text:
West Hampstead overground station upgrade completed
Published 26 December 2019 by By Ian Mansfield Transport News
West Hampstead's London Overground station has — rather later than originally expected — completed a major upgrade. The new entrance hall and overbridge opened in stages over the past year, but they've now completed the widening work on the platforms to cope with the rush-hour crowds that build up here.
(c) TfL
The upgrade also replaced the narrow old staircases with much wider stairs, and lifts to both platforms. The number of ticket barriers also doubled to 10 in total compared to the old entrance.
Rory O'Neill, TfL's General Manager for London Overground, said: "The station improvements at West Hampstead, including step-free access, will make travelling through the new station an even better experience for everyone."
The station had been expected to be completed about a year ago, but delays kept pushing that back, and while the overbridge opened last year, the new entrance itself only opened in August.
Some of the funding for the redevelopment comes from Ballymore, who are building just under 200 homes next to the station in a series of low-rise blocks of flats.
The existing Edwardian era station building will be later removed, and is due to be turned into a "retail opportunity", although problems with the road bridge it sits on may cause those plans to change.
‹ Smithfield's annual Christmas Eve auction
Underground reservoir in London revealed ›
Tagged with: london overground, west hampstead station
Brian Butterworth says:
It's now a bit weird that West Hampstead Thameslink is step-free, that West Hampstead Overground is step-free but West Hampstead Jubilee Line is as far from being step free as is possible, not just because of lacking lifts, but the platform height is totally wrong!
MilesT says:
Has the ticket office moved somewhere into new building or been shut..last time i passed (about a week ago) ticket office was still in old building.
Keith Davis says:
I do not understand why this upgrade does not include providing WCs for passengers? In fact, shouldn't all tube station upgrades include WCs? Since the ticket offices have been closed, these spaces could be re-purposed as passenger WCs.
Given a choice, how about night tube stops first? Come on TFL, how about it?
ianvisits says:
It does include a toilet, inside the ticket barrier.
Rachelle Marks says:
Agree re toilets they have them in New York and Boston subways there is room where the ticket offices were
This particular station was built without ticket offices, but even on refurbs, the ticket office space is used for staff facilities, and from a practical point of view, being on the public side of the ticket barriers, would be in the wrong part of the station.
The edwardian structure should be kept as its part of our history and by all means use it as a shop etc.
drhhmb says:
1 January 2020 at 3:42 pm
But why was it built without a ticket office? The one in the old building was well used.
Rare photos of The Jam and Paul Weller at the Barbican
Charterhouse tours by Candlelight
Plans to improve railway arches through Lambeth and Wandsworth
London's cycle hire scheme had busiest year ever


So, it is impossible to create an object of the QFormBase type (since the class is abstract). Moreover, there is no need to do so since the given Run method cannot be called.
6) Let's search for a class both non-abstract and inherited from QFormBase. Such a class called Dushboard is found at /www/drafts/dashboard/index.php.
7) To exploit the code, let's send an encrypted serialized object in the $_POST['Qform__FormState'] parameter and specify the correct class name in the $_POST['Qform__FormId'] parameter. It should be the same name that was passed to the Run() method. In our case, it is Dashboard.
8) Not to reinvent the wheel, let's use the encryption methods from the framework of the same version in the exploit. The QFormStateHandler::Save($strFormState, $blnBackButtonFlag) method is responsible for saving and encrypting a serialized object.
Let's add them, though it's not necessary at all – the file executes without them just the same. These lines are used only to make the code execution results more easy-to-view. If it is possible to link only local files, you can do without these lines because in the standard error notification form, the linkup result is readable from the source code.
Real systems do not always have the Dushboard class. In this case, you can sniff any POST request and view the value of the Qform__FormId parameter. Then, just give this name to the class you created.
This vulnerability occurs because PHP when deserializing an object recopies its base class fields as well. For instance, in Java and the .NET languages a programmer has to explicitly indicate whether the basic class fields should be recovered from the serialized class (e.g. via 'implement Serialize' for basic classes in Java). PHP does not allow for such a field protection, which triggers vulnerabilities like the one described above.


Check out the Robotics Innovations Competition and Conference sponsored by Worcester Polytechnic Institute. WPI is also running the Sample Return Centennial Challenge.
After that, take a look at Mojave Air and Space Port 2011.
Ask me about the X PRIZE Foundation's space activities, including the Google Lunar X PRIZE. - This Q/A session by Will Pomerantz was yesterday, but you can still see lots of answers to questions here.
@mattcannella: Excited to see Masten Space System's Xaero on the pad. http://yfrog.com/h49nvfpj Thanks @colinake. Can't wait to see her fly!


There's no denying that Adobe Photoshop is an intense photograph altering device, with heaps of implicit highlights and impacts. Truth be told, in case you're an Free Photoshop Filters with little (or zero) photography or visual depiction encounter, Photoshop can here and there feel somewhat overpowering.
Oppositely, nonetheless, in the event that you've invested years taking in the intricate details of Photoshop, you may now touch base at a point where you have an inclination that you've depleted the majority of Photoshop's worked in benefits.
Notwithstanding your experience level, there are free Photoshop channels and modules that can help. As an apprentice, these free additional items can help rearrange complex altering forms. As a specialist, they can help grow your accessible Photoshop instrument set considerably further, and help lead you in new masterful ways.
Note: The channels beneath are in fact Photoshop "activities" (.ATN records). An activity is a pre-recorded arrangement of steps that enables you to apply impacts – for this situation, channels – naturally.
Without a doubt, you can undoubtedly make that work of art, rosy dark colored sepia impact in Photoshop physically by choosing Image > Adjustments > Photo Filters, and after that picking "Sepia" from the dropdown menu. In any case, in case you're searching for a sepia channel that is more – well, emotional – the free Dramatic Sepia activity from Efeito Photoshop is a prominent alternative.
In the event that sepia is a lot for your taste, however despite everything you're endeavoring to make a nostalgic, old-timey feel, the Old Photo activity has got you secured. The activity will modify the shading and difference of your picture, transporting it back in time (outwardly).
As its name proposes, the Dream Blur activity adds a channel to your picture that makes an unpretentious, dream-like climate. In particular, the activity delivers a dim, foggy vignette at the edges of your picture while additionally increasing the immersion levels.
Not at all like the Old Photo activity from prior on this rundown, the Vintage activity accomplishes something other than outwardly transport your picture back in time – it additionally includes an unmistakable neon impact (ideal for giving your next task a cool vibe).
The Lithprint activity mirrors the vintage look created by the highly contrasting lith printing process. Be that as it may, contrasted with the other vintage channels on this rundown, Lithprint is significantly more radical. Notwithstanding changing differentiation, features, and shadows in your picture, it includes a lumpy surface.


8 Postcards - 2 each of 4 designs.
Welcome to the "Share the Love" snail mail campaign.
This is the First Series of 4 postcards. Each series is produced in a limited quantity of 12 sets.
Please get yours and help Share the Love with your friends and family! Thank you!
*Cards are mailed in an envelope with poly bag and belly band graphic.


Recently while perusing the mail, I noticed a postcard from a plumbing contracting business franchise notifying plumbing contractors they were hiring qualified plumbers. Its content went on to pose the question of whether you or I, as plumbing contractors, were tired of the stress of owning our own businesses.
Then, it listed the benefits of joining their team. It enticed plumbers with the choice of hourly wages plus SPIF's or full commission as compensation for their labor. It suggested plumbers could be dispatched from their homes and could enjoy flexible hours and more family time.
Furthermore, it implied there would be weekly bonuses, paid health benefits, long term disability and a 401K. And of course, no offer would be complete without paid time off and vacation. Then it emphasized the fact that they, not you, would handle the stress associated with bad checks, unemployment, broken equipment and more.
Who should consider this offer?
It is important to realize there are two types of people in business - those who are business people and run their businesses in a businesslike manner and those who are just people in business.
Regarding the bad checks of which they referred, you can alleviate this stress problem by accepting several other methods of payment. Cash, credit cards and debit cards don't bounce. A consumer might try to dispute credit and debit card transactions, but, if your paperwork is in order and you performed the agreed service their efforts will more than likely be futile.
Additionally, consumers often want to use credit cards because they might not have the money and/or want the rewards which are attached to the usage of their credit cards. Business people would choose to employ these payment methods while those who are just people in business accept checks good and bad. The good ones don't give them stress, but the bad ones certainly do.
As for "broken equipment and more," these items are nothing business people get stressed over. Business people see these items as business expenses that must be included in their budget, which eventually governs their pricing policies. Those who are just people in business don't properly budget for these instances. They set their prices to compete with those of their ilk. Then, they panic when these expenses pop up. And, that is what leads to undue business stress.
Regarding unemployment stress, it looks like the business looking to have you work for them obviously takes care of their unemployment problems by sending out the aforementioned postcards. But, if you properly scrutinize candidates for employment before hiring them; fairly evaluate their performance after you hire them; and properly compensate them commensurate with their performance, you can weed out the bad while continually employing the good.
The postcard didn't mention anything about the level of quality they expected from you. Nor did it say anything regarding the amount of dollars they required you to bring into their business. But, you can rest assured if your workmanship was poor, in their opinion, or, if you didn't bring in your cost plus a profit your continued employment would probably not be guaranteed.
You would be wise to consider one of two options. Seek employment with a contracting firm that delivers excellence to their clientele while rewarding their employees for assisting in the delivery. Or, change your ways.
If you do not want to work for someone else's business and you are an entrepreneur who truly wants to succeed, you must give yourself an offer you can't refuse. That's right! I said you make yourself the offer to manage your business like a business person rather than just a person in business.
Instead of choosing your pricing and pricing policies based on that what others are doing, you must base your prices on your true cost; sell your services above your true cost; embrace a contract pricing policy (upfront pricing); deliver excellence to your clientele; and stand behind your workmanship. It's that simple.
Unfortunately, many PHC contractors annually shortchange their businesses by minimally $50,000 per tech. If you do that, imagine having an amount of money above what you now have. Then, you would be able to afford to offer to yourself and your employees everything that postcard offered to you.
I believe the cost range for one qualified technician's hourly labor and overhead cost to you, the PHC service contractor, to be between $100 and $250 at present. This conclusion is backed up by the fundamentals of mathematics. Yet, there are PHC contractors across the country selling services for less than $100 per tech hour. You must come to the realization that rate is less than it costs you. That is what causes undue business stress.
As an example, if you wanted to earn $50,000 annually for your technical talents before taxes, your minimal direct labor expense to your business would be between $60,000 and $75,000 dependent on variable salary expenses (e.g. FICA matching funds, workers' compensation insurance, unemployment and disability insurance, health insurance, etc.). If your salary is higher, your cost range will likewise be more.
You have only 1,708 maximum revenue producing hours available in a 40-hour, 52-week year after you subtract six holidays, two weeks for vacation and one hour per workday for duties which do not produce revenue.
Divide the direct labor cost range by 1,708 hours and you will have a direct labor cost range between $35.13 and $43.91 per tech hour. And, that's if you sell all your tech hours all the time. The only contractors who sell all their tech hours all the time are commonly referred to as liars.
If you only sell 75 percent of your available time, your direct labor expense range would be $46.84 to $58.55 per tech hour. Either of those direct labor expense ranges does not include your overhead burden. You need at least one vehicle which comes with additional expenses such as insurance, fuel, repairs, maintenance etc. You may have multiple vehicles. Then, there are tools, telephones and a myriad of other business expenses to consider. And, since your $50,000 salary only covers your technical labor, you must add the expenses related to your administrative duties.
After you properly calculate your total overhead expenses, you will find your overhead burden costs you an additional $75 to $150 per tech hour. And, that includes all those contractors who work from their kitchen tables and don't think they have overhead.
When you add the overhead burden to your direct labor expense the cost range to you for one tech hour is $110.13 to $193.93 if you sell all your tech hours all the time. If you only sell 75 percent of your available time the cost to you ranges between $121.84 and $208.55 per tech hour.
If you want to remain in your business and succeed, you must understand and properly implement sound business protocols. So, make yourself the offer you can't refuse. Today is the first day of the rest of your life. There's no sense in waiting. Running your business in a proper businesslike manner will help lower the stress referred to by the company that sent the postcard while increasing your revenue. And, you will still be your own boss.
If you want to be an excellent business person but need help figuring out how to go about it, just give me a call. Contractors who have allowed me to coach them and understood and properly implemented that which I showed them have minimally increased their revenue by 30 to 70 percent for the same workload they were performing before I coached them.
Richard P. DiToma has been involved in the PHC contracting industry since 1970. He is a contracting business coach/consultant and an active PHC contractor. For information about the "Contractor Profit Advantage" or to contact Richard: call 845-639-5050; e-mail richardditoma@verizon.net; mail to R & G Profit-Ability, Inc. P.O. Box 282, West Nyack, N.Y., 10994; or fax 845-634-7236.


