in Dubai. Visit www.laptoprepairindubai.ae for more information.


In addition to the two Leiknir teams, 194 other teams from 36 different countries played in Boys 14. They were divided into 47 different groups, whereof Leiknir 2 could be found in Group 4 together with CEF 18 Tucuman, Azalea BK and Hörby FF.
Leiknir 2 continued to Play off B after reaching 4:th place in Group 4. In the playoff they made it to 1/64 Final, but lost it against Keflavik 3 with 0-1. In the Final, S. Lanzarote won over Sangre Chilena FC and became the winner of Play off B in Boys 14.


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Coventry City cash boost contemplated as keeper linked amid Ricoh row
All your Sky Blues news from Coventry Live
Recruitment and the Ricoh row
Coventry City are pressing ahead with their summer recruitment plans despite the on-going uncertainty about where the club will be playing next season.
Mark Robins has already made his first signing of the summer after securing the services of experienced centre-half Kyle McFadzean on a free transfer from Burton Albion earlier this month.
And CoventryLive understands that the Sky Blues boss has more lined up in the coming days and weeks despite the club still unable to put season tickets on sale.
Season ticket sales make up a large chunk of the manager's playing budget and, as it stands, supporters are unable to commit themselves to the 2019/20 League One campaign while the club has no home.
Sky Blues boss Mark Robins with Dave Boddy
But chief executive Dave Boddy said: "The recruitment is going ahead as planned and we're just ploughing on, to be honest."
City have stated they are speeding up their plans to possibly groundshare next season as talks with Wasps appear to have stalled.
In a statement released last Thursday (May 16), the football club said "back-up" plans to play somewhere other than the Ricoh Arena are being "accelerated."
It came after a complaint was made to the European Commission and appears to have led the the collapse of talks between Wasps and Coventry City .
The news broke last week that the football club's owners have contacted the Commission reportedly with regards to the sale of the stadium to Wasps by ACL in 2014.
The club, however, says the complaint is "against Coventry City Council only".
And while the action may not technically amount to a legal case, Wasps last week announced talks could not continue under those circumstances because of the move by Sisu .
The rugby club, however, hinted that they would be happy to resume discussions if given assurances about the legal situation.
Wasps chief executive Nick Eastwood (Image: Richard Lane Photography)
Wasps Group chief executive Nick Eastwood said in a statement last week: "The ball is therefore back in the court of CCFC's owners.
"We believe it is in everyone's interest that Coventry City play their home games at Ricoh Arena, and we would urge the owners of Coventry City to take steps to make that happen."
One thing that is for sure, the uncertainty could result in some of the club's top targets thinking twice about joining the club this summer.
McFadzean told his close friend and former team-mate Carl Baker that playing at the Ricoh was important to him and that he'd sought assurances about the situation before committing himself.
At the time he signed, stadium negotiations appeared positive and on track and it wasn't until the following week that the talks were thrown into doubt with the revelation of the European Commission complaint.
The Ricoh Arena has long been a selling point of the the football club when recruiting new players who, almost to a man, always cite the stadium as one of the reasons for joining.
Callum cashback
Hopes that Mark Robins's summer transfer kitty will receive a major boost have been re-ignited with the news that Everton are the latest club to express an interest in former Coventry City star Callum Wilson.
The Sky Blues Academy graduate has had another impressive season in the Premier League with Bournemouth, scoring 16 goals (14 in the top flight).
The 27-year-old was a Chelsea target in the January window until the Blues switched their attention to Gonzalo Higuain, but he continues to be linked with fellow top flight clubs.
Leicester City boss Brendan Rodgers was reported to be plotting a summer move for the £40million rated striker back in February, and now Everton have emerged as surprise contenders for his signature.
Callum Wilson celebrates scoring for England
Coventry will benefit from any sale of the player whom they sold to the Cherries for £3m in 2014 after banging in 22 goals for his home town club, taking a 10 per cent cut of any sell-on fee.
City boss Robins revealed in the January transfer widow that he had been told by club chiefs that he would see a significant part of that money, the manager going as far as saying he had targeted a proven goal scorer to make a move on if the Wilson cash came to fruition.
Wilson has enjoyed a decent season in front of goal, making his full England debut in the process and being selected by Gareth Southgate for next month's UEFA Nations League Finals in Portugal.
And now the Toffees are said to be preparing a swoop for the pacy front man, with boss Marco Silva keen on bolstering his attacking options.
Silva is thought to believe his team can challenge for a top six place next season, providing they can sign a proven goalscorer.
The Sun report that Wilson is a £35 million target for the club, but they may have to offload Idrissa Gueye to fund a move.
Keeper linked
Coventry City have been linked with a summer move for Wolverhampton Wanderers' goalkeeper Will Norris.
Sky Blues boss Mark Robins is currently looking for two senior stoppers to compete for the No.1 shirt next season after both Lee Burge and understudy Liam O'Brien have left the club after coming to the end of their contracts.
The 25-year-old is currently third choice at Wolves and highly thought of by manager Nuno Espirito Santos who put him on for a few minutes towards the end of Wanderers' penultimate game of the season at home to Fulham.
However, the former Cambridge United talent, who was signed at Molineux for an undisclosed fee in 2017, has been limited largely to cup games over the last two seasons, including three Checkatrade Trophy U-21 appearances this term.
Third choice Wolves' stopper will Norris keeps out Sergio Aguero
He clearly needs senior game time to continue his development after making over 80 appearances in League Two with his previous club.
There is an obvious link with the Sky Blues in that City's head of recruitment, Chris Badlan , will know all about Norris from his time at the club, as will new goalkeeping coach Aled Williams who was last week signed as Steve Ogrizovic 's replacement.
A season-long loan is not beyond the realms of possibility, as is a permanent deal for the keeper who has two ahead of him in the pecking order at the now established Premier League club, although it remains to be seen the sort of value Wolves would put on his head with two years left on his current contract.
Will Norris of Wolves has been linked with interest from the Sky Blues
Latest reports suggest either loan or permanent deal could be an option.
Robins has expressed a desire to recruit as many permanent signings as possible but has a track record of making good use of the loan market.
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Home / Tech news / What actually makes women good dancers? Study finds it is all in the hips.
What actually makes women good dancers? Study finds it is all in the hips.
Scientists at Northumbria University used motion-capture technology to record the movements of young women dancing to a drum beat.
Report author Dr Nick Neave, associate professor of psychology at the university, said dance moves have two functions for women.
He told The New York Times: "One is, they're showing off their reproductive quality, perhaps their hormonal status, to males.
"Another is, they're showing off how good they are to female rivals.
"When you look at males and females walking, the key difference is, males have this shoulder swing and females have this hip swing."He added that asymmetric limb movementscould also signal good motor control.
So you see women dance better because of their HIP........SS which some men find attractive.