text:
Svetovno prvenstvo v nordijskem smučanju 1980 je triintrideseto svetovno prvenstvo v nordijskem smučanju, ki je potekalo med 14. in 23. februarjem 1980 v enajstih disciplinah. Deset jih je potekalo v okviru Zimskih olimpijskih iger v Lake Placidu, ZDA, ženski tek na 20 km pa v Falunu, Švedska.

Dobitniki medalj

Smučarski teki

Moški

Ženske

Nordijska kombinacija

Smučarski skoki

Medalje po državah

Viri
Rezultati smučarskih tekov
Rezultati nordijske kombinacije
Rezultati smučarskih skokov

1980
1980 v športu
Športne prireditve v ZDA
Športne prireditve na Švedskem
Šport v Lake Placidu
Šport v Falunu

redpajama_set_name: RedPajamaWikipedia


text:
How To Open A Bottle Of Reposado 1800 Tequila?
March 30, 2022 greenbich Answers
What is the proper way to open a Reposado tequila? While holding down the bottle with one hand on the kitchen counter, twist and pull up on the top, and it should pop right off. Initially, it is a bit difficult to open, but with practice, it becomes less difficult.
How do you open a bottle of tequila?
Pulling the cap off the bottle with one hand while holding it down on the counter is a good way to get it off. According to the bottle seal, storage temperature, and how airtight the bottle seal is on the bottle, several factors influence how quickly tequila oxidizes.
Is 1800 Tequila considered top shelf?
Many lesser-known distilleries manufacture tequila as well as premium spirits, but 1800 Tequila is the undisputed king when it comes to sweet cocktails and shots. Silver 1800 is a reasonably priced choice that is prepared from 100 percent blue Weber agave that has been matured for 8 to 12 years and is gathered at the pinnacle of its flavour.
What's the name of 1800 Tequila?
A Mexican brand of tequila owned by the Beckmann Family, who also owns the Jose Cuervo tequila brand, 1800 Tequila is a premium tequila produced in Mexico.
The tequila is made entirely of blue agave and is bottled in Jalisco, Mexico.
Tequila 1800 is named after the year when the first batch of tequila was matured in oak barrels, and it is distributed all over the world.
Tequila 1800 is a brand of tequila.
Website 1800tequila.com
How much is 1800 liquor?
A bottle of 1800 Silver with a capacity of 750 mL costs around $26. A bottle of 1800 Reposado will set you back around $30. A bottle of 1800 Aejo would set you back around $38, while the brand's ultra-premium range includes the limited edition 1800 Colección line of tequilas, which sells for more than $1600 per bottle and is only available in limited quantities.
How do you open Don Julio tequila?
Although the bottle appears to be difficult to open, it is actually rather simple.
Using your fingers, twist the wooden ball of wood until it comes loose. It is attached to the bottle in the same manner as a normal cap.
Remove the ball of wood by twisting the plastic screw cover below it until it comes out.
If there is a valve, turn it like a water faucet to allow the water to flow through
How do you open a bottle of La Pinta?
Deleon Tequila Bottle Opening Instructions Using a rubber mallet, whack the top a few times to give it the respect it deserves. It's conceivable that the thread was accidentally cross-threaded while processing the request. If it's stuck, ccw it a couple of times and see if it moves enough to turn itself off.
How do you wrap a tequila bottle?
Use a clean, nice-looking tea towel and fold it in half on a level surface. Place the bottle of liquor between the 2 layers of the tea towel and roll the bottle until it's snugly wrapped in the tea towel. Tie a ribbon around the neck of the bottle to fasten it and you're prepared to offer 2 gifts at the same time!
What tequila pours its own shot?
'Self-Pouring Shot' from the 1800 Tequila Silver TV commercial.
Why do tequila bottles have hats?
As a result of the efforts of @J4CKMULL, we now understand that the hat's purpose is to salt your shot glass. As you may know, tequila is usually served with salt – either licked from your palm or sprinkled over the rim of your shot glass. And that is exactly what the hat is for: to offer a little salt-dipping region within the brim.
What liquor has a shot glass on top?
) (For those of you who are unfamiliar with this bottle, the shot glass is capped with a cork that has a little hole in it, which allows the tequila to travel through it and into the shot glass top).
Is 1800 Reposado a sipping tequila?
Besides being an excellent choice for people who want to start into sipping tequilas served on the rocks, 1800 Reposado Tequila is also excellent when blended into cocktails like a spin on the traditional Old Fashioned. The agave used in this tequila is 8-12 years old and 100 percent Blue Weber, much like the rest of the 1800 Tequila line.
How do you open anejo tequila?
Is 1800 a good sipping tequila?
How to Prepare and Drink 1800 Tequila. 1800 Tequila is a drink that is very impossible to make a mistake with. This versatile glass may be used for practically every tequila drink you can think of, including classics such as the margarita, tequila sunrise, and paloma, among others. It also contributes to the smoothness of a tequila shot.
Previous Post:Where To Find Authentic Tequila In The U.S?
Next Post:How To Prepare Tequila Shots?

redpajama_set_name: RedPajamaCommonCrawl


text:
About Sprout
Sprout has been preparing tasty fresh sandwiches to the locals of Oahu since 2014!
After 20+ years in the food and beverage industry, Co-owners and friends Stephanie Leonard and Steven Ashcraft ventured into a first partnership together. Our goal was to create a small shop that could feed the dietary needs of all who visited.
Now, with 2 locations in Kaimuki and Haleiwa, we are still focused on creating hand-crafted, fresh, healthy, toasted sandwiches that the whole family will enjoy.
Our menu is formed around local ingredients that we can source in Hawaii. All of our menu items are made daily from scratch & with simple, wholesome ingredients.
Our sandwiches have highlights of Maui Butter lettuce, Waialua sprouts, exceptional tomatoes from here on Oahu, our famous pickled onions and much more.
Due to the recent Covid-19 outbreak on the islands we are only offering online or in-store ordering for takeout. Masks are required for all guests. We have restricted all dine-in service at this time.
Both of our locations are certified ocean-friendly with the Oahu Surfrider Foundation. We say NO to styrofoam! Our take away products are compostable & made from renewable resources.
We hope you can taste the difference and share the love of Sprout with your family and friends. Mahalo for supporting our small dual family business!
HONEST | HEALTHY | LOCAL | FRESH
MSN News
"The Best Sandwich Shop in Every US State & DC..."
Taste of Hawaii
"I love Kaimuki and always say I wish there was a good sandwich shop in this charming little neighborhood just outside Waikiki. When Sprout popped up I was excited..."
Honolulu Magazine
"Sprout is the newest to take root, and it's as fresh and cute as its name. Get the Fonz, because—Whoa. It's not just the combo of prosciutto, salami and pastrami..."


text:
Q: Why the fileName of MultipartFile which is uploaded is empty I want to import a file to server. But the fileName of MultipartFile which is uploaded is always empty. Following is my code.
XML
<bean id="multipartResolver" class="org.springframework.web.multipart.commons.CommonsMultipartResolver">
    <property name="maxUploadSize" value="${web.maxUploadSize}" />
</bean>

JSP
<form id="importForm" action="${url}" method="post" enctype="multipart/form-data"
         style="padding-left:20px;text-align:center;" onsubmit="loading('Please wait...');"><br/>
        <input id="uploadFile" name="file" type="file" style="width:330px"/>
</form>

JAVA

What caused fileName empty? Any suggestion is welcome.

A: According to the javadoc for MultipartFile, getOriginalFilename() may contain path information depending on the browser used, but it typically will not with any other than Opera.

redpajama_set_name: RedPajamaStackExchange


An application that automates survey questionnaire and advise targeted for car maintenance. Pepper provides assistance to customers based on answers selected by users on its tablet display. The application will then suggest necessary actions based on this response. Then, the survey results are sent to the user's email and will automatically be tallied in the back-end process of the application.
A robot application designed to serve similar to the work of a front desk staff. Pepper will show its way around the resort by providing a map to a desired location as well as assist the guests in giving out information on the resort's various services, stores, and facilities. Guests may interact with Pepper while Pepper may entertain them through mini games. Moreover, Pepper takes souvenir photos to capture a guest's memorable stay at the resort.
Pepper is designed to explain various products in an exhibit. Pepper invites people to visit the booth and then gives detailed explanation about various products of the company. Pepper also provides entertainment by conversing and interacting with the people gathered around it.
Pepper is designed to play the music video as well as the lyrics of a song selected through voice recognition. The application also displays a list of the top ten songs of particular artist, as well as the top ranking songs for the day, week, or month.
An iOS application that lets customers customize beds and pillows depending on their body characteristics and preferred rigidity. The app captures a photo of the subject in lying or standing position. After analyzing body structure, it generates and proposes bed type and pillow preference suited for the customer.
Copyright Rococo. All rights Reserved.


text:
Their eyes were watching God, Zora Neale Hurston ; with a foreword by Edwidge Danticat
The Resource Their eyes were watching God, Zora Neale Hurston ; with a foreword by Edwidge Danticat
The item Their eyes were watching God, Zora Neale Hurston ; with a foreword by Edwidge Danticat represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in Georgetown Peabody Library.
Hurston, Zora Neale
Danticat, Edwidge, 1969-
Wentworth, Richard, 1947-
Their Eyes Were Watching God, an American classic, is a luminous and haunting novel about Janie Crawford, a Southern black woman in the 1930s whose journey from a free-spirited girl to a woman of independence and substance has inspired writers and readers for close to seventy years. This poetic, graceful love story, rooted in black folk traditions and steeped in mythic realism, celebrates, boldly and brilliantly, African-American culture and heritage. And in a powerful, mesmerizing narrative, it pays quiet tribute to a black woman, who, though constricted by the times, still demanded to be heard. Originally published in 1937, Their Eyes Were Watching God met significant commercial but divided critical acclaim. Somewhat forgotten after her death, Zora Neale Hurston was rediscovered by a number of black authors in the late 1960s and early 1970s, and reintroduced to a greater readership by Alice Walker in her 1972 essay "In Search of Zora Neale Hurston," written for Ms. magazine. Long out of print, the book was reissued after a petition was circulated at the Modern Language Association Convention in 1975, and nearly three decades later Their Eyes Were Watching God is considered a seminal novel of American fiction. With a new foreword by the celebrated novelist Edwidge Danticat -- author of Eyes, Breath, Memory; The Farming of Bones; and Krik?Krak! -- this edition of Their Eyes Were Watching God commemorates the singular, inimitable voice in America's literary canon and highlights its unusual publication history. - Publisher
An African-American woman searches for a fulfilling relationship through two loveless marriages and finally finds it in the person of Tea Cake, an itinerant laborer and gambler
Their Eyes Were Watching God, an American classic, is a luminous and haunting novel about Janie Crawford, a Southern black woman in the 1930s whose journey from a free-spirited girl to a woman of independence and substance has inspired writers and readers for close to seventy years
New York, HarperCollins, 2000
1st HarperCollins hardcover ed.
Foreword / Edwidge Danticat
Note on publication history
Zora Neale Hurston ; with a foreword by Edwidge Danticat
LITERARY CRITICISM -- American | African American
African American women -- Fiction
2018 Great American Read
http://bibfra.me/vocab/relation/authorofforward700
593QOIVzAbE
PS3515.U789
Danticat, Edwidge
Wentworth, Richard
African American women
http://bibfra.me/vocab/relation/writerofpublicationhistory
o-imUBmPUKc
©2000, ©1937
Foreword / Edwidge Danticat -- Their Eyes Were Watching God -- Note on publication history

 Data from Their eyes were watching God, Zora Neale Hurston ; with a foreword by Edwidge Danticat - Georgetown Peabody Library

Data Citation of the Item Their eyes were watching God, Zora Neale Hurston ; with a foreword by Edwidge Danticat


I am so happy to share with you that Fashion Behind The Seams was named one of the Top 100 Dressmaking Blogs Winners over the weekend.
It is so nice to be recognized alongside other bloggers I follow and admire.
The Top 100 List can be found HERE.
I just want to say THANK YOU so much for your support, because my blog wouldn't be what is it without my wonderful readers, so THANK YOU.
ps. I am sending out my Fabric Selection 101 Newsletter soon. If you have not signed up yet, do so using the pink sign up below!
I told you last week I was trying to upload the seamstress tag to youtube and I was having so many technical difficulties!
Here are the 12 questions. I had so much fun filming this, although I have to say it's strange seeing yourself on video!
So I have been busy sewing and photographing new items. Seems too busy lately, I think I need a mental vacation!
How are you and what are you up to? Leave me a comment. I would love to hear from my sewing peeps!


Looking for something fun to do for your Valentine's Day? The Friends of the Conservatory have created two fantastic fundraising events inspired by the love of plants!
Join us for a Valentine's Day Floral Class on Saturday, Feb. 9th for a hands-on workshop which will offer your choice of learning how to make a flower arrangement or a beautiful flower crown, from flowers grown by local farmers.
Students will have the option of creating a medium-sized bouquet arrangement (10–18 stems) OR a floral crown.
And then come back for an intimate concert on Valentine's Day!
Friends of the Conservatory is teaming up with Sub Rosa to bring you live music in the Seasonal House. Warm air, lush plants, twinkling lights, and sweet melodies! Light hors d'oeuvres and desserts are included in ticket price.
Some seating available—first come first served. Come early to grab a drink and wander the Conservatory before the show begins. There will be an intermission between artists to refill drinks and plates, and to soak in the lush greens. Artists will be available for mingling and selling merch after their performance, so stick around if you want to chat! All merch sales will directly benefit the artists.
Advance tickets only; no at-the-door sales.


text:
Kepler-10c: the First Mega-Earth
Published by Armagh Observatory and Planetarium on June 4, 2014 June 4, 2014
Once we believed we lived in an absolutely typical planetary system. Around the Sun, small rocky planets huddle close in taking months or years to complete an orbit while huge and chilly gas giants slowly circle further out orbiting the Sun in decades or centuries. We expected that nature would use this template to build planetary systems across the Universe.
We were wrong.
Extra-solar planets, or exoplanets, vary enormously in size, mass, composition and every other parameter. Some take mere hours to orbit their stars, some take millennia. There are hot jupiters, mini-neptunes, chthonian planets, the list goes on. One well-established planetary type is the super earth, rocky planets heavier than Earth, perhaps as massive as ten Earth masses. Now we have a new addition to the bestiary of worlds, the "mega-earth", a rocky planet with the mass of a gas giant.
The newly discovered "mega-Earth" Kepler-10c dominates the foreground in this artist's conception. Its sibling, the lava world Kepler-10b, is in the background (the two planets' proximity is grossly exaggerated) . Kepler-10c has a diameter of about 29 000 km, 2.3 times as large as Earth, and weighs 17 times as much. The artist is suggesting it may possess a thin atmosphere shown here as wispy clouds. There is no evidence for this.
(Image credit: David A. Aguilar (CfA))
The first mega-earth to be discovered is Kepler-10c which orbits a star lying about 560 light years from the Sun in the constellation Draco. The planet was found by a team led by Xavier Dumusque of the Harvard-Smithsonian Center for Astrophysics (CfA). This planet is estimated to be 17 times as heavy as Earth, making it about as massive as Neptune. Astronomers expected any planet as large as this should be a Jupiter-like gas giant world. Its strong gravity should have accumulated and held on to a thick hydrogen and helium atmosphere. Yet this planet appears to be an entirely solid world of rock and metal. It is so much bigger than any previously discovered super-earth planet that a new category had to be invented for it. As astronomers search the skies it is certain than many more mega-earth worlds like this will be added to the catalogues.
Kepler 10-c has been measured to be 2.3 times as wide as Earth, this is huge yet too small for it to be surrounded by a gas giant's extended atmosphere. Existing planetary formation theories cannot fully explain how such a large, rocky world could form. What is more, this planet orbits an ancient star, believed to have formed about 10 billion years ago when the Universe was less than four billion years old. Heavy elements such as the iron and silicon needed to build rocky and metallic planets were rare then, hence finding so large a planet of this composition dating back to those distant days is even more surprising.
Kepler-10c orbits its star once every 45 days and is closer to the star than Mercury is to the Sun. It is safe to assume that the landscapes of Kepler-10c will be scorched wastelands. Surface gravity on Kepler-10c's desolate plains will be a crushing three times that of Earth. Kepler 10-c has a sibling in the lava world Kepler-10b, a possible chthonian planet which whizzes around the parent star in a 20 hour orbit. The two planets' star is very similar to our Sun, being a G-type but based on how close they are to the star, both planets are certainly barren of life as we know it.
Kepler-10c's size was measured using the HARPS-North instrument on the Telescopio Nazionale Galileo in the Canary Islands. The HARPS-N project is run by an international consortium which includes the Queens University of Belfast.
Astronomers Find a New Type of Planet: The "Mega-Earth"
(Article by Colin Johnston, Science Education Director)
Categories: Exoplanets
Tags: exoplanetsKeplerKepler-10bDracosuper earthKepler-10cmega-earth
Kepler-10b: world of lava oceans? | Astronotes · June 4, 2014 at 10:43
[…] The newly discovered planet is almost certainly a rocky world, not a "hot Jupiter"-type gas giant, and it is about 4.6 times as massive as Earth. Placed beside our homeworld, Kepler-10b would be about 40% wider than Earth. It orbits a G-class star, older but otherwise similar to our Sun, at a distance less than a twentieth as close as Mercury is to our own Sun (giving it a "year" of just over 20 hours). The star lies some 560 light years (172 parsecs) from our Solar System in the constellation Draco. Kepler has possibly observed a second planet (Kepler-10c) in this system but this remains to be confirmed. (UPDATE: Kepler-10c's existence was confirmed in 2014, and it has been found to be the first known mega….) […]
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La sportella è un tipico pane dolce originario di Rio nell'Elba, nell'Isola d'Elba. Il pane veniva tipicamente preparato e donato durante il periodo pasquale insieme al ceremito.