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Villaviciosa es una localidad española perteneciente al municipio de Solosancho, en la provincia de Ávila (Castilla y León). En el año 2011 tenía una población de 124 habitantes.

Demografía

Véase también
 Castillo de Villaviciosa
 Verraco de Villaviciosa
 Castro de Ulaca

Referencias

Enlaces externos

Pedanías de la provincia de Ávila
Localidades de la provincia de Ávila

redpajama_set_name: RedPajamaWikipedia


'Photo Booth Selfie' references the complex relationship between painting and photography. The arrival of photography in the nineteenth century represented an existential threat to painting, and subsequently affected many of the artistic movements that followed. Artists, in particular portraitists, were under pressure to make clear the difference between their portraits and mechanical ones. This discord continued and made many artists deliberately avoid the use of photography in their practice. However, with the recent advent of digital technology there has been a growing understanding that photography can be the subject of manipulation and therefore might not be the trusted historical documents they were assumed to be. For some portrait artists digital imaging has even replaced the sketchbook, as it allows greater scope for experimentation.
This painting plays with these ideas as the artist surreptitiously emerges from a photo booth, as if not wanting to be seen having a photo taken, yet clearly this painting is itself based on a photo, for it's composition is in obvious contrast with the mirrored self-portraits of the past. Furthermore, the painting addresses the idea that in the not-too-distant future the photo booth as an object will become obsolete and require explanation to future generations accustomed to using hand held devices to photograph themselves.


Lynda Benglis, Night Sherbet A, courtesy the artist.
Join us at our Gala on Wednesday December 8th to honor artist Lynda Benglis and Peter Stevens, Director of the Estate of David Smith. The Gala is a festive event featuring cocktails, dinner, entertainment and, this year, will be held at the Metropolitan Pavillion. Tickets start at $750 and all proceeds will benefit SculptureCenter's exhibition program.
A revolutionary figure, Lynda Benglis embodies the spirit of experimentation in contemporary sculpture that SculptureCenter promotes. Challenging conventions of gender and politics as well as pushing the boundaries of material and process, Lynda has been a monumental force in changing how sculpture is made, presented and viewed over the past 40 years. A retrospective of her work is currently on view at the RISD Museum in Providence and will be presented at the New Museum in February 2011.
Peter Stevens has been Director of the Estate of David Smith since 1979 and is acknowledged as the foremost authority on David Smith's work. He has curated numerous exhibitions and made significant contributions to the research and scholarship on the work furthering the understanding and impact of this major American sculptor. He has been an active and positive presence in the international sculpture community and served on SculptureCenter's Board of Trustees from 2004-2008.


Anil Kumble is an Indian cricketer and right arm leg spin bowler. He is famous for his innings in 1999 against Pakistan. He took 10 wickets in an innings of the test match. He was the captain of Indian cricket team for sometime. He is also famous for his flipper.
Anil Kumble was born on 17 October 1970 in Bangalore, India.
His parents are K N Krishna Swamy and Saroja. He also has a brother Dinesh. Kumble is married to Chethana Ramatheertha. He married Chethana after her divorce. He has a son Mayas and two daughters Svasti and Aaruni (from Chethana's previous marriage).
He studied from Holy Saint English School and National High School, Basavanagudi, Bangalore. Kumble completed his graduation from Rashtreeya Vidyalaya College of Engineering (RVCE) in Mechanical Engineering.
Kumble was interested in the cricket from his childhood and he joined Young Cricketers club at an age of 13. Kumble played his first domestic match against Hyderabad in 1989 at an age of 19. He was the player of Karnataka team.
Anil Kumble started his carrier as a fast bowler.
Kumble made his debut in the ODI's on 25 April 1990 against Sri Lanka at Sharjah. His test debut occurred in the same year against England.
Kumble had the record as an Indian who took first 50 test wickets in only 10 matches before Ashwin broke the record(took 50 wicket in 9 matches).
At Eden gardens against West Indies in 1993 Kumble took 6 wickets for only 12 runs. It is an Indian record.
He is the only bowler who has taken 10 wickets in a innings after Jim Laker of England. This performance is regarded as the second best "Bowling performance of all time" by wisden.
Kumble is the second Indian after Kapil Dev who took 400 test wickets. He is also the highest wicket taking Indian bowler.
He has world record in caught and bowled dismissals.
He is the only Indian bowler who has taken 5 wickets in a test innings more than 30 times.
On 8 November 2007, he was made captain of Indian test team.
Kumble is in the 3rd position after Muttiah Muralitharan and Shane Warne to take 600 Test wickets.
Anil Kumble took his retirement from cricket on 2 November 2008 at Feroz Shah Kotla cricket stadium at New Delhi, India.
Kumble has won many awards. Arjuna award in 1995, Padma Shri in 2005. He was appointed as the chairman of ICC cricket committee in 2012.


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Always seek a discount code when shopping online. Many online shops hand out reductions for various things and you will discover them by searching. This is a lot of money.
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