Tradizione
Secondo la tradizione, la mattina della Domenica delle Palme il ragazzo innamorato faceva recapitare alla sua amata il ceremito dentro un paniere pieno di fiori. Se la ragazza ricambiava i suoi sentimenti accettava il dono e cottraccambiava il suo gesto il giorno di Pasqua recapitando al suo amato una sportella infiocchettata e con al suo interno un uovo benedetto.

Il giorno successivo, in occasione dell'annuale scampagnata all'Eremo di Santa Caterina, i due potevano passare la giornata in compagnia ed assaporare i rispettivi pegni d'amore.

Uso contemporaneo
L'usanza di scambiarsi questi pani dolci come segno d'amore è andata perduta ma è rimasta viva nella memoria e nella cultura degli abitanti del posto.

Inoltre, per salvaguardare la ricetta e la tradizione elbana, davanti all'Eremo di Santa Caterina ogni anno in occasione del Lunedì dell'Angelo si tiene la sagra della sportella.

Caratteristiche
La sportella è un pane dolce che si caratterizza per la sua forma allusiva, che richiama quella dei genitali femminili: presenta quindi una forma arrotondata, simile a quella di una ciambella, le cue estremità sono incrociate. In origine non conteneva zucchero me nell'uso contemporaneo viene decorata con granella di zucchero colorata.

Si ottiene da un impasto a base di farina e uova, arricchito con altri ingredienti.

Preparazione
Per preparare la sportella bisogna innanzitutto sbattere le uova con l'aiuto di una frusta, aggiungendo al composto anche lo zucchero e la scorza di limone grattugiata.

Successivamente occorre aggiungere poco a poco la farina ed il burro precedentemente fuso e incorporarlo unendo anche le bustine di lievito.

Con l'impasto ottenuto deve essere formata una palla, da infarinare leggermente. La palla deve poi essere lavorata velocemente e lasciata riposare per almeno un'ora dividendo in parti uguali.

Con l'impasto devono essere formati due cilindri allungati cui va data la forma di una ciambella con le estremità incrociate, da appiattire leggermente.

La superficie va spalmata con il rosso d'uovo sbattuto con un po' di acqua e decorata con la granella di zucchero colorata.

Il prodotto finito deve essere cotto a 180 gradi fino a cottura ultimata.

Note

Bibliografia
Claudio Mollo, Cucina tradizionale dell'Isola d'Elba, Lucca, Maria Pacini Fazzi Editore, 1999

Voci correlate
 Isola d'Elba
 Ceremito

Dolci italiani
Cucina toscana
Pani dolci


A list of 98 words by she.
how did I live so long without seeing this list?
Plunder away on mine, too!
I'd be honored! They are here for the plundering.
Damn, she! One of these days I'm going to make a massive list of archaic terms, and raid every one of your lists (and probably reesetee's) to steal them all.


text:
Home›Feature Stories›Drummers & Percussionist FS›Gavin Harrison: Cheating the Laws of Drumming Physics
Gavin Harrison: Cheating the Laws of Drumming Physics
Drummers & Percussionist FS, Feature Stories
In the world of technical rock/progressive/fusion drumming, the "best of the best" list is a short one, filled with names such as Peart, Portnoy, and Porcaro to name but a few. Over the past decade, though, a newcomer has joined the ranks of the drumming elite, and while his last name doesn't begin with the letter P, your short list of the rock world's finest drummers easily deserves to include English drummer, Gavin Harrison. While he may not be a household name yet (outside of families that listen to the highly praised, British progressive rock band, Porcupine Tree), Harrison is a true master when it comes to combining technical finesse, tone, and musicality.
Most musicians don't realize that Harrison's illustrious drumming career began more than a decade before joining Porcupine Tree, having played on records from artists as diverse as Level 42, Paul Young, Go West, Dave Stewart & Barbara Gaskin, Iggy Pop, Lisa Stansfield, and more. Today, Harrison plays drums in yet another English prog rock band, the legendary King Crimson, as well as collaborating in the prog/fusion group, 05Ric.
On his latest solo release, Cheating the Polygraph, Gavin Harrison has taken classical and big band jazz to dizzying new heights, and rock drummers will be in awe of the results. Five years in the making, working with jazz composer/musician, Laurence Cottle (who has also seen his share of contributions to the world of British prog and metal), the pair assembled a collection of classic Porcupine Tree songs that have been reimagined and transformed into incredible instrumental works performed by an outstanding team of jazz musicians. This is brass section goodness, guitars and synths replaced by trumpets and French horns and trombones and more.
Harrison has published instrumental DVDs and books, and is a popular drums clinician, too. This is a man who loves the drums: he loves to play them, and he loves to share what he knows about them with others. It should come as no surprise, then, that he was happy to talk with us about the new record, as well as his techniques both behind the kit and in the studio.
The bass was so loud my eyes were vibrating in their liquid.
MPc: Cheating the Polygraph is a fantastic big band jazz record. When did you come up with the idea, and how did you go from conception to actually making the record?
GH: Well, it was quite an easy start because I was asked by the daughter of Buddy Rich if I would play at the Buddy Rich memorial concert in 2009, and Cathy Rich said, look, you can play any of Buddy Rich's famous big band charts with his big band, but we'd really love it if you could play a song from your band. And I said, oh, well, I'll have to think about that because there's nothing obvious in the Porcupine Tree catalog that's ready to go.
And I thought for a little while about which song I could do, and then I thought, well, if nothing's obvious, then go for the absolute opposite. So, I chose the song "Futile," which is kind of metal, really heavy—probably the heaviest thing that Porcupine Tree ever played, a song that I wrote with Steven Wilson in 2002. And so, I found myself around the house of Laurence Cottle, the arranger, and I played it to him, and I said, "Do you think it would be possible to arrange this for big band? I've got a plan on how we could do it." And he did, and it came out really nice. Ironically, the concert didn't go ahead. The Buddy Rich concert didn't go ahead at that time.
But I used to play at drum clinics and things like that, and I asked Laurence if we could do another piece, which is actually the song "Cheating the Polygraph," but we took a completely different approach to that. And once the second piece was done, I realized that there was a possibility that maybe we could make a whole album like this. And the theme, the cohesive theme, would be Porcupine Tree songs. Why not?
And that was really the moment when I decided that it could be done. It would just take a really long while. The first two songs took probably 18 months, so I knew I was going to be in for a very long haul. But there was no time limit. There was no record company. I was just paying for it myself. So, why not?
MPc: For the recording, for your performance on Cheating the Polygraph, did you play on your standard kit, or did you switch to a jazz kit? What changes did you make?
GH: No, I didn't make any changes. It's my standard kit. I did consider the idea of playing it on a jazz kit, but there's two problems. One, I'm not trying to make a pastiche. It's not a tribute to jazz drummers. The jazz drum kit sound wouldn't have worked on the whole album because there's some songs like "Anesthetize" and there's some songs like "Halo" and "Hatesong" that wouldn't have worked on a jazz kit.
And thirdly, it's not really my voice. I've already got a sound, which is my regular kit. So, I thought, well, I'm not trying to make a tribute album, I'm not trying to make a covers album, so I should use the sound that's most comfortable to me. I wanted the drum sound to be pretty much consistent throughout the whole record, and I recorded the drums almost at the end of the record. We worked with demo drum recordings up until the end, and then I thought, I'm going to do all the drums again in the space of about two weeks because I want the sound to be the same on the whole record. I want it to sound like I've just sat and played the whole record.
MPc: Cool. Now, are you also classically trained in other instruments besides the kit?
GH: No. I play bass, I play guitar, I play keyboards, but all very, very badly. [laughs]
The ride really had to be right... but it depends what the other instruments are.
MPc: Nice. Now, historically I've noticed you playing with a match grip, and I was wondering if you mixed that up—again, with the whole jazz theme—to further suit the vibe of the material?
GH: No, not really. I occasionally play traditional grip in a very light section where I'm looking to play some delicate sort of ghost-notey things. Even now, even in a Porcupine Tree concert or King Crimson concert, I might occasionally switch just for a very short time to play traditional because there's two or three things that just become a little bit easier in traditional grip. But no, ninety-five percent of the time I play match grip.
MPc: Oftentimes I've seen that you find interesting ways to make rhythmic use of non-instruments, and one particularly cool thing I remember you doing was playing a drum fill across the rims of your toms during the Porcupine Tree song "Hatesong." I'm wondering what inspired you to do that.
GH: Oh, I'm not the first drummer to do that. You find whatever sounds you can on the kit. I don't know if you've ever seen my "Drum" and "Cymbal Song," which are on YouTube.
MPc: I love the "Cymbal Song." [song in which Gavin plays nothing but cymbals]
GH: Once I did the "Cymbal Song," I thought, I wonder if I could do a drum song and try to play the drums in every possible way except with a stick on the skin. And yeah, you can get a lot of sounds out of a drum by avoiding doing the one most obvious thing.
MPc: Indeed. Now, let's talk about your Sonor drums. What led you to play Sonor and which kit you primarily use today?
GH: I started to play Sonor drums 2001. I've always admired them. When I was a kid, they were quite popular in the '70s. There were a lot of pro drummers playing Sonor drums. They were always very expensive drums because they're just built to very, very high quality. I've never met a professional drummer who didn't admire them. They're really built at the highest possible standards. All the pro drummers I know, I'm sure they'd be more than happy to play a Sonor drum kit if they had to, if they turned up at a studio and it was a session where the guy said, don't bring any equipment because we've got a kit here. I don't think any of them would think, "Oh, no."
They're just amazing, very well built drums. They've been building them the same way for a very long time. I've been to the factory a few times. I've got a good relationship with the designers. We built a signature snare drum together. I've designed all sorts of little hardware bits and tuning keys. They're a very progressive, forward, modern company.
MPc: Tell us about the specific kits that you play.
GH: Well, the one I have in my studio at the moment is the blue tribal SQ2 kit. And it's pretty much the same configuration I've been playing. My kits have looked the same for about the last 25 years in the way that I set them up and the sizes and the way I spread it out. It's pretty much the same with the cymbals, too. Maybe some drummers would think it's too large for today's world. A lot of the drummers that I knew 25 years ago who had kits this size have all now stripped back to a much more minimalistic kind of bass drum, two toms and a snare kind of setup.
I stuck with it because I like the range of tones. And I've played this configuration so long that I don't even have to think. I can just play with my eyes closed. I know where all the sounds are, so it becomes really second nature. I never have to kind of think, wow, where am I going now? My hands just go there. That's a nice place to be.
Photo credit: Lasse Hoile
MPc: Your kit is dominated by Zildjian cymbals. What would be your most essential cymbals to take a gig, and in particular which hi-hat and ride cymbals do you use the most frequently?
GH: I'm never really put in a position of if you just had to save one cymbal, a desert island cymbal. I've got a large collection of cymbals that I already had before I joined Zildjian, because I was buying and collecting them pretty much from when I left school. If I could afford a good cymbal, I would buy a Zildjian cymbal, and chances are it's still sitting here now, if I haven't broken it.
I don't know… I go through phases. There's been periods where I've played 13-inch K hi-hats, I've played those for about ten years. Now I'm using the Constantinople K 14-inch hi-hats. And for this particular record, this Cheating the Polygraph, the record—what's this called? It's called a Custom Dark Complex Ride in the K Series. It's a 21-inch ride.
Now, I've got the luxury of having a studio at home, so when I do a session or I'm going to play on a song, one of the first things I start thinking about is which cymbals am I going to use because that really dictates a lot about how I'm going to play. And it's very easy for me to just do a quick half a song, playing with a certain cymbal, and then listen and try to evaluate if it's really working for that song.
With this Cheating the Polygraph record, there's quite a lot of cymbal work, so the ride really had to be right. Sometimes you can find a ride cymbal that sounds fantastic, but it depends what the other instruments are. If there's distorted guitar, if there's heavy bass or thick keyboards, suddenly your fantastic cymbal sound can just disappear in the mix. And that's true very much of the bass drum as well. You can get a great bass drum sound, and as soon as you bring the band in in your mix, the bass drum just disappears, and you think, where has it gone? It's loud, but it's just getting eaten up in frequency.
Now, with the frequencies of trumpets and saxes and trombones in a big band setting, the ride cymbal really needs to cut through quite clearly. But I don't like really metallic, industrial sounding cymbals. It still needs to have a dark, smoky quality. And this was the perfect cymbal. In some songs, I tried five, six, seven ride cymbals, and I always came back to this one, so I cut it with this one.
MPc: Did you mix up your stick choice as well?
GH: Well, yeah, I tried playing with a lighter stick, and actually it didn't sound as good as playing with my heavy stick, my Vic Firth signature stick, which is quite a big, heavy stick. And I thought, well, maybe that's going to be too dominant and it's going to produce too much volume in the cymbals, but actually I recorded—I tried it with a lighter stick, and when the band's really smoking, it's like, oh, I can't hear the ride cymbal. And I went back and did some with a heavier stick, and I thought, actually, that's what I need.
MPc: Well known to your musician followers, you purpose built your drum room to facilitate recording. One of the things that I immediately noticed in the various photos and videos is that you chose to close mic all of your drums. Can you tell me a little bit about your approach to miking the drum kit?
GH: Well, it's a modern approach. Of course you can always just start with the overheads and then fill in the gaps, but actually in modern recordings where everything's poking through so clearly, that kind of approach with the overheads plus a bass drum mic didn't give me the sort of articulation and detail that I wanted.
So, I do go for close miking. I use a lot of AKG mics. I use 414s on the toms. I've got a pair of AKG C12s as overheads. But they're kind of behind me. They're like an extension of where my ears are. They're about, I don't know, eight, nine inches behind my head, but they're spaced like they're—they're like a sort of extension of what I'm hearing from where I'm sitting. Rather than have the mics over the cymbals, which is more normal, this really captures all the cymbals and the drums together.
And with these particular mics, you've got variable patterns, so you can have it hyper cardioid or you can actually open it up to omni. There's about nine steps in between. And as you open it up, you start to hear more of the room, you start to hear more of the drums. Any drum sound, especially in a drum kit, is a very complex thing because… What am I recording? About sixteen mics are hearing everything I play. So, when I hit the snare drum, of course it's going down the snare drum mic, but it's also going down all the tom mics and the hi-hat mic and the overheads and the big room mics, are all hearing the snare drum to different degrees. So, you've got to get a little bit careful with the phase and you need to experiment, which is great having a studio at home, experiment with the mic placement and the phase settings.
MPc: What mic do you use on your kick drum?
GH: I've got a D12VR, AKG, their newest version of the classic D12 bass drum mic. But it's got some switchable patterns in it—the old one didn't have that. And I use that in tandem with an [Shure] SM91A, so the two of them are suspended inside the bass drum in the middle of the drum. I blend the two of those together.
MPc: After you record, do you go ahead and remove all of that bleed from adjacent drum tracks to the—?
GH: God, no! That's the sound of the drum kit. When I hit the snare drum, all the toms ring. That's what a drum kit sounds like. I hate it when mix engineers start trying to get rid of all the tom spill because that's not what it's like. It's like if you play a note on a piano, if you go and hit Middle C, you'll hear Middle C but you'll also hear the rest of the piano ringing. Now, if you're wanting to sample that Middle C, you wouldn't go and get a load of towels and blankets and put them over all the strings except that Middle C, the strings that are associated with that Middle C. It would sound terrible. It would sound like a dreadful, cheap soundboard.
So, the drum kit is an instrument. It's not like the bass drum's one instrument, the snare drum's another instrument, the ten-inch tom is another instrument, the cymbal is another instrument. It's all making a sound all the time. The cymbals are ringing even when I'm not hitting them. All the mics are hearing everything.
So, you just need to be really careful about how you mic up the drums and how you deal with it. I know lots of mix engineers are wanting these gates and they want to close down certain… I'm not from that school of thought process. Because if you're a drummer, you know what a drum kit sounds like. The worst thing is when a mix engineer who isn't a drummer tries to make the drum kit sound the way they want it to sound, and it doesn't sound like that.
"If I wanted it quiet, I'd have just hit it less hard. I play the mix."
So, I get pretty annoyed when engineers mix my kit because they nearly always dis-balance the way that I played it. I know how I played it. I know how hard I hit the right cymbal or how hard I hit the snare drum, so there's no point in trying to turn it down. If I wanted it quiet, I'd have just hit it less hard. I play the mix.
You know, if you want a great drum sound, you've got to play the drums great. You've got to make that sound with your sticks. And you mix all the elements of the kit as you play it. You just need to put the faders all in a row, and it should be how I played it. I don't want some guy turning the bass drum up. Well, I didn't hit it that hard. You know what I mean?
MPc: Sure. I've noticed you do all of your playing it seems these days with in-ear monitors.
GH: Yeah.
MPc: In-ear monitors are oftentimes pretty challenging for capturing low frequencies, so I'm curious which ones you rely on and if you supplement them with a ButtKicker or other solution for the low end.
GH: Yeah, I've got a really good solution. It's called the Porter & Davies BC2 Tactile Monitor System. And basically, it's primarily for the bass drum, and you're sitting on the tactile monitor. It's built into the stool. And, it's the only one of those—let's say—ButtKicker sort of things that I've ever tried that didn't have a delay. Because I've tried some of those stool shaker things, and I could tell there was let's say ten milliseconds of delay, and it drove me crazy. It has to be absolutely instant. And the Porter & Davies one is the only one that I've ever tried that feels absolutely instant to me.
The in-ear monitors, I can't really play without some kind of in-ear monitor now because my tinnitus is so bad. If I got on the drums with no ear protection and played for 20 minutes, my ears would be ringing for a week. They're already pretty bad. I've got loud whistling all the time, day and night, and that's thanks to my very loud, unprotected playing going back 30 years, doing, I don't know, tours with Iggy Pop and having no ear protection in and just smashing the hell out of the drums, having the drums through the monitors. The bass was so loud my eyes were vibrating in their liquid. Yeah, I'm not kidding.
You know, it wasn't just that gig; it was loads of gigs. And starting to do tours where they wanted you to play to tracks and having click tracks in your ears really, really, really loud. I mean, just blowing your ears apart. So, now, I've got to be really careful. I don't practice the drums unless I've got in-ear monitors in.
I've got two types. The ones that are most convenient to get in and out are the Ultimate Ears. I've got UE10s that I bought about five years ago. They're hard plastic, and you can push those in and out really quick. But they move. Because they're hard plastic, if you open your jaw or you grit your teeth or you move your head or you're sweating, these things move all the time. And it's also fair to say after five years, my ears have changed shape, so I've got to get some more made.
The other type that I use, which I use on stage, are Sensaphonics, and they're called 3D Ambient. The great fun about those are they're made from soft silicone, which are harder to get in and they take about a minute before you really get them right inside, and they go right past the second bend. They go a long way down into your ear. But if you're going to do a 2.5-hour concert, they are much more comfortable because they're soft silicone. They move when your ear canal changes shape or you move your head or you open your mouth or you smile or something; you can feel that they haven't shifted.
And the other thing about the 3D Ambient Sensaphonics is that they've got mics built into the outside of them, so you can have conversations and you can dial in varying amounts of those mics that are on the outside of the ear pieces, or have them off if you want to go totally closed.
MPc: I totally know what you mean… if you just—if you move your jaw a certain way, suddenly a gap opens in your ear.
GH: And that's horrible. And then you find yourself pushing them in. They're very convenient on a day-to-day basis. When I'm sitting in my studio, I might put them in and out 20 times in a day. It's quite difficult to put the other ones in and out. It takes a long time to get them in, and it's not easy to get them out quickly. And it probably doesn't do them a lot of good. You're in danger of tearing them or damaging them if you're going to push them in and out of your ears 20 times because they're soft silicone.
But the hard plastic ones, like the Ultimate Ears, your ear has to shape around it. It takes 30, 40 seconds before they start to feel like they're really in. But as you know, the block or the seal is where all the bass end comes in, and if you break that seal by moving your jaw or moving your head, then you're all over the place on stage. It's just not enjoyable.
The Sensaphonics really sound very, very good, but they take a lot of care and attention. I have to use a special electric box that's got a dehumidifier in it because you've really got to get all the moisture out of these things or you'll destroy the mics. And it needs a nine-volt battery every day. So, it's quite a lot more care and attention needed to use the Sensaphonics. If the batteries go dead, you haven't got any sound at all, so I started having a box of rechargeable nine-volt batteries and I've got a spare one on stage with me in case it goes. It never has, but just in case.
MPc: Looking at your back catalog, what's your favorite album that you recorded with Porcupine Tree?
GH: Hmmm. I guess I liked Deadwing. I think there's some good songs on that and some good, fun things to play. I liked… In Absentia was good, but probably Deadwing. And Nil Recurring, I really liked. It was a four-track EP that came around the time of [Fear of a] Blank Planet. There's some really good stuff on that. We got pretty experimental.
MPc: When you became part of Porcupine Tree and the band started getting larger and larger, did you envision that it was going to have a finite lifespan and that it would just sort of be put on hold when it did?
GH: No. No. And I don't think any of us did. When we finished touring in 2010, we all really wanted to have a decent break because we'd been touring for fourteen months at that point. And every tour had got bigger and longer and more involved, and so we felt like we wanted to have a big break after that last gig in 2010. It just got bigger and bigger.
MPc: Have you ever considered doing a new project with some of the guys without Steven [Wilson], just based on your history of making that music together?
GH: Not really, no. All of us have been busy. Obviously Steve's been busy doing his solo stuff. And Richard and Colin and myself. I've done three albums and three tours with O5Ric, and I've joined King Crimson again. I couldn't really fit it in even if it suddenly reappeared tomorrow. It would need very careful planning if we were ever to do it again. It would need careful planning for the four of us to find the time where we're all mutually available.
MPc: Sure. Now that the jazz record is behind you, what's coming up?
GH: Well, I've already started working on the rehearsals of the next King Crimson tour. King Crimson, there's three drummers now, and we've already done a week's work at my studio where Pat Mastelotto and Bill Rieflin came over. And we've been working on other songs, new songs, new drum performance pieces. It takes a really long time and careful arranging to have three drummers play together and have it not sound like total chaos.
To find really good drum parts and choreograph them across the three drum kits, that's very time consuming. And before we start rehearsing with the band, we're going to get together for another maybe nine, ten days—just the three drummers, and carry on working. We can play to backing tracks, multi-track recordings that we've got. Some of them are just demo things, but at least we're playing along to the song and we know where we are, so we can arrange the drum parts. So, although the Crimson tour is not going to start until the very end of August, there's a lot of work to do before that.
Interview and Forward by Scott Kahn
Photos by Bob Wiczling
Tagsdrummerdrumming physicsdrumsgavin harrisongear talkinterviewprogressive rockrock music
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Scott Kahn, Editor in Chief, was the co-founder and associate editor of Korg Connection, the first official user group publication for users of Korg musical instruments. During a decade of work in Silicon Valley, CA, Scott wrote professionally for computer industry publications including PC Week Magazine and NewMedia Magazine. Outside of work, Scott is an accomplished musician and producer with many independent CD credits writing, playing, and producing. Scott launched MusicPlayers.com in 1998 as a simple website hosting musicians' classifieds for the first few years, but he knew that when the time was right, he would turn his attention to building MusicPlayers.com into the kind of destination site that he wanted to visit as a serious musician himself. In March 2006, MusicPlayers.com was officially re-launched as an online magazine focused on the needs of serious musicians, and in December 2017, the site underwent a next-generation overhaul to position it better for continued growth. Scott is also author of the popular Hal-Leonard book, Modern Guitar Rigs: The Tone Fanatic's Guide to Integrating Amps & Effects, now in its second edition.
Jordan Rudess: He's so Busy, No Wonder He Plays So Damn Fast!
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Ten Minutes with Dream Theater's Mike Portnoy
Alan Morse: Guitars (Spock's Beard)
Adopt The Arts: A Tribute to Sammy Hagar A Night of Giving and Gratitude
Europe: This Is Definitely Not Their Final Countdown
Fuchs Mantis Jr.
Guitar Amp Equipment Reviews, Guitar Amps Reviews, Reviews
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Zildjian Travis Barker Double Mallet
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Audio-Technica ATW-3110a Professional UHF Wireless System
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Babicz Identity Series Dreadnought Acoustic Guitar Model: ID-DRW-06
Jordan Rudess: Interview from Heaven
Band & Musician FS, Feature Stories, Keyboard Player FS
A Conversation with Dream Theater's Jordan Rudess
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Tag Archives: Dash 8
Wasaya Airways adds its first DHC-8-100 Dash 8
Wasaya Airways has announced the addition of Bombardier Dash 8s to its fleet. Arriving in Thunder Bay , the Canadian built Dash 8 enhances the airline's fleet servicing Northwest Ontario.
The company has taken delivery of the pictured DHC-8-102 Dash 8 C-GJSV (msn 085).
The airline continued;
The Dash 8 has enhanced short take-off and landing performance on unprepared airstrips making it the ideal aircraft for remote First Nation travel. With jet like comfort, the twin turbine pressurized Dash 8-100 carries 37 guests and can accommodate more cargo.
The Dash 8 will add to Wasaya's fleet of 18 aircraft including eight (7) Beech 1900's, four (4) Pilatus PC-12's, three (3) Hawker 748's and four (4) Cessna C-208 Caravans. Working with its key aircraft supplier, Wasaya will continue to renew its fleet, adding more Dash 8 aircraft in the coming months.
Now in its 26th year in operation, Wasaya Airways is 100% First Nations owned. Wasaya is the leading provider of air transportation services to more than 25 destinations throughout Northwest Ontario .
Wasaya's 12 First Nation ownership communities are: Bearskin Lake ; Fort Severn ; Kasabonika Lake; Keewaywin; Kingfisher Lake ; Kitchenuhmaykoosib Inninuwug; Muskrat Dam ; Nibinamik; Pikangikum ; Sandy Lake ; Wapekeka; and Wunnumin Lake. Wasaya serves 25 Northwestern Ontario with 60 daily flights and employs 315 employees, of which over 35% of which are First Nation.
Photo: Wasaya Airways.
This entry was posted in Wasaya Airways and tagged 085, C-GJSV, Dash 8, DHC-8, DHC-8-102, Wasaya Airways on September 29, 2016 by Bruce Drum.
Eastern Australia Airlines to start Jetstar services in New Zealand on December 1, routes announced
Jetstar Airways (Melbourne) has unveiled its new regional network in New Zealand, launching low fares on five routes between Nelson, Napier, New Plymouth, Palmerston North, Auckland and Wellington.
Nelson-Auckland and Napier-Auckland flights will take off on December 1, in time for the busy tourism season in both popular holiday destinations.
New Plymouth-Auckland, Palmerston North-Auckland and Nelson-Wellington flights will follow early next year, with services scheduled to begin on February 1, 2016.
Jetstar first announced plans for a regional network in June and has been considering proposals from locations across the country for its initial expansion.
Jetstar's regional network will add more than 670,000 new seats a year to the domestic market, a significant increase on the airline's current domestic jet seat capacity of over 2.6 million seats annually.
First flights each day will take off from regional ports, with crew and aircraft positioned overnight in each of the new destinations. Recruiting has commenced for the 100 new jobs the regional expansion will create, with positions available for pilots, cabin crew, and ground crew.
The Jetstar-branded regional services, which will be marketed and managed by Jetstar, will be operated by QantasLink. Under this arrangement, Qantas-owned Eastern Australia Airlines (Sydney), which has operated Bombardier Q300 aircraft in Australia for QantasLink for over 15 years, will manage the aircraft operations.
Jetstar launched trans-Tasman flights in 2005 and established domestic operations in New Zealand in June 2009. The low cost carrier's fleet of nine Airbus A320 aircraft operate up to up to 250 domestic and 100 international flights a week. Jetstar has over 400 team members in New Zealand.
Copyright Photo: Rob Finlayson/AirlinersGallery.com. Jetstar-branded, operated by Eastern Australia Airlines, Bombardier DHC-8-315 (Q300) VH-TQM (msn 604) at Brisbane was the first of five Q300s to be repainted.
Jetstar Airways aircraft slide show:
This entry was posted in Eastern Australia Airlines, Jetstar Airways, Jetstar Airways (Australia), Jetstar Airways (New Zealand) and tagged 604, Bombardier, Bombardier DHC-8, Bombardier DHC-8-402, Bombardier Q300, Dash 8, DHC-8-300, DHC-8-315, Eastern Australia Airlines, Jetstar, Jetstar Airways, Jetstar Airways (New Zealand), Q300, VH-TQM on September 2, 2015 by Bruce Drum.
The new Canadian North and First Air codeshare agreement starts on July 27
Canadian North Inc. (Yellowknife) and First Air (Ottawa) announced in May they had reached an agreement to codeshare on selected flights operated by both airlines in the far north region of Canada. The two carriers had previously planned to merge but later called off the merger. The codeshare agreement was their alternative to a planned merger.
The codeshare agreement will start on July 27 with significant changes for both carriers.
According to both Canadian regional carriers, "Introducing this codeshare will significantly improve flight schedules, provide greater choice for customers and continue to improve the sustainability of our airline. This agreement is less complex than a merger agreement, however many of the benefits envisioned previously in a merger scenario will be realized with it. Unlike a merger though, where a single merged firm sets prices post-merger, under this codeshare agreement each party will continue to independently set prices and compete for business."
Canadian North continued;
"Our airline operates in one of the most challenging geographical and economic environments anywhere in the world," says Canadian North President Steve Hankirk. "With escalating costs, shrinking travel budgets and increasing competition, we must always be looking for new, more efficient ways of offering our scheduled service to northerners. This codeshare agreement is a breakthrough that brings even more choice to our northern customers and ensures our long term sustainability."
Above: Canadian North: "Our northern point of view" (click for full size view).
Canadian North has now published a new flight schedule in its reservation system allowing customers to make reservations through all booking channels. The first codeshare flight will take to the skies in late July. The following are highlights of the enhancements being made to the current flight schedule as a result of the codeshare agreement:
Iqaluit – Ottawa
The flight schedule will be enhanced by separating current flight times,
delivering additional choices for our customers, with early morning and
early afternoon departure times.
Cambridge Bay and the Kitikmeot
Daily Boeing jet flights between Yellowknife and Cambridge Bay will be
implemented, replacing the existing Dash-8 turboprop flights.
Edmonton, Yellowknife and the Mackenzie Valley
Daily jet service up and down the Mackenzie Valley will continue, and a
Monday and Friday non-stop flight will be added between Yellowknife and
Inuvik.
A Monday morning flight will be introduced from Yellowknife to Edmonton.
Trans Arctic
Combined service will continue with three days per week service.
Graph of the changes:
More details from Airline Route: CLICK HERE
Top Copyright Photo: Ton Jochems/AirlinersGallery.com. Canadian North's Bombardier (de Havilland Canada) DHC-8-106 Dash 8 C-GRGI (msn 304) taxies at the yellowknife base.
Canadian North aircraft slide show:
First Air aircraft slide show:
Bottom Copyright Photo: Ton Jochems/AirlinersGallery.com. First Air's ATR 42-300 C-GKLB (msn 331) with the wolf on the tail is also seen at Yellowknife, a common connecting point for both carriers.
Canadian North current route map (click on the map for the full side view):
Canadian North Videos: From our partner JustPlanes:
This entry was posted in Canadian North, First Air and tagged 304, 331, ATR, ATR 42, ATR 42-300, Bombardier, Bombardier DHC-8, Bombardier DHC-8-100, C-GKLB, C-GRGI, Canadian North, codeshare agreement, Dash 8, DHC-8, DHC-8-100, DHC-8-106, First Air, yellowknife, YZF on July 8, 2015 by Bruce Drum.
Canadian North and First Air terminate their merger discussions
Makivik Corporation and NorTerra Inc., respectively the shareholders of First Air (Ottawa) and Canadian North (Yellowknife), in April 2014 agreed to hold discussions leading to the merger of their operations consistent with a merger of equals, subject to the successful conclusion of negotiations and regulatory review.
According to the two parties, "The potential merger was intended to create a single airline entity that builds on the strengths and identities of the two companies. A merger would improve the sustainability of these critical Inuit birthright enterprises and would also create better air services and new economic development opportunities across the north."
Please see the previous report with route maps of both carriers: CLICK HERE
The merger discussions failed. The two parties issued this joint statement:
Makivik Corporation and NorTerra Inc., respectively the shareholders of First Air and Canadian North, announce that they have terminated discussions aimed at merging their airline operations, and no such further discussions are envisaged.
Canadian North and First Air will continue to have a positive working relationship aimed at providing the best possible service to customers in a competitive marketplace.
Flight operations and services at both airlines remain unaffected. The parties will have no further comment on the matter.
Canadian North and its founding companies (Canadian Airlines, Pacific Western Airlines, Transair, Nordair) has proudly served Canada's North with passenger and cargo services for more than 80 years. Offering scheduled flights to 19 destinations, Canadian North proudly serves the Northwest Territories and Nunavut, via the southern gateways of Edmonton and Ottawa. Canadian North is also the premier provider of fly-in/fly-out charter services for large resource sector clients requiring safe, efficient and economical air transportation. Charter flights are also offered across North America for sports teams, cruise lines and large groups. Canadian North is a subsidiary of NorTerra Inc., which is owned by the Inuvialuit Development Corporation, representing the Inuvialuit of the Western Arctic. For more information please visit http://www.canadiannorth.com.
First has a fleet of 23 aircraft including the only two civilian owned and operated Hercules cargo aircraft in Canada, First Air has been connecting the people of the North for over 65 years.
First Air offers scheduled, cargo and charter services to more northern destinations than any other airline. First Air is a wholly-owned subsidiary of Makivik Corporation and has around 1,000 employees, of which more than 450 work and live in the North. For more information please visit http://www.firstair.ca.
Top Copyright Photo: Tony Storck/AirlinersGallery.com. Canadian North's DHC-8-106 Dash 8 C-GRGO (msn 258) taxies at Yellowknife.
Bottom Copyright Photo: TMK Photography/AirlinersGallery.com. Set against an angry sky, Boeing 737-2R2C C-FNVK (msn 23130) of First Air displays the polar bear on the tail.
This entry was posted in Canadian North, First Air and tagged 23130, 258, 737, 737-200, 737-200C, 737-2R4C, Boeing, Boeing 737, Boeing 737-200, Bombardier, Bombardier DHC-8, Bombardier DHC-8-100, C-FNVK, C-GRGO, Canadian North, Dash 8, DHC-8, DHC-8-100, DHC-8-106, First Air, Pearson, Polar Bear, Toronto, yellowknife, YYZ, YZF on October 24, 2014 by Bruce Drum.
Piedmont Airlines' flight attendants ratify the new contract
Piedmont Airlines' (2nd) (US Airways Express) (Salisbury) flight attendants, a wholly owned subsidiary of American Airlines Group, represented by the Association of Flight Attendants-CWA (AFA-CWA), have voted to ratify a new five-year collective bargaining agreement that was reached on March 6. The new contract was ratified by the airline's 180 flight attendants who are based in Harrisburg, PA; Salisbury, MA; Charlottesville, VA; Roanoke, VA and New Bern, NC.
Copyright Photo: Bruce Drum/AirlinersGallery.com. Bombardier (de Havilland Canada) DHC-8-102 N908HA (msn 015) of Piedmont Airlines (2nd) taxies to the runway at the Charlotte Douglas International Airport (CLT) hub.
Piedmont Airlines-US Airways Express:
This entry was posted in American Airlines Group, Piedmont Airlines (2nd), US Airways, US Airways Express and tagged 015, AFA-CWA, American Airlines Group, Bombardier, Bombardier DHC-8, Bombardier DHC-8-100, Charlotte, charlotte douglas international airport, CLT, collective bargaining agreement, Dash 8, de Havilland Canada, de Havilland Canada DHC-8, de Havilland Canada DHC-8-100, DHC-8, DHC-8-100, DHC-8-102, Flight Attendants, N908HA, Piedmont Airlines, Piedmont Airlines (2nd), the Association of Flight Attendants-CWA, US Airways Express on April 10, 2014 by Bruce Drum.
Hawkair to start the Terrace-Prince George-Calgary route on June 3
Hawkair Aviation Services (Terrace, BC) will start the Terrace-Prince George-Calgary route on June 3. The new route will be operated as a Central Mountain Air (Smithers, BC) flight using Hawkair's Bombardier DHC-8s.
Copyright Photo: Ton Jochems/AirlinersGallery.com. Hawkair introduced this new look in June 2012. The unique tail design was created by Roy Henry Vickers.
Hawkair:
This entry was posted in Hawkair and tagged 83, aviation services, Bombardier, Bombardier DHC8, Bombardier DHC8100, CFYDH, Dash 8, DHC8, DHC8100, DHC8102, Hawkair, Hawkair Aviation Services, Minerals North 2013 Proud Sponsor, terrace bc, Vancouver, YVR on May 19, 2013 by Bruce Drum.


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Perspectives juridiques/Communiqués/Impact Social/2 novembre 2021/Not-for-Profit legislative update from Alberta
Not-for-Profit legislative update from Alberta
2 novembre 2021 | Kristina Roberts
Over the past year, there have been a number of significant legislative changes affecting the not-for-profit sector in Alberta. Some key updates to be aware of include:
Amendments to all incorporating legislation allowing organizations to hold virtual meetings;
Amendments to the Companies Act, impacting more than 4,500 Alberta not-for-profits that were incorporated under Part 9 of that Act; and
The coming into force of the Freedom to Care Act, which protects volunteers of not-for-profit organizations from liability, and allows not-for-profit organizations to apply for one-time, short-term exemptions from certain Alberta regulations.
Below we provide a brief summary of each of these updates.
1. Ongoing Authority for Virtual Meetings
The Alberta legislature passed Bill 53: the Service Alberta Statutes (Virtual Meetings) Amendment Act ("Bill 53") on March 26, 2021.
In response to the COVID-19 Pandemic, Bill 53 amended several pieces of Alberta legislation, including the Societies Act, the Companies Act, and the Cooperatives Act, to allow for virtual meetings and voting, unless an organization's governing documents explicitly prohibit it. Bill 53 also amended the Societies Act, the Companies Act, and the Cooperatives Act to allow notices and documents to be sent by electronic means in accordance with the Electronic Transactions Act. The changes implemented by Bill 53 are retroactive as of August 15, 2020.
2. Important Amendments to the Companies Act
Certain sections of the Red Tape Reduction Implementation Act, 2020, amending the Companies Act were proclaimed into force on March 29, 2021, and the remaining amendments were proclaimed into force on June 1, 2021.
Prior to 1982, the Companies Act was used to incorporate for-profit businesses. As such, many of the provisions of the Companies Act were not applicable to not-for-profit companies incorporated under Part 9 of that Act. Many of the amendments to the Companies Act introduced by the Red Tape Reduction Implementation Act, 2020, intended to eliminate these irrelevant provisions. Other amendments were made to make processes more efficient or effective.
Some important amendments to be aware of include:
The addition of section 29.1 to the Companies Act, which requires all companies to appoint an "agent for service." According to the Alberta Corporate Registry, the agent for service must be an individual resident of Alberta, with a physical/mailing address in Alberta, and their office must be accessible to the public during regular business hours. The intention of this new requirement is to ensure that there is a specific individual who may be served with documents or notices on behalf of a company, in addition to service upon a company's registered office, or upon any director, manager or other officer of the company. There is no requirement that an agent for service be external to the company, or that they be a lawyer. Existing companies have until March 29, 2022, to appoint an agent for service. Failure to do so could result in the dissolution of a company. If a company wishes to use Miller Thomson as its agent for service, an individual Miller Thomson lawyer working in on of our Alberta offices should be appointed as the company's agent for service;
Amendments to sections 136 and 162 of the Companies Act change the requirements for a company's financial statements and annual returns. Previously, the requirements for financial statements did not align with generally accepted accounting principles. Now, financial statements must include a balance sheet, a statement of retained earnings, an income statement, and a statement of changes in financial position. Previously, private companies (which include non-profits with 50 members or less) were required to provide a full list of members and a full list directors with every annual report. Now, all non-profits governed by the Companies Act are only required to report on changes of directors in their annual return, and are only required to provided a list of shareholders (i.e. members to which no distributions can be made) if the company is limited by shares. Annual returns for public companies (which include non-profits with more than 50 members) must include copies of their most recent financial statements and auditor's report; and
Amendments to various sections of the Companies Act eliminate the requirement to obtain court approval for fundamental changes, such as making amendments to a company's objects or amalgamating with another company.
3. The Implications of the new Freedom to Care Act
Alberta's new Freedom to Care Act came into force on September 1, 2021. The Freedom to Care Act applies to "non-profit organizations" (defined as entities organized and conducted for public benefit, incorporated under an Act of Alberta, and operating for a purpose other than for profit) and volunteers of such organizations. Volunteers are defined to include directors, officers and trustees of non-profit organizations.
The Freedom to Care Act has two main components: (1) protecting volunteers of non-profit organizations from liability; and (2) allowing non-profit organizations to apply for exemptions from the application of any Alberta regulation, other than regulations that apply solely to non-profit organizations.
The liability protection provided by the Freedom to Care Act extends to volunteers acting within the scope of their responsibilities for a non-profit organization, who are properly licensed, certified, or authorized (if required by law) for the activities. The liability protection does not apply if the damage was caused by willful, reckless or criminal misconduct; if the damage was caused by the volunteer while operating an insured motor vehicle; or if the volunteer was impaired by alcohol or drugs at the time of the act or omission.
The Government of Alberta has developed a process for non-profit organizations seeking to apply for an exemption from a specific regulation. Since many regulations already exempt non-profit organizations, the Government has also developed a searchable inventory of existing exemptions that may benefit organizations.
Companies that are incorporated under Part 9 of the Companies Act of Alberta, should ensure that they are familiar with all the changes to the Companies Act, and all Alberta not-for-profit organizations should consider how the Freedom to Care Act may affect their operations. The Government of Alberta has developed a webpage that includes resources to help organizations and volunteers understand the implications of the new legislation (scroll to the bottom of the webpage for links to resources).
The Social Impact group at Miller Thomson would be pleased to answer any questions you may have about the legislative changes outlined in this article, or to review your organization's governing documents and policies for compliance.
Cette publication est fournie à titre informatif uniquement. Elle peut contenir des éléments provenant d'autres sources et nous ne garantissons pas son exactitude. Cette publication n'est ni un avis ni un conseil juridique.
Miller Thomson S.E.N.C.R.L., s.r.l. utilise vos coordonnées dans le but de vous envoyer des communications électroniques portant sur des questions juridiques, des séminaires ou des événements susceptibles de vous intéresser. Si vous avez des questions concernant nos pratiques d'information ou nos obligations en vertu de la Loi canadienne anti-pourriel, veuillez faire parvenir un courriel à privacy@millerthomson.com..
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text:
A (1)
Paolo Azzurri, attore, regista e produttore cinematografico italiano (Bologna, n.1878 - Firenze, †1933)

B (8)
Paolo Baroni, attore italiano (Castelnuovo di Val di Cecina, n.1945)
Paolo Bernardini, attore italiano (Verviers, n.1981)
Paolo Bessegato, attore e doppiatore italiano (Montebelluna, n.1951)
Paolo Bonacelli, attore italiano (Civita Castellana, n.1937)
Paolo Bonecchi, attore italiano (Milano, n.1882 - Milano, †1949)
Paolo Briguglia, attore italiano (Palermo, n.1974)
Paolo Bufalino, attore italiano (Milano, n.1970)
Paolo Buglioni, attore, doppiatore e direttore del doppiaggio italiano (Roma, n.1950)

C (8)
Paolo Caiazzo, attore e cabarettista italiano (San Giorgio a Cremano, n.1967)
Paolo Calabresi, attore, conduttore televisivo e trasformista italiano (Roma, n.1964)
Paolo Calissano, attore e conduttore televisivo italiano (Genova, n.1967 - Roma, †2021)
Paolo Camilli, attore e regista italiano (Civitanova Marche, n.1986)
Paolo Carlini, attore italiano (Santarcangelo di Romagna, n.1922 - Roma, †1979)
Paolo Casiraghi, attore, comico e cabarettista italiano (Bergamo, n.1972)
Paolo Civati, attore, drammaturgo e regista italiano (Como, n.1977)
Paolo Conticini, attore, conduttore televisivo e ex modello italiano (Pisa, n.1969)

D (2)
Paolo De Vita, attore italiano (Bari, n.1957)
Paolo Dola, attore italiano (n.Roma)

F (3)
Paolo Falace, attore italiano (n.1940 - †1994)
Paolo Ferrara, attore italiano (Stilo, n.1892 - Roma, †1965)
Paolo Fiorino, attore italiano (Palmi, n.1938)

G (3)
Paolo Gasparini, attore italiano (Salerno, n.1968)
Paolo Giusti, attore italiano (Napoli, n.1942 - Roma, †2020)
Paolo Graziosi, attore italiano (Rimini, n.1940 - Vicenza, †2022)

K (1)
Paolo Kessisoglu, attore, comico e cabarettista italiano (Genova, n.1969)

L (2)
Paolo Lanza, attore italiano (Roma, n.1965)
Paolo Lombardi, attore e doppiatore italiano (Siena, n.1944)

M (5)
Paolo Macedonio, attore e doppiatore italiano (Agrigento, n.1973)
Paolo Malco, attore italiano (La Spezia, n.1947)
Paolo Mazzarelli, attore e regista italiano (Milano, n.1975)
Paolo Modugno, attore, conduttore radiofonico e regista italiano (Roma, n.1940)
Paolo Montalbán, attore filippino (Manila, n.1973)

P (6)
Paolo Panelli, attore, comico e conduttore televisivo italiano (Roma, n.1925 - Roma, †1997)
Paolo Paoloni, attore e regista teatrale italiano (Bodio, n.1929 - Roma, †2019)
Paolo Persi, attore italiano (Bressanone, n.1969)
Paolo Pierobon, attore italiano (Castelfranco Veneto, n.1967)
Paolo Poiret, attore, doppiatore e direttore del doppiaggio italiano (Milano, n.1945 - Rocca San Giovanni, †2015)
Paolo Poli, attore, regista teatrale e cantante italiano (Firenze, n.1929 - Roma, †2016)

R (3)
Paolo Ricci, attore italiano (Pistoia, n.1972)
Paolo Romano, attore e regista italiano (Torino, n.1970)
Paolo Rossi, attore, comico e cabarettista italiano (Monfalcone, n.1953)

S (6)
Paolo Sassanelli, attore, sceneggiatore e regista italiano (Bari, n.1958)
Paolo Scannavino, attore, circense e illusionista italiano (Roma, n.1976)
Paolo Seganti, attore italiano (Rovereto, n.1965)
Paolo Serra, attore italiano (Genova, n.1958)
Paolo Stella, attore e scrittore italiano (Milano, n.1978)
Paolo Stoppa, attore e doppiatore italiano (Roma, n.1906 - Roma, †1988)

T (2)
Paolo Triestino, attore italiano (Roma, n.1959)
Paolo Turco, attore e doppiatore italiano (Roma, n.1948)

V (3)
Paolo Villaggio, attore, scrittore e comico italiano (Genova, n.1932 - Roma, †2017)
Paolo Ferrari, attore, doppiatore e conduttore televisivo italiano (Bruxelles, n.1929 - Monterotondo, †2018)
Paolo Vivio, attore e doppiatore italiano (Roma, n.1980)

Paolo/Attori


The South Pacific - American Samoa, Cook Islands, Fiji Islands, French Polynesia (including Tahiti), Kiribati, New Caledonia, Niue, Samoa, Solomon Islands, Tonga, Tuvalu, Vanuatu, New Zealand, Papua New Guinea, (Bali and Lombok are included in the Pacific).
ASIA - Bangladesh, Brunei, Cambodia, China, Hong Kong, India, Indonesia, Japan, Laos, Malaysia, Maldives, Myanmar, Nepal, Philippines, Singapore, South Korea, Sri Lanka, Taiwan, Thailand and Vietnam only.
Worldwide Excluding – Worldwide excluding USA, Canada, Mexico, Central & South America and Antarctica.
Worldwide including - Worldwide including USA, Canada, Mexico, Central & South America.
PLEASE NOTE that we do not cover any claims directly or indirectly related to travelling through, from and to the following countries: Afghanistan, Chad, Democratic Republic of Congo, East Timor, Haiti, Iran, Iraq, Lebanon, Liberia, North Korea, Pakistan, Somalia, Sudan, Syria, Uganda, Yemen and Zimbabwe.


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Home Perspective	Hurting, hunting Black Girls and Women: Facing a devastating sex trafficking crisis
PerspectiveTop NewsUncategorized
Hurting, hunting Black Girls and Women: Facing a devastating sex trafficking crisis
written by BQ Blog Staff December 9, 2019
Estimated reading time: 5 minute(s)
(Source: FinalCall.com) Social media warnings of white vans that lock from the outside and follow school buses, arrests in several states, accounts from Black women about kidnap attempts and thousands of missing women and girls have raised fears about increased sex trafficking in the Black community.
The problem, however, is wider than strangers snatching young girls and women, though that happens. It includes a plethora of abuses and failures, said advocates fighting to end the scourge.
The Black and Missing Foundation says Black people, just 13 percent of the American population, are almost 40 percent (232,881) of all missing persons. Black women, just seven percent of America's population, are 10 percent of all reported missing persons cases, said the foundation. In 2018, roughly 64,000 Black women and girls went missing, it said.
"African American youth are at increased risk for domestic minor sex trafficking, with being female, living in an urban area, and experiencing abuse prior to trafficking all being factors that are associated with risk for sex trafficking. Of the over 300,000 minors in the U.S. who are victims of domestic sex trafficking, it is estimated that 43 percent are African American girls," according to research by Thema Bryant-Davis, PhD., of Pepperdine University. The U.S. Justice Dept. has reported that of confirmed sex trafficking victims whose race was known, 26 percent were White and 40 percent were Black.
Advocates and survivors believe many missing women and girls are victims of sex trafficking. A 15-year-old Houston girl ended her life in mid-October. The young Latina disappeared at age 13, was drugged and sex trafficked. Her family found her two years later, but she was never the same. Family members were heartbroken when she killed herself.
Who cares about Black girls, women?
Hurting, hunting Black Girls and Women: Facing a devastating sex trafficking crisis was last modified: December 9th, 2019 by BQ Blog Staff
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100 Kids Who Care wants to help make a difference in our community, our school and/or our world one step at a time. We have just under 20 co-founders. Our co-founders do jobs to help put together the assemblies such as writing MC speeches, making websites, calling the paper and even writing songs for the club. Their jobs are to make sure the club meetings run smoothly and that the club can be the best it can be. Members who are not co-founders can add ideas in our nomination box and participate in our community-helping jobs, but don't have to work hard to put everything together.
If you would like to join us, please sign up on the bulletin board beside the U.P.S. library. Remember, every kid counts and contributes to helping the world!
100 Kids Who Care now has its own theme song!!!
Written and performed by our co-founders, this song will be played before each assembly, and members will be allowed to sing along.